Orchestra

SKU: HL.14014101

Composed by Johan Halvorsen. Music Sales America. Classical. Score. Composed 2005. 68 pages. Edition Wilhelm Hansen #WH24209. Published by Edition Wilhelm Hansen (HL.14014101).

ISBN 9788759854440.

This is the full score edition of Johann Halvorsen's Norske Eventyrbilleder for Orchestra.

Orchestra

SKU: HL.14022908

Composed by Carl August Nielsen. Music Sales America. Classical. Score. Composed 2002. 16 pages. Edition Wilhelm Hansen #WH25085. Published by Edition Wilhelm Hansen (HL.14022908).

ISBN 9788759857007. 8.25x11.75x0.095 inches. English.

Orchestra (Full Score)

SKU: HL.268907

Full Score. Composed by Carl August Nielsen. Music Sales America. Classical. Softcover. 4 pages. Edition Wilhelm Hansen #WH32064. Published by Edition Wilhelm Hansen (HL.268907).

Sang til Vilhelm from Bartrums skuespil Fra Rold til Rebild 'Vi er jyder' - for solo (Hans), kor og orkester. Oversized Full Score corresponding to The Carl Nielsen Edition (CN00043).

Orchestra (Score)

SKU: HL.14000908

Composed by Hans Abrahamsen. Music Sales America. Classical. Score. 126 pages. Music Sales #KP00206. Published by Music Sales (HL.14000908).

ISBN 9788759854648. 12.0x16.0x0.677 inches. English.

The title Marchenbilder, or Fairy-tale Pictures, borrowed from Schumann, awakens notions of music which in itself has a pictorial quality. In all, the score comprises six Fairytale Pictures, the first three of which form the first movement, the next two the second, whilst the sixth forms the last movement which is linked with the second without a break. The first two pictures have the same duration - one minute each - whilst the remainder hesitantly inerease in length until the final picture is almost five minutes long. For 14 instruments.

Orchestra - Grade 3

SKU: HL.14043017

Composed by Pelle Gudmundsen-holmgreen. Music Sales America. Classical. Softcover. Composed 2013. Edition Wilhelm Hansen #WH31699. Published by Edition Wilhelm Hansen (HL.14043017).

ISBN 9788759826591.

Prel ude To Your Silence was composed in 1978 by Danish composer Pelle Gudmundsen-Holmgreen .

Composed by Camille Saint-Saens (1835-1921), arranged by Merle J. Isaac, edited by George Megaw. Full score for full orchestra. With full score notation. 44 pages. Published by Alfred Publishing.

Composed by Camille Saint-Saens (1835-1921), arranged by Merle J. Isaac, edited by George Megaw. Full score and set of performance parts for full orchestra. Medium. With full score notation and standard notation. 176 pages. Published by Alfred Publishing.

By Gilbert and Sullivan. Arranged by Ted Ricketts. Full Orchestra. Size 9x12 inches. Published by Hal Leonard.

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 (Score & Parts) - Grade 2-3

SKU: HL.4490819

Arranged by James Curnow. Easy Music For Strings. Christmas. Softcover. Published by Hal Leonard (HL.4490819).

UPC: 884088264765. 9x12 inches.

This German carol continues to appeal to all audiences with its melodic simplicity and adaptability to instrumental settings. James Curnow's arrangement is skilled in every way, offering a superb program choice for your holiday program. Duration: 3:00.

(Score and Parts). Composed by John Williams. For Full Orchestra. John Williams Signature Edition Orchestra. Published by Hal Leonard

(Deluxe Score). Composed by John Williams. For Full Orchestra. John Williams Signature Edition Orchestra. 34 pages. Published by Hal Leonard

Vol. 1 - Recueil du Chef D'Orchestre. Concert Band Method. Essential Elements for Band. French Edition. Score (with Media Online). 358 pages. Published by Hal Leonard

Score and Parts. Arranged by John Williams. John Williams Signature Edition Orchestra. Softcover. Published by Hal Leonard

Composed by Peter Boyer. For orchestra. Orchestral Music (Full Orchestra). Score. Duration 4 minutes. Published by Bill Holab Music

(Op. 49). By Piotr Ilyich Tchaikovsky [Peter Ilyich Tchaikovsky]. Arranged by Jerry Brubaker. Orchestra. Full Orchestra; Masterworks; Score. Belwin Concert Full Orchestra. Form: Overture; Transcription. Masterwork Arrangement; Romantic. Grade 4. 28 pages.

By Jeremiah Clarke (1674-1707). Arranged by Bob Phillips. Orchestra. Full Orchestra; Masterworks; Part(s); Score. Beginning Full Orchestra. Form: March. Baroque; Masterwork Arrangement. Grade 1.5. 120 pages. Published by Alfred Music Publishing

Score Orchestra (Full Score)

SKU: HL.290039

For Orchestra. Composed by Britta Byströ and m. Classical. Softcover. 36 pages. Duration 480 seconds. Edition Wilhelm Hansen #WH33141. Published by Edition Wilhelm Hansen (HL.290039).

ISBN 9788759841327. UPC: 888680921958.

This short work for orchestra is dedicated to the memory of Danish composer Pelle Gudmundsen-Holmgreen.

