Arranged by Merle J. Isaac. Arr. Merle Isaac. For Full Orchestra. Full Orchestra...(+)
Arranged by Merle J.
Isaac. Arr. Merle Isaac.
For Full Orchestra. Full
Orchestra. Concert
Orchestra. Latin. Level:
3 (grade 3). Conductor
Score. 24 pages.
Published by Alfred
Publishing.
The Cosmopolitan Orchestre [Conducteur et Parties séparées] C.L. Barnhouse
SKU: CL.016-0021-00 March. Composed by J. S. Taylor. Orchestra. Sc...(+)
SKU:
CL.016-0021-00
March. Composed by
J. S. Taylor. Orchestra.
Score and set of parts.
Composed 1897. C.L.
Barnhouse #016-0021-00.
Published by C.L.
Barnhouse
(CL.016-0021-00).
From Háry János
Suite. Composed by
Zoltan Kodaly. Arranged
by Douglas E. Wagner.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Concert String Orchestra.
Folk; Multicultural;
Romantic. Score and
Part(s). Duration 4:30.
Belwin Music #00-49895.
Published by Belwin Music
(AP.49895).
ISBN
9781470657253. UPC:
038081575407.
English.
Written in
the style of a spirited
Czardas, a traditional
Hungarian folk dance,
Intermezzo is the fifth
movement of the Háry
János Suite, drawn
from the opera of the
same name. Full of life
and endless energy, the
music instantly grabs the
audience's attention,
cheering the spirit with
driving rhythms and
dynamic themes. An
impressive addition to
any concert, the work is
a worthy upper-level
showpiece for spring
contests. (4:30).
From Háry János
Suite. Composed by
Zoltan Kodaly. Arranged
by Douglas E. Wagner.
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Concert String Orchestra.
Folk; Multicultural;
Romantic. Score. Duration
4:30. Belwin Music
#00-49895S. Published by
Belwin Music (AP.49895S).
ISBN 9781470657260.
UPC: 038081575414.
English.
Written in
the style of a spirited
Czardas, a traditional
Hungarian folk dance,
Intermezzo is the fifth
movement of the Háry
János Suite, drawn
from the opera of the
same name. Full of life
and endless energy, the
music instantly grabs the
audience's attention,
cheering the spirit with
driving rhythms and
dynamic themes. An
impressive addition to
any concert, the work is
a worthy upper-level
showpiece for spring
contests. (4:30).
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.
Sarabande Orchestre [Conducteur] De Haske Publications
Orchestra SKU: BT.DHP-1135517-180 Suite for Group and Orchestra (1975)...(+)
Orchestra
SKU:
BT.DHP-1135517-180
Suite for Group and
Orchestra (1975). By
Paul Mann. By Jon Lord.
Score Only. Composed
2014. De Haske
Publications #DHP
1135517-180. Published by
De Haske Publications
(BT.DHP-1135517-180).
English.
Full
Score and Study Score of
this work are available
for sale. A set of
individual parts are for
rental only, not for
sale. Prices and
conditions are available
on request. Please
contact: Hal Leonard
Europe BV
-Rentaldepartment E-Ma
il: rental@hall
eonardeurope.nl Jon Lord’s
Sarabande was
composed during 1975 and
released as a solo album
the following year. This
newrevised edition of the
composer’s2010
concert version
represents the first
appearance of the work in
print in any form. Lord
intended it for his own
use in live performance,
as a companion to his
celebrated Concerto
for Groupand
Orchestra. It is a
brilliant showpiece for
thecombined forces of
rock band and orchestra,
taking inspiration from
the keyboard suites of
J.S. Bach. This new full
score is edited by Jon
Lord’s long-time
musicalcollaborator, the
conductor Paul Mann, and
makes use of many
previously
unavailablesources
including the
manuscriptscores of the
original version and a
copy of the score
corrected in consultation
with the composer
following the2010
premiere. It can
therefore be said to
represent as closely as
possible Jon
Lord’s final
thoughts onthe work.
