Come Fly With Me Orchestre [Conducteur] - Intermédiaire Alfred Publishing
Orchestra - Grade 3.5 SKU: AP.49426S Composed by Mark Wood. Performance M...(+)
Orchestra - Grade 3.5
SKU: AP.49426S
Composed by Mark Wood.
Performance Music
Ensemble; Single Titles;
String Orchestra. Mark
Wood Series. Pop/Rock;
Rock. Score. Duration
4:00. Alfred Music
#00-49426S. Published by
Alfred Music (AP.49426S).
ISBN 9781470650940.
UPC: 038081571850.
English.
The
composer, Mark Wood,
writes: Come Fly with Me
comes from my personal
visualization of flying
while improvising music.
In writing a work which
combines classical and
American rock styles, I
have created a vehicle
for musicians to spread
their wings and truly
learn the beautiful art
of composing their own
music on the spot in the
improvisation section.
(4:00).
Orchestra - Grade 3.5 SKU: AP.49426 Composed by Mark Wood. Performance Mu...(+)
Orchestra - Grade 3.5
SKU: AP.49426
Composed by Mark Wood.
Performance Music
Ensemble; Single Titles;
String Orchestra. Mark
Wood Series. Pop/Rock;
Rock. Score and Part(s).
Duration 4:00. Alfred
Music #00-49426.
Published by Alfred Music
(AP.49426).
ISBN
9781470650933. UPC:
038081571843.
English.
The
composer, Mark Wood,
writes: Come Fly with Me
comes from my personal
visualization of flying
while improvising music.
In writing a work which
combines classical and
American rock styles, I
have created a vehicle
for musicians to spread
their wings and truly
learn the beautiful art
of composing their own
music on the spot in the
improvisation section.
(4:00).
Orchestra SKU: BA.BA10989 Laudon. Composed by Franz Joseph Haydn. ...(+)
Orchestra
SKU:
BA.BA10989
Laudon. Composed
by Franz Joseph Haydn.
Edited by Sonja Gerlach
and Wolfgang Stockmeier.
This edition: urtext
edition. Stapled. Score.
Baerenreiter Verlag
#BA10989_00. Published by
Baerenreiter Verlag
(BA.BA10989).
ISBN
9790006575534. 31 x 24.3
cm inches. Key: C
major.
Letters of
the composer have come
down to us only on a few
of Haydn’s
symphonies, amongst them
the “Laudonâ€
Symphony Hob. I:69. In
one of these letters,
Haydn agrees to the
publisher’s
suggestion to name the
symphony after the widely
known and favoured
general Gideon Ernst von
Laudon (1717-1790). By
using this name, both
composer and publisher
hoped to increase the
commercial success of the
work which possibly
deserved a military
eponym considering its
instrumentation with
timpani and trumpets.
Also, the symphony
requires two bassoons,
but no flutes,
corresponding with the
available musicians at
the court of Esterházy
between 1775 and 1776.
In continuation
of the collaboration
between Bärenreiter
and G. Henle Verlag, this
edition is based on the
Urtext of the Complete
Edition “Joseph
Haydn Worksâ€
published by G. Henle
Verlag.
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
Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099).
ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German.
On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009.
Full orchestra SKU: LO.30-3733L Composed by Joel Raney. Arranged by Ed Ho...(+)
Full orchestra
SKU:
LO.30-3733L
Composed
by Joel Raney. Arranged
by Ed Hogan. Choral,
cantatas. Advent,
Christmas, Sacred. CD
with printable parts.
Lorenz Publishing Company
#30/3733L. Published by
Lorenz Publishing Company
(LO.30-3733L).
UPC:
000308154610.
CD
with Printable Parts for
65/2106L Joel Raney calls
on Celtic musical
traditions and
instrumentation to
deliver a refreshing
sound for Christmas! The
orchestration by Ed Hogan
incorporates Irish
flutes, drums, acoustic
guitar, and fiddle to
paint vivid imagery of a
beautifully lush and
green Irish countryside.
