Orchestra - Grade 1.5 SKU: AP.33712S Composed by Richard Meyer. MakeMusic...(+)
Orchestra - Grade 1.5
SKU: AP.33712S
Composed by Richard
Meyer. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Explorer. Light Concert;
Meters. Score. 8 pages.
Highland/Etling
#00-33712S. Published by
Highland/Etling
(AP.33712S).
UPC:
038081394527.
English.
As the
title suggests, this fun
grade 1.5 piece features
ever-changing time
signatures that will
intrigue and challenge
the young string
orchestra. There are four
mood shifts in the piece,
suggested by a student
narrator who stands up
and declares simply Once
upon a time, Suddenly,
Luckily, and Happily ever
after. But what, exactly,
is the story? That's up
to your students and your
audience to decide! This
charming piece is simple
rhythmically and
note-wise, but a great
way to get your orchestra
counting. Sure to spark
everyone's imagination!
This title is available
in MakeMusic Cloud.
Orchestra (Full Score) SKU: HL.48024540 For Two Sopranos and Large Ens...(+)
Orchestra (Full Score)
SKU: HL.48024540
For Two Sopranos and
Large Ensemble Full
Score. Composed by
Michael Daugherty. Boosey
& Hawkes Scores/Books.
Classical. Softcover. 124
pages. Boosey & Hawkes
#M051096961. Published by
Boosey & Hawkes
(HL.48024540).
ISBN
9781540043689. UPC:
888680907792. 9x12
inches.
(Featuring: Look to the Stars / DNA / Goodbye My Son / Launch / Krypton's Last /...(+)
(Featuring: Look to the
Stars / DNA / Goodbye My
Son / Launch / Krypton's
Last / If You Love These
People / Flight / What
Are You Going to Do When
You Are Not Saving the
World?). Composed by Hans
Zimmer (1957-). Arranged
by Ralph Ford. Concert
Band. Concert Band;
Score; SmartMusic. Pop
Concert Band. Form:
Medley; Suite. Movie.
Grade 3.5. 56 pages.
Published by Alfred Music
Orchestra soloists, chorus, orchestra SKU: PE.EP67890 An Opera in Two ...(+)
Orchestra soloists,
chorus, orchestra
SKU:
PE.EP67890
An
Opera in Two Acts Based
on the Novel by Salman
Rushdie. Composed by
Charles Wuorinen. Full
Orchestra; Single Titles.
Edition Peters. 20th
Century. Full score. 782
pages. Duration 02:00:00.
Edition Peters
#98-EP67890. Published by
Edition Peters
(PE.EP67890).
ISBN
9790300747613. 297 x
420mm inches.
English.
Librett
o by James Fenton
In a
make-believe world, based
loosely on Bombay and
Kashmir, the story of
Haroun is a tale of a
fight between the free
imagination and the
powers that oppose it.
Haroun's father, Rashid,
the Shah of Blah, is a
professional and gifted
story-teller, a popular
figure much in demand at
public events. Feeling
neglected, his wife is
persuaded to leave him
and run away with a
neighbor. After this,
Rashid loses confidence
in his powers of
story-tellling, haunted
by his son's question:
'What's the use of
stories that aren't even
there?' Rashid is due to
speak at a political
rally to be held by the
sinister politician,
Snooty Buttoo. He is told
that if he does not come
up with his usual fund of
tales, his tongue will be
cut out. As Rashid
despairs, Haroun
determines to rescue his
father's talent - a
project in which he
learns that the Ocean of
the Sea of Stories, the
source of all stories, is
being polluted by the
enemy of all stories, the
evil Khattam Shud. In a
series of brilliant
imagined adventures,
Haroun succeeds in
defeating the powers of
darkness, and restoring
happiness to his family,
and to the city where he
lives.
Salman
Ruishdie's children's
book, written in the
aftermath of the fatwa,
has an effervescent style
which is full of rhymes
and wordplay. The
libretto stays very close
to the spirit of the
original, conjuring up a
fantasy world in which,
nonetheless, one never
loses sight of harsh
political reality and the
great issues of freedom
of speech and
imagination. -- James
Fenton, 1998
Full orchestra SKU: LO.30-3291L Choral. Sacred Anthem, General, Lent, Pat...(+)
Full orchestra
SKU:
LO.30-3291L
Choral.
