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

By Frank Sinatra. Arranged by John Moss. HL Full Orchestra. Standards. Published by Hal Leonard

(Concerto No. 1 for Marimba, Strings and Percussion). Composed by Gillingham. Arranged by Nathan Daughtrey. For Soloist(s) with String Orchestra (Solo Marimba Percussion 1 (xylophone, bells, chimes) Percussion 2 (brake drum, cowbell, shaker, suspended cymbal, crash cymbals, temple blocks, triangle) Percussion 3 (4 toms, crash cymbals, bass drum, suspended cymbal, tam tam, hi hat) Violin I Violin II). Medium difficult. Orchestra score only. Duration 16:30. Published by C. Alan Publications

Full orchestra

SKU: LO.30-3648L

Composed by Lloyd Larson. Arranged by Jay Rouse. Choral, cantatas. Eastertide, Holy Week. Score and parts, plus CD with printable parts. Lorenz Publishing Company #30/3648L. Published by Lorenz Publishing Company (LO.30-3648L).

UPC: 000308152142.

Score and parts plus CD with printable parts for Calvary's Love (55/1194L and 55/1196L) In “Calvary’s Love,” Lloyd Larson and Jay Rouse offer an inspiring reminder of the gifts of love and life that are ours because of the price Jesus paid at Calvary. Flexibly conceived for Lent, Holy Week, or Eastertide programming, it may be performed as a whole, or each individual anthem may be presented during the weeks leading up to Easter, depending on your programming needs. Small and large choirs alike will find the choral writing appealing and versatile, and accompaniment options range from piano only to Ed Hogan’s powerful orchestration. Choirs and congregations will be encouraged by this musical telling of the timeless message of God’s sacrifice and love through Jesus. “Greater love has no one than this: that one lay down His life for His friends.”.

Full orchestra

SKU: LO.30-3647L

Composed by Lloyd Larson. Arranged by Jay Rouse. Choral, cantatas. Eastertide, Holy Week. CD with printable parts. Lorenz Publishing Company #30/3647L. Published by Lorenz Publishing Company (LO.30-3647L).

UPC: 000308152135.

CD with printable parts for Calvary's Love (55/1194L and 55/1196L) In “Calvary’s Love,” Lloyd Larson and Jay Rouse offer an inspiring reminder of the gifts of love and life that are ours because of the price Jesus paid at Calvary. Flexibly conceived for Lent, Holy Week, or Eastertide programming, it may be performed as a whole, or each individual anthem may be presented during the weeks leading up to Easter, depending on your programming needs. Small and large choirs alike will find the choral writing appealing and versatile, and accompaniment options range from piano only to Ed Hogan’s powerful orchestration. Choirs and congregations will be encouraged by this musical telling of the timeless message of God’s sacrifice and love through Jesus. “Greater love has no one than this: that one lay down His life for His friends.”.

Full orchestra

SKU: LO.30-3646L

Composed by Lloyd Larson. Arranged by Jay Rouse. Choral, cantatas. Eastertide, Holy Week. Instrumental parts. Lorenz Publishing Company #30/3646L. Published by Lorenz Publishing Company (LO.30-3646L).

UPC: 000308152128.

Set of parts for Calvary's Love (55/1194L and 55/1196L) In “Calvary’s Love,” Lloyd Larson and Jay Rouse offer an inspiring reminder of the gifts of love and life that are ours because of the price Jesus paid at Calvary. Flexibly conceived for Lent, Holy Week, or Eastertide programming, it may be performed as a whole, or each individual anthem may be presented during the weeks leading up to Easter, depending on your programming needs. Small and large choirs alike will find the choral writing appealing and versatile, and accompaniment options range from piano only to Ed Hogan’s powerful orchestration. Choirs and congregations will be encouraged by this musical telling of the timeless message of God’s sacrifice and love through Jesus. “Greater love has no one than this: that one lay down His life for His friends.”.

Full orchestra

SKU: LO.30-3645L

Composed by Lloyd Larson. Arranged by Jay Rouse. Choral, cantatas. Eastertide, Holy Week. Full score. Lorenz Publishing Company #30/3645L. Published by Lorenz Publishing Company (LO.30-3645L).

UPC: 000308152111.

Full score for Calvary's Love (55/1194L and 55/1196L) In “Calvary’s Love,” Lloyd Larson and Jay Rouse offer an inspiring reminder of the gifts of love and life that are ours because of the price Jesus paid at Calvary. Flexibly conceived for Lent, Holy Week, or Eastertide programming, it may be performed as a whole, or each individual anthem may be presented during the weeks leading up to Easter, depending on your programming needs. Small and large choirs alike will find the choral writing appealing and versatile, and accompaniment options range from piano only to Ed Hogan’s powerful orchestration. Choirs and congregations will be encouraged by this musical telling of the timeless message of God’s sacrifice and love through Jesus. “Greater love has no one than this: that one lay down His life for His friends.”.

