Orchestra - all

SKU: PR.816600040

Composed by Wolfgang Amadeus Mozart. CD Sheet Music (Version 1). Full Scores to all of the major works for orchestra by Mozart - parts not included. Classical Period. CD Sheet Music. 2000 printable pages. Published by Theodore Presser Company (PR.816600040).

UPC: 680160600045. 5.5x5 inches.

This disk contains study scores of all 41 of Mozart's Symphonies, as well as Concertos for Winds and Strings (Piano Concertos are on a companion CD-ROM), Serenades, Opera Overtures, Divertimentos, and other works.

About CD Sheet Music (Version 1)

CD Sheet Music (Version 1) was the initial CD Sheet Music series distributed by Theodore Presser. The CDs include thousands of pages of music that are viewable and printable on Mac or PC. Version 1 titles are a great value at 40% off, as we make room in our warehouse for the newly enhanced CD Sheet Music (Version 2.0) series.

Performed by Bryan Adams. By Bryan Adams, Robert John Lange. Edited by George Megaw. Arranged by Bob Cerulli. Orchestra. Level: medium easy. 375 pages. Published by Alfred Publishing.

By Vincent Persichetti. Orchestra. For 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, Tenor I, Tenor II, Tenor III, Tuba, Timpani, Violin I, Violin II, Viola, Cello, Double Bass, Flute, Oboe, Clarinet, Bassoon, Horn, Trumpet, Tenor, Tuba, Timpani, Violin I, Violin II, Viola, Cello, Contrabass. This edition: study score. First performed by the Louisville Orchestra on November. Classical. Full Score - Study. 76 pages. Published by Theodore Presser Company.

Composed by Franz Joseph Haydn (1732-1809). Edited by Andreas Friesenhagen. This edition: urtext edition. Stapled. Urtext from: Joseph Haydn Werke, G. Henle Verlag Munchen. Score. Hob. I:89. Duration 22 minutes. Published by Baerenreiter Verlag (BA.BA10979).

(Cycle of Five Pieces - Study Score). By William Schuman (1910-1992). Orchestra. For Flute I, Flute II, Flute III, Piccolo, Oboe I, Oboe II, English Horn, Clarinet I, Clarinet II, Bass Clarinet, Bassoon I, Bassoon II, Contra Bassoon, Horn I, Horn II, Horn III, Horn IV, Trumpet in C I, Trumpet in C II, Trumpet in C III, Tenor I, Tenor II, . First performance: Eastman Philharmonic, Gustav Meier conducting, on October 29, 1972. Full score (study). Standard notation. 111 pages. Duration 25 minutes. Published by Theodore Presser Company

(For Piano and Orchestra - Full Score). By Ellen Taaffe Zwilich (1939-). Orchestra. For Piccolo, Flute I, Flute II, Oboe, English Horn, Clarinet, Bass Clarinet, Bassoon, Contra Bassoon, Horn I, Horn II, Trumpet in C I, Trumpet in C II, Suspended Cymbals, Hi-Hat, Pedal Bass Drum, Sizzle Cymbal, Piano Solo, Violin I, Violin II, Viola, Cello, C. Premiered September 22, 2000 - Cincinnati Symphony Orchestra, Jesus Lopez-Cobos, conductor, Jeffrey Biegel, pianist. Full score (study). Standard notation. 68 pages. Duration 20 minutes. Published by Theodore Presser Company

Featuring: Kumbalawe / Triangle Tango / O / Pageant / If I Could Reach Your Heart. Arranged by Douglas E. Wagner. For Full Orchestra. Full Orchestra. Pop Intermediate Full Orchestra. Pop. Level: 3 (grade 3). Score. 20 pages. Published by Alfred Publishing.

(For Orchestra - Study Score). By George Perle (1915-). Orchestra. For Piccolo, Flute I, Flute II, Oboe I, Oboe II, English Horn, Clarinet I, Clarinet II, Bass Clarinet, Bassoon I, Bassoon II, Contra Bassoon, Horn I, Horn II, Horn III, Horn IV, Trumpet in full score (study)

String Orchestra string orchestra (88555) with opt. 3rd Violin/Viola TC 3 and piano - Grade 1

SKU: KN.8277

Composed by Lorie Gruneisen. Accent String Orchestra. Score and set of parts. Duration 2 minutes. Kendor Music Inc #8277. Published by Kendor Music Inc (KN.8277).

