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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download

SKU: A0.1264664

By David Bowie. By Brian Eno and David Bowie. Arranged by Graham Boag. Pop,Rock,Wedding. 18 pages. Graham Boag #857494. Published by Graham Boag (A0.1264664).

This arrangement for String Quartet of Heroes which was the 12th studio album by the English musician David Bowie, released on 14 October 1977 through RCA Records. Recorded in collaboration with musician Brian Eno and producer Tony Visconti, it was the second release of his Berlin Trilogy, following Low, released in January the same year, and the only one wholly recorded in Berlin. Sessions took place in mid-1977 after Bowie completed work on Iggy Pop's second solo album Lust for Life. Much of the same personnel from Low returned for Heroes, augmented by King Crimson guitarist Robert Fripp.
 
Heroes has received enduring praise, particularly recognised for Fripp's contributions and the album's place within Bowie's long-term artistic development. Though critical opinion has viewed Low as the more ground-breaking record, Heroes is regarded as one of Bowie's best, most influential works. The title track, initially unsuccessful as a single, has remained one of his best-known and most-acclaimed songs. An altered and obscured version of the cover artwork was later used for the cover of The Next Day (2013). Heroes has been reissued several times and was remastered in 2017 as part of the box set A New Career in a New Town (1977–1982).

Heroes
Quatuor à cordes: 2 violons, alto, violoncelle
David Bowie
$18.99 17.83 € Quatuor à cordes: 2 violons, alto, violoncelle PDF SheetMusicPlus

Large Ensemble Alto Recorder,Alto Saxophone,Baritone Recorder,Baritone Saxophone,Clarinet,Flute,Oboe,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download

SKU: A0.842531

Composed by Various (Collection). Arranged by B. Brennan. Baroque,Classical,Instructional,Standards. Score and parts. 32 pages. Bl_music #5289965. Published by bl_music (A0.842531).

12 Solo Quadrilles for Treble/Alto Recorder

Originally written for small orchestras or piano, our arrangements for solo Treble/Alto recorder work so well that it is hard to believe that  the pieces weren’t written for the recorder in the first place.

This edition of stunning, not too difficult, but fun solos is the ideal companion or addition to the 25 Progressive Studies for Treble/Alto Recorder and a great album of show-stoppers for professionals and students alike.

Quadrilles were fashionable dances of the late 18th to19th Centuries, performed by four couples in a rectangular formation. They consist of four to six movements (or contredanses, courtly versions of English country dances that had been taken up at the court of Louis XIV and spread across Europe.) and became a craze during the 19th century.

Though hundreds of quadrille sets were composed in the 19th , the names of the five parts (or figures) remained the same, as did the steps and the figures themselves:

Le Pantalon , L’été , La Poule , (Trénis )La Pastourelle , Finale

 

This collection includes:

·        The Rats

·        Learning to Dance

·        Wide Awake

·        Melbourne

·        Polly

·        Osborne

·        Lancers’ Quadrille

·        Chevalresque

·        Fireman

·        Les Girards

·        Palermo

·        Caledonian

12 Solo Quadrilles for Treble/Alto Recorder

$15.99 15.01 € PDF SheetMusicPlus

Small Ensemble Baritone Recorder,Bassoon - Level 3 - Digital Download

SKU: A0.842528

Composed by Various (Collection). Arranged by B. Brennan. Classical,Instructional,Romantic Period,Standards. Score and parts. 32 pages. Bl_music #5289953. Published by bl_music (A0.842528).

12 Solo Quadrilles for Bass Recorder

Originally written for small orchestras or piano, our arrangements for solo Bass recorder work so well that it is hard to believe that  the pieces weren’t written for the recorder in the first place.

This edition of stunning, not too difficult, but fun solos is the ideal companion or addition to the 25 Progressive Studies for Bass Recorder and a great album of show-stoppers for professionals and students alike.

Quadrilles were fashionable dances of the late 18th to19th Centuries, performed by four couples in a rectangular formation. They consist of four to six movements (or contredanses, courtly versions of English country dances that had been taken up at the court of Louis XIV and spread across Europe.) and became a craze during the 19th century.

Though hundreds of quadrille sets were composed in the 19th , the names of the five parts (or figures) remained the same, as did the steps and the figures themselves:

Le Pantalon , L’été , La Poule , (Trénis )La Pastourelle , Finale

 

This collection includes:

·        The Rats

·        Learning to Dance

·        Wide Awake

·        Melbourne

·        Polly

·        Osborne

·        Lancers’ Quadrille

·        Chevalresque

·        Fireman

·        Les Girards

·        Palermo

·        Caledonian

12 Solo Quadrilles For Bass Recorder

$15.99 15.01 € PDF SheetMusicPlus

Recorder Solo - Level 3 - Digital Download

SKU: A0.842530

Composed by Various (Collection). Arranged by B. Brennan. Classical,Instructional,Romantic Period,Standards. Individual part. 32 pages. Bl_music #5289971. Published by bl_music (A0.842530).

