(Chopin National Edition 27B, Vol. III). Composed by Frederic Chopin (1810-1849)...(+)
(Chopin National Edition
27B, Vol. III). Composed
by Frederic Chopin
(1810-1849). Edited by
Jan Ekier. For Voice,
Piano Accompaniment. PWM.
Polskie Wydawnictwo
Muzyczne #51600021.
Published by Polskie
Wydawnictwo Muzyczne
Piano, Vocal and Guitar - Grade 2 SKU: HL.14030881 By James N. Healy. Edi...(+)
Piano, Vocal and Guitar -
Grade 2
SKU:
HL.14030881
By James
N. Healy. Edited by James
N. Healy. Music Sales
America. Folk British
Isles. Book [Softcover].
80 pages. Music Sales
#OMB115. Published by
Music Sales
(HL.14030881).
ISBN
9781900428255.
English.
William
Percy French was one of
Ireland's favourite sons
and his influence on
traditional Irish Music
can still be felt today.
His lyrics are still
humorous, ironic and
perceptive, but never
mocking or scornful, and
these exemplify his love
of his motherland.
Representing some of the
finest examples of this
genre, this volume
contains forty-seven of
his most famous and
enjoyed songs all
lovingly arranged by
James Nealy, with
melody-line, complete
lyrics and chords.
Includes notes on the
inspiration and
background of each of the
songs and a commentary on
the life and talents of
French himself. This is a
wonderful reference book
as well as a compilation
of his magnificent works
for enjoyment. Songs
include Eileen Oge, The
Emigrants Letter and 'Who
said the Hook Never
Hurted the Worms?'.
A Method for the Recorder Based on Israel Folk Melodies. By Tzipora H. Jochsberg...(+)
A Method for the Recorder
Based on Israel Folk
Melodies. By Tzipora H.
Jochsberger.
Transcontinental Music
Folios. Size 9x12 inches.
66 pages. Published by
Transcontinental Music
Publications.
Composed by Samuel Adler. For violin and piano. Contemporary. Score and Part. St...(+)
Composed by Samuel Adler.
For violin and piano.
Contemporary. Score and
Part. Standard Notation.
10 pages. Duration 4
minutes. Published by
Theodore Presser Company
SKU: HP.8845 Composed by Daniel Charles Damon. Author Collections. Dan Da...(+)
SKU: HP.8845
Composed by Daniel
Charles Damon. Author
Collections. Dan Damon.
General Worship, Sacred.
Hymn Collection. 128
pages. Hope Publishing
Company #8845. Published
by Hope Publishing
Company (HP.8845).
UPC:
763628188450.
Inten
tionally aiming to give
words to those whose
voice has been denied,
this collection includes
70 new hymns addressing
social justice issues.
There are hymns for
children, the elderly,
women, LGBT persons,
migrants, immigrants,
refugees, victims of
human trafficing, victims
of violence, persons with
mental illness, the poor
and oppressed, people
with disabilities, and
people of other faith
traditions. About these
hymns Dan writes, I hope
you will find songs to
sing in this collection
that will move all people
toward the prophet's
vision of a just and
peaceful world.
Danny Boy and Irish Eyes for Flute and Piano arranged by Jonathon Robbins. For f...(+)
Danny Boy and Irish Eyes
for Flute and Piano
arranged by Jonathon
Robbins. For flute solo
and piano accompaniment.
Solo with Accompaniment.
Ethnic. Score and solo
part. Text Language:
English. 12 pages.
Published by Santorella
Publications
Danny Boy and Irish Eyes for Alto Sax arranged by Jonathon Robbins. For alto sax...(+)
Danny Boy and Irish Eyes
for Alto Sax arranged by
Jonathon Robbins. For
alto sax solo and piano
accompaniment. Solo with
Accompaniment. Ethnic.
Score and solo part. Text
Language: English. 12
pages. Published by
Santorella Publications
Choral (SAB Choir) SKU: HL.609296 Composed by Woody Guthrie. Arranged by ...(+)
Choral (SAB Choir)
SKU: HL.609296
Composed by Woody
Guthrie. Arranged by
Emily Crocker. Choral.
Concert, Folk, Pop.
Octavo. 12 pages.
Duration 180 seconds.
Published by Hal Leonard
(HL.609296).
UPC:
196288078623.
6.75x10.5x0.029
inches.
With a tune
based on the beautiful
English ballad Pretty
Polly, Woody Guthrie's
lyrics describes the
challenges as well as the
dignity of migrant
workers in North America.
With choral writing that
is perfect for maturing
high school voices but
where there are no
tenors, this is a song
that encourages
discussions around
American farm workers,
literature as the music
relates to Steinbeck and
his Grapes of Wrath, and
the critical state of
agriculture. This is a
winner in every
sense.
Composed by Carlo Aonzo, with Clara Ponzoni and Giorgio Borsani. Saddle-stitched...(+)
Composed by Carlo Aonzo,
with Clara Ponzoni and
Giorgio Borsani.
Saddle-stitched. Book and
online audio. Published
by Mel Bay Publications,
Inc (MB.21871M).
