Orchestra - intermediate SKU: HL.49002101 Set of String Parts. Com...(+)
Orchestra - intermediate
SKU: HL.49002101
Set of String
Parts. Composed by
Paul Hindemith. Arranged
by Franz Willms. Sheet
music. Concertino
(Chamber Orchestra).
Classical. Set of
supplemental string
parts. Composed 1925.
Duration 20'. Schott
Music #CON77-60.
Published by Schott Music
(HL.49002101).
ISBN
9790001022484. UPC:
884088477974.
8.0x11.75x0.248
inches.
This suite
has been taken from the
music of the Christmas
tale of the same name.
The instrumentation can
be easily realized with
four woodwind
instruments, two brass
instruments, timpani and
strings. The 'Tanz der
Holzpuppen', a foxtrot,
is suitable as encore
showing the humorous
musician Hindemith who,
in 1920, wrote to the
Schott publishing house
with a wink: 'Can you
also make use of
foxtrots, Bos-tons, rags
and other kitsch?
Whenever I cannot think
of decent music, I write
such stuff.'.
Orchestra (Parts) - intermediate SKU: HL.49002100 Set of Parts. Co...(+)
Orchestra (Parts) -
intermediate
SKU:
HL.49002100
Set of
Parts. Composed by
Paul Hindemith. Arranged
by Franz Willms. Sheet
music. Concertino
(Chamber Orchestra).
Classical. Set of Parts.
Composed 1925. 158 pages.
Duration 20'. Schott
Music #CON77-50.
Published by Schott Music
(HL.49002100).
ISBN
9790001022477. UPC:
073999293265.
9.25x12.0x0.431
inches.
This suite
has been taken from the
music of the Christmas
tale of the same name.
The instrumentation can
be easily realized with
four woodwind
instruments, two brass
instruments, timpani and
strings. The 'Tanz der
Holzpuppen', a foxtrot,
is suitable as encore
showing the humorous
musician Hindemith who,
in 1920, wrote to the
Schott publishing house
with a wink: 'Can you
also make use of
foxtrots, Bos-tons, rags
and other kitsch?
Whenever I cannot think
of decent music, I write
such stuff.'.
Score. Composed by
Paul Hindemith. Arranged
by Franz Willms. This
edition: Paperback/Soft
Cover. Sheet music.
Concertino (Chamber
Orchestra). Classical.
Score. Composed 1925. 62
pages. Duration 20'.
Schott Music #CON77.
Published by Schott Music
(HL.49002099).
ISBN
9790001022460. UPC:
884088054267.
9.0x12.0x0.228
inches.
This suite
has been taken from the
music of the Christmas
tale of the same name.
The instrumentation can
be easily realized with
four woodwind
instruments, two brass
instruments, timpani and
strings. The 'Tanz der
Holzpuppen', a foxtrot,
is suitable as encore
showing the humorous
musician Hindemith who,
in 1920, wrote to the
Schott publishing house
with a wink: 'Can you
also make use of
foxtrots, Bos-tons, rags
and other kitsch?
Whenever I cannot think
of decent music, I write
such stuff.'.
Orchestra (Full Score) SKU: HL.244904 For Orchestra. Composed by B...(+)
Orchestra (Full Score)
SKU: HL.244904
For Orchestra.
Composed by Bryce
Dessner. Music Sales
America. Classical.
Softcover. Composed 2017.
64 pages. Duration 1020
seconds. Chester Music
#CH83985. Published by
Chester Music
(HL.244904).
8.25x12.0x0.508
inches.
Quilting,
co-commissioned by the
BBC Symphony Orchestra
and the Los Angeles
Philharmonic, is my first
stand alone work for
orchestraand is loosely
inspired by the American
tradition of quilt
making. I composed
Quilting while living
most of last year in
Paris.During my time
there, I thought a lot
about what it means to
compose symphonic music
as a young American in
the 21st century, when so
many of the many
masterworks which are
programmed year in and
out by orchestras across
the country are European.
