Composizioni per orchestra II

SKU: CA.5600200

ISBN 9790007143275.

As the second volume of the Edizione Nazionale delle Opere di Giacomo Puccini, a critical new edition of his compositions for orchestra has been published in the series Musical Works. In addition to the familiar Preludio a orchestra (SC 1), Preludio sinfonico (SC 32), Trio in Fa (SC 52) and Capriccio sinfonico (SC 55), the volume contains a short but unknown Adagetto (SC 51), probably a sketch of a composition from Puccini's student years in Milan. And, for the first time ever, it also includes an orchestral version of the Scherzo in La (SC 34) from 1882, a work which was just recently discovered. The Scherzo, known until now only in a version for string quartet, complements the Trio in Fa, which is scored for the same orchestral forces, to form an independent movement.

SKU: RM.BOLL00907-BA

ISBN 9790231009071.

SKU: RM.FAIL02623-BA

ISBN 9790231026238.

SKU: BT.DHP-1115120-070

ISBN 9789043142441. 9x12 inches. English-German-French-Dutch.

The De Haske String Orchestra Series offers attractive pieces especially composed and arranged for string orchestras. Students and teachers are treated to a great variety of musical styles. Each part presents a challenge to the player. The Viola part can be replaced by a 3rd Violin part, and the Double bass part can be replaced by a 2nd Cello part. The Piano part is mainly meant for support, but it occasionally adds new motifs as well.

Carnival of Strings is a delightful collection of dances for beginner string orchestras.

De De Haske String Orchestra Series biedt u aantrekkelijke, speciaal voor strijkorkest gecomponeerde en gearrangeerde werken. De stukken zijn geschreven in verschillende stijlen: van klassiek en folk tot moderne, populaire muziek. Iedere partij is zo geschreven dat elke speler in het orkest een uitdaging heeft. De partij voor altviool kan door een derde viool worden vervangen. De partij voor contrabas kan ook door een tweede cello worden gespeeld. De pianopartij dient als ondersteuning, maar voegt soms ook nieuwe motieven toe aan de muziek.

Carnival of Strings presenteert een leuke verzameling dansmuziek voor beginnende stijkorkesten.

Die De Haske String Orchestra Series bietet attraktive, speziell fu r Streich­orchester komponierte und arrangierte Stu cke in einer stilistischen Vielfalt von Klassik u ber Folk bis zu modernen U-Musikstilen. Jede Stimme stellt dabei besondere Herausforderungen an die Spieler. Die Violastimme kann durch eine dritte Violine und der Kontrabass durch ein zweites Cello ersetzt werden. Die Klavierstimme dient zur Unterstu tzung, fu gt aber zuweilen auch neue Motive hinzu.

Carnival of Strings präsentiert eine reizvolle Sammlung von Tänzen fu r Anfänger-Streichorchester. Titel wie Coconut Calypso und Waltz Away versprechen Stilvielfalt undSpielspaß!

De Haske String Orchestra Series : Les compositions et les arrangements réunis sous ce label sont en parfait accord avec le niveau ciblé, et proposent des styles très variés. Chaque publication est accompagnée d'un compact disc contenant la version de démonstration des œuvres publiées dans cette collection. L’instrumentation est toujours la même : Violons 1 & 2, Alto (ou Violon 3), Violoncelle, Contrebasse (ou Violoncelle 2) et Piano.

Carnival of Strings met en évidence quatre délicieuses danses, dans un charmant arrangement pour Orchestre Cordes.

De Haske String Orchestra Series è una nuova raccolta pensata per i suonatori di archi principianti. Le composizioni e gli arrangiamenti raccolti sotto questa etichetta sono perfetti per chi inizia a suonare e prongono stili variegati. La strumentazione è sempre la stessa: violino 1 & 2, viola (o violino 3), violoncello, contrabbasso (o violoncello 2) e piano. Con CD.Carnival of Strings propone quattro deliziose danze in un piacevole arrangiamento per quartetto d'archi.

SKU: BT.DHP-1094710-070

ISBN 9789043131865. 12 X 9 inches. English-German-French-Dutch.

The De Haske String Orchestra Series offers attractive pieces especially composed and arranged for string orchestras. Students and teachers are treated to a great variety of musical styles. Each part presents a challenge to the player. The Viola part can be replaced by a 3rd Violin part, and the Double bass part can be replaced by a 2nd Cello part. The Piano part is mainly meant for support, but it occasionally adds new motifs as well.

