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.
By Pepper Choplin. Arranged by Michael Lawrence. For orchestra. Sacred Anthem, A...(+)
By Pepper Choplin.
Arranged by Michael
Lawrence. For orchestra.
Sacred Anthem, Advent,
Christmas. Orchestral
score and parts.
Published by Lorenz
Publishing Company
Full orchestra SKU: LO.30-3763MD Composed by Jay Rouse. Choral. Sacred An...(+)
Full orchestra
SKU:
LO.30-3763MD
Composed
by Jay Rouse. Choral.
Sacred Anthem, General,
Good Friday, Holy Week.
Orchestral score and CD
with printable parts.
Medallion Music
#30/3763MD. Published by
Medallion Music
(LO.30-3763MD).
UPC:
000308156263.
Orche
stral Score and CD with
Printable Parts for
10/5418MD This emotive
ballad by Jay Rouse
reflects on the pivotal
moment that Jesus was
abandoned by God the
Father and was left alone
to die--sacrificing His
life and taking on the
sin of the world. The
dynamic lyrics then
rejoice in the
Resurrection with a
euphoric and victorious
ending.
The Death of Oscar Orchestre [Conducteur d'étude / Miniature] Boosey and Hawkes
Orchestra (Study Score) SKU: HL.48024525 Orchestra Study Score HPS 161...(+)
Orchestra (Study Score)
SKU: HL.48024525
Orchestra Study Score
HPS 1612. Composed by
James Macmillan. Boosey &
Hawkes Scores/Books.
Classical. Softcover.
Duration 600 seconds.
Boosey & Hawkes
#M060134906. Published by
Boosey & Hawkes
(HL.48024525).
ISBN
9781784544072. UPC:
888680925680.
7.0x10.5x0.212
inches.
The Death
of Oscar (2012) is a
miniature tone poem
drawing upon the legend
of the bardic poet Ossian
and the death of his son
Oscar. In the legends of
Ossian, Oscar challenged
the High King Cairbre to
single combat and, though
victorious, died of his
wounds and was mourned by
his father and lover.
These tales collected by
James MacPherson in the
18th century have long
been debated as regards
their authenticity, but
what is not in doubt is
the massive influence
they had on perceptions
of Scottish and Celtic
culture, particularly
overseas - admired by
political figures such as
Napoleon and Thomas
Jefferson and inspiring
Romantic artists from
Mendelssohn in Fingal's
Cave to Goethe in Die
Leiden des jungen
Werther.
Suite from Hamilton Orchestre [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
Featuring: You'll Be Back / Helpless / My Shot / Dear Theodosia / It's Quiet Upt...(+)
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
Suite from Hamilton Orchestre [Conducteur] - Intermédiaire Alfred Publishing
Featuring: You'll Be Back / Helpless / My Shot / Dear Theodosia / It's Quiet Upt...(+)
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
Orchestra soloists, chorus, orchestra SKU: PE.EP67890 An Opera in Two ...(+)
Orchestra soloists,
chorus, orchestra
SKU:
PE.EP67890
An
Opera in Two Acts Based
on the Novel by Salman
Rushdie. Composed by
Charles Wuorinen. Full
Orchestra; Single Titles.
Edition Peters. 20th
Century. Full score. 782
pages. Duration 02:00:00.
Edition Peters
#98-EP67890. Published by
Edition Peters
(PE.EP67890).
ISBN
9790300747613. 297 x
420mm inches.
English.
Librett
o by James Fenton
In a
make-believe world, based
loosely on Bombay and
Kashmir, the story of
Haroun is a tale of a
fight between the free
imagination and the
powers that oppose it.
Haroun's father, Rashid,
the Shah of Blah, is a
professional and gifted
story-teller, a popular
figure much in demand at
public events. Feeling
neglected, his wife is
persuaded to leave him
and run away with a
neighbor. After this,
Rashid loses confidence
in his powers of
story-tellling, haunted
by his son's question:
'What's the use of
stories that aren't even
there?' Rashid is due to
speak at a political
rally to be held by the
sinister politician,
Snooty Buttoo. He is told
that if he does not come
up with his usual fund of
tales, his tongue will be
cut out. As Rashid
despairs, Haroun
determines to rescue his
father's talent - a
project in which he
learns that the Ocean of
the Sea of Stories, the
source of all stories, is
being polluted by the
enemy of all stories, the
evil Khattam Shud. In a
series of brilliant
imagined adventures,
Haroun succeeds in
defeating the powers of
darkness, and restoring
happiness to his family,
and to the city where he
lives.
