Orchestra

SKU: PR.41641264L

Composed by Chen Yi. Duration 20 minutes. Theodore Presser Company #416-41264L. Published by Theodore Presser Company (PR.41641264L).

UPC: 680160619429.

Orchestra

SKU: PR.41641184L

Composed by Chen Yi. Classical. Large Score. With Standard notation. Theodore Presser Company #416-41184L. Published by Theodore Presser Company (PR.41641184L).

UPC: 680160634163. 11 x 17 inches.

Orchestra

SKU: PR.44641204L

Composed by Steven Stucky. Large Score. With Standard notation. 80 pages. Duration 15 minutes. Theodore Presser Company #446-41204L. Published by Theodore Presser Company (PR.44641204L).

UPC: 680160617494. 11 x 17 inches.

Orchestra

SKU: PR.416415720

For Orchestra. Composed by Narong Prangcharoen. Full score. 24 pages. Duration 5:30. Theodore Presser Company #416-41572. Published by Theodore Presser Company (PR.416415720).

UPC: 680160636150.

Illum inating Journey is composed to celebrate Maestro Carl St. Clair's 25th Anniversary season with Pacific Symphony. Maestro St. Clair is one of the few conductors who has dedicated his time to new music and support for living composers. I first encountered Maestro St. Clair in 2004 when I was one of the finalists for the Young Composers Competition. After I won that competition, I had an opportunity to work with Maestro St. Clair on the piece that he commissioned for the Pacific Symphony in 2005. That's the beginning of the journey of our friendship. Illuminating Journey is inspired by Maestro St. Clair's personality and the music he loved. The piece is mainly based on the pitch material from Maestro St. Clair's name CARL which can be translated as C = C, A = A, R = Re, and L = La. That pitch material already has the character of Illuminating sound for the open 5th and octave. The piece also incorporates some musical references that have some meaning for Maestro St. Clair, such as the hopefulness of the melodic intervals from West Side Story, There's a Place for Us, composed by Leonard Bernstein, who was also Maestro St. Clair's mentor. Illuminating Journey starts with the rhythmic motion of the pitch C and moves on to create a set of pitches. The note C functions as a center for the endless energy of this piece and creates a triumphant ending. I would personally like to thank Maestro St. Clair for his dedication on my music and his friendship throughout the past 10 years. The work with Maestro St. Clair and the Pacific Symphony was an early step in my career as a composer. I often mentioned that I may not be able to come this far without that part of my life. Thank you very much, Maestro St. Clair and the Pacific Symphony. Let's celebrate our Illuminating Journey together.

Orchestra

SKU: PR.11641642L

Composed by Samuel Zyman. Large Score. 36 pages. Duration 10 minutes. Theodore Presser Company #116-41642L. Published by Theodore Presser Company (PR.11641642L).

UPC: 680160614189.

Orchestra

SKU: PR.466000580

Opera in One Act. Composed by Vincent Persichetti. With Standard notation. 95 pages. Theodore Presser Company #466-00058. Published by Theodore Presser Company (PR.466000580).

UPC: 680160627042.

Orchestra

SKU: PR.11642058S

Composed by Shulamit Ran. Full score. Duration 0:08:00. Theodore Presser Company #116-42058S. Published by Theodore Presser Company (PR.11642058S).

UPC: 680160688166.

Orchestra

SKU: PR.41641342L

Composed by George Rochberg. With Standard notation. Theodore Presser Company #416-41342L. Published by Theodore Presser Company (PR.41641342L).

UPC: 680160562299.

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.41641248A

Composed by Shulamit Ran. Large Score. With Standard notation. Duration 22 minutes. Theodore Presser Company #416-41248A. Published by Theodore Presser Company (PR.41641248A).

UPC: 680160092291. 13 X 19 inches.

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.

Orchestra

SKU: PR.446410190

Composed by Donald Erb. Spiral. With Standard notation. Theodore Presser Company #446-41019. Published by Theodore Presser Company (PR.446410190).

UPC: 680160095391. 8.5 x 11 inches.

