Performed by The Beatles. For voice(s), guitar(s), bass guitar, drum set and key...(+)
Performed by The Beatles.
For voice(s), guitar(s),
bass guitar, drum set and
keyboard. Format: full
score. With vocal melody,
lyrics, standard guitar
notation, guitar
tablature, standard bass
notation, bass tablature,
chord names and drum
notation. Classic rock,
pop rock and psychedelic
rock. Popular boxed gift
set. Includes complete
transcriptions of all
instrumental and vocal
parts. Series: Hal
Leonard Transcribed
Scores. 1136 pages.
7.25x10.88 inches.
Published by Hal Leonard.
Composed by Meredith Willson. For voice and piano. From the Broadway musical and...(+)
Composed by Meredith
Willson. For voice and
piano. From the Broadway
musical and motion
picture "The Music Man".
Format: vocal score. With
vocal melody, piano
accompaniment, lyrics and
stage cues. Broadway and
Movies. 176 pages. 9x12
inches. Published by Hal
Leonard.
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: Edition of
selected works, Urtext
edition. Linen.
Saint-Saens, Camille.
Oevres instrumentales
completes I/3. Edition of
selected works, Score.
Opus 78. Duration 39
minutes. Baerenreiter
Verlag #BA10303_01.
Published by Baerenreiter
Verlag (BA.BA10303-01).
ISBN 9790006559503. 33
x 26 cm inches. Key: C
minor. Preface: Michael
Stegemann.
The
third symphony by Camille
Saint-Saens, known as the
Organ Symphony, is the
first publication in a
complete
historical-critical
edition of the French
composer's instrumental
works.
I gave
everything I was able to
give in this work. [...]
What I have done here I
will never be able to do
again.Camille Saint-Saens
was rightly proud of his
third Symphony in C minor
Op.78, dedicated to the
memory of Franz Liszt.
Called theOrgan
Symphonybecause of its
novel scoring, the work
was a commission from the
Philharmonic Society in
London, as was
Beethoven's Ninth, and
was premiered there on 19
May 1886. The first
performance in Paris
followed on 9 January
1887 and confirmed the
composer's reputation
asprobably the most
significant, and
certainly the most
independent French
symphonistof his time, as
Ludwig Finscher wrote in
MGG. In fact the work
remains the only one in
the history of that genre
in France to the present
day, composed a good half
century after the
Symphonie fantastique by
Hector Berlioz and a good
half century before
Olivier Messiaen's
Turangalila
Symphonie.
You
would think that such a
famous, much-performed
and much recorded opus
could not hold any more
secrets, but far from it:
in the first
historical-critical
edition of the Symphony,
numerous inconsistencies
and mistakes in the
Durand edition in general
use until now, have been
uncovered and corrected.
An examination and
evaluation of the sources
ranged from two early
sketches, now preserved
in Paris and Washington
(in which the Symphony
was still in B minor!)
via the autograph
manuscript and a set of
proofs corrected by
Saint-Saens himself, to
the first and subsequent
editions of the full
score and parts. The
versions for piano duet
(by Leon Roques) and for
two pianos (by the
composer himself) were
also consulted. Further
crucial information was
finally found in his
extensive correspondence,
encompassing thousands of
previously unpublished
letters. The discoveries
made in producing this
edition include the fact
that at its London
premiere, the Symphony
probably looked quite
different from its
present appearance
...
No less
exciting than the work
itself is the history of
its composition and
reception, which are
described in an extensive
foreword. With his
Symphony, Saint-Saens
entered right into the
dispute which divided
French musical life into
pro and contra Wagner in
the 1880s and 1890s. At
the same time, the work
succeeded in preserving
the balance between
tradition and modernism
in masterly fashion, as a
contemporary critic
stated:The C minor
Symphony by Saint-Saens
creates a bridge from the
past into the future,
from immortal richness to
progress, from ideas to
their
implementation.
