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.
Full orchestra SKU: LO.30-3601L Choral. Sacred Anthem, Concert, General. ...(+)
Full orchestra
SKU:
LO.30-3601L
Choral.
Sacred Anthem, Concert,
General. Orchestral score
and CD with printable
parts. Lorenz Publishing
Company #30/3601L.
Published by Lorenz
Publishing Company
(LO.30-3601L).
UPC:
000308150612.
Orche
stral Score and CD with
Printable Parts for Let
There Be Peace on Earth
(10/5163L) Mary
McDonald’s setting
of the classic song about
peace and unity is a
great option for
concerts, choir features,
and themed services. The
optional full
orchestration adds to the
beauty and emotive nature
of the song, ensuring it
will be a staple in your
music library.
Full orchestra SKU: LO.30-3600L Choral. Sacred Anthem, Christmas, General...(+)
Full orchestra
SKU:
LO.30-3600L
Choral.
Sacred Anthem, Christmas,
General. Orchestral score
and parts. Lorenz
Publishing Company
#30/3600L. Published by
Lorenz Publishing Company
(LO.30-3600L).
UPC:
000308150605.
Orche
stral Score and Parts for
Let There Be Peace on
Earth (10/5163L) Mary
McDonald’s setting
of the classic song about
peace and unity is a
great option for
concerts, choir features,
and themed services. The
optional full
orchestration adds to the
beauty and emotive nature
of the song, ensuring it
will be a staple in your
music library.
A Thrill Of Hope Orchestre [CD d'écoute] Hope Publishing Company
Composed by Joel Raney. This edition: Complete. Christmas, choral cantata. Chris...(+)
Composed by Joel Raney.
This edition: Complete.
Christmas, choral
cantata. Christmas
Musicals. Christmas,
Sacred. Listening CD.
Published by Hope
Publishing Company
(HP.8482).
Orchestra SKU: BA.BA05822-01 Composed by Christoph Willibald Von Gluck. E...(+)
Orchestra
SKU:
BA.BA05822-01
Composed by Christoph
Willibald Von Gluck.
Edited by Irene
Brandenburg. Arranged by
Carlo Bernardi and
Gasparo Angiolini. This
edition: complete
edition, urtext edition.
Linen. Complete edition,
Score. Baerenreiter
Verlag #BA05822-01.
Published by Baerenreiter
Verlag (BA.BA05822-01).
ISBN 9790006567454. 33
x 26 cm inches. Preface:
Brown, Bruce
Alan.
To conclude
Series II (Dance Dramas)
from the Gluck Complete
Edition (GGA), this
volume of Christoph
Willibald Gluck's
earliest contributions to
the genre comprises six
ballet scores from 1759
(La Promenade, Les
Jardiniers, Les Turcs,
Les Savoiards, Les Amours
de Flore et Zphire, and
Le Suisse) as well as the
ballet music for Les
Vendanges, which dates
from 1761. These works
belong to the
compositions â also
called Krumau ballets
because of their musical
transmission â which
Gluck created in Vienna
between 1759 and 1765 for
the court theatres in
Laxenburg and
Schönbrunn as well as
the
Kärntnertortheater,
and which are to be
attributed to him as a
ballet composer around
the middle of the 18th
century in Viennese
theatre life based on the
considerations presented
in the general
preface.
Together
with volumes II/3 to
II/5, ballet music by
Gluck is available whose
sources come from the
former Schwarzenberg
court archive in Ceský
Krumlov, Czech Republic,
and which until the
Velvet Revolution of
1989, lay behind the Iron
Curtain remaining largely
inaccessible and
unexplored by Western
scholars. These volumes
reflect two fundamental
developments in Gluck
research: on the one
hand, they provide a
significantly expanded,
historically more
accurate idea of what it
meant to compose for the
ballet in the 18th
century; on the other
hand, they bring to light
an immense treasure trove
of sources formerly of
Viennese
provenance.
In
addition to the detailed
introduction by this
volumeâs editor on
the ballet choreographies
of Gasparo Angiolini and
Carlo Bernardi, on the
formation of the ballet
troupes of the Viennese
theatres in Gluck's early
years there, on ballet
types and genres, as well
as a detailed account of
the individual titles,
the volume includes a
general preface to
volumes II/3 through II/5
by Bruce Alan Brown,
which discusses Gluck's
ballet music in Vienna in
general as well as the
development of research
into this genre.
