German composer and violinist Johann Pfeiffer (1697 - 1761) was born in Nuremberg and made a career as concertmaster in various orchestras throughout southern Germany. Much of his life was spent in Bayreuth working for the court of Wilhelmine of Prussia Margravine of Bayreuth teaching her composition and violin. During his lifetime he composed a variety of orchestra and chamber music including this Concerto in B-flat Major in three movements: Allegro ma non troppo Andante and Allegretto. In this edition Victor Van Puijenbroeck has created a piano reduction of the orchestral score and also has adapted the lute part to be played on guitar. Included are parts for both lute(the part has been adapted from lute tablature to modern notation) and guitar (capotasto). German composer and violinist Johann Pfeiffer (1697 - 1761) was born in Nuremberg and made a career as concertmaster in various orchestras throughout southern Germany. Much of his life was spent in Bayreuth working for the court of Wilhelmine of Prussia Margravine of Bayreuth teaching her composition and violin. During his lifetime he composed a variety of orchestra and chamber music including this Concerto in B-flat Major in three movements: Allegro ma non troppo Andante and Allegretto. In this edition Victor Van Puijenbroeck has created a piano reduction of the orchestral score and also has adapted the lute part to be played on guitar. Included are parts for both lute(the part has been adapted from lute tablature to modern notation) and guitar (capotasto).

Long an advent season favorite hymn this majestic new arrangement can be performed with piano alone or with either full or chamber orchestra. Two options for narration are provided or alternate season-appropriate readings could be substituted at the discretion of the conductor. Perfect for mixed choirs at various levels for concert or worship! Available: SATB divisi and Orchestra (score and parts for full or chamber orchestra).

for Orchestra-Avskedsvariationer/Farewell Variations for Orchestra by Britta Byström (2005). Programme Note Farewell Variations sees the careful approach towards Haydn by Britta Byström. Although you have the title reference to the ”Farewell” Symphony Haydn’s Symphony No. 45 Byström’s approximations are being made in a subtle way similar to her free interpretation of literary works. You will not find any direct thematic connections between Byström and Haydn. Byström’s Haydn inspiration comes in form of the various titles which have been given to a lotof Haydn symphonies in the post-Haydn era. Byström wanted to go in sort of an opposite direction: To compose music based on ”Haydnish” symphonic titles. A kind of symphonic Haydn catalogue appears in the movements. Farewell Variations consist of fourteen variations of Byström’s own thematics. The work begins in sighing and broken phrases – like the shadow of a dance. The titles of the variations lead to the description of daily events starting with morning. A day of Haydn! The last variation farewell ends with the musicians playing on by on. As such there is no story but the titles are the main focus here. Byström says that she musically ”tried to capture some of Haydn’s ease and insights”. Tony Lundman           

Commissioned jointly for Colin Currie by the City of Birmingham Symphony Orchestra and the Borletti-Buitoni Trust. First performance on 14th May 2008 at Symphony Hall Birmingham by Colin Currie (percussion) and the City ofBirmingham Symphony Orchestra conducted by Martyn Brabbins.NOTE FOR PERFORMANCEIn table top the unpitched solo percussion part in the 9th movement the scoring was initially left open. The present full score showsa suggested instrumentation  which was devised by Colin Currie in conjunction with the composer. Soloists  should attempt to match the timbres used but should not feel constrained by the  exact choice ofinstruments.COMPOSER’S NOTEThe percussion instruments used in a table of noises in some ways represent the odd things that were on my great uncle Ash’s parlour table that fascinated me as a child. There is even abottle; there was always a milk bottle with the silver top pushed in surrounded by other essentials for his life. From birth he was quite severely handicapped in one of his legs and couldn’t walk too far without his trusty crutch.He kept everything he needed within arm’s length. In the list of instruments for the solo part there’s everything from deep log drum sounds to very high metallic chime sounds. Wood glass metal and a whistle. Mostlysmall-scale things with a large gong behind used sparingly. I think that we managed to keep below 30 instruments in all which I was keen to do. I didn’t want scores of things that are only played once they have to earn theirkeep. I didn’t want to use a marimba but thought that trying to make the xylophone sound in a more expressive way would be more of a challenge. The percussionist sits for much of the time on a Cajon a flamenco instrument which isessentially a wooden box. The player hits the front of the box in various ways rather as you play a conga. There are guitar strings inside and bells to add to the overall colour. I would like to thank Colin Currie for the

The Symphony In G for Full Orchestra was written in 1937 and first published in 1940. Lasting around 43 minutes it is often compared to Moeran’s Symphony of the same year as the two works are stylistically very similar.George Dyson (1883-1964) was a British composer organist and music teacher. He studied at the Royal College of Music under Charles Stanford and became a teacher at various public schools. He later became the Director of the RCM ensuring it stayed open during the Second World War. He is probably best remembered nowadays for his Anglican church music especially his settings of the canticles but he alsowrote a substantial amount of instrumental and secular choral music.

Commissioned to write a piece for the 50th anniversary of the United Nations Davies provided a musical General Assembly of his own: a bright overture based on an Australian aboriginal song which gives rise to 'national anthems'of various kinds and instrumental colourings. Finally the 'anthems' are combined 'if not triumphantly' Davies says 'at least in a manner whereby they get along together'.The first performance took place in June 1995 inNottingham. It was given by the Royal Philharmonic Orchestra conducted by Peter Maxwell Davies.Score (miniature). Duration c. 14mins.

