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.
(Note-for-Note Transcriptions of the Brass, Woodwind, Strings and More). By The ...(+)
(Note-for-Note
Transcriptions of the
Brass, Woodwind, Strings
and More). By The
Beatles. For Orchestra.
Transcribed. Softcover.
192 pages. Published by
Hal Leonard
Orchestra - Grade 2.5 SKU: AP.47448S Based on the arrangement by Percy...(+)
Orchestra - Grade 2.5
SKU: AP.47448S
Based on the
arrangement by Percy
Aldridge Grainger.
Arranged by Michael
Story. Full Orchestra;
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles.
Belwin Intermediate
String/Full Orchestra.
Folk; Traditional. Score.
20 pages. Belwin Music
#00-47448S. Published by
Belwin Music (AP.47448S).
UPC: 038081545783.
English. Traditional
British Folk
Song.
A fabulous
selection for contest or
festival, this versatile
piece is a sure winner.
Based on the Percy
Grainger arrangement of
the well-known folk song,
this setting by Michael
Story can be performed by
string orchestra alone or
with any combination of
winds and percussion, up
to full orchestra. The
first statement of the
melody may be played as a
solo or by as many 1st
violins as are
appropriate for your
group. This title is
available in MakeMusic
Cloud.
String Orchestra (Full Score) SKU: HL.51481550 For String Orchestra Fu...(+)
String Orchestra (Full
Score)
SKU:
HL.51481550
For
String Orchestra Full
Score. Composed by
Peter Ilich Tchaikovsky.
Edited by Dominik Rahmer.
Henle Music Folios.
Chamber, Classical.
Softcover. 67 pages. G.
Henle #HN1550. Published
by G. Henle
(HL.51481550).
UPC:
196288207269.
10.0x12.75x0.236
inches.
Tchaikovsky
spent the summer and
autumn of 1880 at his
sister's country estate
in Kam'ianka, Ukraine,
where he sought peace and
relaxation. But after a
short time the desire to
work took hold of him
again. âI'm
sketching a symphony or
string quintet just now;
I don't know where it's
going yet,â he wrote
to his friend and
patroness Nadezhda von
Meck. In the end it
turned out to be a
Serenade for String
Orchestra, which numbers
among his most beautiful
inspirations and is today
a central work in the
genre. The four movements
captivate with their
diverse moods â be
it the Mozartian first
movement âin the
form of a sonatinaâ,
the elegant Waltz, the
melancholy
âElegiaâ or the
rousing Finale. For this
new source-critical
edition it was possible
to consult the autograph
in Moscow as well as the
early printed editions
into which Tchaikovsky
sometimes entered a
number of minor
revisions. Clear the
stage for the new
reference edition of this
indispensable work of the
string-orchestra
repertoire!
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the workÂ
Critical Commentary
in 1 â 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisionsÂ
most beautiful music
engravingÂ
page-turns, fold-out
pages, and cues where you
need themÂ
excellent print
quality and
bindingÂ
largest Urtext
catalogue
world-wideÂ
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Chamber orchestra (Orchestra) SKU: BA.BA10974 Composed by Franz Joseph Ha...(+)
Chamber orchestra
(Orchestra)
SKU:
BA.BA10974
Composed
by Franz Joseph Haydn.
Edited by Carl-Gabriel
Stellan Mörner. This
edition: urtext edition.
Stapled. Score. Hob.
I:46. Duration 19
minutes. Baerenreiter
Verlag #BA10974_00.
Published by Baerenreiter
Verlag (BA.BA10974).
ISBN 9790006522767. 31
x 24.3 cm inches. Key:
B-flat major. Language:
German/English. Preface:
Andreas
Friesenhagen.
Haydn
’s “Sturm
und Drangâ€
symphonies along with the
London and the Paris
symphonies belong to his
most popular works today.
The “Sturm und
Drang†works
contain not only
masterpieces such as the
already published
“Farewell-Symphony
€ and the
“Maria
Theresia†symphony
but also gems such as the
recently published
“La Passioneâ€
symphony (2013) and now
the Symphony in B major
No. 46.
The
publication of this
symphony represents a
continuation of the
collaboration between
Bärenreiter and the
Henle publishing company
in the areas of large
vocal compositions,
operas and symphonic
works. The Symphony in B
major is based on the
Henle Complete Edition of
the “Works of
Joseph Haydn†and
is published with a full
score and large format
performing material on
sale.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
(Tanzstunden I)
Tanzschauspiel. Libretto
frei nach Moliere.
Composed by Hans Werner
Henze. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. Composed
1949/1995. 172 pages.