(Scores from the Original Parts) Performed by Miles Davis. For alto saxophone, baritone saxophone, trumpet, horn, trombone, tuba, piano, bass and drum set. Format: full score (multiple copies needed for performance). With full score notation and introductory text. Jazz. Series: Hal Leonard Transcribed Scores. 168 pages. 9x12 inches. Published by Hal Leonard.

Orchestra

SKU: BT.WH33466

Composed by Hans Abrahamsen. Classical. Score Only. Composed 2023. 134 pages. Edition Wilhelm Hansen #WH33466. Published by Edition Wilhelm Hansen (BT.WH33466).

ISBN 9788759844601.

Orchestra (Full Score)

SKU: HL.14042350

Full Score. Composed by Sø and ren Nils Eichberg. Music Sales America. Classical, Contemporary. Softcover. Composed 2013. Edition Wilhelm Hansen #WH31627. Published by Edition Wilhelm Hansen (HL.14042350).

ISBN 9788759826164.

S øren Nils Eichberg's Morpheus - Concerto for Orchestra (2013). Commissioned by The Danish National Symphony Orchestra / DR.

Parts are available on hire: hire@ewh.dk

Programme note

Morpheus in the Greek mythology is the most powerful of the Oneroi, the gods of dreams. He is the one who sends us our dreams and he may appear to us within the dreams in disguise.

Analogous to the logic of dreams, in Morpheus everything is interwoven, as chains of associations appear to logically lead us from one line of thought to another. Everything seems strangelyfamiliar. But the logic is treacherous and we already feel, it may only be valid within the dream. Nothing that appears similar is actually ever really the same.

Half awakening, we struggle to hold on to a vanishing world we felt we were on the verge of understanding, but which we already know will eventually escape us when we fully awake.

Everything remains a mystery until the end.

 

The seven movements/dreamscapes are:

 

1. Vortex
2. Trees and Walls
3. Escher (Toccata)
4. Crystal
5. Into the Cloud
6. Non-Euclid
7. Arctica

Orchestra

SKU: HL.14018566

Music Sales America. Classical. Set (Score & Parts). Composed 2002. Edition Wilhelm Hansen #WH21328. Published by Edition Wilhelm Hansen (HL.14018566).

English.

Orchestra

SKU: BO.ICCMU317

Composed by German Alvarez Beigbeder. Other Materials. ICCMU. Published by Editorial de Musica Boileau (BO.ICCMU317).

Orchestra

SKU: SU.91580100

For Orchestra. Composed by Steven Mercurio. Vocal/Choral, Opera. CD (Audio). Subito Music Corporation #91580100. Published by Subito Music Corporation (SU.91580100).

A Grateful Tail - Movement by Movement Siriusly, Dog Star Sirius, the brightest star in the night sky, has been used by travelers and navigators for thousands of years as a guiding star and so it is here as the opening movement for the symphony. Sirius, the cornerstone to the constellation Canis Maggiore or Big Dog sits at the foot of Orion, the hunter, leading the way. Highly cinematic, the movement evokes both a musical and visual sense of the mythological and mysterious elements of Sirius and its Dog Godstar secrets. From the clarion call of the opening, Sirius theme, the sound is buoyant and frisky emulating the nature of doggy playtime. Puppy pleasures abound as a doggy four-step, my turn on the traditional American two-step dance, is introduced. The movement transforms into an actual orchestrated frolic of small, large and medium dog barks beginning with the winds (smaller dogs) and ultimately, the big dog, brass. The movement climaxes with the coda or, Dog Park, where the winds and the brass bark and play together over the, doggy ostinato four-step rhythm, culminating with the final call of the Sirius theme. Let Sleeping Dogs Lie, Peacefully It's all in a dog's day and life. Tranquility presides over this supremely gentle, intermezzo-like movement. After a day of play, every dog needs rest. Let Sleeping Dogs Lie, is a lyrical andante inspired by the profound serenity and beauty of a dog at rest. The Last Will and Testament of Silverdene Emblem O'Neill Based on a powerful piece of prose written by the American playwright, Eugene O'Neill this text was intended as a consolation piece for Carlotta, his wife, who had become grief-stricken over the loss of their beloved dog, the Dalmatian known as Blemie.Written for a singing actor who personifies the role of Blemie, a dog at the end of his life, the movement plays like a one act, musical drama as we follow Blemie through a wonderfully three-dimensional, emotional and psychological journey writing his Last Will and Testament, for those who have loved him. Wagging the Tail: Ossia Fido's Lament A life-affirming rumba/samba using Blemie's final words from O'Neill's text, this final movement employs the most unique American musical invention, the gospel choir. In order to make the dances come alive, this movement also calls upon the colors of a rhythm section. Creating the spirit of an Irish Funeral, the movement is a joyful and revival-like celebration of a dog's life as its spirit lives on forever in the hearts and minds of dog lovers everywhere. Remember Me, remember me! My spirit is wagging a grateful tail. Published by: Subito Music Publishing Release Date: July 9, 2013.

By Per Norgard. For Orchestra (Score). Music Sales America. 20th Century. 132 pages. Edition Wilhelm Hansen #WH29399. Published by Edition Wilhelm Hansen