By Traditional. Arranged by Jerry Brubaker. Traditional. For Full Orchestra. Ful...(+)
By Traditional. Arranged
by Jerry Brubaker.
Traditional. For Full
Orchestra. Full
Orchestra. Belwin Concert
Full Orchestra. Level: 4
(grade 4). Score. 24
pages. Published by
Alfred Publishing.
By Traditional. Arranged by Jerry Brubaker. Traditional. For Full Orchestra. Ful...(+)
By Traditional. Arranged
by Jerry Brubaker.
Traditional. For Full
Orchestra. Full
Orchestra. Belwin Concert
Full Orchestra. Level: 4
(grade 4). Conductor
Score and Parts. 228
pages. Published by
Alfred Publishing.
Arranged by Sandra Dackow. Conductor's score and set of performance parts for st...(+)
Arranged by Sandra
Dackow. Conductor's score
and set of performance
parts for string
orchestra (8 - 1st
violin, 8 - 2nd violin, 5
- 3rd violin/viola
(treble clef), 5 - viola,
5 - cello, 5 - string
bass, 1 - piano
accompaniment). Series:
Orchestra Expressions
Series. Published by
Alfred Publishing.
Orchestra - Grade 2.5 SKU: AP.36003S Composed by Giacomo Puccini and Gius...(+)
Orchestra - Grade 2.5
SKU: AP.36003S
Composed by Giacomo
Puccini and Giuseppe
Verdi. Arranged by Bud
Caputo. Masterworks;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Form: Waltz.
Masterwork Arrangement;
Romantic. Score. 24
pages. Highland/Etling
#00-36003S. Published by
Highland/Etling
(AP.36003S).
UPC:
038081420424.
English.
Three of
the most memorable
operatic vocal arias are
presented here for young
strings. The arias are
set in comfortable keys
and remain in first
position. Your audiences
will appreciate hearing
these familiar tunes from
the world of Italian
Grand Opera, which are
performable as separate
movements or as a small
suite. Features La Donna
Mobile from Rigoletto,
Quando me'n vo (Musetta's
Waltz) from La Boheme,
and Libiamo ne'lieti
calici from La Traviata.
Students will be
additionally challenged
as they work to follow
the conductor's rubato
interpretations that
characterize the style of
Musetta's Waltz, and
strive to create a wide
range of dynamics that
are required for the
dance-like rollicking
flow of the other two
waltzes.
Orchestra SKU: BA.BA06861 Sinfonie (1923-1928). Composed by Leos J...(+)
Orchestra
SKU:
BA.BA06861
Sinfonie
(1923-1928). Composed
by Leos Janacek. Arranged
by Leoš Faltus and
Miloš Štedron. This
edition: complete
edition, urtext edition.
Linen. Complete Critical
Edition of the Works of
Leos Janacek H/3.
Complete edition, Score,
Set of parts. Duration 40
minutes. Baerenreiter
Verlag #BA06861_00.
Published by Baerenreiter
Verlag (BA.BA06861).
ISBN 9790260104211.
34.3 x 27 cm
inches.
Leoš
Janácek’s
symphonic fragment Dunaj
(The Danube) dates from
the period of the
composition of
“Katya
Kabanovaâ€. The
composer was not
concerned with a
musical-picturesque
description of a river
landscape, but with the
mythical link between
women’s destinies
and
water.
“Pale
green waves of the
Danube! There are so many
of you, and one followed
by another. You remain
interlocked in a
continuous flow. You
surprise yourselves where
you ended up – on
the Czech shores! Look
back downstream and you
will have an impression
of what you have left
behind in your haste. It
pleases you here. Here I
will rest with my
symphony.†Thus
Leoš Janácek
described the idea behind
the composition project
which occupied him in
1923/24. However, after
further work, it remained
incomplete in 1926. His
“symphonyâ€
entitled Dunaj has
survived as a
continuously-notated,
four-movement bundle of
sketches in score form.
It is one of the works
which occupied him until
his death. The scholarly
reconstruction by the two
Brno composers Miloš
Štedron and Leoš
Faltus closely follows
the original
manuscript.
A
whole conglomeration of
motifs stands behind the
incomplete work. What at
first seems like a
counterpart to
Smetana’s Vltava,
in fact doesn’t
turn out to be a musical
depiction of the Danube.
