SKU: TM.05508SET
Transposed: Hn 1&2. Cl 1&2 and Tpt 1&2 already in original keys.
SKU: TM.05508SC
SKU: AP.36-A128148
ISBN 9798892702294. UPC: 659359602160. English.
Ludwig van Beethoven (1770-1827) completed his Piano Concerto No. 3 in C minor in 1803, not long after writing the famous letter to his brothers, the Heiligenstadt Testament, in which he lamented his increasing deafness. He gave the first performance of the piece, as soloist, on April 5 in a public benefit concert at the Theater an der Wien in Vienna. The opening melody in the first movement bears striking similarity to the first theme heard in Mozart's 24th piano concerto. As a whole, the piece provides an essential link between the Mozartean charm of the two earlier concertos and the more idiosyncratic work found in his middle period. Instrumentation: 2.2.2.2: 2.2.0.0: Timp: Str (4-4-3-3-3 in set): Solo Piano.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: AP.36-A128101
ISBN 9798892701303. UPC: 659359867675. English.
SKU: AP.35898S
UPC: 038081407500. English.
As soon as your young string players have learned their low 2 finger patterns, they are ready for this catchy teaching tune. Written in the attention-grabbing key of A minor, this mystical piece reinforces the neighborly half-step relationship between E-F on the D string and B-C on the A string. Every section gets the melody, a winner with the kids, and you'll like how each section learns to play their half steps more in tune. A great supplement to your method book, and also a successful crowd-pleaser on your next concert!
SKU: AP.36-A183248
ISBN 9798892704335. UPC: 659359535086. English.
Wolfgang Amadeus Mozart (1756-1791) wrote the SERENADE No. 5 in D Major, K. 204/213a on August 5, 1775 for ceremonies at the University of Salzburg. Concurrently writing his five violin concertos, the composer chose to feature a solo violin in three of the movements. While it retains a seven-part structure, an impromptu violin concerto is cleverly couched within the work. As he did with most of his serenades for orchestra, Mozart crafted a symphony using the other four movements. Instrumentation: 2.2.0.1: 2.2.0.0: Str (4-4-3-3-3 in set): Solo Violin in set. Reprint edition.
SKU: AP.36-A183202
UPC: 659359530821. English.
SKU: AP.36-A183201
ISBN 9798892704328. UPC: 659359524264. English.
SKU: AP.36-A197102
UPC: 676737781071. English.
Written by Camille Saint-Saëns (1835-1921) in 1869, the Piano Concerto No. 3 in E-flat Major, Op. 29 follows the standard concerto form while experimenting with harmony. Premiered on November 27th, 1869, by Saint-Saëns himself at the Leipzig Gewandhaus, the work was not particularly well received at the time. Today, while not as popular as Saint-Saëns' second, fourth, or fifth concertos, the third, with its balance between delicate lyricism and virtuosity, remains an important addition to the piano concerto repertoire. Instrumentation: 2.2.2.2: 2.2.3.0: Timp: Str (9-8-7-6-5 in set): Solo Piano.
SKU: AP.36-A197101
ISBN 9798888525029. UPC: 676737781002. English.
SKU: AP.36-A197148
ISBN 9798888525036. UPC: 676737783129. English.
SKU: AP.44812S
UPC: 038081517445. English.
The perfect opener! Right from the first few notes, the audience will be captivated and ready for this famous theme. This opening fanfare to Strauss' masterpiece, arranged by Jeffrey Turner, is an experience that every young musician should get a chance to play. An optional timpani part is included, adding a little bit of thunder to the piece. Great for Halloween concerts too! (1:45).
SKU: AP.48055S
ISBN 9781470656980. UPC: 038081557502. English. John Williams except Care of Magical Creatures Encounter composed by Nicholas Hooper.
This title features Alfred Music's String Orchestra FLEX options. That means that every part in this set is now transposed into every other part, so you can play this title with any combination of like- or mixed-string ensemble. After purchasing this set, decide what additional parts you need to meet the unique needs of your ensemble, then download and print them for free at alfred.com/supplemental---free of charge. Whether or not they have the Harry Potter: Wizards Unite augmented reality game on their mobile device, your students are sure to recognize the melodies from Harry Potter: Wizards Unite by John Williams, arranged by Douglas E. Wagner. Five diverse excerpts from the game are included in this medley: Hedwig's Theme, Profile: Selfie Avatar, Fawkes the Phoenix, Care of Magical Creatures Encounter, and Victory Fanfare. So, with wands at the ready, let the magic begin! (3:30) This title is available in MakeMusic Cloud.