Extensive illustrations
(partly from the
so-called Durazzo
Collection) with
reference to the
choreographies enrich the
discussions. The ballet
works, which have
survived in only one
source each, appear in
print for the first time
in this volume of the
Gluck Complete
Edition.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Orchestra SKU: BT.YKM570369270 Composed by Robert Saxton. Score Only. Com...(+)
Orchestra
SKU:
BT.YKM570369270
Composed by Robert
Saxton. Score Only.
Composed 2021. 70 pages.
University of York Music
Press #YKM570369270.
Published by University
of York Music Press
(BT.YKM570369270).
A Hymn to the
Thames was commissioned
by James Turnbull and the
Music Director of the St
Paul’s Sinfonia, Andrew
Morley. It was begun in
2019 and completed early
in 2020. There are four
movements played without
a break, which follow the
Thames from its Cotswold
source to the North Sea.
As the first performance
took place in St
ALfege’s Church,
Greenwich, this seemed
appropriate. The solo
oboe represents both a
wanderer along the river
path and the spirit of
the river. The pitch
centres of the movements
spell out the musical
letters of the river
(tHAmES—B natural, A, E
and E flat) so that the
river’s name is
projected across the
whole work. In addition,
the musical letters found
in James Turnbull, Andrew
Morley and my wife,
Teresa Cahill ( who was
born in Maidenhead and
brought up by the river
in Rotherhithe) are
entwined in various
guises. The first
movement grows from the
depths, the soloist
entering with
fanfare-like gestures,
followed by lyrical music
and breaks into a dance
as the river gathers
momentum. The third
movement is slow and
sustained and
geographically the Thames
flows through Oxford. The
music is based on the
well-known In Nomine
‘head motif’ from the
Gloria tibi Trinitas Mass
by the early Tudor
composer, John Taverner,
who was the first
Director of Music at
Christ Church, Oxford.
The orchestra provides a
screen or veil above
which the solo oboe
dreams and ruminates.
This leads directly into
the fourth and final
movement which begins in
the depths once more,
interrupting the oboe’s
held note from the end of
the third movement. The
waters’ increasing
intensity and power are
represented throughout by
a moto perpetuo of quick,
steady semiquavers. Near
the close, the woodwind
play O Nata Lux by Thomas
Tallis, the great Tudor
composer who, with his
wife Joan, is buried in
St Alfege’s. Beneath
this, the lower strings
continue the fast
semiquaver movement of
the river and, above, the
violins are heard as a
halo of harmonics. At the
close, the oboe rises,
opening out to the
future, and celebrating
its voyage, while the
orchestra fades as the
river meets the sea. A
Hymn to the Thames lasts
approximately 17
minutes.
A Halloween Thriller Orchestre [Conducteur et Parties séparées] Alfred Publishing
Featuring: Toccata and Fugue in D Minor / A Night on Bald Mountain / Thriller. C...(+)
Featuring: Toccata and
Fugue in D Minor / A
Night on Bald Mountain /
Thriller. Composed by Rod
Temperton, Johann
Sebastian Bach, and
Modest Mussorgsky.
Arranged by Ralph Ford.
Masterworks; Part(s);
Score; String Orchestra.
Pop Concert String
Orchestra. Form: Medley.
Fall; Halloween;
Masterwork Arrangement;
Pop. 128 pages. Published
by Alfred Music
Ouverture JS 145,
Baletscen JS 163.
Composed by Jean
Sibelius. Edited by Tuija
Wicklund. Linen. Complete
Works. Late-romantic;
Early modern. Complete
Works. 196 pages.
Breitkopf and Haertel
#SON 627. Published by
Breitkopf and Haertel
(BR.SON-627).
ISBN
9790004803295. 10 x 12.5
inches.
In 1998, at
the end of the 20th
century, Breitkopf &
Hartel started the
publication of the
Complete Edition, which
is made possible thanks
to the cooperation of the
various Sibelius
publishers. The Editors
(Helsinki University
Library and The Sibelius
Society of Finland) and
the Editorial Committee
(Chairman: Timo Virtanen,
Helsinki) believe that
the volumes of JSW will
provide the basis for a
now conception of the
creative work of Jean
Sibelius.Reviews: One
immediately recognizes
the towering production
quality of these volumes
- a point that can be
extended to all volumes
thus far published in the
set. The music is a joy
to read; and the lucidity
and thoroughness of the
texts … are models
of scholarly editions,
and should be required
reading for all
bibliography and
music-editing courses.
