Countertenor and
Chamber Orchestra Vocal
Score. Composed by
Nico Muhly. Music Sales
America. Classical.
Softcover. Composed 2018.
48 pages. St. Rose Music
#SRO100089. Published by
St. Rose Music
(HL.276515).
UPC:
888680990671. 9x12
inches.
“S
entences is a
thirty-minute meditation,
in collaboration with
Adam Gopnik, on several
episodes drawn from the
life and work of Alan
Turing. Turing lived, in
a sense, many different
lives, but at the heart
of his work was, I think,
a very musical set of
anxieties. Even the idea
of code-breaking is
inherently musical; the
French for score-reading
is déchiffrage:
deciphering. His wartime
work on the Enigma code
translated, later in
life, to a more nuanced
relationship to code in
the form of a primitive
but emotionally (and
philosophically)
complicated artificial
intelligence. The piece
uses a single voice not
to speak necessarily as
Turing, but as a guide
through these various
episodes.
I've
always felt that the
question of sentient
computers is wildly
emotional: we
anthropomorphise the Mars
Rover, imagining its
solitude on that dusty
planet. Any act of
communication in which
the second person is
unseen can be a one-way
conversation. An email,
sent, can never be
returned - did it arrive
or did it not?, or a text
message can be delivered
but never read. The
thrill of a fast response
is immediately tempered
with the harsh but empty
rudeness of an
out-of-office reply.
Anybody who has made a
condolence phone call
only to hear the voice of
the deceased on the
outgoing answering
machine message knows the
complexities of what
could be a simple binary
communication.”
–Nico Muhly.
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.
For voice and piano. Format: easy piano/vocal/chords songbook. With vocal melody...(+)
For voice and piano.
Format: easy
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
big note notation and
optional duet part.
Children's. 128 pages.
9x12 inches. Published by
Cherry Lane Music.
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.
Musical Resource for Meditation and Worship. Arranged by Kiran Young Wimb...(+)
Musical Resource for
Meditation and
Worship. Arranged by
Kiran Young Wimberly.
Sacred. With guitar chord
names. 48 pages. GIA
Publications #9353.
Published by GIA
Publications (GI.G-9353).
Emily! Voix Soprano, Piano - Intermédiaire Schirmer
(Musical Settings of the Poems of Emily Dickinson). Composed by Gwyneth W. Walke...(+)
(Musical Settings of the
Poems of Emily
Dickinson). Composed by
Gwyneth W. Walker
(1947-). For soprano
voice solo, piano.
Secular, 21st century.
Medium. Collection.
Published by E.C.
Schirmer Publishing
13 of His Greatest Songs. Performed by Don McLean. Guitar Recorded Versions (Aut...(+)
13 of His Greatest Songs.
Performed by Don McLean.
Guitar Recorded Versions
(Authentic note-for-note
transcriptions). With
notes and tablature. Size
8.5x11 inches. 80 pages.
Published by Hal Leonard.
Harmonices Mundi.
Composed by Robert
Livingston Aldridge.
Piano/Keyboard. Edition
Peters. Living Composer.
Score and Part(s). 100
pages. Edition Peters
#98-EP68582. Published by
Edition Peters
(PE.EP68582).
ISBN
9790300759791. 297 x
420mm
inches.
This
composition was
commissioned anonymously
and by the Brevard Music
Center in honor of Evan
Armstrong North
(1982-2011)
"T
he task of writing a
piece of music for
someone who has left the
world all too soon is not
an easy one. Does one
write celebratory music,
in honor of his
well-lived life? Or does
one musically depict the
loss of such a beloved
young man? I tried to do
something of both. The
first movement begins
with the musical
depiction of the loss, a
descending scale of
despair. As it is a
concerto, much of the
piece is a dialogue
between the soloist and
the orchestra. For the
most part, the piano is
the voice of love and
hope while the orchestra
is the voice of despair
and loss. How does one
move forward to live
after such a loss? What
ensues in the process of
the first movement
represents a gradual
triumph over
despair." - Robert
Livingston
Aldridge
Composed by Ronald Perera. Advanced/Collegiate. Catholic Year A The Nativity of ...(+)
Composed by Ronald
Perera.
