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
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.
A Swinging
Christmas. Arranged
by Randy Sabien.
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Alternatives. Christmas;
Jazz; Sacred; Winter.
Score. 132 pages.
Highland/Etling
#00-33751S. Published by
Highland/Etling
(AP.33751S).
UPC:
038081394664.
English.
A seasonal
classic becomes a
swinging jazz piece in an
arrangement that combines
blues and be-bop riffs
with solos for each
instrument. A short
section of straight
Baroque style pays
respect to tradition and
the strong connection
between bop and Bach.
Performing this piece
will bring you comfort
and joy.
Orchestra SKU: SU.91580100 For Orchestra. Composed by Steven Mercu...(+)
Orchestra
SKU:
SU.91580100
For
Orchestra. Composed
by Steven Mercurio.
Vocal/Choral, Opera. CD
(Audio). Subito Music
Corporation #91580100.
Published by Subito Music
Corporation
(SU.91580100).
A Grateful Tail
- Movement by Movement
Siriusly, Dog Star
Sirius, the brightest
star in the night sky,
has been used by
travelers and navigators
for thousands of years as
a guiding star and so it
is here as the opening
movement for the
symphony. Sirius, the
cornerstone to the
constellation Canis
Maggiore or Big Dog sits
at the foot of Orion, the
hunter, leading the way.
Highly cinematic, the
movement evokes both a
musical and visual sense
of the mythological and
mysterious elements of
Sirius and its Dog
Godstar secrets. From the
clarion call of the
opening, Sirius theme,
the sound is buoyant and
frisky emulating the
nature of doggy playtime.
Puppy pleasures abound as
a doggy four-step, my
turn on the traditional
American two-step dance,
is introduced. The
movement transforms into
an actual orchestrated
frolic of small, large
and medium dog barks
beginning with the winds
(smaller dogs) and
ultimately, the big dog,
brass. The movement
climaxes with the coda
or, Dog Park, where the
winds and the brass bark
and play together over
the, doggy ostinato
four-step rhythm,
culminating with the
final call of the Sirius
theme. Let Sleeping Dogs
Lie, Peacefully It's all
in a dog's day and life.
Tranquility presides over
this supremely gentle,
intermezzo-like movement.
After a day of play,
every dog needs rest. Let
Sleeping Dogs Lie, is a
lyrical andante inspired
by the profound serenity
and beauty of a dog at
rest. The Last Will and
Testament of Silverdene
Emblem O'Neill Based on a
powerful piece of prose
written by the American
playwright, Eugene
O'Neill this text was
intended as a consolation
piece for Carlotta, his
wife, who had become
grief-stricken over the
loss of their beloved
dog, the Dalmatian known
as Blemie.Written for a
singing actor who
personifies the role of
Blemie, a dog at the end
of his life, the movement
plays like a one act,
musical drama as we
follow Blemie through a
wonderfully
three-dimensional,
emotional and
psychological journey
writing his Last Will and
Testament, for those who
have loved him. Wagging
the Tail: Ossia Fido's
Lament A life-affirming
rumba/samba using
Blemie's final words from
O'Neill's text, this
final movement employs
the most unique American
musical invention, the
gospel choir. In order to
make the dances come
alive, this movement also
calls upon the colors of
a rhythm section.
Creating the spirit of an
Irish Funeral, the
movement is a joyful and
revival-like celebration
of a dog's life as its
spirit lives on forever
in the hearts and minds
of dog lovers everywhere.
Remember Me, remember me!
My spirit is wagging a
grateful tail. Published
by: Subito Music
Publishing Release Date:
July 9, 2013.
Composed by
Chuck Elledge. Sacred.
Score and parts. Neil A.
Kjos Music Company
#SO60C. Published by Neil
A. Kjos Music Company
(KJ.SO60C).
Over the years,
God Rest Ye Merry,
Gentlemen with its
simple, plaintive melody
and joyous words, has
become a holiday favorite
in the world over.
Although this traditional
English carol is often
said to be in a minor
key, it is actually in
the Aeolian mode, (also
known as natural minor),
which is different from
the more common harmonic
form of minor in that the
Aeolian mode's leading
tone is a whole step from
the tonic.The encouraging
words of this carol are
an inspiration to people
everywhere.
New music
(post-2000). Full score.
Composed 2016/17/20. 48
pages. Duration 8'.