Orchestra

SKU: PR.41641356L

Composed by PDQ Bach. With Standard notation. Theodore Presser Company #416-41356L. Published by Theodore Presser Company (PR.41641356L).

UPC: 680160590469.

Orchestra

SKU: PR.41641355L

Composed by George Rochberg. With Standard notation. Duration 2 minutes, 30 seconds. Theodore Presser Company #416-41355L. Published by Theodore Presser Company (PR.41641355L).

11 x 17 inches.

Orchestra

SKU: PR.416413670

Ancient Chinese Beauty. Composed by Chen Yi. Saddle. Study Score. With Standard notation. 30 pages. Theodore Presser Company #416-41367. Published by Theodore Presser Company (PR.416413670).

UPC: 680160600434. 8.5 x 11 inches.

Orchestra

SKU: PR.44641320L

Composed by William Schuman. Large Score. With Standard notation. 14 pages. Theodore Presser Company #446-41320L. Published by Theodore Presser Company (PR.44641320L).

UPC: 680160690183.

Orchestra

SKU: PR.416411800

Composed by Richard Wernick. With Standard notation. Theodore Presser Company #416-41180. Published by Theodore Presser Company (PR.416411800).

UPC: 680160091546.

Orchestra

SKU: PR.41641245L

Composed by PDQ Bach. Large Score. With Standard notation. Theodore Presser Company #416-41245L. Published by Theodore Presser Company (PR.41641245L).

UPC: 680160583294. 11 x 14 inches.

Orchestra

SKU: PR.11642039S

Composed by Stacy Garrop. Full score. 45 pages. Duration 16 minutes, 30 seconds. Theodore Presser Company #116-42039S. Published by Theodore Presser Company (PR.11642039S).

UPC: 680160683628.

Orchestra

SKU: PR.466000520

Composed by Vincent Persichetti. Study Score. With Standard notation. 212 pages. Theodore Presser Company #466-00052. Published by Theodore Presser Company (PR.466000520).

UPC: 680160547845.

Orchestra

SKU: PR.11641996S

For Orchestra. Composed by Adolphus Hailstork. Study Score. 16 pages. Duration 3:30. Theodore Presser Company #116-41996S. Published by Theodore Presser Company (PR.11641996S).

UPC: 680160687619.

Orchestra

SKU: PR.446412210

Composed by Ronald Caltabiano. With Standard notation. Theodore Presser Company #446-41221. Published by Theodore Presser Company (PR.446412210).

Orchestra

SKU: PR.11642023S

Original Version. Composed by Chen Yi. Study Score. Duration 17 minutes. Theodore Presser Company #116-42023S. Published by Theodore Presser Company (PR.11642023S).

UPC: 680160689873.

Orchestra

SKU: PR.416412900

Composed by Martin Kennedy. With Standard notation. Duration 3 minutes. Theodore Presser Company #416-41290. Published by Theodore Presser Company (PR.416412900).

9 x 12 inches.

Orchestra

SKU: PR.416412610

For Viola and Orchestra. Composed by Samuel Adler. With Standard notation. Theodore Presser Company #416-41261. Published by Theodore Presser Company (PR.416412610).

UPC: 680160092406.

Orchestra

SKU: PR.416410790

Composed by Bernard Rogers. With Standard notation. Theodore Presser Company #416-41079. Published by Theodore Presser Company (PR.416410790).

UPC: 680160090679. 8.5 x 11 inches.

Orchestra

SKU: PR.41641153L

Composed by Chen Yi. Large Score. With Standard notation. Duration 8 minutes. Theodore Presser Company #416-41153L. Published by Theodore Presser Company (PR.41641153L).

UPC: 680160634156. 11x17 inches.

Orchestra

SKU: PR.41641340L

Composed by George Rochberg. With Standard notation. Theodore Presser Company #416-41340L. Published by Theodore Presser Company (PR.41641340L).

UPC: 680160627035.

Orchestra

SKU: PR.41641166L

Composed by Samuel Adler. Large Score. With Standard notation. 27 pages. Theodore Presser Company #416-41166L. Published by Theodore Presser Company (PR.41641166L).

UPC: 680160535248.