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.
Score Orchestra (Full Score) SKU: HL.132241 Chopin National Edition(+)
Score Orchestra (Full
Score)
SKU:
HL.132241
Chopin
National Edition.
Composed by Frederic
Chopin. Edited by Jan
Ekier and Pawel Kaminski.
PWM. Classical. Book
[Softcover]. Polskie
Wydawnictwo Muzyczne
#51600013. Published by
Polskie Wydawnictwo
Muzyczne (HL.132241).
ISBN 9788392036517.
UPC: 884088970758.
9.25x12.0x0.257 inches.
Chopin National Edition
(ed. Jan Ekier and Pawel
Kaminski).
Called
Concerto No. 2, it was
written before what is
known as Concerto No. 1
(Op. 11). The piece is
also available in other
Urtext National Editions.
00132292 is the version
for one piano. 00132242
is the two piano
reduction. 00132289 is a
historical version of the
full score. The National
Edition of the Works of
Fryderyk Chopin Published
by PWM Exclusively
Distributed by Hal
Leonard Corporation
Co-Editors Jan Ekier and
Pawel Kaminski The
objective of the National
Edition is to present
Chopin's complete output
in its authentic form,
based on the entire body
of available sources.
Sources were analyzed
with up-to-date
scientific and
musicological
methodology. The National
Edition was based on
sources originated from
the composer, mainly
autographs, copies of
autographs and first
editions with the
composer's corrections,
and pupils' copies with
Chopin's annotations. In
cases when original
sources were lacking, the
closest possible
materials were used.
Collecting the source
materials was a laborious
task which took years of
effort. The
characteristics of
sources, the links and
discrepancies between
them as well as the
reasons for particular
editorial decisions are
discussed in the Source
Commentary in each
volume. The Performance
Commentary appended to
each volume includes: the
realization of ornaments,
comments on pedal
markings (the original
markings sometimes are
inadequate, due to the
difference in sound
between pianos used in
Chopin`s times and modern
pianos), suggestions as
to the harmonic legato (a
performance technique
often used by Chopin and
now forgotten). About the
National Edition Full
Introduction to the
Polish National Edition
of the Works of Fryderyk
Chopin.
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.
By Peter Ilyich Tchaikovsky. Arranged by Merle J. Isaac. By Peter I. Tchaikovsky...(+)
By Peter Ilyich
Tchaikovsky. Arranged by
Merle J. Isaac. By Peter
I. Tchaikovsky / arr.
Merle Isaac. For Full
Orchestra. Full
Orchestra. Concert Full
Orchestra. Level: 3.5
(grade 3.5). Conductor
Score and Parts. 176
pages. Duration 2:38.
Published by Alfred
Publishing.
By Peter Ilyich Tchaikovsky. Arranged by Merle J. Isaac. By Peter I. Tchaikovsky...(+)
By Peter Ilyich
Tchaikovsky. Arranged by
Merle J. Isaac. By Peter
I. Tchaikovsky / arr.
Merle Isaac. For Full
Orchestra. Full
Orchestra. Concert Full
Orchestra. Level: 3.5
(grade 3.5). Conductor
Score. 1 pages. Published
by Alfred Publishing.
Orchestra (4(2picc).3(cor
ang).heck.Eb-clar.2.Bb-cl
ar(clar).4(dble bsn) -
8(4T-tuba).2alphn.4.4.2 -
org.cel -
2hp.2timp.perc(6).wind
m.thunder m - str - off
stage: 12hn.2trp.2tbne)
SKU: BR.PB-5710
Tone Poem -
Urtext. Composed by
Richard Strauss. Edited
by Nick Pfefferkorn.
Orchestra; Softbound.
Partitur-Bibliothek
(Score Library).
Symphonic poem;
Late-romantic; Early
modern. Sheet Music. 204
pages. Duration 50'.
Breitkopf and Haertel #PB
5710. Published by
Breitkopf and Haertel
(BR.PB-5710).
ISBN
9790004216477. 10.5 x 14
inches.