Breitkopf and Haertel #PB
5432. Published by
Breitkopf and Haertel
(BR.PB-5432).
ISBN
9790004212790. 10 x 12.5
inches.
Marche
fatale is an incautiously
daring escapade that may
annoy the fans of my
compositions more than my
earlier works, many of
which have prevailed only
after scandals at their
world premieres. My
Marche fatale has,
though, little
stylistically to do with
my previous compositional
path; it presents itself
without restraint, if not
as a regression, then
still as a recourse to
those empty phrases to
which modern civilization
still clings in its daily
utility music, whereas
music in the 20th and
21st centuries has long
since advanced to new,
unfamiliar soundscapes
and expressive
possibilities. The key
term is banality. As
creators we despise it,
we try to avoid it -
though we are not safe
from the cheap banal even
within new aesthetic
achievements.Many
composers have
incidentally accepted the
banal. Mozart wrote Ein
musikalischer Spass [A
Musical Jape], a
deliberately amateurishly
miscarried sextet.
Beethoven's Bagatellen
op. 119 were rejected by
the publisher on the
grounds that few will
believe that this minor
work is by the famous
Beethoven. Mauricio Kagel
wrote, tongue in cheek,
so to speak, Marsche, um
den Sieg zu verfehlen
[Marches for being
Unvictorious], Ligeti
wrote Hungarian Rock; in
his Circus Polka
Stravinsky quoted and
distorted the famous, all
too popular Schubert
military march, composed
at the time for piano
duet. I myself do not
know, though, whether I
ought to rank my Marche
fatale alongside these
examples: I accept the
humor in daily life, the
more so as this daily
life for some of us is
not otherwise to be
borne. In music, I
mistrust it, considering
myself all the closer to
the profounder idea of
cheerfulness having
little to do with humor.
However: Isn't a march
with its compelling claim
to a collectively martial
or festive mood absurd, a
priori? Is it even music
at all? Can one march and
at the same time listen?
Eventually, I resolved to
take the absurd seriously
- perhaps bitterly
seriously - as a
debunking emblem of our
civilization that is
standing on the brink.
The way - seemingly
unstoppable - into the
black hole of all
debilitating demons: that
can become serene. My old
request of myself and my
music-creating
surroundings is to write
a non-music, whence the
familiar concept of music
is repeatedly re-defined
anew and differently, so
that derailed here -
perhaps? - in a
treacherous way, the
concert hall becomes the
place of mind-opening
adventures instead of a
refuge in illusory
security. How could that
happen? The rest is -
thinking.(Helmut
Lachenmann, 2017)CD
(Version for
Piano):Nicolas Hodges CD
Wergo WER 7393 2
Bibliography:Ich bin
nicht ,,pietistisch
verformt. Ein Gesprach
[von Jan Brachmann] mit
dem Komponisten Helmut
Lachenmann, in: FAZ vom
7. Juni 2018, p.
15.
World premiere
of the piano version:
Mito/Japan, June 17,
2017, World premiere of
the orchestral version:
Stuttgart, January 1,
2018, World premiere of
the ensemble version:
Frankfurt, December 9,
2020.
Serie IX (Schriften) Vol. 4.3: Briefe 1952-1956. Composed by Hanns Eisler ...(+)
Serie IX (Schriften) Vol.
4.3: Briefe 1952-1956.
Composed by Hanns Eisler
(1898-1962). Edited by
Maren
Koster. Restless Times.
Breitkopf and Haertel #BV
350. Published by
Breitkopf
and Haertel
Orchestra - Grade 2 SKU: AP.49054 Composed by John Playford. Arranged by ...(+)
Orchestra - Grade 2
SKU: AP.49054
Composed by John
Playford. Arranged by
Andrew H. Dabczynski.
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Explorer. Form: Dance.
Light Concert; TV. Score
and Part(s). 47 pages.
Duration 2:10.
Highland/Etling
#00-49054. Published by
Highland/Etling
(AP.49054).
ISBN
9781470645663. UPC:
038081564142.
English.
English
country dancing has been
popular for over 300
years, and The Dancing
Master features two
delightful folk tunes in
that timeless style
arranged by Andrew H.
Dabczynski. The first
lively tune, Jamaica, has
been used in the theme to
the British TV comedy,
Upstart Crow, and the
second, The Goddesses,
offers a charming
contrast. Attributed to
John Playford, these
melodies fall under the
fingers of beginning
string students with
interesting, rhythmic
parts for all players. An
optional hand-drum part
adds to the upbeat 17th
century dance atmosphere.
