SKU: BT.ALHE31423
French.
J.S. Bach: Brandenburg Concerto No.5 (PH23).
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: HL.48024114
ISBN 9780851628363. UPC: 888680708900. 8.25x11.75 inches. Hawkes Pocket Score 1390.
Chorale (2001-02), for orchestra, is a kind of musical meditation on the chorale Es ist genug from Bach's cantata O Ewigkeit, du Donnerwort, itself a harmonisation of J R Ahle's 1662 hymn. Nick Kimberley's preface outlines the context of the Bach original and refers to Alban Berg's use of the chorale in his Violin Concerto almost 300 years later. In contrast to both of these works, Lindberg's Chorale has no extra-musical agenda. The composer explains that he took the harmonic structure of the chorale and embedded it in his own harmonies. “I make an analogy with the rise and fall of the tide. When the tide is in, the sea-bed is invisible; but when the tide goes out, you see the rock formation on the sea-bed.” Tribute is a short show-piece for full orchestra composed in 2004 as a gift to celebrate the 20th anniversary of Esa-Pekka Salonen's debut with the Los Angeles Philharmonic.
SKU: HL.49006068
ISBN 9790001065887. UPC: 841886031951.
SKU: HL.49006064
ISBN 9790001065849.
SKU: HL.49006069
ISBN 9790001065894.
SKU: HL.49006070
ISBN 9790001065900.
SKU: HL.49006065
ISBN 9790001065856. 9.25x12.0x0.05 inches.
SKU: HL.49006067
ISBN 9790001065870.
SKU: HL.49006066
ISBN 9790001065863.
SKU: HL.49006062
ISBN 9790001065825.
SKU: HL.49006063
ISBN 9790001065832.
SKU: HL.49006071
ISBN 9790001065917.
SKU: HL.48187630
UPC: 888680844349. 5.5x7.5x0.243 inches.
SKU: HL.48187676
5.75x8.5x0.108 inches.
J.S. Bach: Concerto Pour Piano FA Mineur.
SKU: BT.ALHE31472
SKU: BT.ALHE31453
J.S. Bach: Concerto No.2 In E (Violin And String Quartet).
SKU: HL.48187681
UPC: 888680845957. 5.5x7.5x0.201 inches.
The miniature score for J.S. Bach's Suite No.3 In D.
SKU: HL.48187659
UPC: 888680845094. 5.5x7.5x0.159 inches.
SKU: BT.ALHE31477
SKU: AP.38437S
UPC: 038081432328. English.
This versatile arrangement can be combined with choir and/or concert band to make a brilliant program finale. Technical accommodations make this piece very playable. Excerpts from three Baroque Christmas masterworks come together in this festive musical celebration of the season. Titles included are Gloria by Vivaldi, From Heaven Above to Earth I Come by J. S. Bach, and two movements from Handel's Messiah.
SKU: AP.49444
ISBN 9781470650469. UPC: 038081571249. English.
Franz Gruber's beloved Christmas carol, Silent Night, receives a unique treatment for strings. The tune is heard twice. The first time, it is paired with a motive from the Prelude of J. S. Bach's Cello Suite No. 1 (BWV 1007); the second time, the melody shifts from part to part, giving everyone a chance to shine. Richly scored, warm and embracing, a real audience pleaser for your December concerts. (3:00) This title is available in MakeMusic Cloud.
SKU: AP.49444S
ISBN 9781470650476. UPC: 038081571256. English.
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