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.
Full Score.
Composed by Oscar
Hammerstein and Richard
Rodgers. Arranged by
Bruce Chase. Orchestra.
Broadway. 80 pages.
Published by Hal Leonard
(HL.348847).
Loch Lomond Orchestre [Conducteur et Parties séparées] - Facile Grand Mesa Music
Composed by Traditional. Edited by J. Cameron Law. Arranged by David Bobrowi...(+)
Composed by Traditional.
Edited by J. Cameron Law.
Arranged by David
Bobrowitz.
For string orchestra.
Grade
2+. Score and set of
parts.
Duration 3 minutes.
Published
by Grand Mesa Music
Divertimento teatrale
in one act. Operetta for
four voices. Composed
by Antonio Salieri.
Edited by Adrian La
Salvia and Thomas
Betzwieser. This edition:
Edition of selected
works, Urtext edition.
Linen. Spectrum of
European Music Theatre in
Separate Editions 1.
Edition of selected
works, Score, Critical
commentary, USB flash
drive. Duration 1 hour,
15 minutes. Baerenreiter
Verlag #BA08811_00.
Published by Baerenreiter
Verlag (BA.BA08811).
ISBN 9790006539840.
33.1 x 26.5 cm inches.
Text Language: Italian.
Preface: Betzwieser,
Thomas. Text:
Giambattista
Casti.
A memorable
musical competition
commissioned by the
emperor Joseph II took
place on 7 February 1786
as part of a festival in
the orangery of the
Schönbrunn palace. A
German Singspiel ensemble
performed Mozart’s
“Schauspieldirektor
†whilst Antonio
Salieri’s
“Prima la musica e
poi le parole†was
performed by the Italian
court singers and
musicians. This charming
opera satire belongs to
the genre of
“metamelodrammaâ
in which the opera
itself becomes the
subject of the action.
The people who are part
of an opera production,
for example the
librettist, composer and
prima donna, appear as
characters on the stage
and are presented in a
humorous self-reflection.
In this ‘theatre
about theatre’
Salieri parodies the
music from Giuseppe
Sarti’s
“Giulio
Sabino†in his
insert arias, thus
playing on the music
which was totally
familiar with the
audience of the time. By
reflecting on the
musical-dramatic style of
that period and
discussing whether
‘the word’
or ‘the
music’ should take
priority, this
masterpiece is considered
to be an early forerunner
to Richard
Strauss’s
“Capriccioâ€.<
br> The new edition of
the score is published as
part of “opera
– Spectrum of
European Music Theatre in
Separate Editionsâ€.
There are several
alterations regarding the
libretto text, stage
directions, articulation,
ornamentation, etc. which
have been incorporated
into this newly engraved
vocal score. Furthermore,
all appendix numbers from
the score which concern
the quotations from
Giuseppe Sarti’s
“Giulio
Sabino†have also
been
incorporated.
â
¢ Urtext vocal score
based on the
historical-critical
hybrid score published as
part of “opera
– Spectrum of
European Music Theatre in
Separate Editionsâ€
edited by Thomas
Betzwieser (music
edition) and Adrian La
Salvia (text
edition). •
Original Italian libretto
with singable German
translation •
Comprehensive bilingual
foreword (Ger/Eng) on the
genesis and reception of
the work, on
metamelodramma and
intertextuality
etc. • Includes
an extensive appendix to
the quotations taken from
Giuseppe Sarti’s
“Giulio
Sabino†•
Idiomatic piano
reduction
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
Exercises for Intonation, Rhythm, Bowing, and Creativity for Intermediate Str...(+)
Exercises for
Intonation, Rhythm,
Bowing, and Creativity
for Intermediate String
Orchestra (Conductor's
Score). Composed by
Bob Phillips; Kirk Moss;
Matt Turner; Stephen
Benham. This edition:
Teacher's Score.
Method/Instruction;
SmartMusic; String
Orchestra
Method/Supplement. Sound
Innovations for String
Orchestra. Score. 101
pages. Alfred Music
#00-44213. Published by
Alfred Music (AP.44213).