12 Solo Quadrilles for Great Bass Recorder

Originally written for small orchestras or piano, our arrangements for solo Great Bass recorder work so well that it is hard to believe that  the pieces weren’t written for the recorder in the first place.

This edition of stunning, not too difficult, but fun solos is the ideal companion or addition to the 25 Progressive Studies for Great Bass Recorder and a great album of show-stoppers for professionals and students alike.

Quadrilles were fashionable dances of the late 18th to19th Centuries, performed by four couples in a rectangular formation. They consist of four to six movements (or contredanses, courtly versions of English country dances that had been taken up at the court of Louis XIV and spread across Europe.) and became a craze during the 19th century.

Though hundreds of quadrille sets were composed in the 19th , the names of the five parts (or figures) remained the same, as did the steps and the figures themselves:

Le Pantalon , L’été , La Poule , (Trénis )La Pastourelle , Finale

 

This collection includes:

·        The Rats

·        Learning to Dance

·        Wide Awake

·        Melbourne

·        Polly

·        Osborne

·        Lancers’ Quadrille

·        Chevalresque

·        Fireman

·        Les Girards

·        Palermo

·        Caledonian

12 Solo Quadrilles for Great Bass Recorder (bass clef)
Flûte à Bec

$15.99 15.01 € Flûte à Bec PDF SheetMusicPlus

Small Ensemble Alto Saxophone,Soprano Recorder,Tenor Recorder,Tenor Saxophone - Level 3 - Digital Download

SKU: A0.842529

Composed by Various (Collection). Arranged by B. Brennan. Classical,Instructional,Romantic Period,Standards. Score and parts. 32 pages. Bl_music #5289963. Published by bl_music (A0.842529).

12 Solo Quadrilles for Recorders in C (treble clef)

Originally written for small orchestras or piano, our arrangements for solo recorders in C work so well that it is hard to believe that  the pieces weren’t written for the recorder in the first place.

This edition of stunning, not too difficult, but fun solos is the ideal companion or addition to the 25 Progressive Studies for  Recorders in C and a great album of show-stoppers for professionals and students alike.

Quadrilles were fashionable dances of the late 18th to19th Centuries, performed by four couples in a rectangular formation. They consist of four to six movements (or contredanses, courtly versions of English country dances that had been taken up at the court of Louis XIV and spread across Europe.) and became a craze during the 19th century.

Though hundreds of quadrille sets were composed in the 19th , the names of the five parts (or figures) remained the same, as did the steps and the figures themselves:

Le Pantalon , L’été , La Poule , (Trénis )La Pastourelle , Finale

 

This collection includes:

·        The Rats

·        Learning to Dance

·        Wide Awake

·        Melbourne

·        Polly

·        Osborne

·        Lancers’ Quadrille

·        Chevalresque

·        Fireman

·        Les Girards

·        Palermo

·        Caledonian

12 Solo Quadrilles for Recorders in C (treble clef)

$15.99 15.01 € PDF SheetMusicPlus

String Orchestra - Level 4 - Digital Download

SKU: A0.922639

Composed by Johann Strauss Jr. Arranged by Aaron Meier. Romantic Period,World. Score and parts. 1 pages. Aaron Meier #5792379. Published by Aaron Meier (A0.922639).

Original by Johann Strauss II
Reduction to String Orchestra by Aaron Meier

Part: Double Bass

True to the original work by Strauss, this reduction for string orchestra features the ornaments and mystical writing that defines Strauss' polkas. There are optional percussion parts to be added at the discretion of the ensemble, however even without percussion the ensemble will sound full (the percussion acts as an ornament).

Difficulty: Intermediate-advanced - advanced (best-suited for advanced student ensembles)
---

Performance Notes:

• Approximate length: 3:30 minutes
• 1st Violins: In m. 1, trill a half step from a Dâ™­ to a Dâ™® 
• 2nd Violins:
 - At m. 42, divide players by 3, with 2 players playing line A and the remaining player playing line B
 - At m. 72-75, emphasize the E♭ in the div.
• Snare Drum: The buzz roll needs to be quieter than how it is played in the midi recording (*see YouTube link ↓)

History:

The Olga-Polka itself owed its creation to a Russian royal wedding which took place in St. Petersburg on 28 August 1857. On that day, amid accompanying splendour, the music-loving Grand Duke Michail Nikolaievich (1832-1909), youngest brother of Tsar Alexander II, married Princess Caecilie of Baden (1839-91), daughter of Archduke Leopold of Baden. Johann Strauss, who at that time was giving a summer season of concerts in nearby Pavlovsk, used the opportunity occasioned by the event to enhance his already enviable popularity with the Russian royal family and composed the Caecilien-Polka in honour of the lovely young bride. Indeed, it is clear from a letter which Johann wrote in late July 1857 to Carl Haslinger, his publisher in Vienna, that the new polka had been prepared well in advance of the wedding (the fair copy of the full orchestral score made for the publisher's engraver is dated 9 August) and was enjoying success even before the royal couple's official engagement on 16August 1857. Sometime after performing the Caecilien-Polka in Pavlovsk, Johann despatched the work to the Austrian capital where his brother Josef conducted its Viennese première, together with that of Johann's waltz Telegraphische Depeschen (op. 195, Volume 28), at his own benefit concert in the Volksgartenon Sunday 18 October 1857. The Wiener Allgemeine Theaterzeitung (16.10.1857) remarked that both works have caused a sensation in St. Petersburg and are truly genial Viennese sounds full of verve and melody.

