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.

Orchestra

SKU: LO.30-2651L

Composed by Pepper Choplin. Arranged by Stan Pethel. Choral. Sacred Anthem, Palm/Palm-Passion Sunday. Orchestral score and parts. Lorenz Publishing Company #30/2651L. Published by Lorenz Publishing Company (LO.30-2651L).

UPC: 000308125962.

With pulsating energy, Pepper Choplin's creative genius vividly conveys the excitement and the tension of the crowd as Jesus rode through the Jerusalem streets. There are opportunities for soloists in this anthem and the option of using trumpet and percussion or full orchestra for accompaniment. Questions from the people are answered with shouts of affirmation in this perfect choice for Palm Sunday. (From the cantata Come, Touch the Robe SATB--55/1123L; SAB--55/1124L) The orchestra includes a Conductor's Score and parts for Flute, Oboe, Clarinet, 2 Horns, 2 Trumpets, 2 Trombones, 2 Percussion, Piano, Guitar (nylon strings), 2 Violins, Viola, Cello, and Bass.

Orchestra

SKU: PO.UME12

Composed by Eve de Castro-Robinson. Sws. Full score. Promethean Editions #UME12. Published by Promethean Editions (PO.UME12).

ISBN 9781877564888.

Comm issioned by the Royal Plunket Society for the New Zealand Symphony Orchestra, Eve de Castro-Robinson's These arms to hold you channels both tender adoration and the excitement of a new arrival. The children's choir maintains an expectant energy in this work with handclaps, overlapping chants, glissandi, ecstatic yelps and lullabies. Esteemed New Zealand poet Bill Manhire provided text for the choir, with excerpts taken from actual Plunket books heard alongside Manhire's own prose. Castanets and temple blocks are made curious and playful in this setting as they provide a bubbling rhythmic drive for the orchestra. These arms to hold you was the winner of the 2007 SOUNZ Contemporary Award.

(Themes from all eight movies). Arranged by Jerry Brubaker. Orchestra. Full Orchestra; Part(s); Score. Pop Concert Full Orchestra. Form: Medley. Light Concert; Movie. Grade 4. 388 pages. Published by Alfred Music Publishing

(Themes from all eight movies). Arranged by Jerry Brubaker. Orchestra. Full Orchestra; Score. Pop Concert Full Orchestra. Form: Medley. Light Concert; Movie. Grade 4. 56 pages. Published by Alfred Music Publishing

A Galactic Journey. Composed by Anthony Granata. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Part(s); Score. Alfred Music #00-49031. Published by Alfred Music

Orchestra - Grade 2

SKU: AP.49031S

A Galactic Journey. Composed by Anthony Granata. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Score. 12 pages. Duration 1:45. Belwin Music #00-49031S. Published by Belwin Music (AP.49031S).

ISBN 9781470645472. UPC: 038081564012. English.

Written by Anthony Granata, Into the Stars: A Galactic Journey is an exciting space-themed adventure piece that will captivate your developing orchestras and have them feeling and playing confidently in 6/8 time. With an epic and memorable sounding main theme, your students will be transported into a world of simple and compound meters as they dig into their strings for this fun programmatic piece of music. Students will feel as though they have stepped into the sound stage for a film score of a Hollywood science fiction movie. (1:45).

(Featuring: Light My Fire / People Are Strange / Hello, I Love You). Composed by The Doors. Arranged by Patrick Roszell. Orchestra. Full Orchestra; Part(s); Score. Pop Concert Full Orchestra. Form: Medley. Rock. Grade 3. 226 pages. Published by Alfred Music

Featuring: You'll Be Back / Helpless / My Shot / Dear Theodosia / It's Quiet Uptown / One Last Time. Composed by Lin-Manuel Miranda (1980-). Arranged by Jerry Brubaker. Full Orchestra; Part(s); Score. Pop Concert Full Orchestra. Broadway. 214 pages. Published by Alfred Music

Featuring: You'll Be Back / Helpless / My Shot / Dear Theodosia / It's Quiet Uptown / One Last Time. Composed by Lin-Manuel Miranda (1980-). Arranged by Jerry Brubaker. Full Orchestra; Score. Pop Concert Full Orchestra. Broadway. 28 pages. Published by Alfred Music

(I. Thrice Welcome, II. In the Shadow of the Mountain). Composed by Howard Shore. Arranged by Victor L�³pez. Orchestra. Full Orchestra; Part(s); Score. Pop Concert Full Orchestra. Form: Suite. Movie. Grade 3.5. 230 pages. Published by Alfred Music

(I. Thrice Welcome, II. In the Shadow of the Mountain). Composed by Howard Shore. Arranged by Victor L�³pez. Orchestra. Full Orchestra; Score. Pop Concert Full Orchestra. Form: Suite. Movie. Grade 3.5. 24 pages. Published by Alfred Music

(from 'The Ponce De Leon Suite'). By Robert Kerr. Orchestra. Full Orchestra; Part(s); Score. Highland Full Orchestra. Grade 3.5. 200 pages. Published by Alfred Music Publishing