Familiar Christmas carols
appear, as do some
familiar Christmas texts
set to beloved Irish and
Welsh folk songs. An
ethereal opening sets the
stage before breaking
into an exuberant
rendition of I Saw Three
Ships. Come, Thou
Long-Expected Jesus; Away
in a Manger; Gentle Mary
Laid Her Child; and the
beloved Angels We Have
Heard on High all make
appearances as the work
progresses, culminating
with a rhythmic
re-imagining of O Come,
All Ye Faithful set to
the traditional Scottish
melody Loch Lomond. One
of the highlights of this
musical is O Holy Night,
written for soloist and
choir and set to the
timeless tune,
LONDONDERRY AIR. Present
the Christmas story in a
uniquely captivating way
with this imaginative
work!
Full orchestra SKU: LO.30-3734L Composed by Joel Raney. Arranged by Ed Ho...(+)
Full orchestra
SKU:
LO.30-3734L
Composed
by Joel Raney. Arranged
by Ed Hogan. Choral,
cantatas. Advent,
Christmas, Sacred. Score
and parts, plus CD with
printable parts. Lorenz
Publishing Company
#30/3734L. Published by
Lorenz Publishing Company
(LO.30-3734L).
UPC:
000308154627.
Score
and Parts plus CD with
Printable Parts for
65/2106L Joel Raney calls
on Celtic musical
traditions and
instrumentation to
deliver a refreshing
sound for Christmas! The
orchestration by Ed Hogan
incorporates Irish
flutes, drums, acoustic
guitar, and fiddle to
paint vivid imagery of a
beautifully lush and
green Irish countryside.
Familiar Christmas carols
appear, as do some
familiar Christmas texts
set to beloved Irish and
Welsh folk songs. An
ethereal opening sets the
stage before breaking
into an exuberant
rendition of I Saw Three
Ships. Come, Thou
Long-Expected Jesus; Away
in a Manger; Gentle Mary
Laid Her Child; and the
beloved Angels We Have
Heard on High all make
appearances as the work
progresses, culminating
with a rhythmic
re-imagining of O Come,
All Ye Faithful set to
the traditional Scottish
melody Loch Lomond. One
of the highlights of this
musical is O Holy Night,
written for soloist and
choir and set to the
timeless tune,
LONDONDERRY AIR. Present
the Christmas story in a
uniquely captivating way
with this imaginative
work!
Full orchestra SKU: LO.30-3732L Composed by Joel Raney. Arranged by Ed Ho...(+)
Full orchestra
SKU:
LO.30-3732L
Composed
by Joel Raney. Arranged
by Ed Hogan. Choral,
cantatas. Advent,
Christmas, Sacred.
Instrumental parts.
Lorenz Publishing Company
#30/3732L. Published by
Lorenz Publishing Company
(LO.30-3732L).
UPC:
000308154603.
Set
of Parts for 65/2106L
Joel Raney calls on
Celtic musical traditions
and instrumentation to
deliver a refreshing
sound for Christmas! The
orchestration by Ed Hogan
incorporates Irish
flutes, drums, acoustic
guitar, and fiddle to
paint vivid imagery of a
beautifully lush and
green Irish countryside.
Familiar Christmas carols
appear, as do some
familiar Christmas texts
set to beloved Irish and
Welsh folk songs. An
ethereal opening sets the
stage before breaking
into an exuberant
rendition of I Saw Three
Ships. Come, Thou
Long-Expected Jesus; Away
in a Manger; Gentle Mary
Laid Her Child; and the
beloved Angels We Have
Heard on High all make
appearances as the work
progresses, culminating
with a rhythmic
re-imagining of O Come,
All Ye Faithful set to
the traditional Scottish
melody Loch Lomond. One
of the highlights of this
musical is O Holy Night,
written for soloist and
choir and set to the
timeless tune,
LONDONDERRY AIR. Present
the Christmas story in a
uniquely captivating way
with this imaginative
work!
