| 1712 Overture Orchestre Theodore Presser Co.
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. $39.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 1712 Overture Orchestre Theodore Presser Co.
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. $80.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Corsair Orchestre Breitkopf & Härtel
Orchestra (solo: T - choir: SATB - picc.2.2.2.2 - 6(davon 2 hinter der Buhne ad ...(+)
Orchestra (solo: T -
choir: SATB -
picc.2.2.2.2 - 6(davon 2
hinter der Buhne ad
lib).2.3.0 - timp - str)
SKU: BR.PB-5092-07
Fragment of an
Opera. Composed by
Robert Schumann. Edited
by Joachim Draheim.
Softcover.
Partitur-Bibliothek
(Score Library). Opera;
Music theatre; Romantic.
Study Score. 40 pages.
Duration 7'. Breitkopf
and Haertel #PB 5092-07.
Published by Breitkopf
and Haertel
(BR.PB-5092-07). ISBN
9790004208434. 5.5 x 7.5
inches. Die
Aufzahlung von Schumanns
Opernplanen gleicht einem
abenteuerlichen Streifzug
quer durch die
Literaturgeschichte.
Seinem ,,Haushaltbuch II,
einer Art Tagebuch,
konnen wir entnehmen,
dass er sich am 28.Juni
1844 plotzlichmit dem
,,Corsar von Byron
befasste. Schumann war
zunachst von dem Stoff so
begeistert, dass er
sofort mit der
Komposition begann, noch
ehe der Plan wirklich
ausgereift war, aber
schon einen Monat spater
wandte er sich einer
anderen Arbeit zu,
namlich den Faust-Szenen,
die ihn bis 1853
beschaftigen sollten.Von
einer Ouverture ist
nichts bekannt, ein
einleitender ,,Chor der
Corsaren, in dem diese -
mit ihren Frauen, denn es
ist ein gemischter Chor!
- in enger textlicher
Anlehnung an den Anfang
des Byronschen Versepos
ihr wildes, ungebundenes
Leben auf dem Meer
besingen, wurde in
vollstandiger Partitur
niedergeschrieben. Ihm
schliesst sich, ebenfalls
vollstandig
instrumentiert, ein
Nachspiel an, das durch
seine zauberhafte
romantische Stimmung
gefangennimmt. Ein
c-uroll Akkord schlagt
die harmonische Brucke
zur Nr. 2 (Arie des
Conrad), die in B-dur
steht und mit den fur
Schumann so typischen
punktierten Figuren den
Titelhelden als
Kampfernatur zu
charakterisieren sucht.
Doch schon nach 5 Takten
bricht die Partitur ab,
von der Singstimme sind
noch weitere 6 Takte, am
Schluss ohne Text,
niedergeschrieben.Die
Urauffuhrung fand am 25.
April 1981 im Rahmen
eines konzertanten
Opernabends mit dem Titel
,,Opernfragmente der
Romantik im Badischen
Staatstheater Karlsruhe
statt. $15.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Haroun and the Sea of Stories Orchestre [Conducteur] Peters
Orchestra soloists, chorus, orchestra SKU: PE.EP67890 An Opera in Two ...(+)
Orchestra soloists,
chorus, orchestra SKU:
PE.EP67890 An
Opera in Two Acts Based
on the Novel by Salman
Rushdie. Composed by
Charles Wuorinen. Full
Orchestra; Single Titles.
Edition Peters. 20th
Century. Full score. 782
pages. Duration 02:00:00.
Edition Peters
#98-EP67890. Published by
Edition Peters
(PE.EP67890). ISBN
9790300747613. 297 x
420mm inches.
English. Librett
o by James Fenton In a
make-believe world, based
loosely on Bombay and
Kashmir, the story of
Haroun is a tale of a
fight between the free
imagination and the
powers that oppose it.