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 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

SKU: HL.14011919

Composed by Karsten Fundal. Music Sales America. Score. Music Sales #KP01477. Published by Music Sales (HL.14011919).

ISBN 9788759878644. English-Danish.

Orc hestration: 3(pic)(afl).2+ca.1+2bcl.2 +cbn/4.3.3.1/timp.2perc/h p/pf/strParts are for hire: hire@ewh.dkProgramnote Hush er et studie i morke og lys, kold og varm lyd. Jeg har ogsa i dette stykke forsogt at introducere staerke folelsesmaessige udtryk, ved brug af instrumentale farver og tonale virkemidler. Titlen Hush er forbundet med et slags indre digt jeg har haft i tankerne medens jeg komponerede. Da jeg jo ikke er digter i ord, er det ufuldstaendigt og utilstraekkeligt i sin form, men derfor alligevel meget godt beskrivende for stykkets vaesen. Det lyder nogenlunde sadan her i mit hoved:Hush little heart- hush.!!was time running too fast or did the hours sometimesseem long?,Were your beats too many or were they too few in the end?Hush little heart- hushdid you see too little or did you sometimes see too much?,was life too small or was it sometimes larger than life?was your thirst quenched or did you end up drained?hush, hush, little heart- hush!!,Don't be afraid, maybe you knew all the time:that one day you would have to be still-or maybe you didn't?Is that why you were beating so fast?hush, hush little heart-hush,- be comforted, 'cause even as you feel so small Your very existence is strange and beautiful - so, hush, hush, be comforted, be still my beating heart.

Serie IX (Schriften) Vol. 4.3: Briefe 1952-1956. Composed by Hanns Eisler (1898-1962). Edited by Maren Koster. Restless Times. Breitkopf and Haertel #BV 350. Published by Breitkopf and Haertel

By Leon Jessel (1871-1942). Arranged by Ralph Ford. Orchestra. Full Orchestra; Part(s); Score. Belwin Concert Full Orchestra. Christmas; Winter. Grade 3. 150 pages. Published by Alfred Music Publishing

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

SKU: HL.49018099

Boy Soprano, Soprano, Tenor, Flugelhorn, Mixed Chorus, and Chamber Orchestra Study Score. Composed by Harald Weiss. This edition: Paperback/Soft Cover. Sheet music. Study Score. Classical. Softcover. Composed 2008/2009. 188 pages. Duration 100'. Schott Music #ED20619. Published by Schott Music (HL.49018099).

ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.

On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.

Full orchestra

SKU: LO.30-3681MD

Composed by Jay Rouse. Choral collection. Sacred Choral, Concert, Eastertide, General. Orchestral score and CD with printable parts. Medallion Music #30/3681MD. Published by Medallion Music (LO.30-3681MD).

UPC: 000308153286.

Orche stral Score and CD with Printable Parts for 55/1199MD This deeply moving collection from Jay Rouse includes six songs that glory in the cross of Christ. Highly appropriate for use throughout the Easter season, it is just as impactful year-round. It includes the classic Annie Herring Easter Song in an easily learned contemporary style; a gospel setting of the much-loved hymn My Savior’s Love; two modern worship anthems, Broken Bread, Broken Life and Jesus Crucified; the beloved Dottie Rambo song I Will Glory in the Cross; and an elegant setting of the timeless hymn Beneath the Cross of Jesus. Optional narrations from gifted writer Rose Aspinall will bring the truths of scripture to life in a refreshing way. There’s an eternal mystery in the cross, that instrument of death and grace. Hanging there by His own choosing, the Son of God purchases life for you and me..

Full orchestra

SKU: LO.30-3680MD

Composed by Jay Rouse. Choral collection. Sacred Choral, Concert, Eastertide, General. Orchestral score and parts. Medallion Music #30/3680MD. Published by Medallion Music (LO.30-3680MD).

UPC: 000308153279.

Orche stral Score and Parts for 55/1199MD This deeply moving collection from Jay Rouse includes six songs that glory in the cross of Christ. Highly appropriate for use throughout the Easter season, it is just as impactful year-round. It includes the classic Annie Herring Easter Song in an easily learned contemporary style; a gospel setting of the much-loved hymn My Savior’s Love; two modern worship anthems, Broken Bread, Broken Life and Jesus Crucified; the beloved Dottie Rambo song I Will Glory in the Cross; and an elegant setting of the timeless hymn Beneath the Cross of Jesus. Optional narrations from gifted writer Rose Aspinall will bring the truths of scripture to life in a refreshing way. There’s an eternal mystery in the cross, that instrument of death and grace. Hanging there by His own choosing, the Son of God purchases life for you and me..

