Violin 2
(3(picc).3(ob.d'am.cor
angl.).3(Eb-clar.B-clar).
S-Sax,T-Sax(S-Sax).3(dble
bsn) - 4.4.3.1 -
timp.perc(4) - hp - cel -
str)
SKU:
BR.OB-5299-16
Urtext. Composed
by Maurice Ravel. Edited
by Jean-Francois Monnard.
This edition: violin 2
part. Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Jean-Francois
Monnard's new Urtext
edition is the first to
be based on a
musicologically
well-founded source
comparison. Ravel's first
sketch of the score as
well as his final
handwritten score were
laid down as the
principal sources.
Dances/marches; Early
modern. Part. 8 pages.
Duration 16'. Breitkopf
and Haertel #OB 5299-16.
Published by Breitkopf
and Haertel
(BR.OB-5299-16).
ISBN
9790004339305. 10 x 12.5
inches.
Jean-Franco
is Monnard's new Urtext
edition is the first to
be based on a
musicologically
well-founded source
comparison. Ravel's first
sketch of the score as
well as his final
handwritten score were
laid down as the
principal
sources.Jean-Francois
Monnard's new Urtext
edition is the first to
be based on a
musicologically
well-founded source
comparison. Ravel's first
sketch of the score as
well as his final
handwritten score were
laid down as the
principal sources. In his
preface, Monnard examines
Ravel's sound aesthetics
against the background of
concert reception and
historical recordings.
Moreover, he also
provides insights into
Ravel's ideas concerning
the tempo: ,,I must say
that the Bolero is rarely
conducted the way I think
it should. Mengelberg
speeds up and slows down
excessively. Toscanini
takes it twice as fast as
it should be and broadens
the tempo at the close,
which is indicated
nowhere. No: the Bolero
should be played in one
single tempo from the
beginning to the end, in
the plaintive and
monotonous style of
Spanish-Arabian melodies.
The performance material
to Ravel's Bolero can now
also be purchased in its
entirety for the first
time.
Jean-Francoi
s Monnard's new Urtext
edition is the first to
be based on a
musicologically
well-founded source
comparison. Ravel's first
sketch of the score as
well as his final
handwritten score were
laid down as the
principal sources.
Double bass
(3(picc).3(ob.d'am.cor
angl.).3(Eb-clar.B-clar).
S-Sax,T-Sax(S-Sax).3(dble
bsn) - 4.4.3.1 -
timp.perc(4) - hp - cel -
str)
SKU:
BR.OB-5299-27
Urtext. Composed
by Maurice Ravel. Edited
by Jean-Francois Monnard.
This edition: double bass
part. Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Jean-Francois
Monnard's new Urtext
edition is the first to
be based on a
musicologically
well-founded source
comparison. Ravel's first
sketch of the score as
well as his final
handwritten score were
laid down as the
principal sources.
Dances/marches; Early
modern. Part. 4 pages.
Duration 16'. Breitkopf
and Haertel #OB 5299-27.
Published by Breitkopf
and Haertel
(BR.OB-5299-27).
ISBN
9790004339336. 10 x 12.5
inches.
Jean-Franco
is Monnard's new Urtext
edition is the first to
be based on a
musicologically
well-founded source
comparison. Ravel's first
sketch of the score as
well as his final
handwritten score were
laid down as the
principal
sources.Jean-Francois
Monnard's new Urtext
edition is the first to
be based on a
musicologically
well-founded source
comparison. Ravel's first
sketch of the score as
well as his final
handwritten score were
laid down as the
principal sources. In his
preface, Monnard examines
Ravel's sound aesthetics
against the background of
concert reception and
historical recordings.
Moreover, he also
provides insights into
Ravel's ideas concerning
the tempo: ,,I must say
that the Bolero is rarely
conducted the way I think
it should. Mengelberg
speeds up and slows down
excessively. Toscanini
takes it twice as fast as
it should be and broadens
the tempo at the close,
which is indicated
nowhere. No: the Bolero
should be played in one
single tempo from the
beginning to the end, in
the plaintive and
monotonous style of
Spanish-Arabian melodies.
The performance material
to Ravel's Bolero can now
also be purchased in its
entirety for the first
time.
Jean-Francoi
s Monnard's new Urtext
edition is the first to
be based on a
musicologically
well-founded source
comparison. Ravel's first
sketch of the score as
well as his final
handwritten score were
laid down as the
principal sources.
Woodwinds
(3(picc).3(ob.d'am.cor
angl.).3(Eb-clar.B-clar).