Since tradition demanded that the German Princess Caecilie adopt a Russian name - Olga Feodorovna - before her marriage, so Johann's Caecilien-Polka also underwent a change of identity. On 8 December 1857 Carl Haslinger announced the publication of Strauss's Olga-Polka, on the title page of which is the inscription: Dedicated to her Imperial Highness Grand Duchess Olga, née Princess of Baden. It was under this title, too, that Johann himself first conducted the work in Vienna at a concert in the Volksgarten on 1 November 1857, shortly after his return from Russia. Reporting on this event, the Wiener Allgemeine Theaterzeitung (3.11.1857) observed: The 'Olga-Polka' is a most delightful, fragrant musical bouquet, full of fine, gracious rhythms.
[excerpted from NAXOS Records]
Kemp, Peter. Program Notes - About this Recording. NAXOS, 1993, www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.223232&catNum=223232&filetype=About%20.......... Accessed 5 June 2020.

Resources:

• Visit.

Olga-Polka, Op. 196 (arr. for string orchestra): Double Bass
Orchestre à Cordes

$3.99 3.75 € Orchestre à Cordes PDF SheetMusicPlus

String Orchestra - Level 4 - Digital Download

SKU: A0.922636

Composed by Johann Strauss Jr. Arranged by Aaron Meier. Romantic Period,World. Score and parts. 1 pages. Aaron Meier #5792367. Published by Aaron Meier (A0.922636).

Original by Johann Strauss II
Reduction to String Orchestra by Aaron Meier

Part: Violin II

True to the original work by Strauss, this reduction for string orchestra features the ornaments and mystical writing that defines Strauss' polkas. There are optional percussion parts to be added at the discretion of the ensemble, however even without percussion the ensemble will sound full (the percussion acts as an ornament).

Difficulty: Intermediate-advanced - advanced (best-suited for advanced student ensembles)
---

Performance Notes:

• Approximate length: 3:30 minutes
• 1st Violins: In m. 1, trill a half step from a Dâ™­ to a Dâ™® 
• 2nd Violins:
 - At m. 42, divide players by 3, with 2 players playing line A and the remaining player playing line B
 - At m. 72-75, emphasize the E♭ in the div.
• Snare Drum: The buzz roll needs to be quieter than how it is played in the midi recording (*see YouTube link ↓)

History:

The Olga-Polka itself owed its creation to a Russian royal wedding which took place in St. Petersburg on 28 August 1857. On that day, amid accompanying splendour, the music-loving Grand Duke Michail Nikolaievich (1832-1909), youngest brother of Tsar Alexander II, married Princess Caecilie of Baden (1839-91), daughter of Archduke Leopold of Baden. Johann Strauss, who at that time was giving a summer season of concerts in nearby Pavlovsk, used the opportunity occasioned by the event to enhance his already enviable popularity with the Russian royal family and composed the Caecilien-Polka in honour of the lovely young bride. Indeed, it is clear from a letter which Johann wrote in late July 1857 to Carl Haslinger, his publisher in Vienna, that the new polka had been prepared well in advance of the wedding (the fair copy of the full orchestral score made for the publisher's engraver is dated 9 August) and was enjoying success even before the royal couple's official engagement on 16August 1857. Sometime after performing the Caecilien-Polka in Pavlovsk, Johann despatched the work to the Austrian capital where his brother Josef conducted its Viennese première, together with that of Johann's waltz Telegraphische Depeschen (op. 195, Volume 28), at his own benefit concert in the Volksgartenon Sunday 18 October 1857. The Wiener Allgemeine Theaterzeitung (16.10.1857) remarked that both works have caused a sensation in St. Petersburg and are truly genial Viennese sounds full of verve and melody.

Since tradition demanded that the German Princess Caecilie adopt a Russian name - Olga Feodorovna - before her marriage, so Johann's Caecilien-Polka also underwent a change of identity. On 8 December 1857 Carl Haslinger announced the publication of Strauss's Olga-Polka, on the title page of which is the inscription: Dedicated to her Imperial Highness Grand Duchess Olga, née Princess of Baden. It was under this title, too, that Johann himself first conducted the work in Vienna at a concert in the Volksgarten on 1 November 1857, shortly after his return from Russia. Reporting on this event, the Wiener Allgemeine Theaterzeitung (3.11.1857) observed: The 'Olga-Polka' is a most delightful, fragrant musical bouquet, full of fine, gracious rhythms.
[excerpted from NAXOS Records] 
Kemp, Peter. Program Notes - About this Recording. NAXOS, 1993, www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.223232&catNum=223232&filetype=About%20.......... Accessed 5 June 2020. 

