Composed by Traditional. Arranged by Deborah Baker Monday. Set of Score and Parts. 8 8 2 5 5 5 8 pages. Duration 2:30. Carl Fischer Music #YAS218. Published by Carl Fischer Music

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 (Soli SATB, Coro SATB, Fl, Ob, Clt, Fg, Cor, Tr, Trb, Timp, 2 Vl, Va, Vc, Cb, [Org]) - Level 3

SKU: CA.4012950

Arrangement for chamber orchestra (arr. J. Linckelmann). Composed by Felix Bartholdy Mendelssohn. Arranged by Joachim Linckelmann. Carus digital: Extra digital products. Full Score. MWV A 14. Duration 145 minutes. Carus Verlag #4012950. Published by Carus Verlag (CA.4012950).

ISBN 9790007254650. German/English.

Men delssohn's St. Paul with just seven instead of the usual 18 wind instruments? Thanks to this arrangement for chamber orchestra, a performance with smaller forces is now possible, and presents an attractive alternative for performing Mendelssohn's first oratorio - not only in times of Corona. For it is often considerations of space, a limited budget, or the size of the chorus which call for flexibility in scoring.
The arrangement is based on the Carus Urtext edition. By reducing the symphonic wind and brass in particular, the volume of sound is more restrained, but nevertheless the symphonic character and a wide dynamic range are retained. All the vocal parts (soloists and chorus) are identical with the original version, so that the vocal scores, choral scores, and practice aids of the existing Carus edition can still be used.

Major oratorio can also be performed by smaller choirs
Wind and brass parts of the original version reduced to just seven single instruments
vocal scores and choral scores from the original version can be used
carus plus: the work (original version) is available in carus music, the Choir Coach, and in the Carus Choir Coach (Audio only) series.
. Score available separately - see item CA.4012900.

(Exercises for the Instrumental Conductor). Arranged by Robert Spradling. Carl Fischer Band Books Series. Student Book. 96 pages. Published by Carl Fischer

Orchestra (Study Score)

SKU: HL.51489059

Study Score. Composed by Franz Joseph Haydn. Edited by Andreas Friesenhagen. Henle Study Scores. Classical. Softcover. 58 pages. G. Henle #HN9059. Published by G. Henle (HL.51489059).

UPC: 840126932898. 6.75x9.5x0.22 inches.

Haydn's three Symphonies nos. 90-92 might rightly be dubbed his “Paris Symphonies Part II,” as they were commissioned in 1788/89, likewise by the Société Olympique, for which Haydn had already composed his six “Paris Symphonies” nos. 82-87 just a few years earlier. Ironically enough, Haydn would later sell these three a second time to Prince von Oettingen-Wallerstein who requested he “receive 3 new symphonies from him.” Regardless of such mercantile entanglements, Haydn shows himself to be at the full height of his mastery as a symphonist in these works. Completed in 1788 according to the autograph manuscript, the Symphony in E flat major no. 91 astonishes, even for Haydn’s standards, with its many idiosyncrasies, such as the Baroque, contrapuntal theme of the first movement or the strings of trills in the slow variation movement. This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy scorean ideal companion for all current and soon-to-be Haydn fans.

About Henle Urtext

What I can expect from Henle Urtext editions:

• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
• preface in 3 languages with information on the genesis and history of the work 
• Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions 
• most beautiful music engraving 
• page-turns, fold-out pages, and cues where you need them 
• excellent print quality and binding 
• largest Urtext catalogue world-wide 
• longest Urtext experience (founded 1948 exclusively for Urtext editions)

Orchestra (Study Score)

SKU: HL.51489060

Orchestra Study Score. Composed by Franz Joseph Haydn. Edited by Andreas Friesenhagen. Henle Study Scores. Classical. Softcover. 64 pages. G. Henle #HN9060. Published by G. Henle (HL.51489060).

UPC: 840126932843. 6.75x9.5x0.226 inches.

