By Ludwig van Beethoven (1770-1827). For Full Orchestra. Full Orchestra (Full Sc...(+)
By Ludwig van Beethoven
(1770-1827). For Full
Orchestra. Full Orchestra
(Full Score). Dover
Edition. Masterwork. Full
Score. Published by Dover
Publications
The Nutcracker Orchestre [Conducteur] Dover Publications
Composed by Peter Ilyich Tchaikovsky (1840-1893). Orchestra. Full Orchestra (Ful...(+)
Composed by Peter Ilyich
Tchaikovsky (1840-1893).
Orchestra. Full Orchestra
(Full Score); Larger
Works; Masterworks. Dover
Edition. Christmas;
Masterwork; Romantic;
Winter. Full Score.
Published by Dover
Publications
I Went This Morning Over the Field. Composed by Gustav Mahler (1860-1911)...(+)
I Went This Morning
Over the Field.
Composed by Gustav Mahler
(1860-1911). Full
Orchestra; Masterworks;
Performance Music
Ensemble; Single Titles.
Belwin Concert Full
Orchestra. Form:
Transcription. Masterwork
Arrangement; Romantic.
Part(s); Score. 206
pages. Belwin Music
#00-38453. Published by
Belwin Music (AP.38453).
Orchestra - Grade 3 SKU: AP.41238 Composed by John Farmer and Thomas Morl...(+)
Orchestra - Grade 3
SKU: AP.41238
Composed by John Farmer
and Thomas Morley.
Arranged by Bud Caputo.
MakeMusic Cloud;
Masterworks; Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland/Etling String
Orchestra. Form: Suite;
Transcription. Masterwork
Arrangement; Renaissance.
Score and Part(s). 148
pages. Highland/Etling
#00-41238. Published by
Highland/Etling
(AP.41238).
UPC:
038081483689.
English.
In keeping
with the efforts of
developing a curriculum
that fosters
Comprehensive
Musicianship, this string
orchestra arrangement of
three of the most popular
Renaissance madrigals,
will provide your
students with a peak into
this period of music
history that is
frequently overlooked.
Now Is the Month of
Maying, Sing We and Chant
It, both by Thomas
Morley, and Fair Phyllis,
by John Farmer, are basic
choral repertoire found
in most high school and
college full SATB and
madrigal ensembles. The
string ensemble may
perform the arrangement
alone with the added
Renaissance style
percussion. Or, better
yet, why not enhance the
performance by adding an
SATB chorus thereby
sharing the stage with
your school's most
advanced choral ensemble?
(5:00) This title is
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.
Urtext. Composed
by Friedrich Schneider.
Orchestra; Softcover.
Partitur-Bibliothek
(Score Library).
Symphony; Romantic. Full
score. Duration 35'.
Breitkopf and Haertel #PB
5591. Published by
Breitkopf and Haertel
(BR.PB-5591).
ISBN
9790004214015. 0 x 0
inches.
A rewarding
extension to the
repertoire Friedrich
Schneider, remembered in
the music world almost
entirely through his
oratorio Das Weltgericht
(The Last Judgment),
bequeathed at his death
in 1853 an oeuvre of over
1000 works, among them 23
symphonies. Breitkopf &
Hartel, whose association
with Schneider began as
early as 1805, is now
publishing for the first
time an edition of his
Symphony No. 16. The
symphony composed in 1818
is impressive proof that
outside of Vienna the
romantic symphony was
also developing then. To
this day Schneider's
extensive symphonic works
are almost completely
unknown. Inviting us to
rediscover him, the work
offers a welcome and
valuable repertoire
extension in the realm of
the early romantic
symphony.A contemporary
of Beethoven, Schneider's
soundworld is not a
million miles away from
the great man's. He is on
frisky form in his 16th
symphony. (Jeremy Pound,
BBC Music Magazine).
Orchestra (4(2picc).3(cor
ang).heck.Eb-clar.2.Bb-cl
ar(clar).4(dble bsn) -
8(4T-tuba).2alphn.4.4.2 -
org.cel -
2hp.2timp.perc(6).wind
m.thunder m - str - off
stage: 12hn.2trp.2tbne)
SKU: BR.PB-5710
Tone Poem -
Urtext. Composed by
Richard Strauss. Edited
by Nick Pfefferkorn.
Orchestra; Softbound.
Partitur-Bibliothek
(Score Library).