Sacred Anthem, General,
Lent, Patriotic.
Orchestral score and CD
with printable parts.
Lorenz Publishing Company
#30/3291L. Published by
Lorenz Publishing Company
(LO.30-3291L).
UPC:
000308143461.
Let
freedom ring wherever
minds know what it means
to be in chains. Mark
Hayes's masterful
arrangement of the
Gaither's fervent choral
prayer is equally
effective with Mark's
superb piano
accompaniment or
orchestration. Glorious
harmonic color, an
optional opening duet,
and rich yet accessible
vocals enhance the
timeless theme.
Full orchestra SKU: LO.30-3290L Choral. Sacred Anthem, General, Lent, Pat...(+)
Full orchestra
SKU:
LO.30-3290L
Choral.
Sacred Anthem, General,
Lent, Patriotic.
Orchestral score and
parts. Lorenz Publishing
Company #30/3290L.
Published by Lorenz
Publishing Company
(LO.30-3290L).
UPC:
000308143454.
Let
freedom ring wherever
minds know what it means
to be in chains. Mark
Hayes's masterful
arrangement of the
Gaither's fervent choral
prayer is equally
effective with Mark's
superb piano
accompaniment or
orchestration. Glorious
harmonic color, an
optional opening duet,
and rich yet accessible
vocals enhance the
timeless theme.
Orchestra - Grade 3 SKU: AP.42079 Featuring: What Is Hip? / You're Sti...(+)
Orchestra - Grade 3
SKU: AP.42079
Featuring: What Is
Hip? / You're Still a
Young Man / Down to the
Nightclub. Composed
by David Garibaldi,
Emilio Castillo, and
Stephen Kupka. Arranged
by Victor Lopez. Full
Orchestra; MakeMusic
Cloud; Performance Music
Ensemble; Single Titles.
Pop Concert Full
Orchestra. Form: Medley.
Blues; Funk; Jazz; Light
Concert. Score and
Part(s). 248 pages.
Duration 5:30. Alfred
Music #00-42079.
Published by Alfred Music
(AP.42079).
UPC:
038081480930.
English.
Want to
know what's hip? Well,
this is it! Give your
students and audiences a
taste of some real funky
music and don't be
surprised if you see
grandma getting down
during the performance.
Includes What Is Hip?,
You're Still a Young Man,
and Down to the
Nightclub. (5:30) This
title is available in
MakeMusic Cloud.
Orchestra - Grade 2.5 SKU: AP.49016 Featured in the Disney/Pixar Movie...(+)
Orchestra - Grade 2.5
SKU: AP.49016
Featured in the
Disney/Pixar Movie
Soul. Composed by
Curtis Mayfield. Arranged
by Chris M. Bernotas. 5
or More; MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
Solo Small Ensembles;
String Orchestra. Pop
Intermediate String
Orchestra. Jazz; Light
Concert; Movie; Pop;
Swing. Score and Part(s).
87 pages. Duration 2:30.
Alfred Music #00-49016.
Published by Alfred Music
(AP.49016).
ISBN
9781470646899. UPC:
038081566122.
English.
This title
features Alfred Music's
String Orchestra FLEX
options. That means that
every part in this set is
now transposed into every
other part, so you can
play this title with any
combination of like- or
mixed-string ensemble.
After purchasing this
set, decide what
additional parts you need
to meet the unique needs
of your ensemble, then
download and print them
for free at
alfred.com/supplemental--
-free of charge.
Written by Curtis
Mayfield and made famous
in the 1960s by The
Impressions, this
timeless classic has been
covered by several major
artists and was featured
in the Disney/Pixar smash
hit movie Soul. This
arrangement by Chris M.
Bernotas will put a smile
on everyone's face and
will be a great way to
help students learn to
play in the swing style.
(2:30) This title is
available in MakeMusic
Cloud.
Orchestra - Grade 2.5 SKU: AP.49016S Featured in the Disney/Pixar Movi...(+)
Orchestra - Grade 2.5
SKU: AP.49016S
Featured in the
Disney/Pixar Movie
Soul. Composed by
Curtis Mayfield. Arranged
by Chris M. Bernotas. 5
or More; MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
Solo Small Ensembles;
String Orchestra. Pop
Intermediate String
Orchestra. Jazz; Light
Concert; Movie; Pop;
Swing. Score. 12 pages.