Richard
Strauss's last completed
tone poem is regarded as
the pinnacle of his art
of orchestration: Now
I've finally learned to
orchestrate, he himself
is once supposed to have
said about it after the
dress rehearsal. The
single-movement Alpine
symphony that we know
today ultimately evolved
- over almost 15 years -
from the original drafts
of an artist's tragedy,
titled Der Antichrist.
Eine Alpensinfonie [The
Antichrist. An Alpine
Symphony] up to the stage
of the last sketches.
With unprecedented
plasticity, the work
showcases a
(metaphysical?) mountain
hike with stops in the
forest, at the waterfall,
on the alpine pasture
and, of course, at the
summit. Apropos alpine
pastures: up to the
score's fair copy stage,
Strauss envisaged a high
and a low alphorn for the
section Auf der Alm [On
the Alpine Pasture] and
the well-known Dulioh
theme, though for various
reasons first detailed in
our new Urtext edition,
these exotic instruments
did not find their way
into the printed version.
In the new edition, the
editor, Nick Pfefferkorn,
reproduces the alphorn
passages in small print,
also adding two alphorn
parts to the performance
material, besides
evaluating the
corrections made by
Walter Seifert at
Strauss's
request.
First
Urtext edition since the
first editionEvaluation
of all available sources,
including sketches and
the score corrected by
Walter Seifert Extensive
preface on the work's
compositional history and
receptionDetailed
Critical ReportFacsimile
pages.
Orchestral Score. Composed by John Powell. Sheet music. Study score. Compose...(+)
Orchestral Score.
Composed by
John Powell. Sheet music.
Study score. Composed
2014
(2021). 404 pages. Omni
Music
Publishing #OMNI 50799.
Published by Omni Music
Publishing
(A Christmas Worship Experience of the Christ-Light). By Mary Mcdonald. Arranged...(+)
(A Christmas Worship
Experience of the
Christ-Light). By Mary
Mcdonald. Arranged by
Laura Kathryn Rosser. For
full orchestra. Cantatas.
Christmas. Orchestral
score and parts.
Published by Monarch
Music
Orchestra SKU: FG.55011-315-2 Composed by Kalevi Aho. Study score. Fennic...(+)
Orchestra
SKU:
FG.55011-315-2
Composed by Kalevi Aho.
Study score. Fennica
Gehrman #55011-315-2.
Published by Fennica
Gehrman (FG.55011-315-2).
ISBN
9790550113152.
The
Sieidi concerto is in one
movement but divided into
several sections both
faster and slower, wildly
rhythmic, lyrical and
more static. For the
soloist it is extremely
demanding because he is
constantly having to
switch from one technique
to another - for djembe
and darabuka playing with
the hands differs
radically from that of
tom-tom or drumstick
technique or the playing
of pitched percussion
instruments such as the
marimba and
vibraphone.
Normal
ly, in a percussion
concerto, the soloist has
to play surrounded by a
huge battery of
instruments, often behind
the orchestra. In Sieidi
he uses only nine
instruments, and he is in
front of the orchestra
the whole time. The
instruments are in a row
in front of the platform,
starting with the djembe
on the far right (as
viewed by the audience)
and ending with the
tam-tam on the far left.
The soloist plays only
one instrument at a
time.
The title
of the concerto, Sieidi,
is Sami - a language
spoken in the northern
region of Finland, Sweden
and Norway known as
Lapland. It denotes an
ancient cult place such
as an unusually-shaped
rock, sometimes also a
special rock face or even
a whole mountain
fell.
The Sieidi
concerto is in one
movement but divided into
several sections both
faster and slower, wildly
rhythmic, lyrical and
more static. For the
soloist it is extremely
demanding because he is
constantly having to
switch from one technique
to another - for djembe
and darabuka playing with
the hands differs
radically from that of
tom-tom or drumstick
technique or the playing
of pitched percussion
instruments such as the
marimba and
vibraphone.
Normally, in a percussion
concerto, the soloist has
to play surrounded by a
huge battery of
instruments, often behind
the orchestra. In Sieidi
he uses only nine
instruments, and he is in
front of the orchestra
the whole time. The
instruments are in a row
in front of the platform,
starting with the djembe
on the far right (as
viewed by the audience)
and ending with the
tam-tam on the far left.
The soloist plays only
one instrument at a
time.
