Orchestra - Grade 1.5

SKU: AP.49038S

Composed by Rob Grice. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Beginning String Orchestra. Fall; Halloween. Score. 12 pages. Duration 2:05. Belwin Music #00-49038S. Published by Belwin Music (AP.49038S).

ISBN 9781470645533. UPC: 038081561202. English.

The 31st Day of Oktober, by Rob Grice, is intended to be a spooky musical journey through the early tale of Halloween. The ancient Celts believed that on this day spirits of the dead would cross over into the other world. Your beginning string players will ask to play this every day! It's hard to believe that six notes can be so effective and so scary! (2:05).

Orchestra - Grade 1.5

SKU: AP.49038

Composed by Rob Grice. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Beginning String Orchestra. Fall; Halloween. Score and Part(s). 49 pages. Duration 2:05. Belwin Music #00-49038. Published by Belwin Music (AP.49038).

ISBN 9781470645526. UPC: 038081561196. English.

The 31st Day of Oktober, by Rob Grice, is intended to be a spooky musical journey through the early tale of Halloween. The ancient Celts believed that on this day spirits of the dead would cross over into the other world. Your beginning string players will ask to play this every day! It's hard to believe that six notes can be so effective and so scary! (2:05).

Orchestra - Grade 2.5

SKU: AP.44799S

Composed by Franz Xaver Gruber. Arranged by Jeffrey E. Turner. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Christmas; Sacred; Winter. Score. 8 pages. Duration 3:20. Belwin Music #00-44799S. Published by Belwin Music (AP.44799S).

UPC: 038081517322. English.

A joyful departure from tradition, now set in 4/4 time by Jeffrey Turner, this fresh setting of the beloved carol is sure to add sparkle to any holiday celebration. Across the silent night, the blazing star of a solo cello beacons. A violinist follows, and the glory of a string orchestra suddenly bursts across the heavens. A twinkling piano announces that a child has been born unto the world; then, the high strings enter like angels singing from above. With its ending in 3/4, sure to put a smile on everyone's face, there's never been a happier birthday. (3:20) This title is available in MakeMusic Cloud.

Orchestra

SKU: PR.416415760

For Really Big Orchestra. Composed by PDQ Bach. Edited by Prof. Peter Schickele. Study Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576. Published by Theodore Presser Company (PR.416415760).

UPC: 680160636532. 9 x 12 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

Orchestra

SKU: PR.41641576L

For Really Big Orchestra. Composed by PDQ Bach. Edited by Peter Schickele. Large Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576L. Published by Theodore Presser Company (PR.41641576L).

UPC: 680160636549. 11 x 17 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score)

SKU: HL.49018099

Boy Soprano, Soprano, Tenor, Flugelhorn, Mixed Chorus, and Chamber Orchestra Study Score. Composed by Harald Weiss. This edition: Paperback/Soft Cover. Sheet music. Study Score. Classical. Softcover. Composed 2008/2009. 188 pages. Duration 100'. Schott Music #ED20619. Published by Schott Music (HL.49018099).

ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.

On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.

Composed by Johannes Brahms (1833-1897). Arranged by Louis Bergonzi. Full Orchestra; Masterworks; Part(s); Score. Belwin Concert Full Orchestra. Form: Overture. Masterwork Arrangement; Romantic. 206 pages. Published by Belwin Music (AP.45856).

Arranged by Jack Bullock. Orchestra. Full Orchestra; Part(s); Score. Belwin Intermediate Full Orchestra. Advent; Christmas; Sacred; Winter. Grade 2.5. 120 pages. Published by Belwin Publishing

(Note-for-Note Transcriptions of the Brass, Woodwind, Strings and More). By The Beatles. For Orchestra. Transcribed. Softcover. 192 pages. Published by Hal Leonard

Arranged by Robert W. Smith. Arr. Robert W. Smith. For Full Orchestra. Full Orchestra. Belwin Concert Full Orchestra. Level: 3.5 (grade 3.5). Conductor Score. 20 pages. Published by Alfred Publishing.

