Orchestral Score. Composed by John Powell. This edition: Paperback/Softcover...(+)
Orchestral Score.
Composed by
John Powell. This
edition:
Paperback/Softcover.
Sheet
music. Study score.
Composed
2010. 412 pages. Omni
Music
Publishers #OMNI 50792.
Published by Omni Music
Publishers
For
Orchestra. Composed
by Roberto Sierra.
Orchestra. Study Score.
Composed 1995. Duration
10'. Subito Music
Corporation #92010190.
Published by Subito Music
Corporation
(SU.92010190).
Instrumentation
: 2222; 4221; 3 perc, hp;
stgs Duration: 10' 1.
Sonatina; 2. Imaginary
Creatures; 3. We've Got
Rhythm Movements may be
performed separately Full
Score & Parts: available
on rental Composed: 1995
Published by: Subito
Music Publishing.
Featuring: Hedwig's Theme, Potter Waltz, Foxtrot Fleur, the Quidditch World Cup ...(+)
Featuring: Hedwig's
Theme, Potter Waltz,
Foxtrot Fleur, the
Quidditch World Cup (The
Irish), and Hogwarts'
Hymn. By Patrick Doyle,
John Williams. Arranged
by Michael Story.
Published by Alfred
Publishing.
(Study Score) Composed by Claude Debussy (1862-1918), arranged by Andre Caplet (...(+)
(Study Score) Composed by
Claude Debussy
(1862-1918), arranged by
Andre Caplet (1878-1925).
Miniature score for
orchestra. With full
score notation. Composed
1911. 84 pages. Published
by Serenissima.
Featuring: Hedwig's Theme, Potter Waltz, Harry in Winter, The Quidditch World Cu...(+)
Featuring: Hedwig's
Theme, Potter Waltz,
Harry in Winter, The
Quidditch World Cup (The
Irish), and Hogwarts'
Hymn. By Patrick Doyle,
John Williams. Arranged
by Jack Bullock. Full
Orchestra. Full
orchestra. Published by
Alfred Publishing.
(Tanzstunden I)
Tanzschauspiel. Libretto
frei nach Moliere.
Composed by Hans Werner
Henze. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. Composed
1949/1995. 172 pages.
Duration 35'. Schott
Music #ED 9456. Published
by Schott Music
(HL.49013033).
ISBN
9790001131919.
8.25x11.75x0.462
inches.
Bei der
Neuschrift des Stucks im
Winter 1995-96, funfzig
Jahre nach seiner
Entstehung (als
Buhnenmusik zu Molieres
Comedie ballet Georges
Dandin, aus der
anschliessend ein Ballett
wurde mit dem englischen
Clown Jack Pudding in der
Titelrolle), ist es mir
darum gegangen, den alten
Notentext auszulosen und
sein thematisches und
harmonisches Material
nach Kriterien zu ordnen
und zu entwickeln, die
mir seinerzeit noch nicht
zur Verfugung standen,
und die recht
skizzenhafte Anlage des
Urtexts in eine Klangwelt
heruberzutragen, die
meinen heutigen
Vorstellungen und
Wertbegriffen von Theater
und Musik entspricht und
die gleichzeitig das
heutige kulturelle Klima
Neapels widerspiegelt und
damit eine besondere Art
von Wirklichkeit, die
mich einmal so sehr
gefangengenommen,
bezaubert und beeinflusst
hat.- Hans Werner
Henze
: 1 (auch
Picc.) * 1 * 1 * 1 - 1 *
1 * 1 * 0 - P. S. (3
Trgl. * Crot. * Rohrengl.
* Trinidad steel drum * 3
hg. Beck. * 3 Tamt. * 3
Tomt. * Schellentr. * kl.
Tr. * gr. Tr. [m. u. o.
Beck.] * Bongo * Guiro *
Kast. * Ratsche *
Peitsche * Lotosfl. *
Cuica * Mar. * Putipu
[neap. Brummtopf]*
Scetavajasse [neap.
Schrapstock mit Schellen]
* Flex. * Vibr. *
Marimba) (3 Spieler) -
Klav. (auch Cel. und Akk.
ad lib.) - Str.
