Orchestra (Score)

SKU: HL.14023658

Composed by Michael Nyman. Music Sales America. Classical. Score. Composed 2002. 72 pages. Chester Music #CH61000. Published by Chester Music (HL.14023658).

ISBN 9780711943711. 9.0x12.0x0.238 inches.

And Do They Do was commissioned by Siobhan Davies and the London Contemporary Dance Theatre. It was composed during the summer of 1986 and first performed at Sadler's Wells Theatre on 25 November in that year. It consists of four linked 'songs' of which the third is based on Schumann's 'Nachtlied' Opus 96, No. 1.

By Jay Bocook. MusicWorks Grade 4. Concert Band. Score and full set of parts. Size 9x12 inches. Published by Hal Leonard.

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: BT.MUSM570366699

Composed by Ed Hughes. Score Only. 62 pages. University of York Music Press #MUSM570366699. Published by University of York Music Press (BT.MUSM570366699).

English.

Le Voyage Dans La Lune is a continuous orchestral score of approximately 14 minutes comprising two outer fast sections and a slower inner section of a dream-like character. The work is directly inspired by the film Le Voyage Dans La Lune (1902), written and directed by the pioneering French film-maker, Georges Méliès. Méliès was influenced by 19th century interests in science and discoveries, as well as the science fiction of Jules Verne. At the same time his work seems fantastic, surreal and satirical. Some critics point out an underlying critique of colonial adventuring. The plot centres on a group of astronomers who decide to launch a rocket to the moon containing a handful of their number. They reach the moon (famously landing on the moon’s face) and then encounter a strange race of aliens, whom they battle and destroy. The return to earth involves a dramatic descent, a plunge into the ocean and then celebratory dancing. The film inhabits a surreal and dream-like space, and uses an idiosyncratic visual language which transforms reality. This inspired an active musical response in my own score, which is by turns abrupt, smooth, lyrical and violent, and expresses something of the strange shifting surfaces and multiple and layered tempos evident in the film. The canons in the horns in the first scene reflect the intense arguments of the astronomers as they consider the project. The slower inner section is inspired by the scenes of the industrial City viewed from its rooftops by the astronomers. It also expresses the wonder of the astronomers as they see the earth rise from the perspective of the moon after their arrival there. The music of the final section is in places conflicted, reflecting the violent encounters with the moon’s inhabitants. It moves into a more harmonious phase at the close to match the celebrations upon the astronomers’ return from their adventuring. The music could be considered to be a surreal mini-opera without voices, voicing instead the characters of the silent screen. - Ed Hughes.

Orchestra

SKU: BT.MUSM570366712

Composed by Ed Hughes. Classical. Study Score. 62 pages. University of York Music Press #MUSM570366712. Published by University of York Music Press (BT.MUSM570366712).

English.

Le Voyage Dans La Lune is a continuous orchestral score of approximately 14 minutes comprising two outer fast sections and a slower inner section of a dream-like character. The work is directly inspired by the film Le Voyage Dans La Lune (1902), written and directed by the pioneering French film-maker, Georges Méliès. Méliès was influenced by 19th century interests in science and discoveries, as well as the science fiction of Jules Verne. At the same time his work seems fantastic, surreal and satirical. Some critics point out an underlying critique of colonial adventuring. The plot centres on a group of astronomers who decide to launch a rocket to the moon containing a handful of their number. They reach the moon (famously landing on the moon’s face) and then encounter a strange race of aliens, whom they battle and destroy. The return to earth involves a dramatic descent, a plunge into the ocean and then celebratory dancing. The film inhabits a surreal and dream-like space, and uses an idiosyncratic visual language which transforms reality. This inspired an active musical response in my own score, which is by turns abrupt, smooth, lyrical and violent, and expresses something of the strange shifting surfaces and multiple and layered tempos evident in the film. The canons in the horns in the first scene reflect the intense arguments of the astronomers as they consider the project. The slower inner section is inspired by the scenes of the industrial City viewed from its rooftops by the astronomers. It also expresses the wonder of the astronomers as they see the earth rise from the perspective of the moon after their arrival there. The music of the final section is in places conflicted, reflecting the violent encounters with the moon’s inhabitants. It moves into a more harmonious phase at the close to match the celebrations upon the astronomers’ return from their adventuring. The music could be considered to be a surreal mini-opera without voices, voicing instead the characters of the silent screen. - Ed Hughes.