The title
of the concerto, Sieidi,
is Sami - a language
spoken in the northern
region of Finland, Sweden
and Norway known as
Lapland. It denotes an
ancient cult place such
as an unusually-shaped
rock, sometimes also a
special rock face or even
a whole mountain
fell.
The Sieidi
concerto is in one
movement but divided into
several sections both
faster and slower, wildly
rhythmic, lyrical and
more static. For the
soloist it is extremely
demanding because he is
constantly having to
switch from one technique
to another - for djembe
and darabuka playing with
the hands differs
radically from that of
tom-tom or drumstick
technique or the playing
of pitched percussion
instruments such as the
marimba and
vibraphone.
Normally, in a percussion
concerto, the soloist has
to play surrounded by a
huge battery of
instruments, often behind
the orchestra. In Sieidi
he uses only nine
instruments, and he is in
front of the orchestra
the whole time. The
instruments are in a row
in front of the platform,
starting with the djembe
on the far right (as
viewed by the audience)
and ending with the
tam-tam on the far left.
The soloist plays only
one instrument at a
time.
The title
of the concerto, Sieidi,
is Sami - a language
spoken in the northern
region of Finland, Sweden
and Norway known as
Lapland. It denotes an
ancient cult place such
as an unusually-shaped
rock, sometimes also a
special rock face or even
a whole mountain
fell.
The Sieidi
concerto is in one
movement but divided into
several sections both
faster and slower, wildly
rhythmic, lyrical and
more static. For the
soloist it is extremely
demanding because he is
constantly having to
switch from one technique
to another - for djembe
and darabuka playing with
the hands differs
radically from that of
tom-tom or drumstick
technique or the playing
of pitched percussion
instruments such as the
marimba and
vibraphone.
Normally, in a percussion
concerto, the soloist has
to play surrounded by a
huge battery of
instruments, often behind
the orchestra. In Sieidi
he uses only nine
instruments, and he is in
front of the orchestra
the whole time. The
instruments are in a row
in front of the platform,
starting with the djembe
on the far right (as
viewed by the audience)
and ending with the
tam-tam on the far left.
The soloist plays only
one instrument at a
time.
The title
of the concerto, Sieidi,
is Sami - a language
spoken in the northern
region of Finland, Sweden
and Norway known as
Lapland. It denotes an
ancient cult place such
as an unusually-shaped
rock, sometimes also a
special rock face or even
a whole mountain
fell.
Orchestra - Grade 2.5 SKU: AP.43760S Composed by James Lord Pierpont. Arr...(+)
Orchestra - Grade 2.5
SKU: AP.43760S
Composed by James Lord
Pierpont. Arranged by
Victor Lopez. Performance
Music Ensemble; Single
Titles; String Orchestra.
Belwin Intermediate
String Orchestra.
Christmas; Light Concert;
Secular; Winter. Score.
12 pages. Duration 2:45.
Belwin Music #00-43760S.
Published by Belwin Music
(AP.43760S).
UPC:
038081496368.
English.
Just for
fun---and swing
technique! This jazzy
swing arrangement will
teach important skills
with a well-known tune as
young players expand the
realm of string playing
with alternative styles.
(2:45).
Orchestra - Grade 2.5 SKU: AP.43760 Composed by James Lord Pierpont. Arra...(+)
Orchestra - Grade 2.5
SKU: AP.43760
Composed by James Lord
Pierpont. Arranged by
Victor Lopez. Performance
Music Ensemble; Single
Titles; String Orchestra.
Belwin Intermediate
String Orchestra.
Christmas; Light Concert;
Secular; Winter. Score
and Part(s). 152 pages.
Duration 2:45. Belwin
Music #00-43760.
Published by Belwin Music
(AP.43760).
UPC:
038081496351.
English.
Just for
fun---and swing
technique! This jazzy
swing arrangement will
teach important skills
with a well-known tune as
young players expand the
realm of string playing
with alternative styles.
(2:45).
Concert Band; Orchestra - Grade 1 SKU: AP.49215 Featuring Good King We...(+)
Concert Band; Orchestra -
Grade 1
SKU:
AP.49215
Featuring
Good King Wenceslas.
Arranged by Scott Watson.
