Orchestra SKU: HL.51489062 Study Score. Composed by Franz Joseph H...(+)
Orchestra
SKU:
HL.51489062
Study
Score. Composed by
Franz Joseph Haydn.
Edited by Robert v. Zahn.
Henle Music Folios.
Classical. Softcover. 66
pages. G. Henle #HN9062.
Published by G. Henle
(HL.51489062).
UPC:
840126951950.
6.75x9.5x0.263
inches.
The twelve
“London
Symphoniesâ€
comprise the sublime
final statement of
Haydn's symphonic oeuvre.
They were written for the
London impresario Johann
Peter Salomon, and Haydn
himself conducted their
premieres during his
lengthy stays in the
English metropolis in
1791/92 and 1794/95. To
this day, the G-major
symphony, first performed
in March 1792, numbers
among Haydn's most
popular works. It owes
its English nickname
“Surprise†to
the striking tutti chords
in the Andante, which
apparently caught the
audience off guard. Haydn
had consciously
incorporated this effect
at a later stage - and
was thus subsequently
also perfectly willing to
authorize this nickname
that had been dreamt up
by a London musician.
This popular work also
spread rapidly through
German-speaking
countries, where it is
still firmly established
in the repertoire as the
“symphony with the
drumbeat.†This
study edition adopts the
musical text of the Haydn
Complete Edition, thereby
guaranteeing the highest
scholarly quality. An
informative preface and a
brief Critical Report
make the handy score an
ideal companion for all
current and soon-to-be
Haydn fans.
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 (Study Score) SKU: HL.51489058 Study Score. Composed by ...(+)
Orchestra (Study Score)
SKU: HL.51489058
Study Score.
Composed by Franz Joseph
Haydn. Edited by Andreas
Friesenhagen. Henle Study
Scores. Classical.
Softcover. 63 pages. G.
Henle #HN9058. Published
by G. Henle
(HL.51489058).
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 - Grade 2 SKU: AP.48056 As Performed by Shawn Mendes. Co...(+)
Orchestra - Grade 2
SKU: AP.48056
As Performed by Shawn
Mendes. Composed by
Nate Mercereau, Scott
Harris, Shawn Mendes, and
Teddy Geiger. Arranged by
Victor Lopez. Performance
Music Ensemble; String
Orchestra. Pop
Intermediate String
Orchestra. Pop/Rock.
Score and Part(s). 156
pages. Duration 2:20.
Alfred Music #00-48056.
Published by Alfred Music
(AP.48056).
ISBN
9781470656331. UPC:
038081558615.
English.
If I Can't
Have You was performed by
Shawn Mendes and is now
arranged for string
orchestra by Victor
López. This Hot 100
hit is guaranteed to rock
the house at your next
concert. Hitting No. 1 on
the iTunes chart, this
solid pop-rock song will
certainly add a little
pizzazz to your program.
A brilliant and
unforgettable catchy
melody, along with an
upbeat groove, drives
this solid pop-rock song
from a new pop
troubadour. Get the
audience clapping along
and let them have some
fun. (2:20).
Orchestra - Grade 2 SKU: AP.48056S As Performed by Shawn Mendes. C...(+)
Orchestra - Grade 2
SKU: AP.48056S
As Performed by Shawn
Mendes. Composed by
Nate Mercereau, Scott
Harris, Shawn Mendes, and
Teddy Geiger. Arranged by
Victor Lopez. Performance
Music Ensemble; String
Orchestra. Pop
Intermediate String
Orchestra. Pop/Rock.
Score. 12 pages. Duration
2:20. Alfred Music
#00-48056S. Published by
Alfred Music (AP.48056S).
ISBN 9781470656348.
UPC: 038081558622.
English.
If I Can't
Have You was performed by
Shawn Mendes and is now
arranged for string
orchestra by Victor
López. This Hot 100
hit is guaranteed to rock
the house at your next
concert. Hitting No. 1 on
the iTunes chart, this
solid pop-rock song will
certainly add a little
pizzazz to your program.
