Peter Pan Live Orchestre [Conducteur] - Facile Alfred Publishing
(Featuring: I'm Flying / I Won't Grow Up). Composed by Carolyn Leigh, music by M...(+)
(Featuring: I'm Flying /
I Won't Grow Up).
Composed by Carolyn
Leigh, music by Mark
Charlap. Arranged by Bob
Cerulli. Orchestra.
Score; String Orchestra.
Pop Intermediate String
Orchestra. Form: Medley.
Movie. Grade 2.5. 12
pages. Published by
Alfred Music
String Orchestra (Full Score) SKU: HL.51481550 For String Orchestra Fu...(+)
String Orchestra (Full
Score)
SKU:
HL.51481550
For
String Orchestra Full
Score. Composed by
Peter Ilich Tchaikovsky.
Edited by Dominik Rahmer.
Henle Music Folios.
Chamber, Classical.
Softcover. 67 pages. G.
Henle #HN1550. Published
by G. Henle
(HL.51481550).
UPC:
196288207269.
10.0x12.75x0.236
inches.
Tchaikovsky
spent the summer and
autumn of 1880 at his
sister's country estate
in Kam'ianka, Ukraine,
where he sought peace and
relaxation. But after a
short time the desire to
work took hold of him
again. âI'm
sketching a symphony or
string quintet just now;
I don't know where it's
going yet,â he wrote
to his friend and
patroness Nadezhda von
Meck. In the end it
turned out to be a
Serenade for String
Orchestra, which numbers
among his most beautiful
inspirations and is today
a central work in the
genre. The four movements
captivate with their
diverse moods â be
it the Mozartian first
movement âin the
form of a sonatinaâ,
the elegant Waltz, the
melancholy
âElegiaâ or the
rousing Finale. For this
new source-critical
edition it was possible
to consult the autograph
in Moscow as well as the
early printed editions
into which Tchaikovsky
sometimes entered a
number of minor
revisions. Clear the
stage for the new
reference edition of this
indispensable work of the
string-orchestra
repertoire!
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the workÂ
Critical Commentary
in 1 â 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisionsÂ
most beautiful music
engravingÂ
page-turns, fold-out
pages, and cues where you
need themÂ
excellent print
quality and
bindingÂ
largest Urtext
catalogue
world-wideÂ
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
5 soloists (SSATB),
speaker, 3 mixed choirs
and orchestra
SKU:
HL.49045487
For 5
soloists (SSATB),
narrator, 3 mixed choirs
and orchestra.
Composed by Krzysztof
Penderecki. This edition:
Saddle stitching. Sheet
music. Study Score. Das
grosse Vokalwerk wurde
1995 zum 3000-jahrigen
Bestehen Jerusalems
komponiert. Der Zahl
sieben hat darin eine
besondere Bedeutung:
sieben Satzen, die fur
die sieben Tore stehen,
sieben gewaltige
Fortissimo-Akkorde, die
das Oratorium
beschliessen. Softcover.
Composed 1996. 158 pages.
Duration 68'. Schott
Music #ED20533. Published
by Schott Music
(HL.49045487).
ISBN
9790001157179. UPC:
888680747992.
8.25x11.75x0.41 inches.
Latin -
German.
Deeply
moved by his first visit
to the city of Jerusalem
with its seven gates,
Krzysztof Penderecki
composed this major vocal
work to celebrate the
city's 3,000th
anniversary in 1995. Two
years later, it was
premiered as Symphony No.
7 in which the magic
number seven has a
special meaning: From the
seven movements
representing the seven
gates to the seven
powerful fortissimo
chords concluding the
oratorio, the biblical
number runs through the
entire work.
4 (3.
u. 4. auch Picc.) * 3 *
Engl. Hr. * 3 (3. auch
Es-Klar.) * Bassklar. * 3
* Kfg. - 4 * 3 * 4 (3.
auch Basstrp.) * 1 - S.
(I.: P. * Beckenpaar * 2
Tamt. (t.) * Rohrengl. *
gr. Tr. m. Beck. *
Crotalenbaum * 5 Tomt. *
Marimba * Bin-Sasara *
kl. Tr. * Ruhrtr.; II.:
Trgl.-baum * 4 hg. Beck.
* Tamt. (t.) * Rohrengl.
* Kirchengl. * Tubaphon *
Glsp. * Xyl. * Vibr. *
Ruhrtr. * Tempelbl. * 2
Gongs; III.: 3 hg. Beck.
* Mil. Tr. * Tubaphon *
Kuhgl. * Tempelbl. * 2
Gongs; IV.: P. * hg.
Beck. * 2 Tamt. *
Beckenpaar * 5 Tomt. *
gr. Tr. * Ruhrtr. *
Bin-Sasara) (12 Spieler)
- Cel. * Klav. * Org. ad
lib. - Str. Im Saal: 0
* 0 * 3 * Bassklar. (auch
Es-Klar.) * 3 * Kfg. - 4
* 3 * 4 * 1.
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.
By Edward Elgar. Edited by Christopher Hogwood. For Orchestra. Score; Urtext Edi...(+)
By Edward Elgar. Edited
by Christopher Hogwood.
For Orchestra. Score;
Urtext Edition
(paperbound). Op. 36.
Published by
Baerenreiter-Ausgaben
(German import).