Exercises for Intonation, Rhythm, Bowing, and Creativity for Intermediate Str...(+)
Exercises for
Intonation, Rhythm,
Bowing, and Creativity
for Intermediate String
Orchestra
(Cello/Bass).
Composed by Bob Phillips;
Kirk Moss; Matt Turner;
Stephen Benham. This
edition: Cello/Bass.
Method/Instruction;
SmartMusic; String
Orchestra
Method/Supplement. Sound
Innovations for String
Orchestra. Book. 56
pages. Alfred Music
#00-44212. Published by
Alfred Music (AP.44212).
Exercises for Intonation, Rhythm, Bowing, and Creativity for Intermediate Str...(+)
Exercises for
Intonation, Rhythm,
Bowing, and Creativity
for Intermediate String
Orchestra (Viola).
Composed by Bob Phillips;
Kirk Moss; Matt Turner;
Stephen Benham. This
edition: Viola.
Method/Instruction;
SmartMusic; String
Orchestra
Method/Supplement. Sound
Innovations for String
Orchestra. Book. 56
pages. Alfred Music
#00-44211. Published by
Alfred Music (AP.44211).
Composed by Rodgers and Hammerstein, arranged by Chase. Set of performance parts...(+)
Composed by Rodgers and
Hammerstein, arranged by
Chase. Set of performance
parts for orchestra.
Grade 2. With standard
notation. Series: Hal
Leonard Discovery
Orchestra. Published by
Hal Leonard.
(Conductor's Score). By Bob Phillips and Kirk Moss. Orchestra. For Conductor's S...(+)
(Conductor's Score). By
Bob Phillips and Kirk
Moss. Orchestra. For
Conductor's Score.
Method/Instruction;
Score; SmartMusic; String
Orchestra
Method/Supplement. Sound
Innovations Series for
Strings. 228 pages.
Published by Alfred Music
Publishing
Orchestra - Grade 1.5 SKU: AP.48071S Featuring Themes from Take Me Out...(+)
Orchestra - Grade 1.5
SKU: AP.48071S
Featuring Themes from
Take Me Out to the Ball
Game and the Ninth
Symphonies of Franz
Shubert, AntonÃn
Dvorák, and Ludwig van
Beethoven. Composed
by Albert Von Tilzer,
Antonin Dvorak, Franz
Shubert, and Ludwig van
Beethoven. Arranged by
Bob Phillips. MakeMusic
Cloud; Performance Music
Ensemble; Single Titles;
Solo Small Ensembles;
String Orchestra. Sound
Innovations for String
Orchestra. Masterwork
Arrangement. Score. 8
pages. Duration 2:30.
Alfred Music #00-48071S.
Published by Alfred Music
(AP.48071S).
UPC:
038081557601.
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.
Tongue-in-cheek
and beautiful, Bottom of
the Ninths is the perfect
way to delve into these
masterworks with young
players in a fun context!
All sections remain in
1st position, in the key
of D major, with no high
3's or low 1's as the
melodies are passed
throughout the orchestra.
Easy to play and
showcasing the beauty of
these great composers,
this piece, arranged by
Bob Phillips, would shine
at a festival or contest.
The medley features Take
Me Out to the Ball Game;
the opening theme from
Schubert's Symphony No. 9
which is, of course, at
the beginning of that
work; the famous Going
Home theme from the
middle of Dvorák's
Symphony No. 9; and the
Ode to Joy theme from
Beethoven's Symphony No.
9, which is at the end,
or the bottom, of the
9th. Correlated to Sound
Innovations for String
Orchestra, Book 1, Level
5. (2:30) This title
available in MakeMusic
Cloud.
Orchestra - Grade 1.5 SKU: AP.48071 Featuring Themes from Take Me Out ...(+)
Orchestra - Grade 1.5
SKU: AP.48071
Featuring Themes from
Take Me Out to the Ball
Game and the Ninth
Symphonies of Franz
Shubert, AntonÃn
Dvorák, and Ludwig van
Beethoven. Composed
by Albert Von Tilzer,
Antonin Dvorak, Franz
Shubert, and Ludwig van
Beethoven. Arranged by
Bob Phillips. MakeMusic
Cloud; Performance Music
Ensemble; Single Titles;
Solo Small Ensembles;
String Orchestra. Sound
Innovations for String
Orchestra. Masterwork
Arrangement. Score and
Part(s). 76 pages.