I considered which
artistic traditions
defined the American
19th-century. I began to
think of the American
crafts-tradition of
quilting as a foilto the
high-art tradition of
European orchestral
composition. As the score
for my new work began to
take shape, I started
thinking about the
manuscript itself as an
object, its vertical and
horizontal planes create
a kind of patterned
geometry of their own.
Visually the way a
musical score is woven
together like patchwork
brought to mind quilts
and the great American
tradition of quilting. I
imagined about how
conducting an orchestra
can feellike stitching a
piece together, or sewing
together a large number
of musical ideas and
musicians into a coherent
and transcendent whole.
Quilting was an integral
part of American
vernacular in the 18th
and 19th centuries, the
African-American quilting
tradition is especially
fascinating, and the
quilts tell the stories
of the women and
communities who made
them. The names of the
quilt patterns themselves
can have their own sense
of narrative: 'jacobs
ladder', 'drunkards
path', 'solomon's
puzzle', and (my favorite
for its relevance to this
piece) 'the road to
California. - Bryce
Dessner.
Orchestra - Grade 1-2 SKU: AP.49072S Composed by Mark Wood. Performance M...(+)
Orchestra - Grade 1-2
SKU: AP.49072S
Composed by Mark Wood.
Performance Music
Ensemble; Single Titles;
String Orchestra. Mark
Wood Series. Pop/Rock;
Rock. Score. Duration
3:00. Alfred Music
#00-49072S. Published by
Alfred Music (AP.49072S).
ISBN 9781470647797.
UPC: 038081567013.
English.
This
multi-level piece
includes a full set of
parts for grade 1 as well
as a full set for grade 2
ensembles. Mix and match
the parts as you
need---perfect for
mixed-ability ensembles!
Representing one
of Mark Wood's favorite
places to visit, Arizona
Sun was inspired by the
sheer beauty and power of
the American southwest,
specifically that of the
Grand Canyon State. The
work is in the key of A
major, and based on a
traditional blues
progression that can be
found in early rock and
roll. Arizona Sun
features two sections
that allow the players to
improvise. For string
orchestra with optional
rock rhythm section
parts. (3:00)
Orchestra - Grade 1-2 SKU: AP.49072 Composed by Mark Wood. Performance Mu...(+)
Orchestra - Grade 1-2
SKU: AP.49072
Composed by Mark Wood.
Performance Music
Ensemble; Single Titles;
String Orchestra. Mark
Wood Series. Pop/Rock;
Rock. Score and Part(s).
Duration 3:00. Alfred
Music #00-49072.
Published by Alfred Music
(AP.49072).
ISBN
9781470647780. UPC:
038081567006.
English.
This
multi-level piece
includes a full set of
parts for grade 1 as well
as a full set for grade 2
ensembles. Mix and match
the parts as you
need---perfect for
mixed-ability ensembles!
Representing one
of Mark Wood's favorite
places to visit, Arizona
Sun was inspired by the
sheer beauty and power of
the American southwest,
specifically that of the
Grand Canyon State. The
work is in the key of A
major, and based on a
traditional blues
progression that can be
found in early rock and
roll. Arizona Sun
features two sections
that allow the players to
improvise. For string
orchestra with optional
rock rhythm section
parts. (3:00)
New music
(post-2000). Full score.
Composed 2016/17/20. 48
pages. Duration 8'.
Breitkopf and Haertel #PB
5432. Published by
Breitkopf and Haertel
(BR.PB-5432).
ISBN
9790004212790. 10 x 12.5
inches.
Marche
fatale is an incautiously
daring escapade that may
annoy the fans of my
compositions more than my
earlier works, many of
which have prevailed only
after scandals at their
world premieres. My
Marche fatale has,
though, little
stylistically to do with
my previous compositional
path; it presents itself
without restraint, if not
as a regression, then
still as a recourse to
those empty phrases to
which modern civilization
still clings in its daily
utility music, whereas
music in the 20th and
21st centuries has long
since advanced to new,
unfamiliar soundscapes
and expressive
possibilities. The key
term is banality. As
creators we despise it,
we try to avoid it -
though we are not safe
from the cheap banal even
within new aesthetic
achievements.Many
composers have
incidentally accepted the
banal. Mozart wrote Ein
musikalischer Spass [A
Musical Jape], a
deliberately amateurishly
miscarried sextet.
