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Here in one volume are all of Mendelssohn's major orchestral works in full score: the complete "Midsummer Night's Dream" Overture and Incidental Music, plus all the play cues and all the "melodramas" more than has ever been recorded; The Hebrides Overture, or Fingal's Cave, Op. 26; its pendant, the Calm Sea and Prosperous Voyage Overture, Op. 27; Symphony No. 3 in A ("Scottish"), Op. 56; and Symphony No. 4 in A ("Italian"), Op. 90. These are the most performed orchestral works and are usually considered Mendelssohn's finest. This sturdy edition has been reproduced from selected volumes of the Breitkopt & Hartel Complete Works edition, edited by Julius Rietz. Noteheads are large and clear, and wide margins and ample staves offer space for written notes, analysis, and more."
Enthält: Classical symphony, op. 25 ; Lieutenant Kije, op. 60 ; Peter and the wolf, op. 67 ; Alexander Nevsky cantata, op. 78
Familiar to conductors, orchestra managers, and music librarians, this compact sourcebook provides information necessary to plan orchestral programs and organize rehearsals. The third edition features 4500 compositions that cover the standard repertoire for American orchestras (a 30% increase over the second edition), clearer entries, and a more useful system of appendixes.
Explores the contrapuntal element in significant works from the eighteenth and nineteenth centuries for the music student who fully understands the composition of harmony
The Choral-Orchestral Works of Ralph Vaughan Williams: Autographs, Context, Discourse combines contextual knowledge, a musical commentary, an inventory of the holograph manuscripts, and a critical assessment of the opus to create substantial and meticulous examinations of Ralph Vaughan Williams’s choral-orchestral works. The contents include an equitable choice of pieces from the various stages in the life of the composer and an analysis of pieces from the various stages of Williams’s life. The earliest are taken from the pre-World War I years, when Vaughan Williams was constructing his identity as an academic and musician—Vexilla Regis (1894), Mass (1899), and A Sea Symphony (1910). The middle group are chosen from the interwar period—Sancta Civitas (1925), Benedicite (1929), Magnificat (1932), Five Tudor Portraits (1935), Dona nobis pacem (1936)—written after Vaughan Williams had found his mature voice. The last cluster—Thanksgiving for Victory (1944), Fantasia (Quasi Variazione) on the ‘Old 104’ Psalm Tune(1949), Sons of Light (1950), Hodie (1954), The Bridal Day/Epithalamion (1938/1957)—typify the works finished or revisited during the final years of the composer’s life, near the end of the Second World War and immediately before or after his second marriage (1953).
"With unprecedented access to the archives at the Beethoven House in Bonn, ... Beethoven conductor and scholar Jan Caeyers ... weaves together a deeply human and complex image of Beethoven--his troubled youth, his unpredictable mood swings, his desires, relationships, and conflicts with family and friends, the mysteries surrounding his affair with the 'immortal beloved, ' and the dramatic tale of his deafness. Caeyers also offers new insights into Beethoven's music and its gradual transformation from the work of a skilled craftsman into that of a consummate artist"--Publisher marketing.
One of the most prolific women composers of her time, Alice Mary Smith (1839–84) produced the greatest number of publicly performed large-scale orchestral and choral works of any of her gender. This edition presents three of her short orchestral compositions for the first time in print. The Andante for Clarinet and Orchestra, an orchestral transcription of the slow movement of Smith’s Sonata for Clarinet and Piano of 1870, was greatly admired by the English clarinetist Henry Lazarus, who performed it multiple times. The two intermezzi, along with the overture, comprise the complete orchestral music from Smith’s grand choral cantata The Masque of Pandora, a setting of Henry Wadsworth Longfellow’s epic poem. Designed as independent instrumental movements, Smith fully orchestrated the intermezzi for a performance in 1879 by the New Philharmonic Society under William Ganz. In the introduction to the edition, Graham-Jones includes a brief biography of Smith and reproduces numerous reviews and program notes from the various performances of these three works.
More than 100 selections from the noted musicologist's Essays in Musical Analysis cover most of the standard works in the symphonic repertory, from Bach to Vaughan Williams. Incisive essays examine overtures and symphonies by Beethoven and Brahms, eleven symphonies by Haydn, six by Mozart, three each by Schubert, Schumann, and Sibelius, and many other works.
Although the moods may vary throughout these evocative works, the elegance and subtly shifting energies of their musical language could only be those of Maurice Ravel. Includes Rapsodie Espangnole, Ravel's first entirely orchestral composition; the magical Mother Goose Suite; Valses Nobles et Sentimentales; and Pavane for a Dead Princess.
ART MUSIC IN NIGERIA is the most comprehensive book on the works of modem Nigerian composers who have been influenced by European classical music. Relying on over 500 scores, archival materials and interviews with many Nigerian composers, the author traces the historical developments of this new idiom in Nigeria and provides a critical and detailed analysis of certain works. Written in a refreshing and lucid style and amply illustrated with music examples, the book represents a milestone in musicological research in Nigeria. Although written essentially for students and scholars of African music, this interesting book will also be enjoyed by the général reader.