Advanced/Collegiate.
Catholic Year A The
Nativity of Our Lord.
Secular, Christmas,
21st Century. Octavo.
Duration 4 minutes, 40
seconds. Published by
E.C. Schirmer Publishing
(EC.8320).
From
Novelettes, Op. 15.
Composed by Alexander
Glazunov. Arranged by
Deborah Baker Monday. SWS
FS. Concert String
Orchestra. Set of Score
and Parts. With Standard
notation.
24+24+6+15+15+10+16
pages. Carl Fischer Music
#CAS63. Published by Carl
Fischer Music (CF.CAS63).
ISBN 9780825889387.
UPC: 798408089382. 8.5 x
11 inches. Key: D
major.
Originally
written for string
quartet, this fantastic
characteristic piece from
Glazunov is a welcome
addition to the string
orchestra repertoire, as
arranged by Deborah Baker
Monday. Well-suited for
the more advanced
ensemble, it contains
excellent musical
opportunities and the
chance to play the music
of a prominent Russian
composer. Deborah's
setting stays very true
to the original, but
enhances it for use by
the full ensemble. Alert
your contest/festival
music committee to this
worthy new piece for high
school string
orchestras. Alexander
Glazunov
(1865–1936) lived
during a very
transitional period of
Russian music history,
active as a composer,
conductor, and teacher.
He was a part of the
Romantic school of
Russian music following
in the tradition of
Tchaikovsky, like his
fellow composers Borodin
and
Rimsky-Korsakov.During
his years at the
conservatory he
instructed many students
who chose to pursue the
modern trends set forth
by Debussy. Stravinsky,
Shostakovich, and even
Prokofiev took
instruction from
Glazunov. Although they
considered him
old-fashioned, he was
remembered as a
stabilizing influence
during transitional
times.Glazunov’s
music stayed within the
category of Russian
Romanticsm: nationalistic
with classical formality.
His list of works
includes numerous
symphonies, concertos,
piano and vocal works,
and chamber works
including seven string
quartets.Op. 15 was first
given the title
“Suite†(a
collection of dances),
and after a
friend’s
recommendation he changed
the name to
“Novelettesâ€.
The five movements are of
contrasting style, but
beautifully reminiscent
of their particular
themes:I. Alla
SpagnuolaII.
OrientaleIII. Interludium
in modo anticoIV. ValseV.
All’ UnghereseThis
movement is very well
adaptable for string
orchestra. The original
string quartet moodis
light, using harmonics
and pizzicato, but there
are forceful sections
which allow for strong
sectional playing
(especially with the
cello and bass orchestral
sound). There is very
much interesting melodic
material offered for all
instruments which lends
itself to a fantastic
string orchestra
arrangement. Conductors
will find material in all
sections which provide
greatopportunities for
rehearsal.The form is a
large ABA with a D.C. al
fine, but the sections
are not square by any
means.There is lots of
energy and momentum in
the material of both
sections, as well as a
modalcharacter which
gives the music an exotic
sound. Bowing patterns
abound in all sections
formore great teaching
opportunities.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
By Thomas Tallis (1505-1585). Choir Sacred. For with Piano (SATB choir). Book; C...(+)
By Thomas Tallis
(1505-1585). Choir
Sacred. For with Piano
(SATB choir). Book;
Choral (Sacred); Choral
Worship Collection;
Masterworks; Worship
Resources. Faber Edition:
Choral Programme Series.
Masterwork; Renaissance;
Sacred. Published by
Faber Music
Fantasie Impromptu * Chopin * Signature Series Original composed by Frederic Cho...(+)
Fantasie Impromptu *
Chopin * Signature Series
Original composed by
Frederic Chopin
(1810-1849). Arranged by
Jonathon Robbins. For
piano solo. Solo.
