Concert band - Grade 3 SKU: RM.BRIV02327-BA Composed by John Briver. Rock...(+)
Concert band - Grade 3
SKU:
RM.BRIV02327-BA
Composed by John Briver.
Rock, latino, jazz.
Orchestra. Full set.
Editions Robert Martin
#BRIV02327-BA. Published
by Editions Robert Martin
(RM.BRIV02327-BA).
Concert band - Grade 3 SKU: RM.BRIV02327-CO Composed by John Briver. Rock...(+)
Concert band - Grade 3
SKU:
RM.BRIV02327-CO
Composed by John Briver.
Rock, latino, jazz.
Orchestra. Conductor's
score. Editions Robert
Martin #BRIV02327-CO.
Published by Editions
Robert Martin
(RM.BRIV02327-CO).
Orchestra SKU: FG.55011-610-8 Two mythical scenes op 1. Composed b...(+)
Orchestra
SKU:
FG.55011-610-8
Two
mythical scenes op 1.
Composed by Aulis
Sallinen. Study score.
Fennica Gehrman
#55011-610-8. Published
by Fennica Gehrman
(FG.55011-610-8).
ISBN
9790550116108.
Two
Mythical Scenes for
orchestra was completed
in 1956, when Sallinen
was Aarre Merikanto's
composition student for
his second term. The work
received its premiere
performance only after a
good deal of pressure
from Prof. Merikanto's
side, and was finally
premiered in a concert by
the Sibelius Academy
Symphony Orchestra,
conducted by Jussi Jalas.
The work received opus
number 1, as it was the
first publicly performed
work by Sallinen.
The composer has told
that he was inspired by a
1947 book published by
the Finnish Literary
Society (SKS) Myytillisia
kuvia (Mythical
Scenes/Images). The
second movement of the
work, Kalmanvaen
joulukirkko (The
Christmas Service of the
Dead) is based on the
stories in which the dead
rise from their graves
early in the Christmas
Day morning to attend
their own special
ceremony led by a dead
priest. The opening
movement Kulkue
(Procession) depicts the
dead in a procession
towards the church.
In 2020 Sallinen revised
the score slightly. In
his own words with very
small changes helping the
sixty years younger and
less experienced self.
The revisions mostly
concerned nuances and
dynamics, bowings and
some bridges. The
original structure,
rhythmic and harmonic
world is still the same
as they were when young
Sallinen composed the
work in 1956.
SATB Choir, Orchestra (Study Score) SKU: HL.14026108 Composed by Zbigniew...(+)
SATB Choir, Orchestra
(Study Score)
SKU:
HL.14026108
Composed
by Zbigniew Preisner.
Music Sales America.
Post-1900. Sheet Music,
Score. With Text
language: Greek / Latin /
Polish. Chester Music
#CH61497. Published by
Chester Music
(HL.14026108).
UPC:
884088811266. 0.408
inches.
Composer's
Note Once, we had a joint
conception to create a
concert telling a life
story. The premiere was
planned to take place on
the Acropolis in Athens.
It was intended to be a
large event, a hybrid of
a mystery play and an
opera. Krzysztof
Kieslowski would be the
director, Krzysztof
Piesiewicz was
responsible for the
script, and I was
planning to compose the
music. We thought it
might be the first of a
series of musical
performances, to be
developed in various
interesting places around
the world in the next few
years. But it was life
that authored a different
ending: Krzysztof
Kieslowski died in March
of 1996. The first part
of Requiem for My Friend
is meant as a farewell to
Krzysztof Kieslowski. I
dedicate this music to
him. Zbigniew
Preisner.
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
(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; Score. Pop
Intermediate Full
Orchestra. Form: Medley.
Light Concert; Movie;
Pop. Grade 3. 32 pages.
Published by Alfred Music
Publishing9
Orchestra - Grade 2.5 SKU: AP.40502 As Performed by The Who. Compo...(+)
Orchestra - Grade 2.5
SKU: AP.40502
As Performed by The
Who. Composed by Pete
Townshend. Arranged by
Douglas E. Wagner.
Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Intermediate String
Orchestra. Light Concert;
Rock. Score and Part(s).
120 pages. Duration 2:24.
Alfred Music #00-40502.
Published by Alfred Music
(AP.40502).
UPC:
038081465258.
English.
From their
first album in 1965 that
catapulted them to the
top of the rock charts,
this classic from The Who
is as vital today as it
was back then. With this
exciting, rhythmically
driven arrangement,
you'll find great
audience acceptance, and
it's loads of fun to
play! (2:24).
