Orchestra - all

SKU: PR.816600040

Composed by Wolfgang Amadeus Mozart. CD Sheet Music (Version 1). Full Scores to all of the major works for orchestra by Mozart - parts not included. Classical Period. CD Sheet Music. 2000 printable pages. Published by Theodore Presser Company (PR.816600040).

UPC: 680160600045. 5.5x5 inches.

This disk contains study scores of all 41 of Mozart's Symphonies, as well as Concertos for Winds and Strings (Piano Concertos are on a companion CD-ROM), Serenades, Opera Overtures, Divertimentos, and other works.

About CD Sheet Music (Version 1)

CD Sheet Music (Version 1) was the initial CD Sheet Music series distributed by Theodore Presser. The CDs include thousands of pages of music that are viewable and printable on Mac or PC. Version 1 titles are a great value at 40% off, as we make room in our warehouse for the newly enhanced CD Sheet Music (Version 2.0) series.

(Study Score). Composed by Johannes Brahms (1833-1897). Edited by Michael Musgrave. For Orchestra (Study Score). Henle Study Scores. Softcover. 256 pages. G. Henle #HN9857. Published by G. Henle

(Study Score). By Johannes Brahms (1833-1897). Edited by Michael Musgrave. For Orchestra (Study Score). Henle Study Scores. Softcover. 100 pages. G. Henle #HN9858. Published by G. Henle

CD-ROM (Windows and Mac) for clarinet. Series: The Orchestra Musician's CD-ROM Library. 8 pages. Published by CD Sheet Music, LLC.

(1st Movement from Serenade in C Major for String Orchestra, Op. 48). By Peter Ilyich Tchaikovsky (1840-1893). Arranged by Victor LÌ_pez. Concert Band. Concert Band; Masterworks; Part(s); Score. Belwin Concert Band. Form: Sonatina. Masterwork Arrangement; Romantic. Grade 3. 260 pages. Published by Belwin Publishing

(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. Format: fakebook (spiral bound). With vocal melody (excerpts) and chord names. Lassical. Series: Hal Leonard Fake Books. 646 pages. 9x12 inches. Published by Hal Leonard.

Full orchestra Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Crash Cymbals, Flute 1, Flute 2, Glockenspiel, Harp, Horn 1, Horn 2, Horn 3, Oboe 2, Percussion 1, Percussion 2, Piccolo, Suspended Cymbal, Timpani, Trombone 1, Trombone 2, Trumpet 1 and more.

SKU: CF.SC88

Composed by William Grant Still. Full score. 32 pages. Duration 9 minutes, 20 seconds. Carl Fischer Music #SC88. Published by Carl Fischer Music (CF.SC88).

ISBN 9781491158845. UPC: 680160917563.

Willi am Grant Stillas catalog of works comprises over 200 pieces, including five symphonies, nine operas, four ballets and numerous works for chamber ensembles. He initially found employment as an oboist in pit orchestras in New York City, later as an arranger of popular music for various ensembles, including those by William C. Handy, James P. Johnson and Paul Whiteman. His career as a composer was launched with a performance in 1931 of his Symphony No. 1 aAfro-Americana by the Rochester Philharmonic, conducted by Howard Hanson, who would remain a life-long champion of Stillas orchestral works. By the 1950s the symphony had been performed in New York, Chicago, Los Angeles and various European capitals. This notoriety earned Still a Guggenheim Fellowship in 1934, after which he moved to Los Angeles. He is credited as the first African-American to conduct a major orchestra (the Los Angeles Philharmonic Orchestra), the first to have an opera performed by a major company (Troubled Island by the New York City Opera in 1949), and one of the first composers to write for radio, films and television. So numerous were his awards and accolades, including three Guggenheim Fellowships and a variety of honorary doctorates, that he was designated as the aDean of Afro-American Composers.a Still composed his Serenade for Orchestra in 1957 on a commission by the Great Falls High School in Great Falls, Montana. He later transcribed the work for a chamber ensemble of flute, clarinet, harp and strings. The piece reflects Stillas interest in American folk idioms, with conventional melodies and harmonies that nonetheless express a fresh and individual compositional voice.
William Grant Still's catalog of works comprises over 200 pieces, including five symphonies, nine operas, four ballets and numerous works for chamber ensembles. He initially found employment as an oboist in pit orchestras in New York City, later as an arranger of popular music for various ensembles, including those by William C. Handy, James P. Johnson and Paul Whiteman. His career as a composer was launched with a performance in 1931 of his Symphony No. 1 Afro-American by the Rochester Philharmonic, conducted by Howard Hanson, who would remain a life-long champion of Still's orchestral works. By the 1950s the symphony had been performed in New York, Chicago, Los Angeles and various European capitals. This notoriety earned Still a Guggenheim Fellowship in 1934, after which he moved to Los Angeles. He is credited as the first African-American to conduct a major orchestra (the Los Angeles Philharmonic Orchestra), the first to have an opera performed by a major company (Troubled Island by the New York City Opera in 1949), and one of the first composers to write for radio, films and television. So numerous were his awards and accolades, including three Guggenheim Fellowships and a variety of honorary doctorates, that he was designated as the Dean of Afro-American Composers. Still composed his Serenade for Orchestra in 1957 on a commission by the Great Falls High School in Great Falls, Montana. He later transcribed the work for a chamber ensemble of flute, clarinet, harp and strings. The piece reflects Still's interest in American folk idioms, with conventional melodies and harmonies that nonetheless express a fresh and individual compositional voice.
William Grant Still’s catalog of works comprises over 200 pieces, including five symphonies, nine operas, four ballets and numerous works for chamber ensembles. He initially found employment as an oboist in pit orchestras in New York City, later as an arranger of popular music for various ensembles, including those by William C. Handy, James P. Johnson and Paul Whiteman. His career as a composer was launched with a performance in 1931 of his Symphony No. 1 “Afro-American† by the Rochester Philharmonic, conducted by Howard Hanson, who would remain a life-long champion of Still’s orchestral works. By the 1950s the symphony had been performed in New York, Chicago, Los Angeles and various European capitals.This notoriety earned Still a Guggenheim Fellowship in 1934, after which he moved to Los Angeles. He is credited as the first African-American to conduct a major orchestra (the Los Angeles Philharmonic Orchestra), the first to have an opera performed by a major company (Troubled Island by the New York City Opera in 1949), and one of the first composers to write for radio, films and television. So numerous were his awards and accolades, including three Guggenheim Fellowships and a variety of honorary doctorates, that he was designated as the “Dean of Afro-American Composers.”Still composed his Serenade for Orchestra in 1957 on a commission by the Great Falls High School in Great Falls, Montana. He later transcribed the work for a chamber ensemble of flute, clarinet, harp and strings. The piece reflects Still’s interest in American folk idioms, with conventional melodies and harmonies that nonetheless express a fresh and individual compositional voice.

