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.
And There Was Light Orchestre [Conducteur et Parties séparées] Shawnee Press
Full Orchestra (Print) Choral (Orchestra Accompaniment) SKU: HL.293395 (+)
Full Orchestra (Print)
Choral (Orchestra
Accompaniment)
SKU:
HL.293395
A
Cantata for
Christmas. Composed
by Joseph M. Martin.
Shawnee Sacred. Advent,
Cantata, Christmas,
Christmas/Advent Sacred.
Softcover. Duration 3000
seconds. Published by
Shawnee Press
(HL.293395).
ISBN
9781540050984. UPC:
888680936129.
9.0x13.75x2.61
inches.
This
cantata is a celebration
of light. Filled with
time-honored carols and
expressive original
songs, this work will
dazzle and inspire. The
first half of the cantata
is dedicated to hopeful
prophecies associated
with the coming Light of
the World. With the birth
of Jesus, the second part
moves forward to declare
the tidings of great joy
and is crowned with an
opportunity for the
congregation to join in
singing, Joy to the
World. Brant Adams and
Robert Sterling shine as
orchestrators of this
truly festive work.
Glorious! Songs include:
A Festive Call to
Christmas; Celebration of
Light; Come, Golden
Light; Dazzling Joy;
Beautiful Name; Dreamer
of Stars; Angel Song;
Silver and Shadows;
Joyous Carols of
Christmas. Score and
Parts for Full Orchestra
(fl 1-2, ob, cl 1-2, bn,
hn 1-2, tpt 1-3, tbn,
1-2, tba, timp, perc 1-2,
hp, pno, vn 1-2, va, vc,
db) available as a
Printed Edition and as a
digital download. Score
and Parts for Consort
(fl, cl, tpt 1-2, tbn,
perc, kybd str) available
as a Printed Edition and
as a digital
download.
Orchestra SKU: BT.YKM570369270 Composed by Robert Saxton. Score Only. Com...(+)
Orchestra
SKU:
BT.YKM570369270
Composed by Robert
Saxton. Score Only.
Composed 2021. 70 pages.
University of York Music
Press #YKM570369270.
Published by University
of York Music Press
(BT.YKM570369270).
A Hymn to the
Thames was commissioned
by James Turnbull and the
Music Director of the St
Paul’s Sinfonia, Andrew
Morley. It was begun in
2019 and completed early
in 2020. There are four
movements played without
a break, which follow the
Thames from its Cotswold
source to the North Sea.
As the first performance
took place in St
ALfege’s Church,
Greenwich, this seemed
appropriate. The solo
oboe represents both a
wanderer along the river
path and the spirit of
the river. The pitch
centres of the movements
spell out the musical
letters of the river
(tHAmES—B natural, A, E
and E flat) so that the
river’s name is
projected across the
whole work. In addition,
the musical letters found
in James Turnbull, Andrew
Morley and my wife,
Teresa Cahill ( who was
born in Maidenhead and
brought up by the river
in Rotherhithe) are
entwined in various
guises. The first
movement grows from the
depths, the soloist
entering with
fanfare-like gestures,
followed by lyrical music
and breaks into a dance
as the river gathers
momentum. The third
movement is slow and
sustained and
geographically the Thames
flows through Oxford. The
music is based on the
well-known In Nomine
‘head motif’ from the
Gloria tibi Trinitas Mass
by the early Tudor
composer, John Taverner,
who was the first
Director of Music at
Christ Church, Oxford.
The orchestra provides a
screen or veil above
which the solo oboe
dreams and ruminates.
This leads directly into
the fourth and final
movement which begins in
the depths once more,
interrupting the oboe’s
held note from the end of
the third movement. The
waters’ increasing
intensity and power are
represented throughout by
a moto perpetuo of quick,
steady semiquavers. Near
the close, the woodwind
play O Nata Lux by Thomas
Tallis, the great Tudor
composer who, with his
wife Joan, is buried in
St Alfege’s. Beneath
this, the lower strings
continue the fast
semiquaver movement of
the river and, above, the
violins are heard as a
halo of harmonics. At the
close, the oboe rises,
opening out to the
future, and celebrating
its voyage, while the
orchestra fades as the
river meets the sea. A
Hymn to the Thames lasts
approximately 17
minutes.