On
19 March 1886 Saint-Saens
wrote to the London
Philharmonic Society,
which commissioned the
work:
Work on the
symphony is in full
swing. But I warn you, it
will be terrible. Here is
the precise
instrumentation: 3 flutes
/ 2 oboes / 1 cor anglais
/ 2 clarinets / 1 bass
clarinet / 2 bassoons / 1
contrabassoon / 2 natural
horns / [3 trumpets /
Saint-Saens had forgotten
these in his listing.] 2
chromatic horns / 3
trombones / 1 tuba / 3
timpani / organ / 1 piano
duet and the strings, of
course. Fortunately,
there are no harps.
Unfortunately it will be
difficult. I am doing
what I can to mitigate
the
difficulties.
As
in my 4th Concerto [for
piano] and my [1st]
Violin Sonata [in D minor
Op.75] at first glance
there appear to be just
two parts: the first
Allegro and the Adagio,
the Scherzo and the
Finale, each attacca.
This fiendish symphony
has crept up by a
semitone; it did not want
to stay in B minor, and
is now in C
minor.
It would be
a pleasure for me to
conduct this symphony.
Whether it would be a
pleasure for others to
hear it? That is the
question. It is you who
wanted it, I wash my
hands of it. I will bring
the orchestral parts
carefully corrected with
me, and if anyone wants
to give me a nice
rehearsal for the
symphony after the full
rehearsal, everything
will be fine.
When
Saint-Saens hit upon the
idea of adding an organ
and a piano to the usual
orchestral scoring is not
known. The idea of adding
an organ part to a
secular orchestral work
intended for the concert
hall was thoroughly novel
- and not without
controversy. On the other
hand, Franz Liszt, whose
music Saint-Saens'
Symphony is so close to,
had already demonstrated
that the organ could
easily be an orchestral
instrument in his
symphonic poem
Hunnenschlacht (1856/57).
There was also a model
for the piano duet part
which Saint-Saens knew
and may possibly have
used quite consciously as
an exemplar: theFantaisie
sur la Tempetefrom the
lyrical monodrama Lelio,
ou le retour a la Vie op.
14bis (1831) by Berlioz.
The name of the organist
at the premiere ist
unknown, as,
incidentally, was also
the case with many of the
later performances; the
organ part is indeed not
soloistic, but should be
understood as part of the
orchestral
texture.
In fact
the subsequent success of
the symphony seems to
have represented a kind
of breakthrough for the
composer, who was then
over 50 years of age.My
dear composer of a famous
symphony, wrote
Saint-Saens' friend and
pupil Gabriel Faure:You
will never be able to
imagine what a pleasure I
had last Sunday [at the
second performance on 16
January 1887]! And I had
the score and did not
miss a single note of
this Symphony, which will
endure much longer than
we two, even if we were
to join together our two
lifespans!
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
Composed by
Jimmy Baas. Sws.
Performance Score. 16
pages. Duration 3
minutes, 49 seconds. Carl
Fischer Music #CM9625.
Published by Carl Fischer
Music (CF.CM9625).
ISBN 9781491156988.
UPC: 680160915545. 6.875
x 10.5 inches. Key: Bb
major. English, English.
William Butler
Yeats.
The
Everlasting Voices is the
perfect blend of textural
variety and harmonic
interest for the advanced
treble ensemble.
Employing a powerful
text, Baas' vocal
layering coupled with
piano and optional cello
make this compelling
piece a programming
must!. O sweet
everlasting Voices, be
still; Go to the guards
of the heavenly fold And
bid them wander obeying
your will, Flame under
flame, till Time be no
more; Have you not heard
that our hearts are old,
That you call in birds,
in wind on the hill, In
shaken boughs, in tide on
the shore? O sweet
everlasting Voices, be
still. This SSAA choral
work by Jimmy Baas was
comissioned by the
Lumberton HS Varsity
Treble Choir. The opening
and closing lines of the
poem, O sweet everlasting
voices, be still provide
the perfect bookends for
two larger sections of
the poem. These two
sections are equally
divided into verses. The
opening line is used once
again as a transition
between the verses. The
previously mentioned
lines, O sweet
everlasting voices, are
overlapped as different
layers of voices enter
and sustain. A fifth and
sixth voice, the cello
and piano accompaniment
take part in these layers
as well. The words be
still are very much a
part of the mood each
time as the everlasting
voices become quiet and
still. The two verses
feature different voices
within the SSAA choir.