Orchestra (Study Score)

SKU: HL.49004865

Score. Composed by Werner Egk. Edition Schott. Classical. Book with Audio-Online. Composed 1952. 132 pages. Schott Music #ED4408. Published by Schott Music (HL.49004865).

ISBN 9781423413134. UPC: 073999276947. 6.0x9.0x0.366 inches.

Diction lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations


< br>With these book/CDpackages that match the standard aria collections edited by Robert L. Larsen, any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version thecoach recites the text as an actor would speak it, showing flow of the language and the mood. The second version is a slow, deliberate lesson, allowing time for the student to repeat each line. These experienced language coachesadapt the “R” in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each ariaand word for word translations.



The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian, Pierre Vallet for French, Irene Spiegelmanfor German, Kathryn LaBouff for English, Yveta Synek Graff for Czech, and Gina Levinson for Russian. Companion to 50483986 Coloratura Arias for Soprano.

Dicti on lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations


< br>With these book/CDpackages that match the standard aria collections edited by Robert L. Larsen, any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version thecoach recites the text as an actor would speak it, showing flow of the language and the mood. The second version is a slow, deliberate lesson, allowing time for the student to repeat each line. These experienced language coachesadapt the “R” in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each ariaand word for word translations.



The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian, Pierre Vallet for French, Irene Spiegelmanfor German, Kathryn LaBouff for English, Yveta Synek Graff for Czech, and Gina Levinson for Russian. Companion to 50483986 Coloratura Arias for Soprano.

Dicti on lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations


< br>With these book/CDpackages that match the standard aria collections edited by Robert L. Larsen, any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version thecoach recites the text as an actor would speak it, showing flow of the language and the mood. The second version is a slow, deliberate lesson, allowing time for the student to repeat each line. These experienced language coachesadapt the “R” in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each ariaand word for word translations.



The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian, Pierre Vallet for French, Irene Spiegelmanfor German, Kathryn LaBouff for English, Yveta Synek Graff for Czech, and Gina Levinson for Russian. Companion to 50483986 Coloratura Arias for Soprano.

Dicti on lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations


< br>With these book/CDpackages that match the standard aria collections edited by Robert L. Larsen, any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version thecoach recites the text as an actor would speak it, showing flow of the language and the mood. The second version is a slow, deliberate lesson, allowing time for the student to repeat each line. These experienced language coachesadapt the “R” in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each ariaand word for word translations.



The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian, Pierre Vallet for French, Irene Spiegelmanfor German, Kathryn LaBouff for English, Yveta Synek Graff for Czech, and Gina Levinson for Russian. Companion to 50483986 Coloratura Arias for Soprano.

Dicti on lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations


< br>With these book/CDpackages that match the standard aria collections edited by Robert L. Larsen, any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version thecoach recites the text as an actor would speak it, showing flow of the language and the mood. The second version is a slow, deliberate lesson, allowing time for the student to repeat each line. These experienced language coachesadapt the “R” in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each ariaand word for word translations.



The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian, Pierre Vallet for French, Irene Spiegelmanfor German, Kathryn LaBouff for English, Yveta Synek Graff for Czech, and Gina Levinson for Russian. Companion to 50483986 Coloratura Arias for Soprano.

Orchestra (Study Score)

SKU: HL.50600470

Study Score. Composed by Xiaoyong Chen. Score. Classical, Contemporary. Softcover. 56 pages. Sikorski #SIK8579. Published by Sikorski (HL.50600470).

8.25x11.75x0.183 inches.

“In early 2006 I was commissioned to write a piece to be premiered in a church. Before beginning work on it, I tested the acoustics there, according to which the compositional concept developed. Somewhat later I began to compose the piece 'with the church', so to speak. During the process of composition, however, the music gradually distanced itself from the original spatial conditions and developed into a piece whose characteristics were transformed into a church-acoustical structure. 'I see your music when I hear it', a listener once said to me. Does one really see the music? Can fragrances be heard? Or can one smell colours? This 5-part composition is music in which the tones move in space on different levels, even when they are sometimes very quiet and slow; they are clear and transparent even when they are apparently dense, complicated and energetic.” (Xiaoyong Chen).

Orchestra (2.2.2.2 - 2.2.0.0 - timp - str)

SKU: BR.PB-5238

Urtext. Composed by Ludwig van Beethoven. Edited by Peter Hauschild. Orchestra; Softcover. Partitur-Bibliothek (Score Library).