5 or More; MakeMusic
Cloud; Mixed Instruments
- Flexible
Instrumentation;
Performance Music
Ensemble; Quartet; Single
Titles; Solo Small
Ensembles. Alfred Debut
Series. Christmas;
Holiday Pops; Winter.
Score and Part(s).
Duration 2:30. Alfred
Music #00-49215.
Published by Alfred Music
(AP.49215).
ISBN
9781470648589. UPC:
038081569383.
English.
This
version of At the Feast
of Stephen by Scott
Watson 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 novel
setting of the
traditional carol Good
King Wenceslas will
musically transport you
and your students to the
royal Christmas banquet
hall of a medieval king!
The old carol tells the
story of a legendary
10th-century monarch,
Duke Wenceslas of
Bohemia, who went out in
the severe cold to give
charity to the poor on
December 26, also known
as St. Stephen's Day. The
well-known 13th-century
tune, as well as
additional original
material in period style,
vividly conjures a lively
celebration of Christmas
in the high Middle Ages.
Come now ye lords
and ladies to the Feast
of Stephen and upon your
instruments faire make
most merry this Yuletide!
Concert Band; Orchestra - Grade 1 SKU: AP.49215S Featuring Good King W...(+)
Concert Band; Orchestra -
Grade 1
SKU:
AP.49215S
Featuring Good King
Wenceslas. Arranged
by Scott Watson. 5 or
More; Mixed Instruments -
Flexible Instrumentation;
Performance Music
Ensemble; Quartet; Single
Titles; Solo Small
Ensembles. Alfred Debut
Series. Christmas;
Holiday Pops; Winter.
Score. Duration 2:30.
Alfred Music #00-49215S.
Published by Alfred Music
(AP.49215S).
ISBN
9781470648596. UPC:
038081569390.
English.
This
version of At the Feast
of Stephen by Scott
Watson 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 novel
setting of the
traditional carol Good
King Wenceslas will
musically transport you
and your students to the
royal Christmas banquet
hall of a medieval king!
The old carol tells the
story of a legendary
10th-century monarch,
Duke Wenceslas of
Bohemia, who went out in
the severe cold to give
charity to the poor on
December 26, also known
as St. Stephen's Day. The
well-known 13th-century
tune, as well as
additional original
material in period style,
vividly conjures a lively
celebration of Christmas
in the high Middle Ages.
Come now ye lords
and ladies to the Feast
of Stephen and upon your
instruments faire make
most merry this Yuletide!
Philadelphia Orchestra Critical Edition. Composed by Howard Hanson (1896-...(+)
Philadelphia Orchestra
Critical Edition.
Composed by Howard Hanson
(1896-1981). Edited by
Clinton F. Nieweg.
Contemporary. Full score
(large). With Standard
notation. 104 pages. Carl
Fischer #SC00042L.
Published by Carl Fischer
(CF.SC42L).
Hafner Music: Hafner
Symphony with March in D
major K. 408/2 (385a) -
Urtext. Composed by
Wolfgang Amadeus Mozart.
Edited by Henrik Wiese.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library).
Symphony; Dances/marches;
Classical. Study Score.
56 pages. Duration 20'.
Breitkopf and Haertel #PB
5552-07. Published by
Breitkopf and Haertel
(BR.PB-5552-07).
ISBN
9790004213629. 6.5 x 9
inches.
Wolfgang
Amadeus Mozart wrote his
Hafner Symphony K. 385 in
the summer of 1782 on the
occasion of the elevation
into the nobility of his
friend and patron Sigmund
Hafner. Next to the
well-known movements,
this version (A) also
contained the March K.
408/2 (385a) and possibly
a second, no longer
extant minuet. Called
Hafner=Musique by Mozart,
the work was
unquestionably a serenade
at first. In early 1783
Mozart then reduced the
Hafner Music for his
subscription concert at
the Vienna Burgtheater on
23 March 1783 to a
four-movement symphony.
This is the form in which
the work was first
printed in 1785 (Version
B). For a further
performance, Mozart added
flute and clarinet parts
to the symphony. In 1805,
this version (C) was
published by Andre in
Offenbach, who thus began
making it known.The
primary sources of the
present Breitkopf Urtext
edition are the
autographs to K. 385 and
K. 408/2 (385a). It thus
becomes possible for the
first time to play all
three versions of the
Hafner Music, since the
variants of Versions A
and B can be easily
discerned through
indications in footnotes
and notes in small
print.
