SKU: 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.
SKU: CA.5022500
ISBN 9790007090739.
Rhei nberger's concert overtures are completely beholden to the tradition of the genre established at least since the 1820s. The spread of this genre was favored in equal measure by the growth of bourgeois musical culture and the overwhelming model of Beethoven's nine symphonies, which sowed a certain perplexity and discouragement among composers of the next generation and led them to turn increasingly to the smaller single-movement genre in their orchestral music. Soon a generic distinction arose between two types of overture. One was the autonomous overture, whose character results from its specific introductory function. Rheinberger's Academic Overture follows in this same line of tradition. The other type was the overture with subject-matter, in which the romantic inclination to recreate extra-musical material in music found an expecially fruitful field of exploration. Having originated as the opening item of an opera or play, the overture had, after all, long been accustomed to accommodating the contents of the work that followed. The concert overture on an extra-musical subject is in turn associated in particular with the works of Felix Mendelssohn Bartholdy. Rheinberger too, closely modeled his opp. 11 and 110 on Mendelssohn's overtures.
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: CF.SAS1F
ISBN 9781491157510. UPC: 680160916092. 9 x 12 inches.
Written in 1814, the Fidelio Overture was the fourth and final version chosen to open Beethoven's only opera by the same name. Though not as lengthy or grand as its three predecessors (the Leonore Overtures 1 - 3), it served its purpose as an opening statement without overshadowing the music to come. This string arrangement transposes the original key of E Major into the much more playable key of D Major. It retains the original opening which alternates between powerful majestic bursts and lyrical harmonic progressions while finishing with the energetic presto to the end. Rhythms have been simplified but are very much in the spirit of Beethoven's writing. The optional timpani gives this arrangement a symphonic quality that closely resembles the original.Written in 1814, the Fidelio Overture was the fourth and final version chosen to open Beethoven's only opera by the same name. Though not as lengthy or grand as its three predecessors (the Leonore Overtures 1 – 3), it served its purpose as an opening statement without overshadowing the music to come. This string arrangement transposes the original key of E Major into the much more playable key of D Major. It retains the original opening which alternates between powerful majestic bursts and lyrical harmonic progressions while finishing with the energetic presto to the end. Rhythms have been simplified but are very much in the spirit of Beethoven’s writing. The optional timpani gives this arrangement a symphonic quality that closely resembles the original.
SKU: CF.SAS1
ISBN 9781491157718. UPC: 680160916290. 9 x 12 inches.
SKU: AP.44809S
UPC: 038081517407. English.
This seamless medley of the most popular overture themes from the Classical and Romantic periods---a veritable music history listening lesson---will be a sure-fire hit on any concert program. Scored in D-major throughout, the grade 3 arrangement by Douglas E. Wagner presents many teachable moments with style, balance, dynamic control, articulation, and interpretation. In order of appearance, the themes included are: 1812 Festival Overture (Largo) by Tchaikovsky; Overture to Zampa by Herold; Overture to The Barber of Seville by Rossini; Overture to The Magic Flute by Mozart; Overture to The Marriage of Figaro by Mozart; Overture to Poet and Peasant by von Suppé; Overture to The Merry Wives of Windsor by Nicolai; Overture to William Tell by Rossini; Overture to Die Meistersinger by Wagner; Overture to Light Cavalry by von Suppé; Overture to Orpheus in the Underworld by Offenbach; Academic Festival Overture, by Brahms; and 1812 Festival Overture (Allegro vivace) by Tchaikovsky. (3:30).
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: BR.OB-5623-23
ISBN 9790004348758. 10 x 12.5 inches.
Certainly Robert Schumann was right when he stated soon after Beethoven's death that the latter's conception of the symphony as a great, universal confessional work was hardly to be continued by the next generation of composers. He saw a solution to the dilemma in the creation of autonomous concert overtures, such as those written, for instance, by Felix Mendelssohn Bartholdy: Four of his overtures were printed during his lifetime, and others were extant in manuscript, though frequently and successfully performed by the composer. Belonging to the latter group is the Trumpet Overture, begun in 1825 and performed three times between 1828 und 1833 on prominent occasions in Berlin, Dusseldorf, and London.First printing posthumously 1851 (Rietz).
SKU: BR.OB-5623-19
ISBN 9790004348741. 10 x 12.5 inches.
SKU: BR.OB-5623-30
ISBN 9790004348772. 10 x 12.5 inches.
SKU: BR.OB-5623-27
ISBN 9790004348765. 10 x 12.5 inches.
SKU: BR.OB-5623-15
ISBN 9790004348727. 10 x 12.5 inches.
SKU: BR.OB-5623-16
ISBN 9790004348734. 10 x 12.5 inches.
SKU: BR.PB-5623
ISBN 9790004215203. 10 x 12.5 inches.
SKU: BR.OB-5527-16
Urtext of Schumanns Sinfonietta
ISBN 9790004340776. 10 x 12.5 inches.
That Schumann truly dug his heels into symphonic creation becomes clear at the latest when we look not only at his four well-known symphonies, but also at the works between the genres, such as the Overture, Scherzo and Finale. Unlike the traditional symphonic form, this work has no slow movement. Schumann spoke of it as a suite which hints at a loose connection of movements and as a sinfonietta. Ultimately, he decided to name it after the headings of the three movements which also share common traits among one another. Overture, Scherzo and Finale is being published here for the first time with an Urtext score and parts. The genesis of the work was marked by corrections and revisions. Schumann subjected the work to a thorough revision after the premiere performance and, after the publication of the orchestral parts in 1846, made more changes for the first edition of the score seven years later.Urtext of Schumanns Sinfonietta.
SKU: BR.OB-5527-15
ISBN 9790004340769. 10 x 12.5 inches.