Arranged by Sandra Dackow. Conductor's score and set of performance parts for st...(+)
Arranged by Sandra
Dackow. Conductor's score
and set of performance
parts for string
orchestra (8 - 1st
violin, 8 - 2nd violin, 5
- 3rd violin/viola
(treble clef), 5 - viola,
5 - cello, 5 - string
bass, 1 - piano
accompaniment). Series:
Orchestra Expressions
Series. Published by
Alfred Publishing.
Composed by
Vince Gassi. 5 or More;
MakeMusic Cloud; Mixed
Instruments - Flexible
Instrumentation;
Performance Music
Ensemble; Single Titles;
Solo Small Ensembles.
Challenger Band Series.
Score and Part(s). 155
pages. Duration 2:35.
Alfred Music #00-49119.
Published by Alfred Music
(AP.49119).
UPC:
038081563497.
English.
This
version of Where Stand
the Dauntless by Vince
Gassi 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.
A
fanfare, a lyrical theme,
and driving energy embody
the spirit of the
dauntless---the brave and
amazing young musicians
of Dolphin Senior Public
School in Mississauga,
Ontario, Canada. Where
Stand the Dauntless by
Vince Gassi is an
exciting work---and a
perfect concert opener
and contest piece. (2:35)
Composed by
Vince Gassi. 5 or More;
MakeMusic Cloud; Mixed
Instruments - Flexible
Instrumentation;
Performance Music
Ensemble; Single Titles;
Solo Small Ensembles.
Challenger Band Series.
Score. 20 pages. Duration
2:35. Alfred Music
#00-49119S. Published by
Alfred Music (AP.49119S).
UPC: 038081563503.
English.
This
version of Where Stand
the Dauntless by Vince
Gassi 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.
A
fanfare, a lyrical theme,
and driving energy embody
the spirit of the
dauntless---the brave and
amazing young musicians
of Dolphin Senior Public
School in Mississauga,
Ontario, Canada. Where
Stand the Dauntless by
Vince Gassi is an
exciting work---and a
perfect concert opener
and contest piece. (2:35)
Orchestra SKU: BA.BA06861 Sinfonie (1923-1928). Composed by Leos J...(+)
Orchestra
SKU:
BA.BA06861
Sinfonie
(1923-1928). Composed
by Leos Janacek. Arranged
by Leoš Faltus and
Miloš Štedron. This
edition: complete
edition, urtext edition.
Linen. Complete Critical
Edition of the Works of
Leos Janacek H/3.
Complete edition, Score,
Set of parts. Duration 40
minutes. Baerenreiter
Verlag #BA06861_00.
Published by Baerenreiter
Verlag (BA.BA06861).
ISBN 9790260104211.
34.3 x 27 cm
inches.
Leoš
Janácek’s
symphonic fragment Dunaj
(The Danube) dates from
the period of the
composition of
“Katya
Kabanovaâ€. The
composer was not
concerned with a
musical-picturesque
description of a river
landscape, but with the
mythical link between
women’s destinies
and
water.
“Pale
green waves of the
Danube! There are so many
of you, and one followed
by another. You remain
interlocked in a
continuous flow. You
surprise yourselves where
you ended up – on
the Czech shores! Look
back downstream and you
will have an impression
of what you have left
behind in your haste. It
pleases you here. Here I
will rest with my
symphony.†Thus
Leoš Janácek
described the idea behind
the composition project
which occupied him in
1923/24. However, after
further work, it remained
incomplete in 1926. His
“symphonyâ€
entitled Dunaj has
survived as a
continuously-notated,
four-movement bundle of
sketches in score form.
It is one of the works
which occupied him until
his death. The scholarly
reconstruction by the two
Brno composers Miloš
Štedron and Leoš
Faltus closely follows
the original
manuscript.
A
whole conglomeration of
motifs stands behind the
incomplete work. What at
first seems like a
counterpart to
Smetana’s Vltava,
in fact doesn’t
turn out to be a musical
depiction of the Danube.