Fiddle Tunes presents five traditional Irish fiddle tunes in easy arrangements.

De De Haske String Orchestra Series biedt u aantrekkelijke, speciaal voor strijkorkest gecomponeerde en gearrangeerde werken. De stukken zijn geschreven in verschillende stijlen: van klassiek en folk tot moderne, populaire muziek. Iedere partij is zo geschreven dat elke speler in het orkest een uitdaging heeft. De partij voor altviool kan door een derde viool worden vervangen. De partij voor contrabas kan ook door een tweede cello worden gespeeld. De pianopartij dient als ondersteuning, maar voegt soms ook nieuwe motieven toe aan de muziek.

Fiddle Tunes is een verzameling van vijf traditionele Ierse Fiddle Tunes in eenvoudige bewerkingen.

Die De Haske String Orchestra Series bietet attraktive, speziell fu r Streich­orchester komponierte und arrangierte Stu cke in einer stilistischen Vielfalt von Klassik u ber Folk bis zu modernen U-Musikstilen. Jede Stimme stellt dabei besondere Herausforderungen an die Spieler. Die Violastimme kann durch eine dritte Violine und der Kontrabass durch ein zweites Cello ersetzt werden. Die Klavierstimme dient zur Unterstu tzung, fu gt aber zuweilen auch neue Motive hinzu.

Fiddle Tunes präsentiert fu nf traditionelle irische Fiddle Tunes in leichten Bearbeitungen.

De Haske String Orchestra Series : Les compositions et les arrangements réunis sous ce label sont en parfait accord avec le niveau ciblé, et proposent des styles très variés. Chaque publication est accompagnée d'un compact disc contenant la version de démonstration des œuvres publiées dans cette collection. L’instrumentation est toujours la même : Violons 1 & 2, Alto (ou Violon 3), Violoncelle, Contrebasse (ou Violoncelle 2) et Piano.

Fiddle Tunes contient cinq « fiddle tunes » (airs pour violon) irlandais.

De Haske String Orchestra Series è una nuova raccolta pensata per i suonatori di archi principianti. Le composizioni e gli arrangiamenti raccolti sotto questa etichetta sono perfetti per chi inizia a suonare e prongono stili variegati. Ogni pubblicazione è accompagnata da un CD che contiene una versione demo dei brani. La strumentazione è sempre la stessa: violino 1 & 2, viola (o violino 3), violoncello, contrabbasso (o violoncello 2) e piano.Tracce Demo:1. Kerry Polka2. Fly Around3. Shady Grove4. Irish Washerwoman5. Pretty Little SallyPer effettuare il download delle tracce demo, clicca sul titolo selezionato e scegli “Salva come” nel menu.

SKU: BT.DHP-1094713-070

ISBN 9789043131919. 9x12 inches. English-German-French-Dutch.

The De Haske String Orchestra Series offers attractive pieces especially composed and arranged for string orchestras. Students and teachers are treated to a great variety of musical styles. Each part presents a challenge to the player. The Viola part can be replaced by a 3rd Violin part, and the Double bass part can be replaced by a 2nd Cello part. The Piano part is mainly meant for support, but it occasionally adds new motifs as well.

Classical Highlights is a collection of six arrangements of classical themes dating from 17th to 19th century. The parts have been kept easy and attractive; at the same time they stay close to the original.

De De Haske String Orchestra Series biedt u aantrekkelijke, speciaal voor strijkorkest gecomponeerde en gearrangeerde werken. De stukken zijn geschreven in verschillende stijlen: van klassiek en folk tot moderne, populaire muziek. Iedere partij is zo geschreven dat elke speler in het orkest een uitdaging heeft. De partij voor altviool kan door een derde viool worden vervangen. De partij voor contrabas kan ook door een tweede cello worden gespeeld. De pianopartij dient als ondersteuning, maar voegt soms ook nieuwe motieven toe aan de muziek.

Classical Highlights is een verzameling arrangementen van klassieke thema’s die dateren uit de 17e tot en met de 19e eeuw. De partijen zijn eenvoudig en aantrekkelijk geschreven: tegelijkertijd blijven de arrangementen dicht bij het origineel.

Die De Haske String Orchestra Series bietet attraktive, speziell fu r Streich­orchester komponierte und arrangierte Stu cke in einer stilistischen Vielfalt von Klassik u ber Folk bis zu modernen U-Musikstilen. Jede Stimme stellt dabei besondere Herausforderungen an die Spieler. Die Violastimme kann durch eine dritte Violine und der Kontrabass durch ein zweites Cello ersetzt werden. Die Klavierstimme dient zur Unterstu tzung, fu gt aber zuweilen auch neue Motive hinzu.