Resources:

• Visit

Olga-Polka, Op. 196 (arr. for string orchestra): Violin II
Orchestre à Cordes

$3.99 3.75 € Orchestre à Cordes PDF SheetMusicPlus

Full Orchestra - Level 3 - Digital Download

SKU: A0.986832

Composed by Madelyn Byrne. Contemporary. Score and parts. 18 pages. Madelyn Byrne #2003237. Published by Madelyn Byrne (A0.986832).

Nocturne for Orchestra began as a piece that would celebrate the 400th Anniversary of Galileo’s telescope while using a musical language that would be in keeping with a program of American music. I thought that The Unanswered Question by Ives, and the emotional depth and poignancy of much of Copland’s music, would be a perfect compliment to a tribute to Galileo. But then two friends passed away and the piece turned into a tribute to them, with the night sky and the Unanswered Questions that surround us creating a consoling environment for this effort. The songlike themes of Nocturne grow out of my journey from mourning the premature deaths of my friends to celebrating their rich and vibrant lives. Section A is the dreamlike introductory section, B is a transition to the song-like section, and C is where the songlike themes are stated outright. D is a development section, E is an interruption - returning to the dreamlike music, F merges the dream music with the thematic material, G is the expressive high point of the piece and is articulated by the violin and cello solos. The remaining sections are intended to convey freedom and celebration. This is followed by a brief coda.

Nocturne for Orchestra
Orchestre

$10.00 9.39 € Orchestre PDF SheetMusicPlus

String Orchestra - Level 4 - Digital Download

SKU: A0.922637

Composed by Johann Strauss Jr. Arranged by Aaron Meier. Romantic Period,World. Score and parts. 1 pages. Aaron Meier #5792373. Published by Aaron Meier (A0.922637).

Original by Johann Strauss II
Reduction to String Orchestra by Aaron Meier

Part: Cello

True to the original work by Strauss, this reduction for string orchestra features the ornaments and mystical writing that defines Strauss' polkas. There are optional percussion parts to be added at the discretion of the ensemble, however even without percussion the ensemble will sound full (the percussion acts as an ornament).

Difficulty: Intermediate-advanced - advanced (best-suited for advanced student ensembles)
---

Performance Notes:

• Approximate length: 3:30 minutes
• 1st Violins: In m. 1, trill a half step from a Dâ™­ to a Dâ™® 
• 2nd Violins:
 - At m. 42, divide players by 3, with 2 players playing line A and the remaining player playing line B
 - At m. 72-75, emphasize the E♭ in the div.
• Snare Drum: The buzz roll needs to be quieter than how it is played in the midi recording (*see YouTube link ↓)

History:

The Olga-Polka itself owed its creation to a Russian royal wedding which took place in St. Petersburg on 28 August 1857. On that day, amid accompanying splendour, the music-loving Grand Duke Michail Nikolaievich (1832-1909), youngest brother of Tsar Alexander II, married Princess Caecilie of Baden (1839-91), daughter of Archduke Leopold of Baden. Johann Strauss, who at that time was giving a summer season of concerts in nearby Pavlovsk, used the opportunity occasioned by the event to enhance his already enviable popularity with the Russian royal family and composed the Caecilien-Polka in honour of the lovely young bride. Indeed, it is clear from a letter which Johann wrote in late July 1857 to Carl Haslinger, his publisher in Vienna, that the new polka had been prepared well in advance of the wedding (the fair copy of the full orchestral score made for the publisher's engraver is dated 9 August) and was enjoying success even before the royal couple's official engagement on 16August 1857. Sometime after performing the Caecilien-Polka in Pavlovsk, Johann despatched the work to the Austrian capital where his brother Josef conducted its Viennese première, together with that of Johann's waltz Telegraphische Depeschen (op. 195, Volume 28), at his own benefit concert in the Volksgartenon Sunday 18 October 1857. The Wiener Allgemeine Theaterzeitung (16.10.1857) remarked that both works have caused a sensation in St. Petersburg and are truly genial Viennese sounds full of verve and melody.

Since tradition demanded that the German Princess Caecilie adopt a Russian name - Olga Feodorovna - before her marriage, so Johann's Caecilien-Polka also underwent a change of identity. On 8 December 1857 Carl Haslinger announced the publication of Strauss's Olga-Polka, on the title page of which is the inscription: Dedicated to her Imperial Highness Grand Duchess Olga, née Princess of Baden. It was under this title, too, that Johann himself first conducted the work in Vienna at a concert in the Volksgarten on 1 November 1857, shortly after his return from Russia. Reporting on this event, the Wiener Allgemeine Theaterzeitung (3.11.1857) observed: The 'Olga-Polka' is a most delightful, fragrant musical bouquet, full of fine, gracious rhythms.
[excerpted from NAXOS Records]
Kemp, Peter. Program Notes - About this Recording. NAXOS, 1993, www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.223232&catNum=223232&filetype=About%20.......... Accessed 5 June 2020.

