Composed by Camille Saint-Saens (1835-1921). Edited by Michael Stegemann. This e...(+)
Composed by Camille
Saint-Saens (1835-1921).
Edited by Michael
Stegemann. This edition:
urtext. Stapled. Organ
part. 16 pages. Published
by Baerenreiter Verlag
(BA.BA7896-67).
Orchestra (Score) SKU: HL.49004414 Score. Composed by George Fride...(+)
Orchestra (Score)
SKU:
HL.49004414
Score. Composed by
George Frideric Handel.
Edited by Helmuth Walcha.
This edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Score. Op.
7/4. 32 pages. Duration
16'. Schott Music #ED
3835. Published by Schott
Music (HL.49004414).
Oboe 2 Orchestra SKU: HL.49004416 Oboe 2 Part. Composed by George ...(+)
Oboe 2 Orchestra
SKU:
HL.49004416
Oboe 2
Part. Composed by
George Frideric Handel.
Edited by Helmuth Walcha.
Sheet music. Edition
Schott. Classical.
Individual part. Op. 7/4.
4 pages. Duration 16'.
Schott Music #ED 3835-12.
Published by Schott Music
(HL.49004416).
Oboe 1 Orchestra SKU: HL.49004415 Oboe 1 Part. Composed by George ...(+)
Oboe 1 Orchestra
SKU:
HL.49004415
Oboe 1
Part. Composed by
George Frideric Handel.
Edited by Helmuth Walcha.
Sheet music. Edition
Schott. Classical.
Individual part. Op. 7/4.
3 pages. Duration 16'.
Schott Music #ED3835-11.
Published by Schott Music
(HL.49004415).
ISBN
9790001045841. UPC:
073999688245.
9.0x12.0x0.015
inches.
Orchestra (Score) SKU: HL.49004408 Score. Composed by George Fride...(+)
Orchestra (Score)
SKU:
HL.49004408
Score. Composed by
George Frideric Handel.
Edited by Helmuth Walcha.
This edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Score.
Composed 1751. Op. 7/3.
36 pages. Duration 19'.
Schott Music #ED 3834.
Published by Schott Music
(HL.49004408).
Bass Orchestra SKU: HL.49004420 Bass Part. Composed by George Frid...(+)
Bass Orchestra
SKU:
HL.49004420
Bass
Part. Composed by
George Frideric Handel.
Edited by Helmuth Walcha.
This edition: Folding.
Sheet music. Edition
Schott. Classical.
Individual part. Op. 7/4.
4 pages. Duration 16'.
Schott Music #ED3835-16.
Published by Schott Music
(HL.49004420).
ISBN
9790001045896. UPC:
073999935530.
9.0x12.0x0.009
inches.
Viola Orchestra SKU: HL.49004406 Viola Part. Composed by George Fr...(+)
Viola Orchestra
SKU:
HL.49004406
Viola
Part. Composed by
George Frideric Handel.
Edited by Helmuth Walcha.
Sheet music. Edition
Schott. Classical.
Individual part. Composed
1743. Op. 7/2. 2 pages.
Duration 14'. Schott
Music #ED 3833-16.
Published by Schott Music
(HL.49004406).
Orchestra SKU: HL.49004407 Bass/Cello Part. Composed by George Fri...(+)
Orchestra
SKU:
HL.49004407
Bass/Cello Part.
Composed by George
Frideric Handel. Edited
by Helmuth Walcha. Sheet
music. Edition Schott.
Classical. Individual
part. Composed 1743. Op.
7/2. 2 pages. Duration
14'. Schott Music #ED
3833-17. Published by
Schott Music
(HL.49004407).
Orchestra (Score) SKU: HL.49004400 Score. Composed by George Fride...(+)
Orchestra (Score)
SKU:
HL.49004400
Score. Composed by
George Frideric Handel.
Edited by Helmuth Walcha.
This edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Score.
Composed 1743. Op. 7/2.
30 pages. Duration 14'.
Schott Music #ED3833.
Published by Schott Music
(HL.49004400).
ISBN
9790001045698. UPC:
073999718546.
9.0x12.0x0.115
inches.
Violin 1 Part.
Composed by George
Frideric Handel. Edited
by Helmuth Walcha. Sheet
music. Edition Schott.
Classical. Individual
part. Op. 7/4. 4 pages.
Duration 16'. Schott
Music #ED3835-13.
Published by Schott Music
(HL.49004417).
ISBN
9790001045865. UPC:
073999735482.
9.0x12.0x0.009
inches.
Composed by George Frideric Handel (1685-1759). For orchestra. Orgelkonzert Nr. ...(+)
Composed by George
Frideric Handel
(1685-1759). For
orchestra. Orgelkonzert
Nr. 8. Free organ music.
Complete orchestral
parts. Language: Italian.
HWV 307 op. 7, 2.
Published by Carus Verlag
Orchestra (0.2.0.0/0.0.0.0,cem,str, organ solo) SKU: TM.00824SET Composed...(+)
Orchestra
(0.2.0.0/0.0.0.0,cem,str,
organ solo)
SKU:
TM.00824SET
Composed
by George Frideric
Handel. Edited by
Seiffert. Set Type: D.
Set of parts. Lucks Music
Library #A5327. Published
by Lucks Music Library
(TM.00824SET).
Solo in set.
Transposed: Hn 1-4,Tpt
1&2,Tbn 1&2. Cl 1&2
orginally in Bb. Score
typeset.
Composed by George
Frideric Handel. Edited
by Seiffert. Set Type: M.
Set of parts. Lucks Music
Library #A7873. Published
by Lucks Music Library
(TM.12043SET).
Edited by
Seiffert. Organ Solo &
Cembalo (on same part)
sold separately.
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: SU.27020085 For Orchestra. Composed by Graham Gordo...(+)
Orchestra
SKU:
SU.27020085
For
Orchestra. Composed
by Graham Gordon Ramsay.
Orchestra. Study Score.
Subito Music Corporation
#27020085. Published by
Subito Music Corporation
(SU.27020085).
Jacob vs. Angel
is a piece about crisis
of conscience, ambiguity,
and misinterpretation
expressed through the
depiction of a major
battle, the goal of which
is never made entirely
clear. Based on the
biblical story, the work
is highly programmatic,
with each of the six
movements reflecting a
corresponding stanza from
the titular poem by Alice
Weaver Flaherty. The
piece was originally
composed as a vehicle for
virtuoso organist
Heinrich Christensen, and
later orchestrated. The
first movement introduces
the main musical
material--a five note
motive, the intervals of
which are reorganized to
create melodic and
harmonic development
throughout the piece. The
second, third, and fourth
movements depict the
brutal fight between
Jacob and the angel, and
lead one to the next
without pause. The fifth
movement is about the
post-battle scene, and
the final movement is an
epilogue, reframing the
ideas from the previous
movements. The music
elucidates various
actions from the Flaherty
poem—sand
skittering across the
desert, aggressive acts
of violence and
sensuality between the
protagonists, the beating
of wings, feathers
blowing in the wind, etc.
But beyond the music's
more literal elements,
the work is designed to
express an abstract state
of mind, a sense of
unease, and anticipation
of what is yet to come.
—Graham Gordon
Ramsay2(2) 1,1 2 2; 2221;
7perc, hp, cel; stgs
Duration: 24'Composed:
2023 Published by:
Distributed Composer
Jacob vs Angel was
composed originally as a
solo concert organ work
in 2007; the orchestral
version was completed in
2023. A live performance
of the organ version can
be seen at. Performance
materials available on
rental:.