Verse 1, the sopranos,
and verse 2 the altos.
There are many moments in
this piece to explore the
full range and color of
the SSAA choir. The piano
and cello play an
important part
throughout, making this
piece an excellent choice
for any festival women's
chorus. O sweet
everlasting Voices, be
still;Go to the guards of
the heavenly foldAnd bid
them wander obeying your
will,Flame under flame,
till Time be no more;Have
you not heard that our
hearts are old,That you
call in birds, in wind on
the hill,In shaken
boughs, in tide on the
shore?O sweet everlasting
Voices, be still.This
SSAA choral work by Jimmy
Baas wascomissioned by
the Lumberton HS Varsity
Treble Choir.The opening
and closing lines of the
poem, “O
sweeteverlasting voices,
be still†provide
the perfect bookendsfor
two larger sections of
the poem. These two
sectionsare equally
divided into verses. The
opening line is usedonce
again as a transition
between the verses.The
previously mentioned
lines, “O sweet
everlastingvoices,â€
are overlapped as
different layers of
voices enterand sustain.
A fifth and sixth voice,
the cello and
pianoaccompaniment take
part in these layers as
well.The words “be
still†are very
much a part of the
moodeach time as the
everlasting voices become
quietand still.The two
verses feature different
voices within the
SSAAchoir. Verse 1, the
sopranos, and verse 2 the
altos. Thereare many
moments in this piece to
explore the full range
andcolor of the SSAA
choir. The piano and
cello play an
importantpart throughout,
making this piece an
excellent choice for
anyfestival
women’s
chorus.
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.
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe
SKU:
CF.WF229
15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229).
Character Orchestre à Cordes - Débutant Carl Fischer
Orchestra String Orchestra - Grade 1.5-2 SKU: CF.FAS21 Composed by Larry ...(+)
Orchestra String
Orchestra - Grade 1.5-2
SKU: CF.FAS21
Composed by Larry Clark.
Edited by Amy Rosen. SWS
- FS. Carl Fischer First
Plus String Orchestra
Series. Classical. Score
and Parts. With Standard
notation. 8+8+2+5+5+5+2+8
pages. Carl Fischer Music
#FAS21. Published by Carl
Fischer Music (CF.FAS21).
ISBN 9780825853067.
UPC: 798408053062. 8.5 X
11 inches. Key: B
minor.
Characte
r was composed to
introduce young string
players to contemporary
harmonic techniques while
still being within the
technical limitations of
the developing student.
Quartal and quintal
harmonies open the
composition with a
fanfare gesture that ties
the piece together. This
is followed by an
ostinato in the first
violins that contains a
tricky figuration between
G and A that will work
the pinky finger on the
D-string. Players who are
not capable of
maneuvering their pinky
at this brisk tempo
should play the lower
part. The main theme is
given to the inner voice
for a change! After the
main theme there is a
development section that
combines fragments of the
fanfare material with
fragments of the main
theme. A grand pause and
then a stronger statement
of the main theme then
follow this with the
first violins up an
octave. The piece is then
completed with a short
coda containing fragments
of the ostinato and
fanfare material. It
feels natural for the
tempo to speed up
slightly at this point in
the piece. As with all of
my pieces at this level,
the tempo is merely a
suggestion and should be
adjusted slower or faster
to fit the needs of your
students and the
performance situation. It
has been my pleasure to
have the opportunity to
write this piece. I hope
you and your students
enjoy it and find it
useful for your program.
-Larry Clark New York, NY
2003. Character was
composed to introduce
young string players to
contemporary harmonic
techniques while still
being within the
technical limitations of
the developing student.
