By Johann Sebastian Bach (1685-1750). Edited by Heinrich Besseler; Hans Gruss. For orchestra (3 trumpets/timpani/2 oboes/2 violins/viola/basso continuo (cello/double bass/harpsichord)). This edition: Stapled, Urtext edition. Score. Text Language: German/English. BWV 1068. 50 pages. Duration 24'. Published by Baerenreiter Verlag

Orchestra

SKU: BT.ALHE31423

Composed by Johann Sebastian Bach. Study Score. 60 pages. Heugel & Cie #ALHE31423. Published by Heugel & Cie (BT.ALHE31423).

French.

J.S. Bach: Brandenburg Concerto No.5 (PH23).

By Johann Sebastian Bach. Arranged by Merle J. Isaac. Music by Johann Sebastian Bach / arr. Merle Isaac. For Full Orchestra. Full Orchestra. Concert Orchestra. Level: 3 (grade 3). Conductor Score and Parts. 2 pages. Published by Alfred Publishing.

Composed by Anne McGinty (1945-). For orchestra. Orchestra method/study. Queenwood Developing String Orchestra. Score and parts. Published by Queenwood Publications

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 (3ST(VA))

SKU: HL.49006068

Leichte Satze alter Meister. Edited by Helmut W. May. This edition: Folder. Sheet music. Edition Schott. Classical. Individual part. 16 pages. Schott Music #ED 6161-16. Published by Schott Music (HL.49006068).

ISBN 9790001065887. UPC: 841886031951.

Orchestra (1ST/B)

SKU: HL.49006064

Leichte Satze alter Meister. Edited by Helmut W. May. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Individual part. 20 pages. Schott Music #ED 6161-12. Published by Schott Music (HL.49006064).

ISBN 9790001065849.

Orchestra (3ST-B)

SKU: HL.49006069

Leichte Satze alter Meister. Edited by Helmut W. May. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Individual part. 16 pages. Schott Music #ED 6161-17. Published by Schott Music (HL.49006069).

ISBN 9790001065894.

Orchestra (3ST-F)

SKU: HL.49006070

Leichte Satze alter Meister. Edited by Helmut W. May. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Individual part. 16 pages. Schott Music #ED 6161-18. Published by Schott Music (HL.49006070).

ISBN 9790001065900.

Orchestra (2ST/C)

SKU: HL.49006065

Leichte Satze alter Meister. Edited by Helmut W. May. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Individual part. 16 pages. Schott Music #ED 6161-13. Published by Schott Music (HL.49006065).

ISBN 9790001065856. 9.25x12.0x0.05 inches.

Orchestra (3ST(V3))

SKU: HL.49006067

Leichte Satze alter Meister. Edited by Helmut W. May. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Individual part. 16 pages. Schott Music #ED 6161-15. Published by Schott Music (HL.49006067).

ISBN 9790001065870.

Orchestra (2ST/B)

SKU: HL.49006066

Leichte Satze alter Meister. Edited by Helmut W. May. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Individual part. 16 pages. Schott Music #ED 6161-14. Published by Schott Music (HL.49006066).

ISBN 9790001065863.

Orchestra (Score)

SKU: HL.49006062

Leichte Satze alter Meister. Edited by Helmut W. May. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Score. 40 pages. Schott Music #ED 6161. Published by Schott Music (HL.49006062).

ISBN 9790001065825.

Orchestra (1ST/C)

SKU: HL.49006063

Leichte Satze alter Meister. Edited by Helmut W. May. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Individual part. 16 pages. Schott Music #ED 6161-11. Published by Schott Music (HL.49006063).

ISBN 9790001065832.

Orchestra (4ST-C)

SKU: HL.49006071

Leichte Satze alter Meister. Edited by Helmut W. May. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Individual part. 16 pages. Schott Music #ED 6161-19. Published by Schott Music (HL.49006071).

ISBN 9790001065917.

Orchestra

SKU: HL.48187681

Composed by Johann Sebastian Bach. Heugel. Baroque. Study Score. Heugel & Cie #HE31477. Published by Heugel & Cie (HL.48187681).

UPC: 888680845957. 5.5x7.5x0.201 inches.

The miniature score for J.S. Bach's Suite No.3 In D.

Orchestra

SKU: BT.ALHE31477

Composed by Johann Sebastian Bach. Study Score. 38 pages. Heugel & Cie #ALHE31477. Published by Heugel & Cie (BT.ALHE31477).

French.

The miniature score for J.S. Bach's Suite No.3 In D.

Orchestra

SKU: HL.48187630

Composed by Johann Sebastian Bach. Leduc. Baroque. Softcover. Heugel & Cie #HE31423. Published by Heugel & Cie (HL.48187630).

UPC: 888680844349. 5.5x7.5x0.243 inches.

J.S. Bach: Brandenburg Concerto No.5 (PH23).

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

SKU: BT.ALHE31453

Composed by Johann Sebastian Bach. Study Score. 34 pages. Heugel & Cie #ALHE31453. Published by Heugel & Cie (BT.ALHE31453).

French.

J.S. Bach: Concerto No.2 In E (Violin And String Quartet).

Orchestra

SKU: HL.48187659

Composed by Johann Sebastian Bach. Leduc. Baroque. Softcover. Heugel & Cie #HE31453. Published by Heugel & Cie (HL.48187659).

UPC: 888680845094. 5.5x7.5x0.159 inches.

J.S. Bach: Concerto No.2 In E (Violin And String Quartet).

Orchestra - Grade 2

SKU: AP.49444

Composed by Franz Xaver Gruber. Arranged by Douglas E. Wagner. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Christmas; Holiday Pops. Score and Part(s). Belwin Music #00-49444. Published by Belwin Music (AP.49444).

ISBN 9781470650469. UPC: 038081571249. English.

Franz Gruber's beloved Christmas carol, Silent Night, receives a unique treatment for strings. The tune is heard twice. The first time, it is paired with a motive from the Prelude of J. S. Bach's Cello Suite No. 1 (BWV 1007); the second time, the melody shifts from part to part, giving everyone a chance to shine. Richly scored, warm and embracing, a real audience pleaser for your December concerts. (3:00) This title is available in MakeMusic Cloud.

Orchestra (Study Score)

SKU: HL.49009713

L'Estro Armonico. Composed by Antonio Vivaldi. Edited by Christopher Hogwood. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical. Study Score. Op. 3/1-12. 368 pages. Schott Music #ETP1871-82. Published by Schott Music (HL.49009713).

ISBN 9783795769642. UPC: 073999370614. 5.5x7.5x0.827 inches.

Vivaldi's 12 concertos were first published in 1711 by Roger in Amsterdam. These 8 elegant part-books helped to establish Vivaldi's reputation throughout Europe and provided the rules from which such writers as Quantz, Marcello and Mattheson judged and advised other composers. Much imitated, the concertos continued to influence the works of later composers and indeed J. S. Bach.

Orchestra - Grade 2

SKU: AP.49444S

Composed by Franz Xaver Gruber. Arranged by Douglas E. Wagner. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Holiday Pops. Score. Belwin Music #00-49444S. Published by Belwin Music (AP.49444S).

ISBN 9781470650476. UPC: 038081571256. English.

Franz Gruber's beloved Christmas carol, Silent Night, receives a unique treatment for strings. The tune is heard twice. The first time, it is paired with a motive from the Prelude of J. S. Bach's Cello Suite No. 1 (BWV 1007); the second time, the melody shifts from part to part, giving everyone a chance to shine. Richly scored, warm and embracing, a real audience pleaser for your December concerts. (3:00) This title is available in MakeMusic Cloud.