A brilliant and
unforgettable catchy
melody, along with an
upbeat groove, drives
this solid pop-rock song
from a new pop
troubadour. Get the
audience clapping along
and let them have some
fun. (2:20).
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.
Arranged by Jerry Brubaker. Arr. Jerry Brubaker. For Full Orchestra. Full Orches...(+)
Arranged by Jerry
Brubaker. Arr. Jerry
Brubaker. For Full
Orchestra. Full
Orchestra. Pop Concert
Full Orchestra. Movie.
Level: Medium Easy to
Medium (grade III-IV).
Conductor Score and
Parts. 426 pages.
Duration 7:24. Published
by Alfred Publishing.
Orchestra (Score) SKU: HL.49005353 Study Score. Composed by Hans W...(+)
Orchestra (Score)
SKU:
HL.49005353
Study
Score. Composed by
Hans Werner Henze. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Study Score.
Composed 1962. 100 pages.
Duration 18'. Schott
Music #ED5029. Published
by Schott Music
(HL.49005353).
ISBN
9790001057646. UPC:
884088085544.
8.25x11.75x0.334
inches.
Like my
oratorio Novae de
infinito laudes, this
work, too, has been
influenced by the human
world and the scenery of
Rome, indeed, perhaps
even by the greater
hardness of the roman
language compared to that
of Naples. The first four
notes of the subsidiary
theme of the second
movement which appears
for the first time in bar
36 are borrowed from the
song My own, my own from
the second act of my
opera Elegy for Young
Lovers; they appear again
and again in various
forms, even in the second
and third movements.-
Hans Werner Henze.
Composed by Charles E.
Peery. Orchestra: Pops,
Orchestra: Youth
Orchestra. Christmas,
Sacred, Hanging of the
Green, Lessons and
Carols, 21st Century.
Duration 2 minutes, 50
seconds. MorningStar
Music Publishers #25-175.
Published by MorningStar
Music Publishers
(MN.25-175).
UPC:
688670251757.
Calle
d a toccata because it
demonstrates the touch
and technique of the
orchestra sections, this
piece states the melody
in different ways,
sometimes briskly and
sometimes in augmentation
against moving
accompanimental figures.
A showy and exciting
arrangement, perfect for
a postlude or finale.
Orchestra (Study Score) SKU: HL.51489053 (La Reine) Orchestra Study Sc...(+)
Orchestra (Study Score)
SKU: HL.51489053
(La Reine) Orchestra
Study Score. Composed
by Franz Joseph Haydn.
Edited by Hiroshi Nakano.
Study Score. Paperbound.
Henle Study Scores.
Classical. Softcover. 51
pages. G. Henle #HN9053.
Published by G. Henle
(HL.51489053).
ISBN
9790201890531. UPC:
888680950651.
6.5x9.0x0.131 inches.
Preface: Ullrich
Schneidler.
Orchestra SKU: HL.51489069 Study Score. Composed by Franz Joseph H...(+)
Orchestra
SKU:
HL.51489069
Study
Score. Composed by
Franz Joseph Haydn.
Edited by Horst Walter.
Henle Music Folios.
Classical. Softcover. 93
pages. G. Henle #HN9069.
Published by G. Henle
(HL.51489069).
UPC:
840126951905.
6.75x9.5x0.291
inches.
Haydn
arrived in London at the
beginning of February
1794 for his second stay
in England. By this time,
he had completed three
movements of the Symphony
in D major Hob. I:101,
and the finished work was
premiered on 3 March.
Even the members of the
audience at the premiere
took note of the
pendulum-like
accompanying figure in
the second movement,
which was in fact
explicitly mentioned in a
review: “The
management of the
accompaniments of the
andante, though perfectly
simple, was
masterly.†The even
tick-tock oscillations
sparked the imagination
of listeners so much,
apparently, that the
nickname
“Clock†came
into use later in the
nineteenth century. And
while this name may have
nothing to do with Haydn,
is it even possible to
listen to the famous
second movement today
without making the
association? 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.
