By Malcolm Arnold (1921-2006). Orchestra. Full Orchestra; Masterworks. Faber Edi...(+)
By Malcolm Arnold
(1921-2006). Orchestra.
Full Orchestra;
Masterworks. Faber
Edition. Form: Fantasia.
20th Century; Masterwork.
Published by Faber Music
Study Score Orchestra SKU: HL.49003318 Orchestra Study Score. Comp...(+)
Study Score Orchestra
SKU: HL.49003318
Orchestra Study
Score. Composed by
Mark-Anthony Turnage.
This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. Composed 1998. 86
pages. Duration 20'.
Schott Music #ED 12678.
Published by Schott Music
(HL.49003318).
ISBN
9790220119774. UPC:
073999780741.
8.25x11.75x0.277
inches.
The work is
based on a tune called
The Nag written by the
jazz guitarist/composer
John Scofield, of whom I
have long been a fan and
with whom I worked
closely when writing
Blood on the Floor
(Mark-Anthony Turnage).
'The grim frenzy, the
waste and the futility of
war are all embedded in
Silent Cities.' (The
Times).
Orchestra SKU: HL.14029705 Composed by Ernest John Moeran. Music Sales Am...(+)
Orchestra
SKU:
HL.14029705
Composed
by Ernest John Moeran.
Music Sales America.
Classical. Studyscore.
Music Sales #NOV890045.
Published by Music Sales
(HL.14029705).
ISBN
9780853605263. 8.25x11.75
inches.
Considered
as a whole, Moeran's
music has a strong
individuality and a very
personal flavour. The
recipe is the composer's
own, and there is none
other like it. Yet,
though he has amply
covered the field of
orchestral music, chamber
music, concertos, and
smaller vocal works, one
would not describe
Moeran's as a varied
talent. He keeps to his
centre, which is a purely
musical one.
Orchestra - Grade 3 SKU: AP.48062 As Performed by Trans-Siberian Orche...(+)
Orchestra - Grade 3
SKU: AP.48062
As Performed by
Trans-Siberian
Orchestra. Composed
by John Olivia and Paul
O'neill. Arranged by Bob
Phillips. MakeMusic
Cloud; Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Concert String Orchestra.
Christmas; Rock; Winter.
Score and Part(s). 140
pages. Duration 4:05.
Alfred Music #00-48062.
Published by Alfred Music
(AP.48062).
UPC:
038081556826.
English.
Imagine
the quiet, the
anticipation, the tree,
and all the lights as
Christmas Eve becomes
Christmas, and you will
have the feel of this
beautiful rock ballad,
Midnight Christmas Eve.
As seen in the
Trans-Siberian Orchestra
stage show The Christmas
Attic, this lyric piece,
arranged by Bob Phillips,
will add depth to any
holiday or winter
concert. Though an easy
piece for high school
orchestras, the optional
electric violin and
guitar parts provide the
perfect chance to feature
an electric instrument
and a more advanced
player. If you haven't
seen TSO, check it out
online and then share
this one with your
students. Perhaps include
a field trip to see the
band live with lights and
effects.
Listen
to the original
recordings of TSO to
decide which distortion
effects to use with the
electric violin or
electric guitar. This is
a great listening
exercise for the kids.
(4:05) This title is
available in MakeMusic
Cloud.
Orchestra - Grade 3 SKU: AP.48062S As Performed by Trans-Siberian Orch...(+)
Orchestra - Grade 3
SKU: AP.48062S
As Performed by
Trans-Siberian
Orchestra. Composed
by John Olivia and Paul
O'neill. Arranged by Bob
Phillips. MakeMusic
Cloud; Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Concert String Orchestra.
Christmas; Rock; Winter.
Score. 24 pages. Duration
4:05. Alfred Music
#00-48062S. Published by
Alfred Music (AP.48062S).
UPC: 038081556833.
English.
Imagine
the quiet, the
anticipation, the tree,
and all the lights as
Christmas Eve becomes
Christmas, and you will
have the feel of this
beautiful rock ballad,
Midnight Christmas Eve.
As seen in the
Trans-Siberian Orchestra
stage show The Christmas
Attic, this lyric piece,
arranged by Bob Phillips,
will add depth to any
holiday or winter
concert. Though an easy
piece for high school
orchestras, the optional
electric violin and
guitar parts provide the
perfect chance to feature
an electric instrument
and a more advanced
player. If you haven't
seen TSO, check it out
online and then share
this one with your
students. Perhaps include
a field trip to see the
band live with lights and
effects.
Listen
to the original
recordings of TSO to
decide which distortion
effects to use with the
electric violin or
electric guitar. This is
a great listening
exercise for the kids.
(4:05) This title
available in MakeMusic
Cloud.
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.