Orchestra - Grade 1.5

SKU: AP.33712S

Composed by Richard Meyer. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Explorer. Light Concert; Meters. Score. 8 pages. Highland/Etling #00-33712S. Published by Highland/Etling (AP.33712S).

UPC: 038081394527. English.

As the title suggests, this fun grade 1.5 piece features ever-changing time signatures that will intrigue and challenge the young string orchestra. There are four mood shifts in the piece, suggested by a student narrator who stands up and declares simply Once upon a time, Suddenly, Luckily, and Happily ever after. But what, exactly, is the story? That's up to your students and your audience to decide! This charming piece is simple rhythmically and note-wise, but a great way to get your orchestra counting. Sure to spark everyone's imagination! This title is available in MakeMusic Cloud.

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 Kabanova”. 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 “symphony” 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 forces”. 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 Dunaj” – 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 timpani”, 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 love”.

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

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

Rhenish Symphony - 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 4th symphony) in slipcase are temporarily out of print. The single editions are, however, still available. Romantic. Violoncello part. Breitkopf and Haertel #OB 5263-23. Published by Breitkopf and Haertel (BR.OB-5263-23). 0.48

Rhenish Symphony - 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 4th symphony) in slipcase are temporarily out of print. The single editions are, however, still available. Romantic. Violin 2 part. Breitkopf and Haertel #OB 5263-16. Published by Breitkopf and Haertel (BR.OB-5263-16). 0.48

Orchestra (1.1.0.1. - 0.3.0.0. - timp - str)

SKU: BR.PB-5226

Composed by Johann Sebastian Bach. Edited by Klaus Winkler. Orchestra; Softcover. Partitur-Bibliothek (Score Library). Klaus Winkler has selected seven favorite pieces from the Little Music Book and carefully expanded the two-part piano writing to a four-part texture. This appealing suite can be easily mastered by every amateur orchestra. Suite; Baroque. Full score. 16 pages. Duration 12'. Breitkopf and Haertel #PB 5226. Published by Breitkopf and Haertel (BR.PB-5226).

ISBN 9790004209561. 9 x 12 inches.

Klaus Winkler has selected seven favorite pieces from the Little Music Book and carefully expanded the two-part piano writing to a four-part texture. This appealing suite can be easily mastered by every amateur orchestra. The instrumentation is conceived so as to allow the greates amount of performance possibilities - flute(s), oboe(s), bassoon(s), and 1-3 trumpets can be added ad libitum; Violin II used instead of Viola, and much more.

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.

Orchestra (Full Score) - Grade 4

SKU: HL.14032192

Full Score. Composed by Per Norgard. Music Sales America. 20Th Century, Classical. Softcover. 188 pages. Edition Wilhelm Hansen #KP00865. Published by Edition Wilhelm Hansen (HL.14032192).

ISBN 9788759858394. 12.0x16.5x0.78 inches. International (more than one language).

Symphony No. 6 for orchestra, 1997-99. Preface / Program Note:... with the Lord a day is like a thousand years, and a thousand years is like a day(New Testament, 2 Peter 3:8)My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra, the Gteborg Symphony Orchestra and the Oslo Philharmonic Orchestra, to be premiered at the millenium 2000.The subtitle AT THE END OF THE DAY can be understood literally or it can mean when all is added up. However, in my opinion, nothing ever quite adds up, there is always something missing, any ending will be provisional ...This symphony appears to end only a few minutes into the first movement, the first passage, as the music fades away to almost-silence, after a start of flying colours. But then there is still something, a small motive (first heard in the initial sound-waves) which reappears, hesitant, but persistent, and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next, until all the voices become obsessed with the same phrase, a see-saw motive based on thirds. This section evolves into almost martial ferocity, when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony, emplyoing instruments that I have never used before: double-bass tuba, double-bass trombone, double-bass clarinet, and bass flute).The second movement, the second passage, apparently takes off where the first passage ended, but now the events are more ambiguous, and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia, the characteristic baroque bass-variation.Without a break follows the third and last passage, in a contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of other worlds, is revealed ....The symphony is dedicated to Helle, my wife. - Per Norgard.

Orchestra

SKU: BR.SON-618

Lemminkainen-Suite op.22 Fruhfassung. Composed by Jean Sibelius. Edited by Tuija Wicklund. Linen. Complete Works.

Sibelius No. Zero?

Late-romantic; Early modern. Complete Works. 336 pages. Breitkopf and Haertel #SON 618. Published by Breitkopf and Haertel (BR.SON-618).

ISBN 9790004803202. 10 x 12.5 inches.

