Orchestra

SKU: HL.14003801

Composed by Anders Nordentoft. Music Sales America. Score. Music Sales #KP00916. Published by Music Sales (HL.14003801).

ISBN 9788759882498. Danish.

'Beggars' Palace' is the name of a fictive railway station, a metaphor that can evoke many associations, for example as a place from which one journeys on, where one is forced to stay for a short or long period, or a place where one simply gets stuck and must watch others journey on. The fictive station has something worn-out and shabby about it, but the worn and shabby can have its own poetry and beauty. At the end the music stands still for a minute or two, while a voice talks about Beggars' Palace. 'Beggars' Palace' was composed in January 2000 for the Aarhus Symphony Orchestra. Anders Nordentoft.

Featuring: You'll Be Back / Helpless / My Shot / Dear Theodosia / It's Quiet Uptown / One Last Time. Composed by Lin-Manuel Miranda (1980-). Arranged by Jerry Brubaker. Full Orchestra; Part(s); Score. Pop Concert Full Orchestra. Broadway. 214 pages. Published by Alfred Music

Featuring: You'll Be Back / Helpless / My Shot / Dear Theodosia / It's Quiet Uptown / One Last Time. Composed by Lin-Manuel Miranda (1980-). Arranged by Jerry Brubaker. Full Orchestra; Score. Pop Concert Full Orchestra. Broadway. 28 pages. Published by Alfred Music

Composed by Genaro Codina (1852-1901). Arranged by Alfred Roth. This edition: Kalmus Orchestra Library. Full Orchestra; Performance Music Ensemble; Single Titles. Kalmus Orchestra Library. Score and Part(s). LudwigMasters Publications #36-A827490. Published by LudwigMasters Publications

Orchestra - all

SKU: PR.816600040

Composed by Wolfgang Amadeus Mozart. CD Sheet Music (Version 1). Full Scores to all of the major works for orchestra by Mozart - parts not included. Classical Period. CD Sheet Music. 2000 printable pages. Published by Theodore Presser Company (PR.816600040).

UPC: 680160600045. 5.5x5 inches.

This disk contains study scores of all 41 of Mozart's Symphonies, as well as Concertos for Winds and Strings (Piano Concertos are on a companion CD-ROM), Serenades, Opera Overtures, Divertimentos, and other works.

About CD Sheet Music (Version 1)

CD Sheet Music (Version 1) was the initial CD Sheet Music series distributed by Theodore Presser. The CDs include thousands of pages of music that are viewable and printable on Mac or PC. Version 1 titles are a great value at 40% off, as we make room in our warehouse for the newly enhanced CD Sheet Music (Version 2.0) series.

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 (Orchestra)

SKU: HL.48188488

Composed by Henri Dutilleux. Leduc. Classical. Softcover. 104 pages. Heugel & Cie #HE32608. Published by Heugel & Cie (HL.48188488).

UPC: 888680866952. 8.5x11.75x0.543 inches.

“Comp osed in 1978 by Henri Dutilleux, Timbres, Space, Movement is a work for Orchestra, also named ?The starry night? after a painting by Van Gogh. It was commisioned by Mstislav Rostropovich for the National Symphony Orchestra of Washington and is dedicated to Charles Münch. This great orchestral work lasts approximately 20 minutes and depicts the content of the painting. It is written for a full orchestra without Violins or Violas. A sketch of the placement of the instruments is given in the book as its disposition differs from a full orchestra: The Cellos placed in a half-circle in front of the conductor. The Cellos represents the space with twirling solos and more stagnant sections while the lack of Violins and Violas is for the quiet and motionless part of the painting. The solo of the Winds and Drums characterizes the clouds and the light of the moon and the stars. It is divided in two parts: 1. Nébuleuse (Nebula) and 2.Constellations, which are divided by a Cello interlude. Henri Dutilleux was internationally acclaimed for his work winning prizes such as the Gold Medal of the Royal Philharmonic Society and the UNESCO's International Rostrum of Composers, amongst many others. His work also includes a Piano sonata, two symphonies, the Violin concerto 'L'arbre des songes' (The tree of dreams) and the Cello concerto 'Tout un monde lointain' (A whole distant word).”.