Composed
by Heribert Breuer. Carus
digital: Extra digital
products. Fröhliche
Weihnachten! Full Score.
16 pages. Duration 4
minutes. Carus Verlag
#1021400. Published by
Carus Verlag
(CA.1021400).
ISBN
9790007299873. Key: D
major.
Latin/German.
A
perfect way to finish off
a Christmas concert.
Heribert Breuer, founder
and conductor of the
Berlin Bach Academy,
conceived this
four-minute piece as a
final farewell to follow
performances of the
Christmas Oratorio.
Alternatively it can
easily be programmed
together with other
Christmas pieces with
similar
scoring.
The
Sicilian folk tune O
sanctissima gradually
emerges from a sustained
organ pedal point in the
orchestra. This melody
seems familiar to the
listeners ... and then
the mystery is solved:
hidden in the alto part
can be heard the first
verse of the German carol
O du fröhliche! The
second verse is given
over to the sopranos, and
the audience is invited
to sing along in the
third verse. After a
brief coda all the
performers wish the
audience “Merry
Christmas!â€
Composed
by Heribert Breuer.
Fröhliche Weihnachten!
Choral Score. 4 pages.
Duration 4 minutes. Carus
Verlag #1021405.
Published by Carus Verlag
(CA.1021405).
ISBN
9790007299880. Key: D
major.
Latin/German.
A
perfect way to finish off
a Christmas concert.
Heribert Breuer, founder
and conductor of the
Berlin Bach Academy,
conceived this
four-minute piece as a
final farewell to follow
performances of the
Christmas Oratorio.
Alternatively it can
easily be programmed
together with other
Christmas pieces with
similar
scoring.The
Sicilian folk tune O
sanctissima gradually
emerges from a sustained
organ pedal point in the
orchestra. This melody
seems familiar to the
listeners ... and then
the mystery is solved:
hidden in the alto part
can be heard the first
verse of the German carol
O du fröhliche! The
second verse is given
over to the sopranos, and
the audience is invited
to sing along in the
third verse. After a
brief coda all the
performers wish the
audience “Merry
Christmas!â€.
Score available
separately - see item
CA.1021400.
Composed
by Heribert Breuer.
Fröhliche Weihnachten!
Set of Orchestra Parts.
Duration 4 minutes. Carus
Verlag #1021409.
Published by Carus Verlag
(CA.1021409).
ISBN
9790007312244. Key: D
major.
Latin/German.
A
perfect way to finish off
a Christmas concert.
Heribert Breuer, founder
and conductor of the
Berlin Bach Academy,
conceived this
four-minute piece as a
final farewell to follow
performances of the
Christmas Oratorio.
Alternatively it can
easily be programmed
together with other
Christmas pieces with
similar
scoring.The
Sicilian folk tune O
sanctissima gradually
emerges from a sustained
organ pedal point in the
orchestra. This melody
seems familiar to the
listeners ... and then
the mystery is solved:
hidden in the alto part
can be heard the first
verse of the German carol
O du fröhliche! The
second verse is given
over to the sopranos, and
the audience is invited
to sing along in the
third verse. After a
brief coda all the
performers wish the
audience “Merry
Christmas!â€.
Score and parts available
separately - see item
CA.1021400.
Composed
by Heribert Breuer.
Fröhliche Weihnachten!
Set of Orchestra Parts.
Duration 4 minutes. Carus
Verlag #1021419.
Published by Carus Verlag
(CA.1021419).
ISBN
9790007312299. Key: D
major.
Latin/German.
A
perfect way to finish off
a Christmas concert.
Heribert Breuer, founder
and conductor of the
Berlin Bach Academy,
conceived this
four-minute piece as a
final farewell to follow
performances of the
Christmas Oratorio.
Alternatively it can
easily be programmed
together with other
Christmas pieces with
similar
scoring.The
Sicilian folk tune O
sanctissima gradually
emerges from a sustained
organ pedal point in the
orchestra. This melody
seems familiar to the
listeners ... and then
the mystery is solved:
hidden in the alto part
can be heard the first
verse of the German carol
O du fröhliche! The
second verse is given
over to the sopranos, and
the audience is invited
to sing along in the
third verse. After a
brief coda all the
performers wish the
audience “Merry
Christmas!â€.
Score and parts available
separately - see item
CA.1021400.
Orchestra (Picc.2.2.2.2 -
4.2.3.0 - timp.trg.side
dr - str)
SKU:
BR.PB-5698
Lenore
- Urtext. Composed by
Joachim Raff. Edited by
Iris Eggenschwiler.