Full orchestra SKU: LO.30-3731L Composed by Joel Raney. Arranged by Ed Ho...(+)
Full orchestra
SKU:
LO.30-3731L
Composed
by Joel Raney. Arranged
by Ed Hogan. Choral,
cantatas. Advent,
Christmas, Sacred. Full
score. Lorenz Publishing
Company #30/3731L.
Published by Lorenz
Publishing Company
(LO.30-3731L).
UPC:
000308154597.
Full
Score for 65/2106L Joel
Raney calls on Celtic
musical traditions and
instrumentation to
deliver a refreshing
sound for Christmas! The
orchestration by Ed Hogan
incorporates Irish
flutes, drums, acoustic
guitar, and fiddle to
paint vivid imagery of a
beautifully lush and
green Irish countryside.
Familiar Christmas carols
appear, as do some
familiar Christmas texts
set to beloved Irish and
Welsh folk songs. An
ethereal opening sets the
stage before breaking
into an exuberant
rendition of I Saw Three
Ships. Come, Thou
Long-Expected Jesus; Away
in a Manger; Gentle Mary
Laid Her Child; and the
beloved Angels We Have
Heard on High all make
appearances as the work
progresses, culminating
with a rhythmic
re-imagining of O Come,
All Ye Faithful set to
the traditional Scottish
melody Loch Lomond. One
of the highlights of this
musical is O Holy Night,
written for soloist and
choir and set to the
timeless tune,
LONDONDERRY AIR. Present
the Christmas story in a
uniquely captivating way
with this imaginative
work!
By Johann Sebastian Bach (1685-1750). Edited by Heinrich Besseler; Hans Gruss. F...(+)
By Johann Sebastian Bach
(1685-1750). Edited by
Heinrich Besseler; Hans
Gruss. For orchestra (3
trumpets/timpani/2
oboes/2
violins/viola/basso
continuo (cello/double
bass/harpsichord)). This
edition: Stapled, Urtext
edition. Score. Text
Language: German/English.
BWV 1068. 50 pages.
Duration 24'. Published
by Baerenreiter Verlag
Full
Score. Composed by
Per Norgard. Music Sales
America. 20Th Century,
Classical. Softcover. 188
pages. Edition Wilhelm
Hansen #KP00865.
Published by Edition
Wilhelm Hansen
(HL.14032192).
ISBN
9788759858394.
12.0x16.5x0.78 inches.
International (more than
one
language).
Symphony
No. 6 for orchestra,
1997-99. Preface /
Program Note:... with the
Lord a day is like a
thousand years, and a
thousand years is like a
day(New Testament, 2
Peter 3:8)My SYMPHONY NO.
6 was commissioned by the
Danish National Radio
Symphony Orchestra, the
Gteborg Symphony
Orchestra and the Oslo
Philharmonic Orchestra,
to be premiered at the
millenium 2000.The
subtitle AT THE END OF
THE DAY can be understood
literally or it can mean
when all is added up.
However, in my opinion,
nothing ever quite adds
up, there is always
something missing, any
ending will be
provisional ...This
symphony appears to end
only a few minutes into
the first movement, the
first passage, as the
music fades away to
almost-silence, after a
start of flying colours.
But then there is still
something, a small motive
(first heard in the
initial sound-waves)
which reappears,
hesitant, but persistent,
and this embryo is what
leads on the musical
progression. An agitated
section of many
instrumental voices comes
next, until all the
voices become obsessed
with the same phrase, a
see-saw motive based on
thirds. This section
evolves into almost
martial ferocity, when
broken off by a tutti
descent into an extreme
bass-world (a bass-world
which actually permeates
the whole symphony,
emplyoing instruments
that I have never used
before: double-bass tuba,
double-bass trombone,
double-bass clarinet, and
bass flute).The second
movement, the second
passage, apparently takes
off where the first
passage ended, but now
the events are more
ambiguous, and the same
music may be perceived as
fast-moving one moment
and slow-moving the next.
