(Op. 49). By Piotr Ilyich Tchaikovsky [Peter Ilyich Tchaikovsky]. Arranged by Jerry Brubaker. Orchestra. Full Orchestra; Masterworks; Score. Belwin Concert Full Orchestra. Form: Overture; Transcription. Masterwork Arrangement; Romantic. Grade 4. 28 pages.

(Op. 49). By Piotr Ilyich Tchaikovsky [Peter Ilyich Tchaikovsky]. Arranged by Jerry Brubaker. Orchestra. Full Orchestra; Masterworks; Part(s); Score. Belwin Concert Full Orchestra. Form: Overture; Transcription. Masterwork Arrangement; Romantic. Grade 4. 214 pages. Published by Belwin Publishing

Classic Rock for the String Orchestra (Teacher's Score). Arranged by Bob Phillips and Daryl Silberman. Book; CD; Play-Along; String Orchestra Collection. Rock. 48 pages. Published by Alfred Music (AP.40742).

By Pietro A. Yon (1886-1943). Arranged by Mark Hayes. For Orchestra (Score and Parts). Shawnee Press. Shawnee Press #LB5768. Published by Shawnee Press

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.

(Full Score). By Irving Berlin. Arranged by Bruce Healey. For Full Orchestra (Score). Symphony Pops. Grade 5-6. 106 pages. Published by Hal Leonard

Featuring themes from The Flash, DC's Legends of Tomorrow, Arrow, and Supergirl. Composed by Blake Neely. Arranged by Douglas E. Wagner. Performance Music Ensemble; Single Titles; String Orchestra. Pop Intermediate String Orchestra. Christmas; Pop; TV. Score and Parts. 144 pages. Alfred Music #00- 47442. Published by Alfred Music

Study Score. By Sir Michael Tippett. Study Score. 140 pages. Published by Eulenburg London (Schott).

Composed by Jean Sibelius (1865-1957). Edited by Ulrich Mahlert. This edition: urtext. Partitur-Bibliothek (Score Library). Study score. 116 pages. Published by Breitkopf and Haertel (BR.PB-5564-07).

Orchestra 2 Natural Trumpets, Percussion (2 players) & String Orchestra

SKU: PE.EP14361

For 2 Natural Trumpets, Percussion (2 players) and String Orchestra. Composed by Bernhard Gander. Chamber Orchestra. Form: March. Contemporary; Funeral. Score. 24 pages. Edition Peters #98-EP14361. Published by Edition Peters (PE.EP14361).

ISBN 9790014133177. German.

Maximal Funeral by Bernhard Gander is a 13-minute work for two natural trumpets, percussion (two players) and string orchestra. The piece is a long funeral march and was inspired by the fact that years before his death Emperor Maximilian always took a coffin with him on his travels to be prepared for it.

Maximal Funeral was made possible by the Hilde Zach Scholarship 2017 by the City of Innsbruck. The premiere performance by the Tiroler Kammerorchester InnStrumenti conducted by Gerhard Sammer took place on 9 March 2019 at the Canisianum, Innsbruck (Austria).

The full score (EP 14361) is available for sale as part of the Peters Contemporary Library. The performance material can be hired.

This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer.

Orchestra full orchestra - Grade 5

SKU: KJ.JO2002C

Composed by Jack Stamp. Score and parts. Neil A. Kjos Music Company #JO2002C. Published by Neil A. Kjos Music Company (KJ.JO2002C).

It was with great pleasure that received a commission from my good friends at the Johnstown (Pennsylvania) Symphony Orchestra, Istvan Jaray, music director and conductor, to write a work for the opening of their 1996-1997 season. My intention was to write a lively work which highlighted the strengths of this musical organization while being accessible and appealing to their loyal audience members. In trying to tie something unique about Johnstown to the work, came up with the title, Iridium, which is a term that deals with the production of metal. During the writing of the work, my friend, colleague, and former teacher, Hugh Johnson passed away. Dr. Johnson, faculty emeritus at Indiana University of Pennsylvania, was a terrific musician who was always enthusiastic about orchestral music! It is this enthusiasm and energy that have tried to capture in this new work, which is dedicated to Dr. Johnson's memory. Finally, would like to thank Maestro Jaray and Tony Blackner for their interest in my work. With Iridium comes my best wishes to Maestro Jaray and the orchestra for a fantastic new season of music-making. -Jack Stamp (August, 1996).