Orchestra SKU: HL.49009585 Composed by Charles Francois Gounod. Edited by...(+)
Orchestra
SKU:
HL.49009585
Composed
by Charles Francois
Gounod. Edited by Bill
Hopkins. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. 102 pages.
Eulenburg Edition #ETP
1380. Published by
Eulenburg Edition
(HL.49009585).
ISBN
9783795766740. UPC:
841886000735.
5.25x7.5x0.272 inches.
German -
English.
Gounod's
Faust opera (libretto by
Michel Carre and Jules
Barbier) is based on the
love story of Faust and
Marguerite which is but a
part of Goethe's Faust
drama. Consequently the
title of the opera is
unacceptable in Germany
where it is renamed
Margarethe, after the
heroine.
Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099).
ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German.
On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009.
(Orchestra) SKU: HL.49013026 Dance drama by Luchino Visconti. One set<...(+)
(Orchestra)
SKU:
HL.49013026
Dance
drama by Luchino
Visconti. One set.
Composed by Hans Werner
Henze. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. Composed 1956. 168
pages. Duration 50'.
Schott Music #ED 9416.
Published by Schott Music
(HL.49013026).
ISBN
9790001131476.
1
(auch Picc.) * 1 * Engl.
Hr. * 1 * Bassklar. * 1 -
2 * 2 * 1 * 0 - P. - Hfe.
- Str.Jazzband (kann nach
Belieben verandert
werden): Fl. * Altsax. *
Tenorsax. * Jazztrp. *
Jazzpos. - S. (hg. Beck.
* Tamt. * kl. Tr. [mit
Schnarrs.] * Tomt. *
Jazztr. * Bong. * gr. Tr.
[mit Ped.] * Mar. * Tubo)
(3 Spieler) - Klav. -
Kb.
1 (auch Picc.)
* 1 * Engl. Hr. * 1 *
Bassklar. * 1 - 2 * 2 * 1
* 0 - P. - Hfe. -
Str. Jazzband (kann
nach Belieben verandert
werden): Fl. * Altsax. *
Tenorsax. * Jazztrp. *
Jazzpos. - S. (hg.
Beck. * Tamt. * kl. Tr.
[mit Schnarrs.] * Tomt. *
Jazztr. * Bong. * gr. Tr.
[mit Ped.] * Mar. *
Tubo) (3 Spieler) - Klav.
- Kb.
Orchestra SKU: SU.28120010 For Orchestra. Composed by Alla Pavlova...(+)
Orchestra
SKU:
SU.28120010
For
Orchestra. Composed
by Alla Pavlova.
Orchestra. Study Score.
Subito Music Corporation
#28120010. Published by
Subito Music Corporation
(SU.28120010).
Ballet Suite in
5 movements (revised
version)3222; 4331; timp,
perc, hp, pno; stgs
Duration: 24' Composed:
2008 Published by: Alla
Pavlova Music Although it
maintains the charm of
the original Hans
Christian Andersen tale,
Alla Pavlova's Thumbelina
is a considerable
musical, visual and
narrative expansion of
the story to make it
suitable as a full-length
ballet and
family-programming
alternative to The
Nutcracker. Musically, it
is scored for full
symphony orchestra
([3,2,2,2]-[4,3,3,1]-[tim
p.,perc.]-[Hp]-[Strings],
Percussion: Bass dr.,
Snare dr., Wooden Block,
Tambourine, Triangle,
Glock., Vibraphone,
Celesta) and contains not
only many beautiful,
lyrical and moving
waltzes and other
classical themes, but
also rhythms such as
tango, boogie-woogie and
ragtime. Narratively, the
story has been adapted to
include a varied and
colorful cast of
characters. The
Thumbelina Suite (which
has been recorded by the
Tchaikovsky Symphony
Orchestra for Naxos) can
be heard at
http://www.allapavlova.co
m/listen.html or by
clicking on the image
below. She has created a
synopsis of the ballet,
which is of course based
on the Andersen fairy
tale. We’ll gladly
send this synopsis on
request. Recording: 21st
Century Classics –
Naxos 8.579003
Performance materials
available on rental
only:.
