SKU: AP.46698S
UPC: 038081537184. English.
Intended to introduce young players to Latin music style, this cheerful and energized composition is guaranteed to be a success as you tour the Caribbean. In addition to being solidly scored, the catchy melody and Latin hand percussion will definitely make this piece---full of spice and sun, and originally written by Victor López---a hit at your earliest concert. Whether you are celebrating Cinco de Mayo or looking for a change of pace, you can't go wrong with Fiesta Time! (1:30).
SKU: HL.48024524
ISBN 9781784542566. UPC: 888680925741. 8.25x11.75x0.212 inches.
Composer's Notes: “In writing this work I wanted to compose something which was both timeless and contemporary, both sacred and secular. The title (Sacred Songs) is therefore slightly misleading as the three poems are concerned with political repression in Latin America and are deliberately coupled with traditional religious texts to emphasise a deeper solidarity with the poor of that sub-continent. It was my interest in Liberation Theology which made me combine the poems of the Mothers of the Plaza de Mayo in Argentina with the texts of the Latin mass in Búsqueda (an earlier music-theatre work) and has now led me to attempt a similar synthesis of ideas in Cantos Sagrados. The voices in Ariel Dorfman's poems belong to those who suffer a particular type of political repression: the 'disappearance' of political prisoners. Ana Maria Mendoza's poem about the Virgin of Guadeloupe tackles the same problem by asking a more fundamental cultural and historical question.â€.
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.45842S
UPC: 038081524115. English. Zachary Barnett; James Shelley; Matthew Sanchez; David Rublin; Aaron Accetta; Jonnie Davis; Michael Goodman [American Authors].
Go big and get your audience excited with this bright and energetic sing-along hit arranged by Victor López. American Authors, an indie rock band based in Brooklyn, New York, wrote Go Big or Go Home---a Top 20 hit on Billboard charts and featured in promos for the 2016 NBA Playoff Finals. Given the catchy melody and vibrant rhythms, this song is the hair-raising anthem you have been looking for to complete your program. Great tune for a recruiting demonstration! (2:40).
SKU: SU.29050090
Variations on Happy BirthdayOrchestra (full) Duration: 4'20 Composed: 2016 Published by: Whitco Press Performance materials available on rental only:.
SKU: PR.41641576L
UPC: 680160636549. 11 x 17 inches.
SKU: BO.ICCMU306
SKU: BO.ICCMU303
SKU: BO.ICCMU326
SKU: HL.49007950
ISBN 9790001085007. 8.25x11.75x0.08 inches.
SKU: BO.ICCMU327
SKU: BO.ICCMU322
SKU: BO.ICCMU305
SKU: BR.PB-15154-07
ISBN 9790004215593. 6.5 x 9 inches.
Composed by Manuel de Falla during his lengthy residence in Paris, these three symphonic impressions for piano and orchestra are an expressive work bringing the southern Spanish gardens, which are laid out in the European and Arabic-Moorish tradition, to life. The influence of contemporary French music is noticeable in this composition. Despite many modifications, involving among other things, the scoring, number of movements, as well as layout and content, the basic idea of a nocturnal impression is retained from the outset. The work was finished - and likewise the orchestral material - only shortly before its premiere on 9 April 1916, which was a great success. World War I prevented its publication, though further performances followed, played then from manuscript material. The Urtext edition presented by Ullrich Scheideler takes as the main source the first edition of the score. The Critical Report gives detailed information about the source situation.
SKU: HL.49018927
ISBN 9790001174268.
Despite the Concertante Overture being almost 60 years old, the piece nevertheless captures listeners through its young and carefree freshness. The string orchestra is joined by solo winds and percussion. Hummel's music is so colourful, vivid and powerful that the listener can immediately imagine how the curtain rises upon a play while this music is played.The differentiated score, with its chamber music layout, can be mastered by good amateur ensembles and music students.
SKU: BA.BA04593-01
ISBN 9790006451371. 33 x 26 cm inches.
Urtext der Neuen Mozart-Ausgabe.
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: BA.BA04743
ISBN 9790006455027. 31 x 24.2 cm inches. Key: C major.