Full orchestra

SKU: LO.30-3708MD

Composed by Marty Parks. Choral. Sacred Anthem, Christmas. Orchestral score and CD with printable parts. Medallion Music #30/3708MD. Published by Medallion Music (LO.30-3708MD).

UPC: 000308154146.

Orche stral Score and CD with Printable Parts for 10/5316MD Marty Parks gives us a high-energy arrangement of the always-popular traditional French carol “Sing We Now of Christmas.” Written in the style of Mannheim Steamroller, it is the perfect anthem to open worship. Fun and festive throughout, it will inspire your choir to sing of Christmas as they never have before!

Eulenburg Audio Score Study Score/CD. Composed by Johannes Brahms (1833-1897). Edited by Richard Clarke. This edition: Paperback/Soft Cover. Sheet music with CD. Eulenburg Audio Score. Classical. Study score CD, Softcover with CD. Op. 56a. 180 pages. Duration 10'. Eulenburg Edition #EAS 151. Published by Eulenburg Edition

Orchestra

SKU: HL.14019145

Composed by Magnus Lindberg. Music Sales America. Classical. Book [Softcover]. 48 pages. Music Sales #KP00119. Published by Music Sales (HL.14019145).

ISBN 9788759860625. 12.0x16.5x0.436 inches. English.

This work was written with a mix between computer technology and the more traditional orchestra, the piece was composed in such a way that it would support its own acoustics. Lindberg worked with amplification of instruments and electronically transformed sounds thus producing greater possibilities to abandon acoustic limits. In order for the piece to be supported by it's own acoustics, the piece had to be written in terms of foreground and background harmony, every foreground chord would always have it's background, a shadow existing without it's main chord. Another theme to the piece is that of textural motion as rapid gestures and motions are a big part of the composer's interest. Static repitions seemed to limit the piece however so they were compensated for on another level, so with a repetitive rhythmic pattern, the harmonic material changes rapidly or when a chain of chords is static the rhythmic and timbral qualities vary frequently. Work for orchestra commissioned by the Finnish Broadcasting Company.

Orchestra (Orchestra)

SKU: HL.14019146

Composed by Magnus Lindberg. Music Sales America. Classical. Score. 170 pages. Music Sales #KP00137. Published by Music Sales (HL.14019146).

ISBN 9788759855775. 12.0x16.5x0.525 inches. English.

The harmonic model for this piece is based on a subdivision of pitches in primary and secondary notes, in principle any chord can be viewed from it's structural qualities including interval content and symmetry, but it might also be conceived from a more acoustical point of view. The parallel basis for this work is a sequence of 12-tone chords repeated as a chaconne, every chord has it's Alter-Ego, an overtone series the fundamentals of which together form a bass line. By articulating the cycle differently, with always varied diagonal paths between two layers Lindberg has aimed to give the music some direction despite it's vague repetitive structure. Work for Orchestra premiered at the Queen Elizabeth Hall, London, by the London Sinfonietta under the direction of Esa-Pekka Salonen, April 1990.

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.

Composed by Richard Wagner (1813-1883). Edited by Ulrich Konrad. This edition: facsimile. Half-leather binding. Documenta musicologica II/56 / Barenreiter Facsimile. Facsimile. Baerenreiter Verlag #BVK02418. Published by Baerenreiter Verlag

Orchestra - Grade 1.5

SKU: AP.49467

Composed by Susan H. Day (ASCAP). MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Highland String Orchestra (HSO). Programmatic. Score and Part(s). Duration 2:00. Highland/Etling #00-49467. Published by Highland/Etling (AP.49467).

ISBN 9781470650162. UPC: 038081570945. English.

On the Open Seas is an exciting new sea chantey by Susan H. Day. Written because sea-faring voyagers are always looking for their next adventure on the open seas! This piece is written in E minor, 4/4 time, and features a spirited, memorable melody, detache bowing, easy rhythms, accents, pizzicato, and fun for all! Bass and cello double, and viola rhythms double 2nd violin rhythms throughout for ease of teaching. Optional piano adds harmonic color. Perfect for any concert occasion, students and teachers will want to keep performing this one! (2:00) This title is available in MakeMusic Cloud.

Orchestra - Grade 1.5

SKU: AP.49467S

Composed by Susan H. Day (ASCAP). MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Highland String Orchestra (HSO). Score. Duration 2:00. Highland/Etling #00-49467S. Published by Highland/Etling (AP.49467S).

ISBN 9781470650179. UPC: 038081570952. English.