Concert Band; Orchestra - Grade 2.5 SKU: AP.49123 Composed by Steve Hodge...(+)
Concert Band; Orchestra -
Grade 2.5
SKU:
AP.49123
Composed by
Steve Hodges. 5 or More;
MakeMusic Cloud; Mixed
Instruments - Flexible
Instrumentation;
Performance Music
Ensemble; Single Titles;
Solo Small Ensembles.
Young Symphonic. Latin.
Score and Part(s). 153
pages. Duration 2:18.
Alfred Music #00-49123.
Published by Alfred Music
(AP.49123).
UPC:
038081563817.
English.
This
version of Flamingo Road
by Steve Hodges is part
of our Alfred FLEX
offerings and is designed
with maximum flexibility
for use by any mix of
instruments---wind,
strings, and percussion,
including like- or
mixed-ensembles with as
few as 5 players. The
suggested instrumentation
and a customizable
Teacher Map will help you
plan out how to best
assign parts to suit your
ensemble's needs. It also
comes with supplemental
parts for maximum
flexibility. With the
purchase of this piece,
permission is granted to
photocopy the parts as
needed for your ensemble.
A percussion
accompaniment track is
also available as a free
download. String parts
have been carefully
edited with extra
fingerings and
appropriate bowings to
support students in mixed
ensembles playing in less
familiar keys.
Flamingo Road is
a Latin-inspired piece
that starts in the fast
lane and never lets up!
Featuring an active
percussion section and
some catchy themes, each
section of the band will
take a turn in the
driver's seat. Stay in
your lane!
(2:18)
Percussion
Accompaniment Track
Downloads: with click without
click This title is
available in MakeMusic
Cloud.
Concert Band; Orchestra - Grade 2.5 SKU: AP.49123S Composed by Steve Hodg...(+)
Concert Band; Orchestra -
Grade 2.5
SKU:
AP.49123S
Composed by
Steve Hodges. 5 or More;
MakeMusic Cloud; Mixed
Instruments - Flexible
Instrumentation;
Performance Music
Ensemble; Single Titles;
Solo Small Ensembles.
Young Symphonic. Latin.
Score. 20 pages. Duration
2:18. Alfred Music
#00-49123S. Published by
Alfred Music (AP.49123S).
UPC: 038081563824.
English.
This
version of Flamingo Road
by Steve Hodges is part
of our Alfred FLEX
offerings and is designed
with maximum flexibility
for use by any mix of
instruments---wind,
strings, and percussion,
including like- or
mixed-ensembles with as
few as 5 players. The
suggested instrumentation
and a customizable
Teacher Map will help you
plan out how to best
assign parts to suit your
ensemble's needs. It also
comes with supplemental
parts for maximum
flexibility. With the
purchase of this piece,
permission is granted to
photocopy the parts as
needed for your ensemble.
A percussion
accompaniment track is
also available as a free
download. String parts
have been carefully
edited with extra
fingerings and
appropriate bowings to
support students in mixed
ensembles playing in less
familiar keys.
Flamingo Road is
a Latin-inspired piece
that starts in the fast
lane and never lets up!
Featuring an active
percussion section and
some catchy themes, each
section of the band will
take a turn in the
driver's seat. Stay in
your lane!
(2:18)
Percussion
Accompaniment Track
Downloads: with click without
click This title is
available in MakeMusic
Cloud.
Orchestra - Grade 3.5 SKU: AP.31616 Composed by Tim Aucoin. Performance M...(+)
Orchestra - Grade 3.5
SKU: AP.31616
Composed by Tim Aucoin.
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Alternatives. Light
Concert. Score and
Part(s). 132 pages.
Duration 3:50.
Highland/Etling
#00-31616. Published by
Highland/Etling
(AP.31616).
UPC:
038081335650.
English.
Feel the
relaxed energy of a hot
afternoon while the
gators bask on the banks
of the Tchefuncte River
in Louisiana! This
swingin' feel-good jazz
shuffle features a catchy
melody over a Blues in G
with a middle section
reminiscent of Count
Basie taking it home.
Written out solos for
violin, viola and cello
are included with
backgrounds for all
sections. Let the Good
Times Roll! (3:50).
