SKU: AP.35930

UPC: 038081421865. English.

Teen pop sensation Justin Bieber delivers a stunning version of this popular tune. From the album Never Say Never -- The Remixes, which hit #1 on the Billboard 200, and the movie of the same name, all sections get great parts in this perfectly set arrangement.

SKU: HH.HH094-FSC

ISBN 9790708041252.

Tchal Kouyrouk, the trusty steed of Toshtuk, Giant of the Steppes, is going to recover his master’s soul, which has been stolen, then bring Toshtuk back to his wife Kenjeke, who is pregnant with his child. In those far off days when Toshtuk, Kenjeke and Tchal Kouyrouk were living, the twelve tone row was evidently already a historical necessity. The rules surrounding its worship were to be respected: never interrupt the twelve tone row, never make irreverent remarks about it, never look at another system of pitch organization, apply the model of the twelve tone row to everything in the world to which it might be applicable.

SKU: AP.41248S

UPC: 038081480503. English.

Imagine four soloists playing eight Boomwhackers on the heads of eight brave audience members while being accompanied by string orchestra. That's the scenario of this hilarious show-stopper. Your audience will love hearing Jingle Bells, Good King Wenceslas, and Deck the Halls like never before. Used by the composer with his own orchestra and guest teachers, this simple yet highly effective novelty number never fails! Complete staging instructions are included. (2:00)
Correlates to String Explorer Book 1, Unit 13. This title is available in MakeMusic Cloud.

SKU: EC.RBM-253

Casey at the Bat was commissioned in 2001 by the Dallas Symphony Orchestra as a part of their Americana concert series from that season. The work is a colorful and highly descriptive narrative setting of the famous poem, “Casey at the Bat” by Ernest Lawrence Thayer, first published in an 1885 edition of The San Francisco Chronicle.(The poetry has been slightly paraphrased from the original to replace some arcane terminology.)This composition was conceived in a distinctly cartoonish style – reminiscent of the orchestral music so masterfully created by Carl Stalling and other great film score writers during the Golden Age of the animated short. In addition to brief quotes from Till Eulenspiegel of Richard Strauss, the melody from Take Me Out to the Ballgame (Tilzer-Norworth) is interpolated throughout the fabric of the piece (although the lyrics are never sung).The first performance of this work took place during the Spring of 2001, under the baton of Richard Kaufman and featuring Pat Sajak as narrator of the well-known poem.Audio excerpts from a matchless narrative performance of this piece by Shakespearean actor Sir Derek Jacobi (with the National Symphony of London and the composer conducting) are included below for perusal purposes. The full performance may be purchased as an audio file from Kodanja Records of Dallas, TX. ( dur: 8’ )

SKU: SU.27020085

Jacob vs. Angel is a piece about crisis of conscience, ambiguity, and misinterpretation expressed through the depiction of a major battle, the goal of which is never made entirely clear. Based on the biblical story, the work is highly programmatic, with each of the six movements reflecting a corresponding stanza from the titular poem by Alice Weaver Flaherty. The piece was originally composed as a vehicle for virtuoso organist Heinrich Christensen, and later orchestrated. The first movement introduces the main musical material--a five note motive, the intervals of which are reorganized to create melodic and harmonic development throughout the piece. The second, third, and fourth movements depict the brutal fight between Jacob and the angel, and lead one to the next without pause. The fifth movement is about the post-battle scene, and the final movement is an epilogue, reframing the ideas from the previous movements. The music elucidates various actions from the Flaherty poem—sand skittering across the desert, aggressive acts of violence and sensuality between the protagonists, the beating of wings, feathers blowing in the wind, etc. But beyond the music's more literal elements, the work is designed to express an abstract state of mind, a sense of unease, and anticipation of what is yet to come. —Graham Gordon Ramsay2(2) 1,1 2 2; 2221; 7perc, hp, cel; stgs Duration: 24'Composed: 2023 Published by: Distributed Composer Jacob vs Angel was composed originally as a solo concert organ work in 2007; the orchestral version was completed in 2023. A live performance of the organ version can be seen at. Performance materials available on rental:.

SKU: AP.38496S

UPC: 038081436821. English.

Long live the conquistadors! The adventure, excitement, and romance of this historic time are once again brought to life with a pulsing Latin undercurrent that never stops. The Coda gives the listener and performer the feeling of victory and glory---a suitable finish!

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.