Organ

SKU: PL.PPM02210M

Composed by Anthony Giamanco. Score. Paraclete Press #PPM02210M. Published by Paraclete Press (PL.PPM02210M).

This voluntary is based on what is arguably the most famous of Easter hymns in the Western Christian Church – Jesus Christ is Risen Today. Taken from a collection of various hymns and tunes entitled Lyra Davidica (1708), the Easter Hymn is used as the springboard for a rhapsodic opening and development before a full and ravishing harmonization of the entire hymn. The conclusion, an extension of the tune itself, calls for a volcanic organ registration, sure to elicit an eruptive outcry appropriate to the day itself! .

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 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.

SAB choir (with optional divisi), organ - Medium

SKU: PL.0110

Composed by Joel Martinson. Parish. Choral, General. Octavo. Paraclete Press #0110. Published by Paraclete Press (PL.0110).

This piece shows all the hallmarks of Joel Martinson's expressive style. The text by Delores Dufner, OSB, is fresh and appealing as is the musical setting. The opening rhythmic theme supports the text of praise, while the quieter section illuminates words of thanksgiving. The piece concludes with a jubilant alleluia. The organ part is a major voice itself, providing an exciting impetus to the piece.

Brass Ensemble, Trumpet, Trombone and Piano

SKU: HL.14027970

Composed by Poul Ruders. Music Sales America. Classical. Score. 16 pages. Edition Wilhelm Hansen #KP00263. Published by Edition Wilhelm Hansen (HL.14027970).

ISBN 9788759859353. 16.75x11.75x0.425 inches. English.

Break-Danc e is an obvious next of kin to the two Clarinet trios Vox In Rama and Tattoo For Three. This piece, however, combines the roaring despair of the first trio with the twisted rhythmical display of the latter. The title, of course, is a reference to the modern street-dance electric boogie, but the very music itself takes the naming most literally indeed: formally and rhythmically, after a straightforward head-on opening, it breaks into isolated, jagged fragments, winding up in a bouncing piano cadenza. Albeit not an obvious piano concerto, the piano part hovers in the front line, the same way the horizontal guy, ringing himself on the pavement, is doubtless an eye-catcher to passers-by. The springy 'body-language' that kicks off the piece suddenly stiffens and freezes into hard-edged blocks and the real 'dance of breaks' emerges into focus. Break-dance is commissioned by and dedicated to Yvar Mikhashoff and Spectrum. Arranged for 2 Trumpets, 3 Trombones, and Piano.

Brass Ensemble, Trumpet, Trombone and Piano

SKU: HL.14027971

Composed by Poul Ruders. Music Sales America. 20th Century. Set of Parts. 50 pages. Edition Wilhelm Hansen #KP00264. Published by Edition Wilhelm Hansen (HL.14027971).

ISBN 9788759859360. English.

Break-Danc e is an obvious next of kin to the two Clarinet trios Vox In Rama and Tattoo For Three. This piece, however, combines the roaring despair of the first trio with the twisted rhythmical display of the latter. The title, of course, is a reference to the modern street-dance electric boogie, but the very music itself takes the naming most literally indeed: formally and rhythmically, after a straightforward head-on opening, it breaks into isolated, jagged fragments, winding up in a bouncing piano cadenza. Albeit not an obvious piano concerto, the piano part hovers in the front line, the same way the horizontal guy, ringing himself on the pavement, is doubtless an eye-catcher to passers-by. The springy 'body-language' that kicks off the piece suddenly stiffens and freezes into hard-edged blocks and the real 'dance of breaks' emerges into focus. Break-dance is commissioned by and dedicated to Yvar Mikhashoff and Spectrum. Arranged for 2 Trumpets, 3 Trombones, and Piano.