Orchestra SKU: HL.14004331 Composed by Antonio Bibalo. Music Sales Americ...(+)
Orchestra
SKU:
HL.14004331
Composed
by Antonio Bibalo. Music
Sales America. Classical.
Score. 52 pages. Edition
Wilhelm Hansen #WH29012.
Published by Edition
Wilhelm Hansen
(HL.14004331).
ISBN
9788759862636.
English.
The
Norwegian composer
Antonio Bibalo was born
in 1922 and is originally
from Triste, Italy.
Bibalo's encounter with
music began with the
piano, and his
instrumental talents took
him on to the
Conservatoire in Trieste,
where he took his diploma
in 1946. During World War
II Bibalo, like other
Italian men, had been
conscripted into
Mussolini's army. He
escaped, but was captured
by the Germans and had to
do forced labour as a
German prisoner-of-war.
He wrote the Sinfonia
Notturna in 1968.
Orchestra - Grade 3 SKU: AP.49898 From African Suite. Composed by ...(+)
Orchestra - Grade 3
SKU: AP.49898
From African
Suite. Composed by
Samuel Coleridge-Taylor.
Arranged by Kirk Moss.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Concert String Orchestra.
Form: Dance. Masterwork
Arrangement. Score and
Part(s). Duration 3:00.
Belwin Music #00-49898.
Published by Belwin Music
(AP.49898).
ISBN
9781470657314. UPC:
038081575469.
English.
Originally
composed for piano as the
final movement of African
Suite, Danse begins with
two introductory chords
followed by energetic
swinging rhythms and
repeated angular
melodies. Students will
love the moods in this
festive overture,
evocative of later
Broadway musicals. The
artistic turning point of
Samuel Coleridge-Taylor's
career happened in his
twenties when he met the
African-American poet
Paul Laurence Dunbar.
Dunbar influenced the
young composer to
concentrate on his
African heritage. Born in
suburban London to Alice
Martin, an Englishwoman
and the daughter of a
blacksmith, his father,
Dr. Daniel Peter Hughes
Taylor, was a Creole of
Sierra Leone who
qualified as a Member of
the Royal College of
Surgeons (MRCS) and
returned to Africa before
his son's birth. Called
Coleridge by his family,
he was raised in Croydon,
Surrey, by his mother and
her father, Benjamin
Holmans, who taught him
the violin. (3:00).
Wind
Orchestra, Grade 4, 8:45
Score. Composed by
Stephan Jaeggi. Arranged
by Gauthier Dupertuis. FC
Music Publishing. Concert
Band. Softcover. Duration
525 seconds. Hal Leonard
#FCMP007-SC. Published by
Hal Leonard (HL.4008713).
UPC:
196288190936.
As
part of the year 2023,
dedicated to Swiss
composers, the Swiss Wind
Band Association has
commissioned Gauthier
Dupertuis to write a new
orchestration of the
Overture in E-flat major
by Stephan Jaeggi.
Indeed, an update of the
instrumentation was
necessary for the
interpretation of this
work with modern
orchestras. Therefore,
the orchestration that
Gauthier Dupertuis
proposes and which he
wanted to be faithful to
the original while
meeting current
standards, will allow
todayÂ’s orchestras to
perform this piece of
classical-romantic
inspiration. Stephan
Jaeggi was a Swiss
composer and conductor
who was born into a large
family in Fulenbach
(Canton of Solothurn) in
1903. He began playing
the clarinet at the age
of 13, then studied music
at the Basel Conservatory
and attended his military
training with the Swiss
Army Band. Thereafter, he
became the conductor of
several wind orchestras.