Salman
Ruishdie's children's
book, written in the
aftermath of the fatwa,
has an effervescent style
which is full of rhymes
and wordplay. The
libretto stays very close
to the spirit of the
original, conjuring up a
fantasy world in which,
nonetheless, one never
loses sight of harsh
political reality and the
great issues of freedom
of speech and
imagination. -- James
Fenton, 1998
No. 2 from the
Symphonic Poem My
Fatherland. Composed
by Bedrich Smetana.
Edited by Milan Pospisil.
Softbound. Eulenburg
Orchestral Series.
Today, it is hard to
believe that Bedrich
Smetana kept receiving
rejections when he tried
to get his enormously
popular Moldau
printed.
Symphonic
poem; Romantic. Full
score. 84 pages. Duration
13'. Breitkopf and
Haertel #EOS 20472-00.
Published by Breitkopf
and Haertel
(BR.EOS-20472-00).
ISBN 9790004780008. 10
x 12.5
inches.
What is
also amazing is that the
first text-critical
edition prepared by the
Czech Smetana expert
Milan Pospisil in 1999,
which had entailed an
exhaustive evaluation of
the sources and been
given a full
text-critical editorial
treatment as a Eulenburg
study score, had no
resonance of any kind
among performers since no
performance material had
been published. After 15
years, Pospisils edition
is finally being
completed in a manner
suitable for practice:
with a conducting score
and orchestral parts
which will ensure that
all future performances
are based on a musical
text that is as reliable
as can
be.
The
work depicts the course
of the river Vltava,
beginning with its first
two sources, the cold and
warm Vltava, and the
confluence of the two
streams that join to form
a single river; then the
course of the Vltava
through forests and
meadows, and through open
countryside where a
peasant wedding is being
celebrated; water-sprites
dance by the light of the
moon; on the nearby
cliffs castles, mansions
and ruins rise proudly
into the air; the Vltava
eddies in the St John's
Rapids, then flows in a
broad stream as it
continues its course
towards Prague, where the
Vysehrad appears, before
the river finally
disappears into the
distance as it flows
majestically into the
Elbe.
Vltava
(The Moldau),
Smetana's best-known and
most frequently performed
orchestral work, was
written between 19
November and 8 December
1874, at a time when
Smetana was already
completely deaf. The
world premiere took place
in Prague on 4 April
1875, but the score was
not published until
1880.
Orchestra SKU: LO.30-2422L Composed by Ruth Elaine Schram. Choral. Sacred...(+)
Orchestra
SKU:
LO.30-2422L
Composed
by Ruth Elaine Schram.
Choral. Sacred Anthem,
General, Lent. Orchestral
score and parts. Lorenz
Publishing Company
#30/2422L. Published by
Lorenz Publishing Company
(LO.30-2422L).
UPC:
000308121483.
How
great is the
Father’s love for
us! Full of awe and
wonder, this song of
reverent faith opens
quietly, with unison
voices. The vocals
thicken gradually as the
verses rise in successive
keys, warmly supported by
the artful accompaniment.
Lyrical and reflective,
it’s a gift of
love for our gracious,
compassionate God. (From
the cantata The Living
Last Supper. SATB
– 55/1110L; SAB
– 55/1116L.)
Instrumentation: Flute,
Oboe, 2 Clarinets,
Percussion, Violin 1 & 2,
Viola, Cello, and
Bass.
Full orchestra SKU: LO.30-3694L Composed by Marty Parks. Choral, cantatas...(+)
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...(+)
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!
Full orchestra SKU: LO.30-3747MD Choral. Sacred Anthem. Orchestral score ...(+)
Full orchestra
SKU:
LO.30-3747MD
Choral.
Sacred Anthem. Orchestral
score and CD with
printable parts.
Medallion Music
#30/3747MD. Published by
Medallion Music
(LO.30-3747MD).
UPC:
000308154863.
Orche
stral Score and CD with
Printable Parts for
10/5344MD With original
lyrics from Randy Cox and
Lowell Alexander, this
Richard Kingsmore
arrangement of the
traditional Gaelic melody
Morning Has Broken
beautifully expresses the
love of God shown through
Jesus Christ. Love from
the Father, Infant of
Mary, born in a manger,
not on a throne. Life
everlasting, living among
us, Jesus, the promise
wrapped up in love..