Hafner Music: Hafner
Symphony with March in D
major K. 408/2 (385a) -
Urtext. Composed by
Wolfgang Amadeus Mozart.
Edited by Henrik Wiese.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library).
Symphony; Dances/marches;
Classical. Full score. 68
pages. Duration 20'.
Breitkopf and Haertel #PB
5373. Published by
Breitkopf and Haertel
(BR.PB-5373).
ISBN
9790004212417. 10 x 12.5
inches.
Wolfgang
Amadeus Mozart wrote his
Hafner Symphony K. 385 in
the summer of 1782 on the
occasion of the elevation
into the nobility of his
friend and patron Sigmund
Hafner. Next to the
well-known movements,
this version (A) also
contained the March K.
408/2 (385a) and possibly
a second, no longer
extant minuet. Called
Hafner=Musique by Mozart,
the work was
unquestionably a serenade
at first. In early 1783
Mozart then reduced the
Hafner Music for his
subscription concert at
the Vienna Burgtheater on
23 March 1783 to a
four-movement symphony.
This is the form in which
the work was first
printed in 1785 (Version
B). For a further
performance, Mozart added
flute and clarinet parts
to the symphony. In 1805,
this version (C) was
published by Andre in
Offenbach, who thus began
making it known.The
primary sources of the
present Breitkopf Urtext
edition are the
autographs to K. 385 and
K. 408/2 (385a). It thus
becomes possible for the
first time to play all
three versions of the
Hafner Music, since the
variants of Versions A
and B can be easily
discerned through
indications in footnotes
and notes in small
print.
Orchestra SKU: SU.97022030 For Orchestra. Composed by William Thom...(+)
Orchestra
SKU:
SU.97022030
For
Orchestra. Composed
by William Thomas
McKinley. Orchestra.
Study Score. Notevole
Music Publishing
#97022030. Published by
Notevole Music Publishing
(SU.97022030).
Orchestra SKU: HL.215244 The Works of Mieczyslaw Karlowicz Volume 11(+)
Orchestra
SKU:
HL.215244
The
Works of Mieczyslaw
Karlowicz Volume 11.
Composed by Mieczystaw
Karlowicz. PWM.
Classical. Hardcover. 140
pages. Polskie
Wydawnictwo Muzyczne
#11592010. Published by
Polskie Wydawnictwo
Muzyczne (HL.215244).
12.0x17.0x0.63
inches.
Hardcover
full score. Text in
Polish, German, and
English. This edition of
the works of Mieczyslaw
Karlowicz is based on
critically examined
sources. It includes all
his compositions. The aim
of the edition is to
present the composer's
original text as
authentically as
possible. This is not an
easy task. The source
materials of Karlowicz's
music are very diverse in
nature. Apart from most
of the songs, the
composer prepared for
printing and published in
his lifetime the
following: Serenade for
Strings Op. 2, Prelude
and Fugue Op. 5, Concerto
in A major for Violin and
Orchestra Op. 8,
Returning Waves Op. 9 and
Eternal Songs Op. 10.
Being highly experienced
in writing for a symphony
orchestra, and
knowledgeable in the
modern method of
instrumentation in the
neoromantic style, he
prepared his scores with
great care. The remaining
symphonic poems were not
published before the
composer's death; and the
'Rebirth' Symphony, the
manuscript of which
miraculously survived the
ravages of World War II,
was issued only in 1993,
as part of the present
Complete Works edition.
During this war the
autographs of the most
compositions by
Karlowicz, including all
his symphonic poems
(except for The Sorrowful
Tale), were lost. The
present publication,
therefore, is based as a
rule on the first
editions, compared with
extant autographs or
authorized copies of the
scores. The amendments of
misprints or self-evident
mistakes on the part of
the composer are not
indicated graphically in
the text but referred to
in the Editorial
Notes.
No. 2 from the
Symphonic Poem My
Fatherland. Composed
by Bedrich Smetana.
Edited by Milan Pospisil.