Whoever is looking for orchestral works in several movements by Sibelius before the seven officially numbered symphonies will run into Kullervo op. 7, as well as Lemminkainen op. 22. Sibelius follows a cyclical concept in these four tone poems, so that Lemminkainen, owing to its time of origin, can truly be labeled as his Symphony No. Zero. The previously unprinted early versions, presented in the respective volume of the Complete Edition for the first time, can be dated to the year 1895/96. The first revision was made in 1897, after the world premiere. Only after this premiere did Sibelius write his First Symphony before he again revised the Lemminkainen scores some of them much later and had them published.

Orchestra (3(picc)2.2.2 - 4.2.3.1 - timp.(cym ad lib.) - str)

SKU: BR.PB-5559-07

Urtext. Composed by Pjotr Iljitsch Tschaikowsky. Edited by Christoph Flamm. Orchestra; Softbound. Partitur-Bibliothek (Score Library).

Tchaikovsky's Hamburg Symphony in the Urtext

Symphony; Romantic. Study Score. 208 pages. Duration 44'. Breitkopf and Haertel #PB 5559-07. Published by Breitkopf and Haertel (BR.PB-5559-07).

ISBN 9790004213698. 6.5 x 9 inches.

Like Hamlet Overture, originating at about the same time, Tchaikovsky's 5th symphony, composed in 1888, focuses on the human existential question: To be or not to be - triumph over fate or triumph of fate? The per aspera ad astra dramaturgy underlying the symphony culminates in triumphant certainty. If Tchaikovsky was initially euphoric, then severe self-doubts befell him after he conducted the premiere in St. Petersburg. These doubts demonstrably led him to make interpretative changes for the Hamburg performance in 1889, including a cut in the finale. Only with the extremely positive response to this performance did his doubts dispel. Nevertheless, Tchaikovsky himself never again conducted the 5th symphony. It was only posthumously established in the repertoire through Arthur Nikisch's commitment. The new edition's textual criticism takes into account besides the autograph and first edition also the first edition's orchestral parts, together with the piano arrangement produced from the autograph by Sergei Taneyev. In addition to thoroughly clarifying dynamics and articulation, the source comparison also corrected many errors and solved problematical passages, such as, for instance, the trombone entry in m. 372 of the finale. Considered, moreover, for the first time has been the composer's doubts about his work and its ambiguities, frequently successfully suppressed in the history of its performance and reception. Tchaikovsky's conductor's copy is unfortunately lost, hence his alterations made for the Hamburg performance are not precisely known. They have survived only indirectly through remarks that Willem Mengelberg left to posterity, for which he could draw on Tchaikovsky's conductor's score and oral references by the composer's brother Modest. So, anyone wishing to deal seriously with the work's certainties will not be able to do so in the future without having also to deal with its uncertainties.

Tch aikovsky's Hamburg Symphony in the Urtext.

Orchestra (3(picc)2.2.2 - 4.2.3.1 - timp.(cym ad lib.) - str)

SKU: BR.PB-5558

Urtext. Composed by Pjotr Iljitsch Tschaikowsky. Edited by Christoph Flamm. Orchestra; Softbound. Partitur-Bibliothek (Score Library).

Tchaikovsky's Hamburg Symphony in the Urtext

Symphony; Romantic. Full score. 212 pages. Duration 44'. Breitkopf and Haertel #PB 5558. Published by Breitkopf and Haertel (BR.PB-5558).

ISBN 9790004213681. 10 x 12.5 inches.

Like Hamlet Overture, originating at about the same time, Tchaikovsky's 5th symphony, composed in 1888, focuses on the human existential question: To be or not to be - triumph over fate or triumph of fate? The per aspera ad astra dramaturgy underlying the symphony culminates in triumphant certainty. If Tchaikovsky was initially euphoric, then severe self-doubts befell him after he conducted the premiere in St. Petersburg. These doubts demonstrably led him to make interpretative changes for the Hamburg performance in 1889, including a cut in the finale. Only with the extremely positive response to this performance did his doubts dispel. Nevertheless, Tchaikovsky himself never again conducted the 5th symphony. It was only posthumously established in the repertoire through Arthur Nikisch's commitment. The new edition's textual criticism takes into account besides the autograph and first edition also the first edition's orchestral parts, together with the piano arrangement produced from the autograph by Sergei Taneyev. In addition to thoroughly clarifying dynamics and articulation, the source comparison also corrected many errors and solved problematical passages, such as, for instance, the trombone entry in m. 372 of the finale. Considered, moreover, for the first time has been the composer's doubts about his work and its ambiguities, frequently successfully suppressed in the history of its performance and reception. Tchaikovsky's conductor's copy is unfortunately lost, hence his alterations made for the Hamburg performance are not precisely known. They have survived only indirectly through remarks that Willem Mengelberg left to posterity, for which he could draw on Tchaikovsky's conductor's score and oral references by the composer's brother Modest. So, anyone wishing to deal seriously with the work's certainties will not be able to do so in the future without having also to deal with its uncertainties.