Duration 2:30. Alfred
Music #00-49016S.
Published by Alfred Music
(AP.49016S).
ISBN
9781470646905. UPC:
038081566139.
English.
This title
features Alfred Music's
String Orchestra FLEX
options. That means that
every part in this set is
now transposed into every
other part, so you can
play this title with any
combination of like- or
mixed-string ensemble.
After purchasing this
set, decide what
additional parts you need
to meet the unique needs
of your ensemble, then
download and print them
for free at
alfred.com/supplemental--
-free of charge.
Written by Curtis
Mayfield and made famous
in the 1960s by The
Impressions, this
timeless classic has been
covered by several major
artists and was featured
in the Disney/Pixar smash
hit movie Soul. This
arrangement by Chris M.
Bernotas will put a smile
on everyone's face and
will provide a great way
to help students learn to
play in the swing style.
(2:30) This title
available in MakeMusic
Cloud.
Classic Rock for the String Orchestra (Teacher's Score). Arranged by Bob ...(+)
Classic Rock for the
String Orchestra
(Teacher's Score).
Arranged by Bob Phillips
and Daryl Silberman.
Book; CD; Play-Along;
String Orchestra
Collection. Rock. 48
pages. Published by
Alfred Music (AP.40742).
Orchestra SKU: SU.94010400 For Orchestra. Composed by James Lee II...(+)
Orchestra
SKU:
SU.94010400
For
Orchestra. Composed
by James Lee III.
Orchestra. Study Score.
Subito Music Corporation
#94010400. Published by
Subito Music Corporation
(SU.94010400).
2,1 2,1 2,1
2,1; 4331; timp, perc(3),
cel, hp; stgs Duration:
11' Composed: 2013
Published by: Subito
Music Publishing
Performance materials
available on rental:
Alas! Babylon’s
Final Sunset is
another installment in my
series of works that
musically comment on the
biblical books of Daniel
and Revelation. The
principal source of
inspiration for this
works comes from the 18th
chapter of the book of
Revelation. This chapter
states that the career of
Babylon the Great is
finally coming to an end.
The music begins with a
mysterious pianissimo
tremolo accompanied by
tam-tam and bass drum.
The initial flourishes in
the oboes and English
horn serve as the
principal motive of
warning. As the music
continues, there are
varying degrees of
agitation among the
strings and woodwinds.
Throughout the work there
are rhythmic motives in
the brass, percussion,
and various woodwind
instruments that sing and
speak Babylon is Fallen
in triple meter. As the
tutti ensemble arrives at
a climax, the orchestral
texture becomes thinner
and slightly transparent.
As the music continues,
the opening motive
returns in the oboes,
however the counterpoint
produces a series of solo
laments. These passages
are intended to provide
picturesque images of
these words: And the
voice of harpers, and
musicians, and of pipers,
and trumpeters, shall be
heard no more at all in
thee; and no craftsman,
of whatsoever craft he
be, shall be found any
more in thee; and the
sound of a millstone
shall be heard no more at
all in thee; And the
light of a candle shall
shine no more at all in
thee. and the voice of
the bridegroom and of the
bride shall be heard no
more at all in thee: for
thy merchants were the
great men of the earth;
for by thy sorceries were
all nations deceived. And
in her was found the
blood of prophets, and of
saints, and of all that
were slain upon the
earth. Rev. 18:22-24 The
following passages
musically comment on the
historical career of
Babylon with a sense of
her impending
destruction. The series
of laments transforms
into the more emphatic
rhythmic motive Babylon
is Fallen. The orchestral
texture begins to become
more condense, once
again, with the initial
flourishes of, but with
notable variations.
Finally, the celesta,
harp, oboes, English
horn, and strings sing
profundities that are
finally transformed into
a minor mode tonality
that fades away with the
ringing of the tam-tam.
Babylon has finally seen
her last sunset.
Orchestra - Intermediate SKU: LO.765762133204 Includes: I Sing the Mig...(+)
Orchestra - Intermediate
SKU:
LO.765762133204
Includes: I Sing the
Mighty Power of God, What
a Mighty God We Serve,
Great and Mighty..
Composed by Richard
Kingsmore. Allegis.
Conductor's score and
instrumental parts.