(2:10).
Orchestra - Grade 2 SKU: AP.49054S Composed by John Playford. Arranged by...(+)
Orchestra - Grade 2
SKU: AP.49054S
Composed by John
Playford. Arranged by
Andrew H. Dabczynski.
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Explorer. Light Concert;
TV. Score. 8 pages.
Duration 2:10.
Highland/Etling
#00-49054S. Published by
Highland/Etling
(AP.49054S).
ISBN
9781470645670. UPC:
038081564159.
English.
English
country dancing has been
popular for over 300
years, and The Dancing
Master features two
delightful folk tunes in
that timeless style
arranged by Andrew H.
Dabczynski. The first
lively tune, Jamaica, has
been used in the theme to
the British TV comedy,
Upstart Crow, and the
second, The Goddesses,
offers a charming
contrast. Attributed to
John Playford, these
melodies fall under the
fingers of beginning
string students with
interesting, rhythmic
parts for all players. An
optional hand-drum part
adds to the upbeat 17th
century dance atmosphere.
(2:10).
Orchestra SKU: WD.080689401572 Composed by David Clydesdale. Arranged by ...(+)
Orchestra
SKU:
WD.080689401572
Composed by David
Clydesdale. Arranged by
David Clydesdale. Stand
Alone Orchestration.
Christmas. Orchestration.
Word Music #080689401572.
Published by Word Music
(WD.080689401572).
UPC:
080689401572.
This
triumphant, resounding
orchestration created by
David T. Clydesdale
spotlights four Christmas
classics, including: Joy
to the World, How Great
Our Joy, Here We Come A
Caroling, and God Rest Ye
Merry, Gentlemen. Perfect
for opening your service
or highlighting special
music for your Christmas
program!
Holiday Rock Orchestre - Débutant Alfred Publishing
Concert Band; Orchestra - Grade 0.5 SKU: AP.49115 Angels We Have Heard...(+)
Concert Band; Orchestra -
Grade 0.5
SKU:
AP.49115
Angels We
Have Heard on High / God
Rest Ye Merry, Gentlemen
/ Deck the Halls / Dreydl
Song / Jingle Bells.
Arranged by Chris M.
Bernotas. 5 or More;
MakeMusic Cloud; Mixed
Instruments - Flexible
Instrumentation;
Performance Music
Ensemble; Quartet; Single
Titles; Solo Small
Ensembles. Sound
Innovations for Concert
Band. Chanukah;
Christmas; Holiday Pops;
Traditional; Winter.
Score and Part(s). 89
pages. Duration 2:20.
Alfred Music #00-49115.
Published by Alfred Music
(AP.49115).
UPC:
038081563398.
English.
This
version of Holiday Rock
arranged by Chris
Bernotas is part of our
Alfred FLEX offerings and
is designed with maximum
flexibility for use by
any mix of
instruments---wind,
strings, and percussion,
including like- or
mixed-ensembles with as
few as 4 players. The
suggested instrumentation
and a customizable
Teacher Map will help you
plan out how to best
assign parts to suit your
ensemble's needs. The
4-part instrumentation
will support balanced
instrumentation of the
lower voices. It also
comes with supplemental
parts for maximum
flexibility. With the
purchase of this piece,
permission is granted to
photocopy the parts as
needed for your ensemble.
A percussion
accompaniment track is
also available as a free
download. String parts
have been carefully
edited with extra
fingerings and
appropriate bowings to
support students in mixed
ensembles playing in less
familiar keys.
This holiday
mash-up only uses the
first six notes of the
scale and is VERY
easy---perfect for the
first concert. With no
articulations, dynamics,
dotted notes, or key
signature, this wonderful
arrangement by Chris
Bernotas is playable by
the youngest of bands.
(2:20)
Holiday Rock Orchestre [Conducteur] - Débutant Alfred Publishing
Concert Band; Orchestra - Grade 0.5 SKU: AP.49115S Angels We Have Hear...(+)
Concert Band; Orchestra -
Grade 0.5
SKU:
AP.49115S
Angels
We Have Heard on High /
God Rest Ye Merry,
Gentlemen / Deck the
Halls / Dreydl Song /
Jingle Bells.
Arranged by Chris M.