On the contrary, the
fateful link between the
destiny of women, water
and death permeates the
range of motifs found in
the work. It seems to be
no coincidence that
Janácek, whilst
working on the opera
Katya Kabanova, in which
the Volga, as the river
bringing death plays an
almost mythical role,
planned a Danube
symphony, and that its
content was linked with
the destiny of women: in
the sketches, two poems
were found which may have
provided the stimulus for
several movements of the
symphony. He copied a
poem by Pavla
Kriciková into the
second movement, in which
a girl remarks that
whilst bathing in a pond,
she was observed by a
man. Filled with shame,
the young naked woman
jumps into the water and
drowns. The outer
movements likewise draw
on the poem
“Lola†by the
Czech writer Sonja
Špálová,
published under the
pseudonym Alexander
Insarov. This is about a
prostitute who asks for
her heart’s
desire: she is given a
palace, but then goes on
a long search for it and
is finally no longer
wanted by anyone. She
suffers, feels cold and
just wants a warm fire.
Janácek adds his
remark “she jumps
into the Danube†to
the inconclusive
ending.
To these
tangible literary models
is added Adolf
Veselý’s verbal
account which reports
that the composer wanted
to portray “in the
Danube, the female sex
with all its passions and
driving forcesâ€.
The third movement is
said to characterise the
city of Vienna in the
form of a
woman.
It is
evident that in his
composition, Janácek
was not striving for a
simple, natural lyricism.
The River Danube is
masculine in the Slavic
language –
“ten Dunajâ€
– and assumes an
almost mythical
significance in the
national character,
indeed often also a role
bringing death. The four
movements are motivically
conceived. Elements of
sound painting, small
wave-like figures in the
first movement, motoric,
driving movements in the
third are obvious
evocations of water. And
the content and the
literary level are easy
to discover. The
“tremolo of the
four timpaniâ€,
which was amongst
Janácek’s first
inspirations, appears in
the second movement. It
is not difficult to
retrace in it the fate of
the drowning bather. The
oboe enters lamentoso
towards the end of the
movement over timpani
playing tremolo, its
descending figure is
taken over by the flute,
then upper strings and
intensified considerably.
The motif of drowning
– Lola’s
despair – returns
again in the fourth
movement in the clarinet,
before the work ends
abruptly and
dramatically.
One
special effect is the use
of a soprano voice in the
motor-driven third
movement. The singer
vocalises mainly in
parallel with the solo
oboe, but also in
dialogue with other parts
such as the viola
d’amore, which
Janácek used in
several late works as a
sort of “voice of
loveâ€.
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
Christmas Sing-a-Long Orchestre [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
Arranged by Bob Cerulli. Traditional. For Full Orchestra. Full Orchestra. Concer...(+)
Arranged by Bob Cerulli.
Traditional. For Full
Orchestra. Full
Orchestra. Concert Full
Orchestra. Level: Medium
Easy to Medium (grade
III-IV). Conductor Score
and Parts. 925 pages.
Published by Alfred
Publishing.
(A Revolutionary Method for Early-Intermediate Musicians (Conductor's Score)). B...(+)
(A Revolutionary Method
for Early-Intermediate
Musicians (Conductor's
Score)). By Bob Phillips,
Peter Boonshaft, and
Robert Sheldon.
Orchestra. For
Conductor's Score.
Method/Instruction;
Score; String Orchestra
Method/Supplement. Sound
Innovations. 208 pages.
Published by Alfred Music
Publishing
Composed
by Franz Joseph Haydn.
Edited by Andreas
Friesenhagen. This
edition: urtext edition.
Stapled. Score. Hob.
I:88. Duration 23
minutes. Baerenreiter
Verlag #BA10980_00.
Published by Baerenreiter
Verlag (BA.BA10980).
ISBN 9790006562831. 31
x 24.3 cm inches. Key: G
major. Text Language:
German, English. Preface:
Andreas
Friesenhagen.
This
edition clarifies a
performance aspect of
Haydn’s Symphony
in G major that has long
been misunderstood: in m.
1 of the second movement
(Largo) the viola,
violoncello and several
wind instrument parts are
marked
“soloâ€,
indicating that they play
important motifs or
themes and ought to stand
out. Contrary to
other editions, the
“soloâ€
marking in the
violoncello should not be
construed as indicating a
solo instrument with the
remaining cellos doubling
the basses. Rather, the
cellos should play as a
section so as to stand
out all the more
clearly.