Lillenas Publishing
Company #765762133204.
Published by Lillenas
Publishing Company
(LO.765762133204).
UPC:
765762133204.
Instr
umentation: 2 Fl, Ob, 2
Cl, 3 Tp, 2 Hn (sub 2 A
Sax), 2 Tbn (sub T
Sax/Bari TC), Tbn 3/Tuba,
2 Vln, Vla (sub Cl 3),
Cello (sub B Cl or Bsn,
Str Bass, 2 Perc, Harp,
El Bass/Guitar, Pno,
Drums, Synthesizer String
Reduction.
Full orchestra SKU: LO.30-3679L Composed by Pepper Choplin. Choral. Sacre...(+)
Full orchestra
SKU:
LO.30-3679L
Composed
by Pepper Choplin.
Choral. Sacred Anthem,
Eastertide, Holy Week,
Lent. Orchestral score
and CD with printable
parts. Lorenz Publishing
Company #30/3679L.
Published by Lorenz
Publishing Company
(LO.30-3679L).
UPC:
000308152913.
Orche
stral Score and CD with
Printable Parts for
10/5301L Pepper Choplin
brilliantly ties together
Christ’s birth
with His death in this
anthem from The Body of
Christ (55/1197L). New
lyrics combine with a
traditional Christmas
carol to highlight
Christ's sacrifice and
the promise of His birth.
The introspective and
thoughtful approach makes
this stunning selection
the perfect choice for
Holy Week.
Full orchestra SKU: LO.30-3678L Composed by Pepper Choplin. Choral. Sacre...(+)
Full orchestra
SKU:
LO.30-3678L
Composed
by Pepper Choplin.
Choral. Sacred Anthem,
Eastertide, Holy Week,
Lent. Orchestral score
and parts. Lorenz
Publishing Company
#30/3678L. Published by
Lorenz Publishing Company
(LO.30-3678L).
UPC:
000308152906.
Orche
stral Score and Parts for
10/5301L Pepper Choplin
brilliantly ties together
Christ’s birth
with His death in this
anthem from The Body of
Christ (55/1197L). New
lyrics combine with a
traditional Christmas
carol to highlight
Christ's sacrifice and
the promise of His birth.
The introspective and
thoughtful approach makes
this stunning selection
the perfect choice for
Holy Week.
Orchestra - Grade 3 SKU: AP.41271 An Introduction to the String Orches...(+)
Orchestra - Grade 3
SKU: AP.41271
An Introduction to the
String Orchestra.
Composed by Richard
Meyer. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Form:
Variations. Score and
Part(s). 124 pages.
Duration 6:10.
Highland/Etling
#00-41271. Published by
Highland/Etling
(AP.41271).
UPC:
038081480916.
English.
Think
Benjamin Britten's Young
Person's Guide but just
for strings! Written to
be used for outreach or
recruiting concerts, this
piece is a great way to
educate audiences of all
ages about the different
instruments of the string
orchestra. All of your
students will love
getting a chance in the
spotlight as the simple
main theme is followed by
five variations, each
featuring a different
section (yes, Violins I
and II get their own
separate variation!). The
piece concludes with a
rousing 6/8 finale in
which phrases of the
theme are tossed from
section to section,
giving your audience a
final review of what they
have learned. Very
playable and very
enjoyable for all! (6:10)
This title is available
in MakeMusic Cloud.
Orchestra SKU: BA.BA06861 Sinfonie (1923-1928). Composed by Leos J...(+)
Orchestra
SKU:
BA.BA06861
Sinfonie
(1923-1928). Composed
by Leos Janacek. Arranged
by Leoš Faltus and
Miloš Štedron. This
edition: complete
edition, urtext edition.
Linen. Complete Critical
Edition of the Works of
Leos Janacek H/3.
Complete edition, Score,
Set of parts. Duration 40
minutes. Baerenreiter
Verlag #BA06861_00.
Published by Baerenreiter
Verlag (BA.BA06861).
ISBN 9790260104211.
34.3 x 27 cm
inches.
Leoš
Janácek’s
symphonic fragment Dunaj
(The Danube) dates from
the period of the
composition of
“Katya
Kabanovaâ€. The
composer was not
concerned with a
musical-picturesque
description of a river
landscape, but with the
mythical link between
women’s destinies
and
water.