Symphonic poem;
Late-romantic; Early
modern. Sheet Music. 204
pages. Duration 50'.
Breitkopf and Haertel #PB
5710. Published by
Breitkopf and Haertel
(BR.PB-5710).
ISBN
9790004216477. 10.5 x 14
inches.
Richard
Strauss's last completed
tone poem is regarded as
the pinnacle of his art
of orchestration: Now
I've finally learned to
orchestrate, he himself
is once supposed to have
said about it after the
dress rehearsal. The
single-movement Alpine
symphony that we know
today ultimately evolved
- over almost 15 years -
from the original drafts
of an artist's tragedy,
titled Der Antichrist.
Eine Alpensinfonie [The
Antichrist. An Alpine
Symphony] up to the stage
of the last sketches.
With unprecedented
plasticity, the work
showcases a
(metaphysical?) mountain
hike with stops in the
forest, at the waterfall,
on the alpine pasture
and, of course, at the
summit. Apropos alpine
pastures: up to the
score's fair copy stage,
Strauss envisaged a high
and a low alphorn for the
section Auf der Alm [On
the Alpine Pasture] and
the well-known Dulioh
theme, though for various
reasons first detailed in
our new Urtext edition,
these exotic instruments
did not find their way
into the printed version.
In the new edition, the
editor, Nick Pfefferkorn,
reproduces the alphorn
passages in small print,
also adding two alphorn
parts to the performance
material, besides
evaluating the
corrections made by
Walter Seifert at
Strauss's
request.
First
Urtext edition since the
first editionEvaluation
of all available sources,
including sketches and
the score corrected by
Walter Seifert Extensive
preface on the work's
compositional history and
receptionDetailed
Critical ReportFacsimile
pages.
Orchestra SKU: SU.91580100 For Orchestra. Composed by Steven Mercu...(+)
Orchestra
SKU:
SU.91580100
For
Orchestra. Composed
by Steven Mercurio.
Vocal/Choral, Opera. CD
(Audio). Subito Music
Corporation #91580100.
Published by Subito Music
Corporation
(SU.91580100).
A Grateful Tail
- Movement by Movement
Siriusly, Dog Star
Sirius, the brightest
star in the night sky,
has been used by
travelers and navigators
for thousands of years as
a guiding star and so it
is here as the opening
movement for the
symphony. Sirius, the
cornerstone to the
constellation Canis
Maggiore or Big Dog sits
at the foot of Orion, the
hunter, leading the way.
Highly cinematic, the
movement evokes both a
musical and visual sense
of the mythological and
mysterious elements of
Sirius and its Dog
Godstar secrets. From the
clarion call of the
opening, Sirius theme,
the sound is buoyant and
frisky emulating the
nature of doggy playtime.
Puppy pleasures abound as
a doggy four-step, my
turn on the traditional
American two-step dance,
is introduced. The
movement transforms into
an actual orchestrated
frolic of small, large
and medium dog barks
beginning with the winds
(smaller dogs) and
ultimately, the big dog,
brass. The movement
climaxes with the coda
or, Dog Park, where the
winds and the brass bark
and play together over
the, doggy ostinato
four-step rhythm,
culminating with the
final call of the Sirius
theme. Let Sleeping Dogs
Lie, Peacefully It's all
in a dog's day and life.
Tranquility presides over
this supremely gentle,
intermezzo-like movement.
After a day of play,
every dog needs rest. Let
Sleeping Dogs Lie, is a
lyrical andante inspired
by the profound serenity
and beauty of a dog at
rest. The Last Will and
Testament of Silverdene
Emblem O'Neill Based on a
powerful piece of prose
written by the American
playwright, Eugene
O'Neill this text was
intended as a consolation
piece for Carlotta, his
wife, who had become
grief-stricken over the
loss of their beloved
dog, the Dalmatian known
as Blemie.Written for a
singing actor who
personifies the role of
Blemie, a dog at the end
of his life, the movement
plays like a one act,
musical drama as we
follow Blemie through a
wonderfully
three-dimensional,
emotional and
psychological journey
writing his Last Will and
Testament, for those who
have loved him. Wagging
the Tail: Ossia Fido's
Lament A life-affirming
rumba/samba using
Blemie's final words from
O'Neill's text, this
final movement employs
the most unique American
musical invention, the
gospel choir. In order to
make the dances come
alive, this movement also
calls upon the colors of
a rhythm section.