Composed by Igor Stravinsky (1882-1971). Arranged by Michael Story. Orchestra. M...(+)
Composed by Igor
Stravinsky (1882-1971).
Arranged by Michael
Story. Orchestra.
Masterworks; Part(s);
Score; String Orchestra.
Belwin Beginning String
Orchestra. Form:
Transcription. 20th
Century; Masterwork
Arrangement. Grade 1.5.
76 pages. Published by
Belwin Music
For Orchestra.
Composed by Roberto
Sierra. Orchestra. Study
Score. Composed 1993.
Duration 3'. Subito Music
Corporation #92010270.
Published by Subito Music
Corporation
(SU.92010270).
Audience
clapping; 2222; 4221;
timp, 3 perc; stgs
Duration: 3' Composed:
1993 Published by: Subito
Music Publishing
Performance materials
available on rental
only:.
7 Modern Dances for
Orchestra Study
Score. Composed by
Má, s Seiber, and
tyá. Arranged by
Wolfgang Lichter. This
edition: Saddle
stitching. Sheet music.
Concertino. Classical.
Softcover. Composed 1935.
48 pages. Duration 20'.
Schott Music #CON257.
Published by Schott Music
(HL.49018017).
ISBN
9790001152419.
9.0x12.0x0.2
inches.
After
completing his studies
with Zoltan Kodaly, the
Hungarian composer
Mathias Seiber
(1905-1960) first worked
as a musician in a dance
orchestra on an ocean
liner which gave him the
opportunity to listen to
jazz music in New York.
From 1928 he taught the
first jazz class
worldwide at Dr. Koch's
Conservatoire in
Frankfurt. In the winter
term of 1928/29, 19
students had registered
with whom he gave a
public concert on 3 March
1929 which was broadcast
by Radio Frankfurt. After
the Nazis had seized
power, the jazz class was
dissolved, Seiber lost
his job and emigrated to
London.In 1932 he wrote
his piano cycle 'Leichte
Tanze' (Easy Dances), one
of the early examples of
the adoption of jazz
forms and styles in
so-called serious music.
The present arrangement
for orchestra is easily
playable and is aimed at
youth and amateur
orchestras.
Instrumentation: 2
flutes, clarinet, oboe
(ad lib.), alto
saxophone, trumpet,
bassoon and strings.
Movements: Cake Walk -
Novelty Foxtrot - Gipsy
Tango - Waltz - Walzer -
Blues - Charleston.
Ritual Fire Dance.
Composed by Manuel de
Falla. Arranged by
Douglas E. Wagner.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Concert String Orchestra.
Multicultural. Score and
Part(s). 132 pages.
Duration 4:35. Belwin
Music #00-48053.
Published by Belwin Music
(AP.48053).
UPC:
038081555218.
English.
Danza
Ritual del Fuego arranged
by Douglas E. Wagner is
from Manuel de Falla's
ballet, El amor brujo.
This stunning showpiece
is a fully realized,
unabridged string
orchestra with piano
arrangement that reflects
all of the tonal color
and Spanish flair of the
composer's original.
Characteristic rhythms
and harmonic progressions
combine with a variety of
string techniques,
providing players with
the makings of a
sure-fire concert or
contest success. (4:35)
This title is available
in MakeMusic Cloud.
Ritual Fire Dance.
Composed by Manuel de
Falla. Arranged by
Douglas E. Wagner.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Concert String Orchestra.
Multicultural. Score. 28
pages. Duration 4:35.
Belwin Music #00-48053S.
Published by Belwin Music
(AP.48053S).
UPC:
038081555225.
English.
Danza
Ritual del Fuego arranged
by Douglas E. Wagner, is
from Manuel de Falla's
ballet, El amor brujo.
This stunning showpiece
is a fully realized,
unabridged string
orchestra with piano
arrangement that reflects
all of the tonal color
and Spanish flair of the
composer's original.
Characteristic rhythms
and harmonic progressions
combine with a variety of
string techniques,
providing players with
the makings of a
sure-fire concert or
contest success. (4:35)
This title available in
MakeMusic Cloud.