“Pale
green waves of the
Danube! There are so many
of you, and one followed
by another. You remain
interlocked in a
continuous flow. You
surprise yourselves where
you ended up – on
the Czech shores! Look
back downstream and you
will have an impression
of what you have left
behind in your haste. It
pleases you here. Here I
will rest with my
symphony.†Thus
Leoš Janácek
described the idea behind
the composition project
which occupied him in
1923/24. However, after
further work, it remained
incomplete in 1926. His
“symphonyâ€
entitled Dunaj has
survived as a
continuously-notated,
four-movement bundle of
sketches in score form.
It is one of the works
which occupied him until
his death. The scholarly
reconstruction by the two
Brno composers Miloš
Štedron and Leoš
Faltus closely follows
the original
manuscript.
A
whole conglomeration of
motifs stands behind the
incomplete work. What at
first seems like a
counterpart to
Smetana’s Vltava,
in fact doesn’t
turn out to be a musical
depiction of the Danube.
On the contrary, the
fateful link between the
destiny of women, water
and death permeates the
range of motifs found in
the work. It seems to be
no coincidence that
Janácek, whilst
working on the opera
Katya Kabanova, in which
the Volga, as the river
bringing death plays an
almost mythical role,
planned a Danube
symphony, and that its
content was linked with
the destiny of women: in
the sketches, two poems
were found which may have
provided the stimulus for
several movements of the
symphony. He copied a
poem by Pavla
Kriciková into the
second movement, in which
a girl remarks that
whilst bathing in a pond,
she was observed by a
man. Filled with shame,
the young naked woman
jumps into the water and
drowns. The outer
movements likewise draw
on the poem
“Lola†by the
Czech writer Sonja
Špálová,
published under the
pseudonym Alexander
Insarov. This is about a
prostitute who asks for
her heart’s
desire: she is given a
palace, but then goes on
a long search for it and
is finally no longer
wanted by anyone. She
suffers, feels cold and
just wants a warm fire.
Janácek adds his
remark “she jumps
into the Danube†to
the inconclusive
ending.
To these
tangible literary models
is added Adolf
Veselý’s verbal
account which reports
that the composer wanted
to portray “in the
Danube, the female sex
with all its passions and
driving forcesâ€.
The third movement is
said to characterise the
city of Vienna in the
form of a
woman.
It is
evident that in his
composition, Janácek
was not striving for a
simple, natural lyricism.
The River Danube is
masculine in the Slavic
language –
“ten Dunajâ€
– and assumes an
almost mythical
significance in the
national character,
indeed often also a role
bringing death. The four
movements are motivically
conceived. Elements of
sound painting, small
wave-like figures in the
first movement, motoric,
driving movements in the
third are obvious
evocations of water. And
the content and the
literary level are easy
to discover. The
“tremolo of the
four timpaniâ€,
which was amongst
Janácek’s first
inspirations, appears in
the second movement. It
is not difficult to
retrace in it the fate of
the drowning bather. The
oboe enters lamentoso
towards the end of the
movement over timpani
playing tremolo, its
descending figure is
taken over by the flute,
then upper strings and
intensified considerably.
The motif of drowning
– Lola’s
despair – returns
again in the fourth
movement in the clarinet,
before the work ends
abruptly and
dramatically.
One
special effect is the use
of a soprano voice in the
motor-driven third
movement. The singer
vocalises mainly in
parallel with the solo
oboe, but also in
dialogue with other parts
such as the viola
d’amore, which
Janácek used in
several late works as a
sort of “voice of
loveâ€.
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.41271S An Introduction to the String Orche...(+)
Orchestra - Grade 3
SKU: AP.41271S
An Introduction to the
String Orchestra.
Composed by Richard
Meyer. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Form:
Variations. Score. 20
pages. Highland/Etling
#00-41271S. Published by
Highland/Etling
(AP.41271S).
UPC:
038081480923.
English.
Think
Benjamin Britten's Young
Person's Guide but just
for strings! Written to
be used for outreach or
recruiting concerts, this
piece is a great way to
educate audiences of all
ages about the different
instruments of the string
orchestra. All of your
students will love
getting a chance in the
spotlight as the simple
main theme is followed by
five variations, each
featuring a different
section (yes, Violins I
and II get their own
separate variation!). The
piece concludes with a
rousing 6/8 finale in
which phrases of the
theme are tossed from
section to section,
giving your audience a
final review of what they
have learned. Very
playable and very
enjoyable for all! This
title is available in
MakeMusic Cloud.
