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.
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.
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
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.
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.