SKU: BA.BA04502-01
ISBN 9790006449132. 33 x 26 cm inches. Language: German. Preface: Ernst Fritz Schmid / Wilhelm Fischer.
SKU: BR.EOS-20828
The world premiere of the play L'Arlesienne with the incidental music by Georges Bizet was a notable failure not only for the playwright Alphonse Daudet, but also for the composer.
ISBN 9790004784693. 10 x 12.5 inches.
The two four-movement orchestral suites, in turn, are still thrilling concert-goers all over the world, ever since their first performances in 1872 and 1880 respectively. In 1998 and 2001, Lesley A. Wright presented the score and orchestral parts of the two repertoire pieces in an Urtext edition prepared for the first time on the basis of all relevant sources. Thus not only will the yellow Urtext angel be gracing the conducting score and orchestral parts, but, next to the standardized large format and new layout of the parts, there are other user-friendly improvements, such as practical page-turns, page-turn aids and intelligent cue notes.
SKU: BA.BA11903
ISBN 9790006573783. 32.5 x 25.5 cm inches.
Beethoven’s incidental music op. 84 was written in 1809 for a performance of Goethe’s drama “Egmont†at the Burgtheater in Vienna. Numerous composers of the day tried their hand at writing music for the dramatic material of Goethe’s tragedy, several in collaboration with the author himself. The overture reflects the themes of the play through its expressive music, and over the last two hundred years it has become one of the most popular works by Beethoven conceived for the stage.For this new edition, Beethoven specialist Jonathan Del Mar draws on various manuscript sources including a handwritten set of parts which has never been taken into account before. Thus, numerous discrepancies such as missing notes in the flute part or unclear bowing could be clarified for the first time.
SKU: BA.BA04714
ISBN 9790006453689. 31 x 24.3 cm inches. Key: G major. Language: German/English.
SKU: BA.BA07569
ISBN 9790006523375. 32.9 x 23.9 cm inches. Text Language: French/German. Preface: Soury, Thomas. Louis de Cahusac.
Rameau's “Les Fêtes de l'Hymen et de l'Amour†was long considered second-rate because its première was associated with a political event. Yet this ballet abounds in novel dramaturgical effects that foreshadow his later operas, such as “Zaïsâ€, “Zoroastre†and “Les Boradesâ€. Working together with his librettist Cahusac, Rameau sought to weave the dance numbers, choruses and stage machinery more tightly into the main plot. He also experimented with stylistic devices unique to this work, the most famous being unquestionably the scene in which the Nile overflows its banks (an impressive ten-voice double chorus with solo voices and orchestra) and the sextet from “Arurisâ€, a scoring found nowhere else in his uvre.For the first time, this scholarly-critical edition of “Les Fêtes de l'Hymen et de l'Amour†presents a reference version of the work that is based on all the major sources for both the libretto and the music, including two recent musical discoveries. As most of the performance material for the première has vanished, our edition is based on the version prepared for the Acadmie Royale de Musique in 1748.
SKU: BA.BA04558-01
ISBN 9790006450619. 33 x 26 cm inches.
The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time, it also serves as an aid to authentic performances.The principal Series I to IX, containing Mozart's actual oeuvre, appeared between 1956 and 1991. They are regarded as a supreme achievement of Mozart scholarship in our time; modern performances of Mozart's music are unthinkable without them. The important supplementary volumes shed fresh and illuminating light on neglected aspects of Mozart's creative work, such as his activities as a teacher or as an arranger of other composer's works.
SKU: BA.BA05538
ISBN 9790006497041. 33 x 26 cm inches.
Urtext der Neuen Schubert-Ausgabe.
SKU: BA.TP00167
ISBN 9790006201457. 18.5 x 13.3 cm inches. Key: B-flat major.
Urtext der Hallischen Handel-Ausgabe.
SKU: BA.BA05360
ISBN 9790006469178. 31 x 24.3 cm inches. Key: F major. Language: German/English. Preface: Gerhard Allroggen.
SKU: BA.BA05359
ISBN 9790006469116. 31 x 24.3 cm inches. Key: C major.
SKU: BA.BA05365
ISBN 9790006469482. 30 x 23 cm inches. Key: C major.
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