Classical Highlights enthält Bearbeitungen von sechs klassischen Themen aus der Zeitspanne vom 17. bis zum 19. Jahrhundert. Die Stimmen wurden einfach und ansprechend gestaltet und sinddoch zugleich getreu dem Original. Die Ausgabe enthält ein Rigaudon von Henry Purcell, das berühmte Menuett aus der Feuerwerksmusik von Händel, ein Andante von Haydn (das Thema mit dem berühmten Paukenschlag), das Thema aus Beethovens Violinkonzert, Das große Tor von Kiew aus Bilder einer Ausstellung von Modest Mussorgsky und schließlich noch España von Waldteufel und Chabrier.

De Haske String Orchestra Series : Les compositions et les arrangements réunis sous ce label sont en parfait accord avec le niveau ciblé, et proposent des styles très variés. Chaque publication est accompagnée d'un compact disc contenant la version de démonstration des œuvres publiées dans cette collection. L’instrumentation est toujours la même : Violons 1 & 2, Alto (ou Violon 3), Violoncelle, Contrebasse (ou Violoncelle 2) et Piano.

Classical Highlights est un recueil qui réunit six arrangements de grands thèmes classiques du XVIIe au XIXe siècle. Les parties sont motivantes et facilement accessibles, explorant avec justesse l’oeuvreoriginale.

De Haske String Orchestra Series è una nuova raccolta pensata per i suonatori di archi principianti. Le composizioni e gli arrangiamenti raccolti sotto questa etichetta sono perfetti per chi inizia a suonare e prongono stili variegati. La strumentazione è sempre la stessa: violino 1 & 2, viola (o violino 3), violoncello, contrabbasso (o violoncello 2) e piano.Classical Highlights è una pubblicazione che raccoglie sei arrangiamenti di grandi temi classici del XVII e XIX secolo. Brani motivanti e facilmente accessibili, che rendono onore all‘originale.Tracce Demo:1. Rigaudon2. Minuet3. Andante4. Allegro5. Great Gate of Kiev6. EspanaPer effettuare il download delle tracce demo, clicca sul titolo selezionato e scegli “Salva come” nel menu.

SKU: CF.CM9700

ISBN 9781491160008. UPC: 680160918607. Key: A minor. Hungarian. Hungarian Folk.

In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one's homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers' longing to return home; these are interspersed with the folk song's traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version. PERFORMANCE NOTES All spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music. If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end. TEXT Transliteration Jarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. O mers mama de pe sat, O lasat coliba goala, Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Translation Green grass, tall grass, I would like to go home, but I cannot, because I have sworn not to. Tall grass, green grass - oh, that I cannot go home! My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty. Tall grass, green grass - oh, that I cannot go home! Tall grass, green grass - I would like to go home. but I cannot, because I have sworn not to. Stacy Garrop's music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys - some simple and beautiful, while others are complicated and dark - depending on the needs and dramatic shape of the story. Garrop served as the first Emerging Opera Composer of Chicago Opera Theater's Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels. Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children's Chorus. Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).
In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one’s homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers’ longing to return home; these are interspersed with the folk song’s traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version.PERFORMANCE NOTESAll spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music.If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end.TEXTTransliterationJarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.O mers mama de pe sat, O lasat coliba goala,Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.TranslationGreen grass, tall grass, I would like to go home, but I cannot, because I have sworn not to.Tall grass, green grass – oh, that I cannot go home!My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty.Tall grass, green grass – oh, that I cannot go home! Tall grass, green grass – I would like to go home.but I cannot, because I have sworn not to.Stacy Garrop’s music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys – some simple and beautiful, while others are complicated and dark – depending on the needs and dramatic shape of the story.Garrop served as the first Emerging Opera Composer of Chicago Opera Theater’s Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels.Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children’s Chorus.Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).­­.