On the contrary, the
fateful link between the
destiny of women, water
and death permeates the
range of motifs found in
the work. It seems to be
no coincidence that
Janácek, whilst
working on the opera
Katya Kabanova, in which
the Volga, as the river
bringing death plays an
almost mythical role,
planned a Danube
symphony, and that its
content was linked with
the destiny of women: in
the sketches, two poems
were found which may have
provided the stimulus for
several movements of the
symphony. He copied a
poem by Pavla
Kriciková into the
second movement, in which
a girl remarks that
whilst bathing in a pond,
she was observed by a
man. Filled with shame,
the young naked woman
jumps into the water and
drowns. The outer
movements likewise draw
on the poem
“Lola†by the
Czech writer Sonja
Špálová,
published under the
pseudonym Alexander
Insarov. This is about a
prostitute who asks for
her heart’s
desire: she is given a
palace, but then goes on
a long search for it and
is finally no longer
wanted by anyone. She
suffers, feels cold and
just wants a warm fire.
Janácek adds his
remark “she jumps
into the Danube†to
the inconclusive
ending.
To these
tangible literary models
is added Adolf
Veselý’s verbal
account which reports
that the composer wanted
to portray “in the
Danube, the female sex
with all its passions and
driving forcesâ€.
The third movement is
said to characterise the
city of Vienna in the
form of a
woman.
It is
evident that in his
composition, Janácek
was not striving for a
simple, natural lyricism.
The River Danube is
masculine in the Slavic
language –
“ten Dunajâ€
– and assumes an
almost mythical
significance in the
national character,
indeed often also a role
bringing death. The four
movements are motivically
conceived. Elements of
sound painting, small
wave-like figures in the
first movement, motoric,
driving movements in the
third are obvious
evocations of water. And
the content and the
literary level are easy
to discover. The
“tremolo of the
four timpaniâ€,
which was amongst
Janácek’s first
inspirations, appears in
the second movement. It
is not difficult to
retrace in it the fate of
the drowning bather. The
oboe enters lamentoso
towards the end of the
movement over timpani
playing tremolo, its
descending figure is
taken over by the flute,
then upper strings and
intensified considerably.
The motif of drowning
– Lola’s
despair – returns
again in the fourth
movement in the clarinet,
before the work ends
abruptly and
dramatically.
One
special effect is the use
of a soprano voice in the
motor-driven third
movement. The singer
vocalises mainly in
parallel with the solo
oboe, but also in
dialogue with other parts
such as the viola
d’amore, which
Janácek used in
several late works as a
sort of “voice of
loveâ€.
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
A Halloween Thriller Orchestre [Conducteur et Parties séparées] Alfred Publishing
Featuring: Toccata and Fugue in D Minor / A Night on Bald Mountain / Thriller. C...(+)
Featuring: Toccata and
Fugue in D Minor / A
Night on Bald Mountain /
Thriller. Composed by Rod
Temperton, Johann
Sebastian Bach, and
Modest Mussorgsky.
Arranged by Ralph Ford.
Masterworks; Part(s);
Score; String Orchestra.
Pop Concert String
Orchestra. Form: Medley.
Fall; Halloween;
Masterwork Arrangement;
Pop. 128 pages. Published
by Alfred Music
Composed by
Vince Gassi. 5 or More;
MakeMusic Cloud; Mixed
Instruments - Flexible
Instrumentation;
Performance Music
Ensemble; Single Titles;
Solo Small Ensembles.
Challenger Band Series.
Score and Part(s). 155
pages. Duration 2:35.
Alfred Music #00-49119.
Published by Alfred Music
(AP.49119).
UPC:
038081563497.
English.
This
version of Where Stand
the Dauntless by Vince
Gassi is part of our
Alfred FLEX offerings and
is designed with maximum
flexibility for use by
any mix of
instruments---wind,
strings, and percussion,
including like- or
mixed-ensembles with as
few as 5 players. The
suggested instrumentation
and a customizable
Teacher Map will help you
plan out how to best
assign parts to suit your
ensemble's needs. It also
comes with supplemental
parts for maximum
flexibility. With the
purchase of this piece,
permission is granted to
photocopy the parts as
needed for your ensemble.
A percussion
accompaniment track is
also available as a free
download. String parts
have been carefully
edited with extra
fingerings and
appropriate bowings to
support students in mixed
ensembles playing in less
familiar keys.
A
fanfare, a lyrical theme,
and driving energy embody
the spirit of the
dauntless---the brave and
amazing young musicians
of Dolphin Senior Public
School in Mississauga,
Ontario, Canada. Where
Stand the Dauntless by
Vince Gassi is an
exciting work---and a
perfect concert opener
and contest piece. (2:35)
Composed by
Vince Gassi. 5 or More;
MakeMusic Cloud; Mixed
Instruments - Flexible
Instrumentation;
Performance Music
Ensemble; Single Titles;
Solo Small Ensembles.
