Orchestra SKU: PR.416416140 For Flute, Oboe, Clarinet in B-flat, Basso...(+)
Orchestra
SKU:
PR.416416140
For
Flute, Oboe, Clarinet in
B-flat, Bassoon, and
Orchestra. Composed
by Narong Prangcharoen.
Full score. 53 pages.
Duration 17 minutes.
Theodore Presser Company
#416-41614. Published by
Theodore Presser Company
(PR.416416140).
UPC:
680160642441.
Time
is one of the main
factors impacting the
world and our lives.
Einstein saw time as the
relationship of the
motion of one object
relative to the position
of another object, as
measured through
observation. But can we
really measure time
objectively? Music, the
art which moves through
time, can affect our
perception of time, and
can affect each person's
perception of time
differently. Depending on
the emotion it
stimulates, music can
make time seem to pass
quickly or slowly. A
composer can use music to
convey time to an
audience and different
musical ideas can create
different sensations of
time. Absence of Time is
a concerto for woodwind
quartet and orchestra. It
has three main sections
(fast, slow, fast),
recalling traditional
concerto form, but it
does not use the solo
instruments in the
traditional way, i.e., as
soloists in contest with
the orchestra. Inspired
by the idea of
juxtaposing different
experiences of time, I
divided the instruments
into two groups: the four
soloists and the
orchestra. The orchestra
functions mostly as the
keeper of time (real
time) while the quartet
of soloists fluctuates
(in imaginary time or in
the absence of time)
around the orchestra's
time. While the quartet's
instruments do play
solos, they also play in
ensemble with the
orchestra. You could say
that they play in both
imaginary time (as
soloists) and in real
time (with the
orchestra). In addition
to this, the woodwind
section of the orchestra
plays in conversation
with the solo quartet,
calling it back to real
time. Fusion is achieved
at the end of the piece
through the use of
strong, driving rhythm.
Absence of Time was
commissioned by the
Pacific Symphony and was
first performed by the
Pacific Symphony and the
Pacific Symphony Woodwind
Quartet with Carl St.
Clair as conductor on
October 20, 2016.
Orchestra SKU: HL.48182136 Composed by Olivier Messiaen. Leduc. Classical...(+)
Orchestra
SKU:
HL.48182136
Composed
by Olivier Messiaen.
Leduc. Classical.
Softcover. 226 pages.
Alphonse Leduc #AL23077.
Published by Alphonse
Leduc (HL.48182136).
UPC: 888680835514.
7.25x10.75x0.704
inches.
Completed
in 1960, Time-Colour by
Olivier Messiaen is a
famous orchestral piece
composed by this author.
This edition, published
as a book, features the
conductor?s score with
all the following
instruments: 16 First
Violins, 16 Second
Violins, 14 Violas, 12
Cellos, 10 Double Basses,
1 Piccolo, 3 Flutes, 3
Oboes, 4 Clarinets, 3
Bassoons, 1 Piccolo
Trumpet, 3 C Trumpets, 4
F Horns, 3 Trombones, 1
Tuba, Suspended And
Chinese Cymbal, 1
Glockenspiel, 1
Xylophone, 1 Marimba. It
is written in seven
movements: Introduction,
Strophe I, Antistrophe I,
Strophe II, Antistrophe
II, Epode and Coda; and
The Epode features
birdsong and is played by
18 of the string
instruments. Olivier
Messiaen (1908-1992) was
a French organist and
composer passionate about
Ornithology and one of
the most important
composer of his century.
Inspired by Japanese
music, he had a very
special way of composing
and his work can be
identified by its
complexity, its diatonic
aspect, its harmony with
limited transposition,
its colour and its
additive rhythms. He
composed many works
related to ornithology
and birdsong, including
the 'Bird Catalogue' in 7
volumes..
Orchestra (Study Score) SKU: HL.14021000 Composed by Sir Peter Maxwell Da...(+)
Orchestra (Study Score)
SKU: HL.14021000
Composed by Sir Peter
Maxwell Davies. Music
Sales America. Classical.
