Orchestra (Study Score) SKU: HL.48024129 For Chamber Orchestra. Co...(+)
Orchestra (Study Score)
SKU: HL.48024129
For Chamber
Orchestra. Composed
by Franz Schubert and
Robert Schumann. Arranged
by Benjamin Britten.
Boosey & Hawkes
Scores/Books. Classical.
Softcover. 32 pages.
Boosey & Hawkes
#M060132568. Published by
Boosey & Hawkes
(HL.48024129).
ISBN
9781784542344. UPC:
888680708894. 7.25x10.25
inches.
Britten's
arrangements of
Schubert's The Trout (op
32/D550) for small
orchestra, and Schumann's
Spring Night (op 39 no
12) for chamber
orchestra, dating from
1942, are settings of
anonymous English
translations. The new
edition includes the
original German words
(Schubart, Eichendorff),
as many performers and
audiences will prefer the
songs in the original
language. In his preface,
Nicholas Clark, Librarian
at the Britten-Pears
Foundation, speculates on
why the songs were set in
English and on the
possibility that the
translator was Peter
Pears, commenting that
“the English
language settings allowed
[Britten] to edge away
from existing versions of
the songs, to assist him
in imprinting his own
unique mark on both
works.” The Trout
is scored for 2 clarinets
& strings; Spring Night
for flute, oboe, 2
clarinets, bassoon, 2
horns, 2 trumpets,
trombone, triangle, harp
(or piano) and
strings.
Composed by Igor Stravinsky (1882-1971). Full score for full orchestra. With ful...(+)
Composed by Igor
Stravinsky (1882-1971).
Full score for full
orchestra. With full
score notation and
introductory text. 174
pages. Published by Dover
Publications.
Orchestra (Orchestra) SKU: HL.14008415 Composed by Sir Peter Maxwell Davi...(+)
Orchestra (Orchestra)
SKU: HL.14008415
Composed by Sir Peter
Maxwell Davies. Music
Sales America. Post-1900.
Sheet Music, Miniature
Score. With Text
language: English. 110
pages. Chester Music
#CH55687. Published by
Chester Music
(HL.14008415).
UPC:
884088808242.
8.5x11.0x0.261
inches.
This work,
written by Maxwell Davies
in 1983 for chamber
orchestra, was
commissioned to celebrate
the quartercentenary of
Edinburgh University. The
first performance was
given by the Scottish
Chamber Orchestra
conducted by Edward
Harper in October 1983.
Duration c. 29mins. This
work was thought through
in outline following a
visit to the ruined
pre-Reformation church of
Hoy in Orkney, on a fine
Spring afternoon after
Maxwell Davies had played
the harmonium for the
tiny congregation in its
large bleak Victorian
replacement. The old
church was surrounded by
the graves of centuries,
the more recent ones with
familiar names, largely
of people who lived in
houses now ruinous -
crofters, fishermen,
clerics, sea-captains.
Next to it stood the
chief farmhouse, the Bu,
going back to Viking
times. He thought of the
lives and deaths
encompassed there,
expressed through
hundreds of years of
music in the church, and
in the big barn of the
farm. The plainsongs
'Dies Irae' and 'Victimae
Paschali Laudes' are used
throughout the work - the
first concerning the Day
of Judgement, from the
Mass for the Dead, the
second particular to
Easter Sunday and the
Resurrection. These are
subject to constant
transformation - the
intervallic contour
slowly changes from one
into the other, and their
notes are made to dance
through Renaissance
astrological 'magic
square' patterns. The
orchestra consists of
double woodwind, two
horns, two trumpets and
strings.
Orchestra (Full Score) SKU: HL.48011119 Volume 21b Early Orchestral Wo...(+)
Orchestra (Full Score)
SKU: HL.48011119
Volume 21b Early
Orchestral Works
(II). Composed by
Frederick Delius. Edited
by Sir Thomas Beecham.
This edition: M060081651.
Boosey & Hawkes
Scores/Books. Classical,
Collection, Contemporary.
44 pages. Boosey & Hawkes
#M060081651. Published by
Boosey & Hawkes
(HL.48011119).
UPC:
073999342437.
9.25x12.2x0.222
inches.
Contents:
Winter Night (Sleigh
Ride) * Spring
Morning.
Our Kingsland Spring Orchestre [Conducteur et Parties séparées] - Facile Hal Leonard
(Movement I of Georgian Suite). By Samuel R. Hazo. (Score & Parts). MusicWorks ...(+)
(Movement I of Georgian
Suite). By Samuel R.
Hazo. (Score & Parts).
MusicWorks Grade 2.
Concert Band. Score and
full set of parts. Size
9x12 inches. Published by
Hal Leonard.
Country Song Orchestre - Intermédiaire/avancé Highland/Etling
Orchestra - Grade 4 SKU: AP.41265S From Two Songs Without Words, Op...(+)
Orchestra - Grade 4
SKU: AP.41265S
From Two Songs
Without Words, Op. 22,
No. 1. Composed
by Gustav Holst. Arranged
by Robert Sieving.
MakeMusic Cloud;
Masterworks; Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland/Etling String
Orchestra. Form:
Transcription. 20th
Century; Folk; Masterwork
Arrangement; Romantic.
Score. 16 pages.
Highland/Etling
#00-41265S. Published by
Highland/Etling
(AP.41265S).
UPC:
038081480800.
English.
This
beautiful folk melody
will capture the hearts
of students and
audiences. Originally
scored for large
orchestra, this string
arrangement captures the
essential qualities often
heard in the English
style of chamber music
for strings from the late
nineteenth and early
twentieth centuries.
Holst's melody, with its
simple pentatonic
folksong theme, receives
the kind of mystical
transformation we often
associate with British
composers' treatments of
their indigenous
wellspring---the
folksong. All sections
share in the melodic
themes while passages for
a quartet of soloists add
textural interest. This
title is available in
MakeMusic Cloud.
Josh Groban Gold Orchestre [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
(Featuring: The Prayer / You Raise Me Up / To Where You Are). Arranged by Jerry ...(+)
(Featuring: The Prayer /
You Raise Me Up / To
Where You Are). Arranged
by Jerry Brubaker.
Orchestra. Full
Orchestra; Part(s);
Score. Pop Concert Full
Orchestra. Form: Medley.
Pop. Grade 3. 208 pages.
Published by Alfred Music
Featuring: The Prayer / You Raise Me Up / To Where You Are. Arranged by J...(+)
Featuring: The Prayer
/ You Raise Me Up / To
Where You Are.
Arranged by Jerry
Brubaker. Full Orchestra;
Score. Pop Concert Full
Orchestra. Form: Medley.
Pop. 20 pages. Published
by Alfred Music
(AP.43802S).
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.
Full Score.
Composed by Oscar
Hammerstein and Richard
Rodgers. Arranged by
Bruce Chase. Orchestra.
Broadway. 80 pages.
Published by Hal Leonard
(HL.348847).
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.
Composed by Claude Debussy (1862-1918). Orchestra. For orchestra. Full Orchestra...(+)
Composed by Claude
Debussy (1862-1918).
Orchestra. For orchestra.
Full Orchestra (Full
Score); Larger Works;
Masterworks; Score. Dover
Edition. Impressionistic;
Masterwork. Full score.
224 pages. Published by
Dover Publications