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.49018099
ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.
On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.
SKU: AP.36003S
UPC: 038081420424. English.
Three of the most memorable operatic vocal arias are presented here for young strings. The arias are set in comfortable keys and remain in first position. Your audiences will appreciate hearing these familiar tunes from the world of Italian Grand Opera, which are performable as separate movements or as a small suite. Features La Donna Mobile from Rigoletto, Quando me'n vo (Musetta's Waltz) from La Boheme, and Libiamo ne'lieti calici from La Traviata. Students will be additionally challenged as they work to follow the conductor's rubato interpretations that characterize the style of Musetta's Waltz, and strive to create a wide range of dynamics that are required for the dance-like rollicking flow of the other two waltzes.
SKU: SU.91580100
A Grateful Tail - Movement by Movement Siriusly, Dog Star Sirius, the brightest star in the night sky, has been used by travelers and navigators for thousands of years as a guiding star and so it is here as the opening movement for the symphony. Sirius, the cornerstone to the constellation Canis Maggiore or Big Dog sits at the foot of Orion, the hunter, leading the way. Highly cinematic, the movement evokes both a musical and visual sense of the mythological and mysterious elements of Sirius and its Dog Godstar secrets. From the clarion call of the opening, Sirius theme, the sound is buoyant and frisky emulating the nature of doggy playtime. Puppy pleasures abound as a doggy four-step, my turn on the traditional American two-step dance, is introduced. The movement transforms into an actual orchestrated frolic of small, large and medium dog barks beginning with the winds (smaller dogs) and ultimately, the big dog, brass. The movement climaxes with the coda or, Dog Park, where the winds and the brass bark and play together over the, doggy ostinato four-step rhythm, culminating with the final call of the Sirius theme. Let Sleeping Dogs Lie, Peacefully It's all in a dog's day and life. Tranquility presides over this supremely gentle, intermezzo-like movement. After a day of play, every dog needs rest. Let Sleeping Dogs Lie, is a lyrical andante inspired by the profound serenity and beauty of a dog at rest. The Last Will and Testament of Silverdene Emblem O'Neill Based on a powerful piece of prose written by the American playwright, Eugene O'Neill this text was intended as a consolation piece for Carlotta, his wife, who had become grief-stricken over the loss of their beloved dog, the Dalmatian known as Blemie.Written for a singing actor who personifies the role of Blemie, a dog at the end of his life, the movement plays like a one act, musical drama as we follow Blemie through a wonderfully three-dimensional, emotional and psychological journey writing his Last Will and Testament, for those who have loved him. Wagging the Tail: Ossia Fido's Lament A life-affirming rumba/samba using Blemie's final words from O'Neill's text, this final movement employs the most unique American musical invention, the gospel choir. In order to make the dances come alive, this movement also calls upon the colors of a rhythm section. Creating the spirit of an Irish Funeral, the movement is a joyful and revival-like celebration of a dog's life as its spirit lives on forever in the hearts and minds of dog lovers everywhere. Remember Me, remember me! My spirit is wagging a grateful tail. Published by: Subito Music Publishing Release Date: July 9, 2013.
SKU: AP.41187
UPC: 038081471662. English.
Crepuscule is the period of partial darkness at the beginning or end of the day---in other words, twilight. The energy of the sun touches the quiet of the night. This highly energetic work in E minor opens with a perfect fifth motive that gives students plenty of opportunities to develop their intonation while hopping their finger to adjacent strings. The piece requires the use of short articulated bow strokes in the first theme. The second theme is lyrical and requires the use of slow sustained bow strokes. All sections of the orchestra are featured with challenging and interesting parts. (3:50) This title is available in MakeMusic Cloud.
SKU: HL.35032262
ISBN 9781540027139. UPC: 888680746728. 9.0x13.5x2.261 inches. Joseph M. Martin/Heather Sorenson.