Duration 35'. Schott
Music #ED 9456. Published
by Schott Music
(HL.49013033).
ISBN
9790001131919.
8.25x11.75x0.462
inches.
Bei der
Neuschrift des Stucks im
Winter 1995-96, funfzig
Jahre nach seiner
Entstehung (als
Buhnenmusik zu Molieres
Comedie ballet Georges
Dandin, aus der
anschliessend ein Ballett
wurde mit dem englischen
Clown Jack Pudding in der
Titelrolle), ist es mir
darum gegangen, den alten
Notentext auszulosen und
sein thematisches und
harmonisches Material
nach Kriterien zu ordnen
und zu entwickeln, die
mir seinerzeit noch nicht
zur Verfugung standen,
und die recht
skizzenhafte Anlage des
Urtexts in eine Klangwelt
heruberzutragen, die
meinen heutigen
Vorstellungen und
Wertbegriffen von Theater
und Musik entspricht und
die gleichzeitig das
heutige kulturelle Klima
Neapels widerspiegelt und
damit eine besondere Art
von Wirklichkeit, die
mich einmal so sehr
gefangengenommen,
bezaubert und beeinflusst
hat.- Hans Werner
Henze
: 1 (auch
Picc.) * 1 * 1 * 1 - 1 *
1 * 1 * 0 - P. S. (3
Trgl. * Crot. * Rohrengl.
* Trinidad steel drum * 3
hg. Beck. * 3 Tamt. * 3
Tomt. * Schellentr. * kl.
Tr. * gr. Tr. [m. u. o.
Beck.] * Bongo * Guiro *
Kast. * Ratsche *
Peitsche * Lotosfl. *
Cuica * Mar. * Putipu
[neap. Brummtopf]*
Scetavajasse [neap.
Schrapstock mit Schellen]
* Flex. * Vibr. *
Marimba) (3 Spieler) -
Klav. (auch Cel. und Akk.
ad lib.) - Str.
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.
Ouverture JS 145,
Baletscen JS 163.
Composed by Jean
Sibelius. Edited by Tuija
Wicklund. Linen. Complete
Works. Late-romantic;
Early modern. Complete
Works. 196 pages.
Breitkopf and Haertel
#SON 627. Published by
Breitkopf and Haertel
(BR.SON-627).
ISBN
9790004803295. 10 x 12.5
inches.
In 1998, at
the end of the 20th
century, Breitkopf &
Hartel started the
publication of the
Complete Edition, which
is made possible thanks
to the cooperation of the
various Sibelius
publishers. The Editors
(Helsinki University
Library and The Sibelius
Society of Finland) and
the Editorial Committee
(Chairman: Timo Virtanen,
Helsinki) believe that
the volumes of JSW will
provide the basis for a
now conception of the
creative work of Jean
Sibelius.Reviews: One
immediately recognizes
the towering production
quality of these volumes
- a point that can be
extended to all volumes
thus far published in the
set. The music is a joy
to read; and the lucidity
and thoroughness of the
texts … are models
of scholarly editions,
and should be required
reading for all
bibliography and
music-editing courses.
… In sum, the JSW
is a remarkable project:
the scholarship is
impeccable, the music
scores and texts are
simply a joy to study.
Edward Jurkowski, Notes
December 2011: 442-443At
the back of this
magnificent book are
pages of critical
commentary on a
bar-by-bar analysis of an
endless supply of musical
notation requiring
interpretation by the
editor. … For the
general, non-musically
trained, purchaser of the
edition there is the
magisterial introduction
to read, and fascinating
reading it is. Edward W.
Clark, Sibelius Society
Newsletter 2009 The
Sibelius pieces, however,
are a revelation. I
opened this magnificently
produced volume -
complete with
multilingual critical
report and generous
facsimiles of original
manuscripts - expecting
Grieg-style
quasi-nationalistic
character pieces, and was
instead presented with an
incredible array of
styles, textures,
harmonic languages and
levels of difficulty.
Chris White, Piano
Professional Summer 2009:
2This is not only a
scholarly edition of one
of the composer's major
works, it is also a model
for the philological
editing of music in
general. … JSW has
chosen to have the
emendations reflected in
two places, in certain
cases even in three: as
graphic indications in
the music text, in prose
form in the critical
commentary, and sometimes
also in the form of a
warning footnote on the
music page. There can be
no doubt that such a
procedure is very
user-friendly, but it
disturbs the appearance
of the music and may
mislead the user into
thinking that there are
two or more equally valid
readings. Niels Krabbe,
Fontes Artis Musicae
54/2, 2007: 248 Editorial
standards are high
throughout, and maintain
a careful balance between
the competing demands of
practical exigency and
the need to provide as
much scholarly evidence
of variants as possible.