Bernotas. 5 or More;
MakeMusic Cloud; Mixed
Instruments - Flexible
Instrumentation;
Performance Music
Ensemble; Quartet; Single
Titles; Solo Small
Ensembles. Sound
Innovations for Concert
Band. Chanukah;
Christmas; Holiday Pops;
Traditional; Winter.
Score. 16 pages. Duration
2:20. Alfred Music
#00-49115S. Published by
Alfred Music (AP.49115S).
UPC: 038081563404.
English.
This
version of Holiday Rock
arranged by Chris
Bernotas is part of our
Alfred FLEX offerings and
is designed with maximum
flexibility for use by
any mix of
instruments---wind,
strings, and percussion,
including like- or
mixed-ensembles with as
few as 4 players. The
suggested instrumentation
and a customizable
Teacher Map will help you
plan out how to best
assign parts to suit your
ensemble's needs. The
4-part instrumentation
will support balanced
instrumentation of the
lower voices. It also
comes with supplemental
parts for maximum
flexibility. With the
purchase of this piece,
permission is granted to
photocopy the parts as
needed for your ensemble.
A percussion
accompaniment track is
also available as a free
download. String parts
have been carefully
edited with extra
fingerings and
appropriate bowings to
support students in mixed
ensembles playing in less
familiar keys.
This holiday
mash-up only uses the
first six notes of the
scale and is VERY
easy---perfect for the
first concert. With no
articulations, dynamics,
dotted notes, or key
signature, this wonderful
arrangement by Chris
Bernotas is playable by
the youngest of bands.
(2:20)
Orchestra SKU: SU.25100230 For Orchestra. Composed by Jeffery Andl...(+)
Orchestra
SKU:
SU.25100230
For
Orchestra. Composed
by Jeffery Andler.
Orchestra. Full Score.
Gusthold Music Publisher
#25100230. Published by
Gusthold Music Publisher
(SU.25100230).
A medley of God
Rest Ye Merry Gentlemen,
Here We Come A-Caroling,
and Sing We Now of
Christmas.2,1 222; 4331;
timp, perc, hp(opt),
pno(opt), bsgtr(opt);
stgs Duration: 3'30
Composed: 2018 Published
by: Gusthold Music
Publisher Performance
materials available on
rental only:.
Orchestra - Grade 1.5 SKU: AP.46720S Composed by Susan H. Day. MakeMusic ...(+)
Orchestra - Grade 1.5
SKU: AP.46720S
Composed by Susan H. Day.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Score. 8
pages. Highland/Etling
#00-46720S. Published by
Highland/Etling
(AP.46720S).
UPC:
038081532882.
English.
This
stately grade 1.5 piece,
Coronation of the Queen
by Susan H. Day, uses
easy rhythms, features
interesting harmonies and
memorable melodies, and
reinforces low 2nd finger
on D and A strings.
Imagine a royal
procession and
celebration with crowds
cheering as their beloved
Queen passes by. You can
hear the rhythmical chant
Here Comes the Queen, and
that
quarter--eight--eight--ha
lf-note rhythm is found
throughout the rest of
the piece in all parts.
Visualizing the story
will bring this music to
life! This title is
available in MakeMusic
Cloud.
Orchestra - Grade 3 SKU: AP.44822 From National Lampoon's Christmas...(+)
Orchestra - Grade 3
SKU: AP.44822
From National
Lampoon's Christmas
Vacation.
Composed by Barry Mann
and Cynthia Weil.
Arranged by Patrick
Roszell. Full Orchestra;
Performance Music
Ensemble; Single Titles.
Pop Concert Full
Orchestra. Christmas;
Movie; Secular; Winter.
Score and Part(s). 222
pages. Duration 2:20.
Alfred Music #00-44822.
Published by Alfred Music
(AP.44822).
UPC:
038081515632.
English.
Since its
release in 1989, the
movie National Lampoon's
Christmas Vacation has
become a modern Christmas
classic. This arrangement
by Patrick Roszell
features the theme song,
Christmas Vacation. Join
the trip with Clark and
the rest of the Griswold
family as we celebrate
the holiday season, and
say along with Clark,
Where's the Tylenol?
(2:20).
Orchestra - Grade 3 SKU: AP.44822S From National Lampoon's Christma...(+)
Orchestra - Grade 3
SKU: AP.44822S
From National
Lampoon's Christmas
Vacation.
Composed by Barry Mann
and Cynthia Weil.
Arranged by Patrick
Roszell. Full Orchestra;
Performance Music
Ensemble; Single Titles.