Hauschild combines source criticism with the demands of performance practice, while keeping the Critical Notes brief (it goes without saying that they are in the score). His editorial emendations can thus be checked immediately.

Symphony; Classical. Full score. 80 pages. Duration 27'. Breitkopf and Haertel #PB 5238. Published by Breitkopf and Haertel (BR.PB-5238).

ISBN 9790004210000. 10 x 12.5 inches.

Ludwig van Beethoven composed his Eighth Symphony op. 93 in 1811/1812. As a consequence of the wartime upheavals of those years, the world premiere of the work did not take place until 27 February 1814 in Vienna under the composer's direction.Hauschilds new edition is based on all the major primary sources. With masterful expertise, Hauschild combines source criticism with the demands of performance practice, while keeping the Critical Notes brief (it goes without saying that they are in the score). His editorial emendations can thus be checked immediately. Whoever seeks more about how the Breitkopf new edition differs from other available editions will also find this information quickly and easily.

Hauschild combines source criticism with the demands of performance practice, while keeping the Critical Notes brief (it goes without saying that they are in the score). His editorial emendations can thus be checked immediately.

Orchestra

SKU: CF.PO192S

On We Wish You a Merry Christmas. Composed by Robert B. Brown. Condensed score. Carl Fischer Music #PO192S. Published by Carl Fischer Music (CF.PO192S).

ISBN 9781491157367. UPC: 680160915927.

Progr am note: Christmas Fugue, like the charming English folk tune on which it is based, is full of the spirit and fun that is Christmas. After a slow shimmering introduction which imparts an impression of Christmas morning, the fugue subject is abruptly introduced. The fugue subject: We Wish You a Merry Christmas. The work develops through a series of playful musical episodes which afford satisfying opportunities for the various sections of the orchestra. The fugue culminates in a combination of motifs which find the brass heralding the unmistakable arrival of Christmas. The Composer: Dr. Robert Bennett Brown has devoted much of his professional teaching career to musical compositions and arrangements for young orchestral enthusiasts. Christmas Fugue, like other of Dr. Drown's published works, was written in and for the actual teaching situation. At the present time, Robert Bennett Brown is District Supervisor of Music for the Levittown, N.Y. Public Schools. Previously, for some nineteen years, he taught in Bronxville, N.Y. where, as Chairman of Music, he brought about an extremely high level of school orchestral achievement. he was educated at New York University and Teachers College, Columbia University. He has served as a field supervisor of student teaching for New York University and as a general music consultant. For the past two years he has been a member of the New York State Music Regents Committee. To the Conductor: You will find this work to be the conductor's dream. Parts are easy but impressive sounding. The total effect will give your orchestra that typical classical sound so satisfying to performer and listener alike. Full or exact instrumentation is not a must; cross-cues will carry critical areas where a specified instrument may be lacking. Piano, tuba, and saxophone parts are written to accommodate those players where they exist. These parts are not essential to the instrumentation. Though Christmas Fugue is well suited to the interests of high school orchestra pursuits, its grade of difficulty is easily handled by any junior high school group of average ability.  .
Program note:Christmas Fugue, like the charming English folk tune on which it is based, is full of the spirit and fun that is Christmas. After a slow shimmering introduction which imparts an impression of Christmas morning, the fugue subject is abruptly introduced. The fugue subject: We Wish You a Merry Christmas. The work develops through a series of playful musical episodes which afford satisfying opportunities for the various sections of the orchestra. The fugue culminates in a combination of motifs which find the brass heralding the unmistakable arrival of Christmas.The Composer:Dr. Robert Bennett Brown has devoted much of his professional teaching career to musical compositions and arrangements for young orchestral enthusiasts. Christmas Fugue, like other of Dr. Drown's published works, was written in and for the actual teaching situation.At the present time, Robert Bennett Brown is District Supervisor of Music for the Levittown, N.Y. Public Schools. Previously, for some nineteen years, he taught in Bronxville, N.Y. where, as Chairman of Music, he brought about an extremely high level of school orchestral achievement. he was educated at New York University and Teachers College, Columbia University. He has served as a field supervisor of student teaching for New York University and as a general music consultant. For the past two years he has been a member of the New York State Music Regents Committee.To the Conductor:You will find this work to be the conductor's dream. Parts are easy but impressive sounding. The total effect will give your orchestra that typical classical sound so satisfying to performer and listener alike. Full or exact instrumentation is not a must; cross-cues will carry critical areas where a specified instrument may be lacking. Piano, tuba, and saxophone parts are written to accommodate those players where they exist. These parts are not essential to the instrumentation. Though Christmas Fugue is well suited to the interests of high school orchestra pursuits, its grade of difficulty is easily handled by any junior high school group of average ability. .

