Orchestra - Grade 2.5 SKU: AP.49437S Featuring: Leave Before You Love ...(+)
Orchestra - Grade 2.5
SKU: AP.49437S
Featuring: Leave
Before You Love Me and
Mercy. Composed by
Various. Arranged by
Michael Story. Full
Orchestra; MakeMusic
Cloud; Performance Music
Ensemble; Single Titles.
Pop Intermediate
String/Full Orchestra.
Light Concert; Pop/Rock.
Score. Alfred Music
#00-49437S. Published by
Alfred Music (AP.49437S).
ISBN 9781470650599.
UPC: 038081571379.
English.
Jonas
Brothers in Concert
contains two hits from
the talented
siblings---Leave Before
You Love Me and Mercy
(from Space Jam: A New
Legacy). Although it is
scored for full
orchestra, this
arrangement is completely
playable by string
orchestra alone, or with
any number of added winds
or percussion. (3:20)
This title is available
in MakeMusic Cloud.
Orchestra - Grade 2.5 SKU: AP.49437 Featuring: Leave Before You Love M...(+)
Orchestra - Grade 2.5
SKU: AP.49437
Featuring: Leave
Before You Love Me and
Mercy. Composed by
Various. Arranged by
Michael Story. Full
Orchestra; MakeMusic
Cloud; Performance Music
Ensemble; Single Titles.
Pop Intermediate
String/Full Orchestra.
Light Concert; Pop/Rock.
Score and Part(s). Belwin
Music #00-49437.
Published by Belwin Music
(AP.49437).
ISBN
9781470650582. UPC:
038081571362.
English.
Jonas
Brothers in Concert
contains two hits from
the talented
siblings---Leave Before
You Love Me and Mercy
(from Space Jam: A New
Legacy). Although it is
scored for full
orchestra, this
arrangement is completely
playable by string
orchestra alone, or with
any number of added winds
or percussion. (3:20)
This title is available
in MakeMusic Cloud.
Orchestra SKU: BA.BA06861 Sinfonie (1923-1928). Composed by Leos J...(+)
Orchestra
SKU:
BA.BA06861
Sinfonie
(1923-1928). Composed
by Leos Janacek. Arranged
by Leoš Faltus and
Miloš Štedron. This
edition: complete
edition, urtext edition.
Linen. Complete Critical
Edition of the Works of
Leos Janacek H/3.
Complete edition, Score,
Set of parts. Duration 40
minutes. Baerenreiter
Verlag #BA06861_00.
Published by Baerenreiter
Verlag (BA.BA06861).
ISBN 9790260104211.
34.3 x 27 cm
inches.
Leoš
Janácek’s
symphonic fragment Dunaj
(The Danube) dates from
the period of the
composition of
“Katya
Kabanovaâ€. The
composer was not
concerned with a
musical-picturesque
description of a river
landscape, but with the
mythical link between
women’s destinies
and
water.
“Pale
green waves of the
Danube! There are so many
of you, and one followed
by another. You remain
interlocked in a
continuous flow. You
surprise yourselves where
you ended up – on
the Czech shores! Look
back downstream and you
will have an impression
of what you have left
behind in your haste. It
pleases you here. Here I
will rest with my
symphony.†Thus
Leoš Janácek
described the idea behind
the composition project
which occupied him in
1923/24. However, after
further work, it remained
incomplete in 1926. His
“symphonyâ€
entitled Dunaj has
survived as a
continuously-notated,
four-movement bundle of
sketches in score form.
It is one of the works
which occupied him until
his death. The scholarly
reconstruction by the two
Brno composers Miloš
Štedron and Leoš
Faltus closely follows
the original
manuscript.
A
whole conglomeration of
motifs stands behind the
incomplete work. What at
first seems like a
counterpart to
Smetana’s Vltava,
in fact doesn’t
turn out to be a musical
depiction of the Danube.
