SKU: HL.14011241

ISBN 9788759856550.

SKU: 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.

SKU: 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.

SKU: HL.50579143

SKU: HL.49013489

ISBN 9783795736514. German.

Wortlich ubersetzt ist das Libretto ein 'kleines Buch', ein 'Buchlein'. Doch nicht irgendein Buchlein. Seit es Opern gibt, gibt es die Textbucher dazu. Oft erzahlen die Universalsprache Musik und der Ausdruck der Darsteller die Geschichte, auch wenn man die Worte nicht versteht. Trotzdem ist ein Libretto sehr hilfreich fur das Verstandnis der Details. Gerade dann, und das fast immer, wenn die Oper in der Originalsprache aufgefuhrt wird. In den Libretti ist in der Regel das Original der Ubersetzung gegenubergestellt. Sie konnen so problemlos parallel Handlung und Inhalt folgen. In den meisten Fallen existiert das Textbuch Oper bevor die Musik dazu komponiert wird. Spannende und dramatische Geschichten bilden die Grundlage fur faszinierende Opernkompositionen.
3 (3. auch Picc.) * 2 * Engl. Hr. * 3 * Bassklar. * Sopr.-Sax. * 2 Alt-Sax. * 2 * Kfg. - 4 * 3 * 3 * 1 - P. S. (Trgl.-Set * Bell tree * Gl. * Crotales * 2 Gongs * hg. Beck. * Beck. * Tamb. * Mil. Tr. * Ruhrtr. * 6 Tomt. * Rototom * 6 Timb. * kl. Tr. * gr. Tr. * Guiro * Sage * Flex. * 3 Tamt. * Rohrengl. * Turmgl. * Lotosfl. * Kast. * Peitsche * Glspl. * Xyl. * Vibr. * Marimba) (2 Spieler) - Cel. * Org. - StrBuhnenmusik: 2 Picc. * SAT Blfl. * 2 Klar. in Es - 0 * 3 * 3 * 0 - S. (Tamb. * 2 Mil. Tr. * Ruhrtr. * kl. Tr. * 2 Ratschen * Kast. * Schellen * Holzbl. * Vibraslap * Timb.) - Cemb. - Vlc.

3 (3. auch Picc.) * 2 * Engl. Hr. * 3 * Bassklar. * Sopr.-Sax. * 2 Alt-Sax. * 2 * Kfg. - 4 * 3 * 3 * 1 - P. S. (Trgl.-Set * Bell tree * Gl. * Crotales * 2 Gongs * hg. Beck. * Beck. * Tamb. * Mil. Tr. * Ruhrtr. * 6 Tomt. * Rototom * 6 Timb. * kl. Tr. * gr. Tr. * Guiro * Sage * Flex. * 3 Tamt. * Rohrengl. * Turmgl. * Lotosfl. * Kast. * Peitsche * Glspl. * Xyl. * Vibr. * Marimba) (2 Spieler) - Cel. * Org. - Str
Buhnenmusik: 2 Picc. * SAT Blfl. * 2 Klar. in Es - 0 * 3 * 3 * 0 - S. (Tamb. * 2 Mil. Tr. * Ruhrtr. * kl. Tr. * 2 Ratschen * Kast. * Schellen * Holzbl. * Vibraslap * Timb.) - Cemb. - Vlc.

SKU: BA.BA05540

ISBN 9790006497126. 33 x 26 cm inches. Text: Franz von Schober.

In late September or early October 1821 Schubert and his close friend, Franz von Schober, vacationed in the countryside of Lower Austria. Their first stopover was at Ochsenburg Castle, which belonged to the Bishop of St. Pölten (a close relative of Schober’s), after which they moved on to St. Pölten itself. Roughly a year earlier, two stage works by Schubert had been performed in Vienna: the one-act singspiel Die Zwillingsbrüder and the melodrama Die Zauberharfe. The librettos were both written by the seasoned Viennese playwright Georg von Hofmann, who blamed the press for the indifferent reception the two works were given by the audience. Schubert and Schober now decided, it would seem, to write a grand romantic opera uninfluenced by the workaday world of the theatre and beholden solely to their own ideas of what an opera should be.

Not until 24 June 1854 was the opera finally performed in Weimar, under the baton of Franz Liszt. It only achieved success, however, in an arrangement by Johann Nepomuk Fuchs that was staged on many German and Austrian stages in 1881–2, allegedly with brilliant acclaim.

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

SKU: HL.50578370

SKU: HL.49032629

ISBN 9790001112840. 8.25x11.75x0.242 inches. German.