Orchestra

SKU: CF.PO192F

On We Wish You a Merry Christmas. Composed by Robert B. Brown. Full score. Carl Fischer Music #PO192F. Published by Carl Fischer Music (CF.PO192F).

ISBN 9781491157374. UPC: 680160915934.

Progr am note: Christmas Fugue, like the charming English folk tune on which it is based, is full of the spirit and fun that is Christmas. After a slow shimmering introduction which imparts an impression of Christmas morning, the fugue subject is abruptly introduced. The fugue subject: We Wish You a Merry Christmas. The work develops through a series of playful musical episodes which afford satisfying opportunities for the various sections of the orchestra. The fugue culminates in a combination of motifs which find the brass heralding the unmistakable arrival of Christmas. The Composer: Dr. Robert Bennett Brown has devoted much of his professional teaching career to musical compositions and arrangements for young orchestral enthusiasts. Christmas Fugue, like other of Dr. Drown's published works, was written in and for the actual teaching situation. At the present time, Robert Bennett Brown is District Supervisor of Music for the Levittown, N.Y. Public Schools. Previously, for some nineteen years, he taught in Bronxville, N.Y. where, as Chairman of Music, he brought about an extremely high level of school orchestral achievement. he was educated at New York University and Teachers College, Columbia University. He has served as a field supervisor of student teaching for New York University and as a general music consultant. For the past two years he has been a member of the New York State Music Regents Committee. To the Conductor: You will find this work to be the conductor's dream. Parts are easy but impressive sounding. The total effect will give your orchestra that typical classical sound so satisfying to performer and listener alike. Full or exact instrumentation is not a must; cross-cues will carry critical areas where a specified instrument may be lacking. Piano, tuba, and saxophone parts are written to accommodate those players where they exist. These parts are not essential to the instrumentation. Though Christmas Fugue is well suited to the interests of high school orchestra pursuits, its grade of difficulty is easily handled by any junior high school group of average ability.  .
Program note:Christmas Fugue, like the charming English folk tune on which it is based, is full of the spirit and fun that is Christmas. After a slow shimmering introduction which imparts an impression of Christmas morning, the fugue subject is abruptly introduced. The fugue subject: We Wish You a Merry Christmas. The work develops through a series of playful musical episodes which afford satisfying opportunities for the various sections of the orchestra. The fugue culminates in a combination of motifs which find the brass heralding the unmistakable arrival of Christmas.The Composer:Dr. Robert Bennett Brown has devoted much of his professional teaching career to musical compositions and arrangements for young orchestral enthusiasts. Christmas Fugue, like other of Dr. Drown's published works, was written in and for the actual teaching situation.At the present time, Robert Bennett Brown is District Supervisor of Music for the Levittown, N.Y. Public Schools. Previously, for some nineteen years, he taught in Bronxville, N.Y. where, as Chairman of Music, he brought about an extremely high level of school orchestral achievement. he was educated at New York University and Teachers College, Columbia University. He has served as a field supervisor of student teaching for New York University and as a general music consultant. For the past two years he has been a member of the New York State Music Regents Committee.To the Conductor:You will find this work to be the conductor's dream. Parts are easy but impressive sounding. The total effect will give your orchestra that typical classical sound so satisfying to performer and listener alike. Full or exact instrumentation is not a must; cross-cues will carry critical areas where a specified instrument may be lacking. Piano, tuba, and saxophone parts are written to accommodate those players where they exist. These parts are not essential to the instrumentation. Though Christmas Fugue is well suited to the interests of high school orchestra pursuits, its grade of difficulty is easily handled by any junior high school group of average ability. .

Orchestra

SKU: HL.14028036

Composed by Poul Ruders. Music Sales America. Classical. Score. Composed 2002. 124 pages. Edition Wilhelm Hansen #WH30468. Published by Edition Wilhelm Hansen (HL.14028036).

ISBN 9788759810248. 12.0x16.5x0.537 inches.