String orchestra SKU: HL.49018346 Composed by Arnold Schoenberg. Edited b...(+)
String orchestra
SKU:
HL.49018346
Composed
by Arnold Schoenberg.
Edited by Ullrich
Scheideler. This edition:
Full-cloth binding. Sheet
music. Edition Schott.
Softcover. 164 pages.
Schott Music #AS1009-11.
Published by Schott Music
(HL.49018346).
ISBN
9783795793944. UPC:
888680632601.
11.0x15.25x0.889
inches.
Arnold
Schonberg is the central
figure in the musical
world of this century.
His musical significance
was already apparent
during his life-time, but
his posthumous influence
has increased immensely.
His work paved the way
for ground-breaking
changes in musical
perception. This complete
edition aspires to be
equally indispensable for
research as well as for
performance. The edition
is published in two
series: series A in folio
format contains all
completed works, all
piano scores prepared by
the composer himself and
all unfinished works
suitable for performance;
also fragments (large
scores) which are better
suited to be printed in
such a format. Series B,
in quarto format,
contains early versions,
sketches, ideas and
fragments as well as
genesis and a Critical
Commentary.
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.
(Eulenburg Audio Score Series, Vol. 57). By Franz Joseph Haydn (1732-1809). Edit...(+)
(Eulenburg Audio Score
Series, Vol. 57). By
Franz Joseph Haydn
(1732-1809). Edited by
Harry Newstone. For
Orchestra. Eulenberg
Audio plus Score.
Softcover with CD. 80
pages. Hal Leonard
#EAS157. Published by Hal
Leonard
Orchestra SKU: PE.EP71041 For Orchestra. Composed by James Dillon....(+)
Orchestra
SKU:
PE.EP71041
For
Orchestra. Composed
by James Dillon. Score.
Peters Contemporary
Library. Living Composer.
Score. 76 pages. Edition
Peters #98-EP71041.
Published by Edition
Peters (PE.EP71041).
ISBN
9790577009483.
This
product is Printed on
Demand and may take
several weeks to fulfill.
Please order from your
favorite retailer.
About Peters
Contemporary
Library
Ma
rk Andre Milton
Babbitt Daniel
Bjarnason Earle
Brown John
Cage Henry
Cowell James
Dillon Jonathan
Dove Brian
Ferneyhough Roxanna
Panufnik Rebecca
Saunders Erkki-Sven
Tuur Charles
Wuorinen
These
are just a few of the
composers whose most
adventurous scores are
now available to purchase
through the Peters
Contemporary Library. A
new global initiative of
the Edition Peters Group,
the Peters Contemporary
Library is a project
designed to put these
bold 20th- and
21st-century works, once
available only for
rental, into the
collections of libraries,
performers, scholars, and
conductors alike.
Kicked off in 2016,
the Peters Contemporary
Library already contains
many cutting-edge works
and is constantly
expanding. We are proud
to offer these bold new
scores for sale, for the
first time ever, to
modern musicians and
students of music all
around the world.
Eulenburg Audio Score Series. By Franz Joseph Haydn. This edition: EAS141. Eulen...(+)
Eulenburg Audio Score
Series. By Franz Joseph
Haydn. This edition:
EAS141. Eulenburg Audio
Score (Pocket Scores
CD). Study score and CD.
90 pages. Published by
Eulenburg.
Orchestra - intermediate SKU: HL.49001811 Full Score. Composed by ...(+)
Orchestra - intermediate
SKU: HL.49001811
Full Score.
Composed by Georg Philipp
Telemann. Edited by
Guenter Kehr. This
edition: Saddle
stitching. Sheet music.
Concertino (Chamber
Orchestra). Classical.
Score. TWV 55:C6. 46
pages. Duration 23'.