Challenger Band Series.
Score. 20 pages. Duration
2:35. Alfred Music
#00-49119S. Published by
Alfred Music (AP.49119S).
UPC: 038081563503.
English.
This
version of Where Stand
the Dauntless by Vince
Gassi is part of our
Alfred FLEX offerings and
is designed with maximum
flexibility for use by
any mix of
instruments---wind,
strings, and percussion,
including like- or
mixed-ensembles with as
few as 5 players. The
suggested instrumentation
and a customizable
Teacher Map will help you
plan out how to best
assign parts to suit your
ensemble's needs. It also
comes with supplemental
parts for maximum
flexibility. With the
purchase of this piece,
permission is granted to
photocopy the parts as
needed for your ensemble.
A percussion
accompaniment track is
also available as a free
download. String parts
have been carefully
edited with extra
fingerings and
appropriate bowings to
support students in mixed
ensembles playing in less
familiar keys.
A
fanfare, a lyrical theme,
and driving energy embody
the spirit of the
dauntless---the brave and
amazing young musicians
of Dolphin Senior Public
School in Mississauga,
Ontario, Canada. Where
Stand the Dauntless by
Vince Gassi is an
exciting work---and a
perfect concert opener
and contest piece. (2:35)
Full Orchestra (Print) Choral (Orchestra Accompaniment) SKU: HL.293395 (+)
Full Orchestra (Print)
Choral (Orchestra
Accompaniment)
SKU:
HL.293395
A
Cantata for
Christmas. Composed
by Joseph M. Martin.
Shawnee Sacred. Advent,
Cantata, Christmas,
Christmas/Advent Sacred.
Softcover. Duration 3000
seconds. Published by
Shawnee Press
(HL.293395).
ISBN
9781540050984. UPC:
888680936129.
9.0x13.75x2.61
inches.
This
cantata is a celebration
of light. Filled with
time-honored carols and
expressive original
songs, this work will
dazzle and inspire. The
first half of the cantata
is dedicated to hopeful
prophecies associated
with the coming Light of
the World. With the birth
of Jesus, the second part
moves forward to declare
the tidings of great joy
and is crowned with an
opportunity for the
congregation to join in
singing, Joy to the
World. Brant Adams and
Robert Sterling shine as
orchestrators of this
truly festive work.
Glorious! Songs include:
A Festive Call to
Christmas; Celebration of
Light; Come, Golden
Light; Dazzling Joy;
Beautiful Name; Dreamer
of Stars; Angel Song;
Silver and Shadows;
Joyous Carols of
Christmas. Score and
Parts for Full Orchestra
(fl 1-2, ob, cl 1-2, bn,
hn 1-2, tpt 1-3, tbn,
1-2, tba, timp, perc 1-2,
hp, pno, vn 1-2, va, vc,
db) available as a
Printed Edition and as a
digital download. Score
and Parts for Consort
(fl, cl, tpt 1-2, tbn,
perc, kybd str) available
as a Printed Edition and
as a digital
download.
Orchestral Score. Composed by John Powell. Sheet music. Study score. Compose...(+)
Orchestral Score.
Composed by
John Powell. Sheet music.
Study score. Composed
2014
(2021). 404 pages. Omni
Music
Publishing #OMNI 50799.
Published by Omni Music
Publishing
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.416415760
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760).
UPC:
680160636532. 9 x 12
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.41641576L
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Peter
Schickele. Large Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576L. Published by
Theodore Presser Company
(PR.41641576L).
UPC:
680160636549. 11 x 17
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra SKU: CF.PO192S On We Wish You a Merry Christmas. Compose...(+)
Orchestra
SKU:
CF.PO192S
On We
Wish You a Merry
Christmas. Composed
by Robert B. Brown.
Condensed score. Carl
Fischer Music #PO192S.
Published by Carl Fischer
Music (CF.PO192S).
ISBN 9781491157367.
UPC:
680160915927.
Progr
am note: Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas. The Composer:
Dr. Robert Bennett Brown
has devoted much of his
professional teaching
career to musical
compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation. At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee. To the
Conductor: You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability.
 . Program
note:Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas.The
Composer:Dr. Robert
Bennett Brown has devoted
much of his professional
teaching career to
musical compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation.At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee.To the
Conductor:You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability. .