Duration 2:30. Alfred
Music #00-48071.
Published by Alfred Music
(AP.48071).
UPC:
038081557595.
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.
Tongue-in-cheek
and beautiful, Bottom of
the Ninths is the perfect
way to delve into these
masterworks with young
players in a fun context!
All sections remain in
1st position, in the key
of D major, with no high
3's or low 1's as the
melodies are passed
throughout the orchestra.
Easy to play and
showcasing the beauty of
these great composers,
this piece, arranged by
Bob Phillips, would shine
at a festival or contest.
The medley features Take
Me Out to the Ball Game;
the opening theme from
Schubert's Symphony No. 9
which is, of course, at
the beginning of that
work; the famous Going
Home theme from the
middle of Dvorák's
Symphony No. 9; and the
Ode to Joy theme from
Beethoven's Symphony No.
9, which is at the end,
or the bottom, of the
9th. Correlated to Sound
Innovations for String
Orchestra, Book 1, Level
5. (2:30) This title is
available in MakeMusic
Cloud.
(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
By Franz Schubert. Arranged by Richard Meyer. By Franz Schubert / arr. Richard M...(+)
By Franz Schubert.
Arranged by Richard
Meyer. By Franz Schubert
/ arr. Richard Meyer. For
Full Orchestra. Full
Orchestra. First
Philharmonic. Level:
Grade 2. Conductor Score.
Published by Alfred
Publishing.
Rosamunde Overture Orchestre [Conducteur et Parties séparées] - Facile Alfred Publishing
By Franz Schubert. Arranged by Richard Meyer. By Franz Schubert / arr. Richard M...(+)
By Franz Schubert.
Arranged by Richard
Meyer. By Franz Schubert
/ arr. Richard Meyer. For
Full Orchestra. Full
Orchestra. First
Philharmonic. Level:
Grade 2. Conductor Score
and Parts. Published by
Alfred Publishing.
Full
Score. Composed by
Per Norgard. Music Sales
America. 20Th Century,
Classical. Softcover. 188
pages. Edition Wilhelm
Hansen #KP00865.
Published by Edition
Wilhelm Hansen
(HL.14032192).
ISBN
9788759858394.
12.0x16.5x0.78 inches.
International (more than
one
language).
Symphony
No. 6 for orchestra,
1997-99. Preface /
Program Note:... with the
Lord a day is like a
thousand years, and a
thousand years is like a
day(New Testament, 2
Peter 3:8)My SYMPHONY NO.
6 was commissioned by the
Danish National Radio
Symphony Orchestra, the
Gteborg Symphony
Orchestra and the Oslo
Philharmonic Orchestra,
to be premiered at the
millenium 2000.The
subtitle AT THE END OF
THE DAY can be understood
literally or it can mean
when all is added up.
However, in my opinion,
nothing ever quite adds
up, there is always
something missing, any
ending will be
provisional ...This
symphony appears to end
only a few minutes into
the first movement, the
first passage, as the
music fades away to
almost-silence, after a
start of flying colours.
But then there is still
something, a small motive
(first heard in the
initial sound-waves)
which reappears,
hesitant, but persistent,
and this embryo is what
leads on the musical
progression. An agitated
section of many
instrumental voices comes
next, until all the
voices become obsessed
with the same phrase, a
see-saw motive based on
thirds. This section
evolves into almost
martial ferocity, when
broken off by a tutti
descent into an extreme
bass-world (a bass-world
which actually permeates
the whole symphony,
emplyoing instruments
that I have never used
before: double-bass tuba,
double-bass trombone,
double-bass clarinet, and
bass flute).The second
movement, the second
passage, apparently takes
off where the first
passage ended, but now
the events are more
ambiguous, and the same
music may be perceived as
fast-moving one moment
and slow-moving the next.