Schott Music #CON 154.
Published by Schott Music
(HL.49001811).
ISBN
9790001024136. UPC:
073999276060.
9.0x12.0x0.129
inches.
Right at
the beginning of the
overture, Telemann comes
up with a surprising
idea. After the -'bare'
entry of the wind
section, the string tutti
do not join in the
playing until the third
bar. The 'harlequinade'
often appearing in
Telemann's overture
suites obtains its
attraction not least from
syncopes and from a
permanent change of tone
colour. The 'Espagniol'
whose title prom-ises a
bit of urbanity turns out
to be a saraband, the
'Bourree en Trompette'
justifies its name by the
tone repetitions typical
of trumpet music.In the
context of the whole, the
'Sommeille', a
harmonically unusual
movement in C minor, is
almost a piece across the
border. Even in this
gently rocking piece,
Telemann is not at a loss
for unobtrusive wit when
he lets the upper parts
die down shortly before
the end, only a single
bass tone represents the
last chord.
(Symphonie Nr. 2 D-dur op.43). By Jean Sibelius (1865-1957). Edited by Kari Kilp...(+)
(Symphonie Nr. 2 D-dur
op.43). By Jean Sibelius
(1865-1957). Edited by
Kari Kilpelainen. This
edition: Urtext. Complete
Works. Complete works.
256 pages. Published by
Breitkopf and Haertel
Orchestra - intermediate SKU: HL.49001813 Set of Supplementary Parts(+)
Orchestra - intermediate
SKU: HL.49001813
Set of Supplementary
Parts. Composed by
Georg Philipp Telemann.
Edited by Guenter Kehr.
Sheet music. Concertino
(Chamber Orchestra).
Classical. Set of
supplemental string
parts. 78 pages. Duration
23'. Schott Music #CON
154-60. Published by
Schott Music
(HL.49001813).
ISBN
9790001024150.
9.0x12.0x0.28
inches.
Right at
the beginning of the
overture, Telemann comes
up with a surprising
idea. After the -'bare'
entry of the wind
section, the string tutti
do not join in the
playing until the third
bar. The 'harlequinade'
often appearing in
Telemann's overture
suites obtains its
attraction not least from
syncopes and from a
permanent change of tone
colour. The 'Espagniol'
whose title prom-ises a
bit of urbanity turns out
to be a saraband, the
'Bourree en Trompette'
justifies its name by the
tone repetitions typical
of trumpet music.In the
context of the whole, the
'Sommeille', a
harmonically unusual
movement in C minor, is
almost a piece across the
border. Even in this
gently rocking piece,
Telemann is not at a loss
for unobtrusive wit when
he lets the upper parts
die down shortly before
the end, only a single
bass tone represents the
last chord.
ISBN
9790006567560. 33 x 24.3
cm inches. Text: Duplat
de Monticourt,
Pierre-Jacques.
Thi
s edition unites all the
purely instrumental parts
of Rameau’s
comdie-ballet “Les
Paladins†for
performance as a suite in
the concert
hall.
In view of
the wealth of the
work’s musical
treasures and the
stylistic innovations
– similar to the
“Boradesâ€
– the rather
frosty reception of the
premiere series in the
spring of 1760 seems
completely
incomprehensible to us
today. It led to this
stage work not being
performed again until
well into the 20th
century. The story that
the comdie-ballet tells
is based on a fable by La
Fontaine, “Le Petit
chien qui secoue de
l’argent et des
pierreries†(i.e.
“The little dog who
shakes silver and
stonesâ€). In
medieval Veneto, the
guardian Anselme
undermines the love
affairs of his ward
Argies. Scenes of tragic
expression are contrasted
with folk-comic ones; and
last but not least, the
sexually ambiguous fairy
Manto may have caused
difficulties for the bold
work at the Paris
Opra.