Quartal and quintal
harmonies open the
composition with a
fanfare gesture that ties
the piece together. This
is followed by an
ostinato in the first
violins that contains a
tricky figuration between
G and A that will work
the pinky finger on the
D-string. Players who are
not capable of
maneuvering their pinky
at this brisk tempo
should play the lower
part. The main theme is
given to the inner voice
for a change! After the
main theme there is a
development section that
combines fragments of the
fanfare material with
fragments of the main
theme. A grand pause and
then a stronger statement
of the main theme then
follow this with the
first violins up an
octave. The piece is then
completed with a short
coda containing fragments
of the ostinato and
fanfare material. It
feels natural for the
tempo to speed up
slightly at this point in
the piece. As with all of
my pieces at this level,
the tempo is merely a
suggestion and should be
adjusted slower or faster
to fit the needs of your
students and the
performance situation. It
has been my pleasure to
have the opportunity to
write this piece. I hope
you and your students
enjoy it and find it
useful for your program.
-Larry Clark New York, NY
2003. Character was
composed to introduce
young string players to
contemporary harmonic
techniques while still
being within the
technical limitations of
the developing student.
Quartal and quintal
harmonies open the
composition with a
fanfare gesture that ties
the piece together. This
is followed by an
ostinato in the first
violins that contains a
tricky figuration between
G and A that will work
the pinky finger on the
D-string. Players who are
not capable of
maneuvering their pinky
at this brisk tempo
should play the lower
part. The main theme is
given to the inner voice
for a change! After the
main theme there is a
development section that
combines fragments of the
fanfare material with
fragments of the main
theme. A grand pause and
then a stronger statement
of the main theme then
follow this with the
first violins up an
octave. The piece is then
completed with a short
coda containing fragments
of the ostinato and
fanfare material. It
feels natural for the
tempo to speed up
slightly at this point in
the piece.As with all of
my pieces at this level,
the tempo is merely a
suggestion and should be
adjusted slower or faster
to fit the needs of your
students and the
performance situation.It
has been my pleasure to
have the opportunity to
write this piece. I hope
you and your students
enjoy it and find it
useful for your
program.-Larry ClarkNew
York, NY 2003.
By Brian Balmages. For concert band. FJH Young Band. Full set (score and parts)....(+)
By Brian Balmages. For
concert band. FJH Young
Band. Full set (score and
parts). Score only also
available: B1155S. Grade
2.5. Score and set of
parts. Composed 2003.
Published by The FJH
Music Company Inc
Chamber Music Bass Clarinet, Bassoon, Clarinet, English Horn, Oboe, alto Saxopho...(+)
Chamber Music Bass
Clarinet, Bassoon,
Clarinet, English Horn,
Oboe, alto Saxophone,
soprano Saxophone
SKU:
PR.114419980
Composed
by Stacy Garrop. Sws. Set
of Score and Parts.
32+16+16+16+16+16 pages.
Duration 16 minutes.
Theodore Presser Company
#114-41998. Published by
Theodore Presser Company
(PR.114419980).
UPC:
680160681723. 9 x 12
inches.
The ancient
Egyptian empire began
around 3100 B.C. and
continued for over 3000
years until Alexander the
Great conquered the
country in 332 B.C. Over
the centuries, the
Egyptian empire grew and
flourished into a highly
developed society. They
invented hieroglyphics,
built towering pyramids
(including the Great
Pyramid of Giza, the
oldest of the Seven
Wonders of the World),
and the created many
household items we still
use today, including
toothbrushes, toothpaste,
eyeliner, black ink, and
the forerunner of
modern-day paper.
Included among their
achievements were a
series of highly
developed funerary
practices and beliefs in
the Afterlife. As the
average lifespan of an
Egyptian hovered around
30 years, living past the
death of oneAs physical
body was a legitimate
concern. Egyptians
believed that upon death,
their souls would
undertake a harrowing
journey through the
Netherworld. If they
survived the horrific
creatures and arduous
trials that awaited them,
then their souls would be
reunified with their
bodies (hence the need to
preserve the body through
mummification) and live
forever in a perfect
version of the life they
had lived in Egypt. To
achieve this, Egyptians
devised around 200
magical spells and
incantations to aid souls
on the path to the
Afterlife. These spells
are collectively called
The Book of the Dead.