Arranged by Thomas Fettke. Choir Sacred. For Brass and Percussion (SATB choir). Choral (Sacred); Choral Octavo; Worship Resources. Jubilate. Easter; Sacred; Spring. 16 pages. Published by Jubilate Music

SKU: LO.99-3030L

Composed by Lloyd Larson. Choral. Sacred Anthem, Baptism, Eastertide, General. Performance/accompaniment CD. Lorenz Publishing Company #99/3030L. Published by Lorenz Publishing Company (LO.99-3030L).

UPC: 000308132564.

Made popular by Cat Stevens, Morning Has Broken reaches new heights in this Lloyd Larson arrangement with a fresh Celtic feel. After a more introspective opening, reflecting a morning bird at dawn, a quicker tempo follows, as if the whole world is waking full of escalating excitement. This selection is a wonderful choice for a school's spring concert or for worship throughout the year!

The Easiest Easy Piano Songs. Composed by Various. Easy Piano Songbook. Broadway. Softcover. 210 pages. Published by Hal Leonard

Grade 2

SKU: CL.011-4734-00

Composed by J. Bell. Young Concert Band. Score and set of parts. C.L. Barnhouse #011-4734-00. Published by C.L. Barnhouse (CL.011-4734-00).

Flowers bloom and the world stirs with life renewed in Spring’s Awakening! The music begins with a driving ostinato in the clarinets, and staggered entrances that portray flowers opening for the first time. After the entire ensemble enters, two different melodic themes are passed throughout the ensemble, layered over driving 8th-note rhythms that propel the music forward. Spring’s Awakening is an engaging and beautiful work that makes a perfect fit for any spring or end of the year concert.

Grade 2

SKU: CL.011-4734-01

Composed by J. Bell. Young Concert Band. Extra full score. C.L. Barnhouse #011-4734-01. Published by C.L. Barnhouse (CL.011-4734-01).

Flowers bloom and the world stirs with life renewed in Spring’s Awakening! The music begins with a driving ostinato in the clarinets, and staggered entrances that portray flowers opening for the first time. After the entire ensemble enters, two different melodic themes are passed throughout the ensemble, layered over driving 8th-note rhythms that propel the music forward. Spring’s Awakening is an engaging and beautiful work that makes a perfect fit for any spring or end of the year concert.

Arranged by Emily Lund. For SATB choir with optional Flute. Scripture Reference: Luke 2:7. Christmas, Devotion, Hymntune, Sacred. Choral octavo. 12 pages

For solo piano. Format: piano solo book. Baroque, classical period and romantic period. Series: The World's Great Classical Music. 232 pages. 9x12 inches. Published by Hal Leonard.

Chorus Parts. By Sir Arthur Seymour Sullivan, W.S. Gilbert. (SATB). Opera. Size 6.8x10.5 inches. 48 pages. Published by G. Schirmer, Inc.

SATB choir and piano

SKU: OU.9780193558083

Composed by Bob Chilcott. Vocal score. 12 pages. Duration 3.5'. Oxford University Press #9780193558083. Published by Oxford University Press (OU.9780193558083).

ISBN 9780193558083. 10 x 7 inches.

For SATB and piano. An upbeat setting of words by Charles Bennett celebrating the arrival of spring, Opening features changing metres and catchy melodies. A darker middle section mirrors the text's reflection on winter's snow and silence, before the music opens out into a joyful statement of the verse and refrain as spring appears.

Composed by Various. Easy Piano Songbook. Classical. Softcover. 160 pages. Published by Hal Leonard

Famous Classics for Piano. By Jan de Roos. By Various. Fentone Instrumental Books. Classical. Book Only. Composed 2005. 28 pages. Fentone Music #F874. Published by Fentone Music

55 Selections from Symphonies, Ballets, Operas & Piano Literature for Piano Solo. Arranged by Blake Neely, Richard Walters. World's Greatest Classical Music. Size 9x12 inches. 240 pages. Published by Hal Leonard.

Choir Secular (SAB choir/3-Part choir Mixed)

SKU: AP.45437

Composed by Greg Gilpin. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Secular. Choral Octavo. 12 pages. Alfred Music #00-45437. Published by Alfred Music (AP.45437).