On the contrary, the
fateful link between the
destiny of women, water
and death permeates the
range of motifs found in
the work. It seems to be
no coincidence that
Janácek, whilst
working on the opera
Katya Kabanova, in which
the Volga, as the river
bringing death plays an
almost mythical role,
planned a Danube
symphony, and that its
content was linked with
the destiny of women: in
the sketches, two poems
were found which may have
provided the stimulus for
several movements of the
symphony. He copied a
poem by Pavla
Kriciková into the
second movement, in which
a girl remarks that
whilst bathing in a pond,
she was observed by a
man. Filled with shame,
the young naked woman
jumps into the water and
drowns. The outer
movements likewise draw
on the poem
“Lola†by the
Czech writer Sonja
Špálová,
published under the
pseudonym Alexander
Insarov. This is about a
prostitute who asks for
her heart’s
desire: she is given a
palace, but then goes on
a long search for it and
is finally no longer
wanted by anyone. She
suffers, feels cold and
just wants a warm fire.
Janácek adds his
remark “she jumps
into the Danube†to
the inconclusive
ending.
To these
tangible literary models
is added Adolf
Veselý’s verbal
account which reports
that the composer wanted
to portray “in the
Danube, the female sex
with all its passions and
driving forcesâ€.
The third movement is
said to characterise the
city of Vienna in the
form of a
woman.
It is
evident that in his
composition, Janácek
was not striving for a
simple, natural lyricism.
The River Danube is
masculine in the Slavic
language –
“ten Dunajâ€
– and assumes an
almost mythical
significance in the
national character,
indeed often also a role
bringing death. The four
movements are motivically
conceived. Elements of
sound painting, small
wave-like figures in the
first movement, motoric,
driving movements in the
third are obvious
evocations of water. And
the content and the
literary level are easy
to discover. The
“tremolo of the
four timpaniâ€,
which was amongst
Janácek’s first
inspirations, appears in
the second movement. It
is not difficult to
retrace in it the fate of
the drowning bather. The
oboe enters lamentoso
towards the end of the
movement over timpani
playing tremolo, its
descending figure is
taken over by the flute,
then upper strings and
intensified considerably.
The motif of drowning
– Lola’s
despair – returns
again in the fourth
movement in the clarinet,
before the work ends
abruptly and
dramatically.
One
special effect is the use
of a soprano voice in the
motor-driven third
movement. The singer
vocalises mainly in
parallel with the solo
oboe, but also in
dialogue with other parts
such as the viola
d’amore, which
Janácek used in
several late works as a
sort of “voice of
loveâ€.
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
Full orchestra SKU: LO.30-3663MD Composed by Mary McDonald. Arranged by E...(+)
Full orchestra
SKU:
LO.30-3663MD
Composed
by Mary McDonald.
Arranged by Ed Hogan.
Choral. Sacred Anthem.
Orchestral score and
parts. Medallion Music
#30/3663MD. Published by
Medallion Music
(LO.30-3663MD).
UPC:
000308152937.
Orche
stral Score and Parts for
10/5291MD While written
for the Kentucky
All-State Youth Choir,
this energetic anthem
based on Psalm 100 is
suitable for choirs of
all ages and skill
levels. It’s
supported by a strong
piano accompaniment and
includes an optional full
orchestration by Ed
Hogan. An inspiring
choice for worship
services or concerts.
Full orchestra SKU: LO.30-3733L Composed by Joel Raney. Arranged by Ed Ho...(+)
Full orchestra
SKU:
LO.30-3733L
Composed
by Joel Raney. Arranged
by Ed Hogan. Choral,
cantatas. Advent,
Christmas, Sacred. CD
with printable parts.
Lorenz Publishing Company
#30/3733L. Published by
Lorenz Publishing Company
(LO.30-3733L).
UPC:
000308154610.
CD
with Printable Parts for
65/2106L Joel Raney calls
on Celtic musical
traditions and
instrumentation to
deliver a refreshing
sound for Christmas! The
orchestration by Ed Hogan
incorporates Irish
flutes, drums, acoustic
guitar, and fiddle to
paint vivid imagery of a
beautifully lush and
green Irish countryside.
