Composed by John Williams. For flute I (piccolo), flute II (piccolo), piccolo (flute), oboe I,II, english horn, Bb clarinet I,II, bassoon I,II, F horn I-IV, Bb trumpet I-II, trombone I-III, tuba, timpani, percussion I-III, harp, piano/celeste, violin I,II, viola, cello and contrabass. From the motion picture "J.F.K.". Format: full score (spiral bound). Movies. Series: Hal Leonard John Williams Signature Edition. 47 pages. 10.5x14 inches. Published by Hal Leonard.

From the Algerian Suite. By Camille Saint-Saens. Arranged by Merle J. Isaac. Orchestra. For Violin I, Violin II, Viola, Cello, Double Bass, Flute I, Flute II, Oboe I, Oboe II, Clarinet I, Clarinet II, Bass Clarinet, Bassoon I, Bassoon II, Alto Saxophone, Tenor Saxophone, Horn I, Horn II, Horn III, Horn IV, Trumpet I, Trumpet II, Trumpet III, Tenor I, Tenor II, Tenor III, Tuba, Timpani, Percussion. Carl Fischer Band Edition. Classical. Score and parts. Opus 60. 31 pages. Published by Carl Fischer.

From Caucasian Sketches. By Mikhail Mikhaylovich Ippolitov-Ivanov. Arranged by Merle J. Isaac. By Ippolitov-Ivanov / arr. Merle Isaac. For Full Orchestra. Full Orchestra. Concert Full Orchestra. Level: 3.5 (grade 3.5). Conductor Score and Parts. 176 pages. Published by Alfred Publishing.

By Wolfgang Amadeus Mozart. Arranged by Merle J. Isaac. By Wolfgang Amadeus Mozart / arr. Merle Isaac. For Full Orchestra. Full Orchestra. Concert Full Orchestra. Level: 3.5 (grade 3.5). Conductor Score and Parts. 50 pages. Duration 4:32. Published by Alfred Publishing.

Arranged by R. J. Hume. Orchestra. Full Orchestra; Score. Highland Full Orchestra. Form: Suite. Folk. Grade 2.5. 32 pages. Published by Highland/Etling

Orchestra

SKU: HL.48187676

Composed by Johann Sebastian Bach. Heugel. Baroque. Softcover. Heugel & Cie #HE31472. Published by Heugel & Cie (HL.48187676).

5.75x8.5x0.108 inches.

J.S. Bach: Concerto Pour Piano FA Mineur.

Orchestra

SKU: BT.ALHE31472

Composed by Johann Sebastian Bach. Study Score. 28 pages. Heugel & Cie #ALHE31472. Published by Heugel & Cie (BT.ALHE31472).

French.

J.S. Bach: Concerto Pour Piano FA Mineur.

Orchestra (Orchestra)

SKU: HL.49041084

Waltz. Composed by Johann Strauss Jr. Sheet music. Odeon. Piano Direction and Parts. Op. 279. 170 pages. Duration 11'. Schott Music #OD 1610-40. Published by Schott Music (HL.49041084).

ISBN 9790204000531.

Orchestra (Orchestra)

SKU: HL.49041094

Wiener Lied. Composed by Brandl. Sheet music. Odeon. Piano Direction and Parts. 82 pages. Duration 3' 30''. Schott Music #OD 1616-40. Published by Schott Music (HL.49041094).

ISBN 9790204000630.

Orchestra (Orchestra)

SKU: HL.49041163

Waltz. Composed by Johann Strauss Jr. Sheet music. Odeon. Piano Direction and Parts. Op. 164. Duration 8'. Schott Music #OD 300-40. Published by Schott Music (HL.49041163).

ISBN 9790204000234.

Orchestra (Orchestra)

SKU: HL.49041157

Composed by Johann Strauss Jr. Sheet music. Odeon. Piano Direction and Parts. Op. 328. 92 pages. Duration 2' 45''. Schott Music #OD 224-40. Published by Schott Music (HL.49041157).

ISBN 9790204000197.

Orchestra (Orchestra)

SKU: HL.49041071

Overture from the Opera. Composed by Johann Strauss Jr. Sheet music. Odeon. Piano Direction and Parts. Op. 362. 152 pages. Duration 8'. Schott Music #OD 1602-40. Published by Schott Music (HL.49041071).

