Orchestra - Grade 3 SKU: AP.44816 Including: My Old Kentucky Home / Ma...(+)
Orchestra - Grade 3
SKU: AP.44816
Including: My Old
Kentucky Home / Maryland,
My Maryland / New York,
New York. Arranged by
Dorothy A. Straub.
Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Concert String Orchestra.
Form: Medley.
Traditional. Score and
Part(s). 146 pages.
Duration 6:30. Alfred
Music #00-44816.
Published by Alfred Music
(AP.44816).
UPC:
038081515533.
English.
This
piece, arranged by
Dorothy Straub,
celebrates the excitement
of a very short horse
race. Using songs that
are sung before each of
the three races---songs
of Kentucky, Maryland,
and New York---the
orchestra takes on the
role of the winning
horse, with the
accelerando being the
final race to the finish
line. Though timely now
that the amazing horse,
American Pharaoh, won the
Triple Crown in June of
2015, this piece was
written prior to that
event to celebrate all
the horses that compete.
(6:30).
Orchestra - Grade 3 SKU: AP.44816S Including: My Old Kentucky Home / M...(+)
Orchestra - Grade 3
SKU: AP.44816S
Including: My Old
Kentucky Home / Maryland,
My Maryland / New York,
New York. Arranged by
Dorothy A. Straub.
Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Concert String Orchestra.
Form: Medley.
Traditional. Score. 16
pages. Duration 6:30.
Alfred Music #00-44816S.
Published by Alfred Music
(AP.44816S).
UPC:
038081515540.
English.
This
piece, arranged by
Dorothy Straub,
celebrates the excitement
of a very short horse
race. Using songs that
are sung before each of
the three races---songs
of Kentucky, Maryland,
and New York---the
orchestra takes on the
role of the winning
horse, with the
accelerando being the
final race to the finish
line. Though timely now
that the amazing horse,
American Pharaoh, won the
Triple Crown in June of
2015, this piece was
written prior to that
event to celebrate all
the horses that compete.
(6:30).
Orchestral Score. Composed by Alan Menken. This edition: Paperback/Softcover...(+)
Orchestral Score.
Composed by
Alan Menken. This
edition:
Paperback/Softcover.
Sheet
music. Study score.
Composed
2010. Omni Music
Publishing
#OMNI 50796. Published by
Omni
Music Publishing
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.
Overture. Composed
by Daniel Franç and
ois Esprit Auber. This
edition: Paperback/Soft
Cover. Sheet music.
Edition Schott.
Classical. Study Score.
58 pages. Eulenburg
Edition #ETP 651.
Published by Eulenburg
Edition (HL.49010107).
ISBN 9790200205657.
UPC: 073999929133.
5.25x7.5x0.15
inches.
With more
than 1,200 titles from
the orchestral and choral
repertoire, from chamber
music and musical
theatre, Edition
Eulenburg is the world's
largest series of scores,
covering large part of
music history from the
Baroque to the Classical
era and looking back on a
long tradition.
Composed by Burrill Phillips. Orchestra. For Piccolo, Flute I, Flute II, Oboe I,...(+)
Composed by Burrill
Phillips. Orchestra. For
Piccolo, Flute I, Flute
II, Oboe I, Oboe II,
Clarinet I, Clarinet II,
Bassoon I, Bassoon II,
Horn I, Horn II, Horn
III, Horn IV, Trumpet in
C I, Trumpet in C II,
Trumpet in C III, Tenor
I, Tenor II, Tenor III,
Tuba, Timpani,
Percussion, Harp,
Celesta, Vio. Full score
(study). Standard
notation. 85 pages.
Published by Carl Fischer
Orchestra SKU: HL.50495863 An Illumination For Orchestra - Partitura(+)
Orchestra
SKU:
HL.50495863
An
Illumination For
Orchestra -
Partitura. Composed
by Isidora Äebeljan.
MGB. Contemporary Music.
Score Only. Composed
2006. Ricordi #NR139322.
Published by Ricordi
(HL.50495863).
Scenes from the Old West Orchestre [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By Bob Cerulli. Orchestra. Full Orchestra. Belwin Intermediate Full Orchestra. C...(+)
By Bob Cerulli.
Orchestra. Full
Orchestra. Belwin
Intermediate Full
Orchestra. Contemporary;
Light Concert. Grade 3.
Conductor Score and
Parts. 240 pages
Carousel Orchestre [Conducteur] - Débutant Alfred Publishing
Orchestra - Grade 0.5 SKU: AP.46704S Composed by Bob Phillips. Performanc...(+)
Orchestra - Grade 0.5
SKU: AP.46704S
Composed by Bob Phillips.