Creating the spirit of an
Irish Funeral, the
movement is a joyful and
revival-like celebration
of a dog's life as its
spirit lives on forever
in the hearts and minds
of dog lovers everywhere.
Remember Me, remember me!
My spirit is wagging a
grateful tail. Published
by: Subito Music
Publishing Release Date:
July 9, 2013.
Orchestra SKU: PO.PEP05S Works for String Orchestra. Composed by L...(+)
Orchestra
SKU:
PO.PEP05S
Works
for String Orchestra.
Composed by Larry Pruden.
Perfect. Collection -
Full Score. Promethean
Editions #PEP05S.
Published by Promethean
Editions (PO.PEP05S).
ISBN
9781877218057.
Pref
ace to the Collected
EditionOver the span of
his composing career,
Larry Carrol Pruden
(1925-82) completed some
60 works, including music
for piano, chamber
ensemble, orchestra,
stage and film. The scope
of the ten-volume
Collected Edition
incorporates every work
that the composer is
known to have considered
complete, and a very few
incomplete works which
the editors felt
warranted inclusion. The
works in the latter
category are either
virtually complete or
have been deemed worthy
of inclusion due to the
significance that the
composer is known to have
attached to
them.Throughout Pruden's
output, whether the music
is modest in scale and
purely functional (civic
fanfares and radio
advertising jingles, for
example) or more extended
and overtly serious in
tone (such as the larger
works for orchestra and
strings), his vivid
response to urban society
and rural life in New
Zealand is revealed. With
Douglas Lilburn, John
Ritchie and others, Larry
Pruden belongs to the
earliest generation of
New Zealand composers to
discover a genuine
vernacular, and in his
music is reflected the
trail-blazing spirit of
the pioneers, their
passion for creativity
and their rebelliousness
of spirit.The scores in
the Collected Edition are
based on Pruden's
underlying autograph or
holograph manuscripts,
which have been consulted
extensively throughout
the editorial process.
Comparison has been made
to all extant forms of
each title, published and
unpublished. In some
cases, several variants
exist, and the goal has
been to determine as far
as possible the
composer's final
intention and to convey
this comprehensively in
the published score.
Emendations have been
made to account for the
composer's revisions and
for certain errors and
inconsistencies, and each
volume includes a short
commentary and editorial
notes on the source
materials.In consultation
with the Estate of Larry
Pruden, Promethean
Editions appointed an
Editorial Panel and an
Advisory Panel to oversee
publication of the
Collected Edition. The
role of the Editorial
Panel has been to
undertake the research
into the composer's
archival and manuscript
materials and to make the
necessary editorial
decisions and ensure the
accuracy of the musical
and textual content of
the Edition. The Advisory
Panel has been
responsible for
monitoring the overall
approach to the project
and for ensuring the
maintenance of a wider
perspective.
Trumpeters Lullaby Orchestre [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By Leroy Anderson. By Leroy Anderson. For Full Orchestra. Full Orchestra. Concer...(+)
By Leroy Anderson. By
Leroy Anderson. For Full
Orchestra. Full
Orchestra. Concert Full
Orchestra. Conductor
Score and Parts. 100
pages. Duration 2:55.
Published by Alfred
Publishing. Level:
3.5 (grade 3.5).
Composed by Antonin
Dvorak. Edited by
Jonathan Del Mar. This
edition: urtext edition.
Paperback. Barenreiter
Urtext. Score. Opus 88.
Duration 12 hours.
Baerenreiter Verlag
#BA10418_00. Published by
Baerenreiter Verlag
(BA.BA10418).
ISBN
9790006564644. 32.5 x
25.5 cm inches. Key: G
major. Preface: Jonathan
Del Mar.
The
performance material
available up till now for
Dvorákâ??s sun-filled
cheerful Symphony no. 8
has been notorious for
its myriad mistakes. The
challenge of correcting
it has now been taken
over by the editor
Jonathan Del Mar. He has
taken into account the
engraverâ??s copy, which
was actually discovered
in a trash bin at
Novelloâ??s in 1964. Its
title page bears the
words â??Copied from my
original manuscriptâ?
in Dvorákâ??s hand.
This source proves that
many of the readings
contained in the first
edition and faithfully
adopted in all subsequent
editions, were simply
slips of the copyistâ??s
pen.
This new
edition with score and
orchestral parts in an
enlarged format is
accompanied by a detailed
Critical Commentary on
the sources and
alternative readings. It
also contains important
facsimile pages to
clarify problematical
readings.