Continuin
g the collaboration
between Bärenreiter
and the Henle publishing
company in large-scale
choral works, operas and
symphonies, this edition
is based on the Henle
Complete Edition of the
“Works of Joseph
Haydnâ€. The
complete performance
material for several
“Sturm und
Drang†symphonies
and all of the London and
Paris symphonies is now
available from
Bärenreiter.
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
Bass Section
Feature. Arranged by
Bob Phillips. Performance
Music Ensemble; Single
Titles; String Orchestra.
Sound Innovations for
String Orchestra.
Christmas; Novelty;
Secular; Traditional;
Winter. Score. 8 pages.
Alfred Music #00-40454S.
Published by Alfred Music
(AP.40454S).
UPC:
038081459745. English.
Traditional.
Cute,
fun, and a true grade 1
bass feature! What more
could you want? Encourage
the bass players by
showing them off. The
bass parts are very
simple, but the basses
also play jingle bells in
a surprise twist at the
end of the piece.
Brainstorm ideas to dress
this piece up. Some
suggestions are to put
Santa hats on the bass
players or the scroll of
the basses. You could
even put Christmas lights
or stockings on the bass
or stands. Bring the bass
players up front. Have
some bells on each bass
stand where the audience
can't see them. Then,
when the time is right,
the bassists pull out the
bells and jingle away!
Correlates to Sound
Innovations Book 1, Level
3.
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.
Urtext. Composed
by Georges Bizet. Edited
by Lesley A. Wright.
Orchestra; Softcover.
Eulenburg Orchestral
Series.
The world
premiere of the play
L'Arlesienne
with the incidental music
by Georges Bizet was a
notable failure not only
for the playwright
Alphonse Daudet, but also
for the composer.
Suite; Romantic. Full
score. 60 pages. Duration
17'. Breitkopf and
Haertel #EOS 20828.
Published by Breitkopf
and Haertel
(BR.EOS-20828).
ISBN
9790004784693. 10 x 12.5
inches.
The two
four-movement orchestral
suites, in turn, are
still thrilling
concert-goers all over
the world, ever since
their first performances
in 1872 and 1880
respectively. In 1998 and
2001, Lesley A. Wright
presented the score and
orchestral parts of the
two repertoire pieces in
an Urtext edition
prepared for the first
time on the basis of all
relevant sources. Thus
not only will the yellow
Urtext angel be gracing
the conducting score and
orchestral parts, but,
next to the standardized
large format and new
layout of the parts,
there are other
user-friendly
improvements, such as
practical page-turns,
page-turn aids and
intelligent cue
notes.
Orchestra (Study Score) SKU: HL.51489059 Study Score. Composed by ...(+)
Orchestra (Study Score)
SKU: HL.51489059
Study Score.
Composed by Franz Joseph
Haydn. Edited by Andreas
Friesenhagen. Henle Study
Scores. Classical.
Softcover. 58 pages. G.
Henle #HN9059. Published
by G. Henle
(HL.51489059).
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Orchestra (Study Score) SKU: HL.51489060 Orchestra Study Score. Co...(+)
Orchestra (Study Score)
SKU: HL.51489060
Orchestra Study
Score. Composed by
Franz Joseph Haydn.
Edited by Andreas
Friesenhagen. Henle Study
Scores. Classical.
Softcover. 64 pages. G.
Henle #HN9060. Published
by G. Henle
(HL.51489060).
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Pippin Orchestre - Intermédiaire/avancé Alfred Publishing
Orchestra - Grade 4 SKU: AP.41232 Featuring: Magic to Do / Corner of t...(+)
Orchestra - Grade 4
SKU: AP.41232
Featuring: Magic to Do
/ Corner of the Sky /
With You / Love Song / No
Time at All. Composed
by Stephen Schwartz.
Arranged by Andrew H.
Dabczynski. MakeMusic
Cloud; Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Concert String Orchestra.
Form: Medley. Broadway.
Score and Part(s). 260
pages. Duration 15:00.
Alfred Music #00-41232.
Published by Alfred Music
(AP.41232).
UPC:
038081478883.
English.