Signature Series.
Classical. Intermediate.
Sheet Music. Text
Language: English. 4
pages. Published by
Santorella Publications
Orchestra SKU: PO.PME11S Composed by John Ritchie. Perfect. Score. Promet...(+)
Orchestra
SKU:
PO.PME11S
Composed by
John Ritchie. Perfect.
Score. Promethean
Editions #PME11S.
Published by Promethean
Editions (PO.PME11S).
Rich with
kaleidoscopic images,
Papanui Road gives a
vivid 'snapshot' of
bustling central
Christchurch during the
1950s—one that
encompasses not only the
cityscape but much of the
composer's own experience
and spirit. The composer
writes: Having lived
near Papanui Road for
most of my
life—having cycled,
driven and walked on it,
having shopped, eaten and
prayed in or on it, I
feel at home there. As
young people say, it has
'vibes' for me. It
certainly has memories...
This concert overture
tries to hint at the
bustle, the vitality and
the peace of Papanui
Road; an impression
rather than a picture...
For all its pictorialism
this concert overture is
a serious, even a solemn
and nostalgic work. Its
aim is to evoke memories
and the atmosphere of an
important, busy
thoroughfare in the
composer's home town.
Algona Overture Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1053750-010 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1053750-010
Composed by Jan Van der
Roost. Inspiration
Series. Concert Piece.
Set (Score & Parts).
Composed 2005. 48 pages.
De Haske Publications
#DHP 1053750-010.
Published by De Haske
Publications
(BT.DHP-1053750-010).
English-German-French-
Dutch.
This piece
is dedicated to all the
citizens who live, have
lived, and will live in
the US town of Algona,
who commissioned the work
to celebrate it’s
150th anniversary. With
dark-tinted tones (low
drums, heavy brass), this
overture begins with a
primitive sacred feel, it
seems as if centuries-old
Indian singing is heard
once more. Gradually the
sound becomes clearer and
brighter as the same
theme travels throughout
the band in various
guises and variants.
Imposing tutti passages
then give the band the
chance to lavishly shine.
This bright and catchy
overture radiates
spontaneous energy and as
it features every section
of the band all the
players as well as the
listenersare continually
surprised and captivated.
Met donkere tonen
begint deze ouverture
sacraal en bezwerend: het
lijkt of eeuwenoude
indianengezangen weer tot
klinken komen.
Geleidelijk wordt het
klankbeeld helderder:
hetzelfde thema maakt in
diverse varianten als het
ware eenronde door het
orkest. Met een paar
imposante tuttipassages
kan het orkest goed
uitpakken. Nadien komt
een energiek allegro met
een krachtige thematiek
naar voren, gevolgd door
een lyrisch gegeven. Deze
ingrediënten wisselen
elkaaraf op weg naar een
opwindende finale. Het
klankidioom is zeer
toegankelijk en alle
geledingen van het orkest
komen aan
bod!
Anlässlich
der 150-Jahrfeier der
Stadt Algona im US-Staat
Iowa komponiert, strahlt
diese klare,
eingängige
Ouvertüre spontane
Energie aus. Zwar beginnt
das Werk sakral und
flehend mit dunkel
gefärbten Tönen,
doch allmählich wird
der Klang klarer und
heller, während das
Thema in verschiedenen
Gewändern und
Varianten durch das
Blasorchester wandert.
Dem folgenden energischen
Allegro folgt ein
lyrisches Thema, und
beide Elemente
verschmelzen
schließlich in einem
aufregenden Finale. Alle
Register des
Blasorchesters werden
hier beleuchtet, sodass
sowohl Spieler als auch
Zuhörer fortwährend
überrascht und
bezaubert
werden.
Qu
esto brano è dedicato
a tutti i cittadini che
vivono, che hanno
vissuto, e che vivranno
nella cittadina americana
di Algona, che ha
commissionato questo
brano per festeggiare il
suo 150. anniversario.