1 (auch Picc.) * 1 * Engl. Hr. * 1 * Bassklar. * 1 * Kfg. - 2 * 2 * 1 * 1 - S. (P. * Trgl. * 2 Rohrengl. * hg. Beck. * Beckenpaar * Tamt. * 3 Tomt. * kl. Tr. * gr. Tr. [m. u. o. Beck.] * Clav. * Guiro * Trinidad steel-drums * Tempelbl. * Xyl. * Vibr. * Marimba) (3 Spieler) - Hfe. * 3 Klav. (1. u. 2. prap. Klav.) * Cel. * Org. - Str.

1 (auch Picc.) * 1 * Engl. Hr. * 1 * Bassklar. * 1 * Kfg. - 2 * 2 * 1 * 1 - S. (P. * Trgl. * 2 Rohrengl. * hg. Beck. * Beckenpaar * Tamt. * 3 Tomt. * kl. Tr. * gr. Tr. [m. u. o. Beck.] * Clav. * Guiro * Trinidad steel-drums * Tempelbl. * Xyl. * Vibr. * Marimba) (3 Spieler) -
Hfe. * 3 Klav. (1. u. 2. prap. Klav.) * Cel. * Org. - Str.

SKU: HL.50579322

SKU: HL.49001838

ISBN 9790001024358. UPC: 884088026738. 9.0x12.0x0.082 inches.

String Orchestra and Basso continuo; Woodwinds ad lib.

SKU: HL.49005334

ISBN 9790001057431. UPC: 073999320145. 8.75x11.75x0.639 inches.

3 (auch 3 Picc.) * 3 * 3 * 3 (3. auch Kfg.) - 4 * 3 * 3 * 1 - 6 P. [lat.-amerik.] (2 Spieler) S. (Trgl. * Gong * Rohrengl. * Beck. * Jazz-Beck. * Tamt. * 3 Tomt. * kl. Tr. * mittl. Tr. * gr. Tr. * 3 Tempelbl. * Glsp. * Xyl. * Vibr. * Marimba) (5 Spieler) - Cel. * Klav. (4 hd.) * 2 Hfn. - Str.

3 (auch 3 Picc.) * 3 * 3 * 3 (3. auch Kfg.) - 4 * 3 * 3 * 1 - 6 P. [lat.-amerik.] (2 Spieler)
S. (Trgl. * Gong * Rohrengl. * Beck. * Jazz-Beck. * Tamt. * 3 Tomt. * kl. Tr. * mittl. Tr. *
gr. Tr. * 3 Tempelbl. * Glsp. * Xyl. * Vibr. * Marimba) (5 Spieler) - Cel. * Klav. (4 hd.) *
2 Hfn. - Str.

SKU: HL.50487049

ISBN 9790080121276. A/4 inches. Xaver Franz Sussmayr,; Maria Eckhardt P.

SKU: HL.49006940

ISBN 9790001074308.

4 (auch 4 Picc.; 1. auch Sopr.-Blfl.) * 3 * 3 (in B, C und A; 2. auch Klar. in Es; 3. auch Bassklar. in B) * 3 (3. auch Kontrafag.) - 4 * 4 (1. auch Kornett in B) * 3 * 1 (auch Kb.tb.) - 4 P. S. (kl. Tr. * 2 Ruhrtr. * gr. Tr. mit Beck. * gr. Holzschlitztr. * 2 Beck. * Beckenmaschine * Tamb. * Kast. * 2 Glspl. * Steinspiel * Schellen * Crotales * Zimb. * Trgl. * Lotosfl. * Flexaton * Metallpl. in f und g * Rohrengl. in fis * Mar. * 2 Woodbl. * 2 Congas * 2 Timbales * Rute * Hammer * Klappholz * Ratsche * Peitsche * Sandblock * Glockchen in h' * Xyl.) (5-6 Spieler) - 2 Hfn. * Cel. - Str.Hinter der Buhne: 2 Tromp. in B (aus dem Orchester) - gr. Klappholz

4 (auch 4 Picc.; 1. auch Sopr.-Blfl.) * 3 * 3 (in B, C und A; 2. auch Klar. in Es; 3. auch Bassklar. in B) * 3 (3. auch Kontrafag.) - 4 * 4 (1. auch Kornett in B) * 3 * 1 (auch Kb.tb.) - 4 P. S. (kl. Tr. * 2 Ruhrtr. * gr. Tr. mit Beck. * gr. Holzschlitztr. * 2 Beck. * Beckenmaschine * Tamb. * Kast. * 2 Glspl. * Steinspiel * Schellen * Crotales * Zimb. * Trgl. * Lotosfl. * Flexaton * Metallpl. in f und g * Rohrengl. in fis * Mar. * 2 Woodbl. * 2 Congas * 2 Timbales * Rute * Hammer * Klappholz * Ratsche * Peitsche * Sandblock * Glockchen in h' * Xyl.) (5-6 Spieler) - 2 Hfn. * Cel. - Str.