Resources:

• Visit

Olga-Polka, Op. 196 (arr. for string orchestra): Cello
Orchestre à Cordes

$3.99 3.75 € Orchestre à Cordes PDF SheetMusicPlus

Chamber Orchestra - Level 4 - Digital Download

SKU: A0.922640

Composed by Johann Strauss Jr. Arranged by Aaron Meier. Romantic Period,World. Score and parts. 1 pages. Aaron Meier #5792381. Published by Aaron Meier (A0.922640).

Original by Johann Strauss II
Reduction to String Orchestra by Aaron Meier

Part: *Optional Percussion (snare drum, triangle, cymbals)

True to the original work by Strauss, this reduction for string orchestra features the ornaments and mystical writing that defines Strauss' polkas. There are optional percussion parts to be added at the discretion of the ensemble, however even without percussion the ensemble will sound full (the percussion acts as an ornament).

Difficulty: Intermediate-advanced - advanced (best-suited for advanced student ensembles)
---

Performance Notes:

• Approximate length: 3:30 minutes
• 1st Violins: In m. 1, trill a half step from a Dâ™­ to a Dâ™® 
• 2nd Violins:
 - At m. 42, divide players by 3, with 2 players playing line A and the remaining player playing line B
 - At m. 72-75, emphasize the E♭ in the div.
• Snare Drum: The buzz roll needs to be quieter than how it is played in the midi recording (*see YouTube link ↓)

History:

The Olga-Polka itself owed its creation to a Russian royal wedding which took place in St. Petersburg on 28 August 1857. On that day, amid accompanying splendour, the music-loving Grand Duke Michail Nikolaievich (1832-1909), youngest brother of Tsar Alexander II, married Princess Caecilie of Baden (1839-91), daughter of Archduke Leopold of Baden. Johann Strauss, who at that time was giving a summer season of concerts in nearby Pavlovsk, used the opportunity occasioned by the event to enhance his already enviable popularity with the Russian royal family and composed the Caecilien-Polka in honour of the lovely young bride. Indeed, it is clear from a letter which Johann wrote in late July 1857 to Carl Haslinger, his publisher in Vienna, that the new polka had been prepared well in advance of the wedding (the fair copy of the full orchestral score made for the publisher's engraver is dated 9 August) and was enjoying success even before the royal couple's official engagement on 16August 1857. Sometime after performing the Caecilien-Polka in Pavlovsk, Johann despatched the work to the Austrian capital where his brother Josef conducted its Viennese première, together with that of Johann's waltz Telegraphische Depeschen (op. 195, Volume 28), at his own benefit concert in the Volksgartenon Sunday 18 October 1857. The Wiener Allgemeine Theaterzeitung (16.10.1857) remarked that both works have caused a sensation in St. Petersburg and are truly genial Viennese sounds full of verve and melody.

Since tradition demanded that the German Princess Caecilie adopt a Russian name - Olga Feodorovna - before her marriage, so Johann's Caecilien-Polka also underwent a change of identity. On 8 December 1857 Carl Haslinger announced the publication of Strauss's Olga-Polka, on the title page of which is the inscription: Dedicated to her Imperial Highness Grand Duchess Olga, née Princess of Baden. It was under this title, too, that Johann himself first conducted the work in Vienna at a concert in the Volksgarten on 1 November 1857, shortly after his return from Russia. Reporting on this event, the Wiener Allgemeine Theaterzeitung (3.11.1857) observed: The 'Olga-Polka' is a most delightful, fragrant musical bouquet, full of fine, gracious rhythms.
[excerpted from NAXOS Records]
Kemp, Peter. Program Notes - About this Recording. NAXOS, 1993, www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.223232&catNum=223232&filetype=About%20.......... Accessed 5 June 2020.

Olga-Polka, Op. 196 (arr. for string orchestra): Optional Percussion
Orchestre de chambre

$3.99 3.75 € Orchestre de chambre PDF SheetMusicPlus

Chamber Orchestra - Level 4 - Digital Download

SKU: A0.922635

Composed by Johann Strauss Jr. Arranged by Aaron Meier. Romantic Period,World. Score and parts. 7 pages. Aaron Meier #5792353. Published by Aaron Meier (A0.922635).

Original by Johann Strauss II
Reduction to String Orchestra by Aaron Meier

Part: Full Score ONLY

True to the original work by Strauss, this reduction for string orchestra features the ornaments and mystical writing that defines Strauss' polkas. There are optional percussion parts to be added at the discretion of the ensemble, however even without percussion the ensemble will sound full (the percussion acts as an ornament).