Orchestra - Grade 1.5 SKU: AP.38400S Song of Love. Composed by Tim...(+)
Orchestra - Grade 1.5
SKU: AP.38400S
Song of Love.
Composed by Tim
McCarrick. MakeMusic
Cloud; Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Beginning String
Orchestra. Latin; Light
Concert. Score. 12 pages.
Belwin Music #00-38400S.
Published by Belwin Music
(AP.38400S).
UPC:
038081433639.
English.
An
original tune in the
style of Mexico,
celebrating true love,
and very easy---what's
not to like? Optional,
very simple guitar,
piano, and percussion
parts are included. This
one will be fun for all
and is a great way to
include those garage band
players in your school.
This title is available
in MakeMusic Cloud.
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 (Score) SKU: HL.132289 Chopin National Edition Vol. XVe....(+)
Orchestra (Score)
SKU:
HL.132289
Chopin
National Edition Vol.
XVe. Composed by
Frederic Chopin. Edited
by Jan Ekier. PWM.
Classical. Book
[Softcover]. Polskie
Wydawnictwo Muzyczne
#51600012. Published by
Polskie Wydawnictwo
Muzyczne (HL.132289).
ISBN 9788392036524.
UPC: 884088971236.
9.25x12.0x0.277
inches.
The
historical version of the
score is what Chopin
agreed to have published,
for various reasons, but
it is contaminated by
involvement of foreign
editorial input. The
performance full score
00132241 or its 2 piano
reduction 00132132242 are
practical editions that
are considered more
authoritative for
performance. The National
Edition of the Works of
Fryderyk Chopin Published
by PWM Exclusively
Distributed by Hal
Leonard Corporation
Co-Editors Jan Ekier and
Pawel Kaminski The
objective of the National
Edition is to present
Chopin's complete output
in its authentic form,
based on the entire body
of available sources.
Sources were analyzed
with up-to-date
scientific and
musicological
methodology. The National
Edition was based on
sources originated from
the composer, mainly
autographs, copies of
autographs and first
editions with the
composer's corrections,
and pupils' copies with
Chopin's annotations. In
cases when original
sources were lacking, the
closest possible
materials were used.
Collecting the source
materials was a laborious
task which took years of
effort. The
characteristics of
sources, the links and
discrepancies between
them as well as the
reasons for particular
editorial decisions are
discussed in the Source
Commentary in each
volume. The Performance
Commentary appended to
each volume includes: the
realization of ornaments,
comments on pedal
markings (the original
markings sometimes are
inadequate, due to the
difference in sound
between pianos used in
Chopin`s times and modern
pianos), suggestions as
to the harmonic legato (a
performance technique
often used by Chopin and
now forgotten). About the
National Edition Full
Introduction to the
Polish National Edition
of the Works of Fryderyk
Chopin.
Score Orchestra (Full Score) SKU: HL.132241 Chopin National Edition(+)
Score Orchestra (Full
Score)
SKU:
HL.132241
Chopin
National Edition.
Composed by Frederic
Chopin. Edited by Jan
Ekier and Pawel Kaminski.
PWM. Classical. Book
[Softcover]. Polskie
Wydawnictwo Muzyczne
#51600013. Published by
Polskie Wydawnictwo
Muzyczne (HL.132241).
ISBN 9788392036517.
UPC: 884088970758.
9.25x12.0x0.257 inches.
Chopin National Edition
(ed. Jan Ekier and Pawel
Kaminski).
Called
Concerto No. 2, it was
written before what is
known as Concerto No. 1
(Op. 11). The piece is
also available in other
Urtext National Editions.
00132292 is the version
for one piano. 00132242
is the two piano
reduction. 00132289 is a
historical version of the
full score. The National
Edition of the Works of
Fryderyk Chopin Published
by PWM Exclusively
Distributed by Hal
Leonard Corporation
Co-Editors Jan Ekier and
Pawel Kaminski The
objective of the National
Edition is to present
Chopin's complete output
in its authentic form,
based on the entire body
of available sources.