Book [Softcover].
Composed 1999. 44 pages.
Chester Music #CH61307.
Published by Chester
Music (HL.14021000).
ISBN 9780711959927.
5.5x7.5x0.2
inches.
Commissione
d to write a piece for
the 50th anniversary of
the United Nations,
Davies provided a musical
General Assembly of his
own: a bright overture
based on an Australian
aboriginal song which
gives rise to 'national
anthems' of various kinds
and instrumental
colourings. Finally the
'anthems' are combined,
'if not triumphantly',
Davies says, 'at least in
a manner whereby they get
along together'. The
first performance took
place in June 1995 in
Nottingham. It was given
by the Royal Philharmonic
Orchestra conducted by
Peter Maxwell Davies.
Score (miniature).
Duration c. 14mins.
Urtext. Composed
by Maurice Ravel. Edited
by Jean-Francois Monnard.
Orchestra; Softcover.
Partitur-Bibliothek
(Score Library).
A
l'exemple de Schubert -
Ravel re-invents the
waltz, inspired by Liszt,
Chopin, Schumann and
Chabrier, transforming
the rhapsodic gyrations
of the dance and sending
it whirling into the 20th
century.
Ravel
needed only two weeks of
intensive concentration
to orchestrate his piano
suite Valses nobles et
sentimentales, which was
given its premiere
performance in March
1911. Consisting of seven
waltzes and one epilogue,
the work stamped Ravel as
a creative personality
whose masterpiece
breathed an unbelievably
new kind of musicality
and incredibly intensive
poetry. Let us not forget
that this was twelve
years before La Valse,
with which it shares a
number of similarities.
The new edition of the
complete performance
material in Breitkopf's
Urtext series was
prepared by the Ravel
expert Jean-Francois
Monnard.
A
l'exemple de Schubert -
Ravel re-invents the
waltz, inspired by Liszt,
Chopin, Schumann and
Chabrier, transforming
the rhapsodic gyrations
of the dance and sending
it whirling into the 20th
century.
Serie IX (Schriften) Vol. 4.3: Briefe 1952-1956. Composed by Hanns Eisler ...(+)
Serie IX (Schriften) Vol.
4.3: Briefe 1952-1956.
Composed by Hanns Eisler
(1898-1962). Edited by
Maren
Koster. Restless Times.
Breitkopf and Haertel #BV
350. Published by
Breitkopf
and Haertel
Suite from Hamilton Orchestre [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
Featuring: You'll Be Back / Helpless / My Shot / Dear Theodosia / It's Quiet Upt...(+)
Featuring: You'll Be Back
/ Helpless / My Shot /
Dear Theodosia / It's
Quiet Uptown / One Last
Time. Composed by
Lin-Manuel Miranda
(1980-). Arranged by
Jerry Brubaker. Full
Orchestra; Part(s);
Score. Pop Concert Full
Orchestra. Broadway. 214
pages. Published by
Alfred Music
Suite from Hamilton Orchestre [Conducteur] - Intermédiaire Alfred Publishing
Featuring: You'll Be Back / Helpless / My Shot / Dear Theodosia / It's Quiet Upt...(+)
Featuring: You'll Be Back
/ Helpless / My Shot /
Dear Theodosia / It's
Quiet Uptown / One Last
Time. Composed by
Lin-Manuel Miranda
(1980-). Arranged by
Jerry Brubaker. Full
Orchestra; Score. Pop
Concert Full Orchestra.
Broadway. 28 pages.
Published by Alfred Music
Orchestra SKU: HH.HH458-CON Composed by Stephen Pratt. Orchestra. Conduct...(+)
Orchestra
SKU:
HH.HH458-CON
Composed
by Stephen Pratt.
Orchestra. Conducting
score. Edition HH Music
Publishers #HH458-CON.
Published by Edition HH
Music Publishers
(HH.HH458-CON).
ISBN
9790708146650.