Difficulty: Intermediate-advanced - advanced (best-suited for advanced student ensembles)
---

Performance Notes:

• Approximate length: 3:30 minutes
• 1st Violins: In m. 1, trill a half step from a Dâ™­ to a Dâ™® 
• 2nd Violins:
 - At m. 42, divide players by 3, with 2 players playing line A and the remaining player playing line B
 - At m. 72-75, emphasize the E♭ in the div.
• Snare Drum: The buzz roll needs to be quieter than how it is played in the midi recording (*see YouTube link ↓)

History:

The Olga-Polka itself owed its creation to a Russian royal wedding which took place in St. Petersburg on 28 August 1857. On that day, amid accompanying splendour, the music-loving Grand Duke Michail Nikolaievich (1832-1909), youngest brother of Tsar Alexander II, married Princess Caecilie of Baden (1839-91), daughter of Archduke Leopold of Baden. Johann Strauss, who at that time was giving a summer season of concerts in nearby Pavlovsk, used the opportunity occasioned by the event to enhance his already enviable popularity with the Russian royal family and composed the Caecilien-Polka in honour of the lovely young bride. Indeed, it is clear from a letter which Johann wrote in late July 1857 to Carl Haslinger, his publisher in Vienna, that the new polka had been prepared well in advance of the wedding (the fair copy of the full orchestral score made for the publisher's engraver is dated 9 August) and was enjoying success even before the royal couple's official engagement on 16August 1857. Sometime after performing the Caecilien-Polka in Pavlovsk, Johann despatched the work to the Austrian capital where his brother Josef conducted its Viennese première, together with that of Johann's waltz Telegraphische Depeschen (op. 195, Volume 28), at his own benefit concert in the Volksgartenon Sunday 18 October 1857. The Wiener Allgemeine Theaterzeitung (16.10.1857) remarked that both works have caused a sensation in St. Petersburg and are truly genial Viennese sounds full of verve and melody.

Since tradition demanded that the German Princess Caecilie adopt a Russian name - Olga Feodorovna - before her marriage, so Johann's Caecilien-Polka also underwent a change of identity. On 8 December 1857 Carl Haslinger announced the publication of Strauss's Olga-Polka, on the title page of which is the inscription: Dedicated to her Imperial Highness Grand Duchess Olga, née Princess of Baden. It was under this title, too, that Johann himself first conducted the work in Vienna at a concert in the Volksgarten on 1 November 1857, shortly after his return from Russia. Reporting on this event, the Wiener Allgemeine Theaterzeitung (3.11.1857) observed: The 'Olga-Polka' is a most delightful, fragrant musical bouquet, full of fine, gracious rhythms.
[excerpted from NAXOS Records]
Kemp, Peter. Program Notes - About this Recording. NAXOS, 1993, www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.223232&catNum=223232&filetype=About%20.......... Accessed 5 June 2020.

Resources:

• Visit sites.google.com/view/aaronmeier for more information regarding this arrangement and other works.
• Find a full midi recording of this arrangement on YouTub.

Olga-Polka, Op. 196 (arr. for string orchestra): Full Score
Orchestre

$10.99 10.32 € Orchestre PDF SheetMusicPlus

String Orchestra - Level 4 - Digital Download

SKU: A0.922638

Composed by Johann Strauss Jr. Arranged by Aaron Meier. Romantic Period,World. Score and parts. 1 pages. Aaron Meier #5792369. Published by Aaron Meier (A0.922638).

Original by Johann Strauss II
Reduction to String Orchestra by Aaron Meier

Part: Viola

True to the original work by Strauss, this reduction for string orchestra features the ornaments and mystical writing that defines Strauss' polkas. There are optional percussion parts to be added at the discretion of the ensemble, however even without percussion the ensemble will sound full (the percussion acts as an ornament).

Difficulty: Intermediate-advanced - advanced (best-suited for advanced student ensembles)
---

Performance Notes:

• Approximate length: 3:30 minutes
• 1st Violins: In m. 1, trill a half step from a Dâ™­ to a Dâ™® 
• 2nd Violins:
 - At m. 42, divide players by 3, with 2 players playing line A and the remaining player playing line B
 - At m. 72-75, emphasize the E♭ in the div.
• Snare Drum: The buzz roll needs to be quieter than how it is played in the midi recording (*see YouTube link ↓)

History:

The Olga-Polka itself owed its creation to a Russian royal wedding which took place in St. Petersburg on 28 August 1857. On that day, amid accompanying splendour, the music-loving Grand Duke Michail Nikolaievich (1832-1909), youngest brother of Tsar Alexander II, married Princess Caecilie of Baden (1839-91), daughter of Archduke Leopold of Baden. Johann Strauss, who at that time was giving a summer season of concerts in nearby Pavlovsk, used the opportunity occasioned by the event to enhance his already enviable popularity with the Russian royal family and composed the Caecilien-Polka in honour of the lovely young bride. Indeed, it is clear from a letter which Johann wrote in late July 1857 to Carl Haslinger, his publisher in Vienna, that the new polka had been prepared well in advance of the wedding (the fair copy of the full orchestral score made for the publisher's engraver is dated 9 August) and was enjoying success even before the royal couple's official engagement on 16August 1857. Sometime after performing the Caecilien-Polka in Pavlovsk, Johann despatched the work to the Austrian capital where his brother Josef conducted its Viennese première, together with that of Johann's waltz Telegraphische Depeschen (op. 195, Volume 28), at his own benefit concert in the Volksgartenon Sunday 18 October 1857. The Wiener Allgemeine Theaterzeitung (16.10.1857) remarked that both works have caused a sensation in St. Petersburg and are truly genial Viennese sounds full of verve and melody.