(Piano/Vocal). By Lynn Ahrens and Stephen Flaherty. For Keyboard; Piano; Voice. ...(+)
(Piano/Vocal). By Lynn
Ahrens and Stephen
Flaherty. For Keyboard;
Piano; Voice. This
edition: Piano/Vocal.
Piano/Vocal/Chords; Vocal
Score. Broadway. Vocal
Score. 416 pages
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.
For Guitar. Includes a high-quality printed music book and two narrated compact ...(+)
For Guitar. Includes a
high-quality printed
music book and two
narrated compact discs
featuring every exercise
and composition in the
method book. Published by
Music Minus One.
Arranged by Dan Forrest. For SATB choir, piano 4-hands. Folk Songs of America....(+)
Arranged by Dan Forrest.
For
SATB choir, piano
4-hands.
Folk Songs of America.
Folk,
secular. Difficulty:
medium
advanced (Jr. High/High
School), medium (adult).
Octavo. 20 pages.
Duration 3
minutes, 55 seconds.
Published
by Hinshaw Music Inc.
The Exodus Song Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1084574-140 Composed by Ernes...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1084574-140
Composed by Ernest Gold.
Arranged by Naohiro Iwai.
New Sounds for Concert
Band.
TV-Film-Musical-Show.
Score Only. Composed
2008. 20 pages. De Haske
Publications #DHP
1084574-140. Published by
De Haske Publications
(BT.DHP-1084574-140).
9x12 inches.
English-German-French-Dut
ch.
De Amerikaanse
componist Ernest Gold,
van geboorte
Oostenrijker, schreef de
prachtige score voor de
film Exodus. Deze
werd in 1960 door Otto
Preminger gemaakt op
basis van de roman van
Leon Uris, die handelt
over het ontstaanvan de
staat Israël. De
filmmuziek was goed voor
een Academy Award en twee
Grammy’s. De
ontroerende titelsong is
een klassieker geworden.
Naohiro Iwai schreef dit
mooie arrangement voor
harmonieorkest.
Exodus ist ein Film
aus dem Jahre 1960
über die Jahre nach
dem zweiten Weltkrieg,
als zahlreiche
jüdische Menschen
nach Palästina
auswanderten und dort vor
genau sechzig Jahren den
Staat Israel
gründeten. Ernest
Gold, der selbst 1938 von
Österreich in die USA
emigrieren musste,
schrieb die Musik zu
diesem Film und wurde
dafür mit einem
Oscar und einem Grammy
ausgezeichnet. Naohiro
Iwai schuf diese
Bearbeitung der
bewegenden Titelmelodie
aus dem Film.Aufnahme auf
CD: I Got Rhythm (DHR
07-017-3)
The Exodus Song Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1084574-010 Composed by Ernes...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1084574-010
Composed by Ernest Gold.
Arranged by Naohiro Iwai.
New Sounds for Concert
Band.
TV-Film-Musical-Show. Set
(Score & Parts). Composed
2008. De Haske
Publications #DHP
1084574-010. Published by
De Haske Publications
(BT.DHP-1084574-010).
9x12 inches.
English-German-French-Dut
ch.
De Amerikaanse
componist Ernest Gold,
van geboorte
Oostenrijker, schreef de
prachtige score voor de
film Exodus. Deze
werd in 1960 door Otto
Preminger gemaakt op
basis van de roman van
Leon Uris, die handelt
over het ontstaanvan de
staat Israël. De
filmmuziek was goed voor
een Academy Award en twee
Grammy’s. De
ontroerende titelsong is
een klassieker geworden.
Naohiro Iwai schreef dit
mooie arrangement voor
harmonieorkest.
Exodus ist ein Film
aus dem Jahre 1960
über die Jahre nach
dem zweiten Weltkrieg,
als zahlreiche
jüdische Menschen
nach Palästina
auswanderten und dort vor
genau sechzig Jahren den
Staat Israel
gründeten. Ernest
Gold, der selbst 1938 von
Österreich in die USA
emigrieren musste,
schrieb die Musik zu
diesem Film und wurde
dafür mit einem
Oscar und einem Grammy
ausgezeichnet. Naohiro
Iwai schuf diese
Bearbeitung der
bewegenden Titelmelodie
aus dem Film.Aufnahme auf
CD: I Got Rhythm (DHR
07-017-3)
Danny Boy and Irish Eyes * Piano Vocal Edition arranged by Jonathon Robbins. For...(+)
Danny Boy and Irish Eyes
* Piano Vocal Edition
arranged by Jonathon
Robbins. For piano,
voice, guitar solo. Solo.
Signature Series. Ethnic.
Sheet Music. Text
Language: English. 8
pages. Published by
Santorella Publications
Danny Boy and Irish Eyes for Easy Piano arranged by Jonathon Robbins. For easy p...(+)
Danny Boy and Irish Eyes
for Easy Piano arranged
by Jonathon Robbins. For
easy piano solo. Solo.
Ethnic. Sheet Music. Text
Language: English. 8
pages. Published by
Santorella Publications