Symp
honies of Time and Tide
was written to be
performed during the
composer’s 70th
birthday year and it is
dedicated to members of
the Royal Liverpool
Philharmonic Orchestra
and its remarkable chief
conductor Vasily
Petrenko. Despite the
title, it is a
single-movement work,
conceived as a whole,
with a somewhat
traditional symphonic
shape underpinning the
seven sections. Listeners
should have little
difficulty in
identifying, in
particular a light and
jazzy section (III), a
‘slow
movement’ (IV and
V) and a
‘finale’
(VI) and
‘coda’
(VII).
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.
Complete Set.
Composed by Peter
Wastall. Boosey & Hawkes
Orchestra. Classical,
Contemporary. Boosey &
Hawkes #M060096082.
Published by Boosey &
Hawkes (HL.48011549).
UPC:
073999158526.
Sessi
on Time is an album of
solos that expand to
create opportunities for
exciting group
music-making. Each piece
can be played as a solo
or as a group piece. The
optional ensemble parts
extend the harmonic and
musical structure of each
piece, enabling each
performer to play an
important part in the
group.
Featuring: Just the Way You Are / When I Was Your Man / Uptown Funk. Full...(+)
Featuring: Just the
Way You Are / When I Was
Your Man / Uptown
Funk. Full Orchestra;
Score. Pop Concert Full
Orchestra. Pop. 32 pages.
Published by Alfred Music
(AP.45853S).
Featuring: Just the Way You Are / When I Was Your Man / Uptown Funk. Arranged by...(+)
Featuring: Just the Way
You Are / When I Was Your
Man / Uptown Funk.
Arranged by Victor Lopez.
Full Orchestra; Part(s);
Score. Pop Concert Full
Orchestra. Pop. 248
pages. Published by
Alfred Music
Full Orchestra (Print) Choral (Orchestra Accompaniment) SKU: HL.293395 (+)
Full Orchestra (Print)
Choral (Orchestra
Accompaniment)
SKU:
HL.293395
A
Cantata for
Christmas. Composed
by Joseph M. Martin.
Shawnee Sacred. Advent,
Cantata, Christmas,
Christmas/Advent Sacred.
Softcover. Duration 3000
seconds. Published by
Shawnee Press
(HL.293395).
ISBN
9781540050984. UPC:
888680936129.
9.0x13.75x2.61
inches.
This
cantata is a celebration
of light. Filled with
time-honored carols and
expressive original
songs, this work will
dazzle and inspire. The
first half of the cantata
is dedicated to hopeful
prophecies associated
with the coming Light of
the World. With the birth
of Jesus, the second part
moves forward to declare
the tidings of great joy
and is crowned with an
opportunity for the
congregation to join in
singing, Joy to the
World. Brant Adams and
Robert Sterling shine as
orchestrators of this
truly festive work.
Glorious! Songs include:
A Festive Call to
Christmas; Celebration of
Light; Come, Golden
Light; Dazzling Joy;
Beautiful Name; Dreamer
of Stars; Angel Song;
Silver and Shadows;
Joyous Carols of
Christmas. Score and
Parts for Full Orchestra
(fl 1-2, ob, cl 1-2, bn,
hn 1-2, tpt 1-3, tbn,
1-2, tba, timp, perc 1-2,
hp, pno, vn 1-2, va, vc,
db) available as a
Printed Edition and as a
digital download. Score
and Parts for Consort
(fl, cl, tpt 1-2, tbn,
perc, kybd str) available
as a Printed Edition and
as a digital
download.
Millennium Orchestre - Intermédiaire Alfred Publishing
By Richard Meyer. Music by Richard Meyer. For Full Orchestra. Full Orchestra. Fu...(+)
By Richard Meyer. Music
by Richard Meyer. For
Full Orchestra. Full
Orchestra. Full
Orchestra. Level: 3
(grade 3). Conductor
Score and Parts. 206
pages. Published by
Alfred Publishing.
Orchestra SKU: HL.14011919 Composed by Karsten Fundal. Music Sales Americ...(+)
Orchestra
SKU:
HL.14011919
Composed
by Karsten Fundal. Music
Sales America. Score.