This section is a kind of
passacaglia, the
characteristic baroque
bass-variation.Without a
break follows the third
and last passage, in a
contrasting high
register. The music is
rhythmically knotty as
well as freely flowing.
As in the beginning of
the symphony, a
never-ending descent or
fall breaks off the
events, and at the very
end a delta of new
beginnings, of other
worlds, is revealed
....The symphony is
dedicated to Helle, my
wife. - Per Norgard.
I Got Rhythm Orchestre [Conducteur] - Débutant Alfred Publishing
Concert Band; Orchestra - Grade 1 SKU: AP.49165S Composed by George Gersh...(+)
Concert Band; Orchestra -
Grade 1
SKU:
AP.49165S
Composed by
George Gershwin and Ira
Gershwin. Arranged by
Michael Story. 5 or More;
Mixed Instruments -
Flexible Instrumentation;
Performance Music
Ensemble; Quartet; Single
Titles; Solo Small
Ensembles. Pop Beginning
Band. Classic Pop; Jazz.
Score. 16 pages. Duration
1:45. Alfred Music
#00-49165S. Published by
Alfred Music (AP.49165S).
UPC: 038081563688.
English.
This
version of I Got Rhythm
arranged by Michael Story
is part of our Belwin
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 4 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. The
4-part instrumentation
will support balanced
instrumentation of the
lower voices. 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.
This timeless
George and Ira Gershwin
jazz classic has been
covered by dozens of
popular artists. The song
remains one of the most
recognizable melodies
from the 20th century. In
a charismatic
contemporary arrangement,
I Got Rhythm is
accessible to first-year
students and will be an
upbeat addition to any
program. (1:45) This
title is available in
MakeMusic Cloud.
I Got Rhythm Orchestre - Débutant Alfred Publishing
Concert Band; Orchestra - Grade 1 SKU: AP.49165 Composed by George Gershw...(+)
Concert Band; Orchestra -
Grade 1
SKU:
AP.49165
Composed by
George Gershwin and Ira
Gershwin. Arranged by
Michael Story. 5 or More;
MakeMusic Cloud; Mixed
Instruments - Flexible
Instrumentation;
Performance Music
Ensemble; Quartet; Single
Titles; Solo Small
Ensembles. Pop Beginning
Band. Classic Pop; Jazz.
Score and Part(s). 76
pages. Duration 1:45.
Alfred Music #00-49165.
Published by Alfred Music
(AP.49165).
UPC:
038081563671.
English.
This
version of I Got Rhythm
arranged by Michael Story
is part of our Belwin
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 4 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. The
4-part instrumentation
will support balanced
instrumentation of the
lower voices. 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.
This timeless
George and Ira Gershwin
jazz classic has been
covered by dozens of
popular artists. The song
remains one of the most
recognizable melodies
from the 20th century. In
a charismatic
contemporary arrangement,
I Got Rhythm is
accessible to first-year
students and will be an
upbeat addition to any
program. (1:45) This
title is available in
MakeMusic Cloud.
Orchestra SKU: HL.51489069 Study Score. Composed by Franz Joseph H...(+)
Orchestra
SKU:
HL.51489069
Study
Score. Composed by
Franz Joseph Haydn.
Edited by Horst Walter.
Henle Music Folios.
Classical. Softcover. 93
pages. G. Henle #HN9069.
Published by G. Henle
(HL.51489069).
UPC:
840126951905.
6.75x9.5x0.291
inches.
Haydn
arrived in London at the
beginning of February
1794 for his second stay
in England. By this time,
he had completed three
movements of the Symphony
in D major Hob. I:101,
and the finished work was
premiered on 3 March.
