Preludes and Fugues in All the Major and Minor Keys Except for the Really Hard Ones (S. 3.14159, Easy As). By PDQ Bach. Edited by Peter Schickele. Arranged by Peter Schickele. Solo piano. For piano. Solo part. S. 3.14159, easy as. 46 pages. Duration 36:00. Published by Theodore Presser Company.

From A Consort of Choral Christmas Carols. By PDQ Bach. Arranged by Peter Schickele. Text by Peter Schickele. For SATB. S. 359. Duration 2:30. Published by Theodore Presser Company.

By PDQ Bach. Arranged by Peter Schickele. Text by Peter Schickele. For Schlaggenfrappe, Ocarina, Tuba Mirum, Pastaphone, Mezzo, Piano. S. 4. Duration 9:0. Published by Theodore Presser Company.

By PDQ Bach. Arranged by Peter Schickele. Text by Peter Schickele. For Lasso D'amore, Tromboon, Tubular Bell (Chime), Tuning Baritone, Cowbell, Foghorn, Tenor. Score and parts. S. 12 to 1. Duration 5:0. Published by Theodore Presser Company.

Prelude and Fugue for Four Bassoons. By PDQ Bach. Arranged by Peter Schickele. For 4 bassoon. Score and parts. S. 32'. Duration 4:30. Published by Theodore Presser Company.

By PDQ Bach. Arranged by Peter Schickele. For violoncello. S. 1b. Duration 8:0. Published by Theodore Presser Company.

Pack of 6. By PDQ Bach. Arranged by Peter Schickele. For Postcard. Postcard. 1 pages. Published by Theodore Presser Company.

By PDQ Bach. Arranged by Peter Schickele. For piano. S. 14. Duration 6:0. Published by Theodore Presser Company.

By PDQ Bach. Arranged by Peter Schickele. For windbreaker, balloons, slide whistle, slide windbreaker, lasso d'amore, foghorn, bell, kazoo, piano. S. 36EE. Duration 5:0. Published by Theodore Presser Company.

For Bargain Counter Tenor and Keyboard. By PDQ Bach. Arranged by Peter Schickele. For Tenor, Keyboard. Classical. Piano/Vocal Score. S.99 44/100. 11 pages. Duration 7:00. Published by Theodore Presser Company

By PDQ Bach. Arranged by Peter Schickele. For bassoon, piano. S. 888. Duration 9:. Published by Theodore Presser Company.

By PDQ Bach (1935-), arranged by Peter Schickele. Single piece for bassoon and tuba. 11 pages. Published by Theodore Presser Company.

By PDQ Bach. Arranged by Peter Schickele. For 2 piano, 4-hands. S. 1 1. Duration 9:0. Published by Theodore Presser Company.

By PDQ Bach. Arranged by Peter Schickele. For piano. S. .001. Duration 2:0. Published by Theodore Presser Company.

Composed by PDQ Bach (1807-1742), arranged by Peter Schickele. Single piece for cello. With introductory text. 6 pages. Published by Theodore Presser Company.

Notenbuchlein Fur Betty-Sue Bach. By PDQ Bach. Arranged by Peter Schickele. For piano. S. 13 going on 14. Published by Theodore Presser Company.

Pack of 6. By PDQ Bach. Arranged by Peter Schickele. For Postcard. Postcard. Published by Theodore Presser Company.

For S.A.T.B. Chorus, Soprano, Mezzo-Soprano, Tenor and Baritone Soloists, and Orchestra. By PDQ Bach. Edited by Professor Peter Schickele. Mixed choir. For Soprano Solo, Mezzo-Soprano Solo, Tenor Solo, Baritone Solo, SATB Chorus, Keyboard Rehearsal. This edition: Vocal score and piano reduction. Classical. Piano/Vocal Score. S 100. 36 pages. Duration 8:00. Published by Theodore Presser Company.