The Christmas story is told with fresh perspective in this collaborative cantata from Joseph Martin and Heather Sorenson. Throughout time, God has touched and motivated hearts through dreams and visions. Christmas Dreams visits these moments in scripture and connects the experiences of ancient times with our modern journey of faith, pointing to Christ, in whose birth the hopes, yearnings and dreams of all the world are fulfilled. Using traditional carols, newly composed seasonal selections and thoughtful narration, this rich work delivers a tapestry of sound and emotion. Share this cantata with your people and help them discover God's graceful touch in their lives! Songs include: Christmas Dreams Overture; Advent Dreams; The Promise and the Prayer; A New Morning of Promise; Zechariah's Song; Mary's Dream; All Through the Night; Hark! The Herald Angels Sing; The Magi's Epiphany; Christmas Dreams; A Gentle Christmas Blessing.
SKU: HL.226377
ISBN 9781495091506. UPC: 888680674618. 8.5x11.0x2.3 inches.
Composed in both traditional and blended choral stylings, this cantata weaves the historic symbolism of both the Lion of Judah and the Lamb of God into the Christmas story. Through original songs and traditional carols, singers and listeners are reminded that this story is not just an event in history, but a living story that still impacts the world today. Narration, solos, congregational participation and optional children's voices, along with gorgeous orchestrations by Keith Christopher, all work together to make this service a time of both celebration and worship. Songs include: Overture/Sing Christmas!; And So We Wait; It Came upon a Midnight Clear; Who's the Little Baby?; Sleep Little Lion, Sleep Little Lamb; Where Is Peace Tonight?; In This Moment; Angels from the Realms of Glory; Carol of the King. Score and Parts (fl 1-2/pic, ob, cl 1-2, bn, tpt 1-3, hn 1-2, tbn 1-2, tbn 3/tba, perc 1-2, timp, hp, pno, rhy, vn 1-2, va, vc, db) available as a Printed Edition and as a digital download.
SKU: AP.40424S
UPC: 038081451183. English.
An enchanting arrangement of this beautiful classic! Written in 3/4 for young players, it starts with a solo cello accompanied by delicate strings above, evolving into the full string orchestra majestically singing praise like angels from above. An optional percussion part is included for added drama.
SKU: AP.44799S
UPC: 038081517322. English.
A joyful departure from tradition, now set in 4/4 time by Jeffrey Turner, this fresh setting of the beloved carol is sure to add sparkle to any holiday celebration. Across the silent night, the blazing star of a solo cello beacons. A violinist follows, and the glory of a string orchestra suddenly bursts across the heavens. A twinkling piano announces that a child has been born unto the world; then, the high strings enter like angels singing from above. With its ending in 3/4, sure to put a smile on everyone's face, there's never been a happier birthday. (3:20) This title is available in MakeMusic Cloud.
SKU: AP.31604
UPC: 038081349534. English. Traditional English Carol.
You'll have no trouble getting into the Christmas spirit with this delightful adaptation of a traditional English Carol. Coated with a layer of sugar frosting, this piece will warm you up with its joyous harmonies and charming melodies, making you feel like you are sitting in front of a crackly fire sipping hot cocoa on a crisp wintry night. Sure to become an audience favorite!
SKU: AP.49906S
ISBN 9781470657956. UPC: 038081575810. English.
A sequel to his earlier work Sunchasers, Starchasers by Tanner Otto is a dark, driving piece that makes B minor accessible to younger players by carefully avoiding any extensions in the violin, viola, and cello parts. Its memorable themes, reminiscent of a nighttime adventure, are spread across all instruments. The middle section becomes ethereal with the pizzicato in the viola, evoking an image of twinkling stars. Starchasers is a great teaching piece for 3/4 time and uses low-2 and high-2 work to reinforce the 1-2 finger pattern for intermediate students. (2:05).
SKU: AP.49906
ISBN 9781470657949. UPC: 038081575803. English.
SKU: AP.49937S
ISBN 9781470662295. UPC: 038081579498. English.
Tango Traicionero, by Kirt Mosier, means treacherous tango. The tango is a Latin dance that first developed in Buenos Aires, Argentina, in the mid-19th century. Imagine a gathering of bohemian nomads and workers having a dance party in the streets. There is a natural tension in this tango which mirrors the intoxicating nighttime atmosphere. All orchestra sections work together to perform slides and shifts between notes of the melodic figures to add intrigue to the sound. A lively middle section builds to a key change and recapitulation. The work culminates with tense chords to an exciting finish. (3:40).
SKU: LO.30-3243L
UPC: 000308142457.
