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

A Beginner's Guide for Group or Private Instruction. Modern Band. Method, Teacher Resource. Softcover. 256 pages. Published by Little Kids Rock

Hawkes Pocket Score 1592. Composed by Igor Stravinsky (1882-1971). Boosey & Hawkes Scores/Books. Softcover. 40 pages. Boosey & Hawkes #M060133572. Published by Boosey & Hawkes

Orchestra (2.2.2.2 - 4.2.2.1 - 3 percussion, harp; strings)

SKU: SU.92010190

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 (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 (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 Cup (The Irish), and Hogwarts' Hymn. By Patrick Doyle, John Williams. Arranged by Jack Bullock. Full Orchestra. Full orchestra. Published by Alfred Publishing.

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.

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score)

SKU: HL.49018099

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: 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 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 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 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. 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

Orchestra (audience clapping; 2.2.2.2 - 4.2.2.1 - timpani, 3 percussion; strings)

SKU: SU.92010270

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:.

Orchestra - Grade 3.5

SKU: AP.48053

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.

Orchestra - Grade 3.5

SKU: AP.48053S

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 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.

Plectrum orchestra - Grade 2

SKU: RM.DAGO02800-CO

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 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).

(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

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.

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 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. Sheet music. Study score. Composed 2010. Omni Music Publishing #OMNI 50796. Published by Omni Music Publishing