Orchestra

SKU: BR.PB-5432

Composed by Helmut Lachenmann. Orchestra; stapled. Partitur-Bibliothek (Score Library).

World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017

Have a look into EB 9283.

New music (post-2000). Full score. Composed 2016/17/20. 48 pages. Duration 8'. Breitkopf and Haertel #PB 5432. Published by Breitkopf and Haertel (BR.PB-5432).

ISBN 9790004212790. 10 x 12.5 inches.

Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.

World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.

Orchestra

SKU: PR.416415760

For Really Big Orchestra. Composed by PDQ Bach. Edited by Prof. Peter Schickele. Study Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576. Published by Theodore Presser Company (PR.416415760).

UPC: 680160636532. 9 x 12 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

Orchestra

SKU: PR.41641576L

For Really Big Orchestra. Composed by PDQ Bach. Edited by Peter Schickele. Large Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576L. Published by Theodore Presser Company (PR.41641576L).

UPC: 680160636549. 11 x 17 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

Orchestral Score. Composed by Alan Menken. This edition: Paperback/Softcover. Sheet music. Study score. Composed 2010. Omni Music Publishing #OMNI 50796. Published by Omni Music Publishing

Orchestra (pic.2.afl.2.ca.2Acl.0.bc l.2.cbsn-4.3.2.btbn.1-tim p.3perc(glsp, mar, crot, tub bells, bell tree, 2sus cym, clash cym, claves, b.d, wdbl)-str)

SKU: HL.49018422

Reflections on the life and work of Paula Modersohn-Becker (1876-1907). Composed by Sir Peter Maxwell Davies. This edition: Saddle stitching. Sheet music. Edition Schott. Das 30minutige Orchesterwerk in drei Satzen, das von den Bremer Philharmonikern in Auftrag gegeben und von diesen 2007 uraufgefuhrt wurde, gehort zu den Schlusselwerken von Maxwell Davies der letzten Jahre. Study score. Composed 2006. Op. 276. 8 pages. Duration 30'. Schott Music #ED13366. Published by Schott Music (HL.49018422).

ISBN 9790220132391. UPC: 884088614515. 8.25x11.75x0.232 inches.

Maxwell Davies' 'Das Rauschende der Farbe' (The Sound of Colour) is a reflection on the life and work of the German artist Paula Modersohn-Becker who died aged 31 in 1907. Maxwell Davies first got to know the artist's work whilst on a school exchange in Hamburg in 1951 and the composer has since written that Modersohn-Becker's work has influenced the way that he views the relationship between art and the landscape in which it is produced. This is a particularly significant statement for a composer whose music is often a response to the land and seascape of his adopted home in the Orkney Isles. Commissioned by the Bremer Philharmoniker and first performed by them in 2007, the 30 minute orchestral work in three movements is one of the key works by Maxwell Davies in recent years.

Orchestra

SKU: LO.30-2750L

Composed by Cynthia Clawson. Arranged by Larry Shackley. Choral. Sacred Anthem, Eastertide, General, Lent. Orchestral score and CD with printable parts. Lorenz Publishing Company #30/2750L. Published by Lorenz Publishing Company (LO.30-2750L).

UPC: 000308130331.

Cynth ia Clawson's The Journey has been skillfully set for choir in this marvelous arrangement by Larry Shackley. A powerful prayer for strength and faith in the journey of life, it has a gentle gospel feel that is supported by either piano or orchestral accompaniment. The engaging melody and inspired lyrics are a compelling message for all in the midst of life's challenges. Instrumentation: 2 Fl, Ob, 2 Cl, Bsn, 2 Hn, 3 Tpt, 2 Tbn, Tba, Harp, Pno (for rehearsal only), 2 Vln, Vla, Cello, Bass.

Orchestra

SKU: LO.30-2749L

Composed by Cynthia Clawson. Arranged by Larry Shackley. Choral. Sacred Anthem, Eastertide, General, Lent. Orchestral score and parts. Lorenz Publishing Company #30/2749L. Published by Lorenz Publishing Company (LO.30-2749L).

UPC: 000308130324.

Cynth ia Clawson's The Journey has been skillfully set for choir in this marvelous arrangement by Larry Shackley. A powerful prayer for strength and faith in the journey of life, it has a gentle gospel feel that is supported by either piano or orchestral accompaniment. The engaging melody and inspired lyrics are a compelling message for all in the midst of life's challenges. Instrumentation: 2 Fl, Ob, 2 Cl, Bsn, 2 Hn, 3 Tpt, 2 Tbn, Tba, Harp, Pno (for rehearsal only), 2 Vln, Vla, Cello, Bass.