Beethoven's Bagatellen
op. 119 were rejected by
the publisher on the
grounds that few will
believe that this minor
work is by the famous
Beethoven. Mauricio Kagel
wrote, tongue in cheek,
so to speak, Marsche, um
den Sieg zu verfehlen
[Marches for being
Unvictorious], Ligeti
wrote Hungarian Rock; in
his Circus Polka
Stravinsky quoted and
distorted the famous, all
too popular Schubert
military march, composed
at the time for piano
duet. I myself do not
know, though, whether I
ought to rank my Marche
fatale alongside these
examples: I accept the
humor in daily life, the
more so as this daily
life for some of us is
not otherwise to be
borne. In music, I
mistrust it, considering
myself all the closer to
the profounder idea of
cheerfulness having
little to do with humor.
However: Isn't a march
with its compelling claim
to a collectively martial
or festive mood absurd, a
priori? Is it even music
at all? Can one march and
at the same time listen?
Eventually, I resolved to
take the absurd seriously
- perhaps bitterly
seriously - as a
debunking emblem of our
civilization that is
standing on the brink.
The way - seemingly
unstoppable - into the
black hole of all
debilitating demons: that
can become serene. My old
request of myself and my
music-creating
surroundings is to write
a non-music, whence the
familiar concept of music
is repeatedly re-defined
anew and differently, so
that derailed here -
perhaps? - in a
treacherous way, the
concert hall becomes the
place of mind-opening
adventures instead of a
refuge in illusory
security. How could that
happen? The rest is -
thinking.(Helmut
Lachenmann, 2017)CD
(Version for
Piano):Nicolas Hodges CD
Wergo WER 7393 2
Bibliography:Ich bin
nicht ,,pietistisch
verformt. Ein Gesprach
[von Jan Brachmann] mit
dem Komponisten Helmut
Lachenmann, in: FAZ vom
7. Juni 2018, p.
15.
World premiere
of the piano version:
Mito/Japan, June 17,
2017, World premiere of
the orchestral version:
Stuttgart, January 1,
2018, World premiere of
the ensemble version:
Frankfurt, December 9,
2020.
(Orchestra) SKU: BA.BA11902 Composed by Ludwig van Beethoven. Edited by J...(+)
(Orchestra)
SKU:
BA.BA11902
Composed
by Ludwig van Beethoven.
Edited by Jonathan Del
Mar. This edition: urtext
edition. Stapled. Score.
Opus 43. Baerenreiter
Verlag #BA11902_00.
Published by Baerenreiter
Verlag (BA.BA11902).
ISBN 9790006573417.
32.5 x 25.5 cm
inches.
Beethoven
composed the ballet music
“Die Geschöpfe
des Prometheusâ€
during 1800–01,
commissioned by the
ballet master Salvatore
Viganò for
performances with his
Viennese company.
Although the ballet was
initially quite
successful, with almost
thirty continuous
performances, it did not
enjoy a sustained
performance tradition.
Its overture, however,
was a different matter:
considered almost a
symphonic movement in
terms of orchestration,
style and structure, it
was often performed on
its own even during
Beethoven’s
lifetime.
In
general, previous
editions of this overture
relied on the first print
as the main source.
However, the authenticity
of this source cannot be
convincingly proven. For
this new edition,
Beethoven specialist
Jonathan Del Mar
incorporates various
manuscript sources,
including a set of parts
from 1803/4 that has
never been considered
before. In this way,
numerous discrepancies
could be
clarified.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY 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
(Orchestra) SKU: HP.8335 Composed by Allen Pote. Christmas, choral cantat...(+)
(Orchestra)
SKU:
HP.8335
Composed by
Allen Pote. Christmas,
choral cantata. Christmas
Musicals. Christmas,
Sacred. Value Pack (10
Listening CDs). Hope
Publishing Company #8335.