Familiar Christmas carols
appear, as do some
familiar Christmas texts
set to beloved Irish and
Welsh folk songs. An
ethereal opening sets the
stage before breaking
into an exuberant
rendition of I Saw Three
Ships. Come, Thou
Long-Expected Jesus; Away
in a Manger; Gentle Mary
Laid Her Child; and the
beloved Angels We Have
Heard on High all make
appearances as the work
progresses, culminating
with a rhythmic
re-imagining of O Come,
All Ye Faithful set to
the traditional Scottish
melody Loch Lomond. One
of the highlights of this
musical is O Holy Night,
written for soloist and
choir and set to the
timeless tune,
LONDONDERRY AIR. Present
the Christmas story in a
uniquely captivating way
with this imaginative
work!
Full orchestra SKU: LO.30-3734L Composed by Joel Raney. Arranged by Ed Ho...(+)
Full orchestra
SKU:
LO.30-3734L
Composed
by Joel Raney. Arranged
by Ed Hogan. Choral,
cantatas. Advent,
Christmas, Sacred. Score
and parts, plus CD with
printable parts. Lorenz
Publishing Company
#30/3734L. Published by
Lorenz Publishing Company
(LO.30-3734L).
UPC:
000308154627.
Score
and Parts plus CD with
Printable Parts for
65/2106L Joel Raney calls
on Celtic musical
traditions and
instrumentation to
deliver a refreshing
sound for Christmas! The
orchestration by Ed Hogan
incorporates Irish
flutes, drums, acoustic
guitar, and fiddle to
paint vivid imagery of a
beautifully lush and
green Irish countryside.
Familiar Christmas carols
appear, as do some
familiar Christmas texts
set to beloved Irish and
Welsh folk songs. An
ethereal opening sets the
stage before breaking
into an exuberant
rendition of I Saw Three
Ships. Come, Thou
Long-Expected Jesus; Away
in a Manger; Gentle Mary
Laid Her Child; and the
beloved Angels We Have
Heard on High all make
appearances as the work
progresses, culminating
with a rhythmic
re-imagining of O Come,
All Ye Faithful set to
the traditional Scottish
melody Loch Lomond. One
of the highlights of this
musical is O Holy Night,
written for soloist and
choir and set to the
timeless tune,
LONDONDERRY AIR. Present
the Christmas story in a
uniquely captivating way
with this imaginative
work!
Full orchestra SKU: LO.30-3732L Composed by Joel Raney. Arranged by Ed Ho...(+)
Full orchestra
SKU:
LO.30-3732L
Composed
by Joel Raney. Arranged
by Ed Hogan. Choral,
cantatas. Advent,
Christmas, Sacred.
Instrumental parts.
Lorenz Publishing Company
#30/3732L. Published by
Lorenz Publishing Company
(LO.30-3732L).
UPC:
000308154603.
Set
of Parts for 65/2106L
Joel Raney calls on
Celtic musical traditions
and instrumentation to
deliver a refreshing
sound for Christmas! The
orchestration by Ed Hogan
incorporates Irish
flutes, drums, acoustic
guitar, and fiddle to
paint vivid imagery of a
beautifully lush and
green Irish countryside.
Familiar Christmas carols
appear, as do some
familiar Christmas texts
set to beloved Irish and
Welsh folk songs. An
ethereal opening sets the
stage before breaking
into an exuberant
rendition of I Saw Three
Ships. Come, Thou
Long-Expected Jesus; Away
in a Manger; Gentle Mary
Laid Her Child; and the
beloved Angels We Have
Heard on High all make
appearances as the work
progresses, culminating
with a rhythmic
re-imagining of O Come,
All Ye Faithful set to
the traditional Scottish
melody Loch Lomond. One
of the highlights of this
musical is O Holy Night,
written for soloist and
choir and set to the
timeless tune,
LONDONDERRY AIR. Present
the Christmas story in a
uniquely captivating way
with this imaginative
work!