On the Open Seas is an exciting new sea chantey by Susan H. Day. Written because sea-faring voyagers are always looking for their next adventure on the open seas! This piece is written in E minor, 4/4 time, and features a spirited, memorable melody, detache bowing, easy rhythms, accents, pizzicato, and fun for all! Bass and cello double, and viola rhythms double 2nd violin rhythms throughout for ease of teaching. Optional piano adds harmonic color. Perfect for any concert occasion, students and teachers will want to keep performing this one! (2:00) This title is available in MakeMusic Cloud.

Orchestra

SKU: AP.12-0571539092

For Ten Players. Composed by Tom Coult. Chamber Ensemble; Larger Works; Masterworks; Performance Music Ensemble. Faber Edition. 20th Century; Masterwork. Score. Faber Music #12-0571539092. Published by Faber Music (AP.12-0571539092).

ISBN 9780571539093. English.

These mature and well-crafted pieces for an ensemble of ten players showcase Tom Coult's ear for beguiling, burnished sonorities and his ability to harness the most complex of technical devices to rich emotional ends. Whilst his musical schemas are often audacious and innovative, the security and light touch with which Coult carries them out ensures that his Four Perpetual MotionsM are always as expressive as they are impressive. Coult was one of the winners of the 2012 Royal Philharmonic Society Composition Prize and was consequently commissioned to write this 13-minute work for the Philharmonia's Music of Today Series.

Orchestra - Grade 2.5

SKU: AP.41218S

Composed by Luigi Denza. Arranged by Sandra Dackow. Performance Music Ensemble; Single Titles; String Orchestra. Orchestra Expressions. Light Concert. Score. 16 pages. Duration 3:10. Alfred Music #00-41218S. Published by Alfred Music (AP.41218S).

UPC: 038081504711. English.

It was always fun to sing this Italian song in elementary school music classes---who could resist the swinging tarantella rhythms, which made you want to sing and dance together? No need to resist, join the fun! (3:10).

About Orchestra Expressions

< p>Play great songs such as Over the Rainbow, Batman, This Land Is Your Land, and Star Wars (Main Title). Listen to and play a variety of styles of music: popular, traditional, classical, folk and patriotic. Read and write music; compose and improvise. Perform in a concert and play for your family and friends. Be a conductor of the orchestra. Learn about composers, such as Antonin Dvorak, Johann Pachelbel, Jacques Offenbach, Pytor Ilyich Tchaikovsky, Giuseppe Verdi, George M. Cohan, George Frideric Handel, Ludwig van Beethoven, Johann Sebastian Bach, Wolfgang Amadeus Mozart, Giacomo Puccini, Georges Bizet, Neal Hefti, and John Williams. Discover how music and art are related. Learn about a variety of musical ensembles including string orchestra, full orchestra, mariachi band, steel drum band, dixieland jazz band, rock band, and more. Play music from around the world, including North America, Europe, Latin America, Asia, and Africa.

Orchestra

SKU: SU.27040190

For Orchestra. Composed by Gregory J. Hutter. Orchestra. Full Score. Subito Music Corporation #27040190. Published by Subito Music Corporation (SU.27040190).

Conductor's scoreInspired by the German-born architect Ludwig Mies van der Rohe, the intention was to create an orchestral work that would somehow reflect these urban corporate trophies. The piece as a whole makes use of a very sparse harmonic arsenal—employing simple, cellular collections of pitches. The music is at times very angular, always highly charged with energy, and filled with mechanical imagery.2,1 2,1 2,1 2,1; 4331; timp, 3 perc, hp, pno/cel; stgs Duration: 8'30 Composed: 2001 Published by: Hutter Music Performance materials available on rental only:.

Orchestra - Grade 3

SKU: AP.48101

Composed by Katie O'Hara LaBrie. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Thanksgiving. Score and Part(s). 124 pages. Duration 4:30. Highland/Etling #00-48101. Published by Highland/Etling (AP.48101).

ISBN 9781470661441. UPC: 038081553986. English.

With Gratitude by Katie O'Hara LaBrie is a flowing yet spirited composition written in memory of a bright youngster who always sought out the good things in life. Perfect for advancing string orchestras, this piece features soaring melodies, rhythmic independence, and higher positions for violin 1 and cello, all while exploring changing modalities in C major and A major. Students will learn to play expressively as they connect to the story behind the piece using the hashtag #yearofgratitude. (4:30) This title is available in MakeMusic Cloud.