Pop Concert Full
Orchestra. Christmas;
Movie; Secular; Winter.
Score. 16 pages. Duration
2:20. Alfred Music
#00-44822S. Published by
Alfred Music (AP.44822S).
UPC: 038081515649.
English.
Since its
release in 1989, the
movie National Lampoon's
Christmas Vacation has
become a modern Christmas
classic. This arrangement
by Patrick Roszell
features the theme song,
Christmas Vacation. Join
the trip with Clark and
the rest of the Griswold
family as we celebrate
the holiday season, and
say along with Clark,
Where's the Tylenol?
(2:20).
Blue Heron Orchestre [Conducteur] - Facile Highland/Etling
Orchestra - Grade 2 SKU: AP.24936S Composed by Edmund J. Siennicki. Perfo...(+)
Orchestra - Grade 2
SKU: AP.24936S
Composed by Edmund J.
Siennicki. Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland/Etling Strictly
Strings. Score. 8 pages.
Highland/Etling
#00-24936S. Published by
Highland/Etling
(AP.24936S).
UPC:
038081275895.
English.
Imagine
the stately bird, the
blue heron, in the
marshes along Lake Erie.
When standing on one leg
in the water, the bird is
visible to the careful
observer, yet their large
wingspan makes them
majestic flyers. This
piece calls for a
moderate tempo. After the
short introduction, the
next 16 measures are
played piano, mezzo forte
and forte. This is
followed by two versions
with variations. All
players get to play the
melody and bowings and
dynamics make the music
more interesting for the
audience and performers
as the piece comes to a
loud ending.
SKU: BR.SON-621 Composed by Jean Sibelius. Edited by Anna Pulkkis. Linen....(+)
SKU: BR.SON-621
Composed by Jean
Sibelius. Edited by Anna
Pulkkis. Linen. Complete
Works.
Chamber music
by Jean Sibelius - a
welcome addition to the
chamber music repertoire
for strings with
piano.
Late-romantic;
Early modern. Complete
Works. 352 pages.
Breitkopf and Haertel
#SON 621. Published by
Breitkopf and Haertel
(BR.SON-621).
ISBN
9790004803233. 9 x 12
inches.
This volume
presents partly less
known, but undoubtedly
interesting and highly
welcome additions to the
chamber music repertoire
for violinists and
cellists in the reliable
Urtext of the Complete
Edition. The violin was
Sibelius's instrument. He
was active as a violinist
mainly during his studies
at the Helsinki Music
Institute from 1885-1889
and for a short time
thereafter. The present
volume contains Jean
Sibelius's opus-numbered
works for violin or cello
and piano, 36
compositions in total.
Most of the works of this
volume were created at
the beginning of the 20th
century and remained
unpublished until the
early 1920s. Sibelius
composed far less music
for the cello than for
the violin. Malinconia
(Op. 20), published in
1911, remained his only
opus-numbered work
exclusively for cello and
piano. This volume also
includes Two Pieces (Op.
77) and Four Pieces (Op.
78) as versions for
violin with piano and for
cello with
piano.
Chamber
music by Jean Sibelius -
a welcome addition to the
chamber music repertoire
for strings with
piano.
Full orchestra SKU: LO.30-3714L Choral, cantatas. Advent, Christmas, Sacr...(+)
Full orchestra
SKU:
LO.30-3714L
Choral,
cantatas. Advent,
Christmas, Sacred. CD
with printable parts.
Lorenz Publishing Company
#30/3714L. Published by
Lorenz Publishing Company
(LO.30-3714L).
UPC:
000308154320.
CD
with Printable Parts for
65/2101L From the
collaborative efforts of
Lloyd Larson, Mary
McDonald, Jay Rouse, and
Larry Shackley,
Everlasting Light
showcases the profound
significance of the light
of Christ come to earth.
An insightful narration
by Rose Aspinall
incorporates scripture
and personal reflection
to tie together the
compelling combination of
powerful original music
and beloved carols. Mary
McDonald’s
celebratory opener,
Everlasting Light, acts
as the cornerstone of the
work. Larry
Shackley’s Longing
for the Light beautifully
portrays a yearning for
restoration; Jay Rouse
offers a stirring
original song with words
inspired by Mary’s
Songs of Praise found in
Luke 1:44-56; and Lloyd
Larson’s Shepherds
and Angels adds rhythmic
and joyful energy. The
work concludes with a
robust medley of carols
that points back to the
opening song: He is the
Light, Everlasting Light;
born a Savior, born this
night. He is the One, the
Everlasting Son; Child of
heaven, He is the
Light!.