Full orchestra SKU: LO.30-3731L Composed by Joel Raney. Arranged by Ed Ho...(+)
Full orchestra
SKU:
LO.30-3731L
Composed
by Joel Raney. Arranged
by Ed Hogan. Choral,
cantatas. Advent,
Christmas, Sacred. Full
score. Lorenz Publishing
Company #30/3731L.
Published by Lorenz
Publishing Company
(LO.30-3731L).
UPC:
000308154597.
Full
Score for 65/2106L Joel
Raney calls on Celtic
musical traditions and
instrumentation to
deliver a refreshing
sound for Christmas! The
orchestration by Ed Hogan
incorporates Irish
flutes, drums, acoustic
guitar, and fiddle to
paint vivid imagery of a
beautifully lush and
green Irish countryside.
Familiar Christmas carols
appear, as do some
familiar Christmas texts
set to beloved Irish and
Welsh folk songs. An
ethereal opening sets the
stage before breaking
into an exuberant
rendition of I Saw Three
Ships. Come, Thou
Long-Expected Jesus; Away
in a Manger; Gentle Mary
Laid Her Child; and the
beloved Angels We Have
Heard on High all make
appearances as the work
progresses, culminating
with a rhythmic
re-imagining of O Come,
All Ye Faithful set to
the traditional Scottish
melody Loch Lomond. One
of the highlights of this
musical is O Holy Night,
written for soloist and
choir and set to the
timeless tune,
LONDONDERRY AIR. Present
the Christmas story in a
uniquely captivating way
with this imaginative
work!
Full orchestra SKU: LO.30-4038L Composed by Pepper Choplin. Arranged by M...(+)
Full orchestra
SKU:
LO.30-4038L
Composed
by Pepper Choplin.
Arranged by Michael
Lawrence. Choral,
cantatas. Christmas.
Instrumental parts.
Lorenz Publishing Company
#30/4038L. Published by
Lorenz Publishing Company
(LO.30-4038L).
UPC:
000308159974.
Balla
ds have been used
throughout history to
tell a story through
music. Pepper Choplin has
long used his signature
musical voice to tell the
meaningful stories of our
faith, so itâ??s
especially fitting that
heâ??s brought the
timeless story of
Christmas alive once more
with The Ballad of
Bethlehem. Available for
SATB or SAB choirs with
rehearsal aids and
accompaniment options
ranging from piano only
to a thrilling full
orchestra written by
Michael Lawrence to
recorded tracks, this
stunning cantata
dramatically moves from a
recollection of ancient
prophecies through the
quiet manger scene to its
joyous conclusion
featuring a rousing call
to â??Shout with the
Shepherds!â? This
season, let the folk-like
energy of Pepper
Choplinâ??s unique voice
bring The Ballad of
Bethlehem to you and your
listeners. â??O sing a
ballad of Bethlehem. I
want to hear it once
more. I love that story
so often told to
generations
before.â?.
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.
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.
(Orchestra) SKU: BA.BA11902 Composed by Ludwig van Beethoven. Edited by J...(+)
(Orchestra)
SKU:
BA.BA11902
Composed
by Ludwig van Beethoven.
Edited by Jonathan Del
Mar. This edition: urtext
edition. Stapled. Score.
Opus 43. Baerenreiter
Verlag #BA11902_00.
Published by Baerenreiter
Verlag (BA.BA11902).
ISBN 9790006573417.
32.5 x 25.5 cm
inches.
Beethoven
composed the ballet music
“Die Geschöpfe
des Prometheusâ€
during 1800–01,
commissioned by the
ballet master Salvatore
Viganò for
performances with his
Viennese company.
Although the ballet was
initially quite
successful, with almost
thirty continuous
performances, it did not
enjoy a sustained
performance tradition.
Its overture, however,
was a different matter:
considered almost a
symphonic movement in
terms of orchestration,
style and structure, it
was often performed on
its own even during
Beethoven’s
lifetime.
In
general, previous
editions of this overture
relied on the first print
as the main source.
However, the authenticity
of this source cannot be
convincingly proven. For
this new edition,
Beethoven specialist
Jonathan Del Mar
incorporates various
manuscript sources,
including a set of parts
from 1803/4 that has
never been considered
before. In this way,
numerous discrepancies
could be
clarified.
