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: FG.55011-315-2
ISBN 9790550113152.
The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone.Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell. The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone. Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell. The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone. Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell. The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone. Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell.
SKU: LO.30-2896L
UPC: 000308133059.
This product is the set of printed parts only for Upon This Rock, and it includes parts for 2 Flutes, Oboe, 2 Clarinets, Bassoon, 2 Horns, 3 Trumpets, 2 Trombones, Tuba, 2 Percussion, Piano, Electric Bass, 2 Violins, Viola, Cello, and Bass.
SKU: AP.48094S
UPC: 038081559209. English.
Starting with a slow, hypnotic rock ballad with beautiful melodic lines and then moving into a high-energy, bluesy Rock section, this piece by Bob Phillips will be a great opener or closer. Two soaring violin features appear in the second section and can be performed solo or soli. A repetitive, driving, never-stopping rock groove moves throughout this original piece and the soaring violin solo/soli part. Optimistic and powerful, Rockin' 67 Blues is sure to be a new classic. (3:50) This title available in MakeMusic Cloud.
SKU: AP.48094
UPC: 038081559193. English.
Starting with a slow, hypnotic rock ballad with beautiful melodic lines and then moving into a high-energy, bluesy Rock section, this piece by Bob Phillips will be a great opener or closer. Two soaring violin features appear in the second section and can be performed solo or soli. A repetitive, driving, never-stopping rock groove moves throughout this original piece and the soaring violin solo/soli part. Optimistic and powerful, Rockin' 67 Blues is sure to be a new classic. (3:50) This title is available in MakeMusic Cloud.
SKU: AP.49441S
ISBN 9781470650537. UPC: 038081571317. English.
Australian singer Tones & I's breakout single reached number one on the charts in thirty countries. This arrangement of Dance Monkey by Michael Kamuf is the perfect vehicle to reinforce syncopation while having fun! The infectious groove will make this a favorite of students and audience alike! (2:30) This title is available in MakeMusic Cloud.
SKU: BT.MUSM570366699
English.
Le Voyage Dans La Lune is a continuous orchestral score of approximately 14 minutes comprising two outer fast sections and a slower inner section of a dream-like character. The work is directly inspired by the film Le Voyage Dans La Lune (1902), written and directed by the pioneering French film-maker, Georges Méliès. Méliès was influenced by 19th century interests in science and discoveries, as well as the science fiction of Jules Verne. At the same time his work seems fantastic, surreal and satirical. Some critics point out an underlying critique of colonial adventuring. The plot centres on a group of astronomers who decide to launch a rocket to the moon containing a handful of their number. They reach the moon (famously landing on the moon’s face) and then encounter a strange race of aliens, whom they battle and destroy. The return to earth involves a dramatic descent, a plunge into the ocean and then celebratory dancing. The film inhabits a surreal and dream-like space, and uses an idiosyncratic visual language which transforms reality. This inspired an active musical response in my own score, which is by turns abrupt, smooth, lyrical and violent, and expresses something of the strange shifting surfaces and multiple and layered tempos evident in the film. The canons in the horns in the first scene reflect the intense arguments of the astronomers as they consider the project. The slower inner section is inspired by the scenes of the industrial City viewed from its rooftops by the astronomers. It also expresses the wonder of the astronomers as they see the earth rise from the perspective of the moon after their arrival there. The music of the final section is in places conflicted, reflecting the violent encounters with the moon’s inhabitants. It moves into a more harmonious phase at the close to match the celebrations upon the astronomers’ return from their adventuring. The music could be considered to be a surreal mini-opera without voices, voicing instead the characters of the silent screen. - Ed Hughes.
SKU: AP.46696S
UPC: 038081541525. English.
Shout along, stomp along, or just plain enjoy! This infectious, rhythmic song will keep the students engaged and be fun to play. The groove is easy to learn, even by ear. One Foot, arranged by veteran writer Victor López, is the lead single for Walk the Moon's fourth studio LP What if Nothing. This dynamic American rock and roll band has once again delivered a high-energy pop song, which hit No. 1 on Billboard's Alternative Songs. One Foot follows the band's breakout hit Shut Up and Dance, which also hit No. 1 at Alternative Radio. Enjoy the disco-like groove with a tribal chant chorus custom-made for shouting along, which has become the group's signature foot-stomping sound.
SKU: BT.MUSM570366712
SKU: BT.DHP-1135517-180
Full Score and Study Score of this work are available for sale.A set of individual parts are for rental only, not for sale.Prices and conditions are available on request.Please contact: Hal Leonard Europe BV -RentaldepartmentE-Mail: rental@halleonardeurope.nlJon Lord’s Sarabande was composed during 1975 and released as a solo album the following year. This newrevised edition of the composer’s2010 concert version represents the first appearance of the work in print in any form. Lord intended it for his own use in live performance, as a companion to his celebrated Concerto for Groupand Orchestra. It is a brilliant showpiece for thecombined forces of rock band and orchestra, taking inspiration from the keyboard suites of J.S. Bach. This new full score is edited by Jon Lord’s long-time musicalcollaborator, the conductor Paul Mann, and makes use of many previously unavailablesources including the manuscriptscores of the original version and a copy of the score corrected in consultation with the composer following the2010 premiere. It can therefore be said to represent as closely as possible Jon Lord’s final thoughts onthe work. Partitur und Klavierauszug der Sarabande können käuflich erworben werden. Das Einzelstimmen-Set ist ausschließlich Leihmaterial.Auskunft über Leih-Bedingungen und Preise erhalten Sie auf Nachfrage. Bitte kontaktierenSie: HalLeonard Europe BV - Rental departmentE-Mail: rental@halleonardeurope.nlJon Lords Sarabande entstand 1975 und wurde im darauffolgenden Jahr alsSoloalbum veröffentlicht. Dieüberarbeitete Ausgabe der Konzertversion des Komponisten aus dem Jahr 2010 erscheint hiermit zum ersten Mal in gedruckter Form. Lord hatte diese Version für seine eigenen Live-Auftritte gedacht, alseine Art Ergänzung zu seinem berühmten Concertofor Group and Orchestra. Das Werk ist ein brillantes Paradebeispiel für die vereinte Kraft von Rockband und Orchester und wurde von den Suiten J. S. Bachs inspiriert. Dieseneue Ausgabe der Partitur wurde von Paul Mann, Jon Lords langjährigemmusikalischem Freund, herausgegeben. Sie basiert auf zahlreichen bisher nicht zugänglichen Quellen wie dem Manuskript der Originalversion und einer Kopie der inAbsprache mit dem Komponisten korrigierten Partitur nach der Aufführung im Jahr 2010. Eswerden somit Jon Lords letzte Gedanken zu diesem Werk so genau wie möglich dargestellt.
SKU: HL.49001811
ISBN 9790001024136. UPC: 073999276060. 9.0x12.0x0.129 inches.
Right at the beginning of the overture, Telemann comes up with a surprising idea. After the -'bare' entry of the wind section, the string tutti do not join in the playing until the third bar. The 'harlequinade' often appearing in Telemann's overture suites obtains its attraction not least from syncopes and from a permanent change of tone colour. The 'Espagniol' whose title prom-ises a bit of urbanity turns out to be a saraband, the 'Bourree en Trompette' justifies its name by the tone repetitions typical of trumpet music.In the context of the whole, the 'Sommeille', a harmonically unusual movement in C minor, is almost a piece across the border. Even in this gently rocking piece, Telemann is not at a loss for unobtrusive wit when he lets the upper parts die down shortly before the end, only a single bass tone represents the last chord.
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