Sources were analyzed
with up-to-date
scientific and
musicological
methodology. The National
Edition was based on
sources originated from
the composer, mainly
autographs, copies of
autographs and first
editions with the
composer's corrections,
and pupils' copies with
Chopin's annotations. In
cases when original
sources were lacking, the
closest possible
materials were used.
Collecting the source
materials was a laborious
task which took years of
effort. The
characteristics of
sources, the links and
discrepancies between
them as well as the
reasons for particular
editorial decisions are
discussed in the Source
Commentary in each
volume. The Performance
Commentary appended to
each volume includes: the
realization of ornaments,
comments on pedal
markings (the original
markings sometimes are
inadequate, due to the
difference in sound
between pianos used in
Chopin`s times and modern
pianos), suggestions as
to the harmonic legato (a
performance technique
often used by Chopin and
now forgotten). About the
National Edition Full
Introduction to the
Polish National Edition
of the Works of Fryderyk
Chopin.
Orchestra - Grade 2.5 SKU: AP.46696S As Performed by Walk the Moon...(+)
Orchestra - Grade 2.5
SKU: AP.46696S
As Performed by Walk
the Moon. Composed by
Ben Berger, Eli Maiman,
Kevin Ray, Nicholas
Petricca, Ryan McMahon,
Ryan Rabin, and Sean
Waugman. Arranged by
Victor Lopez. Performance
Music Ensemble; Single
Titles; String Orchestra.
Pop Intermediate String
Orchestra. Light Concert;
Pop; Rock. Score. 12
pages. Alfred Music
#00-46696S. Published by
Alfred Music (AP.46696S).
UPC: 038081541525.
English.
Shout
along, stomp along, or
just plain enjoy! This
infectious, rhythmic song
will keep the students
engaged and be fun to
play. The groove is easy
to learn, even by ear.
One Foot, arranged by
veteran writer Victor
López, is the lead
single for Walk the
Moon's fourth studio LP
What if Nothing. This
dynamic American rock and
roll band has once again
delivered a high-energy
pop song, which hit No. 1
on Billboard's
Alternative Songs. One
Foot follows the band's
breakout hit Shut Up and
Dance, which also hit No.
1 at Alternative Radio.
Enjoy the disco-like
groove with a tribal
chant chorus custom-made
for shouting along, which
has become the group's
signature foot-stomping
sound.
Orchestra - Grade 1.5 SKU: AP.40459S Composed by Andrew H. Dabczynski. Pe...(+)
Orchestra - Grade 1.5
SKU: AP.40459S
Composed by Andrew H.
Dabczynski. Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland/Etling String
Explorer. Christmas;
Novelty; Secular; Winter.
Score. 12 pages.
Highland/Etling
#00-40459S. Published by
Highland/Etling
(AP.40459S).
UPC:
038081454191.
English.
What
happens when we mix
Santa, tradition, and
old-time fiddling? Of
course, we get Fiddler on
the Housetop! In this
tongue-in-cheek and
thoroughly playable
arrangement, young string
players will play like
eastern European
fiddlers, then spin into
an upbeat and driving
American fiddle version
of the holiday standard.
Whether a member of the
orchestra or the
audience, here's a
humorous, toe-tapping
arrangement of Up on the
Housetop like you've
never heard it
before!
Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099).
ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German.
On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009.
Orchestra - Grade 1.5 SKU: AP.48085 Al Hanissim. Arranged by Susan...(+)
Orchestra - Grade 1.5
SKU: AP.48085
Al Hanissim.
Arranged by Susan H. Day.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
Solo Small Ensembles;
String Orchestra.
Highland/Etling String
Orchestra. Chanukah;
Jewish Heritage;
Traditional; Winter.
Score and Part(s). 62
pages. Duration 1:50.
Highland/Etling
#00-48085. Published by
Highland/Etling
(AP.48085).
ISBN
9781470661465. UPC:
038081554358.
English.
This title
features Alfred Music's
String Orchestra FLEX
options. That means that
every part in this set is
now transposed into every
other part, so you can
play this title with any
combination of like- or
mixed-string ensemble.
After purchasing this
set, decide what
additional parts you need
to meet the unique needs
of your ensemble, then
download and print them
for free at
alfred.com/supplemental--
-free of charge.