Even the members of the
audience at the premiere
took note of the
pendulum-like
accompanying figure in
the second movement,
which was in fact
explicitly mentioned in a
review: “The
management of the
accompaniments of the
andante, though perfectly
simple, was
masterly.†The even
tick-tock oscillations
sparked the imagination
of listeners so much,
apparently, that the
nickname
“Clock†came
into use later in the
nineteenth century. And
while this name may have
nothing to do with Haydn,
is it even possible to
listen to the famous
second movement today
without making the
association? To everyone
wishing to become more
acquainted with this
symphony, let this
inexpensive study edition
be commended - with
reliable commentaries on
its genesis, sources, and
edition as well as an
unassailable musical text
taken from the Haydn
Complete Edition.
Arranged by Vince Gassi.
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Christmas;
Sacred; Traditional;
Winter. Score and
Part(s). 134 pages.
Highland/Etling
#00-31604. Published by
Highland/Etling
(AP.31604).
UPC:
038081349534. English.
Traditional English
Carol.
You'll have
no trouble getting into
the Christmas spirit with
this delightful
adaptation of a
traditional English
Carol. Coated with a
layer of sugar frosting,
this piece will warm you
up with its joyous
harmonies and charming
melodies, making you feel
like you are sitting in
front of a crackly fire
sipping hot cocoa on a
crisp wintry night. Sure
to become an audience
favorite!
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.
New music
(post-2000). Full score.
Composed 2016/17/20. 48
pages. Duration 8'.
Breitkopf and Haertel #PB
5432. Published by
Breitkopf and Haertel
(BR.PB-5432).
ISBN
9790004212790. 10 x 12.5
inches.
Marche
fatale is an incautiously
daring escapade that may
annoy the fans of my
compositions more than my
earlier works, many of
which have prevailed only
after scandals at their
world premieres. My
Marche fatale has,
though, little
stylistically to do with
my previous compositional
path; it presents itself
without restraint, if not
as a regression, then
still as a recourse to
those empty phrases to
which modern civilization
still clings in its daily
utility music, whereas
music in the 20th and
21st centuries has long
since advanced to new,
unfamiliar soundscapes
and expressive
possibilities. The key
term is banality. As
creators we despise it,
we try to avoid it -
though we are not safe
from the cheap banal even
within new aesthetic
achievements.Many
composers have
incidentally accepted the
banal. Mozart wrote Ein
musikalischer Spass [A
Musical Jape], a
deliberately amateurishly
miscarried sextet.
Beethoven's Bagatellen
op. 119 were rejected by
the publisher on the
grounds that few will
believe that this minor
work is by the famous
Beethoven. Mauricio Kagel
wrote, tongue in cheek,
so to speak, Marsche, um
den Sieg zu verfehlen
[Marches for being
Unvictorious], Ligeti
wrote Hungarian Rock; in
his Circus Polka
Stravinsky quoted and
distorted the famous, all
too popular Schubert
military march, composed
at the time for piano
duet. I myself do not
know, though, whether I
ought to rank my Marche
fatale alongside these
examples: I accept the
humor in daily life, the
more so as this daily
life for some of us is
not otherwise to be
borne. In music, I
mistrust it, considering
myself all the closer to
the profounder idea of
cheerfulness having
little to do with humor.
However: Isn't a march
with its compelling claim
to a collectively martial
or festive mood absurd, a
priori? Is it even music
at all? Can one march and
at the same time listen?
Eventually, I resolved to
take the absurd seriously
- perhaps bitterly
seriously - as a
debunking emblem of our
civilization that is
standing on the brink.
The way - seemingly
unstoppable - into the
black hole of all
debilitating demons: that
can become serene. My old
request of myself and my
music-creating
surroundings is to write
a non-music, whence the
familiar concept of music
is repeatedly re-defined
anew and differently, so
that derailed here -
perhaps? - in a
treacherous way, the
concert hall becomes the
place of mind-opening
adventures instead of a
refuge in illusory
security. How could that
happen? The rest is -
thinking.(Helmut
Lachenmann, 2017)CD
(Version for
Piano):Nicolas Hodges CD
Wergo WER 7393 2
Bibliography:Ich bin
nicht ,,pietistisch
verformt. Ein Gesprach
[von Jan Brachmann] mit
dem Komponisten Helmut
Lachenmann, in: FAZ vom
7. Juni 2018, p.
15.