Softbound. Eulenburg
Orchestral Series.
Today, it is hard to
believe that Bedrich
Smetana kept receiving
rejections when he tried
to get his enormously
popular Moldau
printed.
Symphonic
poem; Romantic. Full
score. 84 pages. Duration
13'. Breitkopf and
Haertel #EOS 20472-00.
Published by Breitkopf
and Haertel
(BR.EOS-20472-00).
ISBN 9790004780008. 10
x 12.5
inches.
What is
also amazing is that the
first text-critical
edition prepared by the
Czech Smetana expert
Milan Pospisil in 1999,
which had entailed an
exhaustive evaluation of
the sources and been
given a full
text-critical editorial
treatment as a Eulenburg
study score, had no
resonance of any kind
among performers since no
performance material had
been published. After 15
years, Pospisils edition
is finally being
completed in a manner
suitable for practice:
with a conducting score
and orchestral parts
which will ensure that
all future performances
are based on a musical
text that is as reliable
as can
be.
The
work depicts the course
of the river Vltava,
beginning with its first
two sources, the cold and
warm Vltava, and the
confluence of the two
streams that join to form
a single river; then the
course of the Vltava
through forests and
meadows, and through open
countryside where a
peasant wedding is being
celebrated; water-sprites
dance by the light of the
moon; on the nearby
cliffs castles, mansions
and ruins rise proudly
into the air; the Vltava
eddies in the St John's
Rapids, then flows in a
broad stream as it
continues its course
towards Prague, where the
Vysehrad appears, before
the river finally
disappears into the
distance as it flows
majestically into the
Elbe.
Vltava
(The Moldau),
Smetana's best-known and
most frequently performed
orchestral work, was
written between 19
November and 8 December
1874, at a time when
Smetana was already
completely deaf. The
world premiere took place
in Prague on 4 April
1875, but the score was
not published until
1880.
Minnie the Moocher Orchestre [Conducteur et Parties séparées] - Facile Alfred Publishing
By Cab Calloway and Irving Mills [The Blues Brothers]. Arranged by Ralph Ford. O...(+)
By Cab Calloway and
Irving Mills [The Blues
Brothers]. Arranged by
Ralph Ford. Orchestra.
Full Orchestra; Part(s);
Score. Pop Intermediate
Full Orchestra. Jazz.
Grade 2.5. 160 pages.
Published by Alfred Music
Publishing
By Cab Calloway and Irving Mills [The Blues Brothers]. Arranged by Ralph Ford. O...(+)
By Cab Calloway and
Irving Mills [The Blues
Brothers]. Arranged by
Ralph Ford. Orchestra.
Full Orchestra; Score.
Pop Intermediate Full
Orchestra. Jazz. Grade
2.5. 12 pages. Published
by Alfred Music
Publishing
By Johnny Marks. Arranged by Jack Bullock. Orchestra. Full Orchestra; Part(s); S...(+)
By Johnny Marks. Arranged
by Jack Bullock.
Orchestra. Full
Orchestra; Part(s);
Score. Pop Intermediate
Full Orchestra.
Christmas; Winter. Grade
2.5. 156 pages. Published
by Alfred Music
Tuonelan joutsen -
Urtext based on the
Complete Edition Jean
Sibelius Works (JSW).
Composed by Jean
Sibelius. Edited by Tuija
Wicklund. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library).
Symphonic poem; Suite;
Early modern;
Late-romantic. Full
score. 24 pages. Duration
10'. Breitkopf and
Haertel #PB 5583.
Published by Breitkopf
and Haertel (BR.PB-5583).
ISBN 9790004213933. 10
x 12.5
inches.
Little is
known about the actual
composition process of
Lemminkainen and the
performance and
publication history is
rather complex, resulting
in a first complete
printing of all the four
movements en suite
through the complete
edition of Jean Sibelius
Works only in 2013.In
summer 1894 Sibelius went
to Central Europe,
carrying among others a
plan for an opera freely
based on the Kalevala in
his mind. But during this
trip he reassessed his
composing: I think I have
found my old self again,
musically speaking. I
think I really am a tone
painter and a poet. As a
result he abandoned his
opera plans, but musical
parts may have found
their way into the
Lemminkainen pieces which
he started composing
during that time.