Haroun's father, Rashid,
the Shah of Blah, is a
professional and gifted
story-teller, a popular
figure much in demand at
public events. Feeling
neglected, his wife is
persuaded to leave him
and run away with a
neighbor. After this,
Rashid loses confidence
in his powers of
story-tellling, haunted
by his son's question:
'What's the use of
stories that aren't even
there?' Rashid is due to
speak at a political
rally to be held by the
sinister politician,
Snooty Buttoo. He is told
that if he does not come
up with his usual fund of
tales, his tongue will be
cut out. As Rashid
despairs, Haroun
determines to rescue his
father's talent - a
project in which he
learns that the Ocean of
the Sea of Stories, the
source of all stories, is
being polluted by the
enemy of all stories, the
evil Khattam Shud. In a
series of brilliant
imagined adventures,
Haroun succeeds in
defeating the powers of
darkness, and restoring
happiness to his family,
and to the city where he
lives. Salman
Ruishdie's children's
book, written in the
aftermath of the fatwa,
has an effervescent style
which is full of rhymes
and wordplay. The
libretto stays very close
to the spirit of the
original, conjuring up a
fantasy world in which,
nonetheless, one never
loses sight of harsh
political reality and the
great issues of freedom
of speech and
imagination. -- James
Fenton, 1998 $650.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Seven (7) Gates Of Jerusalem - Symphony No. 7 for Narrator, Choir and Orchestra - Study Score Orchestre Schott
5 soloists (SSATB), speaker, 3 mixed choirs and orchestra SKU: HL.49045487(+)
5 soloists (SSATB),
speaker, 3 mixed choirs
and orchestra SKU:
HL.49045487 For 5
soloists (SSATB),
narrator, 3 mixed choirs
and orchestra.
Composed by Krzysztof
Penderecki. This edition:
Saddle stitching. Sheet
music. Study Score. Das
grosse Vokalwerk wurde
1995 zum 3000-jahrigen
Bestehen Jerusalems
komponiert. Der Zahl
sieben hat darin eine
besondere Bedeutung:
sieben Satzen, die fur
die sieben Tore stehen,
sieben gewaltige
Fortissimo-Akkorde, die
das Oratorium
beschliessen. Softcover.
Composed 1996. 158 pages.
Duration 68'. Schott
Music #ED20533. Published
by Schott Music
(HL.49045487). ISBN
9790001157179. UPC:
888680747992.
8.25x11.75x0.41 inches.
Latin -
German. Deeply
moved by his first visit
to the city of Jerusalem
with its seven gates,
Krzysztof Penderecki
composed this major vocal
work to celebrate the
city's 3,000th
anniversary in 1995. Two
years later, it was
premiered as Symphony No.
7 in which the magic
number seven has a
special meaning: From the
seven movements
representing the seven
gates to the seven
powerful fortissimo
chords concluding the
oratorio, the biblical
number runs through the
entire work.
4 (3.
u. 4. auch Picc.) * 3 *
Engl. Hr. * 3 (3. auch
Es-Klar.) * Bassklar. * 3
* Kfg. - 4 * 3 * 4 (3.
auch Basstrp.) * 1 - S.
(I.: P. * Beckenpaar * 2
Tamt. (t.) * Rohrengl. *
gr. Tr. m. Beck. *
Crotalenbaum * 5 Tomt. *
Marimba * Bin-Sasara *
kl. Tr. * Ruhrtr.; II.:
Trgl.-baum * 4 hg. Beck.
* Tamt. (t.) * Rohrengl.
* Kirchengl. * Tubaphon *
Glsp. * Xyl. * Vibr. *
Ruhrtr. * Tempelbl. * 2
Gongs; III.: 3 hg. Beck.
* Mil. Tr. * Tubaphon *
Kuhgl. * Tempelbl. * 2
Gongs; IV.: P. * hg.
Beck. * 2 Tamt. *
Beckenpaar * 5 Tomt. *
gr. Tr. * Ruhrtr. *
Bin-Sasara) (12 Spieler)
- Cel. * Klav. * Org. ad
lib. - Str. Im Saal: 0
* 0 * 3 * Bassklar. (auch
Es-Klar.) * 3 * Kfg. - 4
* 3 * 4 * 1. $77.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Sound His Praise - Orchestral Score and Parts Orchestre Lorenz Publishing Company
Orchestra SKU: LO.30-2607L Composed by Melodie Tunney. Arranged by Mary M...(+)
Orchestra SKU:
LO.30-2607L Composed
by Melodie Tunney.