This short orchestral piece is a tone poem based on a passage from one of Hans Christian Andersen's lesser known fairytales, THE WIND TELLS ABOUT WALDEMAR DAAE AND HIS DAUGHTERS, a mighty allegory about the transitoriness of Life, about Vanity and Pride and the inevitable victory of Death (alias the wind), whose scything ravaging is sublimely depicted by Andersen in these few, truly breathtaking lines: And Winter rushed, Winter and Summer they rushed, and they rush, like I rush, like the howling snow, the flurrying apple blossom, the scurrying foliage; rush! rush! The people too!.

By Edward Ayola. Orchestral Collection/Ensemble. Books/Texts (Orchestra). Level: Intermediate. Music Book. Published by Neil A. Kjos Music Company.

Orchestra

SKU: BA.BA10986

Composed by Franz Joseph Haydn. Edited by Sonja Gerlach and Sterling E. Murray. This edition: urtext edition. Stapled. Score. Hob. I:77. Baerenreiter Verlag #BA10986_00. Published by Baerenreiter Verlag (BA.BA10986).

ISBN 9790006569106. 31 x 24.3 cm inches. Key: B-flat major. Preface: Andreas Friesenhagen.

Haydn composed his Symphony No. 77 along with his Symphonies Nos. 76 and 78 for a planned journey to England that never took place. Nonetheless, H.C. Robbins Landon calls these works the “English symphonies” as they are stylistically closely linked to the “London Bach”, Johann Christian Bach. Haydn himself, in a letter of 1783 to his Parisian publisher Charles-Georges Boyer, described the symphonies as ‘Leicht und nicht vil Concertirend”, meaning that they were light in spirit and did not contain extensive solo passages but rather a clear sense of classical form.

Continuing the cooperation between Bärenreiter and the G. Henle publisher regarding Haydn’s large-scale choral works, operas and symphonies, this edition is based on the G. Henle Complete Edition of the “Works of Joseph Haydn”. The Bärenreiter catalogue now includes the complete performance material for several “Sturm und Drang” symphonies as well as all the London and Paris symphonies.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Orchestra - Grade 3

SKU: AP.47479S

Composed by Shirl Jae Atwell. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Score. 8 pages. Duration 2:05. Highland/Etling #00-47479S. Published by Highland/Etling (AP.47479S).

UPC: 038081544878. English.

This lighthearted, carefree work is easy to remember upon hearing. It has a snappy rhythm that makes you want to dance to its lively tune.
Minstrels were musicians who traveled throughout the countryside providing entertainment to any and all. Their repertoire included songs, dances, jokes, and storytelling. One could find them all over Europe and America from the Middle Ages up until the 20th century. As traveling musicians, they relied on catch tunes that could easily be learned and communicated to their audiences. They were in the business of uplifting people's spirits through fun and laughter.

Orchestra

SKU: BA.BA05822-01

Composed by Christoph Willibald Von Gluck. Edited by Irene Brandenburg. Arranged by Carlo Bernardi and Gasparo Angiolini. This edition: complete edition, urtext edition. Linen. Complete edition, Score. Baerenreiter Verlag #BA05822-01. Published by Baerenreiter Verlag (BA.BA05822-01).

ISBN 9790006567454. 33 x 26 cm inches. Preface: Brown, Bruce Alan.

To conclude Series II (Dance Dramas) from the Gluck Complete Edition (GGA), this volume of Christoph Willibald Gluck's earliest contributions to the genre comprises six ballet scores from 1759 (La Promenade, Les Jardiniers, Les Turcs, Les Savoiards, Les Amours de Flore et Zphire, and Le Suisse) as well as the ballet music for Les Vendanges, which dates from 1761. These works belong to the compositions – also called Krumau ballets because of their musical transmission – which Gluck created in Vienna between 1759 and 1765 for the court theatres in Laxenburg and Schönbrunn as well as the Kärntnertortheater, and which are to be attributed to him as a ballet composer around the middle of the 18th century in Viennese theatre life based on the considerations presented in the general preface.

Together with volumes II/3 to II/5, ballet music by Gluck is available whose sources come from the former Schwarzenberg court archive in Ceský Krumlov, Czech Republic, and which until the Velvet Revolution of 1989, lay behind the Iron Curtain remaining largely inaccessible and unexplored by Western scholars. These volumes reflect two fundamental developments in Gluck research: on the one hand, they provide a significantly expanded, historically more accurate idea of what it meant to compose for the ballet in the 18th century; on the other hand, they bring to light an immense treasure trove of sources formerly of Viennese provenance.