Since tradition demanded that the German Princess Caecilie adopt a Russian name - Olga Feodorovna - before her marriage, so Johann's Caecilien-Polka also underwent a change of identity. On 8 December 1857 Carl Haslinger announced the publication of Strauss's Olga-Polka, on the title page of which is the inscription: Dedicated to her Imperial Highness Grand Duchess Olga, née Princess of Baden. It was under this title, too, that Johann himself first conducted the work in Vienna at a concert in the Volksgarten on 1 November 1857, shortly after his return from Russia. Reporting on this event, the Wiener Allgemeine Theaterzeitung (3.11.1857) observed: The 'Olga-Polka' is a most delightful, fragrant musical bouquet, full of fine, gracious rhythms.
[excerpted from NAXOS Records]
Kemp, Peter. Program Notes - About this Recording. NAXOS, 1993, www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.223232&catNum=223232&filetype=About%20.......... Accessed 5 June 2020.

Resources:

• Visit
Olga-Polka, Op. 196 (arr. for string orchestra): Viola
Orchestre à Cordes

$3.99 3.75 € Orchestre à Cordes PDF SheetMusicPlus

String Orchestra - Level 4 - Digital Download

SKU: A0.922634

Composed by Johann Strauss Jr. Arranged by Aaron Meier. Romantic Period,World. Score and parts. 1 pages. Aaron Meier #5792359. Published by Aaron Meier (A0.922634).

Original by Johann Strauss II
Reduction to String Orchestra by Aaron Meier

Part: Violin I

True to the original work by Strauss, this reduction for string orchestra features the ornaments and mystical writing that defines Strauss' polkas. There are optional percussion parts to be added at the discretion of the ensemble, however even without percussion the ensemble will sound full (the percussion acts as an ornament).

Difficulty: Intermediate-advanced - advanced (best-suited for advanced student ensembles)
---

Performance Notes:

• Approximate length: 3:30 minutes
• 1st Violins: In m. 1, trill a half step from a Dâ™­ to a Dâ™® 
• 2nd Violins:
 - At m. 42, divide players by 3, with 2 players playing line A and the remaining player playing line B
 - At m. 72-75, emphasize the E♭ in the div.
• Snare Drum: The buzz roll needs to be quieter than how it is played in the midi recording (*see YouTube link ↓)

History:

The Olga-Polka itself owed its creation to a Russian royal wedding which took place in St. Petersburg on 28 August 1857. On that day, amid accompanying splendour, the music-loving Grand Duke Michail Nikolaievich (1832-1909), youngest brother of Tsar Alexander II, married Princess Caecilie of Baden (1839-91), daughter of Archduke Leopold of Baden. Johann Strauss, who at that time was giving a summer season of concerts in nearby Pavlovsk, used the opportunity occasioned by the event to enhance his already enviable popularity with the Russian royal family and composed the Caecilien-Polka in honour of the lovely young bride. Indeed, it is clear from a letter which Johann wrote in late July 1857 to Carl Haslinger, his publisher in Vienna, that the new polka had been prepared well in advance of the wedding (the fair copy of the full orchestral score made for the publisher's engraver is dated 9 August) and was enjoying success even before the royal couple's official engagement on 16August 1857. Sometime after performing the Caecilien-Polka in Pavlovsk, Johann despatched the work to the Austrian capital where his brother Josef conducted its Viennese première, together with that of Johann's waltz Telegraphische Depeschen (op. 195, Volume 28), at his own benefit concert in the Volksgartenon Sunday 18 October 1857. The Wiener Allgemeine Theaterzeitung (16.10.1857) remarked that both works have caused a sensation in St. Petersburg and are truly genial Viennese sounds full of verve and melody.

Since tradition demanded that the German Princess Caecilie adopt a Russian name - Olga Feodorovna - before her marriage, so Johann's Caecilien-Polka also underwent a change of identity. On 8 December 1857 Carl Haslinger announced the publication of Strauss's Olga-Polka, on the title page of which is the inscription: Dedicated to her Imperial Highness Grand Duchess Olga, née Princess of Baden. It was under this title, too, that Johann himself first conducted the work in Vienna at a concert in the Volksgarten on 1 November 1857, shortly after his return from Russia. Reporting on this event, the Wiener Allgemeine Theaterzeitung (3.11.1857) observed: The 'Olga-Polka' is a most delightful, fragrant musical bouquet, full of fine, gracious rhythms.
[excerpted from NAXOS Records]
Kemp, Peter. Program Notes - About this Recording. NAXOS, 1993, www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.223232&catNum=223232&filetype=About%20.......... Accessed 5 June 2020.