Arranged by Mary
McDonald. Choral. Sacred
Anthem, General,
Missions, Thanksgiving.
Orchestral score and
parts. Lorenz Publishing
Company #30/2607L.
Published by Lorenz
Publishing Company
(LO.30-2607L). UPC:
000308125986. Joyfu
l and lively, this
arrangement of
“Sound His
Praise†is
energetic from start to
finish. Rich harmonies
permeate Mary
McDonald’s setting
as skillfully written,
accessible parts ride
atop a rejoicing
accompaniment. For a
truly celebratory
performance, be sure to
add Mike
Lawrence’s
stunning optional
orchestration!
Instrumentation: 2
Fl/Picc, Ob, 2 Cl, Bsn
(sub B Cl), 2 Hn (sub 2 A
Sax), 3 Tpt, 2 Tbn (sub T
Sax/Bari TC), Tbn 3/
Tuba, Timp, Perc, Drum
Set, E Bass, Harp, Pno,
Vln 1 & 2, Vla, Cello,
Bass, String Reduction
included. $59.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Firebird Orchestre [Conducteur d'étude / Miniature] Eulenburg
Original Version. By Igor Stravinsky. Arranged by Herbert Schneider. (Study Sco...(+)
Original Version. By Igor
Stravinsky. Arranged by
Herbert Schneider.
(Study Score). Schott.
220 pages. Published by
Eulenburg.
$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Zadok the Priest Orchestre - Facile Belwin
Orchestra - Grade 2.5 SKU: AP.49908 Coronation Anthem No. 1. Compo...(+)
Orchestra - Grade 2.5
SKU: AP.49908
Coronation Anthem No.
1. Composed by George
Frideric Handel. Arranged
by Douglas E. Wagner.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Intermediate String
Orchestra. Masterwork
Arrangement. Score and
Part(s). Duration 3:10.
Belwin Music #00-49908.
Published by Belwin Music
(AP.49908). ISBN
9781470662387. UPC:
038081579580.
English. Zadok the
Priest, the first of G.
F. Handel's four
Coronation Anthems, has
been a cherished part of
British coronation
services from George II
in 1727 to the current
sovereign, Charles III.
It is a magnificently
resplendent work that
embodies the essence of
British pride and spirit.
This terrific arrangement
for string orchestra and
piano by Douglas E.
Wagner encapsulates the
majesty of the original.
This arrangement is also
part of a larger festival
setting with optional
brass, timpani, and
choir. Also available for
S.A.T.B. (50210), S.A.B.
(50211), S.S.A. (50212)
with optional SoundTrax
(50213) and SoundPax.
(3:10). $60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Zadok the Priest Orchestre [Conducteur] - Facile Belwin
Orchestra - Grade 2.5 SKU: AP.49908S Coronation Anthem No. 1. Comp...(+)
Orchestra - Grade 2.5
SKU: AP.49908S
Coronation Anthem No.
1. Composed by George
Frideric Handel. Arranged
by Douglas E. Wagner.
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Intermediate String
Orchestra. Masterwork
Arrangement. Score.
Duration 3:10. Belwin
Music #00-49908S.
Published by Belwin Music
(AP.49908S). ISBN
9781470662394. UPC:
038081579597.
English. Zadok the
Priest, the first of G.
F. Handel's four
Coronation Anthems, has
been a cherished part of
British coronation
services from George II
in 1727 to the current
sovereign, Charles III.
It is a magnificently
resplendent work that
embodies the essence of
British pride and spirit.
This terrific arrangement
for string orchestra and
piano by Douglas E.
Wagner encapsulates the
majesty of the original.
This arrangement is also
part of a larger festival
setting with optional
brass, timpani, and
choir. Also available for
S.A.T.B. (50210), S.A.B.
(50211), S.S.A. (50212)
with optional SoundTrax
(50213) and SoundPax.
(3:10). $10.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
1 |