Orchestra SKU: CF.PO192F On We Wish You a Merry Christmas. Compose...(+)
Orchestra
SKU:
CF.PO192F
On We
Wish You a Merry
Christmas. Composed
by Robert B. Brown. Full
score. Carl Fischer Music
#PO192F. Published by
Carl Fischer Music
(CF.PO192F).
ISBN
9781491157374. UPC:
680160915934.
Progr
am note: Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas. The Composer:
Dr. Robert Bennett Brown
has devoted much of his
professional teaching
career to musical
compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation. At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee. To the
Conductor: You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability.
 . Program
note:Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas.The
Composer:Dr. Robert
Bennett Brown has devoted
much of his professional
teaching career to
musical compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation.At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee.To the
Conductor:You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability. .
By Joseph Barbera, William Hanna, And Hoyt Curtin. Arranged by Michael Story. By...(+)
By Joseph Barbera,
William Hanna, And Hoyt
Curtin. Arranged by
Michael Story. By Joseph
Barbera, William Hanna,
and Hoyt Curtin / arr.
Michael Story. For Full
Orchestra. Full
Orchestra. Pop
Intermediate Full
Orchestra. Conductor
Score. Published by
Alfred Publishing.
Level: 2.5 (grade
2.5).
(Orchestra) SKU: BA.BA11902 Composed by Ludwig van Beethoven. Edited by J...(+)
(Orchestra)
SKU:
BA.BA11902
Composed
by Ludwig van Beethoven.
Edited by Jonathan Del
Mar. This edition: urtext
edition. Stapled. Score.
Opus 43. Baerenreiter
Verlag #BA11902_00.
Published by Baerenreiter
Verlag (BA.BA11902).
ISBN 9790006573417.
32.5 x 25.5 cm
inches.
Beethoven
composed the ballet music
“Die Geschöpfe
des Prometheusâ€
during 1800–01,
commissioned by the
ballet master Salvatore
Viganò for
performances with his
Viennese company.
Although the ballet was
initially quite
successful, with almost
thirty continuous
performances, it did not
enjoy a sustained
performance tradition.
Its overture, however,
was a different matter:
considered almost a
symphonic movement in
terms of orchestration,
style and structure, it
was often performed on
its own even during
Beethoven’s
lifetime.
In
general, previous
editions of this overture
relied on the first print
as the main source.
However, the authenticity
of this source cannot be
convincingly proven. For
this new edition,
Beethoven specialist
Jonathan Del Mar
incorporates various
manuscript sources,
including a set of parts
from 1803/4 that has
never been considered
before. In this way,
numerous discrepancies
could be
clarified.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
(Orchestra) SKU: BA.BA11903 Composed by Ludwig van Beethoven. Edited by J...(+)
(Orchestra)
SKU:
BA.BA11903
Composed
by Ludwig van Beethoven.
Edited by Jonathan Del
Mar. This edition: urtext
edition. Stapled. Score.
Opus 84. Baerenreiter
Verlag #BA11903_00.
Published by Baerenreiter
Verlag (BA.BA11903).
ISBN 9790006573783.
32.5 x 25.5 cm
inches.
Beethovenâ
€™s incidental music
op. 84 was written in
1809 for a performance of
Goethe’s drama
“Egmont†at
the Burgtheater in
Vienna. Numerous
composers of the day
tried their hand at
writing music for the
dramatic material of
Goethe’s tragedy,
several in collaboration
with the author himself.
The overture reflects the
themes of the play
through its expressive
music, and over the last
two hundred years it has
become one of the most
popular works by
Beethoven conceived for
the stage.
For
this new edition,
Beethoven specialist
Jonathan Del Mar draws on
various manuscript
sources including a
handwritten set of parts
which has never been
taken into account
before. Thus, numerous
discrepancies such as
missing notes in the
flute part or unclear
bowing could be clarified
for the first
time.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Orchestra - Grade 3 SKU: AP.49065 Featuring: The Red-Haired Boy / St. ...(+)
Orchestra - Grade 3
SKU: AP.49065
Featuring: The
Red-Haired Boy / St.
Anne's Reel / Blackberry
Blossom. Composed by
Various. Arranged by Bob
Phillips and Renata
Bratt. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Fiddle; Folk;
Light Concert. Score and
Part(s). 113 pages.
Duration 3:45.
Highland/Etling
#00-49065. Published by
Highland/Etling
(AP.49065).
ISBN
9781470645861. UPC:
038081565163.
English.