In this role, and also
that of a composer,
Stephan Jaeggi went on to
achieve great success.
His early death in 1957
put a premature end to
Stephan Jaeggi's creative
life. All the more reason
why his work lives on
with unbroken power to
this day.
Orchestra SKU: HL.14029172 Composed by Gerard Schurmann. Music Sales Amer...(+)
Orchestra
SKU:
HL.14029172
Composed
by Gerard Schurmann.
Music Sales America.
Classical. Book
[Softcover]. Music Sales
#NOV890181. Published by
Music Sales
(HL.14029172).
ISBN
9780853607519.
<
em>Gerard Schurmann
(b. 1924) is a Dutch
contemporary composer,
who was born in the Dutch
East Indies and lived in
England from childhood,
before setting in the USA
in 1981. His orchestral
works span 5 decades, and
he remains in demand for
commissions today.
The single-movement
Cello Concerto
The Gardens of
Exile was first
performed by the
Bournemouth Symphony
Orchestra in March 1991.
It received immediate
critical acclaim, with
one reviewer calling it
an extraordinarily fine
and imaginative
composition. It features
a tense orchestral build
up before the Cello
enters, gradually
emerging from the texture
and taking control of the
music. Asignificant
contribution to the
repertoire, this study
score is published by
Novello.
One Last Journey Orchestre [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
Orchestra, Grade 4 3:55 Score and Parts. Composed by Robin Hoffmann. Symphonic...(+)
Orchestra, Grade 4 3:55
Score
and Parts. Composed by
Robin
Hoffmann. Symphonic
Dimensions. Classical.
Softcover. 131 pages.
Duration
235 seconds. Hal Leonard
#SDP20123402. Published
by Hal
Leonard
Orchestra SKU: SU.27040190 For Orchestra. Composed by Gregory J. H...(+)
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:.
Himmel Punk Orchestre SATB, Orchestre Fennica Gehrman
Orchestra SKU: FG.55011-652-8 Composed by Antti Auvinen. Study score. Fen...(+)
Orchestra
SKU:
FG.55011-652-8
Composed by Antti
Auvinen. Study score.
Fennica Gehrman
#55011-652-8. Published
by Fennica Gehrman
(FG.55011-652-8).
ISBN
9790550116528.
Himm
el Punk was born out of
social commentary. It
addresses
narrow-mindedness
manifesting itself in the
rejection of particular
values on religous
grounds. Piety turns to
hypocrisy as those who
think otherwise are
branded as an inferior
caste, thereby even
justifying the denial of
human rights to them.
Orchestra SKU: FG.55011-134-9 Composed by Erkki Melartin. Study score. Fe...(+)
Orchestra
SKU:
FG.55011-134-9
Composed by Erkki
Melartin. Study score.
Fennica Gehrman
#55011-134-9. Published
by Fennica Gehrman
(FG.55011-134-9).
ISBN
9790550111349.
The
five first of the six
symphonies by Erkki
Melartin (1875-1937),
dated from 1903 to 1916,
represent the National
Romantic Finnish musical
heritage based on
Austo-German orchestral
tradition. Melartin
himself thought of
Symphony No. 3 as his
testament and a
description of a battle
towards enjoying life,
since the time of its
birth was a period when
Melartin's own life
nearly ended. He had
fallen ill of
tuberculosis, and partly
had to give up his work
as a composer and teacher
of music theory in order
to recover from the - at
the time often fatal -
disease in a local
sanatorium. At the
premiere the symphony had
an impact on its
audience, as it indeed
seemed to describe the
joys and sufferings and
the final peace of mind
of the composer. The new
editions of Melartin's
symphonies have born as a
project of Erkki Melartin
Society with support of
the Finnish Cultural
Foundation. The
performance materials are
available for hire from
Fennica Gehrman.