Eulenburg Audio Score Series. By Bedrich Smetana. This edition: EAS142. Eulenbur...(+)
Eulenburg Audio Score
Series. By Bedrich
Smetana. This edition:
EAS142. Eulenburg Audio
Score (Pocket Scores
CD). Study score and CD.
81 pages. Published by
Eulenburg.
From the Symphonic
Poem My Fatherland.
Composed by Bedrich
Smetana. Softbound.
Partitur-Bibliothek
(Score Library).
Symphonic poem; Romantic.
Study Score. 68 pages.
Duration 13'. Breitkopf
and Haertel #PB 3642-07.
Published by Breitkopf
and Haertel
(BR.PB-3642-07).
(Orchestra). By John Adams (1947-). For Orchestra (Full Score). Boosey and Hawke...(+)
(Orchestra). By John
Adams (1947-). For
Orchestra (Full Score).
Boosey and Hawkes
Scores/Books. 128 pages.
Boosey and Hawkes
#M051096275. Published by
Boosey and Hawkes
(A Journey Through the Lord's Prayer). Composed by Pepper Choplin. For Choral (O...(+)
(A Journey Through the
Lord's Prayer). Composed
by Pepper Choplin. For
Choral (ORCHESTRATION ON
CD-ROM). Brookfield
Choral Series. CD-ROM.
Published by Brookfield
Press
Orchestra - Grade 3 SKU: DS.SA7401 Composed by David Winkler. Arranged by...(+)
Orchestra - Grade 3
SKU: DS.SA7401
Composed by David
Winkler. Arranged by
David S. Winkler. Large
Ensemble for Orchestra.
Traditional. Psalm 150
#SA7401. Published by
Psalm 150 (DS.SA7401).
Composed by Stuart Townend. Arranged by Richard Kingsmore. For orchestra. Allegi...(+)
Composed by Stuart
Townend. Arranged by
Richard Kingsmore. For
orchestra. Allegis.
Advanced. Conductor's
score and instrumental
parts. Lillenas
Publishing Company
#765762136809. Published
by Lillenas Publishing
Company
Orchestra (Score) - advanced SKU: HL.49001770 Full Score. Composed...(+)
Orchestra (Score) -
advanced
SKU:
HL.49001770
Full
Score. Composed by
Wilhelm Friedemann Bach.
Edited by Walter
Lebermann. This edition:
Saddle stitching. Sheet
music. Concertino
(Chamber Orchestra).
Classical. Score. 16
pages. Duration 8'.
Schott Music #CON 14.
Published by Schott Music
(HL.49001770).
ISBN
9790001021197. UPC:
073999293562.
9.25x12.0x0.07
inches.
Though A.E.
Brachvogel's portrayal of
the failed genius in his
biography about W.F. Bach
drew an impressive
picture of the inner
turmoil of the eldest
Bach son's personality,
it is rather unproductive
for the understanding of
his music. However,
legends often or mostly
contain a core of truth:
There is no doubt that
the highly gifted
musician failed because
of the overwhelming
example of his father (as
composer) particularly
since he was on the
threshold from one epoch
to another.In the adagio,
both flute parts rising
above the string
orchestra are assigned a
quality of expression
that can already be
related to the
sentimental age whereas
the second movement, a
more or less strict
string fugue, is rooted
in the
tradition-conscious
baroque period.
Orchestra - Grade 3 SKU: AP.49898 From African Suite. Composed by ...(+)
Orchestra - Grade 3
SKU: AP.49898
From African
Suite. Composed by
Samuel Coleridge-Taylor.
Arranged by Kirk Moss.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Concert String Orchestra.
Form: Dance. Masterwork
Arrangement. Score and
Part(s). Duration 3:00.
Belwin Music #00-49898.
Published by Belwin Music
(AP.49898).
ISBN
9781470657314. UPC:
038081575469.
English.
Originally
composed for piano as the
final movement of African
Suite, Danse begins with
two introductory chords
followed by energetic
swinging rhythms and
repeated angular
melodies. Students will
love the moods in this
festive overture,
evocative of later
Broadway musicals. The
artistic turning point of
Samuel Coleridge-Taylor's
career happened in his
twenties when he met the
African-American poet
Paul Laurence Dunbar.