… In sum, the JSW
is a remarkable project:
the scholarship is
impeccable, the music
scores and texts are
simply a joy to study.
Edward Jurkowski, Notes
December 2011: 442-443At
the back of this
magnificent book are
pages of critical
commentary on a
bar-by-bar analysis of an
endless supply of musical
notation requiring
interpretation by the
editor. … For the
general, non-musically
trained, purchaser of the
edition there is the
magisterial introduction
to read, and fascinating
reading it is. Edward W.
Clark, Sibelius Society
Newsletter 2009 The
Sibelius pieces, however,
are a revelation. I
opened this magnificently
produced volume -
complete with
multilingual critical
report and generous
facsimiles of original
manuscripts - expecting
Grieg-style
quasi-nationalistic
character pieces, and was
instead presented with an
incredible array of
styles, textures,
harmonic languages and
levels of difficulty.
Chris White, Piano
Professional Summer 2009:
2This is not only a
scholarly edition of one
of the composer's major
works, it is also a model
for the philological
editing of music in
general. … JSW has
chosen to have the
emendations reflected in
two places, in certain
cases even in three: as
graphic indications in
the music text, in prose
form in the critical
commentary, and sometimes
also in the form of a
warning footnote on the
music page. There can be
no doubt that such a
procedure is very
user-friendly, but it
disturbs the appearance
of the music and may
mislead the user into
thinking that there are
two or more equally valid
readings. Niels Krabbe,
Fontes Artis Musicae
54/2, 2007: 248 Editorial
standards are high
throughout, and maintain
a careful balance between
the competing demands of
practical exigency and
the need to provide as
much scholarly evidence
of variants as possible.
The critical commentaries
provide concise and
effective descriptions of
the sources and, where
appropriate, information
on compositional genesis
and historical context.
The introduction to each
volume provide useful
background information on
historical reception,
including much new
material not previously
brought to light in
Tawaststjerna's
biography. Daniel M.
Grimley,
Nineteenth-Century Music
Review 2/2, 2005:
244.
Scenes
historiques op.25,
op.66. Composed by
Jean Sibelius. Edited by
Kari Kilpelainen. Linen.
Complete Works.
Late-romantic; Early
modern. Complete Works.
228 pages. Breitkopf and
Haertel #SON 625.
Published by Breitkopf
and Haertel (BR.SON-625).
ISBN 9790004803271. 10
x 12.5 inches.
In
1998, at the end of the
20th century, Breitkopf &
Hartel started the
publication of the
Complete Edition, which
is made possible thanks
to the cooperation of the
various Sibelius
publishers. The Editors
(Helsinki University
Library and The Sibelius
Society of Finland) and
the Editorial Committee
(Chairman: Timo Virtanen,
Helsinki) believe that
the volumes of JSW will
provide the basis for a
now conception of the
creative work of Jean
Sibelius.Reviews: One
immediately recognizes
the towering production
quality of these volumes
- a point that can be
extended to all volumes
thus far published in the
set. The music is a joy
to read; and the lucidity
and thoroughness of the
texts ... are models of
scholarly editions, and
should be required
reading for all
bibliography and
music-editing courses.
... In sum, the JSW is a
remarkable project: the
scholarship is
impeccable, the music
scores and texts are
simply a joy to study.
Edward Jurkowski, Notes
December 2011: 442-443At
the back of this
magnificent book are
pages of critical
commentary on a
bar-by-bar analysis of an
endless supply of musical
notation requiring
interpretation by the
editor. ... For the
general, non-musically
trained, purchaser of the
edition there is the
magisterial introduction
to read, and fascinating
reading it is. Edward W.
Clark, Sibelius Society
Newsletter 2009 The
Sibelius pieces, however,
are a revelation. I
opened this magnificently
produced volume -
complete with
multilingual critical
report and generous
facsimiles of original
manuscripts - expecting
Grieg-style
quasi-nationalistic
character pieces, and was
instead presented with an
incredible array of
styles, textures,
harmonic languages and
levels of difficulty.
Chris White, Piano
Professional Summer 2009:
2This is not only a
scholarly edition of one
of the composer's major
works, it is also a model
for the philological
editing of music in
general. ... JSW has
chosen to have the
emendations reflected in
two places, in certain
cases even in three: as
graphic indications in
the music text, in prose
form in the critical
commentary, and sometimes
also in the form of a
warning footnote on the
music page. There can be
no doubt that such a
procedure is very
user-friendly, but it
disturbs the appearance
of the music and may
mislead the user into
thinking that there are
two or more equally valid
readings. Niels Krabbe,
Fontes Artis Musicae
54/2, 2007: 248 Editorial
standards are high
throughout, and maintain
a careful balance between
the competing demands of
practical exigency and
the need to provide as
much scholarly evidence
of variants as possible.