Performance Music
Ensemble; Single Titles;
String Orchestra. Sound
Innovations for String
Orchestra. Form: Waltz.
Score. 8 pages. Alfred
Music #00-46704S.
Published by Alfred Music
(AP.46704S).
UPC:
038081537009.
English.
Written in
a flowing waltz style,
this piece depicts the
non-stop motion of an
old-fashioned carousel
going round and round
with horses smoothly
gliding up and down. In
the keys of D Major and G
Major, this is a perfect
piece for first year
players as all fingered
notes occur on the D and
A strings (D and G for
bass). The violin 2 and
viola parts are doubled,
as are the cello and bass
parts. Correlated with
Sound Innovations Book 1,
Level 5, Carousel by Bob
Phillips is easily
accessible by beginners
and advancing students
alike.
Sleigh Ride Orchestre [Conducteur] - Facile Belwin
Orchestra - Grade 2 SKU: AP.45829S Composed by Leopold Mozart. Arranged b...(+)
Orchestra - Grade 2
SKU: AP.45829S
Composed by Leopold
Mozart. Arranged by Jan
Farrar-Royce.
Masterworks; Performance
Music Ensemble; Single
Titles; String Orchestra.
Belwin Intermediate
String Orchestra.
Baroque; Christmas;
Classical; Masterwork
Arrangement; Winter.
Score. 12 pages. Duration
2:35. Belwin Music
#00-45829S. Published by
Belwin Music (AP.45829S).
UPC: 038081523347.
English.
Although
the structure, notes, and
dynamics are written by
Leopold Mozart, arranger
Jan Farrar-Royce takes
the liberty of
distributing the main
themes among the sections
of the string ensemble so
that every player can
enjoy being the horses
who are trotting along,
the rising and falling
winter winds, and the
passengers enjoying their
ride. (2:35).
White Horses Orchestre [Conducteur et Parties séparées] C.L. Barnhouse
SKU: CL.016-0471-00 March. Composed by Newham. Orchestra. Score an...(+)
SKU:
CL.016-0471-00
March. Composed by
Newham. Orchestra. Score
and set of parts.
Composed 1929. C.L.
Barnhouse #016-0471-00.
Published by C.L.
Barnhouse
(CL.016-0471-00).
Orchestra - Grade 0.5 SKU: AP.46704 Composed by Bob Phillips. Performance...(+)
Orchestra - Grade 0.5
SKU: AP.46704
Composed by Bob Phillips.
Performance Music
Ensemble; Single Titles;
String Orchestra. Sound
Innovations for String
Orchestra. Form: Waltz;
Dance. Programmatic.
Score and Part(s). 74
pages. Alfred Music
#00-46704. Published by
Alfred Music (AP.46704).
UPC: 038081536996.
English.
Written in
a flowing waltz style,
this piece depicts the
non-stop motion of an
old-fashioned carousel
going round and round
with horses smoothly
gliding up and down. In
the keys of D Major and G
Major, this is a perfect
piece for first year
players as all fingered
notes occur on the D and
A strings (D and G for
bass). The violin 2 and
viola parts are doubled,
as are the cello and bass
parts. Correlated with
Sound Innovations Book 1,
Level 5, Carousel by Bob
Phillips is easily
accessible by beginners
and advancing students
alike.
Orchestra - Grade 2.5 SKU: AP.47470S Composed by Richard Meyer. MakeMusic...(+)
Orchestra - Grade 2.5
SKU: AP.47470S
Composed by Richard
Meyer. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Halloween.
Score. 16 pages.
Highland/Etling
#00-47470S. Published by
Highland/Etling
(AP.47470S).
ISBN
9781470656645. UPC:
038081541990.
English.
This ode
to the Wild West begins
with a mysterious
introduction using the
folk song All the Pretty
Little Horses in an eerie
setting that will send
shivers up the spines of
performers and audience
members alike. Brief
solos for violin, viola,
and cello are heard. The
pace then picks up as we
hear the driving and
energetic theme of the
Ghost Stallion riding
through the moonlit
countryside. The repeated
galloping rhythm
(eighth/two sixteenths)
appears in stretches and
is designed to improve
your students' abilities
to perform this
all-important bowing
pattern. This picturesque
and educationally sound
selection by Richard
Meyer is sure to capture
the imagination and
improve the technique of
everyone in both
intermediate and more
advanced orchestras. This
title is available in
MakeMusic Cloud.