ISBN 9790204000425. 8.25x11.75x0.64 inches.

Orchestra (Orchestra)

SKU: HL.49041188

Waltz. Composed by Johann Strauss Jr. Sheet music. Odeon. Piano Direction and Parts. Composed 1867. Op. 314. Duration 8'. Schott Music #OD 81-40. Published by Schott Music (HL.49041188).

ISBN 9790204000111. 8.75x12.0x0.714 inches.

Orchestra (Orchestra)

SKU: HL.49041139

Waltz. Composed by Johann Strauss Jr. Sheet music. Odeon. Piano Direction and Parts. Op. 39. 164 pages. Duration 10'. Schott Music #OD 1645-40. Published by Schott Music (HL.49041139).

ISBN 9790204001040. 7.25x10.75x0.467 inches.

Orchestra (Orchestra)

SKU: HL.49041069

Potpourri. Composed by Bayer. Sheet music. Odeon. Piano Direction and Parts. 180 pages. Duration 12'. Schott Music #OD 1601-40. Published by Schott Music (HL.49041069).

ISBN 9790204000401.

Orchestra (Orchestra)

SKU: HL.49041092

Potpourri. Composed by Johann Strauss Jr. Sheet music. Odeon. Piano Direction and Parts. 196 pages. Duration 12'. Schott Music #OD 1615-40. Published by Schott Music (HL.49041092).

ISBN 9790204000616.

Orchestra (Orchestra)

SKU: HL.49041127

March. Composed by Johann Schrammel. Sheet music. Odeon. Piano Direction and Parts. 52 pages. Duration 3' 30''. Schott Music #OD 1637-40. Published by Schott Music (HL.49041127).

ISBN 9790204000920. 9.0x12.0x0.135 inches.

Orchestra (Orchestra)

SKU: HL.49041155

Potpourri. Composed by Johann Strauss Jr. Sheet music. Odeon. Piano Direction and Parts. 132 pages. Duration 6'. Schott Music #OD 215-40. Published by Schott Music (HL.49041155).

ISBN 9790204000173.

Orchestra (Orchestra)

SKU: HL.49041077

Polka. Composed by Steurs. Sheet music. Odeon. Piano Direction and Parts. Duration 3' 15''. Schott Music #OD 1606-40. Published by Schott Music (HL.49041077).

ISBN 9790204000487.

Orchestra

SKU: HL.14031702

Composed by Johann Strauss Sr. Music Sales America. Romantic. Set of Parts. Music Sales #BVM801713. Published by Music Sales (HL.14031702).

ISBN 9781783057504.

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 (Study Score)

SKU: HL.49019506

Study Score. Composed by Jö and rg Widmann. This edition: Saddle stitching. Sheet music. Study Score. ...a wonderful 12 minutes of magic and humour, brilliantly scored... (Ivan Hewett / The Telegraph, 2009). Classical, Contemporary. Softcover. Composed 2008. 84 pages. Duration 12'. Schott Music #ED 21353. Published by Schott Music (HL.49019506).

ISBN 9790001186919. 8.25x11.75x0.26 inches.

It was at the suggestion of the conductor of the World Premiere, Mariss Jansons, that Jorg Widmann refers to musical characteristics of Beethoven's 7th and 8th Symphony. His starting points primarily are specific fast types of movement in the Beethoven works which he translates into his tonal language. Widmann has chosen the same instrumentation as the Beethoven symphonies and takes on the task of causing a similar 'stir and rhythmic pressure' (Widmann) with these economical means.

Orchestra

SKU: SU.27040180

For Orchestra. Composed by Gregory J. Hutter. Orchestra. Full Score. Subito Music Corporation #27040180. Published by Subito Music Corporation (SU.27040180).

Conductor's scoreElectric Traction is the second offering in a trilogy of urban-inspired symphonic works, and was initially inspired while traveling from Chicago through Northern Indiana via an electric interurban commuter railway. Train sounds are to some degree depicted musically—which is demonstrated throughout by the spinning out of various motoric and textural devices at a very high rate of speed.2,1,2,1,2,1,2,1; 4331; timp, 3 perc, hp, pno/cel; stgs Duration: 6'30 Composed: 2002 Published by: Hutter Music Performance materials available on rental only:.