Orchestra (solos: T,A(Bar) - 4(2picc).3(cor ang).5(Eb-clar.Bb-clar).3 (dble bsn) - 4.3.3.1 - 2hp.cel.mand.timp.perc(4) - str)

SKU: BR.OB-5641-60

Composed by Gustav Mahler. Edited by Christian Rudolf Riedel. Voice; stapled. Orchester-Bibliothek (Orchestral Library). Symphony; Late-romantic. Set of parts. 1116 pages. Duration 65'. Breitkopf and Haertel #OB 5641-60. Published by Breitkopf and Haertel (BR.OB-5641-60).

ISBN 9790004348833. 10.5 x 14 inches.

The Song of the Earth, composed in the summer of 1908, is Mahler's best-known and most personal work. Reflecting drastic changes in his life, its immense emotional density is very moving. Until the very end, Mahler continued to refine the extremely differentiated instrumentation, as is evident in numerous retouchings in the autograph score and engraver's model. It is therefore all the more regrettable that he was neither able to perform his Symphony in Songs himself nor that he was involved in its printing. Unfortunately, in the posthumously published first edition of 1912 and the subsequent editions edited by Erwin Ratz and Karl Heinz Fussl, many questions remained unanswered, while other were answered in a dubious way.The edition is the first text-critical one of the work on a scientifically sound basis. It offers not only a more reliable musical text, but also systematically and lucidly prepared information on the sources, their transmission and evaluation. All editorial decisions have been documented in a transparently comprehensible manner - in particular those leading to new audible results. Work-related notes on performance practice, which for the first time include Mahler's conducting indications, offer valuable, indispensable interpretive aids. In addition to the regular five clarinet parts, the set of parts includes two additional parts (3rd clarinet/Eb clarinet, bass clarinet/3rd clarinet in places where the latter plays Eb clarinet) to allow performances with only four clarinets.The completely revised piano reduction reproduces the orchestral texture true to the score without losing sight of playability. Both Mahler's piano autograph and the piano reduction by Woss, which was commissioned by the composer himself, served as an inspiration for this.

Orchestra (FULL SCORE)

SKU: HL.263038

For Orchestra. Composed by John Luther Adams. Music Sales America. Classical. Softcover. Composed 2017. 162 pages. Chester Music #CH87131. Published by Chester Music (HL.263038).

UPC: 888680952907. 12.0x16.5x0.565 inches.

“Over the years my orchestral music has become simpler and more expansive. Clouds of Forgetting, Clouds of Unknowing (1991-95) contains four different musical textures. In the White Silence (1998) has three. For Lou Harrison (2002) reduces this to just two. In Dark Waves (2007), I finally got to one. When I first heard that piece I began to wonder if I could sustain a similar sound for a longer span of time. The result is Become Ocean, a meditation on the vast, deep and mysterious tides of existence. The title is borrowed from a mesostic verse that John Cage wrote in honor of Lou Harrison's birthday. Likening Harrison's music to a river in delta, Cage writes: Listening to it we become ocean. Life on this earth first emerged from the sea. And as the polar ice melts and sea level rises, we humans find ourselves facing the prospect that once again we may quite literally become ocean.” John Luther Adams.

Composed by Marty Parks. Modern Christian: Sacred. Orchestration (Set of parts). Published by Word Music (WD.080689102080).

Full orchestra

SKU: LO.30-3653L

Composed by Pepper Choplin. Arranged by Michael Lawrence. Choral, cantatas. Eastertide, Holy Week. Score and parts, plus CD with printable parts. Lorenz Publishing Company #30/3653L. Published by Lorenz Publishing Company (LO.30-3653L).

UPC: 000308152227.

Score and parts plus CD with printable parts for The Body of Christ (55/1197L) Pepper Choplin beautifully and creatively crafted this telling of the final days of Jesus’ life, focusing on the meaning of His words and actions leading to the cross. With stunning melodies and a powerful orchestration by Michael Lawrence, we reflect on the feet that walked the earth, the hands that touched and healed, the voice that spoke the Word of God, and the head that bore a crown of thorns as Jesus was sacrificed. From the worshipful opener, We Behold His Glory, to the meditative and stunningly powerful path to the cross, O Sacred Journey, the importance of Christ’s body remains the center point of this work. The final number, We Are the Body of Christ, is a benediction that can be presented immediately following the preceding number or after closing remarks from a speaker. For Christ is our head and though we are many, His Spirit will make us one…Go now as the body of Christ..