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 - 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.
By Lloyd Larson. Arranged by Victor C Johnson. For orchestration (2 flutes, oboe...(+)
By Lloyd Larson. Arranged
by Victor C Johnson. For
orchestration (2 flutes,
oboe, 2 clarinets,
bassoon, 2 horns, 3
trumpets, 2 trombones,
tuba, 2 percussion, harp,
piano, 2 violins, viola,
cello, bass). Cantatas.
Christmas, Sacred. Full
score, set of part
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.
Suffering Servant,
Crucified Christ, Risen
Redeemer. Composed by
Lloyd Larson. Arranged by
Michael Lawrence. Choral,
cantatas. Ready to
Worship. Holy Week,
Eastertide, Sacred.
Orchestral score and
parts, plus CD with
printable parts. Lorenz
Publishing Company
#30/2906L. Published by
Lorenz Publishing Company
(LO.30-2906L).
UPC:
000308133608.
This
product includes the full
orchestral score, printed
parts, and digital parts
(delivered on a CD) for
Wondrous Love. The parts
include 2 Flutes/Piccolo,
Oboe, 2 Clarinets, 3
Trumpets, 2 Horns
(substitute Flugelhorn or
Trumpet), 2 Trombones,
Tuba, Percussion, Piano,
2 Violins, Viola, Cello,
and Bass.
Critical Edition by Alessandro Borin. Composed by Antonio Vivaldi (1678-1...(+)
Critical Edition by
Alessandro Borin.
Composed by Antonio
Vivaldi (1678-1741).
Edited by Alessandro
Borin. Orchestra.
Classical. Softcover. 132
pages. Ricordi #PR1431.
Published by Ricordi
(HL.50600716).
Score and Parts Concert Band; Wind Ensemble - Grade 5 For Wind Orchestra Score ...(+)
Score and Parts Concert
Band;
Wind Ensemble - Grade 5
For Wind Orchestra Score
and
Parts. Composed by Johan
De
Meij. Amstel Music.
Concert.
Softcover. Duration 2580
seconds. Amstel Music
#AM200-
010. Published by Amstel
Music
(The Journey from Darkness to Light). By Lloyd Larson. Arranged by Mary Mcdonald...(+)
(The Journey from
Darkness to Light). By
Lloyd Larson. Arranged by
Mary Mcdonald. Orchestra.
For Flute, Clarinet, 2
Trumpet, Horn, 2
Trombone, Percussion,
Piano, Synthesized
Strings. Cantata. Choral:
Advent. Orchestral Score
and Parts. Published by
Lorenz Publishing Company
Full orchestra SKU: LO.30-1493L An Easter Cantata For Choir And Worshi...(+)
Full orchestra
SKU:
LO.30-1493L
An
Easter Cantata For Choir
And Worship Leader.
Composed by Gregg Sewell.
Choral, cantatas.
Eastertide, Sacred.
Orchestration. Lorenz
Publishing Company
#30/1493L. Published by
Lorenz Publishing Company
(LO.30-1493L).
UPC:
000308074642.
John'
s Gospel is the basis for
an innovative new musical
setting of the timeless
Easter story. The
composer weaves striking
new melodies and
traditional hymn tunes
together to produce a
vibrant, energetic work
of meditation and praise.
The congregation is
called on to sing with
the choir in a sensitive
setting of When I Survey
the Wondrous Cross and a
rousing arrangement of
Crown Him With Many
Crowns. New settings of
What Wondrous Love Is
This? and O Sacred Head,
Now Wounded are
ingeniously intertwined
with new anthems. An
inspirational and deeply
moving experience for
choir and congregation
alike. Performance time:
approx. 25 minutes. Flute
1 & 2, Violin 2, Viola,
Cello, Double Bass, Oboe
1 & 2, Horn, Trumpet 1 &
2, Trombone 1 & 2, Tuba,
Percussion (Windchimes,
Suspended Cymbal)
Glockenspiel,Triangle,Chi
mes, Snare Drum,Timpani,
Harp, Violin 1.
Composed by Pepper Choplin. Arranged by Michael Lawrence. Choral, cantatas. C...(+)
Composed by Pepper
Choplin.