World premiere
of the piano version:
Mito/Japan, June 17,
2017, World premiere of
the orchestral version:
Stuttgart, January 1,
2018, World premiere of
the ensemble version:
Frankfurt, December 9,
2020.
Full Orchestra SKU: SU.32040110 For Full Orchestra. Composed by Am...(+)
Full Orchestra
SKU:
SU.32040110
For
Full Orchestra.
Composed by Amy Riebs
Mills. Orchestra. Full
Score. Subito Music
Corporation #32040110.
Published by Subito Music
Corporation
(SU.32040110).
2,1 2,1 2,1 2;
4331; timp, 2perc, cel;
stgs Duration: 8'
Composed: 2012 Published
by: Amy Mills Music, LLC
Creative setting of 3
carols: O Come O Come
Emanuel intertwined with
Ma Navu Ding Dong Merrily
on High with bells,
glock, chimes Angels We
Have Heard on High with
charming mixed meter
Majestic recap of Rejoice
section of O Come O Come
Emanuel Maestro Harvey
Felder, after the
premiere with the Tacoma
Symphony: The thing that
I really appreciated
about your Christmas
Angels and Bells was the
skillful and artistic
writing. As you know,
holiday music typically
offers little or no
musical depth, which
leads to a less than
enthusiastic reaction
from the orchestra. Your
piece offered a level of
musical sophistication
worthy of a professional
symphony while still
creating a festive
holiday spirit. The
orchestra and I enjoyed
having the opportunity to
dig into something
substantive yet fun on
our holiday concert. See
composer website for
audio sample. Performance
materials available on
rental only:.
Orchestra SKU: PR.416415720 For Orchestra. Composed by Narong Pran...(+)
Orchestra
SKU:
PR.416415720
For
Orchestra. Composed
by Narong Prangcharoen.
Full score. 24 pages.
Duration 5:30. Theodore
Presser Company
#416-41572. Published by
Theodore Presser Company
(PR.416415720).
UPC:
680160636150.
Illum
inating Journey is
composed to celebrate
Maestro Carl St. Clair's
25th Anniversary season
with Pacific Symphony.
Maestro St. Clair is one
of the few conductors who
has dedicated his time to
new music and support for
living composers. I first
encountered Maestro St.
Clair in 2004 when I was
one of the finalists for
the Young Composers
Competition. After I won
that competition, I had
an opportunity to work
with Maestro St. Clair on
the piece that he
commissioned for the
Pacific Symphony in 2005.
That's the beginning of
the journey of our
friendship. Illuminating
Journey is inspired by
Maestro St. Clair's
personality and the music
he loved. The piece is
mainly based on the pitch
material from Maestro St.
Clair's name CARL which
can be translated as C =
C, A = A, R = Re, and L =
La. That pitch material
already has the character
of Illuminating sound for
the open 5th and octave.
The piece also
incorporates some musical
references that have some
meaning for Maestro St.
Clair, such as the
hopefulness of the
melodic intervals from
West Side Story, There's
a Place for Us, composed
by Leonard Bernstein, who
was also Maestro St.
Clair's mentor.
Illuminating Journey
starts with the rhythmic
motion of the pitch C and
moves on to create a set
of pitches. The note C
functions as a center for
the endless energy of
this piece and creates a
triumphant ending. I
would personally like to
thank Maestro St. Clair
for his dedication on my
music and his friendship
throughout the past 10
years. The work with
Maestro St. Clair and the
Pacific Symphony was an
early step in my career
as a composer. I often
mentioned that I may not
be able to come this far
without that part of my
life. Thank you very
much, Maestro St. Clair
and the Pacific Symphony.