Partitur und
Klavierauszug der
Sarabande können
käuflich erworben
werden. Das
Einzelstimmen-Set ist
ausschließlich
Leihmaterial. Auskunft
über Leih-Bedingungen
und Preise erhalten Sie
auf Nachfrage. Bitte
kontaktierenSie:
HalLeonard Europe BV -
Rental
department E-Mail: rental@hall
eonardeurope.nl Jon Lords
Sarabande entstand
1975 und wurde im
darauffolgenden Jahr
alsSoloalbum
veröffentlicht.
Dieüberarbeitete
Ausgabe der
Konzertversion des
Komponisten aus dem Jahr
2010 erscheint hiermit
zum ersten Mal in
gedruckter Form. Lord
hatte diese Version
für seine eigenen
Live-Auftritte gedacht,
alseine Art Ergänzung
zu seinem berühmten
Concertofor Group and
Orchestra. Das Werk
ist ein brillantes
Paradebeispiel für die
vereinte Kraft von
Rockband und Orchester
und wurde von den Suiten
J. S. Bachs inspiriert.
Dieseneue Ausgabe der
Partitur wurde von Paul
Mann, Jon Lords
langjährigemmusikalisc
hem Freund,
herausgegeben. Sie
basiert auf zahlreichen
bisher nicht
zugänglichen Quellen
wie dem Manuskript der
Originalversion und einer
Kopie der inAbsprache mit
dem Komponisten
korrigierten Partitur
nach der Aufführung im
Jahr 2010. Eswerden somit
Jon Lords letzte Gedanken
zu diesem Werk so genau
wie möglich
dargestellt.
Blue Heron Orchestre [Conducteur] - Facile Highland/Etling
Orchestra - Grade 2 SKU: AP.24936S Composed by Edmund J. Siennicki. Perfo...(+)
Orchestra - Grade 2
SKU: AP.24936S
Composed by Edmund J.
Siennicki. Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland/Etling Strictly
Strings. Score. 8 pages.
Highland/Etling
#00-24936S. Published by
Highland/Etling
(AP.24936S).
UPC:
038081275895.
English.
Imagine
the stately bird, the
blue heron, in the
marshes along Lake Erie.
When standing on one leg
in the water, the bird is
visible to the careful
observer, yet their large
wingspan makes them
majestic flyers. This
piece calls for a
moderate tempo. After the
short introduction, the
next 16 measures are
played piano, mezzo forte
and forte. This is
followed by two versions
with variations. All
players get to play the
melody and bowings and
dynamics make the music
more interesting for the
audience and performers
as the piece comes to a
loud ending.
Orchestra Voice SKU: AP.12-057154309X Composed by George Benjamin and Mar...(+)
Orchestra Voice
SKU:
AP.12-057154309X
Composed by George
Benjamin and Martin
Crimp. This edition:
Limited. Full Orchestra;
Larger Works; Performance
Music Ensemble. Form:
Opera. Living Composer.
Book; Score. 112 pages.
Faber Music
#12-057154309X. Published
by Faber Music
(AP.12-057154309X).
ISBN 9780571543090.
English.
Picture a
Day Like This is the
fourth operatic
collaboration between
George Benjamin and
Martin Crimp, whose
acclaimed partnership
produced Written on Skin,
Lessons in Love and
Violence, and Into the
Little Hill. This limited
edition of the full score
is one of only 150,
presented in a
cloth-bound hard cover.
It is signed by George
Benjamin and Martin Crimp
and includes facsimile
reproductions of pages
from the manuscript,
sketches by Benjamin and
Crimp, and a photograph
of Benjamin, Crimp, and
directors Daniel
Jeanneteau and
Marie-Christine Soma in
rehearsal at the
Aix-en-Provence Festival.
In this
bittersweet fable of
grief and renewal.
Benjamin and Crimp tell
the story of a woman who
has lost her child: if,
before nightfall, she
meets one truly happy
person and cuts a button
from their sleeve, her
child will live again. In
her search she meets a
pair of lovers, a
composer and their
assistant, an artisan,
collector, and, in a
beautiful garden, the
mysterious Zabelle.
Benjamin proves
with this taut, sharp
miniature that he is the
finest opera composer of
todayâ¦a work of
depth of feeling,
humanistic artistry, and
expressive rigorâ¦a
drama that is
miraculously condensed.
-- Süddeutsche
Zeitung (Reinhard J.
Brembeck) 9 July
2023.