SKU: TM.05508SET
Transposed: Hn 1&2. Cl 1&2 and Tpt 1&2 already in original keys.
SKU: TM.05508SC
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.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: PR.41641576L
UPC: 680160636549. 11 x 17 inches.
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.36-52703557
ISBN 9781628760323. UPC: 746241208552. English.
Don't let this title fool you...this collection of ten meditative preludes is useful for more than just weddings. For service introits, communion gatherings, memorials, funerals or prayer interludes these lovely settings will find a way to your folder throughout the year in church or concert venues.
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: BR.PB-5503
ISBN 9790004211465. 10 x 12.5 inches.
Mendelssohns overture drew its inspiration from two poems by Goethe which had already inspired Ludwig van Beethoven to write a choral work on them with orchestral accompaniment. The larger part of the work on this piece must have been carried out in the summer of 1828. The first public performance took place in Berlin on 1 December 1832. The revised version of the work was first performed in Leipzig on 20 April 1834. Its ranking as No. 3 of the concert overtures was laid down when the score was first printed in 1835 (Breitkopf & Hartel).(Ralf Wehner in the Study Edition of the Mendelssohn Work Catalogue).
SKU: PE.EP11114B
ISBN 9790014123192.
This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer.
About Peters Contemporary Library
Mark AndreMilton BabbittDaniel BjarnasonEarle BrownJohn CageHenry CowellJames DillonJonathan DoveBrian FerneyhoughRoxanna PanufnikRebecca SaundersErkki-Sven TuurCharles Wuorinen These are just a few of the composers whose most adventurous scores are now available to purchase through the Peters Contemporary Library. A new global initiative of the Edition Peters Group, the Peters Contemporary Library is a project designed to put these bold 20th- and 21st-century works, once available only for rental, into the collections of libraries, performers, scholars, and conductors alike. Kicked off in 2016, the Peters Contemporary Library already contains many cutting-edge works and is constantly expanding. We are proud to offer these bold new scores for sale, for the first time ever, to modern musicians and students of music all around the world.
SKU: BA.BA07568
ISBN 9790006558285. 33 x 24 cm inches. Preface: Sylvie Bouissou. Text: Louis Fuzelier.
The new scholarly-critical edition of the score of Rameau’s “ballet hroïque†Les Indes galantes finally clears up its convoluted source history. At the first performance, on 23 August 1735, it consisted of a prologue and three acts: Le Turc gnreux, Les Incas du Prou and Les Fleurs. But Les Fleurs already proved controversial in the early performances, and from 11 September of that same year it was given a wholly new form. For the revival on 10 March 1736 Rameau and Fuzelier added an entirely new act Les Sauvages, and in the years that followed, the “ballet hroïque†was presented either complete (1743, 1751 and 1761) or abridged with a prologue, Les Incas du Prou and Les Sauvages (1751–73).With regard to the instrumental movements (dances and descriptive pieces), the present publication is based on the complete edition Opera Omnia Rameau (OOR) volumes IV/2 and IV/7 edited by Sylvie Bouissou which are currently in preparation. It includes not only the orchestral pieces in the version deemed valid by Rameau in 1736 (with version 2 of Les Fleurs and Les Sauvages), but also those from the first version of Les Fleurs (1735) as well as its 1743 and 1773 revisions. Performers are thus given a complete selection of all the orchestral numbers from one of Rameau’s central stage works for use also in concert performance.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: BR.OB-5634-60
ISBN 9790004345085. 10.5 x 14 inches.
Of all his symphonies, Mahler gave the Fourth, his favorite and problem child, his most particular attention. The Heavenly Life, a humoresque composed in 1892 for soprano and piano, which he already wanted to use in the final movement of the Third Symphony under the title What the Child Tells Me, ultimately became the nucleus and final movement of the Fourth. Even after publication in 1901, Mahler kept repeatedly refining the orchestration. His maxim not without my retouching led to a whole series of revised reprints. It is probably no coincidence that Mahler performed especially the Fourth Symphony in his last two New York concerts in February 1911, using this opportunity to review once again the score and parts. This performance material with his retouching served as the main source for the new edition. Furthermore, included for the first time were corrections and annotations in conjunction with performances of the Fourth, which Mahler entered into the scores of conductors such as Mengelberg and Wickenhauser. PB 5664 has been awarded the Presto Sheet Music Award 2020.
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