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
The Legend Of Big Ole Orchestre [Conducteur et Parties séparées] - Intermédiaire Kjos Music Company
Orchestra orchestra - Grade 4 SKU: KJ.JSO372C Composed by Steven Amundson...(+)
Orchestra orchestra -
Grade 4
SKU:
KJ.JSO372C
Composed
by Steven Amundson. Score
and parts. Neil A. Kjos
Music Company #JSO372C.
Published by Neil A. Kjos
Music Company
(KJ.JSO372C).
UPC:
8402704686.
Big Ole
was the legendary first
settler of Minnesota. He
was a Norwegian Viking
who came over on a ship
and made a trek to what
is now Alexandria,
Minnesota, where a
25-foot statue of Big Ole
now proudly stands. This
enchanting work pays
homage to Big Ole! It's
rhythmic, lyrical, and
simply fun for players
and audiences.
Orchestra orchestra - Grade 4 SKU: KJ.JSO372F Composed by Steven Amundson...(+)
Orchestra orchestra -
Grade 4
SKU:
KJ.JSO372F
Composed
by Steven Amundson. Score
only. Neil A. Kjos Music
Company #JSO372F.
Published by Neil A. Kjos
Music Company
(KJ.JSO372F).
UPC:
8402704685.
Big Ole
was the legendary first
settler of Minnesota. He
was a Norwegian Viking
who came over on a ship
and made a trek to what
is now Alexandria,
Minnesota, where a
25-foot statue of Big Ole
now proudly stands. This
enchanting work pays
homage to Big Ole! It's
rhythmic, lyrical, and
simply fun for players
and audiences.
1st
and 2nd Version -
Urtext. Composed by
Wolfgang Amadeus Mozart.
Edited by Henrik Wiese.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library).
3
Work Stages, 2 Versions,
1
Edition
,,…
the musical text is fine.
This is a valuable
improvement. (Clifford
Bartlett, Early Music
Review)
Symphony;
Classical. Study Score.
80 pages. Duration 35'.
Breitkopf and Haertel #PB
5566-07. Published by
Breitkopf and Haertel
(BR.PB-5566-07).
ISBN
9790004213766. 6.5 x 9
inches.
With the
new edition of the
G-minor Symphony, a vital
work group in Mozart's
oeuvre is now complete:
the three late symphonies
K. 543, 550 and 551, now
available in Urtext
editions. As in his new
edition of the Hafner
Symphony, Henrik Wiese
uncovers in the present
Breitkopf Urtext score
three different stages in
the genesis of the
G-minor Symphony. Mozart
initially wrote the work
without clarinets (1st
stage), and then he added
the clarinets (2nd
stage). Not until a final
stage did he change the
wind instrumentation in
the Andante (3rd stage).
Mozart thus returned to
the 1st version again
after completing the 2nd
version (with clarinets).
This advances the
importance of the 1st
version without clarinets
as Fassung letzter Hand.
A compelling insight
which sheds new light on
the famous G-minor
Symphony. Both versions
are of equal value and
can now be compared with
one another, studied and,
above all, performed for
the first time ever
thanks to the new score
and parts.Another
extremly practical aspect
that should be noted: the
orchestral parts offer
solutions for all the
problematic page turns
for the first time ever
(please see the sample
pages of OB 5542 - Violin
II.),,... the musical
text is fine. This is a
valuable improvement.
(Clifford Bartlett, Early
Music Review)
Orchestra SKU: PO.PEL24 Composed by Douglas Lilburn. Sws. Score. Promethe...(+)
Orchestra
SKU:
PO.PEL24
Composed by
Douglas Lilburn. Sws.
Score. Promethean
Editions #PEL24.
Published by Promethean
Editions (PO.PEL24).
ISBN
9781877564451.
Lilb
urn's Symphony No.1
(1949) is an essential
work to study in the
history of New Zealand
orchestral music.
Premiered in 1951 by the
National Orchestra (now
the New Zealand Symphony
Orchestra), it was later
established as a staple
of orchestral repertoire
with regular performances
and recordings. This
critical edition is the
first computer-engraved
publication of the work,
and is the second of four
volumes published in
celebration of the
centenary of Lilburn's
birth in 1915.Douglas
Lilburn occupies a
pre-eminent position in
New Zealand music, with a
legacy extending well
beyond his compositional
output. As a composer,
teacher and mentor he
presided in innumerable
ways over the artistic
growth of New Zealand
from 1940 onwards. From
the early works redolent
of the influence of
Sibelius and Vaughan
Williams, to the
electro-acoustic pieces
of his later years, his
works have been
instrumental in
establishing a genuine
vernacular in New Zealand
classical music.