Published by Hope
Publishing Company
(HP.8335).
UPC:
763628183356. Tom S.
Long.
Christmas
Musical This adult
Christmas cantata comes
from the writing team of
Tom Long and Allen Pote.
Traditional carols,
original music, lyrics,
and scripture from the
gospels of Luke and
Matthew are all used to
tell the Christmas story.
Options are provided for
using candles and actor
tableaux to embellish the
performance. The
performance time of 25
minutes makes this ideal
for use as part of the
worship service. The
orchestration is by Joel
Raney, which includes a
Conductor's Score as well
as Percussion
(windchimes, chime,
suspended cymbal,
orchestra bells, timpani,
snare drum, tambourine,
triangle, bell tree),
Flute, Oboe, Trumpet in
B-flat, Horn in F, Cello,
and Electric Bass.
(Orchestra) SKU: HP.8332 Composed by Allen Pote. Christmas, choral cantat...(+)
(Orchestra)
SKU:
HP.8332
Composed by
Allen Pote. Christmas,
choral cantata. Christmas
Musicals. Christmas,
Sacred. Listening CD.
Hope Publishing Company
#8332. Published by Hope
Publishing Company
(HP.8332).
UPC:
763628983321. Tom S.
Long.
Christmas
Musical This adult
Christmas cantata comes
from the writing team of
Tom Long and Allen Pote.
Traditional carols,
original music, lyrics,
and scripture from the
gospels of Luke and
Matthew are all used to
tell the Christmas story.
Options are provided for
using candles and actor
tableaux to embellish the
performance. The
performance time of 25
minutes makes this ideal
for use as part of the
worship service. The
orchestration is by Joel
Raney, which includes a
Conductor's Score as well
as Percussion
(windchimes, chime,
suspended cymbal,
orchestra bells, timpani,
snare drum, tambourine,
triangle, bell tree),
Flute, Oboe, Trumpet in
B-flat, Horn in F, Cello,
and Electric Bass.
(Tanzstunden I)
Tanzschauspiel. Libretto
frei nach Moliere.
Composed by Hans Werner
Henze. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. Composed
1949/1995. 172 pages.
Duration 35'. Schott
Music #ED 9456. Published
by Schott Music
(HL.49013033).
ISBN
9790001131919.
8.25x11.75x0.462
inches.
Bei der
Neuschrift des Stucks im
Winter 1995-96, funfzig
Jahre nach seiner
Entstehung (als
Buhnenmusik zu Molieres
Comedie ballet Georges
Dandin, aus der
anschliessend ein Ballett
wurde mit dem englischen
Clown Jack Pudding in der
Titelrolle), ist es mir
darum gegangen, den alten
Notentext auszulosen und
sein thematisches und
harmonisches Material
nach Kriterien zu ordnen
und zu entwickeln, die
mir seinerzeit noch nicht
zur Verfugung standen,
und die recht
skizzenhafte Anlage des
Urtexts in eine Klangwelt
heruberzutragen, die
meinen heutigen
Vorstellungen und
Wertbegriffen von Theater
und Musik entspricht und
die gleichzeitig das
heutige kulturelle Klima
Neapels widerspiegelt und
damit eine besondere Art
von Wirklichkeit, die
mich einmal so sehr
gefangengenommen,
bezaubert und beeinflusst
hat.- Hans Werner
Henze
: 1 (auch
Picc.) * 1 * 1 * 1 - 1 *
1 * 1 * 0 - P. S. (3
Trgl. * Crot. * Rohrengl.
* Trinidad steel drum * 3
hg. Beck. * 3 Tamt. * 3
Tomt. * Schellentr. * kl.
Tr. * gr. Tr. [m. u. o.