The
setting of this exciting
and beautifully arranged
medley of classic fiddle
tunes, Fiddler's Fortune
arranged by Bob Phillips
and Renata Bratt,
provides a cool,
super-fun groove that
pulls the player into the
action. Included are
Red-Haired Boy, St.
Anne's Reel, and
Blackberry Blossom, and
every section gets to
play the well-known
melodies. Lead sheets of
each tune and for each
instrument will be
available as free
downloads so the melodies
can be played in unison
for another class
activity. This
arrangement is scheduled
to be premiered by the
Wintergrass 2021 Virtual
Youth
Orchestra.
To
access the video, audio,
and PDF resources click
here.
. (3:45) This title is
available in MakeMusic
Cloud.
Orchestra (Orchestra) SKU: BA.BA04593-01 Composed by Wolfgang Amadeus Moz...(+)
Orchestra (Orchestra)
SKU: BA.BA04593-01
Composed by Wolfgang
Amadeus Mozart. Edited by
Gerhard Allroggen. This
edition: complete
edition, urtext edition.
Linen. New Mozart Edition
(Neue Mozart Ausgabe -
NMA) Series IV, Volume
11, No. 1.
Musikwissenschaft,
Klassik (Critical
Commentary, Classical).
Complete edition, Score,
anthology. Baerenreiter
Verlag #BA04593_01.
Published by Baerenreiter
Verlag (BA.BA04593-01).
ISBN 9790006451371. 33
x 26 cm
inches.
Urtext der
Neuen Mozart-Ausgabe.
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
New York, New York Orchestre [Conducteur et Parties séparées] Jazz Lines Publications
Recorded by Frank Sinatra. Edited by Rob DuBoff, Jeffrey Sultanof, and Dy...(+)
Recorded by Frank
Sinatra. Edited by
Rob DuBoff, Jeffrey
Sultanof, and Dylan
Canterbury. Arranged by
Don Costa. Jazz, Swing.
Score and parts.
Published by Jazz Lines
Publications
(JL.JLP-9510).
Orchestra 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Violin SKU: AP...(+)
Orchestra 2.2.2.2:
4.2.0.0: Timp: Str
(9-8-7-6-5 in set): Solo
Violin
SKU:
AP.36-A213001
Composed by Richard
Strauss. Full Orchestra.
Kalmus Orchestra Library.
Score. LudwigMasters
Publications #36-A213001.
Published by
LudwigMasters
Publications
(AP.36-A213001).
ISBN
9798892705264. UPC:
659359870385.
English.
Richard
Strauss (1864-1949) wrote
his VIOLIN CONCERTO IN D
MINOR, Op. 8, between
1881 and 1882, and it
remained his only foray
in that genre. Composed
while a teenager and
still in school. While
still very much a product
of the Romantic era
tradition, the work is
not considered as
distinctive as the works
he would produce only a
few years later, and
Strauss himself later
ridiculed the work.
Still, with inventive and
bold writing in the solo
and hints of his mature
harmonic style to come,
there is much to enjoy in
the work, including its
warmth, youthful
sincerity, and lyrical
expression, so that it
should not be dismissed
as mere juvenilia, either
by contemporary audiences
or Strauss himself. The
chamber version of the
concerto was first
performed in Vienna on
December 5, 1882, with
the dedicatee Benno
Walter on the violin
while Strauss played his
own piano reduction. The
premiere for the
orchestral version would
take place seven years
later in Cologne on March
4, 1890, with Walter
again performing the solo
with an orchestra
conducted by Franz
Wüllner.
Instrumentation: 2.2.2.2:
4.2.0.0: Timp: Str
(9-8-7-6-5 in set): Solo
Violin.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Orchestra 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Violin SKU: AP...(+)
Orchestra 2.2.2.2:
4.2.0.0: Timp: Str
(9-8-7-6-5 in set): Solo
Violin
SKU:
AP.36-A213002
Composed by Richard
Strauss. Full Orchestra.
Kalmus Orchestra Library.
Score and Part(s).
LudwigMasters
Publications #36-A213002.
Published by
LudwigMasters
Publications
(AP.36-A213002).
UPC:
659359873225.
English.
Richard
Strauss (1864-1949) wrote
his VIOLIN CONCERTO IN D
MINOR, Op. 8, between
1881 and 1882, and it
remained his only foray
in that genre. Composed
while a teenager and
still in school. While
still very much a product
of the Romantic era
tradition, the work is
not considered as
distinctive as the works
he would produce only a
few years later, and
Strauss himself later
ridiculed the work.