Particular spells would
be chosen by the family
of the deceased and
inscribed on the tombAs
walls and scrolls of
papyrus, as well as on a
stone scarab placed over
the deceasedAs heart.
Subsequent collections of
spells and mortuary
texts, such as The Book
of Gates, assisted a soul
in navigating the twelve
stages of the
Netherworld. Not only did
these spells protect and
guide the soul on this
dangerous path, but they
also served as a
safeguard against any
unbecoming behavior an
Egyptian did while alive.
For instance, if a person
had robbed another while
alive, there was a spell
that would prevent the
soulAs heart from
revealing the truth when
in the Hall of Judgment.
Rites for the Afterlife
follows the path of a
soul to the Afterlife. In
Inscriptions from the
Book of the Dead
(movement 1), the soul
leaves the body and
begins the journey,
protected by spells and
incantations written on
the tombAs walls. In
Passage though the
Netherworld (movement 2),
the soul is now on a
funerary barque, being
towed through the
Netherworld by four of
the regionAs inhabitants.
We hear the soul slowly
chanting incantations as
the barque encounters
demons, serpents,
crocodiles, lakes of
fire, and other terrors.
The soul arrives at The
Hall of Judgment in
movement 3. Standing
before forty-two divine
judges, the soul
addresses each by name
and gives a A!negative
confessionA(r) connected
to each judge (i.e. A!I
did not rob,A(r) A!I did
not do violence,A(r) and
so on). Afterwards, the
soulAs heart is put on a
scale to be weighed
against a feather of
MaAat, the goddess of
truth. If the heart
weighs more than the
feather, it will be eaten
by Ammut, a hideous
creature that lies in
wait below the scale, and
the soul will die a
second and permanent
death (this was the worst
fear of the Egyptians).
But if the heart is in
balance with the feather,
the soul proceeds onward.
The final stage of the
journey is the arrival at
The Field of Reeds
(movement 4), which is a
perfect mirror image of
the soulAs life in
ancient Egypt. The soul
reunites with deceased
family members, makes
sacrifices to the
Egyptian gods and
goddess, harvests crops
from plentiful fields of
wheat under a brilliant
blue sky, and lives
forever next to the
abundant and nourishing
waters of the Nile. Rites
for the Afterlife was
commissioned by the
Barlow Endowment on
behalf of the Akropolis
Reed Quintet, Calefax
Reed Quintet, and the
Brigham Young University
Reed Quintet. -S.G.
Time After Time Orchestre d'harmonie [Conducteur] - Facile Alfred Publishing
As Performed by Cyndi Lauper. Composed by Rob Hyman and Cyndi Lauper. Arrang...(+)
As Performed by Cyndi
Lauper.
Composed by Rob Hyman and
Cyndi Lauper. Arranged by
Patrick Roszell. Concert
Band; Performance Music
Ensemble. Pop Young Band.
Form: Ballade. Light
Concert;
Pop; Rock. Score. Alfred
Music #00-49155S.
Published
by Alfred Music
Time After Time Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Alfred Publishing
As Performed by Cyndi Lauper. Composed by Rob Hyman and Cyndi Lauper. Arranged...(+)
As Performed by Cyndi
Lauper.
Composed by Rob Hyman and
Cyndi Lauper. Arranged by
Patrick Roszell. Concert
Band; Performance Music
Ensemble. Pop Young Band.
Form: Ballade. Light
Concert;
Pop; Rock. Part(s);
Score.
Alfred Music #00-49155.
Published by Alfred Music
Concert Band/Harmonie - Grade 5 SKU: HL.44002021 Die Entfuhrung aus de...(+)
Concert Band/Harmonie -
Grade 5
SKU:
HL.44002021
Die
Entfuhrung aus dem
Serail. Composed by
Wolfgang Amadeus Mozart.
De Haske Concert Band.
Set (Score & Parts).
Composed 2003. De Haske
Publications
#1033503-010. Published
by De Haske Publications
(HL.44002021).