The critical commentaries
provide concise and
effective descriptions of
the sources and, where
appropriate, information
on compositional genesis
and historical context.
The introduction to each
volume provide useful
background information on
historical reception,
including much new
material not previously
brought to light in
Tawaststjerna's
biography. Daniel M.
Grimley,
Nineteenth-Century Music
Review 2/2, 2005:
244.
Scenes
historiques op.25,
op.66. Composed by
Jean Sibelius. Edited by
Kari Kilpelainen. Linen.
Complete Works.
Late-romantic; Early
modern. Complete Works.
228 pages. Breitkopf and
Haertel #SON 625.
Published by Breitkopf
and Haertel (BR.SON-625).
ISBN 9790004803271. 10
x 12.5 inches.
In
1998, at the end of the
20th century, Breitkopf &
Hartel started the
publication of the
Complete Edition, which
is made possible thanks
to the cooperation of the
various Sibelius
publishers. The Editors
(Helsinki University
Library and The Sibelius
Society of Finland) and
the Editorial Committee
(Chairman: Timo Virtanen,
Helsinki) believe that
the volumes of JSW will
provide the basis for a
now conception of the
creative work of Jean
Sibelius.Reviews: One
immediately recognizes
the towering production
quality of these volumes
- a point that can be
extended to all volumes
thus far published in the
set. The music is a joy
to read; and the lucidity
and thoroughness of the
texts ... are models of
scholarly editions, and
should be required
reading for all
bibliography and
music-editing courses.
... In sum, the JSW is a
remarkable project: the
scholarship is
impeccable, the music
scores and texts are
simply a joy to study.
Edward Jurkowski, Notes
December 2011: 442-443At
the back of this
magnificent book are
pages of critical
commentary on a
bar-by-bar analysis of an
endless supply of musical
notation requiring
interpretation by the
editor. ... For the
general, non-musically
trained, purchaser of the
edition there is the
magisterial introduction
to read, and fascinating
reading it is. Edward W.
Clark, Sibelius Society
Newsletter 2009 The
Sibelius pieces, however,
are a revelation. I
opened this magnificently
produced volume -
complete with
multilingual critical
report and generous
facsimiles of original
manuscripts - expecting
Grieg-style
quasi-nationalistic
character pieces, and was
instead presented with an
incredible array of
styles, textures,
harmonic languages and
levels of difficulty.
Chris White, Piano
Professional Summer 2009:
2This is not only a
scholarly edition of one
of the composer's major
works, it is also a model
for the philological
editing of music in
general. ... JSW has
chosen to have the
emendations reflected in
two places, in certain
cases even in three: as
graphic indications in
the music text, in prose
form in the critical
commentary, and sometimes
also in the form of a
warning footnote on the
music page. There can be
no doubt that such a
procedure is very
user-friendly, but it
disturbs the appearance
of the music and may
mislead the user into
thinking that there are
two or more equally valid
readings. Niels Krabbe,
Fontes Artis Musicae
54/2, 2007: 248 Editorial
standards are high
throughout, and maintain
a careful balance between
the competing demands of
practical exigency and
the need to provide as
much scholarly evidence
of variants as possible.
The critical commentaries
provide concise and
effective descriptions of
the sources and, where
appropriate, information
on compositional genesis
and historical context.
The introduction to each
volume provide useful
background information on
historical reception,
including much new
material not previously
brought to light in
Tawaststjerna's
biography. Daniel M.
Grimley,
Nineteenth-Century Music
Review 2/2, 2005:
244.
I./II. Morning
Mood/Aase's Death III.
Anitra's Dance IV. In the
Hall of the Mountain
King. Composed by
Edvard Grieg. Arranged by
Chris M. Bernotas
(ASCAP). Full Orchestra;
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles.
Belwin Concert Full
Orchestra. Masterwork
Arrangement. Score and
Part(s). Duration 5:30.
Belwin Music #00-49434.
Published by Belwin Music
(AP.49434).
ISBN
9781470650629. UPC:
038081571409.
English.
A stunning
arrangement of the
incredible masterwork
Peer Gynt Suite No.1, Op.
46! It is perfect for
string orchestra alone,
or with added instruments
up to a full orchestra.
This setting, by Chris M.
Bernotas, offers the
opportunity to explore
the entire suite. All
four movements are
presented in approachable
keys and are abridged to
the perfect length and
difficulty level for your
next concert. (5:30).