Be part of
the revival of one of the
longest-running shows on
Broadway with these five
blockbuster songs: Magic
to Do, Corner of the Sky,
With You, Love Song, and
No Time at All. Solo and
section features abound.
Each tune can stand alone
or be performed in a
medley. (15:00) This
title is available in
MakeMusic Cloud.
Orchestra SKU: BA.BA10252 Composed by George Frideric Handel. Edited by T...(+)
Orchestra
SKU:
BA.BA10252
Composed
by George Frideric
Handel. Edited by Terence
Best. This edition:
urtext edition. Stapled.
Barenreiter Urtext.
Score. HWV 331.
Baerenreiter Verlag
#BA10252_00. Published by
Baerenreiter Verlag
(BA.BA10252).
ISBN
9790006538775. 31 x 24.3
cm inches. Key: F major.
Preface: Terence
Best.
Handelâ€
s Concerto in F major
(HWV 331) was long
considered a variant of
two movements from the
three suites of his
“Water Musicâ€
(HWV 348-350). Recently
our understanding of the
“Water Musicâ€
had to be thoroughly
revised owing to new
scholarly discoveries.
Not only did the
structure of the three
suites prove to be
unhistorical, but
Friedrich
Chrysander’s
19th-century view turned
out to be correct: the
two
“variantsâ€
actually constitute an
independent
concerto.
In
musical terms, HWV 331 is
related to two movements
of the “Water
Music†and is
frequently performed
alongside them. Now it is
available for the first
time in a performing
edition based on the
already revised volume of
the “Halle Handel
Editionâ€, which
reflects the current
state of scholarship
concerning the complex
source tradition of the
“Water Musicâ€
and the Concerto HWV
331.
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
ISBN
9790006564149. 33 x 24 cm
inches. Preface: Sylvie
Bouissou.
Christoph
Willibald Gluck's opera
in four acts about the
Curse of the House of
Atreus is based on a
tragedy by the classical
Greek dramatist
Euripides. The
mythological plot about
the siblings Iphigenia
and Orestes is
characterized by hatred,
ritual sacrifice, and
murder and was especially
popular during the 18th
century. The premiere of
Gluck's opera in 1779 was
immensely
successful.
Barenr
eiter now presents a
carefully edited and
corrected piano reduction
that was newly set to
meet Barenreiter's
current quality
standards. An informative
preface (Ger/En/Fr)
supplements the edition,
which also includes all
appendices of the score
volume the edition is
based on, as contained in
the Gluck Complete
Edition (GGA).
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 - Grade 3 SKU: AP.48052 Arranged by Dan Forrest and string orch...(+)
Orchestra - Grade 3
SKU: AP.48052
Arranged by Dan Forrest
and string orchestra
setting by Kirk Moss.
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Concert String Orchestra.
Christmas; Traditional.
Score and Part(s). 128
pages. Duration 4:45.
Belwin Music #00-48052.
Published by Belwin Music
(AP.48052).
ISBN
9781470652319. UPC:
038081554297. English.
Traditional English
Carol.
Perform this
famous setting of the
beloved traditional
English carol, The First
Noel, newly scored for
string orchestra with
piano or harp
accompaniment by Kirk
Moss. The piece can stand
alone or be paired with
Dan Forrest's choral
setting, and its
captivating musical
message will touch the
hearts of performers and
listeners alike. The
setting sits so well for
strings that either a
younger ensemble or the
most advanced students
can perform it. Highly
recommended! (4:45).
Orchestra - Grade 3 SKU: AP.48052S Arranged by Dan Forrest and string orc...(+)
Orchestra - Grade 3
SKU: AP.48052S
Arranged by Dan Forrest
and string orchestra
setting by Kirk Moss.
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Concert String Orchestra.
Christmas; Traditional.
Score. 16 pages. Belwin
Music #00-48052S.
Published by Belwin Music
(AP.48052S).
ISBN
9781470652401. UPC:
038081554303. English.
Traditional English
Carol.
Perform this
famous setting of the
beloved traditional
English carol, The First
Noel, newly scored for
string orchestra with
piano or harp
accompaniment by Kirk
Moss. The piece can stand
alone or be paired with
Dan Forrest's choral
setting, and its
captivating musical
message will touch the
hearts of performers and
listeners alike. The
setting sits so well for
strings that either a
younger ensemble or the
most advanced students
can perform it. Highly
recommended!