UPC:
073999726251.
Wonde
rful! But, aren't there
too many notes? asked the
emperor Joseph II. No,
all notes are necessary.
This is new music,
replied Mozart. This is a
famous anecdote about the
premiere of the opera Die
Entfuhrung aus dem Serail
(The Abduction from the
Seraglio), which took
place on July 16, 1782 at
the Burgtheater Wien
(Vienna). It illustrates
Mozart's ambition and
self-confidence.
Throughout Mozart's
lifetime, Die Entfuhrung
aus dem Serail was his
most successful work
outside of Vienna. It is
still a much-performed
opera.Tohru Takahashi has
made a lively arrangement
of the overture in its
original key, C major. It
will sound even better if
your band has Turkish
percussioninstruments at
its disposal.
Tijdens het leven
van Mozart was Die
Entfuhrung aus dem
Serail (The
Abduction from the
Seraglio) zijn
succesvolste werk buiten
Wenen. Deze dynamische
opera wordt nog altijd
veel uitgevoerd. Tohru
Takahashi maakte
eenlevendig arrangement
van de ouverture in de
oorspronkelijke
toonsoort, C
majeur.
Zu Mozarts
Lebzeiten war Die
Entfuhrung aus dem
Serail die
erfolgreichste Oper
ausserhalb Wiens und noch
heute wird sie oft
gespielt. Tohru Takahashi
schuf ein lebendiges
Arrangement der Ouverture
in der ursprunglichen
Tonart C-Dur. Wenn Ihr
Blasorchester uber
Schlaginstrumente aus der
turkischen Musik verfugt,
konnen Sie damit den
Klang noch ausschmucken.
Ein grosses klassisches
Meisterwerk, das nun auf
die Interpretation Ihres
Blasorchesters
wartet.
Mele Kalikimaka Orchestre à Cordes [Conducteur et Parties séparées] - Facile Alfred Publishing
Hawaiian Merry Christmas. Composed by R. Alex Anderson. Arranged by Jan Farra...(+)
Hawaiian Merry Christmas.
Composed by R. Alex
Anderson. Arranged by Jan
Farrar-Royce. Part(s);
Score; String Orchestra.
Pop
Intermediate String
Orchestra. Christmas;
Holiday Pops;
Multicultural;
Pop; Secular; Winter. 102
pages. Published by
Alfred
Music
Double Bass; Orchestra (STUDY SCORE) SKU: HL.51487451 Study Score....(+)
Double Bass; Orchestra
(STUDY SCORE)
SKU:
HL.51487451
Study
Score. Composed by
Serge Koussevitzky.
Edited by Tobias Glö
and ckler. Henle Study
Scores. Classical.
Softcover. 92 pages. G.
Henle #HN7451. Published
by G. Henle
(HL.51487451).
UPC:
196288158110.
6.75x9.5x0.294
inches.
Thanks to
its skilful combination
of Romantic melody and
sparkling virtuosity,
KoussevitzkyÂ’s Double
Bass Concerto op. 3 has
been one of the most
popular works of its
genre since its Moscow
premiere in 1905. No
wonder, for the virtuoso
double bass player
Koussevitzky had composed
it for his very own
instrument. As early as
1906/07 a first piano
reduction was published
in Moscow, followed by a
second in 1910 in
Leipzig. However, both
contain so many mistakes
in the solo part that
there is still
uncertainty about the
correct musical text in
many passages to this
day. The double bass
player Tobias Glöckler
has therefore prepared
his Urtext edition using
several sources: as well
as the manuscript
performance material and
the piano reductions
published during the
composer's lifetime, he
has also studied
recordings with
Koussevitzky as soloist -
thereby finally producing
a
thoroughly-researchedUrte
xt edition of the
orchestral score and
piano reduction of this
classic of the double
bass literature. As with
all double bass concertos
published by Henle
Publishers, this edition
also contains the piano
reduction by Christoph
Sobanski in two keys (E
minor and F sharp minor)
for performance with solo
or orchestral tuning.
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 work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)