S-Sax,T-Sax(S-Sax).3(dble
bsn) - 4.4.3.1 -
timp.perc(4) - hp - cel -
str)
SKU:
BR.OB-5299-30
Urtext. Composed
by Maurice Ravel. Edited
by Jean-Francois Monnard.
This edition: wind parts.
Orchestra; Folder.
Orchester-Bibliothek
(Orchestral Library).
Jean-Francois Monnard's
new Urtext edition is the
first to be based on a
musicologically
well-founded source
comparison. Ravel's first
sketch of the score as
well as his final
handwritten score were
laid down as the
principal sources.
Dances/marches; Early
modern. Set of parts. 134
pages. Duration 16'.
Breitkopf and Haertel #OB
5299-30. Published by
Breitkopf and Haertel
(BR.OB-5299-30).
ISBN
9790004339343. 10 x 12.5
inches.
Jean-Franco
is Monnard's new Urtext
edition is the first to
be based on a
musicologically
well-founded source
comparison. Ravel's first
sketch of the score as
well as his final
handwritten score were
laid down as the
principal
sources.Jean-Francois
Monnard's new Urtext
edition is the first to
be based on a
musicologically
well-founded source
comparison. Ravel's first
sketch of the score as
well as his final
handwritten score were
laid down as the
principal sources. In his
preface, Monnard examines
Ravel's sound aesthetics
against the background of
concert reception and
historical recordings.
Moreover, he also
provides insights into
Ravel's ideas concerning
the tempo: ,,I must say
that the Bolero is rarely
conducted the way I think
it should. Mengelberg
speeds up and slows down
excessively. Toscanini
takes it twice as fast as
it should be and broadens
the tempo at the close,
which is indicated
nowhere. No: the Bolero
should be played in one
single tempo from the
beginning to the end, in
the plaintive and
monotonous style of
Spanish-Arabian melodies.
The performance material
to Ravel's Bolero can now
also be purchased in its
entirety for the first
time.
Jean-Francoi
s Monnard's new Urtext
edition is the first to
be based on a
musicologically
well-founded source
comparison. Ravel's first
sketch of the score as
well as his final
handwritten score were
laid down as the
principal sources.
Orchestra
(3(picc).3(ob.d'am.cor
angl.).3(Eb-clar.B-clar).
S-Sax,T-Sax(S-Sax).3(dble
bsn) - 4.4.3.1 -
timp.perc(4) - hp - cel -
str)
SKU:
BR.PB-5524
Urtext. Composed
by Maurice Ravel. Edited
by Jean-Francois Monnard.
Orchestra; Softbound.
Partitur-Bibliothek
(Score Library).
Dances/marches; Early
modern. Study Score.
Duration 16'. Breitkopf
and Haertel #PB 5524.
Published by Breitkopf
and Haertel (BR.PB-5524).
ISBN 9790004212134.
6.5 x 9
inches.
Jean-Franco
is Monnard's new Urtext
edition is the first to
be based on a
musicologically
well-founded source
comparison. Ravel's first
sketch of the score as
well as his final
handwritten score were
laid down as the
principal
sources.Jean-Francois
Monnard's new Urtext
edition is the first to
be based on a
musicologically
well-founded source
comparison. Ravel's first
sketch of the score as
well as his final
handwritten score were
laid down as the
principal sources. In his
preface, Monnard examines
Ravel's sound aesthetics
against the background of
concert reception and
historical recordings.
Moreover, he also
provides insights into
Ravel's ideas concerning
the tempo: ,,I must say
that the Bolero is rarely
conducted the way I think
it should. Mengelberg
speeds up and slows down
excessively. Toscanini
takes it twice as fast as
it should be and broadens
the tempo at the close,
which is indicated
nowhere. No: the Bolero
should be played in one
single tempo from the
beginning to the end, in
the plaintive and
monotonous style of
Spanish-Arabian melodies.
The performance material
to Ravel's Bolero can now
also be purchased in its
entirety for the first
time.
Jean-Francoi
s Monnard's new Urtext
edition is the first to
be based on a
musicologically
well-founded source
comparison. Ravel's first
sketch of the score as
well as his final
handwritten score were
laid down as the
principal sources.
Composed by Drew
Beisswenger. Country,
Bluegrass, Perfect
binding, Solos, Duets and
Ensembles, Tunebook,
American Music. Style.
Book and online audio.
220 pages. Mel Bay
Publications, Inc
#21123M. Published by Mel
Bay Publications, Inc
(MB.21123M).
ISBN
9780786695256. 8.75 x
11.75 inches.