The critical commentaries
provide concise and
effective descriptions of
the sources and, where
appropriate, information
on compositional genesis
and historical context.
The introduction to each
volume provide useful
background information on
historical reception,
including much new
material not previously
brought to light in
Tawaststjerna's
biography. Daniel M.
Grimley,
Nineteenth-Century Music
Review 2/2, 2005:
244.
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
Orchestra SKU: PR.416415720 For Orchestra. Composed by Narong Pran...(+)
Orchestra
SKU:
PR.416415720
For
Orchestra. Composed
by Narong Prangcharoen.
Full score. 24 pages.
Duration 5:30. Theodore
Presser Company
#416-41572. Published by
Theodore Presser Company
(PR.416415720).
UPC:
680160636150.
Illum
inating Journey is
composed to celebrate
Maestro Carl St. Clair's
25th Anniversary season
with Pacific Symphony.
Maestro St. Clair is one
of the few conductors who
has dedicated his time to
new music and support for
living composers. I first
encountered Maestro St.
Clair in 2004 when I was
one of the finalists for
the Young Composers
Competition. After I won
that competition, I had
an opportunity to work
with Maestro St. Clair on
the piece that he
commissioned for the
Pacific Symphony in 2005.
That's the beginning of
the journey of our
friendship. Illuminating
Journey is inspired by
Maestro St. Clair's
personality and the music
he loved. The piece is
mainly based on the pitch
material from Maestro St.
Clair's name CARL which
can be translated as C =
C, A = A, R = Re, and L =
La. That pitch material
already has the character
of Illuminating sound for
the open 5th and octave.
The piece also
incorporates some musical
references that have some
meaning for Maestro St.
Clair, such as the
hopefulness of the
melodic intervals from
West Side Story, There's
a Place for Us, composed
by Leonard Bernstein, who
was also Maestro St.
Clair's mentor.
Illuminating Journey
starts with the rhythmic
motion of the pitch C and
moves on to create a set
of pitches. The note C
functions as a center for
the endless energy of
this piece and creates a
triumphant ending. I
would personally like to
thank Maestro St. Clair
for his dedication on my
music and his friendship
throughout the past 10
years. The work with
Maestro St. Clair and the
Pacific Symphony was an
early step in my career
as a composer. I often
mentioned that I may not
be able to come this far
without that part of my
life. Thank you very
much, Maestro St. Clair
and the Pacific Symphony.
Let's celebrate our
Illuminating Journey
together.
Orchestra SKU: PR.41641572L For Orchestra. Composed by Narong Pran...(+)
Orchestra
SKU:
PR.41641572L
For
Orchestra. Composed
by Narong Prangcharoen.
Large Score. 24 pages.
Duration 5:30. Theodore
Presser Company
#416-41572L. Published by
Theodore Presser Company
(PR.41641572L).
UPC:
680160636167.
Illum
inating Journey is
composed to celebrate
Maestro Carl St. Clair's
25th Anniversary season
with Pacific Symphony.
Maestro St. Clair is one
of the few conductors who
has dedicated his time to
new music and support for
living composers. I first
encountered Maestro St.
Clair in 2004 when I was
one of the finalists for
the Young Composers
Competition. After I won
that competition, I had
an opportunity to work
with Maestro St. Clair on
the piece that he
commissioned for the
Pacific Symphony in 2005.
That's the beginning of
the journey of our
friendship. Illuminating
Journey is inspired by
Maestro St. Clair's
personality and the music
he loved. The piece is
mainly based on the pitch
material from Maestro St.
Clair's name CARL which
can be translated as C =
C, A = A, R = Re, and L =
La. That pitch material
already has the character
of Illuminating sound for
the open 5th and octave.
The piece also
incorporates some musical
references that have some
meaning for Maestro St.
Clair, such as the
hopefulness of the
melodic intervals from
West Side Story, There's
a Place for Us, composed
by Leonard Bernstein, who
was also Maestro St.
Clair's mentor.