Orchestra; Softbound.
Partitur-Bibliothek
(Score Library). Romantic
period. Full score. 232
pages. Duration 40'.
Breitkopf and Haertel #PB
5698. Published by
Breitkopf and Haertel
(BR.PB-5698).
ISBN
9790004216354. 10 x 12.5
inches.
Joachim
Raff's Fifth Symphony
Lenore op. 177, composed
in 1872, reveals the
composer as a
representative of the
middle ground between
Neo-German aesthetics and
the symphonic tradition.
It owes its name to G. A.
Burger's ballade, which
is the programmatic basis
of the final movement.
Using this literary
model, Raff oriented
himself to the Berlioz
program symphonies and
the Liszt symphonic-poem
concept, on the one hand,
but on the other, he let
the three preceding
movements follow
traditional symphonic
form. Raff conducted the
Lenore symphony's
premiere in December 1872
in a concert by the
Furstliche Hofkapelle in
Sondershausen. The
concert went to his
satisfaction, although
the audience evidently
did not know what to make
of the work: [...] and
the symphony [...] was
played before this
faintly musical party.
Essentially for the
greater glory of God and
my edification, less for
that of the said public,
which seems to have been
rather horrified by it.
His friend Hans von Bulow
had, however, a great
pleasure in hearing the
symphony the following
year in Berlin. In her
preface, the editor Iris
Eggenschwiler provides
detailed information
about the work's genesis,
documents Raff's ideas
and intentions, and
facilitates a
comprehensive orientation
within the historical
context. Breitkopf &
Hartel is now presenting
for the first time with
this symphony an
orchestral work by Raff
in a modern Urtext
edition, thus also
continuing its
collaboration with the
Joachim-Raff-Gesellschaft
.In collaboration with
the Joachim-Raff-Archiv
Lachen (CH).
Lemminkainen ja saaren
neidot - Urtext based on
the Complete Edition Jean
Sibelius Works (JSW).
Composed by Jean
Sibelius. Edited by Tuija
Wicklund. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library).
Symphonic poem; Suite;
Late-romantic; Early
modern. Full score. 84
pages. Duration 17'.
Breitkopf and Haertel #PB
5582. Published by
Breitkopf and Haertel
(BR.PB-5582).
ISBN
9790004213926. 10 x 12.5
inches.
Little is
known about the actual
composition process of
Lemminkainen, and the
performance and
publication history is
rather complex, resulting
in a first complete
printing of all four
movements en suite
through the complete
edition of Jean Sibelius
Works only in 2013.In
summer 1894 Sibelius went
to Central Europe,
carrying among others a
plan for an opera freely
based on the Kalevala in
his mind. But during this
trip he reassessed his
composing: I think I have
found my old self again,
musically speaking. I
think I really am a tone
painter and a poet. As a
result he abandoned his
opera plans, but musical
parts may have found
their way into the
Lemminkainen pieces which
he started composing
during that time.
Lemminkainen became
popular from the
beginning and has
attained a fixed position
in the concert
repertoire.A critic
opined on Lemminkainen
and the Maidens on the
Island: We do not
hesitate to award this
tone painting of
Lemminkainen's erotic
emotional world the first
prize among all the young
composer's works..
Tuonelan joutsen -
Urtext based on the
Complete Edition Jean
Sibelius Works (JSW).
Composed by Jean
Sibelius. Edited by Tuija
Wicklund. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library).
Symphonic poem; Suite;
Early modern;
Late-romantic. Full
score. 24 pages. Duration
10'. Breitkopf and
Haertel #PB 5583.
Published by Breitkopf
and Haertel (BR.PB-5583).
ISBN 9790004213933. 10
x 12.5
inches.
Little is
known about the actual
composition process of
Lemminkainen and the
performance and
publication history is
rather complex, resulting
in a first complete
printing of all the four
movements en suite
through the complete
edition of Jean Sibelius
Works only in 2013.In
summer 1894 Sibelius went
to Central Europe,
carrying among others a
plan for an opera freely
based on the Kalevala in
his mind. But during this
trip he reassessed his
composing: I think I have
found my old self again,
musically speaking. I
think I really am a tone
painter and a poet. As a
result he abandoned his
opera plans, but musical
parts may have found
their way into the
Lemminkainen pieces which
he started composing
during that time.
Definitely the overture
had, it is now known and
loved as The Swan of
Tuonela. Lemminkainen
became popular from the
beginning and has
attained a fixed position
in the concert
repertoire.