A unique Hanukkah
selection, this piece
embodies traditional
Jewish music with its
haunting melodies. In 4/4
time throughout, using
easy rhythms, lifts,
tremolo, a few two-note
slurs, and ties, along
with some cello divisi.
The viola part doubles
the 2nd violin and the
cello doubles the bass.
This is an excellent
teaching piece for
dotted-quarter-note
rhythms.
The
prayer Al Hanissim is
sung or read at Hanukkah,
expressing thanks for the
miracles that have been
bestowed upon the
people's ancestors. A
Hanukkah Prayer of Thanks
by Susan H. Day will
convey a sense of the
season. (1:50) This title
is available in MakeMusic
Cloud.
Orchestra - Grade 1.5 SKU: AP.48085S Al Hanissim. Arranged by Susa...(+)
Orchestra - Grade 1.5
SKU: AP.48085S
Al Hanissim.
Arranged by Susan H. Day.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
Solo Small Ensembles;
String Orchestra.
Highland/Etling String
Orchestra. Chanukah;
Jewish Heritage;
Traditional; Winter.
Score. 8 pages. Duration
1:50. Highland/Etling
#00-48085S. Published by
Highland/Etling
(AP.48085S).
ISBN
9781470661472. UPC:
038081554365.
English.
This title
features Alfred Music's
String Orchestra FLEX
options. That means that
every part in this set is
now transposed into every
other part, so you can
play this title with any
combination of like- or
mixed-string ensemble.
After purchasing this
set, decide what
additional parts you need
to meet the unique needs
of your ensemble, then
download and print them
for free at
alfred.com/supplemental--
-free of charge.
A unique Hanukkah
selection, this piece
embodies traditional
Jewish music with its
haunting melodies. In 4/4
time throughout, using
easy rhythms, lifts,
tremolo, a few two-note
slurs, and ties, along
with some cello divisi.
The viola part doubles
the 2nd violin and the
cello doubles the bass.
This is an excellent
teaching piece for
dotted-quarter-note
rhythms.
The
prayer Al Hanissim is
sung or read at Hanukkah,
expressing thanks for the
miracles that have been
bestowed upon the
people's ancestors. A
Hanukkah Prayer of Thanks
by Susan H. Day will
convey a sense of the
season. (1:50) This title
is available in MakeMusic
Cloud.
Orchestra - Grade 1 SKU: AP.45820S Arranged by Douglas E. Wagner. Perform...(+)
Orchestra - Grade 1
SKU: AP.45820S
Arranged by Douglas E.
Wagner. Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Beginning String
Orchestra. Form: Medley.
Christmas; Sacred;
Secular; Winter. Score. 8
pages. Duration 1:30.
Belwin Music #00-45820S.
Published by Belwin Music
(AP.45820S).
UPC:
038081523309.
English.
What would
December concerts be
without those familiar
tunes that everyone loves
to hear during that time
of year? Here's a medley
arranged by Douglas E.
Wagner of a baker's dozen
of some of the most
recognized holiday tunes
in the world, set in a
fun, up-tempo style that
is sure to be an audience
hit. Even the violas get
to play the melody!
The tunes (in
presentation order) are:
Good King Wenceslas *
Deck the Hall * O Come,
All Ye Faithful * Here We
Come A-Caroling * Jolly
Old Saint Nicholas * O
Come, Little Children *
Angels We Have Heard on
High * We Three Kings *
Now Is Born * Joy to the
World * Jingle Bells * Up
on the Housetop * and
Hallelujah! Chorus.
(1:30).
ISBN
9790006564149. 33 x 24 cm
inches. Preface: Sylvie
Bouissou.
Christoph
Willibald Gluck's opera
in four acts about the
Curse of the House of
Atreus is based on a
tragedy by the classical
Greek dramatist
Euripides. The
mythological plot about
the siblings Iphigenia
and Orestes is
characterized by hatred,
ritual sacrifice, and
murder and was especially
popular during the 18th
century. The premiere of
Gluck's opera in 1779 was
immensely
successful.
Barenr
eiter now presents a
carefully edited and
corrected piano reduction
that was newly set to
meet Barenreiter's
current quality
standards. An informative
preface (Ger/En/Fr)
supplements the edition,
which also includes all
appendices of the score
volume the edition is
based on, as contained in
the Gluck Complete
Edition (GGA).
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