Contents: Pulcinella Suite (revised 1949 version) • Apollon Musagète (revised 1947 version) • Le Baiser de la Fée (revised 1950 version).
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Modeled on Stravinsky's “Le Chant du Rossignol,” this 14-minute work for orchestra is an homage to the work and wit of Nicholas Slonimsky, the Russian eccentric literary genius who wrote The Thesaurus of Scales and Melodic Patterns (1947), from which Adams drew scales and harmonies.
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In June 1905, Ravel told a friend shortly before setting off on a long holiday: “I was terribly busy because of a piece for harp commissioned by the Érard company. I was able to finish it after a fashion, thanks to 8 days of dogged work and three sleepless nights.” But the piece itself shows nothing of the haste in which it was written. In fact, it seems as if Ravel knew how to explore all the musical possibilities of the harp in this brief, but highly striking piece. This septet with its unusual combination of instruments is a further enrichment of Henle's Urtext editions of Ravel's chamber music.
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“Over the years my orchestral music has become simpler and more expansive. Clouds of Forgetting, Clouds of Unknowing (1991-95) contains four different musical textures. In the White Silence (1998) has three. For Lou Harrison (2002) reduces this to just two. In Dark Waves (2007), I finally got to one. When I first heard that piece I began to wonder if I could sustain a similar sound for a longer span of time. The result is Become Ocean, a meditation on the vast, deep and mysterious tides of existence.
The title is borrowed from a mesostic verse that John Cage wrote in honor of Lou Harrison's birthday. Likening Harrison's music to a river in delta, Cage writes:
Listening to it we become ocean.
Life on this earth first emerged from the sea. And as the polar ice melts and sea level rises, we humans find ourselves facing the prospect that once again we may quite literally become ocean.”
John Luther Adams
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Performance time - ca. 4:10
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This study score is a photographically reduced reproduction of the work as it appears in the Carl Nielsen Edition.
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Contents: Quiet City • Lincoln Portrait • Danzón Cubano • Clarinet Concerto • Three Latin-American Sketches.
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Composed in 2008-09, Graffiti is Lindberg's first work for chorus and orchestra, and it earned him the 2009 Finnish Composer Society's Award. The libretto for the half-hour work is compiled from ancient Latin graffiti discovered during excavations of Pompeii, the city destroyed by volcanic eruption in 79 CE. Some of the writings are specific to the time and place, such as publicity for gladiatorial combats, but many of the political denunciations, silly aphorisms, and sexual encounters either documented or solicited could, with the Roman names changed, be found in present-day settings. Lindberg assembled the brief texts without aiming to create a narrative or thematic scheme, his intention being to evoke “a grand choral and orchestral fresco of the life of the town.” A work of great energy and originality, and a significant addition to the repertoire of large-scale choral writing.
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from: Anton Bruckner: Sämtliche Werke • Kritische Gesamtausgabe Band IX
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Festive Overture, Op. 96
Overture on Russian and Kirghiz Folk Songs, Op. 115
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The German Requiem is not a Mass in the traditional liturgical sense; rather, Brahms sets a very personal and carefully-assembled group of texts from the Lutheran Bible in this seven-movement work for soloists, choir and large orchestra, centring around themes of transience, grief and consolation. As one of the most affecting sacred works of all, the German Requiem has overcome all linguistic barriers and achieved worldwide success, reflecting the composer's comment that “as concerns the text, I confess that I would happily leave out the 'German' and simply substitute 'humanity'.” Our study edition adopts the musical text of the New Brahms Complete Edition (Henle edition HN 6029) and thus is of the highest musicological accuracy. The informative preface not only describes the genesis of the German Requiem reflecting the latest research, but also looks critically at the legends, suppositions and preconceptions that have surrounded the work from the outset.
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Total performance time - ca. 15:30
I. Theme from J.F.K (4:45)
II. Motorcade (3:55)
III. Arlington (6:25)
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Performance time - ca. 4:10
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Performance time - ca. 7:30
John Williams won his first Oscar® for his scoring and adaptation of Jerry Bock's original music for Fiddler on the Roof. Here is the music he wrote for the opening credits and establishing scenes, performed on the 1971 soundtrack by Isaac Stern. Also includes If I Were a Rich Man; To Life; Miracle of Miracles; Sunrise, Sunset; Matchmaker; Tradition.
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A ballet in two acts, written between 1917 and 1919. Words by G. Martinez Sierra after a story by D. Pedro Antonio de Alarcon. Edited by Yvan Nommick.
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Composed to commission by the BBC Symphony Orchestra, the Los Angeles Philharmonic Orchestra, Symphony Australia and the Sydney Symphony Orchestra in 2005, this work was first performed that year at Barbican Hall, London, with the composer as soloist. Brett Dean comments that “it was a unique privilege and challenge to have the opportunity to approach the form of the viola concerto as both composer and performer. Above all, it filled me with thoughts about my own relationship with this curiously beautiful, somewhat enigmatic instrument of my choosing. Due to the unusually hands-on directness of writing a concerto for oneself, it also inspired thoughts upon the workings of music itself, removed from any sense of external programmatic influences or stories which inform so many of my other pieces.” The opening Fragment serves as a brief introductory satellite of serenity before the orchestra tumbles into the longer second movement, Pursuit. As its name implies, this is a restless ride for all concerned, presenting the solo viola as a harried, lonely figure fighting against the latent threat of the orchestra. The piece closes with Veiled and Mysterious, an extended elegy in which the viola sings an unfolding Klagelied over icy sonorities of solo celli and bowed percussion, and then develops in intensity, to emerge in a large scale tutti section eventally leading to a peaceful, if ambivalent conclusion.
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Tempo giusto • Allegretto • Con moto
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English Only – Cloth Score.
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Bach's death meant that the Art of Fugue was left unfinished. In his father's manuscript, Carl Philipp Emanuel noted exactly where the last fugue of the Art of Fugue broke off: “While working on this fugue, in which the name BACH appears in the countersubject, the author died.” Our editor Davitt Moroney brings the fugue to a close with 30 supplementary measures.
There has been frequent speculation about what type of scoring would be most appropriate for the piece, particularly since Bach wrote the individual parts in score form and left no information about instrumentation. Certainly, strict fugues can be found in any ensemble scoring; this had been normal for centuries. It is remarkable, though, how the cycle can easily be played on the harpsichord or piano – a strong argument for keyboard performance.
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