Arranged by Robert W. Smith. Arr. Robert W. Smith. For Full Orchestra. Full Orchestra. Belwin Concert Full Orchestra. Level: 3.5 (grade 3.5). Conductor Score and Parts. 236 pages. Duration 2:32. Published by Alfred Publishing.

String Orchestra string orchestra with opt. 3rd Violin/Viola TC 3, piano and percussion - Grade 1.5

SKU: KN.8203

Composed by Traditional. Arranged by John Caponegro. Accent String Orchestra. Score and Set of Parts. Kendor Music Inc #8203. Published by Kendor Music Inc (KN.8203).

UPC: 822795082036.

This sparkling medley features bell-like pyramid figures and clearly-marked articulations, dynamics and bowings to help young players deliver a truly festive performance. In his score notes, Caponegro says that every effort should be made to use the optional percussion instruments (bells and jingle bells) to enhance the seasonal flavor. Duration 2:50.

Arranged by Douglas E. Wagner. Orchestra. For full (bells/chimes, timp, crash cym/triangle/snare, vln3). Full Orchestra; Part(s); Score. Belwin Intermediate Full Orchestra. Form: Medley. Light Concert. Grade 3. 228 pages. Published by Belwin Publishing

Composed by Johannes Brahms (1833-1897). Arranged by Louis Bergonzi. Full Orchestra; Masterworks; Performance Music Ensemble; Single Titles. Belwin Concert Full Orchestra. Form: Overture. Masterwork Arrangement; Romantic. Score. 40 pages. Duration 4:30. Belwin Music #00-45856S. Published by Belwin Music (AP.45856S).

(Based on God Rest Ye Merry, Gentlemen ). Arranged by Michael Story. Orchestra. Full Orchestra; Part(s); Score; SmartMusic. Belwin Intermediate Full Orchestra. Christmas; Sacred; Winter. Grade 2.5. 120 pages. Published by Belwin Music

By Samuel Applebaum. For Score. String Orchestra Method/Supplement. Belwin Course for Strings. Book. 68 pages. Published by Alfred Publishing.

Arranged by Michael Story. Orchestra. Full Orchestra. Belwin Intermediate Full Orchestra. Christmas; Light Concert; Winter. Grade 2.5. Conductor Score and Parts. 54 pages. Duration 1:43. Published by Belwin Music

The Surprise Symphony. Composed by Franz Joseph Haydn (1732-1809). Arranged by Janet Farrar-Royce. Masterworks; Performance Music Ensemble; Single Titles; SmartMusic; String Orchestra. Belwin Intermediate String Orchestra. Form: Transcription. Classical; Masterwork Arrangement. Part(s); Score. 144 pages. Duration 4:30. Belwin Music #00-41201. Published by Belwin Music (AP.41201).

Orchestra - Grade 3

SKU: AP.35930

As performed by Justin Bieber. Composed by Diane Warren. Arranged by Patrick Roszell. Performance Music Ensemble; Single Titles; String Orchestra. Pop Intermediate String Orchestra. Form: Ballade. Movie; Pop. Score and Part(s). 78 pages. Alfred Music #00-35930. Published by Alfred Music (AP.35930).

UPC: 038081421865. English.

Teen pop sensation Justin Bieber delivers a stunning version of this popular tune. From the album Never Say Never -- The Remixes, which hit #1 on the Billboard 200, and the movie of the same name, all sections get great parts in this perfectly set arrangement.

Orchestra (bassoon, 4Hn, 2 Trp, 3trombone, timpani, percussion, harp, Str)

SKU: BA.BA05540

Romantic opera in three acts. Composed by Franz Schubert. Edited by Walther Durr. This edition: complete edition, urtext edition. Linen. New Schubert Edition (Neue Ausgabe samtlicher Werke) Series II, Volume 6. 3 part volumes. Opern, dt. (German Opera). Complete edition, Score. D 732. Duration 2 hours, 30 minutes. Baerenreiter Verlag #BA05540_00. Published by Baerenreiter Verlag (BA.BA05540).