Orchestra 2.2.2.2: 2.2.3.0: Timp: Org (ad libitum)*: Str (4-4-3-3-3 in set): Solo SATB: Mix Chor. *Organ ad limitum absent from Haas edition

SKU: AP.36-A258196

Arranged by Anton Bruckner and ed./arr. by Robert Maria Haas. Mass, Orchestra Accompaniment, Bass Part. Critical Editions. Part(s). LudwigMasters Publications #36-A258196. Published by LudwigMasters Publications (AP.36-A258196).

ISBN 9798892701891. UPC: 659359762505. English.

Anton Bruckner (1824-1896) completed the 1st version of his Mass No. 3 in F minor in 1863, as Otto Kitzler was introducing him to the music of Richard Wagner, the composer he would emulate for the rest of his life. John Herbeck, who conducted the initial rehearsals for its premiere at the Augustinerkirch on June 16, 1872, warmly declared that it stood beside Beethoven's Missa Solemnis in greatness. Bruckner, often self-critical as a composer, went on to revise the work no less than four times until it was finally published it in 1894. More often heard today in the concert hall than in the church, the sprawling, hour-long work is admired today for its powerful directness. This critical edition was created in 1944 for the Bruckner Gesamtausgabe by Robert Maria Haas.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

Orchestra 2.2.2.2: 2.2.3.0: Timp: Org (ad libitum)*: Str (4-4-3-3-3 in set): Solo SATB: Mix Chor. *Organ ad limitum absent from Haas edition

SKU: AP.36-A258195

Arranged by Anton Bruckner and ed./arr. by Robert Maria Haas. Mass, Orchestra Accompaniment, Tenor Part. Critical Editions. Part(s). LudwigMasters Publications #36-A258195. Published by LudwigMasters Publications (AP.36-A258195).

ISBN 9798892701884. UPC: 659359625268. English.

Anton Bruckner (1824-1896) completed the 1st version of his Mass No. 3 in F minor in 1863, as Otto Kitzler was introducing him to the music of Richard Wagner, the composer he would emulate for the rest of his life. John Herbeck, who conducted the initial rehearsals for its premiere at the Augustinerkirch on June 16, 1872, warmly declared that it stood beside Beethoven's Missa Solemnis in greatness. Bruckner, often self-critical as a composer, went on to revise the work no less than four times until it was finally published it in 1894. More often heard today in the concert hall than in the church, the sprawling, hour-long work is admired today for its powerful directness. This critical edition was created in 1944 for the Bruckner Gesamtausgabe by Robert Maria Haas.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

Orchestra 2.2.2.2: 2.2.3.0: Timp: Org (ad libitum)*: Str (4-4-3-3-3 in set): Solo SATB: Mix Chor. *Organ ad limitum absent from Haas edition

SKU: AP.36-A258193

Arranged by Anton Bruckner and ed./arr. by Robert Maria Haas. Mass, Orchestra Accompaniment, Soprano Part. Critical Editions. Part(s). LudwigMasters Publications #36-A258193. Published by LudwigMasters Publications (AP.36-A258193).

ISBN 9798892701860. UPC: 659359564956. English.

Anton Bruckner (1824-1896) completed the 1st version of his Mass No. 3 in F minor in 1863, as Otto Kitzler was introducing him to the music of Richard Wagner, the composer he would emulate for the rest of his life. John Herbeck, who conducted the initial rehearsals for its premiere at the Augustinerkirch on June 16, 1872, warmly declared that it stood beside Beethoven's Missa Solemnis in greatness. Bruckner, often self-critical as a composer, went on to revise the work no less than four times until it was finally published it in 1894. More often heard today in the concert hall than in the church, the sprawling, hour-long work is admired today for its powerful directness. This critical edition was created in 1944 for the Bruckner Gesamtausgabe by Robert Maria Haas.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

Orchestra 2.2.2.2: 2.2.3.0: Timp: Org (ad libitum)*: Str (4-4-3-3-3 in set): Solo SATB: Mix Chor. *Organ ad limitum absent from Haas edition

SKU: AP.36-A258101

Arranged by Anton Bruckner and ed./arr. by Robert Maria Haas. Mass, Orchestra Accompaniment, Conductor Score. Critical Editions. Score. LudwigMasters Publications #36-A258101. Published by LudwigMasters Publications (AP.36-A258101).

ISBN 9798892701853. UPC: 659359980039. English.