This section is a kind of
passacaglia, the
characteristic baroque
bass-variation.Without a
break follows the third
and last passage, in a
contrasting high
register. The music is
rhythmically knotty as
well as freely flowing.
As in the beginning of
the symphony, a
never-ending descent or
fall breaks off the
events, and at the very
end a delta of new
beginnings, of other
worlds, is revealed
....The symphony is
dedicated to Helle, my
wife. - Per Norgard.
Orchestra - Grade 1.5 SKU: AP.49462 The Prince of Denmark March. C...(+)
Orchestra - Grade 1.5
SKU: AP.49462
The Prince of Denmark
March. Composed by
Jeremiah Clarke. Arranged
by Bob Phillips. Series;
Single Titles; String
Orchestra. Sound
Innovations for String
Orchestra. Light Concert;
Masterwork Arrangement.
Score and Part(s).
Duration 2:00. Alfred
Music #00-49462.
Published by Alfred Music
(AP.49462).
ISBN
9781470650261. UPC:
038081571041.
English.
This
arrangement of The Prince
of Denmark March, or
Trumpet Voluntary,
provides the perfect
setting for advocacy and
striving for excellence
since it is so
recognizable. Three
different versions of the
final 8 bars, containing
incorrect notes, are
included. Each version
contains an increasing
percentage of correct
pitches. Each represents
a different letter grade.
Play all four versions
and then explain to
parents and
administration that the
A+, 100% correct version
is what we do every day
in orchestra. All
sections play the melody
in this piece, still
providing a solid musical
setting in a novelty
piece. Audience members
are sure to recognize it
which makes it perfect
for finding errors. Along
with the real music for
the final 8 bars, three
other versions are
included. The first
version has 80% of the
correct notes and 20%
incorrect. The next has
90% correct notes and 10%
incorrect. The next has
95% correct notes and 5%
incorrect. The final,
real version has 100%
correct notes. The 100%
version should be played
first for the audience
explaining this version
would get an A+ in an
academic setting. Then
play the 80% or B-
version, then the 90% or
A- Version, and then the
95% A version. Then
explain to parents and
administration that the
only version that is
acceptable is the 100%
version and that is what
we do every day in
orchestra. This provides
a perfect advocacy moment
to discuss the benefits
of music education with
parents and a tangible
explanation of striving
for excellence to parents
and students. Includes an
educational packet with
each part that features
technical exercises,
history, theory,
composition, and more.
Correlated to Sound
Innovations, Book 1,
Level 5. (2:00).
Orchestra - Grade 1.5 SKU: AP.49462S The Prince of Denmark March. ...(+)
Orchestra - Grade 1.5
SKU: AP.49462S
The Prince of Denmark
March. Composed by
Jeremiah Clarke. Arranged
by Bob Phillips. Series;
Single Titles; String
Orchestra. Sound
Innovations for String
Orchestra. Light Concert;
Masterwork Arrangement.
Score. Duration 2:00.
Alfred Music #00-49462S.
Published by Alfred Music
(AP.49462S).
ISBN
9781470650278. UPC:
038081571058.
English.
This
arrangement of The Prince
of Denmark March, or
Trumpet Voluntary,
provides the perfect
setting for advocacy and
striving for excellence
since it is so
recognizable. Three
different versions of the
final 8 bars, containing
incorrect notes, are
included. Each version
contains an increasing
percentage of correct
pitches. Each represents
a different letter grade.