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.BA11903 Composed by Ludwig van Beethoven. Edited by J...(+)
(Orchestra)
SKU:
BA.BA11903
Composed
by Ludwig van Beethoven.
Edited by Jonathan Del
Mar. This edition: urtext
edition. Stapled. Score.
Opus 84. Baerenreiter
Verlag #BA11903_00.
Published by Baerenreiter
Verlag (BA.BA11903).
ISBN 9790006573783.
32.5 x 25.5 cm
inches.
Beethovenâ
€™s incidental music
op. 84 was written in
1809 for a performance of
Goethe’s drama
“Egmont†at
the Burgtheater in
Vienna. Numerous
composers of the day
tried their hand at
writing music for the
dramatic material of
Goethe’s tragedy,
several in collaboration
with the author himself.
The overture reflects the
themes of the play
through its expressive
music, and over the last
two hundred years it has
become one of the most
popular works by
Beethoven conceived for
the stage.
For
this new edition,
Beethoven specialist
Jonathan Del Mar draws on
various manuscript
sources including a
handwritten set of parts
which has never been
taken into account
before. Thus, numerous
discrepancies such as
missing notes in the
flute part or unclear
bowing could be clarified
for the first
time.
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
Composed by Franz Joseph
Haydn. Edited by Andreas
Friesenhagen. This
edition: urtext edition.
Stapled. Score. Hob.
I:90. Baerenreiter Verlag
#BA10981_00. Published by
Baerenreiter Verlag
(BA.BA10981).
ISBN
9790006564620. 31 x 24.3
cm inches. Key: C major.
Preface: Andreas
Friesenhagen.
Haydn
’s Symphony in C
major Hob. I: 90, dated
1788 in the autograph,
belongs to a group of
works that he composed
between the Paris
symphonies (Hob. I:
82–87) and the
London symphonies (Hob.
I: 93–104). It
thus belongs to the last
symphonies he wrote
before his journeys to
England in 1791–92
and 1794–95.
Continuing the
collaboration between
Bärenreiter and the G.
Henle publishing company
regarding Haydn's
large-scale choral works,
operas and symphonies,
this edition is based on
the G. Henle Complete
Edition of the Works of
Joseph Haydn. With
Symphony No. 90,
Bärenreiter has now
published the complete
performance material for
all the symphonies from
Nos. 82 to 104 as well as
several Sturm und Drang
symphonies.
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
Orchester-Ballade.
Composed by Leos Janacek.
Edited by Jarmil
Burghauser and Radomil
Eliska. This edition:
complete edition, urtext
edition. Linen. Complete
Critical Edition of the
Works of Leos Janacek
D/6. Complete edition,
Score. Composed
1912-1914. Duration 12
minutes. Baerenreiter
Verlag #BA06848_00.
Published by Baerenreiter
Verlag (BA.BA06848).
ISBN 9790006483303.
34.4 x 27 cm inches.
Text: Svatopluk
Cech.
Over the
years Janácek’s
uvre has increasingly
received the recognition
it so richly merits and
performances of his works
are becoming more and
more frequent. This
development is, however,
offset by a manuscript
tradition so disorderly
that some of
Janácek’s works
continue, as before, to
be played in versions
which are heavily
adapted, corrupt or
otherwise contrary to the
composer’s
intentions. Thus, a
critical edition of
Janácek’s music
is indispensable for
scholars and performers
alike.
This editon
presents an authentic
printed text based on all
available sources for
each work. In addition to
the musical text, each
volume also contains a
critical report (Czech /
German), a rendition of
deleted or rejected
versions, and a
comprehensive appendix of
facsimiles.
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
Oboe Concerto Orchestre [Conducteur d'étude / Miniature] Boosey and Hawkes
Orchestra (Study Score) SKU: HL.48024115 Composed by James Macmillan. Boo...(+)
Orchestra (Study Score)
SKU: HL.48024115
Composed by James
Macmillan. Boosey &
Hawkes Scores/Books.