This
book, which includes 308
tune transcriptions, is
organized around
individual fiddlers who
typically combine
Appalachian-style
fiddling with rags, pop
standards, Midwest-style
fiddling and sometimes a
touch of Western swing to
create a style often
identifiable as Ozarks.
Thirty Ozarks fiddlers
and their lives are
highlighted with
biographical sketches,
photographs, and tune
histories. Another 50
great Ozarks fiddlers are
presented in a similar
manner but with less
detail. The book and
accompanying audio with
37 tunes, many recorded
in the field emphasize
the older fiddling
traditions connected to
the square dances and
community events more
than those connected to
bluegrass music and
modern contest fiddling.
Some of the tunes in the
collection are old
standbys such as Bile
Them Cabbage while others
such as Finley Creek
Blues are unique to the
region. The book is the
result of years of work
by two respected
researchers. Gordon
McCann won the
prestigious Missouri Arts
Award in 2002 for his
decades of work
documenting, studying,
and accompanying Ozarks
fiddle music. Drew
Beisswenger, a music
librarian at Missouri
State University with a
Ph.D. in ethnomusicology,
has published three other
works about fiddle music
and is known for his
strong transcription and
analysis skills. Includes
access to online
audio.
Notturno
- Napolitana - Roma.
Composed by Francesco
Balilla Pratella. Edited
by Maurizio Mazzoli.
Saddle stitching.
Classical. Ut Orpheus #CH
111. Published by Ut
Orpheus (UT.CH-111).
ISBN 9790215316317. 9
x 12 inches.
The
three original pieces for
guitar Notturno,
Napolitana
(popolar songs) and
Roma (March
for guitar),
together with three
transcriptions, are
included in a manuscript
of 36 pages, noting in
the frontispiece
“Transcriptions and
compositions of F.
Balilla Pratella sent as
a tribute to M.R. Brondi
(1920)”.
These compositions follow
a traditional language,
and, in the tonality and
the alternating themes,
are an expression of
Pratella’s
folkloric vein, with
cantabile and melancholy
melodies, with the
exception of the march,
that show some echoes of
the nineteenth century
guitar masters’ way
of composing. There is
a characteristic use of
the quartine with
no alternated thumb
forefinger tremolo, that
immediately recalls the
plectrum orchestra so
much used by Pratella in
his youth. The
discovery of these pieces
– which happened
accidentally and saved
them from certain
destruction –
contributes to enhance
that period of great
guitarist turmoil
preceding Segovia,
establishing itself at
the beginning of
twentieth century in
Italy with three
compositions from an
author that, along
with the Bonaccorsi and
Colacicchi, anticipated
that current –
already initiated by the
Fara, Gabriel,
Caravaglios –
which was, in the
following decades, to go
by the name of
ethnomusicology.
(Recercari, et Canzoni franzese (Rom, Zannetti, 1615, 21618)). By Girolamo Fresc...(+)
(Recercari, et Canzoni
franzese (Rom, Zannetti,
1615, 21618)). By
Girolamo Frescobaldi
(1583-1643). Edited by
Christopher Stembridge;
Kenneth Gilbert. For
Organ/Piano/Harpsichord.
Orgel- und Clavierwerke,
Band I.1 (Neuausgabe).
Playing Score; Urtext
Edition (paperbound).
Published by Baerenreiter
Verlag
Woodwinds SKU: BR.OB-5560-30 Urtext. Composed by George Frideric H...(+)
Woodwinds
SKU:
BR.OB-5560-30
Urtext. Composed
by George Frideric
Handel. Edited by
Caroline Ritchie and
Malcolm Bruno. Choir;
Folder.
Orchester-Bibliothek
(Orchestral Library).
Critical Edition with
the original English text
by Charles Jennens as
well as the German
translation by Johann
Gottfried Herder,
including a comprehensive
historical and
musicological preface and
detailed critical
commentary.
Have a
look int.
Oratorio/passion;
Baroque. Set of parts.
134 pages. Duration 120'.
Breitkopf and Haertel #OB
5560-30. Published by
Breitkopf and Haertel
(BR.OB-5560-30).
ISBN
9790004344163. 10 x 12.5
inches.