Let's celebrate our
Illuminating Journey
together.
Orchestra SKU: PR.41641572L For Orchestra. Composed by Narong Pran...(+)
Orchestra
SKU:
PR.41641572L
For
Orchestra. Composed
by Narong Prangcharoen.
Large Score. 24 pages.
Duration 5:30. Theodore
Presser Company
#416-41572L. Published by
Theodore Presser Company
(PR.41641572L).
UPC:
680160636167.
Illum
inating Journey is
composed to celebrate
Maestro Carl St. Clair's
25th Anniversary season
with Pacific Symphony.
Maestro St. Clair is one
of the few conductors who
has dedicated his time to
new music and support for
living composers. I first
encountered Maestro St.
Clair in 2004 when I was
one of the finalists for
the Young Composers
Competition. After I won
that competition, I had
an opportunity to work
with Maestro St. Clair on
the piece that he
commissioned for the
Pacific Symphony in 2005.
That's the beginning of
the journey of our
friendship. Illuminating
Journey is inspired by
Maestro St. Clair's
personality and the music
he loved. The piece is
mainly based on the pitch
material from Maestro St.
Clair's name CARL which
can be translated as C =
C, A = A, R = Re, and L =
La. That pitch material
already has the character
of Illuminating sound for
the open 5th and octave.
The piece also
incorporates some musical
references that have some
meaning for Maestro St.
Clair, such as the
hopefulness of the
melodic intervals from
West Side Story, There's
a Place for Us, composed
by Leonard Bernstein, who
was also Maestro St.
Clair's mentor.
Illuminating Journey
starts with the rhythmic
motion of the pitch C and
moves on to create a set
of pitches. The note C
functions as a center for
the endless energy of
this piece and creates a
triumphant ending. I
would personally like to
thank Maestro St. Clair
for his dedication on my
music and his friendship
throughout the past 10
years. The work with
Maestro St. Clair and the
Pacific Symphony was an
early step in my career
as a composer. I often
mentioned that I may not
be able to come this far
without that part of my
life. Thank you very
much, Maestro St. Clair
and the Pacific Symphony.
Let's celebrate our
Illuminating Journey
together.
Divertimento teatrale
in one act. Operetta for
four voices. Composed
by Antonio Salieri.
Edited by Adrian La
Salvia and Thomas
Betzwieser. This edition:
Edition of selected
works, Urtext edition.
Linen. Spectrum of
European Music Theatre in
Separate Editions 1.
Edition of selected
works, Score, Critical
commentary, USB flash
drive. Duration 1 hour,
15 minutes. Baerenreiter
Verlag #BA08811_00.
Published by Baerenreiter
Verlag (BA.BA08811).
ISBN 9790006539840.
33.1 x 26.5 cm inches.
Text Language: Italian.
Preface: Betzwieser,
Thomas. Text:
Giambattista
Casti.
A memorable
musical competition
commissioned by the
emperor Joseph II took
place on 7 February 1786
as part of a festival in
the orangery of the
Schönbrunn palace. A
German Singspiel ensemble
performed Mozart’s
“Schauspieldirektor
†whilst Antonio
Salieri’s
“Prima la musica e
poi le parole†was
performed by the Italian
court singers and
musicians. This charming
opera satire belongs to
the genre of
“metamelodrammaâ
in which the opera
itself becomes the
subject of the action.
The people who are part
of an opera production,
for example the
librettist, composer and
prima donna, appear as
characters on the stage
and are presented in a
humorous self-reflection.
In this ‘theatre
about theatre’
Salieri parodies the
music from Giuseppe
Sarti’s
“Giulio
Sabino†in his
insert arias, thus
playing on the music
which was totally
familiar with the
audience of the time. By
reflecting on the
musical-dramatic style of
that period and
discussing whether
‘the word’
or ‘the
music’ should take
priority, this
masterpiece is considered
to be an early forerunner
to Richard
Strauss’s
“Capriccioâ€.<
br> The new edition of
the score is published as
part of “opera
– Spectrum of
European Music Theatre in
Separate Editionsâ€.