Hinter der Buhne: 2 Tromp. in B (aus dem Orchester) - gr. Klappholz.

SKU: HL.49006189

ISBN 9790001067294.

Sinf onie 1 Fogli:1 * 0 * 2 (2. auch Bassklar. in B) * 0 - 1 * 0 * 0 * 0 - P. S. (gr. Tr. * 4 Tomt. * Bong. * Tempelbl. * Glocke in G) - Hfe. * Klav. * Harm. * Mand. - Str. (6 * 6 * 4 * 4 * 3)Sinfonie 2 Ricordanze:1 * 1 * 0 * 1 - 0 * 0 * 0 * 0 - Cemb. * Str. (6 * 0 * 2 * 1 * 1)

Sinfonie 1 Fogli:
1 * 0 * 2 (2. auch Bassklar. in B) * 0 - 1 * 0 * 0 * 0 - P. S. (gr. Tr. * 4 Tomt. * Bong. * Tempelbl. * Glocke in G) - Hfe. * Klav. * Harm. * Mand. - Str. (6 * 6 * 4 * 4 * 3)

Sinfonie 2 Ricordanze:
1 * 1 * 0 * 1 - 0 * 0 * 0 * 0 - Cemb. * Str. (6 * 0 * 2 * 1 * 1).

SKU: HL.49004873

ISBN 9790001051866. UPC: 884088078638. 8.25x11.75x0.322 inches.

3 (auch 3 Picc.) * 3 (3. auch Engl. Hr.) * 3 (3. auch Bassklar.) * 2 * Kfg. - 4 * 3 * 3 * 1 - P. S. (Trgl. * Beck. * Tamt. * Tamb. * 2 Tomt. * Ruhrtr. * Holztr. * Mil. Tr. * kl. Tr. * gr. Tr. * Glsp. * 2 Xyl.) (6 Spieler) - Cel. * Klav. (auch 4 hd.) * Hfe. * Mand. - Str.

3 (auch 3 Picc.) * 3 (3. auch Engl. Hr.) * 3 (3. auch Bassklar.) * 2 * Kfg. - 4 * 3 * 3 * 1 -
P. S. (Trgl. * Beck. * Tamt. * Tamb. * 2 Tomt. * Ruhrtr. * Holztr. * Mil. Tr. * kl. Tr. * gr. Tr. * Glsp. * 2 Xyl.) (6 Spieler) - Cel. * Klav. (auch 4 hd.) * Hfe. * Mand. - Str.

SKU: HL.49033218

ISBN 9790001135450. UPC: 840126938678. 8.25x11.75x0.23 inches.

4 (4. auch Picc.) * 4 (4. auch Engl. Hr.) * 4 (4. auch Es-Klar.) * Bassklar. * 3 * Kfg. - 5 * 3 * 4 * 1 - P. S. (Trgl. * Beckenpaar * 3 hg. Beck. [h./m./t.] * 2 Tamt. [h./t.] * Crotalenbaum * Schellenbaum *korean. Gl. [o. 4 Tamt. * 4 Gongs] * Rohrengl. * Plattengl. * Tomt. * kl. Tr. * Ruhrtr. * gr. Tr. m. Beck. * Glsp. * Xyl. * Marimba) (4 Spieler) - Cel. - Str. (16 * 14 * 12 * 12 * 10)Hinter der Buhne: Hr. - Rohrengl.Im Saal: 4 Tr.

4 (4. auch Picc.) * 4 (4. auch Engl. Hr.) * 4 (4. auch Es-Klar.) * Bassklar. * 3 * Kfg. - 5 * 3 * 4 * 1 - P. S. (Trgl. * Beckenpaar * 3 hg. Beck. [h./m./t.] * 2 Tamt. [h./t.] * Crotalenbaum * Schellenbaum *
korean. Gl. [o. 4 Tamt. * 4 Gongs] * Rohrengl. * Plattengl. * Tomt. * kl. Tr. * Ruhrtr. * gr. Tr. m. Beck. * Glsp. * Xyl. * Marimba) (4 Spieler) - Cel. - Str. (16 * 14 * 12 * 12 * 10)
Hinter der Buhne: Hr. - Rohrengl.
Im Saal: 4 Tr.