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: AP.33997S
UPC: 038081376141. English. [Wolfgang Amadeus Mozart].
Stretch your performance music budget further with a collection of pieces for the price of one! The Alfred and Belwin Signature Performance Series combine several best-selling pieces by our popular composers and arrangers into one set of score and parts. Made for young bands and orchestras, each set contains full-length pieces that can be used together in one concert or separately, with themes such as classic popular Christmas, movies, international, pop, and Classics appropriate for Contest. Also available for choir and handbell choir. Enjoy quality music at a great value price! Titles: Minuet and Rondo * Alleluia * Serenade and Dance.
SKU: HL.48187737
UPC: 888680864293. 5.5x7.5x0.463 inches.
Franz Peter Schubert: Symphony No.4 (PH136) (Orchestra).
SKU: BR.PB-4902
ISBN 9790004206980. 9 x 12 inches.
SKU: HL.48187645
UPC: 888680845209. 5.5x7.5 inches.
Franz Peter Schubert: Symphony No.8 (PH39) (Orchestra).
SKU: HL.49001747
ISBN 9790001023610. UPC: 073999786873. 9.0x12.0x0.087 inches.
As to melody, harmony, string setting and particularly the treatment of the miniature form, the work of the sixteen-year-old Schubert shows all characteristics of the later master. It can be performed by string quartet, string quintet (with double bass) or string orchestra.
SKU: HL.48187852
UPC: 888680851866. 0.248 inches.
Franz Peter Schubert: Ouverture de 'Alfonso et Estrella' (PH283) (Orchestra).
SKU: HL.49001750
ISBN 9790001023641. UPC: 073999971743. 9.0x12.0x0.175 inches.
The rediscovery of this concerto by the Bohemian composer is certainly a surprise for the violists particularly since there is only very little original literature from the classical epoch. As violist of the Dresden court orchestra, Joseph Schubert writes a very skilful solo part suitable for the instrument adding vigorous melody and harmonic abundance which reminds of Mozart. In this edition, the original cadences and diminutions appear unchanged.
SKU: HL.50485103
ISBN 9790080143353. UPC: 073999457063. 9.0x12.0x0.319 inches. Franz Schubert; Laszlo Zempleni.
The material of this volume consists of the dances most popular in Vienna at he beginning of the 19th century: landler, ecossaises and German dances. They were originally piano pieces, but were certainly performed on all sorts of instruments at social gatherings and in public places of entertainment. This transcription for children's orchestra of these miniature compositions is a modern continuation of the old tradition of their 'transcription'.
SKU: HL.48187879
Franz Peter Schubert: Ouverture de 'Der vierjahrige Posten' (PH284) (Orchestra).
SKU: HL.48187738
UPC: 888680863876. 5.5x7.5x0.591 inches.
Franz Peter Schubert: Symphony No.7 (PH137) (Orchestra).
SKU: BR.PB-4889
For an alternative Rosamunden Overture please see Schubert, Alfonso and Estrella D 732 .
ISBN 9790004206867. 9 x 12 inches.
SKU: BR.PB-5539
A l'exemple de Schubert - Ravel re-invents the waltz, inspired by Liszt, Chopin, Schumann and Chabrier, transforming the rhapsodic gyrations of the dance and sending it whirling into the 20th century.
Have a look into ISBN 9790004213490. 10 x 12.5 inches.
Ravel needed only two weeks of intensive concentration to orchestrate his piano suite Valses nobles et sentimentales, which was given its premiere performance in March 1911. Consisting of seven waltzes and one epilogue, the work stamped Ravel as a creative personality whose masterpiece breathed an unbelievably new kind of musicality and incredibly intensive poetry. Let us not forget that this was twelve years before La Valse, with which it shares a number of similarities. The new edition of the complete performance material in Breitkopf's Urtext series was prepared by the Ravel expert Jean-Francois Monnard.A l'exemple de Schubert - Ravel re-invents the waltz, inspired by Liszt, Chopin, Schumann and Chabrier, transforming the rhapsodic gyrations of the dance and sending it whirling into the 20th century.
SKU: BR.PB-5208
ISBN 9790004210390. 10 x 12.5 inches.
This edition is based on authentic sources con sisting of the autograph and contemporary performance material. It goes without saying that the issue of the proper numbering of the Schubert symphonies - as controversial as ever today - is given a decisive and definitive treatment in the Preface.Peter Hauschilds Urtext edition of the Great C major Symphony i the first source critical edition of the posthumously published work which can be used in performance as well.
SKU: BA.BA05559
ISBN 9790006497270. 24.6 x 33.3 cm inches. Language: German. Preface: Michael Kube.
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: HL.49001954
ISBN 9790001117685. 9.0x12.0x0.222 inches.
Dieses musikantische Konzert des bohmischen Komponisten Joseph Schubert (1757-1837) ist eine Bereicherung des Flotenrepertoires der Klassik.
SKU: BA.BA05560
ISBN 9790006497287. 33 x 26 cm inches.
SKU: BT.ALHE31737
French.
SKU: BA.BA09174
ISBN 9790006528615. 30 x 23 cm inches. Key: D major.
SKU: BA.BA09175
ISBN 9790006528677. 30 x 23 cm inches. Key: D major.
SKU: BA.BA05522
ISBN 9790006472178. 33 x 26 cm inches.
For performance material refer to BA 5601-5603.