In addition to the detailed introduction by this volume’s editor on the ballet choreographies of Gasparo Angiolini and Carlo Bernardi, on the formation of the ballet troupes of the Viennese theatres in Gluck's early years there, on ballet types and genres, as well as a detailed account of the individual titles, the volume includes a general preface to volumes II/3 through II/5 by Bruce Alan Brown, which discusses Gluck's ballet music in Vienna in general as well as the development of research into this genre. Extensive illustrations (partly from the so-called Durazzo Collection) with reference to the choreographies enrich the discussions. The ballet works, which have survived in only one source each, appear in print for the first time in this volume of the Gluck Complete Edition.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Orchestra - Grade 3

SKU: AP.47479

Composed by Shirl Jae Atwell. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Score and Part(s). 62 pages. Duration 2:05. Highland/Etling #00-47479. Published by Highland/Etling (AP.47479).

UPC: 038081544861. English.

This lighthearted, carefree work is easy to remember upon hearing. It has a snappy rhythm that makes you want to dance to its lively tune.
Minstrels were musicians who traveled throughout the countryside providing entertainment to any and all. Their repertoire included songs, dances, jokes, and storytelling. One could find them all over Europe and America from the Middle Ages up until the 20th century. As traveling musicians, they relied on catch tunes that could easily be learned and communicated to their audiences. They were in the business of uplifting people's spirits through fun and laughter.

Orchestra

SKU: SU.32040140

For Orchestra. Composed by Amy Riebs Mills. Orchestra. Full Score. Subito Music Corporation #32040140. Published by Subito Music Corporation (SU.32040140).

2222; 4331; timp, 2 perc, pno; stgs Duration: 13'30 Composed: 2016 Published by: Amy Mills Music, LLC Like a modern Pictures at an Exhibition…. Ha Shamayim is an original piece for orchestra that was inspired by photographs taken by the Hubble space telescope. Each section is inspired by one photo; the title of each section is the title that NASA gave to the photograph. The words Ha Shamayim are Hebrew for The Heavens. They are written in Genesis 1:1, In the beginning God created the heavens and the earth. The words are also seen in Psalm 19. Section I: Warped Edge-On Galaxy ESO 510-G13 The piece begins in outer space with its glistening stars. Glissandi are used to depict the strange but beautiful warp seen in the photograph. Section II: Galaxy Fires at Neighboring Galaxy Suddenly the piece erupts as one galaxy fires blue gas at its neighbor. They engage in a cosmic battle. Section III: Youthful-looking Galaxy May Be an Adult The adolescent galaxy is personified by a humorous, gawky melody reminiscent of teenage boys who walk on feet that are still too big. Occasionally there is an argument with an authority figure, but the joy of exploring the universe quickly returns. Section IV: Star Birth in Galaxy M83 The dramatic photograph looks like a womb with veins. The music begins on one note, then it begins to explore the initial swelling and stretching. It morphs into an energetic fast theme, still growing. Ultimately it becomes glorious and expansive, like the new star. Section V: String of ‘Cosmic Pearls’ Surrounds an Exploding Star The first theme is a happy circle dance inspired by the circle of white dots in the photograph. The second theme is noble and joyful. It is reminiscent of the melody in the famous chorus in Haydn’s The Creation with the words from Psalm 19, The heavens are telling the glory of God. The music then has flashbacks to the earlier sections, and ends in triumph. The five sections in Ha Shamayim are continuous with no breaks. Difficulty Level: 5 (Advanced/Professional) See composer website for audio sample. Performance materials available on rental only:.

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

Edited by Thom Proctor, written by Samuel Applebaum. Instrumental solo book for bass. 36 pages. Published by Belwin.

Orchestra

SKU: PR.41641530L

For Suona And Orchestra. Composed by Narong Prangcharoen. Large Score. 58 pages. Duration 15 minutes. Theodore Presser Company #416-41530L. Published by Theodore Presser Company (PR.41641530L).

UPC: 680160625925.