Orchestra (picc.2.2.2.2. - 2.0.0.0. - str(without vl))

SKU: BR.PB-16106

Urtext from the new Brahms Complete Edition (G. Henle Verlag). Composed by Johannes Brahms. Edited by Michael Musgrave. Orchestra; Softbound. Partitur-Bibliothek (Score Library).

The study score (,,Studien-Edition) is available at G. Henle Verlag.

Serenade/divertimento; Romantic. Full score. 92 pages. Duration 30'. Breitkopf and Haertel #PB 16106. Published by Breitkopf and Haertel (BR.PB-16106).

ISBN 9790004214336. 10 x 12.5 inches.

Classical ReminiscencesDuring his time as conductor of the Detmold court orchestra, the young Brahms was inspired by the local wind ensemble to compose two serenades. Serenade No. 2, scored for five pairs of winds, violas, cellos, and string basses (leaving out the violins) is strongly reminiscent in sound of Mozart's wind serenades. The expressive Adagio is the heart of the five-movement work. Quite untypical of Brahms, he acquired a liking for the work from the outset, still undertaking a revision scarcely 15 years after the premiere of 1860; this has now been made available in a new practical edition based on the Johannes Brahms Complete Edition (JBG).

Orchestra 2.2.0.1: 2.2.0.0: Str (4-4-3-3-3 in set): Solo Violin in set

SKU: AP.36-A183202

Composed by Wolfgang Amadeus Mozart. Full Orchestra. Kalmus Orchestra Library. Score and Part(s). LudwigMasters Publications #36-A183202. Published by LudwigMasters Publications (AP.36-A183202).

UPC: 659359530821. English.

Wolfgang Amadeus Mozart (1756-1791) wrote the SERENADE No. 5 in D Major, K. 204/213a on August 5, 1775 for ceremonies at the University of Salzburg. Concurrently writing his five violin concertos, the composer chose to feature a solo violin in three of the movements. While it retains a seven-part structure, an impromptu violin concerto is cleverly couched within the work. As he did with most of his serenades for orchestra, Mozart crafted a symphony using the other four movements. Instrumentation: 2.2.0.1: 2.2.0.0: Str (4-4-3-3-3 in set): Solo Violin in set. Reprint edition.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

Orchestra string orchestra - Grade 4

SKU: KJ.SO389F

Composed by Jeremy Woolstenhulme. String Tracks XVIII. Score. Neil A. Kjos Music Company #SO389F. Published by Neil A. Kjos Music Company (KJ.SO389F).

UPC: 8402704821.

Serenade for Strings, Op. 22, First Movement is presented in its entirety in G Major, making it wonderfully accessible to less advanced ensembles. A staple in classical string orchestra literature, this is not to be missed! This Woolstenhulme arrangement belongs in all school libraries.

Composed by Peter Ilyich Tchaikovsky (1840-1893). Duet or Duo; Masterworks; Piano Duet (1 Piano, 4 Hands); Solo Small Ensembles. Kalmus Edition. Form: March. Masterwork; Romantic. Book. 104 pages. Kalmus Classic Edition #00-K04058. Published by Kalmus Classic Edition

(Eulenburg Audio Score 73). By Antonin Dvorák and Antonin Dvor. Eulenberg Audio plus Score. Softcover with CD. 80 pages. Eulenburg (Schott Music) #EAS173. Published by Eulenburg (Schott Music)

For String Orchestra. By Antonin Dvorak. (Study Score). Schott. Size 5.25x7.5 inches. 110 pages. Published by Eulenburg.

For Strings. By Peter Ilyich Tchaikovsky. (Study Score). Schott. Size 5.25x7.5 inches. 62 pages. Published by Eulenburg.

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 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.

Orchestra

SKU: BA.BA09174

Based on Serenade K. 250 (248b). Composed by Wolfgang Amadeus Mozart. Edited by Günter Haußwald. This edition: urtext edition. Stapled. Barenreiter Urtext. Based on Serenade K. 250 (248b). Score. KV 250 (248b). 58 pages. Baerenreiter Verlag #BA09174_00. Published by Baerenreiter Verlag (BA.BA09174).

ISBN 9790006528615. 30 x 23 cm inches. Key: D major.

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.BA09175

Based on Serenade K. 320. Composed by Wolfgang Amadeus Mozart. Edited by Günter Haußwald. This edition: urtext edition. Stapled. Barenreiter Urtext. Based on Serenade K. 320. Score. KV 320. 43 pages. Baerenreiter Verlag #BA09175_00. Published by Baerenreiter Verlag (BA.BA09175).

ISBN 9790006528677. 30 x 23 cm inches. Key: D major.

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