SKU: BA.BA05542
ISBN 9790006497058. 33 x 26 cm inches. Key: B minor.
SKU: HL.49016259
ISBN 9783795781071. 5.0x7.5x0.538 inches. German.
Als Johannes Brahms im Jahre 1876 seine 1. Sinfonie der Offentlichkeit vorstellte, war dies ein lang erwartetes Ereignis. Zwar war der Komponist schon eine geraume Zeit beruhmt und hatte sich in fast allen musikalischen Gattungen hervorgetan: er hatte Klaviersonaten, Lieder, Konzerte sowie Orchester- und Chorwerke (u.a. das Deutsche Requiem) vorgelegt und mit drei Streichquartetten Beitrage zu einer Gattung geliefert, die seit Beethovens spaten Quartetten als kunstvollste und intimste musikalische Gattung uberhaupt galt. Nur eine Sinfonie hatte er noch nicht komponiert, denn er gehorte zu den Komponisten, denen die Schwierigkeit bewusst war, mit einem sinfonischen Werk gegenuber dem Beethovenschen Erbe bestehen zu konnen.Giselher Schubert schildert diese Umstande in diesem Buch und verdeutlicht, dass ein selbstkritischer Komponist, wie es Brahms ausgepragt war, sich so lange Zeit schwer tun musste, bis er glaubte, den Erwartungen von Freunden und Fachleuten entsprechen zu konnen. Er beschreibt neben der Entstehungsgeschichte dieser Sinfonie, der schon bald der Beiname die Zehnte (Beethovens) gegeben wurde, die Quellenlage, gibt kommentierend die Reaktionen auf die ersten Auffuhrungen wieder und stellt Betrachtungen an zu einer Analyse des Werkes. Anregungen zur weiteren Beschaftigung mit dieser Sinfonie geben in einer Auswahl Literaturverzeichnis und eine Diskographie. Anhand der vollstandig wiedergegebenen Partitur kann der Leser den Notentext beim Horen verfolgen und die analytischen Kommentare nachvollziehen.
SKU: CF.PO192S
ISBN 9781491157367. UPC: 680160915927.
Program note: Christmas Fugue, like the charming English folk tune on which it is based, is full of the spirit and fun that is Christmas. After a slow shimmering introduction which imparts an impression of Christmas morning, the fugue subject is abruptly introduced. The fugue subject: We Wish You a Merry Christmas. The work develops through a series of playful musical episodes which afford satisfying opportunities for the various sections of the orchestra. The fugue culminates in a combination of motifs which find the brass heralding the unmistakable arrival of Christmas. The Composer: Dr. Robert Bennett Brown has devoted much of his professional teaching career to musical compositions and arrangements for young orchestral enthusiasts. Christmas Fugue, like other of Dr. Drown's published works, was written in and for the actual teaching situation. At the present time, Robert Bennett Brown is District Supervisor of Music for the Levittown, N.Y. Public Schools. Previously, for some nineteen years, he taught in Bronxville, N.Y. where, as Chairman of Music, he brought about an extremely high level of school orchestral achievement. he was educated at New York University and Teachers College, Columbia University. He has served as a field supervisor of student teaching for New York University and as a general music consultant. For the past two years he has been a member of the New York State Music Regents Committee. To the Conductor: You will find this work to be the conductor's dream. Parts are easy but impressive sounding. The total effect will give your orchestra that typical classical sound so satisfying to performer and listener alike. Full or exact instrumentation is not a must; cross-cues will carry critical areas where a specified instrument may be lacking. Piano, tuba, and saxophone parts are written to accommodate those players where they exist. These parts are not essential to the instrumentation. Though Christmas Fugue is well suited to the interests of high school orchestra pursuits, its grade of difficulty is easily handled by any junior high school group of average ability.  .Program note:Christmas Fugue, like the charming English folk tune on which it is based, is full of the spirit and fun that is Christmas. After a slow shimmering introduction which imparts an impression of Christmas morning, the fugue subject is abruptly introduced. The fugue subject: We Wish You a Merry Christmas. The work develops through a series of playful musical episodes which afford satisfying opportunities for the various sections of the orchestra. The fugue culminates in a combination of motifs which find the brass heralding the unmistakable arrival of Christmas.The Composer:Dr. Robert Bennett Brown has devoted much of his professional teaching career to musical compositions and arrangements for young orchestral enthusiasts. Christmas Fugue, like other of Dr. Drown's published works, was written in and for the actual teaching situation.At the present time, Robert Bennett Brown is District Supervisor of Music for the Levittown, N.Y. Public Schools. Previously, for some nineteen years, he taught in Bronxville, N.Y. where, as Chairman of Music, he brought about an extremely high level of school orchestral achievement. he was educated at New York University and Teachers College, Columbia University. He has served as a field supervisor of student teaching for New York University and as a general music consultant. For the past two years he has been a member of the New York State Music Regents Committee.To the Conductor:You will find this work to be the conductor's dream. Parts are easy but impressive sounding. The total effect will give your orchestra that typical classical sound so satisfying to performer and listener alike. Full or exact instrumentation is not a must; cross-cues will carry critical areas where a specified instrument may be lacking. Piano, tuba, and saxophone parts are written to accommodate those players where they exist. These parts are not essential to the instrumentation. Though Christmas Fugue is well suited to the interests of high school orchestra pursuits, its grade of difficulty is easily handled by any junior high school group of average ability. .
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