Arranged by Michael
Lawrence. Choral,
cantatas.
Christmas. Full score.
Lorenz Publishing Company
#30/3589L. Published by
Lorenz Publishing Company
By William Walton (1902-1983). Arranged by David Lloyd-Jones. For Full orchestra...(+)
By William Walton
(1902-1983). Arranged by
David Lloyd-Jones. For
Full orchestra. Scores.
William Walton Edition.
Walton Edition. Full
score. 256 pages
Let The Word Go Forth Orchestre [Conducteur et Parties séparées] - Avancé Jazz Lines Publications
Movement 1 from The Kennedy Dream. Composed by Oliver Nelson. Edited by D...(+)
Movement 1 from The
Kennedy Dream.
Composed by Oliver
Nelson. Edited by Dylan
Canterbury, Rob DuBoff
and Jeffrey Sultanof.
Jazz, Ballad. Score and
parts. Published by Jazz
Lines Publications
(JL.JLP-7089).
Composed by Jean Sibelius (1865-1957). Edited by Ulrich Mahlert. This edition: u...(+)
Composed by Jean Sibelius
(1865-1957). Edited by
Ulrich Mahlert. This
edition: urtext.
Partitur-Bibliothek
(Score Library). Study
score. 116 pages.
Published by Breitkopf
and Haertel
(BR.PB-5564-07).
Orchestra SKU: BT.MUSM570202997 Composed by George Nicholson. Score Only....(+)
Orchestra
SKU:
BT.MUSM570202997
Composed by George
Nicholson. Score Only.
154 pages. University of
York Music Press
#MUSM570202997. Published
by University of York
Music Press
(BT.MUSM570202997).
English.
For
Soprano and Large
Ensemble. Published
1986-7.
2(both+picc).2(1st+ob
d'amr).3(all+bcl,
2nd+asax,
3rd+tsax).1(+cbn) /
2.0.1.0 /
2perc.pf(+cel).hp /
1.1.1.1.1 Commissioned by
Paul Webster for the
Orpheus Ensemble with
funds made available by
the Arts Council of Great
Britain. First
performance: Jane
Ginsborg and the Orpheus
Ensemble, conducted by
Paul Webster, Almeida
Festival, 27th June 1987.
Score.
(En Sus Alas). By Michael Joncas. Arranged by Lloyd Larson. Orchestra. For 2 flu...(+)
(En Sus Alas). By Michael
Joncas. Arranged by Lloyd
Larson. Orchestra. For 2
flutes, oboe, 2
clarinets, 2 bassoons, 3
trumpets, 2 Horns, 2
trombones, tuba, 2
percussion, harp, violin
1 and 2, viola, cello,
bass. Sacred Anthem:
General, Lent, Memorial,
Wedding. Orchestral Score
and Parts. Published by
Lorenz Publishing Company
By Antonin Dvorak (1841-1904). Edited by Jonathan Del Mar. For orchestra. This e...(+)
By Antonin Dvorak
(1841-1904). Edited by
Jonathan Del Mar. For
orchestra. This edition:
Urtext edition.
Paperback. Score.
English/Czech/German. No.
7, Op. 70. Duration 38
minutes. Published by
Baerenreiter Verlag
By Douglas E. Wagner. For full orchestra (conductors score). Concert, Christmas....(+)
By Douglas E. Wagner. For
full orchestra
(conductors score).
Concert, Christmas.
Handbell sheet. Published
by Lorenz Publishing
Company.
(30/2208L) Level:
Level 3.
Full orchestra SKU: LO.30-4037L Composed by Pepper Choplin. Arranged by M...(+)
Full orchestra
SKU:
LO.30-4037L
Composed
by Pepper Choplin.
Arranged by Michael
Lawrence. Choral,
cantatas. Christmas.
Conductor's score. Lorenz
Publishing Company
#30/4037L. Published by
Lorenz Publishing Company
(LO.30-4037L).
UPC:
000308159967.