Illuminating Journey
starts with the rhythmic
motion of the pitch C and
moves on to create a set
of pitches. The note C
functions as a center for
the endless energy of
this piece and creates a
triumphant ending. I
would personally like to
thank Maestro St. Clair
for his dedication on my
music and his friendship
throughout the past 10
years. The work with
Maestro St. Clair and the
Pacific Symphony was an
early step in my career
as a composer. I often
mentioned that I may not
be able to come this far
without that part of my
life. Thank you very
much, Maestro St. Clair
and the Pacific Symphony.
Let's celebrate our
Illuminating Journey
together.
Orchestra - intermediate to advanced SKU: HL.49001684 Score. Compo...(+)
Orchestra - intermediate
to advanced
SKU:
HL.49001684
Score. Composed by
Pietro Nardini. Edited by
Guenter Kehr. This
edition: Saddle
stitching. Sheet music.
Concertino (Chamber
Orchestra). Classical.
Condensed Score. Op. 1/1.
32 pages. Duration 13'.
Schott Music #CON 109.
Published by Schott Music
(HL.49001684).
ISBN
9790001023146.
8.25x11.75x0.133
inches.
Pietro
Nardini was the most
important pupil of
Tartini regarding both
violin playing and
composition. Like his
teacher, he attached
special significance to
the beauty of sound and
the -suitability for
singing, as is shown by
reports of his
contemporaries. Leopold
Mozart, for example,
wrote in one of his
letters that he had heard
a certain Nardini and
that there could not be
heard anything more
beautiful in the tonal
beauty, purity, harmony
and in the singable
taste.The two concertos
in A major and F major
consist of three
movements with the
traditional tempo order
quick-slow-quick, each
movement giving the
soloist the opportunity
to play a solo
cadence.
Orchestra - intermediate to advanced SKU: HL.49001686 Set of String Pa...(+)
Orchestra - intermediate
to advanced
SKU:
HL.49001686
Set of
String Parts.
Composed by Pietro
Nardini. Edited by
Guenter Kehr. Sheet
music. Concertino
(Chamber Orchestra).
Classical. Set of
supplemental string
parts. Op. 1/1. 46 pages.
Duration 13'. Schott
Music #CON 109-60.
Published by Schott Music
(HL.49001686).
ISBN
9790001023160.
9.0x12.0x0.097
inches.
Pietro
Nardini was the most
important pupil of
Tartini regarding both
violin playing and
composition. Like his
teacher, he attached
special significance to
the beauty of sound and
the -suitability for
singing, as is shown by
reports of his
contemporaries. Leopold
Mozart, for example,
wrote in one of his
letters that he had heard
a certain Nardini and
that there could not be
heard anything more
beautiful in the tonal
beauty, purity, harmony
and in the singable
taste.The two concertos
in A major and F major
consist of three
movements with the
traditional tempo order
quick-slow-quick, each
movement giving the
soloist the opportunity
to play a solo
cadence.
Feel It Still Orchestre [Conducteur] - Facile Alfred Publishing
Orchestra - Grade 2.5 SKU: AP.47443S As Recorded by Portugal. The Man<...(+)
Orchestra - Grade 2.5
SKU: AP.47443S
As Recorded by
Portugal. The Man.
Composed by Asa Taccone,
Brian Holland, Eric Howk,
Freddie Gorman, Georgia
Dobbins, Jason Sechrist,
John Gourley, John Hill,
Kyle O'Quin, Robert
Bateman, William Garrett,
and Zach Carothers.
Arranged by Michael
Story. Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Intermediate String
Orchestra. Light Concert;
Pop; Pop/Rock. Score. 8
pages. Alfred Music
#00-47443S. Published by
Alfred Music (AP.47443S).
ISBN 9781470653118.
UPC: 038081547336.
English.
This
chart-topping hit from
the group Portugal. The
Man won the GRAMMY Award
for Best Pop Duo/Group
Performance in 2018.
Utilizing parts of the
1961 hit song Please Mr.
Postman by the
Marvelettes, the song has
a unique, catchy groove
that will be a hit with
your students and
audience alike. Although
arranged by Michael Story
to be completely playable
by string orchestra
alone, there are also
easy optional parts
included for piano and
percussion.
The Hebrides Orchestre [Conducteur d'étude / Miniature] Barenreiter
(Concert Overture). By Felix Bartholdy Mendelssohn (1809-1847). Edited by Christ...(+)
(Concert Overture). By
Felix Bartholdy
Mendelssohn (1809-1847).
Edited by Christopher
Hogwood. For Orchestra.
Baerenreiter
Studienpartituren - Study
scores. Study Score;
Urtext Edition. Op. 26.
Duration 10'