This
critical edition is based
on the corresponding
volume issued in the
series “Opera omnia
Rameau†(BA
8870-01). Since
“Les
Paladins†remained
unpublished during
Rameau’s lifetime
and was also not included
in the “Œuvres
complètesâ€, this
is the first edition of
the work. It satisfies
both scholarly demand and
the practical needs of
musicians.
The
orchestral parts are
available on
hire.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Orchestra - Grade 2 SKU: AP.41194S Featuring: We're Off to See the Wiz...(+)
Orchestra - Grade 2
SKU: AP.41194S
Featuring: We're Off
to See the Wizard / If I
Only Had a Brain (A
Heart, the Nerve) / Ding
Dong! The Witch Is Dead /
Over the Rainbow.
Composed by E.Y. Yip
Harburg. Arranged by
Ralph Ford. MakeMusic
Cloud; Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Beginning String
Orchestra. Form: Suite.
Movie. Score. 20 pages.
Alfred Music #00-41194S.
Published by Alfred Music
(AP.41194S).
UPC:
038081478739.
English.
Celebrate
75 years of wizarding!
We're Off to See the
Wizard, If I Only Had a
Brain (A Heart, the
Nerve), Ding Dong! The
Witch Is Dead, and Over
the Rainbow will delight
all generations. This
title is available in
MakeMusic Cloud.
Orchestra (FULL SCORE) SKU: HL.263038 For Orchestra. Composed by J...(+)
Orchestra (FULL SCORE)
SKU: HL.263038
For Orchestra.
Composed by John Luther
Adams. Music Sales
America. Classical.
Softcover. Composed 2017.
162 pages. Chester Music
#CH87131. Published by
Chester Music
(HL.263038).
UPC:
888680952907.
12.0x16.5x0.565
inches.
“Over
the years my orchestral
music has become simpler
and more expansive.
Clouds of Forgetting,
Clouds of Unknowing
(1991-95) contains four
different musical
textures. In the White
Silence (1998) has three.
For Lou Harrison (2002)
reduces this to just two.
In Dark Waves (2007), I
finally got to one. When
I first heard that piece
I began to wonder if I
could sustain a similar
sound for a longer span
of time. The result is
Become Ocean, a
meditation on the vast,
deep and mysterious tides
of existence. The title
is borrowed from a
mesostic verse that John
Cage wrote in honor of
Lou Harrison's birthday.
Likening Harrison's music
to a river in delta, Cage
writes: Listening to it
we become ocean. Life on
this earth first emerged
from the sea. And as the
polar ice melts and sea
level rises, we humans
find ourselves facing the
prospect that once again
we may quite literally
become ocean.†John
Luther Adams.
(Orchestra) SKU: BA.BA11902 Composed by Ludwig van Beethoven. Edited by J...(+)
(Orchestra)
SKU:
BA.BA11902
Composed
by Ludwig van Beethoven.
Edited by Jonathan Del
Mar. This edition: urtext
edition. Stapled. Score.
Opus 43. Baerenreiter
Verlag #BA11902_00.
Published by Baerenreiter
Verlag (BA.BA11902).
ISBN 9790006573417.
32.5 x 25.5 cm
inches.
Beethoven
composed the ballet music
“Die Geschöpfe
des Prometheusâ€
during 1800–01,
commissioned by the
ballet master Salvatore
Viganò for
performances with his
Viennese company.
Although the ballet was
initially quite
successful, with almost
thirty continuous
performances, it did not
enjoy a sustained
performance tradition.
Its overture, however,
was a different matter:
considered almost a
symphonic movement in
terms of orchestration,
style and structure, it
was often performed on
its own even during
Beethoven’s
lifetime.
In
general, previous
editions of this overture
relied on the first print
as the main source.
However, the authenticity
of this source cannot be
convincingly proven. For
this new edition,
Beethoven specialist
Jonathan Del Mar
incorporates various
manuscript sources,
including a set of parts
from 1803/4 that has
never been considered
before. In this way,
numerous discrepancies
could be
clarified.
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