UPC: 822795082777.

This lively piece focuses on three concepts: note-reading on the G string, combined quarter and eighth note rhythm patterns, and dynamic changes. Written in echo style, it's lots of fun to play and hear. Duration 2:00. Available in SmartMusic.

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.

Orchestra

SKU: BA.BA10989

Laudon. Composed by Franz Joseph Haydn. Edited by Sonja Gerlach and Wolfgang Stockmeier. This edition: urtext edition. Stapled. Score. Baerenreiter Verlag #BA10989_00. Published by Baerenreiter Verlag (BA.BA10989).

ISBN 9790006575534. 31 x 24.3 cm inches. Key: C major.

Letters of the composer have come down to us only on a few of Haydn’s symphonies, amongst them the “Laudon” Symphony Hob. I:69. In one of these letters, Haydn agrees to the publisher’s suggestion to name the symphony after the widely known and favoured general Gideon Ernst von Laudon (1717-1790). By using this name, both composer and publisher hoped to increase the commercial success of the work which possibly deserved a military eponym considering its instrumentation with timpani and trumpets. Also, the symphony requires two bassoons, but no flutes, corresponding with the available musicians at the court of Esterházy between 1775 and 1776.

In continuation of the collaboration between Bärenreiter and G. Henle Verlag, this edition is based on the Urtext of the Complete Edition “Joseph Haydn Works” published by G. Henle Verlag.

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

(Conductor's Score - Fascile of the Composer's Manuscript). By Steven Stucky (1949-). Orchestra. For Flute I, Flute II, Flute III, Piccolo, Oboe I, Oboe II, Oboe III, English Horn, Clarinet I, Clarinet II, Clarinet III, Bass Clarinet, Bassoon I, Bassoon II, Bassoon III, Contra Bassoon, Horn I, Horn II, Horn III, Horn IV, Trumpet I, Trumpet II, Trumpet II. First performance: Philadelphia Orchestra, Riccardo Muti conducting, October 29, 1988. Full Score - Study. Standard notation. 104 pages. Published by Theodore Presser Company

Orchestra (Score)

SKU: HL.283507

Orchestra Score. Composed by Bent Sorensen. Music Sales America. Classical. Softcover. 49 pages. Duration 780 seconds. Edition Wilhelm Hansen #KP01914. Published by Edition Wilhelm Hansen (HL.283507).

Exit Music for Orchestra was composed by Bent Sorensen in 2006-07. Exit Music was commissioned by the Bergen International Festival for the Bergen Philharmonic Orchestra, and is dedicated to Per Norgard on the occasion of his 75th birthday. Programme note It began with a dream, as it always does when I compose. I dreamt that I was standing in an open doorway on a hill in an otherwise open landscape. I do not know what was behind the door, but in front of it - towards the landscape - I saw my music disappearing. I stood looking for the music, and started to hear it, to remember it in time with its disappearance. The dream continued to recur as strange pictures in my daydreams, and I continued to try to write down the music that had vanished. It was also the dream that gave the piece its title- Exit Music. Exit Music is based on three simple songs (the songs that vanish through the doorway): a little lullaby, which continues to reappearin fragments; a strange polyphonic pop song that refers to a section of my opera Under the Sky; and a passionate little love song, which concludes the piece on the strings, very quietly and in unison. These simple songs are then constantly overpainted by enervating repeated motes in fairly simple rhythms, which push the songs out of the room. (Bent Sorensen).

Orchestra

SKU: C4.9790-900969330

Composed by Charles Marie Widor. Edited by Daniel Mitterdorfer and Harold Fabrikant. Spiral-bound. Full score (A3). Crescendo Music Publications #9790-900969330. Published by Crescendo Music Publications (C4.9790-900969330).