Messiah
1741 - new light on
Handel's masterpieceThe
focus of this new edition
is the Messiah as first
conceived by the composer
in 1741: before its first
performance in Dublin in
1742, before the first
London performances of
the mid 1740s, before the
final Foundling Hospital
performances in the late
1750s. The editor
succeeds in creating a
21st-century edition from
the perspective of 1741,
making clear that Messiah
was a genius hit from the
start.Messiah 1741 - the
first and only complete
edition of Handel's
autograph scoreThorough
information on Handel's
performance practice in
1741 (including topics
such as orchestration,
continuo, text underlay
and specific questions on
interpretation)It offers
a reconstruction of the
wind parts according to
contemporary sourcesPiano
vocal score with
contemporary vocal
ornamentationFirst
edition including the
German text by Herder - a
monument of the German
enlightenment - which is
contentwise and
phonetically closer to
Jennens' text than any
other translation,
therefore being a perfect
singable alternativeThe
appendix contains
additionally the most
popular and important
aria versions composed
after 1741 for practical
reasons.Throughout this
new edition, creative yet
pragmatic scholarship
shines through, and the
Preface and Critical
Report are thorough and
unusually fascinating.
... I'm very happy to own
the full score, and if I
were starting out now,
I'd invest in the whole
kit and caboodle.(Jeremy
Summerly, Choir &
Organ)
Critical
Edition with the original
English text by Charles
Jennens as well as the
German translation by
Johann Gottfried Herder,
including a comprehensive
historical and
musicological preface and
detailed critical
commentary.
Basso (cello/double bass) SKU: BR.OB-5560-26 Urtext. Composed by G...(+)
Basso (cello/double bass)
SKU: BR.OB-5560-26
Urtext. Composed
by George Frideric
Handel. Edited by
Caroline Ritchie and
Malcolm Bruno. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Critical Edition with
the original English text
by Charles Jennens as
well as the German
translation by Johann
Gottfried Herder,
including a comprehensive
historical and
musicological preface and
detailed critical
commentary.
Have a
look int.
Oratorio/passion;
Baroque. Part. 60 pages.
Duration 120'. Breitkopf
and Haertel #OB 5560-26.
Published by Breitkopf
and Haertel
(BR.OB-5560-26).
ISBN
9790004344156. 10 x 12.5
inches.
Messiah
1741 - new light on
Handel's masterpieceThe
focus of this new edition
is the Messiah as first
conceived by the composer
in 1741: before its first
performance in Dublin in
1742, before the first
London performances of
the mid 1740s, before the
final Foundling Hospital
performances in the late
1750s. The editor
succeeds in creating a
21st-century edition from
the perspective of 1741,
making clear that Messiah
was a genius hit from the
start.Messiah 1741 - the
first and only complete
edition of Handel's
autograph scoreThorough
information on Handel's
performance practice in
1741 (including topics
such as orchestration,
continuo, text underlay
and specific questions on
interpretation)It offers
a reconstruction of the
wind parts according to
contemporary sourcesPiano
vocal score with
contemporary vocal
ornamentationFirst
edition including the
German text by Herder - a
monument of the German
enlightenment - which is
contentwise and
phonetically closer to
Jennens' text than any
other translation,
therefore being a perfect
singable alternativeThe
appendix contains
additionally the most
popular and important
aria versions composed
after 1741 for practical
reasons.Throughout this
new edition, creative yet
pragmatic scholarship
shines through, and the
Preface and Critical
Report are thorough and
unusually fascinating.
... I'm very happy to own
the full score, and if I
were starting out now,
I'd invest in the whole
kit and caboodle.(Jeremy
Summerly, Choir &
Organ)
Critical
Edition with the original
English text by Charles
Jennens as well as the
German translation by
Johann Gottfried Herder,
including a comprehensive
historical and
musicological preface and
detailed critical
commentary.
Chorus (with soloists) and piano SKU: BR.EB-8450 Urtext. Composed ...(+)
Chorus (with soloists)
and piano
SKU:
BR.EB-8450
Urtext. Composed
by George Frideric
Handel. Edited by
Caroline Ritchie and
Malcolm Bruno. Arranged
by Andreas Kohs. Choir;
Softbound. Edition
Breitkopf. Critical
Edition with the original
English text by Charles
Jennens as well as the
German translation by
Johann Gottfried Herder,
including a comprehensive
historical and
musicological preface and
detailed critical
commentary. Have a look
into EB 8450.
Oratorio/passion;
Baroque. Piano/Vocal
Score. 300 pages.
Duration 120'. Breitkopf
and Haertel #EB 8450.
Published by Breitkopf
and Haertel (BR.EB-8450).
ISBN 9790004184936.
7.5 x 10.5
inches.