Classical. Softcover. 104
pages. Boosey & Hawkes
#M060125461. Published by
Boosey & Hawkes
(HL.48024115).
ISBN
9780851628219. UPC:
888680708962. 7.25x10.25
inches.
This work
was written for the
Britten Sinfonia and
Nicholas Daniel, and is
dedicated to him. It is
in three movements. The
first opens with a
gradual building up of
rhythmic layers on
violas, bassoon and
trumpet before the
soloist joins in.
Suddenly the music is
thrown forward by a
metrical modulation and
becomes very fast,
flighty and virtuosic.
Structurally, the music
eventually goes into
reverse before a solemn
coda. The second movement
is based on an earlier
work for solo oboe, in
angustiis... The solo
material is expressive
and sad, and enters into
much dialogue with other
wind instruments
throughout. The
reflective character of
the movement is
interrupted by little
dyadic patterns, various
pizzicato outbursts, some
scherzo-like material and
agitated faster passages,
but the principal mood is
introverted and
cantabile. The last
movement begins brashly
and has a clownish
character. The overall
feeling is extrovert and
dramatic, showing off the
oboe in fast display.
Some of the original
ideas from the opening
movement are
re-introduced in new
guises, before an
exultant and joyous
ending.
Orchestra - Grade 1.5 SKU: AP.40459S Composed by Andrew H. Dabczynski. Pe...(+)
Orchestra - Grade 1.5
SKU: AP.40459S
Composed by Andrew H.
Dabczynski. Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland/Etling String
Explorer. Christmas;
Novelty; Secular; Winter.
Score. 12 pages.
Highland/Etling
#00-40459S. Published by
Highland/Etling
(AP.40459S).
UPC:
038081454191.
English.
What
happens when we mix
Santa, tradition, and
old-time fiddling? Of
course, we get Fiddler on
the Housetop! In this
tongue-in-cheek and
thoroughly playable
arrangement, young string
players will play like
eastern European
fiddlers, then spin into
an upbeat and driving
American fiddle version
of the holiday standard.
Whether a member of the
orchestra or the
audience, here's a
humorous, toe-tapping
arrangement of Up on the
Housetop like you've
never heard it
before!
Orchestra - Grade 1.5 SKU: AP.35997S Featuring: The Waves of Tory / Th...(+)
Orchestra - Grade 1.5
SKU: AP.35997S
Featuring: The Waves
of Tory / The Stronsay
Wedding. Arranged by
Bob Phillips. Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland/Etling String
Alternatives. Form:
Medley. Folk;
Traditional. Score. 8
pages. Highland/Etling
#00-35997S. Published by
Highland/Etling
(AP.35997S).
UPC:
038081411347. English.
Traditional.
Perfec
t for young players or as
a quick play-down finale
for older players, this
easy medley will soon
become a favorite that
you'll hear them playing
before class begins. All
sections play the
melodies of The Waves of
Tory and The Stronsay
Wedding, providing
interest and a chance to
work on dynamics.
Performance
recommendations to help
make the tunes sound
fiddley are provided in
the score.
Orchestra - Grade 3 SKU: AP.35990S Composed by Richard Meyer. Full Orches...(+)
Orchestra - Grade 3
SKU: AP.35990S
Composed by Richard
Meyer. Full Orchestra;
Performance Music
Ensemble; Single Titles.
Highland/Etling Full
Orchestra. Form:
Overture. Score. 36
pages. Highland/Etling
#00-35990S. Published by
Highland/Etling
(AP.35990S).
UPC:
038081411323.
English.
Before
writing the piece, Mr.
Meyer asked members of
the Pasadena Youth
Symphony Orchestra to
compose original themes
of their own. Four of
these themes were chosen,
and then woven together
by the composer. The
result is a fascinating
and high-spirited
overture that explores a
myriad of emotions. With
brief solos for trombone,
trumpet, and violin, this
piece is sure to hold the
interest of all of your
students---after all, it
was written with the help
of their peers!