ISBN 9790900969330.

Orchestra

SKU: C4.9790-900969316

Composed by Charles Marie Widor. Edited by Daniel Mitterdorfer and Harold Fabrikant. Study score. Crescendo Music Publications #9790-900969316. Published by Crescendo Music Publications (C4.9790-900969316).

ISBN 9790900969316.

Orchestra

SKU: C4.9790-900969347

Composed by Charles Marie Widor. Edited by Daniel Mitterdorfer and Harold Fabrikant. Study score. Crescendo Music Publications #9790-900969347. Published by Crescendo Music Publications (C4.9790-900969347).

ISBN 9790900969347.

Orchestra

SKU: C4.9790-900969361

Composed by Charles Marie Widor. Edited by Daniel Mitterdorfer and Harold Fabrikant. Spiral-bound. Full score (A3). Crescendo Music Publications #9790-900969361. Published by Crescendo Music Publications (C4.9790-900969361).

ISBN 9790900969361.

For Viola, Women's Chorus and Orchestra. By William Schuman. Orchestra. First performance: Boston Symphony Orchestra under the direction of Michael Tilson Thomas, with Donal McInnes, Viola Soloist, and the Radcliffe Choral Society, November 29, 1973, Boston, Massachusetts. Full Score - Study. 151 pages. Duration 40:00:00. Published by Theodore Presser Company.

(I. The Way of the Ship, II. Mists and Mystery, III. Songs in the Salty Air, IV. Waltz of the Clipper Ships, V. Finale, introducing the S.S. Eagle March). Composed by Robert Russell Bennett (1894-1981). Concert Band. Concert Band; Score. Belwin Classic Band. TV. Grade 5. 88 pages. Published by Belwin Music

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score)

SKU: HL.49018099

Boy Soprano, Soprano, Tenor, Flugelhorn, Mixed Chorus, and Chamber Orchestra Study Score. Composed by Harald Weiss. This edition: Paperback/Soft Cover. Sheet music. Study Score. Classical. Softcover. Composed 2008/2009. 188 pages. Duration 100'. Schott Music #ED20619. Published by Schott Music (HL.49018099).

ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.

On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.

By Henry Purcell. Arranged by Ellen Harris. (Study Score). Schott. Size 5.25x7.5 inches. 98 pages. Published by Eulenburg.

(Featuring: Light My Fire / People Are Strange / Hello, I Love You). Composed by The Doors. Arranged by Patrick Roszell. Orchestra. Full Orchestra; Part(s); Score. Pop Concert Full Orchestra. Form: Medley. Rock. Grade 3. 226 pages. Published by Alfred Music

Flute; Orchestra (Study Score)

SKU: HL.49010230

In G Major. Composed by Wolfgang Amadeus Mozart. Edited by Rudolf Gerber. Arranged by Rudolf Gerber. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Study Score. Composed 1778. 56 pages. Eulenburg Edition #ETP 779. Published by Eulenburg Edition (HL.49010230).

ISBN 9783795769024. 5.25x7.5x0.215 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.

Orchestra (Study Score)

SKU: HL.49010332

In D Major. Composed by Wolfgang Amadeus Mozart. Edited by Rudolf Gerber. Arranged by Rudolf Gerber. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Study Score. Composed 1776. 32 pages. Eulenburg Edition #ETP 859. Published by Eulenburg Edition (HL.49010332).

ISBN 9783795769901. UPC: 841886015319. 5.25x7.5x0.1 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.

(For Orchestra). By Johann Pachelbel (1653-1706). Arranged by Philip Gordon. Orchestra. For Flute, Oboe, Clarinet I, Clarinet II, Alto Saxophone, Tenor Saxophone, Bassoon, Horn I, Horn II, Trumpet I, Trumpet II, Tenor, Tuba, Timpani, Piano and Conductor, Flute, Oboe, Clarinet I, Clarinet II, Alto Saxophone, Tenor Saxophone, Bassoon, Horn I, Horn I. Baroque. Score and parts. Standard notation. 12 pages. Duration 2:45