Full orchestra SKU: LO.30-3832MD Composed by Mary McDonald. Arranged by E...(+)
Full orchestra
SKU:
LO.30-3832MD
Composed
by Mary McDonald.
Arranged by Ed Hogan.
Choral. Sacred Anthem,
Christmas. Orchestral
score and parts.
Medallion Music
#30/3832MD. Published by
Medallion Music
(LO.30-3832MD).
UPC:
000308157536.
Orche
stral Score and Parts for
Sing Out Our Savior's
Birth (10/5499MD)
Featured in the musical
Love Made a Way
(SATB—65/2104MD),
this exciting opener
weaves through the carol
JOY TO THE WORLD and the
beloved hymn OLD 100TH
while incorporating
original words and music
by Mary McDonald!
With a joyful
flourish, this majestic
rendering of the iconic
OLD 100th will be an
unforgettable moment in
your worship gathering.
The colorful
orchestration is the
perfect addition to this
brief and powerful
offering. Score and Parts
(fl 1-2, cl 1-2, hn 1-2,
tpt 1-3, tbn 1-2, tba,
tmp, perc, vn 1-2, va,
vc) available as a
digital download.
SATB choir, piano SKU: LO.10-5615L Composed by Bryan Sharpe. Choral. Sacr...(+)
SATB choir, piano
SKU:
LO.10-5615L
Composed
by Bryan Sharpe. Choral.
Sacred Anthem, General,
Thanksgiving. Octavo.
Lorenz Publishing Company
#10/5615L. Published by
Lorenz Publishing Company
(LO.10-5615L).
ISBN
9780787775230.
Inco
rporating the themes of
familiar hymn tune and
text with new words and
music, this energetic
anthem of thankfulness
and praise influenced by
Old 100th features call
and response choral parts
that share in the melody
and text in a singable
and uplifting setting.
Suitable as a
Thanksgiving or general
praise anthem.
Embrace the Day Chorale SATB SATB, Piano Hope Publishing Company
Choral (Single, SATB) SKU: HP.C6370 Piano Accompaniment. Quick Study Chor...(+)
Choral (Single, SATB)
SKU: HP.C6370
Piano Accompaniment.
Quick Study Chorals.
Original, Thanksgiving,
General Worship,
Gratefulness. Octavo. 8
pages. Hope Publishing
Company #C6370. Published
by Hope Publishing
Company (HP.C6370).
UPC: 763628163709.
Pepper
Choplin.
Original
anthem This Quick Study
Choral is an original
composition with limited
4-part writing, suitable
for smaller ensembles,
that can be easily
learned in a few
rehearsals. Well crafted,
and briefly quoting OLD
100th, this charming
original urges us to
embrace the blessings of
the Lord, all the things
we're thankful for..
For voice and keyboard. Format: easy piano/vocal/chords songbook. With vocal mel...(+)
For voice and keyboard.
Format: easy
piano/vocal/chords
songbook. With vocal
melody, chord names,
lyrics and big note
notation. Gospel and
hymn. Series: Hal Leonard
E-Z Play Today. 48 pages.
9x12 inches. Published by
Hal Leonard.
Organ SKU: HP.9198 Arranged by Joel Raney. Score. Hope Publishing Company...(+)
Organ
SKU: HP.9198
Arranged by Joel Raney.
Score. Hope Publishing
Company #9198. Published
by Hope Publishing
Company (HP.9198).
UPC:
763628191986.
Conce
rt-level arrangements of
six favorite hymns Here
are six, advanced,
concert-level settings
for organ. Written in a
variety of styles, many
of these are longer
concert pieces with
multiple sections that
can easily be extracted
and performed by
themselves or in smaller
groupings for use in
worship. Contents:
Fortresses (Variations
on EIN'FESTE BURG); I
Want Jesus to Walk with
Me; Fantasy on When the
Saints Go Marching In;
Old 100th Suite; The Ash
Grove.
SKU: LO.99-4220MD Composed by Mary McDonald. Choral. Sacred Anthem, Chris...(+)
SKU: LO.99-4220MD
Composed by Mary
McDonald. Choral. Sacred
Anthem, Christmas.
Performance/accompaniment
CD (split-track).
Medallion Music
#99/4220MD. Published by
Medallion Music
(LO.99-4220MD).
UPC:
000308157543.
Perfo
rmance/Accompaniment CD
plus Split-track for Sing
Out Our Savior's Birth
Featured in the musical
Love Made a Way, this
exciting opener weaves
through the carol JOY TO
THE WORLD and the beloved
hymn OLD 100TH while
incorporating original
words and music by Mary
McDonald!
Composed by Walter L.
Pelz. Augsburg Choral
Library. Sacred. Octavo.
Published by Augsburg
Fortress
(AU.9780806697208).
ISBN
9780806697208.
This
anthem is a true
celebration for any
joyful occasion. Brass
quartet crowns the piece
in style. This
arrangement weaves in the
hymn tune Old 100th,
creating an unforgettable
doxology of praise.
For French Horn. Classical (orchestral). Includes a high-quality printed music ...(+)
For French Horn.
Classical (orchestral).
Includes a high-quality
printed music score and a
compact disc containing a
complete performance with
soloist; then a second
version with the
accompaniment, minus the
soloist. Published by
Music Minus One.
Creation Praise Chorale SATB [Octavo] Hope Publishing Company
Composed by Joseph M. Martin. For SATB choir. Text: Psalm 69:34|Psalm 104:1-5|Ps...(+)
Composed by Joseph M.
Martin. For SATB choir.
Text: Psalm 69:34|Psalm
104:1-5|Psalm
104:14-20|Psalm
104:24-27|Psalm
104:31-33|Genesis
1:25-27|Acts 4:24. Choral
octavo. Published by Hope
Publishing Company
Piano seul [Partition] - Intermédiaire Cherry Lane
For piano and voice. Format: Vocal/piano songbook. With vocal melody, vocal text...(+)
For piano and voice.
Format: Vocal/piano
songbook. With vocal
melody, vocal text, piano
accompaniment and table
of contents (organized by
standard wedding ceremony
categories). Wedding. 96
pages. 9x12 inches.
Published by Cherry Lane
Music
Trumpet. Classical (chamber). Includes a high-quality printed music score and a ...(+)
Trumpet. Classical
(chamber). Includes a
high-quality printed
music score and a compact
disc containing a
complete performance with
soloist; then a second
version with the
accompaniment, minus the
soloist. Published by
Music Minus One
For Trombone. Classical (orchestral). Includes a high-quality printed music scor...(+)
For Trombone. Classical
(orchestral). Includes a
high-quality printed
music score and a compact
disc containing a
complete performance with
soloist; then a second
version with the
accompaniment, minus the
soloist. Published by
Music Minus One.
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.