One Silent Night long ago, a birth story began that forever changed the world. Lying in a crude manger was a new-born babe, who would become the Source of our Christian faith and our abiding hope. Using the power and simplicity of the event itself, composer and creator Pepper Choplin presents each of the familiar elements of that story through ballad-like recitatives of scripture, surrounded by anthems ranging from outbursts of unbridled joy to moving moments of introspection and gentleness. Weaving familiar carols and songs throughout original music, this timeless tale emerges in a deeply moving presentation that will lift one’s faith and deepen one’s understanding of the profound significance of that One Silent Night. Orchestration by Larry Shackley for 2 Fl, Ob, 2 Cl, Bsn (sub Bass Cl), 2 Hn (sub 2 A Sax), 3 Tpt, 2 Tbn (sub 2 T Sax), Tuba, 2 Perc, Timp, Harp, Pno, 2 Vln, Vla, Cello, Bass, Digital Strings.
SKU: AP.45855S
UPC: 038081526485. English.
Imagine tiptoeing through the forest on a dark, stormy night, wolves circling, while hints of the Dies Irae theme pound in the air! In this spooky tango by Katie O'Hara La Brie, students will explore an array of bow styles and fun features such as glissando, tremolo, syncopation, and clapping. Written primarily using the G harmonic minor scale, musicians will learn to be very flexible around the fingerboard. If you are looking for a piece to liven up your masquerade or Halloween concert, feel free to add a hoooowl at the end for an extra thrill! (3:00).
SKU: AP.45855
UPC: 038081526478. English.
Imagine tiptoeing through the forest on a moonlit night, wolves circling, while hints of the Dies Irae theme pound in the air! In this spooky tango by Katie O'Hara La Brie, students will explore an array of bow styles and fun features such as glissando, tremolo, syncopation, and clapping. Written primarily using the G harmonic minor scale, musicians will learn to be very flexible around the fingerboard. If you are looking for a piece to liven up your masquerade or Halloween concert, feel free to add a hoooowl at the end for an extra thrill! (3:00).
SKU: LO.30-3245L
UPC: 000308142471.
SKU: HL.4501216
UPC: 884088365509. 9.0x12.0x0.092 inches.
Performance time - ca. 11:45 The phenomenon of this stage production continues with the release of the motion picture that has introduced Sir Andrew Lloyd Webber's timeless music to yet another audience. Calvin Custer's medley features six musical highlights from both the film and stage versions: All I Ask of You, Angel of Music, Masquerade, The Music of the Night, The Phantom of the Opera, and Think of Me.
SKU: AP.48048
UPC: 038081554273. English.
A Christmas Canticle by Vince Gassi features three timeless carols expertly woven together. A dash of Once in Royal David's City, a pinch of Good King Wenceslas, and a half teaspoon of God Rest Ye Merry, Gentlemen melodically intertwining throughout afford you the opportunity to adorn your holiday concert with the resplendent sounds of Christmas. Like snow falling gently on treetops, the harmonies will seem like warmth on a crisp winter's night. Crackling fire not included. (2:25) This title is available in MakeMusic Cloud.
SKU: AP.48048S
UPC: 038081554280. English.
SKU: BR.PB-5364
ISBN 9790004211458. 10 x 12.5 inches.
Autograph lays bare Mendelssohn's Overture to A Midsummer Night's Dream To this day, Mendelssohns epoch-making Overture to A Midsummer Night's Dream has been performed on the basis of a more than dubious transmission. Neither the first edition of the parts (1832), and certainly not the print of the score based on these parts (1835) go back directly to the autograph of the 17-year-old composer, which is now located in Krakow. No wonder, since Mendelssohn had breezily given away his original at an early date. The result: during his lifetime, versions were published with his authorization, even though they were full of unintended inconsistencies. Yet the autograph of 1826 is unequivocal: it is clear, practically free of irregularities and diverges considerably from the corrupted printed version. Christian Martin Schmidt comes up with occasionally differing musical passages, but above all with logical and compositionally compelling performance instructions, laying bare to musical practice the original form buried beneath layers of falsified material for the first time.Christian Martin Schmidt is laying bare to musical practice the original form of Mendelssohn's epoch-making Overture to A Midsummer Night's Dream buried beneath layers of falsified material for the first time.
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