Music Sales #KP01477.
Published by Music Sales
(HL.14011919).
ISBN
9788759878644.
English-Danish.
Orc
hestration:
3(pic)(afl).2+ca.1+2bcl.2
+cbn/4.3.3.1/timp.2perc/h
p/pf/strParts are for
hire:
hire@ewh.dkProgramnote
Hush er et studie i morke
og lys, kold og varm lyd.
Jeg har ogsa i dette
stykke forsogt at
introducere staerke
folelsesmaessige udtryk,
ved brug af instrumentale
farver og tonale
virkemidler. Titlen Hush
er forbundet med et slags
indre digt jeg har haft i
tankerne medens jeg
komponerede. Da jeg jo
ikke er digter i ord, er
det ufuldstaendigt og
utilstraekkeligt i sin
form, men derfor
alligevel meget godt
beskrivende for stykkets
vaesen. Det lyder
nogenlunde sadan her i
mit hoved:Hush little
heart- hush.!!was time
running too fast or did
the hours sometimesseem
long?,Were your beats too
many or were they too few
in the end?Hush little
heart- hushdid you see
too little or did you
sometimes see too
much?,was life too small
or was it sometimes
larger than life?was your
thirst quenched or did
you end up drained?hush,
hush, little heart-
hush!!,Don't be afraid,
maybe you knew all the
time:that one day you
would have to be still-or
maybe you didn't?Is that
why you were beating so
fast?hush, hush little
heart-hush,- be
comforted, 'cause even as
you feel so small Your
very existence is strange
and beautiful - so, hush,
hush, be comforted, be
still my beating
heart.
Orchestra - all SKU: PR.816600040 Composed by Wolfgang Amadeus Mozart. CD...(+)
Orchestra - all
SKU:
PR.816600040
Composed
by Wolfgang Amadeus
Mozart. CD Sheet Music
(Version 1). Full Scores
to all of the major works
for orchestra by Mozart -
parts not included.
Classical Period. CD
Sheet Music. 2000
printable pages.
Published by Theodore
Presser Company
(PR.816600040).
UPC:
680160600045. 5.5x5
inches.
This disk
contains study scores of
all 41 of Mozart's
Symphonies, as well as
Concertos for Winds and
Strings (Piano Concertos
are on a companion
CD-ROM), Serenades, Opera
Overtures, Divertimentos,
and other works.
About CD Sheet
Music (Version
1)
CD
Sheet Music (Version 1)
was the initial CD Sheet
Music series distributed
by Theodore Presser. The
CDs include thousands of
pages of music that are
viewable and printable on
Mac or PC. Version 1
titles are a great value
at 40% off, as we make
room in our warehouse for
the newly enhanced CD
Sheet Music (Version 2.0)
series.
Orchestra SKU: HL.51489068 Study Score. Composed by Franz Joseph H...(+)
Orchestra
SKU:
HL.51489068
Study
Score. Composed by
Franz Joseph Haydn.
Edited by Horst Walter.
Henle Music Folios.
Classical. Softcover. 85
pages. G. Henle #HN9068.
Published by G. Henle
(HL.51489068).
UPC:
840126951967.
6.75x9.5x0.278
inches.
Haydn
arrived in London at the
beginning of February
1794 for his second stay
in England. Two movements
of the Symphony in G
major Hob. I:100 had
already been completed by
then, and the finished
work was premiered on 31
March. The trumpet
fanfare in the second
movement and the use of
“janissaryâ€
percussion gave the
symphony its nickname
“Military
Symphony,†which
Haydn himself even used.
Its success in London was
enormous; in 1794/95
alone, the work was
performed nine times and
thus quickly became one
of the most popular Haydn
symphonies of all time.