Orchestra SKU: WD.080689401572 Composed by David Clydesdale. Arranged by ...(+)
Orchestra
SKU:
WD.080689401572
Composed by David
Clydesdale. Arranged by
David Clydesdale. Stand
Alone Orchestration.
Christmas. Orchestration.
Word Music #080689401572.
Published by Word Music
(WD.080689401572).
UPC:
080689401572.
This
triumphant, resounding
orchestration created by
David T. Clydesdale
spotlights four Christmas
classics, including: Joy
to the World, How Great
Our Joy, Here We Come A
Caroling, and God Rest Ye
Merry, Gentlemen. Perfect
for opening your service
or highlighting special
music for your Christmas
program!
Orchestra (Full Score) SKU: HL.244904 For Orchestra. Composed by B...(+)
Orchestra (Full Score)
SKU: HL.244904
For Orchestra.
Composed by Bryce
Dessner. Music Sales
America. Classical.
Softcover. Composed 2017.
64 pages. Duration 1020
seconds. Chester Music
#CH83985. Published by
Chester Music
(HL.244904).
8.25x12.0x0.508
inches.
Quilting,
co-commissioned by the
BBC Symphony Orchestra
and the Los Angeles
Philharmonic, is my first
stand alone work for
orchestraand is loosely
inspired by the American
tradition of quilt
making. I composed
Quilting while living
most of last year in
Paris.During my time
there, I thought a lot
about what it means to
compose symphonic music
as a young American in
the 21st century, when so
many of the many
masterworks which are
programmed year in and
out by orchestras across
the country are European.
I considered which
artistic traditions
defined the American
19th-century. I began to
think of the American
crafts-tradition of
quilting as a foilto the
high-art tradition of
European orchestral
composition. As the score
for my new work began to
take shape, I started
thinking about the
manuscript itself as an
object, its vertical and
horizontal planes create
a kind of patterned
geometry of their own.
Visually the way a
musical score is woven
together like patchwork
brought to mind quilts
and the great American
tradition of quilting. I
imagined about how
conducting an orchestra
can feellike stitching a
piece together, or sewing
together a large number
of musical ideas and
musicians into a coherent
and transcendent whole.
Quilting was an integral
part of American
vernacular in the 18th
and 19th centuries, the
African-American quilting
tradition is especially
fascinating, and the
quilts tell the stories
of the women and
communities who made
them. The names of the
quilt patterns themselves
can have their own sense
of narrative: 'jacobs
ladder', 'drunkards
path', 'solomon's
puzzle', and (my favorite
for its relevance to this
piece) 'the road to
California. - Bryce
Dessner.
Orchestra - Grade 1.5 SKU: AP.33712S Composed by Richard Meyer. MakeMusic...(+)
Orchestra - Grade 1.5
SKU: AP.33712S
Composed by Richard
Meyer. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Explorer. Light Concert;
Meters. Score. 8 pages.
Highland/Etling
#00-33712S. Published by
Highland/Etling
(AP.33712S).
UPC:
038081394527.
English.
As the
title suggests, this fun
grade 1.5 piece features
ever-changing time
signatures that will
intrigue and challenge
the young string
orchestra. There are four
mood shifts in the piece,
suggested by a student
narrator who stands up
and declares simply Once
upon a time, Suddenly,
Luckily, and Happily ever
after. But what, exactly,
is the story? That's up
to your students and your
audience to decide! This
charming piece is simple
rhythmically and
note-wise, but a great
way to get your orchestra
counting. Sure to spark
everyone's imagination!
This title is available
in MakeMusic Cloud.
SKU: SU.00120043 Orchestra. CD Set (PDF Scores). CD Sheet Music #00120043...(+)
SKU: SU.00120043
Orchestra. CD Set (PDF
Scores). CD Sheet Music
#00120043. Published by
CD Sheet Music
(SU.00120043).