Balla
ds have been used
throughout history to
tell a story through
music. Pepper Choplin has
long used his signature
musical voice to tell the
meaningful stories of our
faith, so it’s
especially fitting that
he’s brought the
timeless story of
Christmas alive once more
with The Ballad of
Bethlehem. Available for
SATB or SAB choirs with
rehearsal aids and
accompaniment options
ranging from piano only
to a thrilling full
orchestra written by
Michael Lawrence to
recorded tracks, this
stunning cantata
dramatically moves from a
recollection of ancient
prophecies through the
quiet manger scene to its
joyous conclusion
featuring a rousing call
to “Shout with the
Shepherds!†This
season, let the folk-like
energy of Pepper
Choplin’s unique
voice bring The Ballad of
Bethlehem to you and your
listeners. “O sing
a ballad of Bethlehem. I
want to hear it once
more. I love that story
so often told to
generations
before.â€.
Composed by Mary McDonald. Arranged by Michael Lawrence. Choral. Sacred Anthem. ...(+)
Composed by Mary
McDonald. Arranged by
Michael Lawrence. Choral.
Sacred Anthem. Orchestral
score and CD with
printable parts. Lorenz
Publishing Company
#30/3215L. Published by
Lorenz Publishing Company
(LO.30-3215L).
New York, New York Orchestre [Conducteur et Parties séparées] Jazz Lines Publications
Recorded by Frank Sinatra. Edited by Rob DuBoff, Jeffrey Sultanof, and Dy...(+)
Recorded by Frank
Sinatra. Edited by
Rob DuBoff, Jeffrey
Sultanof, and Dylan
Canterbury. Arranged by
Don Costa. Jazz, Swing.
Score and parts.
Published by Jazz Lines
Publications
(JL.JLP-9510).
Full orchestra SKU: LO.30-3712L Choral, cantatas. Advent, Christmas, Sacr...(+)
Full orchestra
SKU:
LO.30-3712L
Choral,
cantatas. Advent,
Christmas, Sacred. Full
score. Lorenz Publishing
Company #30/3712L.
Published by Lorenz
Publishing Company
(LO.30-3712L).
UPC:
000308154306.
Full
Score for 65/2101L From
the collaborative efforts
of Lloyd Larson, Mary
McDonald, Jay Rouse, and
Larry Shackley,
Everlasting Light
showcases the profound
significance of the light
of Christ come to earth.
An insightful narration
by Rose Aspinall
incorporates scripture
and personal reflection
to tie together the
compelling combination of
powerful original music
and beloved carols. Mary
McDonaldâ??s celebratory
opener, Everlasting
Light, acts as the
cornerstone of the work.
Larry Shackleyâ??s
Longing for the Light
beautifully portrays a
yearning for restoration;
Jay Rouse offers a
stirring original song
with words inspired by
Maryâ??s Songs of Praise
found in Luke 1:44-56;
and Lloyd Larsonâ??s
Shepherds and Angels adds
rhythmic and joyful
energy. The work
concludes with a robust
medley of carols that
points back to the
opening song: He is the
Light, Everlasting Light;
born a Savior, born this
night. He is the One, the
Everlasting Son; Child of
heaven, He is the
Light!.
(A Christmas Celebration for Choir and Four Narrators with optional Full Orchest...(+)
(A Christmas Celebration
for Choir and Four
Narrators with optional
Full Orchestra). By Stan
Pethel. Orchestra. For
Flute, Oboe, 2 Horns, 2
Trumpets, 2 Trombones,
Percussion (Drum Set),
Rhythm, 2 Violins, Viola,
Cello, Contrabass, Piano.
Cantata. Choral:
Christmas. Orchestration.
Published by Lorenz
Publishing Company
Urtext. Composed by Ludwig van Beethoven (1770-1827). Edited by Peter Hau...(+)
Urtext. Composed
by Ludwig van Beethoven
(1770-1827). Edited by
Peter Hauschild.
Symphony.
Orchester-Bibliothek
(Orchestral Library).
This is the first new
edition of the 7th
Symphony for which all
surviving sources have
been examined. The
examination brought up a
number of text-critical
problems with respect to
divergent readings.
(Peter Hauschild).
Classical. Viola part.
Breitkopf and Haertel #OB
5237-19. Published by
Breitkopf and Haertel
(BR.OB-5237-19).
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