(Featuring: Rise / On Thin Ice / Imagine the Fire). By Hans Zimmer (1957-). Arranged by Ralph Ford. Orchestra. Full Orchestra; Part(s); Score. Pop Concert Full Orchestra. Form: Medley. Movie. Grade 3.5. 226 pages. Published by Alfred Music Publishing

(Featuring: Rise / On Thin Ice / Imagine the Fire). By Hans Zimmer (1957-). Arranged by Ralph Ford. Orchestra. Full Orchestra; Score. Pop Concert Full Orchestra. Form: Medley. Movie. Grade 3.5. 36 pages. Published by Alfred Music Publishing

Opera. Composed by Henry Purcell (1659-1695). Edited by Michael Burden. This edition: Paperback/Soft Cover. Sheet music. Eulenburg Miniature Scores. Classical, Opera. Study score. 388 pages. Eulenburg Edition #ETP 8027. Published by Eulenburg Edition

Orchestra

SKU: LO.30-2425L

Composed by Joseph M. Martin. Arranged by Brant Adams. Choral. Sacred Anthem, Palm/Palm-Passion Sunday. Orchestral score and parts. Lorenz Publishing Company #30/2425L. Published by Lorenz Publishing Company (LO.30-2425L).

UPC: 000308121858.

Fill your sanctuary with Palm Sunday majesty and excitement with this anthem from Joe Martin. The first of three verses is a lively call-and-response setting of the scripture: “Who is this King of glory?” The contrasting middle verse is an inventive pairing of the traditional hymn tune LEONI with the text “All Glory, Laud and Honor.” The final verse returns the lively theme of the first in counterpoint with drum-like hosannas. An energetic accompaniment that ties all three verses together, whether provided by piano alone or orchestra, makes this anthem the perfect choice for Palm Sunday. (From the cantata Who Is This King? SATB – 55/1096L; SAB – 55/1097L.) Instrumentation: 2 Flutes, Oboe, 2 Clarinets, Bassoon, 2 F Horns, 3 Trumpets, 2 Trombones, Tuba, Timpani, 2 Percussion, Violin 1 & 2, Viola, Cello, Bass.

Orchestra - Grade 1.5

SKU: AP.49056S

Composed by Susan H. Day. 5 or More; MakeMusic Cloud; Performance Music Ensemble; Single Titles; Solo Small Ensembles; String Orchestra. Highland/Etling String Orchestra. Light Concert. Score. 12 pages. Duration 2:15. Highland/Etling #00-49056S. Published by Highland/Etling (AP.49056S).

ISBN 9781470645717. UPC: 038081564197. English.

This title features Alfred Music's String Orchestra FLEX options. That means that every part in this set is now transposed into every other part, so you can play this title with any combination of like- or mixed-string ensemble. After purchasing this set, decide what additional parts you need to meet the unique needs of your ensemble, then download and print them for free at alfred.com/supplemental-- -free of charge.

Perfect for advanced beginning orchestra, Apache Peak by Susan H. Day, takes its title from the Apache Peak, the 2nd highest mountain peak (13,441 ft) in the Indian Peaks Wilderness of Colorado. This piece tries to capture the excitement and wonder of the breathtaking mountain scenery with melodies for all, easy rhythms, terraced dynamics, and an exciting conclusion. (2:15) This title available in MakeMusic Cloud.

Composed by John Moss. MusicWorks Grade 2. Concert. Score and parts (with online audio). Published by Hal Leonard

Full orchestra

SKU: LO.30-3694L

Composed by Marty Parks. Choral, cantatas. Advent, Christmas, Sacred. Instrumental parts. Lorenz Publishing Company #30/3694L. Published by Lorenz Publishing Company (LO.30-3694L).

UPC: 000308154399.

Set of Parts for 65/2098L This celebratory work from Marty Parks is filled with festive interpretations of classic carols and worshipful original songs that highlight the beauty of the Christmas story. Arranged with practicality in mind, it is sure to make choirs of all sizes and skill levels sound their best. The choral voicings are rich and full while the vocal ranges maintain an accessibility throughout. The orchestration, also written by Marty, beautifully complements the choral writing. From the anticipatory, joy-filled opener, O Come, Emmanuel!, to the exciting finale that combines O Come, All Ye Faithful and Son of the Father’s Love, this incredible selection is filled with the sounds and spirit of Christmas!

Full orchestra

SKU: LO.30-3693L

Composed by Marty Parks. Choral, cantatas. Advent, Christmas, Sacred. Full score. Lorenz Publishing Company #30/3693L. Published by Lorenz Publishing Company (LO.30-3693L).

UPC: 000308155006.

Full Score for 65/2098L This celebratory work from Marty Parks is filled with festive interpretations of classic carols and worshipful original songs that highlight the beauty of the Christmas story. Arranged with practicality in mind, it is sure to make choirs of all sizes and skill levels sound their best. The choral voicings are rich and full while the vocal ranges maintain an accessibility throughout. The orchestration, also written by Marty, beautifully complements the choral writing. From the anticipatory, joy-filled opener, O Come, Emmanuel!, to the exciting finale that combines O Come, All Ye Faithful and Son of the Father’s Love, this incredible selection is filled with the sounds and spirit of Christmas!