Definitely the overture
had, it is now known and
loved as The Swan of
Tuonela. Lemminkainen
became popular from the
beginning and has
attained a fixed position
in the concert
repertoire.
Orchestra (Picc.2.2.2.2 -
4.2.3.0 - timp.trg.side
dr - str)
SKU:
BR.PB-5698
Lenore
- Urtext. Composed by
Joachim Raff. Edited by
Iris Eggenschwiler.
Orchestra; Softbound.
Partitur-Bibliothek
(Score Library). Romantic
period. Full score. 232
pages. Duration 40'.
Breitkopf and Haertel #PB
5698. Published by
Breitkopf and Haertel
(BR.PB-5698).
ISBN
9790004216354. 10 x 12.5
inches.
Joachim
Raff's Fifth Symphony
Lenore op. 177, composed
in 1872, reveals the
composer as a
representative of the
middle ground between
Neo-German aesthetics and
the symphonic tradition.
It owes its name to G. A.
Burger's ballade, which
is the programmatic basis
of the final movement.
Using this literary
model, Raff oriented
himself to the Berlioz
program symphonies and
the Liszt symphonic-poem
concept, on the one hand,
but on the other, he let
the three preceding
movements follow
traditional symphonic
form. Raff conducted the
Lenore symphony's
premiere in December 1872
in a concert by the
Furstliche Hofkapelle in
Sondershausen. The
concert went to his
satisfaction, although
the audience evidently
did not know what to make
of the work: [...] and
the symphony [...] was
played before this
faintly musical party.
Essentially for the
greater glory of God and
my edification, less for
that of the said public,
which seems to have been
rather horrified by it.
His friend Hans von Bulow
had, however, a great
pleasure in hearing the
symphony the following
year in Berlin. In her
preface, the editor Iris
Eggenschwiler provides
detailed information
about the work's genesis,
documents Raff's ideas
and intentions, and
facilitates a
comprehensive orientation
within the historical
context. Breitkopf &
Hartel is now presenting
for the first time with
this symphony an
orchestral work by Raff
in a modern Urtext
edition, thus also
continuing its
collaboration with the
Joachim-Raff-Gesellschaft
.In collaboration with
the Joachim-Raff-Archiv
Lachen (CH).
Wedding
March - Urtext based on
the Leipzig Mendelssohn
Complete Edition.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Christian
Martin Schmidt.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library).
Dances/marches; Romantic.
Full score. 24 pages.
Duration 5'. Breitkopf
and Haertel #PB 5366.
Published by Breitkopf
and Haertel (BR.PB-5366).
ISBN 9790004210529. 10
x 12.5 inches.
With
the publication of the
performance materials to
the Mendelssohn Complete
Edition, Breitkopf &
Hartel is fulfilling its
promise to release the
conducting scores, parts
and, in the case of
well-known orchestral
pieces, separate
materials as soon as
possible after the
appearance of the
respective volume in the
Complete Edition.
Breitkopf believes that
all these important new
scholarly findings should
be made available
directly to performers
and taken into
consideration in as many
Mendelssohn performances
as possible.
Overture - Urtext
based on the Leipzig
Mendelssohn Complete
Edition. Composed by
Felix Bartholdy
Mendelssohn. Edited by
Ralf Wehner. Orchestra.
Orchester-Bibliothek
(Orchestral Library).
Part. 8 pages. Duration
8'. Breitkopf and Haertel
#OB 5624-16. Published by
Breitkopf and Haertel
(BR.OB-5624-16).
ISBN
9790004348673. 10 x 12.5
inches.
The
Overture to Ruy Blas,
Felix Mendelssohn
Bartholdy's last
overture, was not
composed as an
autonomously conceived
score, but as the opening
piece of a stage work.
Nevertheless, its
immediate success at the
Leipzig first performance
in 1839, as well as the
fact that no further
contributions to Victor
Hugo's drama followed
from Mendelssohn's pen
soon made it well known
in the concert hall. The
work's special history,
including several
arrangements occasioned
by various performances,
led to the fact that the
overture had its largest
circulation in the
version of the posthumous
first edition on which
this edition is also
based.