Dunbar influenced the
young composer to
concentrate on his
African heritage. Born in
suburban London to Alice
Martin, an Englishwoman
and the daughter of a
blacksmith, his father,
Dr. Daniel Peter Hughes
Taylor, was a Creole of
Sierra Leone who
qualified as a Member of
the Royal College of
Surgeons (MRCS) and
returned to Africa before
his son's birth. Called
Coleridge by his family,
he was raised in Croydon,
Surrey, by his mother and
her father, Benjamin
Holmans, who taught him
the violin. (3:00).
Orchestra (Study Score) SKU: HL.49045924 Opera in 3 Acts Study Score(+)
Orchestra (Study Score)
SKU: HL.49045924
Opera in 3 Acts Study
Score. Composed by
Erich Wolfgang Korngold.
This edition:
Hardback/Hard Cover.
Sheet music. Study Score.
Die tote Stadt war von
Anfang an ein
durchschlagender Erfolg.
Bei der Urauffuhrung 1920
war der Komponist
Korngold, der spater in
Hollywood Karriere als
Filmkomponist machte,
gerade einmal 23 Jahre
alt. Das Libretto, ein
vielschichtig
gebrochenes, morbide.
Classical, Opera.
Hardcover. Composed
1916-1919. Op. 12. 696
pages. Duration 8700
seconds. Eulenburg
Edition #ETP8113.
Published by Eulenburg
Edition (HL.49045924).
ISBN 9783795711764.
UPC: 888680949426.
8.0x10.5x1.8 inches.
German. Korngold -
Librettist: Paul Schott;
Author of Original Text:
Georges
Rodenbach.
This
masterpiece, composed by
Erich Wolfgang Korngold
when he was only 23, was
one of the great stage
successes of the 1920s
and 30s before being
removed from theatre
schedules by the National
Socialists. Rediscovered
in the 1970s, it has
enjoyed continuing
popularity ever since.
The libretto was compiled
by the composer's father,
the music critic Julius
Korngold, writing under
the pseudonym 'Paul
Schott', a combination of
the name of the
protagonist and the
publishing house. A
vivacious theatre group
comes to liven up the
gloomy city of Bruges
(here, a symbol of death)
and the widower Paul is
forced to decide between
the past and the present.
Korngold was fascinated
by this symbolic plot and
created an iridescent
orchestral score washed
in vivid colours. A
variety of operatic
devices are intermingled
as if viewed through a
kaleidoscope: opulent
melodic arias, advanced
harmonies, psychoanalytic
profundity and cinematic
transitions oscillating
between reality and dream
worlds guarantee the
continuing modernity of
this work up to the
present day.
By George E. Strombeck. For Mixed Large Ensemble. Large Ensemble for Mixed Large...(+)
By George E. Strombeck.
For Mixed Large Ensemble.
Large Ensemble for Mixed
Large Ensemble. Meter:
3/4, 4/4. Traditional.
Level: 1.5-2.5. Duration
1'30". Published by David
E. Smith Publications.
One Last Journey Orchestre [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
Orchestra, Grade 4 3:55 Score and Parts. Composed by Robin Hoffmann. Symphonic...(+)
Orchestra, Grade 4 3:55
Score
and Parts. Composed by
Robin
Hoffmann. Symphonic
Dimensions. Classical.
Softcover. 131 pages.
Duration
235 seconds. Hal Leonard
#SDP20123402. Published
by Hal
Leonard
Orchestra SKU: FG.042-07773-3 Composed by Aarre Merikanto. Score. Publish...(+)
Orchestra
SKU:
FG.042-07773-3
Composed by Aarre
Merikanto. Score.
Published by Fennica
Gehrman (FG.042-07773-3).
ISBN
979-0-042-07773-3.
Hiding behind the modest
title study is a true
masterwork by Finland's
founding father of
musical modernism. It is
the final part of a
trilogy written in the
1920's, to which the
works Fantasia and Pan
also belong. It suffered
the same fate as
Merikanto's String Sextet
and Nonet: the composer
tore pages out in fits of
frustration and
self-criticism. Paavo
Heininen, an important
Finnish modernist in his
own right, has undone the
damage and reconstructed
his composition teacher's
work for posterity.