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.
Lemminkainen palaa
kotitienoille - Urtext
based on the Complete
Edition Jean Sibelius
Works (JSW). Composed
by Jean Sibelius. Edited
by Tuija Wicklund.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library).
Symphonic poem; Suite;
Late-romantic; Early
modern. Full score. 68
pages. Duration 7'.
Breitkopf and Haertel #PB
5585. Published by
Breitkopf and Haertel
(BR.PB-5585).
ISBN
9790004213957. 10 x 12.5
inches.
Little is
known about the actual
composition process of
Lemminkainen and the
performance and
publication history is
rather complex, resulting
in a first complete
printing of all the four
movements en suite
through the complete
edition of Jean Sibelius
Works only in 2013.In
summer 1894 Sibelius went
to Central Europe,
carrying among others a
plan for an opera freely
based on the Kalevala in
his mind. But during this
trip he reassessed his
composing: I think I have
found my old self again,
musically speaking. I
think I really am a tone
painter and a poet. As a
result he abandoned his
opera plans, but musical
material may have found
its way into the
Lemminkainen pieces which
he started composing
during that time.
Lemminkainen became
popular from the
beginning and has
attained a fixed position
in the concert
repertoire.On
Lemminkainen's Return
Sibelius commented: I
would like to see more
pride in us Finns. Why
should we be ashamed?
This is the underlying
thought in Lemminkainen's
Return. Lemminkainen is
just as good as the
noblest of earls. He is
an aristocrat, without
question an
aristocrat!.
Orchestra (2.1.cor
ang.1.B-clar.2 - 4.3.3.0
- perc - str)
SKU:
BR.PB-5584
Lemminkainen
Tuonelassa - Urtext based
on the Complete Edition
Jean Sibelius Works
(JSW). Composed by
Jean Sibelius. Edited by
Tuija Wicklund.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library).
Symphonic poem; Suite;
Early modern;
Late-romantic. Full
score. 64 pages. Duration
15'. Breitkopf and
Haertel #PB 5584.
Published by Breitkopf
and Haertel (BR.PB-5584).
ISBN 9790004213940. 10
x 12.5
inches.
Little is
known about the actual
composition process of
Lemminkainen and the
performance and
publication history is
rather complex, resulting
in a first complete
printing of all the four
movements en suite
through the complete
edition of Jean Sibelius
Works only in 2013.In
summer 1894 Sibelius went
to Central Europe,
carrying among others a
plan for an opera freely
based on the Kalevala in
his mind. But during this
trip he reassessed his
composing: I think I have
found my old self again,
musically speaking. I
think I really am a tone
painter and a poet. As a
result he abandoned his
opera plans, but musical
material may have found
its way into the
Lemminkainen pieces which
he started composing
during that time.
Lemminkainen became
popular from the
beginning and has
attained a fixed position
in the concert
repertoire.Sibelius said
about Lemminkainen in
Tuonela: The cradle song
at the end of the work is
maternal love, which
rakes the pieces of
Lemminkainen together
from the River
Tuonela..
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.
Final Version 1911 -
Textcritical Edition.
Composed by Gustav
Mahler. Edited by
Christian Rudolf Riedel.
Voice; stapled.
Orchester-Bibliothek
(Orchestral Library).
Symphony; Late-romantic.
Set of parts. 1076 pages.
Duration 55'. Breitkopf
and Haertel #OB 5634-60.
Published by Breitkopf
and Haertel
(BR.OB-5634-60).
ISBN
9790004345085. 10.5 x 14
inches.
Of all his
symphonies, Mahler gave
the Fourth, his favorite
and problem child, his
most particular
attention. The Heavenly
Life, a humoresque
composed in 1892 for
soprano and piano, which
he already wanted to use
in the final movement of
the Third Symphony under
the title What the Child
Tells Me, ultimately
became the nucleus and
final movement of the
Fourth. Even after
publication in 1901,
Mahler kept repeatedly
refining the
orchestration. His maxim
not without my retouching
led to a whole series of
revised reprints. It is
probably no coincidence
that Mahler performed
especially the Fourth
Symphony in his last two
New York concerts in
February 1911, using this
opportunity to review
once again the score and
parts. This performance
material with his
retouching served as the
main source for the new
edition. Furthermore,
included for the first
time were corrections and
annotations in
conjunction with
performances of the
Fourth, which Mahler
entered into the scores
of conductors such as
Mengelberg and
Wickenhauser. PB 5664 has
been awarded the Presto
Sheet Music Award
2020.