Full orchestra SKU: LO.30-3712L Choral, cantatas. Advent, Christmas, Sacr...(+)
Full orchestra
SKU:
LO.30-3712L
Choral,
cantatas. Advent,
Christmas, Sacred. Full
score. Lorenz Publishing
Company #30/3712L.
Published by Lorenz
Publishing Company
(LO.30-3712L).
UPC:
000308154306.
Full
Score for 65/2101L From
the collaborative efforts
of Lloyd Larson, Mary
McDonald, Jay Rouse, and
Larry Shackley,
Everlasting Light
showcases the profound
significance of the light
of Christ come to earth.
An insightful narration
by Rose Aspinall
incorporates scripture
and personal reflection
to tie together the
compelling combination of
powerful original music
and beloved carols. Mary
McDonaldâ??s celebratory
opener, Everlasting
Light, acts as the
cornerstone of the work.
Larry Shackleyâ??s
Longing for the Light
beautifully portrays a
yearning for restoration;
Jay Rouse offers a
stirring original song
with words inspired by
Maryâ??s Songs of Praise
found in Luke 1:44-56;
and Lloyd Larsonâ??s
Shepherds and Angels adds
rhythmic and joyful
energy. The work
concludes with a robust
medley of carols that
points back to the
opening song: He is the
Light, Everlasting Light;
born a Savior, born this
night. He is the One, the
Everlasting Son; Child of
heaven, He is the
Light!.
Full orchestra SKU: LO.30-3713L Choral, cantatas. Advent, Christmas, Sacr...(+)
Full orchestra
SKU:
LO.30-3713L
Choral,
cantatas. Advent,
Christmas, Sacred.
Instrumental parts.
Lorenz Publishing Company
#30/3713L. Published by
Lorenz Publishing Company
(LO.30-3713L).
UPC:
000308154313.
Set
of Parts for 65/2101L
From the collaborative
efforts of Lloyd Larson,
Mary McDonald, Jay Rouse,
and Larry Shackley,
Everlasting Light
showcases the profound
significance of the light
of Christ come to earth.
An insightful narration
by Rose Aspinall
incorporates scripture
and personal reflection
to tie together the
compelling combination of
powerful original music
and beloved carols. Mary
McDonald’s
celebratory opener,
Everlasting Light, acts
as the cornerstone of the
work. Larry
Shackley’s Longing
for the Light beautifully
portrays a yearning for
restoration; Jay Rouse
offers a stirring
original song with words
inspired by Mary’s
Songs of Praise found in
Luke 1:44-56; and Lloyd
Larson’s Shepherds
and Angels adds rhythmic
and joyful energy. The
work concludes with a
robust medley of carols
that points back to the
opening song: He is the
Light, Everlasting Light;
born a Savior, born this
night. He is the One, the
Everlasting Son; Child of
heaven, He is the
Light!.
Orchestra (Score) SKU: HL.50601807 Score. Composed by Carl August ...(+)
Orchestra (Score)
SKU:
HL.50601807
Score. Composed by
Carl August Nielsen.
Score. Classical.
Softcover. 174 pages.
Duration 2340 seconds.
Edition Wilhelm Hansen
#WH32849. Published by
Edition Wilhelm Hansen
(HL.50601807).
ISBN
9788759838242. UPC:
888680936334.
12.25x16.5x0.74
inches.
Symphony
No.5 Op.50 was composed
by Carl Nielsen in 1922.
Carl Nielsen (1865-1931)
was a Danish musician,
often seen as his
countrys greatest
composer. While his
operas and songs have
become embedded in the
cultural heritage of his
native Denmark,
internationally he is
better known for his
symphonies and concertos
distinguished by his
prominent use of Brass
instruments and dramatic
changes in tonality. His
Symphony No.5 (Op. 50,
FS. 97) was composed in
1922, and is often seen
as his War Symphony,
despite the composer
denying any such direct
influence. Strangely, it
is formed of only two
movements, and does not
have any title. Often
said to be a modernist
piece, it is constantly
restless, some would say
pulsating. Brought to
fame by Leonard Bernstein
in 1962, scholars and
musicians arestill trying
to understand this
enigmatic work.