AVAILABLE FOR
SALE TO U.S. CUSTOMERS
ONLY Complete set of
Harp, Keyboard (Piano,
Organ, etc.) and
auxiliary parts for
The Orchestra Musician's
CD-ROM Libraryâ?¢,
Volumes 1-5, 7-12 [11
CD-ROMs]. Parts for over
700 orchestral works in
thestandard repertoire
from the 18th through
early 20th centuries. If
these parts were
purchased separately,
this collection could
cost several thousand
dollars. Parts are easily
viewable and printable on
either PC or Mac using
embedded Adobe® Reader
technology. Visit for
more
information
Ple
ase note, customers using
Macintosh computers
running macOS Catalina
(version 10.5) have
reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac.
Orchestra - Grade 1.5 SKU: AP.45866S Composed by Richard Meyer. MakeMusic...(+)
Orchestra - Grade 1.5
SKU: AP.45866S
Composed by Richard
Meyer. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Explorer. Form: Dance;
Etude. Light Concert.
Score. 12 pages. Duration
2:30. Highland/Etling
#00-45866S. Published by
Highland/Etling
(AP.45866S).
UPC:
038081524450.
English.
As the
title suggests, this nod
to the fleet-footed dance
of the 1800s, The Polka
Dot Polka, is all about
dots---dots over, under,
and after notes! Written
as an etude to enhance
your young orchestra's
understanding of dotted
quarter note rhythms and
staccato bow strokes,
this selection---in true
Richard Meyer style---is
sure to challenge all of
your students and get
your audience dancing in
the aisles! For extra
fun, push the tempo a bit
(or even a lot!)---the
faster the better!
(2:30). This title is
available in MakeMusic
Cloud.
Orchestra - Grade 2 SKU: AP.49469S Overture and Menuet II. Compose...(+)
Orchestra - Grade 2
SKU: AP.49469S
Overture and Menuet
II. Composed by
George Frideric Handel.
Arranged by Jim Palmer
(ASCAP). Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland String Orchestra
(HSO). Masterwork
Arrangement. Score.
Duration 3:15.
Highland/Etling
#00-49469S. Published by
Highland/Etling
(AP.49469S).
ISBN
9781470650131. UPC:
038081570914.
English.
Jim
Palmer's arrangement of
Music for the Royal
Fireworks is an exciting
two-movement work that is
perfect for your young
string orchestra. The
movements work together
or are effective played
on their own. Terraced
dynamics and authentic
articulations will help
your students gain an
understanding of music
from the Baroque era. A
perfect opener or closer
to any concert.
(3:15).
Orchestra - Grade 2 SKU: AP.49469 Overture and Menuet II. Composed...(+)
Orchestra - Grade 2
SKU: AP.49469
Overture and Menuet
II. Composed by
George Frideric Handel.
Arranged by Jim Palmer
(ASCAP). MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland String Orchestra
(HSO). Masterwork
Arrangement. Score and
Part(s). Duration 3:15.
Highland/Etling
#00-49469. Published by
Highland/Etling
(AP.49469).
ISBN
9781470650124. UPC:
038081570907.
English.
Jim
Palmer's arrangement of
Music for the Royal
Fireworks is an exciting
two-movement work that is
perfect for your young
string orchestra. The
movements work together
or are effective played
on their own. Terraced
dynamics and authentic
articulations will help
your students gain an
understanding of music
from the Baroque era. A
perfect opener or closer
to any concert. (3:15)
This title is available
in MakeMusic Cloud.
Orchestra - Grade 4 SKU: AP.46714S Composed by Richard Meyer. Performance...(+)
Orchestra - Grade 4
SKU: AP.46714S
Composed by Richard
Meyer. Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Score. 28
pages. Highland/Etling
#00-46714S. Published by
Highland/Etling
(AP.46714S).
UPC:
038081537047.
English.
This
joyful and jubilant piece
by Richard Meyer has the
sound of a celebration
and a title that
describes how music
unites us all: Yumiweeus.
Hand drumming and a
simple chant-like melody
start the festivities,
followed by an original
theme and a set of six
variations. Duets
featuring the first stand
players of every section
introduce the first five
variations, and a
virtuosic final variation
closes the piece. The
changing meters and
variety of key signatures
and modes included here
are sure to challenge all
of your more advanced
players. The measure of
contrary motion that
starts the piece is heard
again between each
variation and is meant to
represent a coming
together to common
ground.