Orchestra 2 Trumpets in C (cup mutes), Bassoon, Clarinet in Bb, Flute, Maracas), Oboe, Percussion (Bass Dr, Piatti, Solo Horn in F (seated downstage to conductor's right), Tambourine, Timpani/Percussion (Timp.[2 or 3], Trombone (Tenor/Bass) (straight and cup mutes)

SKU: PR.41641263L

Dramatic Oratorio for Soloists, Chorus, and Orchestra. Composed by PDQ Bach. Arranged by Peter Schickele. Classical. Large Score. With Standard notation. Composed Sep-85. S. 150. Duration 30 minutes. Theodore Presser Company #416-41263L. Published by Theodore Presser Company (PR.41641263L).

UPC: 680160591299. 11 x 15 inches. Text: Peter Schickele. Peter Schickele.

Orchestra

SKU: PR.416415760

For Really Big Orchestra. Composed by PDQ Bach. Edited by Prof. Peter Schickele. Study Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576. Published by Theodore Presser Company (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.

Orchestra

SKU: PR.41641576L

For Really Big Orchestra. Composed by PDQ Bach. Edited by Peter Schickele. Large Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576L. Published by Theodore Presser Company (PR.41641576L).

UPC: 680160636549. 11 x 17 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.

An Opera in One Irrevocable Act. By PDQ Bach. Arranged by Peter Schickele. Text by Peter Schickele. For 2 Violin, Viola, Violoncello, Contrabass, Tenor, Baritone. Piano/Vocal Score. S. 35. Duration 20:0. Published by Theodore Presser Company.

By PDQ Bach. Arranged by Peter Schickele. Text by Peter Schickele. For 2 Trumpet, 2 Violin, Viola, Violoncello, Contrabass, 2 Slide Whistles, 2 Kazoos, Tromboon, Windbreaker, Shower Hose, Foghorn, Soprano, Alto, Tenor, Bass, SATB, Timpani. Piano/Vocal Score. S. 1! tsp. Duration 20:0. Published by Theodore Presser Company.

For Chorus, with Piano, Five Hands. By PDQ Bach. Edited by Peter Schickele. Arranged by Peter Schickele. SATB chorus and keyboard. For SATB Chorus, Piano I, Piano II. Choral. Piano/Vocal Score. S 2/4. 16 pages. Duration 5:00. Published by Theodore Presser Company.

Dramatic Oratorio or Opera in One Cathartic Act. By PDQ Bach. Arranged by Peter Schickele. Text by Peter Schickele. For Flute, Recorder, Clarinet, Bassoon, Horn, 2 Trumpet, Trombone, 5 Violin, 5 Viola, 4 Violoncello, 3 Viola Da Gamba, 2 Contrabass, Soprano, Mezzo, Tenor, Baritone, SATB, 11 Percussion, 3 Timpani, Keyboard. Piano Reduction. S. 150. Duration 30:0. Published by Theodore Presser Company.

From A Consort of Choral Christmas Carols. By PDQ Bach. Arranged by Peter Schickele. Text by Peter Schickele. For SSAA. S. 359. Duration 3:0. Published by Theodore Presser Company.

By PDQ Bach. Arranged by Peter Schickele. Text by Peter Schickele. For Discontinuo, 3 Baritone. S. 1.19/lb. Published by Theodore Presser Company.

Choral Cantata. By PDQ Bach. Arranged by Peter Schickele. Text by Peter Schickele. For 3 Flute, Contrabass, Soprano, Alto, Tenor, Baritone, Bass, SATB, Harpsichord. Piano/Vocal Score. S. 4/1. Duration 14:0. Published by Theodore Presser Company.

From A Consort of Choral Christmas Carols. By PDQ Bach. Arranged by Peter Schickele. Text by Peter Schickele. For SATB. S. 359. Duration 3:0. Published by Theodore Presser Company.

From A Consort of Choral Christmas Carols. By PDQ Bach. Arranged by Peter Schickele. Text by Peter Schickele. For SAB. S. 359. Duration 3:0. Published by Theodore Presser Company.