Algona Overture inizia in
un universo sonoro dai
colori scuri. La musica
rivela una dimensione
sacra, uno spirito di
supplica. Un canto
indiano datato di alcuni
secoli risuona come un
canto dimenticato.
Imponenti passaggi
affidati al tutti svelano
le sontuose sfacettature
dell’orchestra di
fiati. Algona Overture
è una composizione
coinvolgente che
trasmette entusiasmo e
spontaneit . In un brano
dove la scrittura
orchestrale privilegia
tutte le sezioni
dell’organico, la
musicariesce a
sorprendere e
accattivarsi il pubblico
e gli interpreti.
E-Z Play Today (Easy big-note right-hand-only arrangements for piano, organ, and...(+)
E-Z Play Today (Easy
big-note right-hand-only
arrangements for piano,
organ, and electronic
keyboard). Size 9x12
inches. 168 pages.
Published by Hal Leonard.
child
Concert band - Grade 4-5 SKU: P2.W0004 Composed by James Grant. Published...(+)
Concert band - Grade 4-5
SKU: P2.W0004
Composed by James Grant.
Published by Potenza
Music (P2.W0004).
Tribute: Those
Who Serve, scored for
Grade 4/5 band, is
dedicated to the bravery,
heroism and sacrifice of
First Responders. The
music is based on an
earlier work for
orchestra, called
Tribute, commissioned by
conductor Michael
Gagliardo and the Etowah
Youth Symphony Orchestra
to commemorate the events
of September 11, 2001. I
composed the original
Tribute in the spring of
2002 while in residence
at Copland House in
Cortlandt Manor, NY,
where Aaron Copland lived
and worked the last
thirty years of his life.
With gratitude to Copland
House and as my own
tribute to Mr. Copland,
the orchestral version of
Tribute opened and closed
with the composer's
initials A.C. featured in
the strings as major
chords on A and C.
Mercifully, the current
version for band has been
transposed up a half-step
to the key of B-flat. A
central section in D-flat
features robust quotes
from Copland's Fanfare
for the Common Man, a
work that is at the
spiritual core of
Tribute: Those Who
Serve.Tribute: Those Who
Serve invites us to pause
and reflect on the daily
acts of valor exhibited
by the many First
Responders in our local
communities--law
enforcement officials,
firefighters, search and
rescue teams, emergency
medical technicians and
citizen volunteers, to
name but a few. My hope
is that Tribute: Those
Who Serve will inspire
community and school
bands nationwide to hold
events to honor the brave
women and men who serve
with consummate
commitment and
determination in our
local communities,
selflessly standing tall
in times of local and
national crisis.
Piano SKU: SP.MP013 Composed by Avis Romm. Collection; Classical. Book an...(+)
Piano
SKU:
SP.MP013
Composed by
Avis Romm. Collection;
Classical. Book and CD.
Santorella Publications
#MP013. Published by
Santorella Publications
(SP.MP013).
ISBN
9781585606122. UPC:
635344000135.
The
Essential Composer Series
published for Piano by
Minstrel Press and
distributed by Santorella
Publications features the
original works from some
of the greatest composers
that ever lived. The
selections have been
carefully chosen to give
the user a source of
essential core literature
from that specific
composer. This
transcribed series by
Avis Fedge Romm has only
had minor editing when
seen as a valuable aid in
facilitating the musician
in authentically
interpreting the
composer's music. The
Essential Composer Series
has become a staple stock
item for many music
retailers throughout the
world. Each edition
includes a performance
CD, which is also a great
tool for younger players
to hear the melodies that
they have been practicing
so diligently. This
particular edition
features the following
works of Johann Sebastian
Bach; Aria in D Minor -
Untitled in F Major -
Menuet in G Major - March
in D Major - Menuet in D
Minor - Menuet in C Minor
- Musette in D Major -
Menuet in G Major -
Polonaise in G Minor -
Musette - Prelude in F
Major - Prelude in C
Major - Prelude in C
Minor - Menuet I -
Invention No. 8 in C
Major - Prelude No. 1 in
C Major.