Often Referred to as the African-American National Anthem . Composed by ...(+)
Often Referred to as
the African-American
National Anthem .
Composed by J. Rosamond
Johnson, words by James
Weldon Johnson. Arranged
by Bob Phillips. This
edition: with Chorus.
Part(s); Score; String
Orchestra. Sound
Innovations for String
Orchestra. Folk;
Multicultural. 80 pages.
Published by Alfred Music
(AP.44827).
By John Williams. Arranged by Robert W. Smith. For Full Orchestra. Full Orchestr...(+)
By John Williams.
Arranged by Robert W.
Smith. For Full
Orchestra. Full
Orchestra. Pop Concert
Full Orchestra. Movie.
Conductor Score and
Parts. 200 pages.
Published by Alfred
Publishing. Level: 4
(grade 4).
By John Williams. Arranged by Robert W. Smith. For Full Orchestra. Full Orchestr...(+)
By John Williams.
Arranged by Robert W.
Smith. For Full
Orchestra. Full
Orchestra. Pop Concert
Full Orchestra. Movie.
Conductor Score. 28
pages. Published by
Alfred Publishing.
Level: 4 (grade 4).
For Orchestra (& SSA
Voices). Composed by
Jerome Moross.
Vocal/Choral, Secular
Large Choral Works,
Orchestra, Orchestra,
Piano Reduction. Piano
Vocal Score. Subito Music
Corporation #92102055.
Published by Subito Music
Corporation
(SU.92102055).
Vocal Score for
use with orchestra only
(no reduction)2232; 2220;
timp, perc; SSA voices;
stgs Duration: 19'
Composed: 1938 Published
by: Sorom Editions.
Orchestra SKU: SU.92102050 For Orchestra. Composed by Jerome Moros...(+)
Orchestra
SKU:
SU.92102050
For
Orchestra. Composed
by Jerome Moross.
Orchestra. Study Score.
Subito Music Corporation
#92102050. Published by
Subito Music Corporation
(SU.92102050).
2232; 2220;
timp, perc; SSA; stgs
Duration: 19'
Published by: Sorom
EditionsFull Score &
Parts: available on
rental:
Orchestra piano and chamber orchestra SKU: PE.EP67444 Composed by Ross Ba...(+)
Orchestra piano and
chamber orchestra
SKU:
PE.EP67444
Composed
by Ross Bauer. Orchestra.
Edition Peters. 20th
Century. Score and
Part(s). 130 pages.
Edition Peters
#98-EP67444. Published by
Edition Peters
(PE.EP67444).
ISBN
9790300739977.
Conc
erto for Piano and
Chamber Orchestra
-
Commissioned by
Wellesley College for
Lois Shapiro
Composed
under a Fellowship from
the John Simon Guggenheim
Memorial Foundation and
with the aid of
residencies at the
MacDowell Colony, the
Djerassi Foundation, and
the Helene Wurlitzer
Foundation
Full
Score
Performance
Material is also
available, solely on a
rental basis
For more
on Ross Bauer, plese
click on his name, above
...
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.
Orchestra - Grade 2.5 SKU: AP.44827S Often Referred to as the African-...(+)
Orchestra - Grade 2.5
SKU: AP.44827S
Often Referred to as
the African-American
National Anthem.
Composed by J. Rosamond
Johnson. Arranged by Bob
Phillips. This edition:
with Chorus. Performance
Music Ensemble; Single
Titles; String Orchestra.
Sound Innovations for
String Orchestra. Folk;
Multicultural. Score. 8
pages. Duration 2:40.
Alfred Music #00-44827S.
Published by Alfred Music
(AP.44827S).
UPC:
038081518176. English.
James Weldon
Johnson.
The poem
and original hymn-like
music of Lift Every Voice
and Sing, by James and J.
Rosamond Johnson,
reverberate through the
decades of the civil
rights movement.
Originally performed for
Booker T. Washington in
1900, it is sometimes
called the
African-American National
Anthem. This setting, by
Bob Phillips, teaches 6/8
and uses chromatic
alterations in first
position. A vocal lead
sheet is included in the
reproducible educational
packets. The
cross-curricular
programming possibilities
are vast. (2:40).
Full orchestra SKU: LO.30-1493L An Easter Cantata For Choir And Worshi...(+)
Full orchestra
SKU:
LO.30-1493L
An
Easter Cantata For Choir
And Worship Leader.
Composed by Gregg Sewell.
Choral, cantatas.
Eastertide, Sacred.
Orchestration. Lorenz
Publishing Company
#30/1493L. Published by
Lorenz Publishing Company
(LO.30-1493L).
UPC:
000308074642.
John'
s Gospel is the basis for
an innovative new musical
setting of the timeless
Easter story. The
composer weaves striking
new melodies and
traditional hymn tunes
together to produce a
vibrant, energetic work
of meditation and praise.
The congregation is
called on to sing with
the choir in a sensitive
setting of When I Survey
the Wondrous Cross and a
rousing arrangement of
Crown Him With Many
Crowns. New settings of
What Wondrous Love Is
This? and O Sacred Head,
Now Wounded are
ingeniously intertwined
with new anthems. An
inspirational and deeply
moving experience for
choir and congregation
alike. Performance time:
approx. 25 minutes. Flute
1 & 2, Violin 2, Viola,
Cello, Double Bass, Oboe
1 & 2, Horn, Trumpet 1 &
2, Trombone 1 & 2, Tuba,
Percussion (Windchimes,
Suspended Cymbal)
Glockenspiel,Triangle,Chi
mes, Snare Drum,Timpani,
Harp, Violin 1.
American Salute Orchestre [Conducteur et Parties séparées] Belwin
Composed by Morton Gould (1913-1996). Full Orchestra; Performance Music Ensemble...(+)
Composed by Morton Gould
(1913-1996). Full
Orchestra; Performance
Music Ensemble; Single
Titles; SmartMusic.
Belwin Concert Full
Orchestra. 20th Century;
4th of July; Patriotic;
Summer. Part(s); Score.
248 pages. Belwin Music
#00-BFOM00013. Published
by Belwin Music
Arranged by Sandra Dackow. Conductor's score and set of performance parts for st...(+)
Arranged by Sandra
Dackow. Conductor's score
and set of performance
parts for string
orchestra (8 - 1st
violin, 8 - 2nd violin, 5
- 3rd violin/viola
(treble clef), 5 - viola,
5 - cello, 5 - string
bass, 1 - piano
accompaniment). Series:
Orchestra Expressions
Series. Published by
Alfred Publishing.
Arranged by Vince Gassi.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Folk;
Traditional. Score and
Part(s). 124 pages.
Duration 2:45.
Highland/Etling
#00-41269. Published by
Highland/Etling
(AP.41269).
UPC:
038081480879. English.
Traditional Canadian Folk
Song.
For a special
touch at your next
concert, feature one of
Canada's most popular
folk songs. Often sung to
keep time while canoeing
or around campfires, the
lyrics are originally
from a 19th century poem
by First Nations poet
Pauline Johnson, making
this perfect for
cross-cultural study.
Although this work can
easily be performed with
strings alone, percussion
instruments, including
timpani and bells, expand
the palette of colors,
helping to create a rich
tapestry for your
listeners. (2:45) This
title is available in
MakeMusic Cloud.