Orchestra SKU: PO.PEL22 Composed by Douglas Lilburn. Perfect. Score. Prom...(+)
Orchestra
SKU:
PO.PEL22
Composed by
Douglas Lilburn. Perfect.
Score. Promethean
Editions #PEL22.
Published by Promethean
Editions (PO.PEL22).
ISBN
9781877564475.
For
Lilburn's only
full-length choral work,
Prodigal Country, the
composer set three poems
to music – Robin
Hyde's Journey from New
Zealand, Allen Curnow's
New Zealand City and Walt
Whitman's Song of Myself.
Across a single, winding
movement, Prodigal
Country conjures
nostalgia and strangeness
through its sung text and
drifting melodic
contours. The imagery of
the river dominates the
work, which, for Lilburn,
seemed to represent
freedom, while elsewhere
Hyde's evocative
landscape is rugged and
harsh, Curnow's text
emphasises the hesitancy
and unease reminiscent of
the Depression and
Whitman's romanticism is
celebrated through
Lilburn's lyrical,
melodic treatment.
Douglas Lilburn occupies
a pre-eminent position in
New Zealand music, with a
legacy extending well
beyond his compositional
output. As a composer,
teacher and mentor he
presided in innumerable
ways over the artistic
growth of New Zealand
from 1940 onwards. From
the early works redolent
of the influence of
Sibelius and Vaughan
Williams, to the
electro-acoustic pieces
of his later years, his
works have been
instrumental in
establishing a genuine
vernacular in New Zealand
classical music.
The Symphonies Orchestre [Conducteur d'étude / Miniature] G. Henle
9 Volumes in a Slipcase Study Score. Composed by Lugwig Van Beethoven. Edite...(+)
9 Volumes in a Slipcase
Study Score. Composed by
Lugwig Van Beethoven.
Edited
by Bathia Churgin, Jens
Dufner, Ernst Herttrich,
and
Armin Raab. Henle Study
Scores. Classical.
Softcover. G. Henle
#HN9800.
Published by G. Henle
Orchestra - Grade 4 SKU: AP.38453S I Went This Morning Over the Field<...(+)
Orchestra - Grade 4
SKU: AP.38453S
I Went This Morning
Over the Field.
Composed by Gustav
Mahler. Full Orchestra;
Masterworks; Performance
Music Ensemble; Single
Titles. Belwin Concert
Full Orchestra. Form:
Transcription. Masterwork
Arrangement; Romantic.
Score. 20 pages. Belwin
Music #00-38453S.
Published by Belwin Music
(AP.38453S).
UPC:
038081438832. English.
Setting by Ralph
Ford.
The happiest
song from this great
work, now arranged with a
choice of soloist! In
this expanded setting,
the transparency of the
original is maintained,
providing the perfect
place to add the soloist.
Vocal, B-flat, F, or B.C.
solo parts are provided,
or the piece can be
played without a soloist.
The harp part is integral
to the arrangement but
can be performed on
synth.
March and One Step. Composed by Henry Fillmore (1881-1958). Edited by Robert E. ...(+)
March and One Step.
Composed by Henry
Fillmore (1881-1958).
Edited by Robert E.
Foster. Arranged by
Robert E. Foster.
Authentic Fillmore
Edition. Score and
part(s). With Standard
notation. Duration 1
minute, 48 seconds. Carl
Fischer #CB148. Published
by Carl Fischer
Composed by
Chuck Elledge. Sacred.
Score and parts. Neil A.
Kjos Music Company
#SO60C. Published by Neil
A. Kjos Music Company
(KJ.SO60C).
Over the years,
God Rest Ye Merry,
Gentlemen with its
simple, plaintive melody
and joyous words, has
become a holiday favorite
in the world over.
Although this traditional
English carol is often
said to be in a minor
key, it is actually in
the Aeolian mode, (also
known as natural minor),
which is different from
the more common harmonic
form of minor in that the
Aeolian mode's leading
tone is a whole step from
the tonic.The encouraging
words of this carol are
an inspiration to people
everywhere.