Orchestra (Score) SKU: HL.14005410 Composed by Geoffrey Burgon. Music Sal...(+)
Orchestra (Score)
SKU:
HL.14005410
Composed
by Geoffrey Burgon. Music
Sales America. Classical.
Book [Softcover].
Composed 2002. Chester
Music #CH55781. Published
by Chester Music
(HL.14005410).
'Acquainted
with Night', is a cycle
of six songs, for alto
and strings, harp and
timpani. The texts are
all concerned with
different aspects of
night. The first song,
'Lullaby' to a poem by
Beaumont and Fletcher,
seeks to evoke the
'care-charming' powers of
sleep. The second, a
setting of Robert Frost's
'Acquainted with the
night', is concerned with
the lonely world of a
strange city at night and
the music is
characterised by an
insistently repeated
figure in the
accompaniment. The third
song contrasts the
calmness of the night
with the turbulence in a
lover's mind - the poem
is by the Earl of Surrey.
'Out in the dark' a poem
by Edward Thomas, is the
text of the fourth song.
It is in the form of a
scherzo and deals with
the mystery and
strangeness of night,
and, as the poet puts it,
the 'might' of night. It
is, as the poet says, a
hymn to night and the
chordal nature of the
accompaniment suggests
this quality. This song
leads directly into the
last, which is in fact a
reprise of the opening
'Lullaby' so completing
the cycle.
Composed by Sylvain
Dagosto. Plectrum
orchetra. Orchestra.
Conductor's score.
Editions Robert Martin
#DAGO02800-CO. Published
by Editions Robert Martin
(RM.DAGO02800-CO).
Concert band with choir/voice - Grade 3 SKU: RM.GOSS08125-CO Composed by ...(+)
Concert band with
choir/voice - Grade 3
SKU:
RM.GOSS08125-CO
Composed by
Francois-Joseph Gossec.
Arranged by Desire
Dondeyne. Music with
chorus, voices.
Orchestra. Conductor's
score. Editions Robert
Martin #GOSS08125-CO.
Published by Editions
Robert Martin
(RM.GOSS08125-CO).
The Magic of Harry Potter Orchestre [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
(Featuring themes from all eight motion pictures). Arranged by Michael Story and...(+)
(Featuring themes from
all eight motion
pictures). Arranged by
Michael Story and Michael
Story. Orchestra. Full
Orchestra; Part(s);
Score. Pop Intermediate
Full Orchestra. Form:
Medley. Light Concert;
Movie; Pop. Grade 3. 248
pages. Published by
Alfred Music Publishing
Percussion (6 player) (Orchestra) SKU: HL.49013032 Ballet in one act b...(+)
Percussion (6 player)
(Orchestra)
SKU:
HL.49013032
Ballet
in one act by Mark
Baldwin. Composed by
Hans Werner Henze. This
edition: Paperback/Soft
Cover. Sheet music.
Edition Schott.
Classical. Study Score.
80 pages. Duration 25'.
Schott Music #ED 9455.
Published by Schott Music
(HL.49013032).
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.
Featuring: Harry in Winter, The Quidditch World Cup (The Irish), Hogwarts' Hymn,...(+)
Featuring: Harry in
Winter, The Quidditch
World Cup (The Irish),
Hogwarts' Hymn, Hogwarts'
March, and Voldemort!. By
Patrick Doyle, John
Williams. Arranged by
Jerry Brubaker. Published
by Alfred Publishing.
By Patrick Doyle And John Williams. Arranged by Jack Bullock. Music by Patrick D...(+)
By Patrick Doyle And John
Williams. Arranged by
Jack Bullock. Music by
Patrick Doyle and John
Williams / arr. Jack
Bullock. For Full
Orchestra. Full
Orchestra. Pop
Intermediate Full
Orchestra. Movie.
Conductor Score.
Published by Alfred
Publishing. Level: 3
(grade 3).
Orchestral Score. Composed by Alan Menken. This edition: Paperback/Softcover...(+)
Orchestral Score.
Composed by
Alan Menken. This
edition:
Paperback/Softcover.
Sheet
music. Study score.
Composed
2010. Omni Music
Publishing
#OMNI 50796. Published by
Omni
Music Publishing