Beck.] * Bongo * Guiro *
Kast. * Ratsche *
Peitsche * Lotosfl. *
Cuica * Mar. * Putipu
[neap. Brummtopf]*
Scetavajasse [neap.
Schrapstock mit Schellen]
* Flex. * Vibr. *
Marimba) (3 Spieler) -
Klav. (auch Cel. und Akk.
ad lib.) - Str.
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
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 ...(+)
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: LO.30-3240L Choral, cantatas. Christmas. CD with printable...(+)
Orchestra
SKU:
LO.30-3240L
Choral,
cantatas. Christmas. CD
with printable parts.
Lorenz Publishing Company
#30/3240L. Published by
Lorenz Publishing Company
(LO.30-3240L).
UPC:
000308142419.
This
collaborative cantata
looks at the Christmas
story through the eyes of
first-hand witnesses, who
share their unique
perspectives on the
miraculous birth of
Jesus. Zechariah, Mary,
Joseph, a shepherd, a
wise man, and the aged
saint Simeon all share
their stories through
dramatic monologues. A
blend of original and
familiar carols provides
a dramatic sonic backdrop
for these inspiring
stories. Ed
Hogan’s stunning
orchestration makes this
piece a versatile work
that can be presented
equally well with piano
only or with full
orchestral accompaniment,
and the optional
inclusion of
congregational singing of
familiar carols ensures a
meaningful worship
experience for the
entirety of the
congregation.
Orchestration by Ed Hogan
for 2 Fl, Ob (sub S Sax
or Cl), 2 Cl, Bsn (sub
Bass Cl), 2 Hn (sub 2 A
Sax or Cl), Tpt 1, Tpt
2–3 (sub 2 A Sax),
2 Tbn (sub 2 T Sax),
Tuba, 2 Perc, Timp, Harp,
Pno, 2 Vln, Vla (sub Cl),
Cello, Bass, Digital
Strings.
For
orchestra. Composed
by Ryan Wigglesworth.
This edition: Saddle
stitching. Sheet music.
Edition Schott.
Softcover. Composed 2010.
60 pages. Duration 9'.
Schott Music #ED13471.
Published by Schott Music
(HL.49019158).
ISBN
9790220133206.
8.25x11.75x0.222
inches.
Written in
2010 for the Royal
Liverpool Philharmonic,
Wigglesworth's
nine-minute work explores
the idea of perpetuum
mobile (continuous
movement) in seven
connected, miniature
inventions. A regular
pulse forms the work's
core, with elaborations
of the central musical
idea shifting constantly
around it in jagged
rhythms and sumptuous
orchestration. The
composer writes, The
seven sections can very
briefly be described
thus: 1) an active,
miniature 'theme and
variations'; 2) the
juxtaposition of various
fragmentary two-part
inventions; 3) a tremolo
string ostinato with
woodwind interjections,
building towards the
first climax; 4) an
ostinato passing between
horns and muted trumpets
together with a dialogue
for high woodwind and low
strings; 5) a very slow
canon for string
harmonics and pizzicato
double basses; 6) a fast,
one-part invention
beginning with solo
piccolo, and gradually
leading to the second
climax; 7) chorale.This
is a lively orchestral
miniature which gives the
impression of a
kaleidoscope, with short
musical ideas cutting
across each other in
quick succession.
Orchestration Choral (Orchestra) SKU: HL.35027044 From Song of the Sha...(+)
Orchestration Choral
(Orchestra)
SKU:
HL.35027044
From
Song of the Shadows.
Composed by Joseph M.
Martin. Harold Flammer
Easter. Easter, Palm
Sunday. CD-ROM. Published
by Shawnee Press
(HL.35027044).
UPC:
884088466640.
5.0x5.0x0.176
inches.