This work was commissioned by the civilian wind orchestra Shimizu il compagno, based in Shimizu City, Shizuoka Prefecture, Japan, as a commemorative work for their 10th Anniversary. The world premiere was performed by the ensemble, conducted by Hiromichi Hamada in 2017. Having held discussions with the head of the orchestra, Tomohiro Tsuji, and members of the group, Satoshi Yagisawa settled on a central motif for this commemorative work: fellow, or companion, in the sense of the Italian il compagno, which features in the orchestra’s name. The work also strives to describe the characteristic friendliness of Shimizu city, a place known for itswarmth and kindness which is visible from both Mount Fuji and the sea. The composition is written in Yagisawa’s typical dramatic style with an atmosphere of scintillating light and lyrical warmth, making it an excellent choice for opening a concert.

Dit werk werd geschreven ter gelegenheid van het tienjarig bestaan van blaasorkest “Shimizu il compagno” uit de stad Shimizu in de Japanse prefectuur Shizuoka. Het hoofdmotief van de compositie is vriendschap, op basis van de Italiaanse term il compagno de kameraad uit de naam van het orkest. Ook beschrijft Festive Overture de vriendelijkheid en warmte die kenmerkend zijn voor Shimizu, een plaats die zichtbaar is vanaf zowel de berg Fuji als de zee. Het werk is geschreven in Yagisawa’s typerende filmische stijl, waardoor het een uitstekende keuze is voor de opening van een concert.

Dieses Werk wurde vom städtischen Blasorchester Shimizu il compagno“ aus Shimizu City in der Präfektur Shizuoka in Japan anlässlich seines 10-jährigen Bestehens in Auftrag gegeben. Der Begriff Gefährte im Sinne des italienischen Wortes il compagno das auch im Namen des Orchesters verwendet wird wurde zum zentralen Motiv. Das Werk möchte außerdem die für die Stadt Shimizu typische Freundlichkeit beschreiben, ein Ort, der für seine Wärme und Liebenswürdigkeit bekannt ist und sowohl vom Berg Fudschijama als auch vom Meer aus zu sehen ist. Die Komposition ist in Yagisawas typisch filmischem Stil geschrieben, wodurch sie sich hervorragend für die Eröffnungeines Konzerts eignet.

Cette œuvre a été commandée l’occasion du dixième anniversaire de l’harmonie « Shimizu il compagno » de la ville de Shimizu, préfecture de Shizuoka, au Japon. Son motif principal est le camarade, ou compagnon, dans le sens de l’italien il compagno qui figure dans le nom de l’orchestre. L’œuvre cherche aussi communiquer l’ambiance chaleureuse de la ville de Shimizu, qui est réputée pour son hospitalité et sa bienveillance et que l’on aperçoit aussi bien depuis le mont Fuji que de la côte. Typique du style dramatique de Yagisawa, cette composition est idéale pour ouvrir un concert.

SKU: PR.416413710

ISBN 9781598068214. UPC: 680160587162. 9x12 inches.

Needham's original intent with Chamber Symphony was to encapsulate the 2008 presidential election, from the Democratic primaries to the historic general election campaign and win of Barack Obama. But, says Needham, In the midst of the general election circus, I decided to broaden my inspiration and have the work's overall goal focus on the larger ideas of hope and transformation. Chamber Symphony was commissioned by the American Composers Orchestra with generous support of Paul Underwood. Additional support was from the National Endowment for the Arts.
I originally envisioned a work inspired by the political landscape of the 2008 presidential election, focusing primarily on the hard-fought Democratic Primary race. I was fascinated by the historic and hopeful spirit that both the Barack Obama and Hillary Clinton campaigns embodied. Sometime later, in the midst of the general election circus, I decided to broaden my inspiration and have the work’s overall goal focus on the larger ideas of hope and transformation. Chamber Symphony is constructed in three movements (played without pause): I. Hammering Out, II. Open-ended Echoes, and III. Radiant Nation. The titles suggest a general atmosphere that each movement attempts to express. The outer movements, both quick in tempo, act as the antithesis of each other in terms of mood. “Hammering Out” employs an aggressive, relentless, pounding beat that frequently shifts, often emphasized with metallic sounds. “Radiant Nation” is much lighter and more optimistic in tone, and uses an up-beat groove throughout the movement. The middle movement, “Open-ended Echoes,” is the proverbial calm after the storm. Unlike the outer movements, “Open-ended Echoes” is almost void of any strong sense of pulse. The movement attempts to create a peaceful, contemplative mood that transforms the volatile nature of the first movement tothe radiant spirit of the last. Chamber Symphony was commissioned by the American Composers Orchestra for its Orchestra Underground Series with the generous support of Paul Underwood. Additional support for the ACO’s Emerging Composers Program comes from the National Endowment for the Arts.— November 5, 2008.