Resources:

• Visit

Olga-Polka, Op. 196 (arr. for string orchestra): Violin I
Orchestre à Cordes

$3.99 3.75 € Orchestre à Cordes PDF SheetMusicPlus

Piano - Digital Download

SKU: BQ.979-0-50179-161-3

Composed by Joachim Raff. Edited by Nicolas Di Paolo. This edition: softcover. Bisel Classics. Score. With Text Language: English / German. Opus 11. 26 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-161-3).

ISBN 9790501791613.

Raff lived an eventful life of ups and down but remained a prolific composer throughout. Towards the end of his life, he had earned a reputation as a respected and important composer and his works were frequently performed in Germany and across Europe. Yet after his death only a few compositions survived in the public consciousness. Recent publications of works from this great composer are proof of a reawakening of interest in a remarkable talent of the Romantic era. Composed when he was just twenty-two, the Air Suisse is an ephemeral and emotive depiction of the Alpine setting which may very well have constituted a fond farewell to his homeland as he set out on his grand life journey as a serious composer.

Air Suisse, Opus 11
Piano seul

$13.95 13.1 € Piano seul PDF SheetMusicPlus

Chamber Orchestra - Level 5 - Digital Download

SKU: A0.533578

Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Musik Fabrik Music Publishing #3025409. Published by Musik Fabrik Music Publishing (A0.533578).

The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audience, and chamber orchestra (piano, organ, strings-suggested minimum of 3.3.3.2.1),
was commissioned by The Memorial Church at Harvard University. It is dedicated to Edward Elwyn Jones and the
Harvard University Choir.
The biblical books of Luke and Acts form a pair of documents from a single author and with a single audience (the
likely-metaphorical “Theophilusâ€), yet they are unusual for being composed in such contrasting genres. Luke’s
gospel, using Mark as a primary source throughout, features a comparable literary style to that of the other
evangelists. Acts, by contrast, is a historical monograph that charts the birth of the Church with dramatic stories
about—and speeches from—the apostles, painting a vivid, if not necessarily chronological, picture of their victories
and struggles. As such, it is a book that provides excellent source material for a dramatic choral libretto of this scale.
Although much of Acts is focused on the ministry of Saul/Paul, this oratorio draws most of its material from the
first third of the book, prior to and including the conversion of Saul. In the Prologue, Christ’s ascension is narrated
and—following an orchestral Sinfonia—the chorus sings words of Jesus from the Sermon on the Plain in Luke’s
gospel that foreshadow many of the trials the apostles go on to face. The astounding account of Pentecost follows:
here, words from the book of Ruth, customarily read on the feast of Shavuot (Pentecost), are included, telling the
story of a Moabite woman who converted to the Israelite faith—a parallel to the expansion of the Christian message
to all nations by the gift of the Holy Spirit. The Prayer for Boldness, quoting Psalm 2, asks God for protection from
the threats of persecution that the apostles will now face.
Stephen, regarded as the proto-martyr of the Christian Church, offers one of the most developed speeches in Acts,
only a small portion of which is presented here. Full of scriptural references, including the quotation from Isaiah
“Heaven is my throne…â€, the end of the narrative is remarkable for two reasons: firstly, Stephen’s final words
mirror those of Christ on the cross in Luke’s gospel—where Jesus forgives his executioners and prays “Father, into
your hands I commend my spirit†(Luke 23:46); secondly, Saul is specifically mentioned as one who approved of
Stephen’s stoning, indicative of the redemptive possibilities of the Christian message.
The account of the baptism of the Ethiopian eunuch here in the oratorio ends with the First Song of Isaiah—while
not quoted in Acts, it seems a fitting conclusion to the scene as Philip and the eunuch were reading Isaiah together,
and the canticle has often been associated by Christians with the rite of baptism. Similarly, the story of Saul’s
Conversion is followed here by a Christological poem found in Paul’s letter to the Philippians, though it is likely a
quotation from an earlier source. It is often regarded as the earliest extant Christian hymn.
The Acts of the Apostles concludes with Luke’s realistic assessment that in spite of Paul’s energetic evangelism many
remained unconvinced by the Christian message. At the heart of both Luke’s gospel and Acts is the tension between
the uniquely important role of the Jewish traditions that Jesus himself practiced and the expansion of the gospel to
gentiles, of whom Luke himself is one. It is appropriate, therefore, to follow Paul’s message of salvation to the
gentiles with the Magnificat: a canticle that emphasizes the promises of God to the people of Israel throughout
history.
Three traditional hymn texts are found in the oratorio, each set congregationally to a pre-existing tune. The first,
“Spirit of mercy, truth, and love†is an eighteenth century poem that e.

Carson Cooman: The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audie
Orchestre de chambre

$25.95 24.36 € Orchestre de chambre PDF SheetMusicPlus






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