SKU: AP.48055
ISBN 9781470656973. UPC: 038081557496. English. John Williams except Care of Magical Creatures Encounter composed by Nicholas Hooper.
SKU: AP.35981S
UPC: 038081414911. English.
Here is the perfect concert or festival piece for the high school string orchestra that is almost---but not quite---ready for the Dvorák Serenade! With much of the composer's signature use of folk idioms and lyricism, this piece offers great teaching possibilities, including a slow middle section in E Major with a bass solo. The exuberant accelerando ending will put an exclamation point to this certain favorite with your students and audiences.
SKU: PR.416415760
UPC: 680160636532. 9 x 12 inches.
The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.
SKU: AP.36-A604290
UPC: 654690665539. English.
First published and recorded in 1954 (only included at the time on the album "A Leroy Anderson Pops' Concert"), this lovely piano instrumental was released as a UK single in 1957 and hit the charts in early summer. Decca then issued the track on 45 in the U.S. which enjoyed a moderate success. Anderson later recorded stereo version of Forgotten Dreams in 1959. The composition features a haunting, romantic melody and its performance is within the reach of most late-intermediate pianists. Written in D major, it contains expressive tempo variations, an animated B section, and arpeggiated chords which require a bit of stretching. Instrumentation: Piano Solo: 2.2.2.2: Saxes(AAT, opt): 4.3.3.0: Bells: Str (9-8-7-6-5 in set).
SKU: PR.41641576L
UPC: 680160636549. 11 x 17 inches.
SKU: AP.36-A258196
ISBN 9798892701891. UPC: 659359762505. English.
Anton Bruckner (1824-1896) completed the 1st version of his Mass No. 3 in F minor in 1863, as Otto Kitzler was introducing him to the music of Richard Wagner, the composer he would emulate for the rest of his life. John Herbeck, who conducted the initial rehearsals for its premiere at the Augustinerkirch on June 16, 1872, warmly declared that it stood beside Beethoven's Missa Solemnis in greatness. Bruckner, often self-critical as a composer, went on to revise the work no less than four times until it was finally published it in 1894. More often heard today in the concert hall than in the church, the sprawling, hour-long work is admired today for its powerful directness. This critical edition was created in 1944 for the Bruckner Gesamtausgabe by Robert Maria Haas.
SKU: AP.33747S
UPC: 038081377230. English.
Get ready to play in the style made famous by Bob Marley! Fun rhythms, the friendly key of E minor, and a catchy drum groove make this a crowd pleaser. The improvisation section includes a solo, but students can come up with their own.
SKU: AP.36-A258195
ISBN 9798892701884. UPC: 659359625268. English.
SKU: AP.36-A258193
ISBN 9798892701860. UPC: 659359564956. English.
SKU: AP.36-A258101
ISBN 9798892701853. UPC: 659359980039. English.
Anton Bruckner (1824-1896) completed the 1st version of his Mass No. 3 in F minor in 1863, as Otto Kitzler was introducing him to the music of Richard Wagner, the composer he would emulate for the rest of his life. John Herbeck, who conducted the initial rehearsals for its premiere at the Augustinerkirch on June 16, 1872, warmly declared that it stood beside Beethoven's Missa Solemnis in greatness. Bruckner, often self-critical as a composer, went on to revise the work no less than four times until it was finally published it in 1894. More often heard today in the concert hall than in the church, the sprawling, hour-long work is admired today for its powerful directness. This critical edition was created in 1944 for the Bruckner Gesamtausgabe by Robert Maria Haas. Instrumentation: 2.2.2.2: 2.2.3.0: Timp: Org (ad libitum): Str (4-4-3-3-3 in set): Solo SATB: Mix Chor. The organ ad libitum is absent from the Haas edition.
SKU: AP.36-A258194
ISBN 9798892701877. UPC: 659359823619. English.
SKU: AP.36-A258102
UPC: 659359527715. English.
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