Incipit Orchestre [Conducteur] University Of York Music Press
Orchestra SKU: BT.MUSM570366460 Composed by Luís Tinoco. Classical. Scor...(+)
Orchestra
SKU:
BT.MUSM570366460
Composed by Luís Tinoco.
Classical. Score Only. 17
pages. University of York
Music Press
#MUSM570366460. Published
by University of York
Music Press
(BT.MUSM570366460).
English.
Lu s
Tinoco 's Incipit for
symphony Orchestra.
Conductor's score. “
Incipit ” includes
various quotations of
“Audivi vocem de
caelo”, written by the
Portuguese composer
Duarte Lobo (1565-1646),
thought to have been born
in the same year when the
city of Rio de Janeiro
was founded. Work
commissioned by the OPART
- S.Carlos Theatre, to
mark the city of Rio de
Janeiro’s 450th
anniversary, and first
performed by the
Orquestra Sinfónica
Brasileira, conducted by
Tito Muñoz Cidade das
Artes and Theatro
Municipal, 10th and 11th
of June 2015 Rio de
Janeiro.
Orchestra SKU: LO.30-3245L Composed by Pepper Choplin. Arranged by Larry ...(+)
Orchestra
SKU:
LO.30-3245L
Composed
by Pepper Choplin.
Arranged by Larry
Shackley. Choral,
cantatas. Christmas.
Score and parts, plus CD
with printable parts.
Lorenz Publishing Company
#30/3245L. Published by
Lorenz Publishing Company
(LO.30-3245L).
UPC:
000308142471.
One
Silent Night long ago, a
birth story began that
forever changed the
world. Lying in a crude
manger was a new-born
babe, who would become
the Source of our
Christian faith and our
abiding hope. Using the
power and simplicity of
the event itself,
composer and creator
Pepper Choplin presents
each of the familiar
elements of that story
through ballad-like
recitatives of scripture,
surrounded by anthems
ranging from outbursts of
unbridled joy to moving
moments of introspection
and gentleness. Weaving
familiar carols and songs
throughout original
music, this timeless tale
emerges in a deeply
moving presentation that
will lift one’s
faith and deepen
one’s
understanding of the
profound significance of
that One Silent Night.
Orchestration by Larry
Shackley for 2 Fl, Ob, 2
Cl, Bsn (sub Bass Cl), 2
Hn (sub 2 A Sax), 3 Tpt,
2 Tbn (sub 2 T Sax),
Tuba, 2 Perc, Timp, Harp,
Pno, 2 Vln, Vla, Cello,
Bass, Digital
Strings.
Orchestra SKU: LO.30-3243L Composed by Pepper Choplin. Arranged by Larry ...(+)
Orchestra
SKU:
LO.30-3243L
Composed
by Pepper Choplin.
Arranged by Larry
Shackley. Choral,
cantatas. Christmas.
Instrumental parts.
Lorenz Publishing Company
#30/3243L. Published by
Lorenz Publishing Company
(LO.30-3243L).
UPC:
000308142457.
One
Silent Night long ago, a
birth story began that
forever changed the
world. Lying in a crude
manger was a new-born
babe, who would become
the Source of our
Christian faith and our
abiding hope. Using the
power and simplicity of
the event itself,
composer and creator
Pepper Choplin presents
each of the familiar
elements of that story
through ballad-like
recitatives of scripture,
surrounded by anthems
ranging from outbursts of
unbridled joy to moving
moments of introspection
and gentleness. Weaving
familiar carols and songs
throughout original
music, this timeless tale
emerges in a deeply
moving presentation that
will lift one’s
faith and deepen
one’s
understanding of the
profound significance of
that One Silent Night.
Orchestration by Larry
Shackley for 2 Fl, Ob, 2
Cl, Bsn (sub Bass Cl), 2
Hn (sub 2 A Sax), 3 Tpt,
2 Tbn (sub 2 T Sax),
Tuba, 2 Perc, Timp, Harp,
Pno, 2 Vln, Vla, Cello,
Bass, Digital
Strings.