Haydn's three Symphonies nos. 90-92 might rightly be dubbed his “Paris Symphonies Part II,” as they were commissioned in 1788/89, likewise by the Société Olympique, for which Haydn had already composed his six “Paris Symphonies” nos. 82-87 just a few years earlier. Ironically enough, Haydn would later sell these three a second time to Prince von Oettingen-Wallerstein who requested he “receive 3 new symphonies from him.” Regardless of such mercantile entanglements, Haydn shows himself to be at the full height of his mastery as a symphonist in these works. Completed in 1788 according to the autograph manuscript, the Symphony in E flat major no. 91 astonishes, even for Haydn’s standards, with its many idiosyncrasies, such as the Baroque, contrapuntal theme of the first movement or the strings of trills in the slow variation movement. This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy scorean ideal companion for all current and soon-to-be Haydn fans.

About Henle Urtext

What I can expect from Henle Urtext editions:

• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
• preface in 3 languages with information on the genesis and history of the work 
• Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions 
• most beautiful music engraving 
• page-turns, fold-out pages, and cues where you need them 
• excellent print quality and binding 
• largest Urtext catalogue world-wide 
• longest Urtext experience (founded 1948 exclusively for Urtext editions)

Orchestra (Study Score)

SKU: HL.51489058

Study Score. Composed by Franz Joseph Haydn. Edited by Andreas Friesenhagen. Henle Study Scores. Classical. Softcover. 63 pages. G. Henle #HN9058. Published by G. Henle (HL.51489058).

UPC: 840126932904. 6.75x9.5x0.232 inches.

Haydn's three Symphonies nos. 90-92 might rightly be dubbed his “Paris Symphonies Part II,” as they were commissioned in 1788/89, likewise by the Société Olympique, for which Haydn had already composed his six “Paris Symphonies” nos. 82-87 just a few years earlier. Ironically enough, Haydn would later sell these three a second time to Prince von Oettingen-Wallerstein who requested he “receive 3 new symphonies from him.” Regardless of such mercantile entanglements, Haydn shows himself to be at the full height of his mastery as a symphonist in these works. According to the autograph manuscript, the Symphony in C major no. 90 was completed in 1788 and highlights its festive character with the addition of timpani and trumpets. This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

About Henle Urtext

What I can expect from Henle Urtext editions:

• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
• preface in 3 languages with information on the genesis and history of the work 
• Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions 
• most beautiful music engraving 
• page-turns, fold-out pages, and cues where you need them 
• excellent print quality and binding 
• largest Urtext catalogue world-wide 
• longest Urtext experience (founded 1948 exclusively for Urtext editions)

By Johann Sebastian Bach. Arranged by Jerry Brubaker. By Johann Sebastian Bach / arr. Jerry Brubaker. For Full Orchestra. Full Orchestra. Belwin Intermediate Full Orchestra. Level: 2.5 (grade 2.5). Conductor Score and Parts. 120 pages. Published by Alfred Publishing.

Arranged by Robert W. Smith. Orchestra. Full Orchestra. Belwin Intermediate Full Orchestra. Christmas; Winter. Grade 2.5. Conductor Score and Parts. 128 pages. Duration 3:37. Published by Belwin Publishing

Orchestra

SKU: PR.UE026294

Composed by Matthias Ruegg. With Standard notation. Universal Edition #UE026294. Published by Universal Edition (PR.UE026294).

UPC: 803452061809.

Celeb rating Rüegg’s life as an amazingly prolific jazz arranger and orchestrator, Universal Edition has just released A Centenary Journey, a compilation of the great charts by Rüegg in notated score form. A rarity in published music, these jazz scores “unlock the secrets” to phenomenal performances, echoing the evolution of jazz itself along the way. Students of the art (of any age) can now follow along with the written page, and see the music behind the experience, to study the process from concept to reality. The score includes an audio CD recording of select compositions, as well, performed by the Vienna Art Orchestra. An excellent overview of the development of jazz from 1900 to its present form(s).

Orchestra Study Score. Composed by Franz Joseph Haydn (1732-1809). Edited by Andreas Friesenhagen. Henle Study Scores. Classical. Softcover. 45 pages. G. Henle #HN9057. Published by G. Henle

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

Orchestra

SKU: BA.BA06861

Sinfonie (1923-1928). Composed by Leos Janacek. Arranged by Leoš Faltus and Miloš Štedron. This edition: complete edition, urtext edition. Linen. Complete Critical Edition of the Works of Leos Janacek H/3. Complete edition, Score, Set of parts. Duration 40 minutes. Baerenreiter Verlag #BA06861_00. Published by Baerenreiter Verlag (BA.BA06861).