Anton Bruckner (1824-1896) completed the 1st version of his Mass No. 3 in F minor in 1863, as Otto Kitzler was introducing him to the music of Richard Wagner, the composer he would emulate for the rest of his life. John Herbeck, who conducted the initial rehearsals for its premiere at the Augustinerkirch on June 16, 1872, warmly declared that it stood beside Beethoven's Missa Solemnis in greatness. Bruckner, often self-critical as a composer, went on to revise the work no less than four times until it was finally published it in 1894. More often heard today in the concert hall than in the church, the sprawling, hour-long work is admired today for its powerful directness. This critical edition was created in 1944 for the Bruckner Gesamtausgabe by Robert Maria Haas. Instrumentation: 2.2.2.2: 2.2.3.0: Timp: Org (ad libitum): Str (4-4-3-3-3 in set): Solo SATB: Mix Chor. The organ ad libitum is absent from the Haas edition.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

Orchestra 2.2.2.2: 2.2.3.0: Timp: Org (ad libitum)*: Str (4-4-3-3-3 in set): Solo SATB: Mix Chor. *Organ ad limitum absent from Haas edition

SKU: AP.36-A258194

Arranged by Anton Bruckner and ed./arr. by Robert Maria Haas. Mass, Orchestra Accompaniment, Alto Part. Critical Editions. Part(s). LudwigMasters Publications #36-A258194. Published by LudwigMasters Publications (AP.36-A258194).

ISBN 9798892701877. UPC: 659359823619. English.

Anton Bruckner (1824-1896) completed the 1st version of his Mass No. 3 in F minor in 1863, as Otto Kitzler was introducing him to the music of Richard Wagner, the composer he would emulate for the rest of his life. John Herbeck, who conducted the initial rehearsals for its premiere at the Augustinerkirch on June 16, 1872, warmly declared that it stood beside Beethoven's Missa Solemnis in greatness. Bruckner, often self-critical as a composer, went on to revise the work no less than four times until it was finally published it in 1894. More often heard today in the concert hall than in the church, the sprawling, hour-long work is admired today for its powerful directness. This critical edition was created in 1944 for the Bruckner Gesamtausgabe by Robert Maria Haas.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

Orchestra 2.2.2.2: 2.2.3.0: Timp: Org (ad libitum)*: Str (4-4-3-3-3 in set): Solo SATB: Mix Chor. *Organ ad limitum absent from Haas edition

SKU: AP.36-A258102

Arranged by Anton Bruckner and ed./arr. by Robert Maria Haas. Mass, Orchestra Accompaniment, Conductor Score & Parts. Critical Editions. Score and Part(s). LudwigMasters Publications #36-A258102. Published by LudwigMasters Publications (AP.36-A258102).

UPC: 659359527715. English.

Anton Bruckner (1824-1896) completed the 1st version of his Mass No. 3 in F minor in 1863, as Otto Kitzler was introducing him to the music of Richard Wagner, the composer he would emulate for the rest of his life. John Herbeck, who conducted the initial rehearsals for its premiere at the Augustinerkirch on June 16, 1872, warmly declared that it stood beside Beethoven's Missa Solemnis in greatness. Bruckner, often self-critical as a composer, went on to revise the work no less than four times until it was finally published it in 1894. More often heard today in the concert hall than in the church, the sprawling, hour-long work is admired today for its powerful directness. This critical edition was created in 1944 for the Bruckner Gesamtausgabe by Robert Maria Haas. Instrumentation: 2.2.2.2: 2.2.3.0: Timp: Org (ad libitum): Str (4-4-3-3-3 in set): Solo SATB: Mix Chor. The organ ad libitum is absent from the Haas edition.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

Final Version 1906 - Textcritical Edition. Composed by Gustav Mahler (1860-1911). Edited by Christian Rudolf Riedel. Set of parts. Breitkopf and Haertel #OB 5633-60. Published by Breitkopf and Haertel

Orchestra 2.2.2.2: 2.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Piano

SKU: AP.36-A170302

Composed by Felix Bartholdy Mendelssohn. Full Orchestra; Performance Music Ensemble; Single Titles. Kalmus Orchestra Library. Masterwork. Score and Part(s). LudwigMasters Publications #36-A170302. Published by LudwigMasters Publications (AP.36-A170302).

UPC: 735816455903. English.