There are several
alterations regarding the
libretto text, stage
directions, articulation,
ornamentation, etc. which
have been incorporated
into this newly engraved
vocal score. Furthermore,
all appendix numbers from
the score which concern
the quotations from
Giuseppe Sarti’s
“Giulio
Sabino†have also
been
incorporated.
â
¢ Urtext vocal score
based on the
historical-critical
hybrid score published as
part of “opera
– Spectrum of
European Music Theatre in
Separate Editionsâ€
edited by Thomas
Betzwieser (music
edition) and Adrian La
Salvia (text
edition). •
Original Italian libretto
with singable German
translation •
Comprehensive bilingual
foreword (Ger/Eng) on the
genesis and reception of
the work, on
metamelodramma and
intertextuality
etc. • Includes
an extensive appendix to
the quotations taken from
Giuseppe Sarti’s
“Giulio
Sabino†•
Idiomatic piano
reduction
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.BA05822-01 Composed by Christoph Willibald Von Gluck. E...(+)
Orchestra
SKU:
BA.BA05822-01
Composed by Christoph
Willibald Von Gluck.
Edited by Irene
Brandenburg. Arranged by
Carlo Bernardi and
Gasparo Angiolini. This
edition: complete
edition, urtext edition.
Linen. Complete edition,
Score. Baerenreiter
Verlag #BA05822-01.
Published by Baerenreiter
Verlag (BA.BA05822-01).
ISBN 9790006567454. 33
x 26 cm inches. Preface:
Brown, Bruce
Alan.
To conclude
Series II (Dance Dramas)
from the Gluck Complete
Edition (GGA), this
volume of Christoph
Willibald Gluck's
earliest contributions to
the genre comprises six
ballet scores from 1759
(La Promenade, Les
Jardiniers, Les Turcs,
Les Savoiards, Les Amours
de Flore et Zphire, and
Le Suisse) as well as the
ballet music for Les
Vendanges, which dates
from 1761. These works
belong to the
compositions â also
called Krumau ballets
because of their musical
transmission â which
Gluck created in Vienna
between 1759 and 1765 for
the court theatres in
Laxenburg and
Schönbrunn as well as
the
Kärntnertortheater,
and which are to be
attributed to him as a
ballet composer around
the middle of the 18th
century in Viennese
theatre life based on the
considerations presented
in the general
preface.
Together
with volumes II/3 to
II/5, ballet music by
Gluck is available whose
sources come from the
former Schwarzenberg
court archive in Ceský
Krumlov, Czech Republic,
and which until the
Velvet Revolution of
1989, lay behind the Iron
Curtain remaining largely
inaccessible and
unexplored by Western
scholars. These volumes
reflect two fundamental
developments in Gluck
research: on the one
hand, they provide a
significantly expanded,
historically more
accurate idea of what it
meant to compose for the
ballet in the 18th
century; on the other
hand, they bring to light
an immense treasure trove
of sources formerly of
Viennese
provenance.
In
addition to the detailed
introduction by this
volumeâs editor on
the ballet choreographies
of Gasparo Angiolini and
Carlo Bernardi, on the
formation of the ballet
troupes of the Viennese
theatres in Gluck's early
years there, on ballet
types and genres, as well
as a detailed account of
the individual titles,
the volume includes a
general preface to
volumes II/3 through II/5
by Bruce Alan Brown,
which discusses Gluck's
ballet music in Vienna in
general as well as the
development of research
into this genre.
Extensive illustrations
(partly from the
so-called Durazzo
Collection) with
reference to the
choreographies enrich the
discussions. The ballet
works, which have
survived in only one
source each, appear in
print for the first time
in this volume of the
Gluck Complete
Edition.
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