Tch aikovsky's Hamburg Symphony in the Urtext.

Study Score. By Johannes Brahms. This edition: HN9855. Henle Music Folios. Softcover. Published by Henle.

Orchestra (2(picc).2(cor ang).2.A-sax.2. - 4.2.2CaP.3.0. - timp.perc - hp/pno - str)

SKU: BR.EOS-20829

Urtext. Composed by Georges Bizet. Edited by Lesley A. Wright. Orchestra; stapled. Eulenburg Orchestral Series. Suite; Romantic. Full score. 68 pages. Duration 18'. Breitkopf and Haertel #EOS 20829. Published by Breitkopf and Haertel (BR.EOS-20829).

ISBN 9790004780275. 10 x 12.5 inches.

From Stage Flop to Concert Favorite

The story of Alphonse Daudet's drama L'Arlesienne to which Georges Bizet composed several pieces in 1872 focuses on the story of love and suicide and was inspired by true events. The musical drama had flopped at its premiere, but the suite that Bizet arranged shortly afterwards from its stage music enjoys great popularity to this very day. After Bizet's death, his friend Ernest Guiraud put together four more movements of themes and motives by Bizet for a second suite establishing a musical connection to Provence und Arles especially in the outer movements, the Pastorale and the effective Fandarole. With this edition, Breitkopf & Hartel continues its successful collaboration with Eulenburg.

Tone Poem - Urtext based on the Complete Edition Jean Sibelius Works (JSW). Composed by Jean Sibelius (1865-1957). Edited by Timo Virtanen. Full score. Breitkopf and Haertel #PB- 5658. Published by Breitkopf and Haertel

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.

Orchestra - Grade 2

SKU: AP.46687S

Composed by Leroy Anderson. Arranged by Andrew H. Dabczynski. Performance Music Ensemble; Single Titles; String Orchestra. Pop Intermediate String Orchestra. Light Concert; Pop. Score. 12 pages. Alfred Music #00-46687S. Published by Alfred Music (AP.46687S).

UPC: 038081533346. English.

Here's one of the most familiar pops orchestra pieces ever written, now slightly simplified by Andrew H. Dabczynski to be thoroughly playable by young string students. All the string sections have opportunities to shine while practicing basic syncopation and bowing skills. All the pieces of The Syncopated Clock are here---including the familiar optional percussion and piano parts. This is an arrangement that will remain popular with students and audiences year after year!

Composed by Hanson Howard. Arranged by Todd Parrish. Folio. Score and part(s). 138+Cover pages. Duration 4 minutes, 47 seconds. Carl Fischer Music #AS66. Published by Carl Fischer Music

Orchestra - Grade 2

SKU: AP.46687

Composed by Leroy Anderson. Arranged by Andrew H. Dabczynski. Performance Music Ensemble; Single Titles; String Orchestra. Pop Intermediate String Orchestra. Light Concert; Pop; Programmatic. Score and Part(s). 80 pages. Alfred Music #00-46687. Published by Alfred Music (AP.46687).

UPC: 038081533339. English.

Here's one of the most familiar pops orchestra pieces ever written, now slightly simplified by Andrew H. Dabczynski to be thoroughly playable by young string students. All the string sections have opportunities to shine while practicing basic syncopation and bowing skills. All the pieces of The Syncopated Clock are here---including the familiar optional percussion and piano parts. This is an arrangement that will remain popular with students and audiences year after year!

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).

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).

Arranged by Elliot Del Borgo. Arr. Elliot Del Borgo. For Full Orchestra. Full Orchestra. Belwin Intermediate Full Orchestra. Conductor Score and Parts. 158 pages. Duration 3:23. Published by Alfred Publishing.
Level: 2.5 (grade 2.5).

(study score). By Peter Ilyich Tchaikovsky (1840-1893). For orchestra. Breitkopf Full Scores. Study score. 164 pages

Score and Parts Concert Band; Wind Ensemble - Grade 5 For Wind Orchestra Score and Parts. Composed by Johan De Meij. Amstel Music. Concert. Softcover. Duration 2580 seconds. Amstel Music #AM200- 010. Published by Amstel Music