UPC: 038081511771. English. Words from Ulysses by Alfred; Lord Tennyson; music by Greg Gilpin.

Anthemic, heroic, and bold, the words of Alfred, Lord Tennyson spring to life through superb choral writing and a stirring piano accompaniment. A powerful opening theme builds to a final avalanche of sound, evoking the spirit of adventure. To strive, to seek, to find, and not to yield.

About Alfred Choral Designs

Th e Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.

Choir Secular (Men's Choir)

SKU: AP.45438

Composed by Greg Gilpin. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Secular. Choral Octavo. 12 pages. Alfred Music #00-45438. Published by Alfred Music (AP.45438).

UPC: 038081511788. English. Words from Ulysses by Alfred; Lord Tennyson; music by Greg Gilpin.

Anthemic, heroic, and bold, the words of Alfred, Lord Tennyson spring to life through superb choral writing and a stirring piano accompaniment. A powerful opening theme builds to a final avalanche of sound, evoking the spirit of adventure. To strive, to seek, to find, and not to yield.

About Alfred Choral Designs

Th e Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.

Choir Secular (SATB choir)

SKU: AP.45436

Composed by Greg Gilpin. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Secular. Choral Octavo. 12 pages. Alfred Music #00-45436. Published by Alfred Music (AP.45436).

UPC: 038081511764. English. Words from Ulysses by Alfred; Lord Tennyson; music by Greg Gilpin.

Anthemic, heroic, and bold, the words of Alfred, Lord Tennyson spring to life through superb choral writing and a stirring piano accompaniment. A powerful opening theme builds to a final avalanche of sound, evoking the spirit of adventure. To strive, to seek, to find, and not to yield.

About Alfred Choral Designs

Th e Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.

Orchestra string orchestra - Grade 2

SKU: KJ.SO233F

Composed by Deborah Baker Monday. String Tracks. Score. Neil A. Kjos Music Company #SO233F. Published by Neil A. Kjos Music Company (KJ.SO233F).

Beach Spring comes from The Sacred Harp, an American tunebook from 1844. The G Major opening theme, presented by the cellos, later modulates to C Major. First Position parts throughout, and simple rhythms make this accessible for beginning-level string orchestras.

Wind Quintet

SKU: ST.Y196

Composed by Rhian Samuel. Wind & brass music. Score and Parts. Score and parts. Stainer & Bell Ltd. #Y196. Published by Stainer & Bell Ltd. (ST.Y196).

ISBN 9790220220661.

1. Midwinter Spring
2. Opening Buds
3. Spring Midwinter.

Concert Band - Grade 4

SKU: AP.43158

(A Celebration of Life). Composed by Patrick Roszell. Concert Band; Performance Music Ensemble; Single Titles. Belwin Symphonic Band. Score and Part(s). 288 pages. Duration 4:45. Belwin Music #00-43158. Published by Belwin Music (AP.43158).

UPC: 038081504674. English.

Opening with floating woodwinds and an exuberant fanfare in the brass, this work celebrates the renewal of life that we experience each spring at Easter. Festive, dark, and ultimately inspiring, this new piece for concert band will be an uplifting experience for your students and audience. (4:45).

Handbell choir handbell (3-6 octaves handbell choir) - Grade 3

SKU: BP.HB632

Composed by Jason W. Krug. Arranged by Jason W. Krug. Handbell choir music. Handbell score. Beckenhorst Press #HB632. Published by Beckenhorst Press (BP.HB632).

Arranged for 3 to 6 octave handbell choir with optional 2 octaves of handchimes and optional tambourine. Level 3. Bold, open harmonies dominate Jason Krug's arrangement of the hymn BEACH SPRING. Set in a lilting 6/8, the opening verses offer a laid-back treatment, which becomes jubilant and driving as the piece accelerates into a driving 4/4 for the final verse, before a brief return to the dancing 6/8 at the end. The optional tambourine provides extra support on the rhythm and additional aural interest.