The Respiration of the Earth is inspired by the breathing motion. The music focuses on the tension of the air of breathing. There are many different types of breathing such as slow breath, long breath, short breath, holding breath, uneven breath, etc. The shape of the music is created by the inhale and exhale motion. The piece starts with a long holding breath, gradually create a tension until one can't hold that breath and release the air out. The Suona is acting as the motion of the air so the orchestra has to follow. This piece ends with the chaotic motion so the audiences can feel the tension as if they are running out of breath. It's a main concern about the environment of the Earth so this piece is a message to people to keep the environment clean so the Earth can breath for a longer time. Respiration of the Earth is commissioned and dedicated to Mr. Shi Haibin with the gracious support from John Simon Guggenheim Foundation.
The Respiration of the Earth is inspired by the breathing motion. The music focuses on the tension of the air of breathing. There are many different types of breathing such as slow breath, long breath, short breath, holding breath, uneven breath, etc. The shape of the music is created by the inhale and exhale motion. The piece starts with a long holding breath, gradually create a tension until one can’t hold that breath and release the air out. The Suona is acting as the motion of the air so the orchestra has to follow. This piece ends with the chaotic motion so the audiences can feel the tension as if they are running out of breath. It’s a main concern about the environment of the Earth so this piece is a message to people to keep the environment clean so the Earth can breath for a longer time.Respiration of the Earth is commissioned and dedicated to Mr. Shi Haibin with the gracious support from John SimonGuggenheim Foundation.

Orchestra - Grade 1.5

SKU: AP.38471S

Bass Section Feature. Composed by Jacques Offenbach. Arranged by Richard Meyer. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Explorer. Form: Dance. Light Concert; Masterwork Arrangement; Romantic. Score. 8 pages. Highland/Etling #00-38471S. Published by Highland/Etling (AP.38471S).

UPC: 038081436760. English.

Give your hard-working basses the recognition they deserve in this great section feature based on Offenbach's nimble and energetic dance tune. There are fun parts for everyone, but the tune (and the spotlight) belongs to the basses! How fast can they do the Can-Can? A terrific challenge for your entire orchestra! This title is available in MakeMusic Cloud.

Orchestra

SKU: BA.BA10985

Composed by Franz Joseph Haydn. Edited by Sonja Gerlach and Sterling E. Murray. This edition: urtext edition. Stapled. Score. Hob. I:78. Baerenreiter Verlag #BA10985_00. Published by Baerenreiter Verlag (BA.BA10985).

ISBN 9790006568123. 31 x 24.3 cm inches. Key: C minor. Preface: Andreas Friesenhagen.

Along with Symphonies Nos. 76 and 77 Haydn composed Symphony No. 78 for a journey to England that never took place. Nonetheless, H. C. Robbins Landon referred to these works as the “English Symphonies” as they are stylistically closely linked to “the London Bach”, Johann Christian Bach. In a letter Haydn wrote to his Paris publisher Charles-Georges Boyer in 1783, he described the works as “Leicht und nicht vil Concertirend”, meaning they were light in spirit and did not contain extensive solo passages but rather a clear sense of classical form.

Continuing the cooperation between Bärenreiter and the G. Henle publishing company regarding Haydn’s large-scale choral works, operas, and symphonies, this edition is based on the G. Henle Complete Edition of the “Works of Joseph Haydn”. To date, Bärenreiter has published the complete performance material for several of Haydn’s “Sturm und Drang” symphonies as well as the complete London and Paris symphonies.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Orchestra - Grade 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).

Orchestra - Grade 3

SKU: AP.29664

Composed by Robert D. Gardner. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Score and Part(s). 144 pages. Duration 3:40. Belwin Music #00-29664. Published by Belwin Music (AP.29664).

UPC: 038081321578. English.

Young string musicians will enjoy performing this heavy rock style piece because it utilizes an aggressive style and mixed tonality similar to 'their' music that they listen to for fun. The concept behind the title of this piece is that, although we sometimes move dully through our daily routines, it is good to take time to appreciate the individual moments that make up our lives, like a child does the first time they experience something. All parts are in first position with few accidentals or difficult bowing patterns. At the same time, this piece will challenge your group with its independent voicings and syncopated, interlocking rhythms. This piece would add variety to any school concert, and would fit nicely in a festival program, especially one that utilized several different genres. (3:40).

Edited by Thom Proctor, written by Samuel Applebaum. Instrumental solo book for bass. 36 pages. Published by Belwin.

(study score). By Ludwig van Beethoven (1770-1827). Edited by Peter Hauschild. For orchestra. Breitkopf Full Scores. Parts, Urtext. 104 pages