SKU: 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.
SKU: TM.05921SC
SKU: TM.05921SET
SKU: SU.92090242
The Eastman Wind Ensemble is America's leading wind ensemble. Frederick Fennell first formulated the general concept of the wind ensemble at Eastman nearly 65 years ago. Under his leadership the group became known as the pioneering force in the wind ensemble movement in the United States and abroad. A. Clyde Roller served as conductor between 1962 and 1964, continuing the tradition established by Fennell. Donald Hunsberger became conductor in 1965 and led the ensemble for 37 years to international prominence. The ensemble's current director, Mark Davis Scatterday, was introduced as the fourth conductor of this prestigious group during the EWE's 50th anniversary celebration on February 8, 2002. Since its founding, the EWE has been the leader in elevating the wind repertory through recordings. Fennell's Mercury Recordings albums of the 1950s and early '60s are notable for their pioneering use of binaural, stereo, and 35mm recording techniques. These Living Presence recordings focused on standard band literature by the most respected classical composers -- heard for the first time in the newly balanced one-per-part instrumentation. They also centered on major repertory not found on traditional band programs, such as Mozart's Serenade in B-flat (the Gran Partita), Messiaen's Et exspecto resurrectionem mortuorum, and Stravinsky's Symphonies of Wind Instruments. Under Hunsberger, the EWE continued its progressive stance in recording techniques with participation in quadraphonic and digital recording. Since its founding, the ensemble has premiered more than 200 new works. The EWE and Mark Scatterday have continued this rich recording tradition with several CDs starting in 2005 with Danzante (featuring trumpet virtuosi James Thompson) on Summit Records. Track Listing Fandangos Sinfonia No 3 La Salsa: 1. Tumbao Sinfonia No 3 La Salsa: 2. Habanera Sinfonia No 3 La Salsa: 3. Danzas Sinfonia No 3 La Salsa: 4. Jolgorio Fanfarria Diferencias: 1. Fanfarria Diferencias: 2. Sonoro Diferencias: 3. Ritmico Diferencias: 4. Sonoro Diferencias: 5. Vigoroso The Phoenix from Carnaval.
SKU: HL.49012046
ISBN 9790001100793. 8.25x11.75x0.692 inches.
Handel's Oralorio Saul, composed in 1739, contains a series of instrumental movements which provide commentary on the action. Composers have often written works in the form of suites from these movements. Handel's blocks of polyphonic music are also particularly suitable for wind band. His orchestral suites were usually performed in Ihe open air. Many of his themes rank among the great inventions of musical history. They give his music dignity and greatness and at the same time they remain popular in character. The instrumental movements from 'Saul' are suitable for concerts, including those in churches, for serenades and for contests from intermediate to advanced level.(2 Floten, 1 Oboe ad lib., 1 Fagott ad lib., 1 Klarinette in Es ad lib., 3 Klarinetten in B, 2 Alt-Saxophone in Es, 1 Tenor-Saxophon in B, 3 Horner in F, 3 Trompeten in B, 3 Posaunen, 2 Flugelhorner (Kornette) in B, 1 Tenorhorn in B, 1 Bariton, 2 Tuben, Pauken, Schlagzeug: Glockenspiel, kleine Trommel, grosse Trommel, Becken).
SKU: HL.49012045
ISBN 9790001113205. UPC: 073999296280. 8.25x11.75x0.202 inches.
SKU: CL.012-4303-01
Open Thy Heart is an exciting and showy solo work for flute with band. Excerpted from a tone-poem by French composer Georges Bizet, and originally for soprano with orchestra, this arrangement for solo flute with concert band can also be performed by a soprano soloist. Subtitled Spanish Serenade, this lively dance will showcase your soloist as well as delight and charm audiences. Brilliant and entertaining!
About C.L. Barnhouse Spotlight Series
The Barnhouse Spotlight series includes publications for solo instruments with concert band accompaniment. These publications are designed to feature outstanding members of your band as soloist, and to provide unique and entertaining programming options. Solo parts are graded more difficult than the band accompaniments
SKU: CL.011-2837-01
A lovely solo for trumpet or alto sax with band accompaniment that is perfect for young bands and soloists. Light in nature, Morning Serenade is a welcome addition to any concert program and is the perfect way to encourage your outstanding young soloists. Very Nice! Recorded on the CD King’s Mountain Adventure by The Washington Winds.
About C.L. Barnhouse Command Series
The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.
SKU: 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.
SKU: PR.41641576L
UPC: 680160636549. 11 x 17 inches.
SKU: CL.016-1007-00
#7 NOTE: This is a vintage orchestra publication, designed for the small theater orchestras of the very late 1800s and early 1900s – whose instrumentation varies considerably from a modern full orchestra work. Parts for standard string instruments are included, along with wind and percussion parts as scored by the musical judgment of the composer or arranger. Be cautioned that published parts might include less familiar transpositions, such as Clarinet or Cornet in A, Horn in Eb, etc. Please contact us with any specific instrumentation questions.