Felix Mendelssohn (1809-1847) wrote Capriccio Brillant, Op. 22 during his second vist to England. This charming example of Mendelssohn's writing for piano has two movements: an Andante with a gentle, reflective melody and an Allegro con fuoco that shatters the previous languid mood with a cascade of arpeggios that leads into a march-like principal theme. The solo piano part never lapses into dazzling technique for its own sake. It premiered in London by the Philharmonic Society on May 25th, 1832. Instrumentation: 2.2.2.2: 2.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Piano.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

Orchestra 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Piano

SKU: AP.36-A134501

Composed by Johannes Brahms. Arranged by Clinton Nieweg and Robert Sutherland. This edition: Kalmus Orchestra Library. Full Orchestra; Performance Music Ensemble; Single Titles. Kalmus Orchestra Library. Score. LudwigMasters Publications #36-A134501. Published by LudwigMasters Publications (AP.36-A134501).

ISBN 9781638878902. UPC: 735816433864. English.

Johannes Brahms (1833-1897) composed his Piano Concerto No. 1 in 1858 and performed the work's debut in Hanover, Germany, in 1859, to mixed reviews. The work initially began as a sonata for two pianos, then a four-movement symphony. Under the counsel of friends Julius Otto Grimm and violinist Joseph Joachim, Brahms landed on a three-movement piano concerto. After its fifth performance in December 1861, with Clara Schumann as piano soloist, the work still received mixed audience reception. It has since grown in popularity and has been recognized as a masterpiece. Instrumentation: 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Piano.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

Orchestra 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Piano

SKU: AP.36-A134502

Composed by Johannes Brahms. Arranged by Clinton Nieweg and Robert Sutherland. This edition: Kalmus Orchestra Library. Full Orchestra; Performance Music Ensemble; Single Titles. Kalmus Orchestra Library. Score and Part(s). LudwigMasters Publications #36-A134502. Published by LudwigMasters Publications (AP.36-A134502).

UPC: 735816433567. English.

Johannes Brahms (1833-1897) composed his Piano Concerto No. 1 in 1858 and performed the work's debut in Hanover, Germany, in 1859, to mixed reviews. The work initially began as a sonata for two pianos, then a four-movement symphony. Under the counsel of friends Julius Otto Grimm and violinist Joseph Joachim, Brahms landed on a three-movement piano concerto. After its fifth performance in December 1861, with Clara Schumann as piano soloist, the work still received mixed audience reception. It has since grown in popularity and has been recognized as a masterpiece. Instrumentation: 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Piano.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

Orchestra

SKU: PO.PEP05S

Works for String Orchestra. Composed by Larry Pruden. Perfect. Collection - Full Score. Promethean Editions #PEP05S. Published by Promethean Editions (PO.PEP05S).

ISBN 9781877218057.

Pref ace to the Collected EditionOver the span of his composing career, Larry Carrol Pruden (1925-82) completed some 60 works, including music for piano, chamber ensemble, orchestra, stage and film. The scope of the ten-volume Collected Edition incorporates every work that the composer is known to have considered complete, and a very few incomplete works which the editors felt warranted inclusion. The works in the latter category are either virtually complete or have been deemed worthy of inclusion due to the significance that the composer is known to have attached to them.Throughout Pruden's output, whether the music is modest in scale and purely functional (civic fanfares and radio advertising jingles, for example) or more extended and overtly serious in tone (such as the larger works for orchestra and strings), his vivid response to urban society and rural life in New Zealand is revealed. With Douglas Lilburn, John Ritchie and others, Larry Pruden belongs to the earliest generation of New Zealand composers to discover a genuine vernacular, and in his music is reflected the trail-blazing spirit of the pioneers, their passion for creativity and their rebelliousness of spirit.The scores in the Collected Edition are based on Pruden's underlying autograph or holograph manuscripts, which have been consulted extensively throughout the editorial process. Comparison has been made to all extant forms of each title, published and unpublished. In some cases, several variants exist, and the goal has been to determine as far as possible the composer's final intention and to convey this comprehensively in the published score. Emendations have been made to account for the composer's revisions and for certain errors and inconsistencies, and each volume includes a short commentary and editorial notes on the source materials.In consultation with the Estate of Larry Pruden, Promethean Editions appointed an Editorial Panel and an Advisory Panel to oversee publication of the Collected Edition. The role of the Editorial Panel has been to undertake the research into the composer's archival and manuscript materials and to make the necessary editorial decisions and ensure the accuracy of the musical and textual content of the Edition. The Advisory Panel has been responsible for monitoring the overall approach to the project and for ensuring the maintenance of a wider perspective.