Uses: Palm
Sunday Scripture: Luke
19:36-38 From the iconic
Lenten cantata, Song of
the Shadows, we are
pleased to release this
important Palm Sunday
anthem individually with
its original
orchestration. Full of
irony, this poignant
anthem reminds the
listener that the
hosannas of Palm Sunday
soon become cries of
crucify. Words cannot
describe the impact this
dramatic anthem has on
its audience. A
masterpiece! The
orchestration includes
parts for: piano, flute 1
& 2, oboe, clarinet 1
& 2, bassoon, horn 1
& 2, trumpet 1,
trumpet 2 & 3,
trombone 1 & 2, bass
trombone/tuba, timpani,
percussion 1 & 2,
harp, violin 1, violin 2,
viola, cello, double
bass. Available
separately: SATB, iPrint
Orch CD-ROM, StudioTrax
CD. Duration: 3:43.
Orchestra SKU: PR.416416140 For Flute, Oboe, Clarinet in B-flat, Basso...(+)
Orchestra
SKU:
PR.416416140
For
Flute, Oboe, Clarinet in
B-flat, Bassoon, and
Orchestra. Composed
by Narong Prangcharoen.
Full score. 53 pages.
Duration 17 minutes.
Theodore Presser Company
#416-41614. Published by
Theodore Presser Company
(PR.416416140).
UPC:
680160642441.
Time
is one of the main
factors impacting the
world and our lives.
Einstein saw time as the
relationship of the
motion of one object
relative to the position
of another object, as
measured through
observation. But can we
really measure time
objectively? Music, the
art which moves through
time, can affect our
perception of time, and
can affect each person's
perception of time
differently. Depending on
the emotion it
stimulates, music can
make time seem to pass
quickly or slowly. A
composer can use music to
convey time to an
audience and different
musical ideas can create
different sensations of
time. Absence of Time is
a concerto for woodwind
quartet and orchestra. It
has three main sections
(fast, slow, fast),
recalling traditional
concerto form, but it
does not use the solo
instruments in the
traditional way, i.e., as
soloists in contest with
the orchestra. Inspired
by the idea of
juxtaposing different
experiences of time, I
divided the instruments
into two groups: the four
soloists and the
orchestra. The orchestra
functions mostly as the
keeper of time (real
time) while the quartet
of soloists fluctuates
(in imaginary time or in
the absence of time)
around the orchestra's
time. While the quartet's
instruments do play
solos, they also play in
ensemble with the
orchestra. You could say
that they play in both
imaginary time (as
soloists) and in real
time (with the
orchestra). In addition
to this, the woodwind
section of the orchestra
plays in conversation
with the solo quartet,
calling it back to real
time. Fusion is achieved
at the end of the piece
through the use of
strong, driving rhythm.
Absence of Time was
commissioned by the
Pacific Symphony and was
first performed by the
Pacific Symphony and the
Pacific Symphony Woodwind
Quartet with Carl St.
Clair as conductor on
October 20, 2016.
Orchestra SKU: PR.41641530L For Suona And Orchestra. Composed by N...(+)
Orchestra
SKU:
PR.41641530L
For
Suona And Orchestra.
Composed by Narong
Prangcharoen. Large
Score. 58 pages. Duration
15 minutes. Theodore
Presser Company
#416-41530L. Published by
Theodore Presser Company
(PR.41641530L).
UPC:
680160625925.
The
Respiration of the Earth
is inspired by the
breathing motion. The
music focuses on the
tension of the air of
breathing. There are many
different types of
breathing such as slow
breath, long breath,
short breath, holding
breath, uneven breath,
etc. The shape of the
music is created by the
inhale and exhale motion.
The piece starts with a
long holding breath,
gradually create a
tension until one can't
hold that breath and
release the air out. The
Suona is acting as the
motion of the air so the
orchestra has to follow.
This piece ends with the
chaotic motion so the
audiences can feel the
tension as if they are
running out of breath.
It's a main concern about
the environment of the
Earth so this piece is a
message to people to keep
the environment clean so
the Earth can breath for
a longer time.