Tales of Vandosar Orchestre [Conducteur et Parties séparées] - Intermédiaire Highland/Etling
Composed by Richard Meyer. Orchestra. For full (timp, bells/xylophone, Suspended...(+)
Composed by Richard
Meyer. Orchestra. For
full (timp,
bells/xylophone,
Suspended Cymbal, Crash
Cymbals, Triangle, Snare
Drum, Tambourine,
Castanets). Full
Orchestra; Part(s);
Score. Highland Full
Orchestra. Form:
Overture. Grade 3. 220
pages. Published by
Highland/Etling
New York, New York Orchestre [Conducteur et Parties séparées] Jazz Lines Publications
Recorded by Frank Sinatra. Edited by Rob DuBoff, Jeffrey Sultanof, and Dy...(+)
Recorded by Frank
Sinatra. Edited by
Rob DuBoff, Jeffrey
Sultanof, and Dylan
Canterbury. Arranged by
Don Costa. Jazz, Swing.
Score and parts.
Published by Jazz Lines
Publications
(JL.JLP-9510).
(Concerto No. 1 for Marimba, Strings and Percussion). Composed by Gillingham. Ar...(+)
(Concerto No. 1 for
Marimba, Strings and
Percussion). Composed by
Gillingham. Arranged by
Nathan Daughtrey. For
Soloist(s) with String
Orchestra (Solo Marimba
Percussion 1 (xylophone,
bells, chimes) Percussion
2 (brake drum, cowbell,
shaker, suspended cymbal,
crash cymbals, temple
blocks, triangle)
Percussion 3 (4 toms,
crash cymbals, bass drum,
suspended cymbal, tam
tam, hi hat) Violin I
Violin II). Medium
difficult. Orchestra
score only. Duration
16:30. Published by C.
Alan Publications
Orchestra - Grade 2 SKU: AP.47457 Themes by Peter Ilyich Tchaikovsky(+)
Orchestra - Grade 2
SKU: AP.47457
Themes by Peter Ilyich
Tchaikovsky. Composed
by Richard Meyer.
Performance Music
Ensemble; Single Titles;
String Orchestra. Sound
Innovations for String
Orchestra. Light Concert.
Score and Part(s). 90
pages. Alfred Music
#00-47457. Published by
Alfred Music (AP.47457).
UPC: 038081544748.
English.
You've
heard all of these
melodies before, but
never like this! Four
themes from Tchaikovsky's
most famous overture have
been turned into a cool
12-bar blues. Complete
with swinging eighth
notes and a ride-cymbal
accompaniment, this piece
is a great way to teach
blues structure, jazz
performance practices,
and classical music
history while keeping
your audience's toes
tappin' and fingers
snappin'. (Correlates
with Sound Innovations
for String Orchestra,
Book 2, level 2).
Orchestra - Grade 2 SKU: AP.47457S Themes by Peter Ilyich Tchaikovsky<...(+)
Orchestra - Grade 2
SKU: AP.47457S
Themes by Peter Ilyich
Tchaikovsky. Composed
by Richard Meyer.
Performance Music
Ensemble; Single Titles;
String Orchestra. Sound
Innovations for String
Orchestra. Light Concert.
Score. 8 pages. Alfred
Music #00-47457S.
Published by Alfred Music
(AP.47457S).
UPC:
038081544755.
English.
You've
heard all of these
melodies before, but
never like this! Four
themes from Tchaikovsky's
most famous overture have
been turned into a cool
12-bar blues. Complete
with swinging eighth
notes and a ride-cymbal
accompaniment, this piece
is a great way to teach
blues structure, jazz
performance practices,
and classical music
history while keeping
your audience's toes
tappin' and fingers
snappin'. (Correlates
with Sound Innovations
for String Orchestra,
Book 2, level 2).
A Mad Russian's Christmas Orchestre [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
(As performed by Trans-Siberian Orchestra). Composed by Paul O'Neill, Robert Kin...(+)
(As performed by
Trans-Siberian
Orchestra). Composed by
Paul O'Neill, Robert
Kinkel, and Peter Ilyich
Tchaikovsky
[Trans-Siberian
Orchestra]. Arranged by
Bob Phillips. Orchestra.