To everyone wishing to
become more acquainted
with this symphony, let
this inexpensive study
edition be commended -
with reliable
commentaries on its
genesis, sources, and
edition as well as an
unassailable musical text
taken from the Haydn
Complete Edition.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Orchestra SKU: CF.PO192S On We Wish You a Merry Christmas. Compose...(+)
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. Compose...(+)
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 (Score) SKU: HL.49045561 Richard Strauss Werke Complete Edit...(+)
Orchestra (Score)
SKU:
HL.49045561
Richard Strauss Werke
Complete Edition Score
Band 4. Composed by
Richard Strauss. Edited
by Stefan Schenk and
Walter Werbeck. This
edition: Hardback/Hard
Cover. Sheet music.
Edition Schott.
Classical. Hardcover.
Composed 1888-1891. Op.
23. 236 pages. Duration
18'. Schott Music
#RSW304. Published by
Schott Music
(HL.49045561).
ISBN
9783901974045.
Stra
uss's first tone poem
distinguishes itself from
all other subsequent
orchestral compositions
in its existence in three
different versions. Even
among the operas and
other compositions in his
hand there is no other
work with a comparable
history of origin and
publication. What is
more, the final version
of Macbeth is the only
valid form of the work
and the only variant with
further sources (cf.
Critical Report) in
addition to the autograph
score. In contrast, the
second version has only
been preserved in an
autograph score and
autograph piano reduction
(the orchestral parts
which must have existed
have obviously not
survived). This was never
printed and was replaced
by the published third
version. The two
surviving versions should
therefore not be
considered to be of equal
status. Unlike the case
of Ariadne auf Naxos in
which the earlier version
was for a time the sole
valid alternative and was
yet never completely
displaced by the soon
dominating later version
of the opera, only the
final third version of
Macbeth is considered as
valid. Right from the
outset, it was a matter
of course for the editors
of the present volume to
include the second
version as a first
publication (in addition
to the above-mentioned
surviving pages of the
first version), albeit in
different forms. The
surviving pages of the
first version are
reproduced in facsimile
and the second version,
as a subordinate form of
the work, appears
alongside Strauss's piano
reduction in a modified
source edition, i.e.
without intervention on
the part of the editors.
The ultimate third
version is published as a
full edition (please
refer to the Critical
Report for further
details). In order to
facilitate a comparative
study of the second and
third versions, the
relevant page numbers of
the score are placed
opposite one another (the
autograph piano reduction
of the second version is
included at the end of
the music section of the
volume). The editors hope
that this synoptic
representation will
prompt interest in
further studies on
Strauss's art of
orchestration: a field of
research which has still
remained insufficiently
examined. A study of
Macbeth namely
illuminates as clearly as
could be wished how much
significance Strauss
allotted to sound
alongside form. The
subjects were not merely
intended to generate an
individual figure, but
also specific tonal
colours, and the
instrumentation was
simultaneously designed
to provide an optimal
communication of
thematic-motivic texture
to the audience. The 'new
path' threw up
consequences which caused
Strauss a considerable
amount of difficulty. He
was however a fast
learner and had already
swum free with Don Juan
and all the more with Tod
und Verklarung.
String Orchestra (Full Score) SKU: HL.244903 Full Score. Composed ...(+)
String Orchestra (Full
Score)
SKU:
HL.244903
Full
Score. Composed by
Bryce Dessner. Music
Sales America. Classical.
Softcover. Composed 2017.
32 pages. Duration 900
seconds. Chester Music
#CH86713. Published by
Chester Music
(HL.244903).
8.5x12.0x0.103
inches.
Bryce
Dessner's Lachrimae was
commissioned by the
Amsterdam Sinfonietta,
the Scottish Ensemble,
and the Norwegian Chamber
Orchestra. Composer's
Note: Lachrimae is a
direct reference to John
Dowland's work of the
same name. I had played
that that piece in school
on guitar and decided
that I wanted to base
something on it. Dowland
himself adapted the piece
several times into
different versions and
there's also a Benjamin
Britten composition based
on the same piece of
music, so that was part
of my inspiration. When I
wrote my work I
waslistening to string
orchestra music and I
think Bartok's
Divertimento is the
pinnacle of string
writing. So the piece is
kind of equally inspired
by Dowland's Rennaissance
Lachrimae and by Bartok's
Divertimento.
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.