Play all four versions
and then explain to
parents and
administration that the
A+, 100% correct version
is what we do every day
in orchestra. All
sections play the melody
in this piece, still
providing a solid musical
setting in a novelty
piece. Audience members
are sure to recognize it
which makes it perfect
for finding errors. Along
with the real music for
the final 8 bars, three
other versions are
included. The first
version has 80% of the
correct notes and 20%
incorrect. The next has
90% correct notes and 10%
incorrect. The next has
95% correct notes and 5%
incorrect. The final,
real version has 100%
correct notes. The 100%
version should be played
first for the audience
explaining this version
would get an A+ in an
academic setting. Then
play the 80% or B-
version, then the 90% or
A- Version, and then the
95% A version. Then
explain to parents and
administration that the
only version that is
acceptable is the 100%
version and that is what
we do every day in
orchestra. This provides
a perfect advocacy moment
to discuss the benefits
of music education with
parents and a tangible
explanation of striving
for excellence to parents
and students. Includes an
educational packet with
each part that features
technical exercises,
history, theory,
composition, and more.
Correlated to Sound
Innovations, Book 1,
Level 5. (2:00).
Orchestra - Grade 2.5 SKU: AP.45891S From La Guiconda. Composed by...(+)
Orchestra - Grade 2.5
SKU: AP.45891S
From La Guiconda.
Composed by Amilcare
Ponchielli. Arranged by
Richard Meyer. Full
Orchestra; Masterworks;
Performance Music
Ensemble; Single Titles.
Highland/Etling First
Philharmonic. Form:
Dance; Transcription.
Masterwork Arrangement;
Romantic. Score. 24
pages. Duration 3:20.
Highland/Etling
#00-45891S. Published by
Highland/Etling
(AP.45891S).
ISBN
9781470661113. UPC:
038081526522.
English.
Your
orchestra will love the
chance to play these
ever-popular tunes from
Ponchielli's opera La
Gioconda, as arranged by
Richard Meyer. Instantly
recognizable to any
audience, this
arrangement retains the
sound of the original and
gives students a chance
to develop the variety of
techniques needed to
perform two very
different styles of dance
music. The key has been
changed (from E major to
G major) and the time
signature simplified
(from 4/8 to 4/4), but
none of the fun is
missing! (3:20).
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).
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
(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 - Grade 2.5 SKU: AP.47458S Featuring: Silent Night / Joy to ...(+)
Orchestra - Grade 2.5
SKU: AP.47458S
Featuring: Silent
Night / Joy to the
World. Arranged by
Chris M. Bernotas.
Performance Music
Ensemble; Single Titles;
String Orchestra. Sound
Innovations for String
Orchestra. Christmas;
Traditional. Score. 12
pages. Alfred Music
#00-47458S. Published by
Alfred Music (AP.47458S).
UPC: 038081545004.
English.
This piece
will get you ready to
saddle up for the
Christmas rush. Two
familiar tunes, Silent
Night and Joy to the
World, are set with a
fun, western flair.
Silent Night features the
use of portamento as a
special effect, bringing
the cowboy swagger to
your string orchestra.
The excitement picks up
with a faster tempo and
upbeat rhythms for the
hoedown treatment of Joy
to the World. Once your
students play this one
they will want to sit by
the fireplace and swap
their favorite Christmas
stories! (Correlates with
Sound Innovations for
String Orchestra, Book 2,
level 2).
Orchestra - Grade 2.5 SKU: AP.47458 Featuring: Silent Night / Joy to t...(+)
Orchestra - Grade 2.5
SKU: AP.47458
Featuring: Silent
Night / Joy to the
World. Arranged by
Chris M. Bernotas.
Performance Music
Ensemble; Single Titles;
String Orchestra. Sound
Innovations for String
Orchestra. Christmas;
Traditional. Score and
Part(s). 164 pages.
Alfred Music #00-47458.
Published by Alfred Music
(AP.47458).
UPC:
038081544991.
English.
This piece
will get you ready to
saddle up for the
Christmas rush. Two
familiar tunes, Silent
Night and Joy to the
World, are set with a
fun, western flair.
Silent Night features the
use of portamento as a
special effect, bringing
the cowboy swagger to
your string orchestra.
The excitement picks up
with a faster tempo and
upbeat rhythms for the
hoedown treatment of Joy
to the World. Once your
students play this one
they will want to sit by
the fireplace and swap
their favorite Christmas
stories! (Correlates with
Sound Innovations for
String Orchestra, Book 2,
level 2).