Still, with inventive and
bold writing in the solo
and hints of his mature
harmonic style to come,
there is much to enjoy in
the work, including its
warmth, youthful
sincerity, and lyrical
expression, so that it
should not be dismissed
as mere juvenilia, either
by contemporary audiences
or Strauss himself. The
chamber version of the
concerto was first
performed in Vienna on
December 5, 1882, with
the dedicatee Benno
Walter on the violin
while Strauss played his
own piano reduction. The
premiere for the
orchestral version would
take place seven years
later in Cologne on March
4, 1890, with Walter
again performing the solo
with an orchestra
conducted by Franz
Wüllner.
Instrumentation: 2.2.2.2:
4.2.0.0: Timp: Str
(9-8-7-6-5 in set): Solo
Violin.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Orchestra 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Violin SKU: AP...(+)
Orchestra 2.2.2.2:
4.2.0.0: Timp: Str
(9-8-7-6-5 in set): Solo
Violin
SKU:
AP.36-A213048
Composed by Richard
Strauss. Full Orchestra.
Kalmus Orchestra Library.
Part(s). LudwigMasters
Publications #36-A213048.
Published by
LudwigMasters
Publications
(AP.36-A213048).
ISBN
9798892705271. UPC:
659359875526.
English.
Richard
Strauss (1864-1949) wrote
his VIOLIN CONCERTO IN D
MINOR, Op. 8, between
1881 and 1882, and it
remained his only foray
in that genre. Composed
while a teenager and
still in school. While
still very much a product
of the Romantic era
tradition, the work is
not considered as
distinctive as the works
he would produce only a
few years later, and
Strauss himself later
ridiculed the work.
Still, with inventive and
bold writing in the solo
and hints of his mature
harmonic style to come,
there is much to enjoy in
the work, including its
warmth, youthful
sincerity, and lyrical
expression, so that it
should not be dismissed
as mere juvenilia, either
by contemporary audiences
or Strauss himself. The
chamber version of the
concerto was first
performed in Vienna on
December 5, 1882, with
the dedicatee Benno
Walter on the violin
while Strauss played his
own piano reduction. The
premiere for the
orchestral version would
take place seven years
later in Cologne on March
4, 1890, with Walter
again performing the solo
with an orchestra
conducted by Franz
Wüllner.
Instrumentation: 2.2.2.2:
4.2.0.0: Timp: Str
(9-8-7-6-5 in set): Solo
Violin.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Orchestra - Grade 2.5 SKU: AP.38425 A Parry Gripp YouTube Suite (Featu...(+)
Orchestra - Grade 2.5
SKU: AP.38425
A
Parry Gripp YouTube Suite
(Featuring: Boogie Boogie
Hedgehog / Baby Monkey
(Riding Backwards on a
Pig) / Do You Like
Waffles?). Composed
by Parry Gripp. Arranged
by Michael Story.
Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Intermediate String
Orchestra. Light Concert.
Score and Part(s). 160
pages. Alfred Music
#00-38425. Published by
Alfred Music (AP.38425).
UPC: 038081438689.
English.
This
three-piece suite is
based on the widely
popular music of talented
songwriter Parry Gripp.
Parry's music has gone
viral on YouTube, where
his songs accompany many
internet videos, as well
as his own music videos.
The three catchy songs
included are Boogie
Boogie Hedgehog, Baby
Monkey (Riding Backwards
on a Pig), and Do You
Like Waffles? This clever
medley of infectious
tunes will certainly put
a smile on everyone's
faces!
Orchestra - Grade 4 SKU: AP.45871S Composed by Richard Meyer. Performance...(+)
Orchestra - Grade 4
SKU: AP.45871S
Composed by Richard
Meyer. Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Multicultural.
Score. 40 pages.
Highland/Etling
#00-45871S. Published by
Highland/Etling
(AP.45871S).
UPC:
038081529608.
English.
This
multi-cultural piece
explores world music
using a unique and
exciting format. Two
side-by-side orchestras
share one conductor, with
one group performing
traditional American
songs and the other
playing folk songs from
the Middle East. A total
of eight songs are
presented as each section
from the two orchestras
is featured. As the piece
unfolds, what emerges is
not only a tapestry of
beautiful music, but an
intense commentary on the
power of music to unite
diverse cultures. Whether
you split your orchestra
in two or combine with
another orchestra,
Hemispheres by Richard
Meyer is sure to educate
your students and your
audience.
A
suggested seating chart
is included. Also
playable by one orchestra
in a traditional
set-up.