Messiah
1741 - new light on
Handel's masterpiece The
focus of this new edition
is the Messiah as first
conceived by the composer
in 1741: before its first
performance in Dublin in
1742, before the first
London performances of
the mid 1740s, before the
final Foundling Hospital
performances in the late
1750s. The editor
succeeds in creating a
21st-century edition from
the perspective of 1741,
making clear that Messiah
was a genius hit from the
start. Messiah 1741 - the
first and only complete
edition of Handel's
autograph score Thorough
information on Handel's
performance practice in
1741 (including topics
such as orchestration,
continuo, text underlay
and specific questions on
interpretation) It offers
a reconstruction of the
wind parts according to
contemporary sources
Piano vocal score with
contemporary vocal
ornamentation First
edition including the
German text by Herder - a
monument of the German
enlightenment - which is
contentwise and
phonetically closer to
Jennens' text than any
other translation,
therefore being a perfect
singable alternative The
appendix contains
additionally the most
popular and important
aria versions composed
after 1741 for practical
reasons. Throughout this
new edition, creative yet
pragmatic scholarship
shines through, and the
Preface and Critical
Report are thorough and
unusually fascinating.
... I'm very happy to own
the full score, and if I
were starting out now,
I'd invest in the whole
kit and caboodle. (Jeremy
Summerly, Choir &
Organ)
Critical
Edition with the original
English text by Charles
Jennens as well as the
German translation by
Johann Gottfried Herder,
including a comprehensive
historical and
musicological preface and
detailed critical
commentary.
Coronation Mass -
Urtext. Composed by
Wolfgang Amadeus Mozart.
Edited by Franz Beyer.
Stapled.
Orchester-Bibliothek
(Orchestral Library).
This edition is based
on Mozart's own autograph
copy which was evacuated
from the Preussische
Staatsbibliothek to the
Biblioteka Jagiellonska
during World War II; it
became available once
again for musicological
research in the
1980s.'
Mass;
Classical. Part. 16
pages. Duration 30'.
Breitkopf and Haertel #OB
5209-16. Published by
Breitkopf and Haertel
(BR.OB-5209-16).
ISBN
9790004330715. 10 x 12.5
inches.
This
edition is based on
Mozart's own autograph
copy which was evacuated
from the Preussische
Staatsbibliothek to the
Biblioteka Jagiellonska
during World War II; it
became available once
again for musicological
research in the
1980s.'.
Coronation Mass -
Urtext. Composed by
Wolfgang Amadeus Mozart.
Stapled. Chor-Bibliothek
(Choral Library).
This
edition is based on
Mozart's own autograph
copy which was evacuated
from the Preussische
Staatsbibliothek to the
Biblioteka Jagiellonska
during World War II; it
became available once
again for musicological
research in the
1980s.'
Mass;
Classical. Choral score.
20 pages. Duration 30'.
Breitkopf and Haertel
#ChB 5252-02. Published
by Breitkopf and Haertel
(BR.CHB-5252-02).
ISBN
9790004411681. 7.5 x 10.5
inches.
This
edition is based on
Mozart's own autograph
copy which was evacuated
from the Preussische
Staatsbibliothek to the
Biblioteka Jagiellonska
during World War II; it
became available once
again for musicological
research in the
1980s.'
This
edition is based on
Mozart's own autograph
copy which was evacuated
from the Preussische
Staatsbibliothek to the
Biblioteka Jagiellonska
during World War II.
Orchestra (Orchestra) SKU: BA.BA04558-01 Composed by Wolfgang Amadeus Moz...(+)
Orchestra (Orchestra)
SKU: BA.BA04558-01
Composed by Wolfgang
Amadeus Mozart. Edited by
Christoph Hellmut Mahling
and Friedrich Schnapp.
This edition: complete
edition, urtext edition.
Linen. New Mozart Edition
(Neue Mozart Ausgabe -
NMA) Series IV, Volume
11, No. 6. Klassik
(Classical). Complete
edition, Score,
anthology. Baerenreiter
Verlag #BA04558_01.
Published by Baerenreiter
Verlag (BA.BA04558-01).
ISBN 9790006450619. 33
x 26 cm inches.
The
New Mozart Edition offers
researchers a
musicologically
unimpeachable text based
on all the available
sources (first and
foremost Mozart's
autograph manuscripts).
At the same time, it also
serves as an aid to
authentic
performances.
The
principal Series I to IX,
containing Mozart's
actual oeuvre, appeared
between 1956 and 1991.
They are regarded as a
supreme achievement of
Mozart scholarship in our
time; modern performances
of Mozart's music are
unthinkable without them.
The important
supplementary volumes
shed fresh and
illuminating light on
neglected aspects of
Mozart's creative work,
such as his activities as
a teacher or as an
arranger of other
composer's works.
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: 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.