ISBN 9790260104211. 34.3 x 27 cm inches.

Leoš Janácek’s symphonic fragment Dunaj (The Danube) dates from the period of the composition of “Katya Kabanova”. The composer was not concerned with a musical-picturesque description of a river landscape, but with the mythical link between women’s destinies and water.

“Pale green waves of the Danube! There are so many of you, and one followed by another. You remain interlocked in a continuous flow. You surprise yourselves where you ended up – on the Czech shores! Look back downstream and you will have an impression of what you have left behind in your haste. It pleases you here. Here I will rest with my symphony.” Thus Leoš Janácek described the idea behind the composition project which occupied him in 1923/24. However, after further work, it remained incomplete in 1926. His “symphony” entitled Dunaj has survived as a continuously-notated, four-movement bundle of sketches in score form. It is one of the works which occupied him until his death. The scholarly reconstruction by the two Brno composers Miloš Štedron and Leoš Faltus closely follows the original manuscript.

A whole conglomeration of motifs stands behind the incomplete work. What at first seems like a counterpart to Smetana’s Vltava, in fact doesn’t turn out to be a musical depiction of the Danube. On the contrary, the fateful link between the destiny of women, water and death permeates the range of motifs found in the work. It seems to be no coincidence that Janácek, whilst working on the opera Katya Kabanova, in which the Volga, as the river bringing death plays an almost mythical role, planned a Danube symphony, and that its content was linked with the destiny of women: in the sketches, two poems were found which may have provided the stimulus for several movements of the symphony. He copied a poem by Pavla Kriciková into the second movement, in which a girl remarks that whilst bathing in a pond, she was observed by a man. Filled with shame, the young naked woman jumps into the water and drowns. The outer movements likewise draw on the poem “Lola” by the Czech writer Sonja Špálová, published under the pseudonym Alexander Insarov. This is about a prostitute who asks for her heart’s desire: she is given a palace, but then goes on a long search for it and is finally no longer wanted by anyone. She suffers, feels cold and just wants a warm fire. Janácek adds his remark “she jumps into the Danube” to the inconclusive ending.

To these tangible literary models is added Adolf Veselý’s verbal account which reports that the composer wanted to portray “in the Danube, the female sex with all its passions and driving forces”. The third movement is said to characterise the city of Vienna in the form of a woman.

It is evident that in his composition, Janácek was not striving for a simple, natural lyricism. The River Danube is masculine in the Slavic language – “ten Dunaj” – and assumes an almost mythical significance in the national character, indeed often also a role bringing death. The four movements are motivically conceived. Elements of sound painting, small wave-like figures in the first movement, motoric, driving movements in the third are obvious evocations of water. And the content and the literary level are easy to discover. The “tremolo of the four timpani”, which was amongst Janácek’s first inspirations, appears in the second movement. It is not difficult to retrace in it the fate of the drowning bather. The oboe enters lamentoso towards the end of the movement over timpani playing tremolo, its descending figure is taken over by the flute, then upper strings and intensified considerably. The motif of drowning – Lola’s despair – returns again in the fourth movement in the clarinet, before the work ends abruptly and dramatically.

One special effect is the use of a soprano voice in the motor-driven third movement. The singer vocalises mainly in parallel with the solo oboe, but also in dialogue with other parts such as the viola d’amore, which Janácek used in several late works as a sort of “voice of love”.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Orchestra - Grade 2.5

SKU: AP.43765

Composed by Antonio Vivaldim Jeffrey E. Turner. Masterworks; Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Baroque; Light Concert; Masterwork Arrangement. Score and Part(s). 72 pages. Duration 3:15. Belwin Music #00-43765. Published by Belwin Music (AP.43765).

UPC: 038081496450. English. [Based on the music of Antonio Vivaldi] By Jeffrey E. Turner.

This very accessible arrangement includes just enough of each movement to provide a taste of the original! Stirring the pot by the use of a common key for all four seasons and simplified rhythms create the perfect blend of seasonings to delight all as only Vivaldi can. (3:15).

Orchestra - Grade 2.5

SKU: AP.43765S

Composed by Antonio Vivaldim Jeffrey E. Turner. Masterworks; Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Baroque; Light Concert; Masterwork Arrangement. Score. 12 pages. Duration 3:15. Belwin Music #00-43765S. Published by Belwin Music (AP.43765S).