Often Referred to as the African-American National Anthem . Composed by ...(+)
Often Referred to as
the African-American
National Anthem .
Composed by J. Rosamond
Johnson, words by James
Weldon Johnson. Arranged
by Bob Phillips. This
edition: with Chorus.
Part(s); Score; String
Orchestra. Sound
Innovations for String
Orchestra. Folk;
Multicultural. 80 pages.
Published by Alfred Music
(AP.44827).
(Exercises for the Instrumental Conductor). Arranged by Robert Spradling. Carl F...(+)
(Exercises for the
Instrumental Conductor).
Arranged by Robert
Spradling. Carl Fischer
Band Books Series.
Student Book. 96 pages.
Published by Carl Fischer
Orchestra - Grade 2 SKU: AP.49463 Arranged by Jim Palmer (ASCAP). MakeMus...(+)
Orchestra - Grade 2
SKU: AP.49463
Arranged by Jim Palmer
(ASCAP). MakeMusic Cloud;
Single Titles; String
Orchestra. Sound
Innovations for String
Orchestra. Folk;
Traditional. Score and
Part(s). Duration 2:25.
Alfred Music #00-49463.
Published by Alfred Music
(AP.49463).
ISBN
9781470650247. UPC:
038081571027.
English.
The Last
Rose of Summer is a
traditional Irish tune
arranged by Jim Palmer.
The beautiful melody,
rich harmonies, and
interesting accompaniment
will help your young
orchestra sound mature.
The long phrases are
highlighted with
beautiful slurs and a
variety of dynamics.
Pizzicato, slurs and ties
create the interesting
accompaniments.
Well-developed phrases
and unexpected chords
provide opportunities for
artistic expression. A
perfect choice to teach a
broad range of musical
ideas. Correlated to
Sound Innovations, Book
2, Level 2. (2:25) This
title is available in
MakeMusic Cloud.
Orchestra - Grade 2 SKU: AP.49463S Arranged by Jim Palmer (ASCAP). Series...(+)
Orchestra - Grade 2
SKU: AP.49463S
Arranged by Jim Palmer
(ASCAP). Series; Single
Titles; String Orchestra.
Sound Innovations for
String Orchestra. Folk;
Traditional. Score.
Duration 2:25. Alfred
Music #00-49463S.
Published by Alfred Music
(AP.49463S).
ISBN
9781470650254. UPC:
038081571034.
English.
The Last
Rose of Summer is a
traditional Irish tune
arranged by Jim Palmer.
The beautiful melody,
rich harmonies, and
interesting accompaniment
will help your young
orchestra sound mature.
The long phrases are
highlighted with
beautiful slurs and a
variety of dynamics.
Pizzicato, slurs and ties
create the interesting
accompaniments.
Well-developed phrases
and unexpected chords
provide opportunities for
artistic expression. A
perfect choice to teach a
broad range of musical
ideas. Correlated to
Sound Innovations, Book
2, Level 2. (2:25).
Orchestra - Grade 2.5 SKU: AP.47470S Composed by Richard Meyer. MakeMusic...(+)
Orchestra - Grade 2.5
SKU: AP.47470S
Composed by Richard
Meyer. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Halloween.
Score. 16 pages.
Highland/Etling
#00-47470S. Published by
Highland/Etling
(AP.47470S).
ISBN
9781470656645. UPC:
038081541990.
English.
This ode
to the Wild West begins
with a mysterious
introduction using the
folk song All the Pretty
Little Horses in an eerie
setting that will send
shivers up the spines of
performers and audience
members alike. Brief
solos for violin, viola,
and cello are heard. The
pace then picks up as we
hear the driving and
energetic theme of the
Ghost Stallion riding
through the moonlit
countryside. The repeated
galloping rhythm
(eighth/two sixteenths)
appears in stretches and
is designed to improve
your students' abilities
to perform this
all-important bowing
pattern. This picturesque
and educationally sound
selection by Richard
Meyer is sure to capture
the imagination and
improve the technique of
everyone in both
intermediate and more
advanced orchestras. This
title is available in
MakeMusic Cloud.