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

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

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

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

America -- A Prophecy by Thomas Adès and Thomas Ades (1971-). Orchestra. Full Orchestra; Masterworks; Score. Faber Edition. 20th Century; Masterwork. Published by Faber Music

Orchestra - Grade 3

SKU: AP.35925S

Arranged by Jack Bullock. Full Orchestra; Performance Music Ensemble; Single Titles. Belwin Intermediate Full Orchestra. Hymn; Sacred; Traditional. Score. 12 pages. Belwin Music #00-35925S. Published by Belwin Music (AP.35925S).

UPC: 038081407647. English. Traditional.

One of the most beloved melodies ever written! It has a special meaning to every listener and has endured throughout the years. It is a simple melody and has great elegance. Even though this title may not be one you will recognize, the melody will be one you will know instantly.

Version of 1851 - Urtext. Composed by Robert Schumann. Edited by Joachim Draheim. Symphony. Orchester-Bibliothek (Orchestral Library). The 5 study scores of the symphonies (incl. early version of the 4 th symphony) in slipcase are temporarily out of print. The single editions are, however, still available. Romantic. Double bass part. Breitkopf and Haertel #OB 5264-27. Published by Breitkopf and Haertel (BR.OB-5264-27). 0.48

Orchestra - Grade 2

SKU: AP.47481

Composed by Johann Strauss Jr. Arranged by Richard Meyer. Full Orchestra; MakeMusic Cloud; Performance Music Ensemble; Single Titles. Highland/Etling First Philharmonic. Form: Transcription; Dance. Masterwork Arrangement. Score and Part(s). 200 pages. Duration 4:08. Highland/Etling #00-47481. Published by Highland/Etling (AP.47481).

UPC: 038081544489. English.

A beautiful arrangement by Richard Meyer of Waltz Number 1, Waltz Number 2, and the Coda from the original, set perfectly for the first full-orchestra experience. Perhaps the most widely popular composer of light classical music ever, Johann Strauss, Jr. wrote over 150 waltzes, bringing the form to perfection as an extended musical composition. The Blue Danube (the common English title of An der schonen blauen Donau---German for By the Beautiful Blue Danube), was composed in 1866 and was premiered in February of 1867. It has been one of the most popular classical pieces ever since. This title is available in MakeMusic Cloud.

Orchestra - Grade 2

SKU: AP.47481S

Composed by Johann Strauss Jr. Arranged by Richard Meyer. Full Orchestra; MakeMusic Cloud; Performance Music Ensemble; Single Titles. Highland/Etling First Philharmonic. Form: Transcription. Masterwork Arrangement. Score. 28 pages. Duration 4:08. Highland/Etling #00-47481S. Published by Highland/Etling (AP.47481S).

UPC: 038081544496. English.

A beautiful arrangement by Richard Meyer of Waltz Number 1, Waltz Number 2, and the Coda from the original, set perfectly for the first full-orchestra experience. Perhaps the most widely popular composer of light classical music ever, Johann Strauss, Jr. wrote over 150 waltzes, bringing the form to perfection as an extended musical composition. The Blue Danube (the common English title of An der schonen blauen Donau---German for By the Beautiful Blue Danube), was composed in 1866 and was premiered in February of 1867. It has been one of the most popular classical pieces ever since. This title is available in MakeMusic Cloud.

(Ukrainian Christmas Carol - Full Score and Parts). By Peter Wilhousky. Arranged by Richard Hayman. Orchestra. For Piccolo, Flute I, Flute II, Oboe I, Oboe II, Clarinet I, Clarinet II, Bassoon I, Bassoon II, Horn I, Horn II, Horn III, Horn IV, Trumpet I, Trumpet II, Trumpet III, Tenor I, Tenor II, Tenor III, Tuba, Timpani, Glockenspiel, Chimes, Swiss Hand Bells, Suspe. Carl Fischer Orchestra Edition. Score and part(s). Standard notation. 29 pages. Published by Carl Fischer