UPC: 038081496467. English. [Based on the music of Antonio Vivaldi] By Jeffrey E. Turner.

This very accessible arrangement includes just enough of each movement to provide a taste of the original! Stirring the pot by the use of a common key for all four seasons and simplified rhythms create the perfect blend of seasonings to delight all as only Vivaldi can. (3:15).

Orchestra - Grade 2.5

SKU: AP.38405S

Composed by Peter Ilyich Tchaikovsky. Arranged by Michael Story. Masterworks; Performance Music Ensemble; Single Titles; String Orchestra. Orchestra Expressions. Form: Overture. Masterwork Arrangement; Romantic. Score. 8 pages. Alfred Music #00-38405S. Published by Alfred Music (AP.38405S).

UPC: 038081437378. English.

200 years after the event it commemorates, let's celebrate Tchaikovsky with a very playable reduction of his great overture. Perfect for festival or contest---or just for fun, using paper bags for the canon effect!

About Orchestra Expressions

< p>Play great songs such as Over the Rainbow, Batman, This Land Is Your Land, and Star Wars (Main Title). Listen to and play a variety of styles of music: popular, traditional, classical, folk and patriotic. Read and write music; compose and improvise. Perform in a concert and play for your family and friends. Be a conductor of the orchestra. Learn about composers, such as Antonin Dvorak, Johann Pachelbel, Jacques Offenbach, Pytor Ilyich Tchaikovsky, Giuseppe Verdi, George M. Cohan, George Frideric Handel, Ludwig van Beethoven, Johann Sebastian Bach, Wolfgang Amadeus Mozart, Giacomo Puccini, Georges Bizet, Neal Hefti, and John Williams. Discover how music and art are related. Learn about a variety of musical ensembles including string orchestra, full orchestra, mariachi band, steel drum band, dixieland jazz band, rock band, and more. Play music from around the world, including North America, Europe, Latin America, Asia, and Africa.

Orchestra (Print) Bass Trombone; Bassoon; Bells; Cello; Choral; Clarinet; Double Bass; Flute; Horn; Oboe; Percussion 1; Percussion 2; Trombone 1; Trumpet 1; Trumpet 2; Trumpet 3; Viola; Violin 1; Violin 2 (Orchestra (Score & Parts))

SKU: HL.114464

Composed by Langston Hughes and Rollo Dilworth. Festival Choral. African-American, Choir & Orchestra, Concert, Festival, Inspirational, Multicultural, Spiritual. 116 pages. Published by Hal Leonard (HL.114464).

UPC: 884088872670. 8.5x11.0x0.525 inches.

Quotes of the beloved spiritual “Hold On” are combined with excerpts from “Freedom's Plow” by Langston Hughes in this powerful and dramatic work commissioned by the St. Louis Symphony. Themes of the struggle for liberty and justice throughout America and the world make this a magnificent concert closer for festival and community performances with keyboard, bass and drums or the optional orchestral accompaniment! Available separately: SATB divisi, Orchestra score and parts (fl, ob, cl, bn, hn, tpt 1-3, tbn 1-2 [btbn], bells, perc 1-2, vn 1-2, va, vc, db). Duration: ca. 5:00.

Orchestra - Grade 1

SKU: AP.43748S

Arranged by Jack Bullock. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Beginning String Orchestra. Light Concert; Sacred; Traditional. Score. 8 pages. Duration 2:00. Belwin Music #00-43748S. Published by Belwin Music (AP.43748S).

UPC: 038081496146. English. Traditional.

The striking melodies, the simple and meaningful words, and the many ways the music can be interpreted create an immortal song that touches us all. This beautiful setting allows for adjustment of the dynamics and the tempo to suit your ensemble. (2:00).

From the series Arcane League of Legends. Composed by Benjamin McKee, Daniel Platzman, Daniel Reynolds, Daniel Sermon, Mattias Larsson, Music by Justin Tranter, Robin Lennart Fredriksson, and Words. Arranged by Chris M. Bernotas. Performance Music Ensemble; Single Titles; String Orchestra. Pop Intermediate String Orchestra. Light Concert; Pop/Rock; TV. Score and Part(s). Duration 2:15. Alfred Music #00-49915. Published by Alfred Music