Full Orchestra; Part(s);
Score. Pop Concert Full
Orchestra. Christmas;
Rock; Winter. Grade 3.5.
226 pages. Published by
Alfred Music
(As Performed by Trans-Siberian Orchestra). Composed by Paul O'Neill, Robert Kin...(+)
(As Performed by
Trans-Siberian
Orchestra). Composed by
Paul O'Neill, Robert
Kinkel, and Peter Ilych
Tchaikovsky
[Trans-Siberian
Orchestra]. Arranged by
Bob Phillips. Orchestra.
Full Orchestra; Score.
Pop Concert Full
Orchestra. Christmas;
Rock; Winter. Grade 3.5.
28 pages. Published by
Alfred Music
Orchestra (solo: pno - 3(picc).3(cor ang).2.2 - 4.2.3.1 - timp.perc - hp - cel -...(+)
Orchestra (solo: pno -
3(picc).3(cor ang).2.2 -
4.2.3.1 - timp.perc - hp
- cel - str)
SKU:
BR.PB-15154-07
Impresiones sinfonicas
- Urtext. Composed by
Manuel de Falla. Edited
by Ullrich Scheideler.
Orchestra; Softcover.
Partitur-Bibliothek
(Score Library). Solo
concerto; Symphonic poem;
Late-romantic; Early
modern. Study Score.
Duration 23'. Breitkopf
and Haertel #PB 15154-07.
Published by Breitkopf
and Haertel
(BR.PB-15154-07).
ISBN
9790004215593. 6.5 x 9
inches.
Composed by
Manuel de Falla during
his lengthy residence in
Paris, these three
symphonic impressions for
piano and orchestra are
an expressive work
bringing the southern
Spanish gardens, which
are laid out in the
European and
Arabic-Moorish tradition,
to life. The influence of
contemporary French music
is noticeable in this
composition. Despite many
modifications, involving
among other things, the
scoring, number of
movements, as well as
layout and content, the
basic idea of a nocturnal
impression is retained
from the outset. The work
was finished - and
likewise the orchestral
material - only shortly
before its premiere on 9
April 1916, which was a
great success. World War
I prevented its
publication, though
further performances
followed, played then
from manuscript material.
The Urtext edition
presented by Ullrich
Scheideler takes as the
main source the first
edition of the score. The
Critical Report gives
detailed information
about the source
situation.
(Orchestra) SKU: HP.8464 Arranged by Jack Schrader. Lent/Easter, Cantata....(+)
(Orchestra)
SKU:
HP.8464
Arranged by
Jack Schrader.
Lent/Easter, Cantata.
Lent & Easter Musicals.
Lent, Easter Sunday,
Sacred. Set of
Instrumental Parts. Hope
Publishing Company #8464.
Published by Hope
Publishing Company
(HP.8464).
UPC:
763628184643.
Lent
& Easter Musical This new
45-minute, Easter musical
from Jack Schrader
utilizes three powerful
devices to dramatically
portray Christ's passion
and glory: well-conceived
choral music,
scintillating orchestral
accompaniment, and
passionate narrations,
with much detail drawn
from the gospels. The
story begins before the
Triumphal Entry of
Christ, and ends, by
implication, beyond his
Ascension. Chorally you
will find many poignant
and powerful moments.
Talented orchestrator,
Mark Kellner, has
provided exquisite
instrumental mosaics to
underscore and support
both choir and narration.
Yet the simple use of
piano accompaniment would
also be very satisfying.
At the most high and holy
time of the Christian
year, this musical
presentation powerfully
proclaims the truth of
the Gospel, and confronts
listener and performer
alike with the claims of
Jesus Christ, the Son of
God.
The
Orchestration contains a
Conductor's Score and
parts for: Flute, Oboe,
Clarinet, 3 Trumpets, 2
Horns, 2 Trombones, Tuba,
Percussion, Timpani,
Harp, Violin 1 & 2,
Viola, Cello, Bass,
Piano, and Electric
Bass.