Respiration of the Earth
is commissioned and
dedicated to Mr. Shi
Haibin with the gracious
support from John Simon
Guggenheim
Foundation. The
Respiration of the Earth
is inspired by the
breathing motion. The
music focuses on the
tension of the air of
breathing. There are many
different types of
breathing such as slow
breath, long breath,
short breath, holding
breath, uneven breath,
etc. The shape of the
music is created by the
inhale and exhale motion.
The piece starts with a
long holding breath,
gradually create a
tension until one
can’t hold that
breath and release the
air out. The Suona is
acting as the motion of
the air so the orchestra
has to follow. This piece
ends with the chaotic
motion so the audiences
can feel the tension as
if they are running out
of breath. It’s a
main concern about the
environment of the Earth
so this piece is a
message to people to keep
the environment clean so
the Earth can breath for
a longer time.Respiration
of the Earth is
commissioned and
dedicated to Mr. Shi
Haibin with the gracious
support from John
SimonGuggenheim
Foundation.
Full orchestra SKU: LO.30-3538L Composed by Mary McDonald. Choral, cantat...(+)
Full orchestra
SKU:
LO.30-3538L
Composed
by Mary McDonald. Choral,
cantatas. Eastertide,
Holy Week. Full score and
parts, plus CD with
printable parts. Lorenz
Publishing Company
#30/3538L. Published by
Lorenz Publishing Company
(LO.30-3538L).
UPC:
000308148961.
The
resurrection of Jesus
changed the world and
continues to change the
world today. Jesus! The
Resurrection of the
Messiah tells the
intimate story of the
grief, the fear, the
hope, the love, the
tenderness, and the
longing of God for His
children expressed
through the life, death,
and resurrection of
Jesus. Mary McDonald and
Rose Aspinall combined
their talents to create a
compelling musical that
will take you through the
emotions of the Triumphal
Entry, the raising of
Lazarus, the Last Supper,
the moment in the garden
when Jesus is arrested,
the Crucifixion, and
finally to the joyous
Resurrection. This work
may be programmed in its
entirety or presented in
segments during Palm
Sunday, Holy Week, and
Resurrection Sunday
worship settings. It may
be done with choir and
piano alone or can
include the optional
orchestrations created by
Michael Lawrence and Ed
Hogan. This powerful
worship tool is an
inspiring reminder of the
life-changing impact of
this Deliverer, Redeemer,
and
Savior….Jesus!
And other Works for Chorus and Orchestra. By Ludwig van Beethoven. Edited by A. ...(+)
And other Works for
Chorus and Orchestra. By
Ludwig van Beethoven.
Edited by A. Raab. STUDY
EDITION. Pages: XVI and
192. Study score-no
details. Published by G.
Henle.
Full orchestra SKU: LO.30-3653L Composed by Pepper Choplin. Arranged by M...(+)
Full orchestra
SKU:
LO.30-3653L
Composed
by Pepper Choplin.
Arranged by Michael
Lawrence. Choral,
cantatas. Eastertide,
Holy Week. Score and
parts, plus CD with
printable parts. Lorenz
Publishing Company
#30/3653L. Published by
Lorenz Publishing Company
(LO.30-3653L).
UPC:
000308152227.
Score
and parts plus CD with
printable parts for The
Body of Christ (55/1197L)
Pepper Choplin
beautifully and
creatively crafted this
telling of the final days
of Jesus’ life,
focusing on the meaning
of His words and actions
leading to the cross.
With stunning melodies
and a powerful
orchestration by Michael
Lawrence, we reflect on
the feet that walked the
earth, the hands that
touched and healed, the
voice that spoke the Word
of God, and the head that
bore a crown of thorns as
Jesus was sacrificed.
From the worshipful
opener, We Behold His
Glory, to the meditative
and stunningly powerful
path to the cross, O
Sacred Journey, the
importance of
Christ’s body
remains the center point
of this work. The final
number, We Are the Body
of Christ, is a
benediction that can be
presented immediately
following the preceding
number or after closing
remarks from a speaker.
For Christ is our head
and though we are many,
His Spirit will make us
one…Go now as the
body of Christ..