School Orchestra. Various graded orchestral pieces suitable for school orchestras from the acclaimed Shawnee Press catalogue.

Symphony No. 9 in D minor Op. 125 Facsimile Score. With his ninth symphony, Beethoven ventured into new musical dimensions. In the final movement, soloists and choir join forces with the orchestra and Schiller?s ?Ode to Joy? becomes a global aspiration, a declaration: ?Alle Menschen werden Brüder ! / All mankind becomes brothers.? In his commentary the great Beethoven scholar Lewis Lockwood describes the plea which Beethoven wanted to deliver at that time with this work and how views of this have changed over the centuries. Jonathan Del Mar, a renowned editor of Beethoven?s works, comments on noteworthy passages in the autograph manuscript and allows the reader to share in the composer?s working process.,br>Already the large-format paper which Beethoven used for some passages makes the large forces clear. Cuts, sometimes reversed later, show how he wrestled with the final version of the musical text and refined it right down to the last detail. The history of the autograph manuscript reflects an episode in German history: after storage in various places because of the war, the major parts were returned to Berlin but were initially divided by the Berlin Wall and only reunited in 1990. Martina Rebmann who is the Director of the Music Department at the Staatsbibliothek zu Berlin traces this story. In 1972 the main theme of the last movement was chosen by the Council of Europe as the European anthem and in 1985 it was adopted by the European Community as its official anthem. In 2001 the manuscript was listed in UNESCO?s Memory of the World Register. For the first time the facsimile presents all the parts of the manuscript including pages preserved in Bonn and Paris as well as the trombone and contrabassoon parts. The first edition (2010) was awarded with the German Music Edition Prize ?Best Edition? 2011.

Eight Varied Pieces For Orchestra-Three new collections of varied pieces for orchestra for players from beginner to grade 3 standard.This collection of three books each containing eight varied pieces has been compiled to capture the imagination of young players and to introduce them to a wide range of musical styles.Special effects appropriate to each instrument provide additional learning points and great entertainment both in rehearsal and performance. There are glissandos for strings and trombone flutter tonguing for flute and trumpets (for those able to) and a range of vocal sounds for all!The scoring allows these pieces to be played by variouscombinations of instruments. Ideally your orchestra should have some instruments from each section but if not (for example no brass) then the supplementary piano part (available separately) can be used to fill the gaps. It can also be used to provide extra support in rehearsals.As well as the normal percussion parts some of the pieces make use of a drum kit. For orchestras without a drum kit player a drum kit and bass backing track is available to download free of charge either as MP3 or WAV files.OrchestrationDescant recorder Treble recorder Flute 1 Flute 2 or Oboe Clarinet 1 Clarinet 2 Alto Sax Bassoon Horn in F Horn in Eb Trumpet 1 Trumpet 2 Trombone (Bass clef) Trombone (Treble clef) Timpani Drum Kit Percussion 1 Percuission 2 Percussion 3.Strings (Violin 1 Violin 2 Violin 3 Viola Cello Bass)Orchanics 2 contains:-Marching through Mud (Richard Ling); When I was a lad (from HMS Pinafore); Ghost Ride (Richard Ling); Largo (Dvorak); Battle Zone (Richard Ling); Persian March (J Strauss II); Lazy Horse (Richard Ling); Good King Wenceslas.

Three new collections of varied pieces for orchestra for players from beginner to grade 3 standard.This collection of three books each containing eight varied pieces has been compiled to capture the imagination of young players and to introduce them to a wide range of musical styles.Special effects appropriate to each instrument provide additional learning points and great entertainment both in rehearsal and performance. There are glissandos for strings and trombone flutter tonguing for flute and trumpets (for those able to) and a range of vocal sounds for all!The scoring allows these pieces to be played by variouscombinations of instruments. Ideally your orchestra should have some instruments from each section but if not (for example no brass) then the supplementary piano part (available separately) can be used to fill the gaps. It can also be used to provide extra support in rehearsals.As well as the normal percussion parts some of the pieces make use of a drum kit. For orchestras without a drum kit player a drum kit and bass backing track is available to download free of charge either as MP3 or WAV files.OrchestrationDescant recorder Treble recorder Flute 1 Flute 2 or Oboe Clarinet 1 Clarinet 2 Alto Sax Bassoon Horn in F Horn in Eb Trumpet 1 Trumpet 2 Trombone (Bass clef) Trombone (Treble clef) Timpani Drum Kit Percussion 1 Percuission 2 Percussion 3.Strings (Violin 1 Violin 2 Violin 3 Viola Cello Bass)Orchanics 1 contains:-Playing Tag (Richard Ling); Eastern March (Richard Ling); Autumn from Four Seasons (Vivaldi); Entertainer (Joplin); St.Anthony Chorale (Brahms/Haydn); Jazz Train (Richard Ling); Caribbean Carnival (Richard Ling); Hark the herald angels sing.

The Hebrides Op.26Concert OvertureThe Hebrides the third in Bärenreiter’s series of critical editions of Mendelssohn’s great overtures is one of Mendelssohn Bartholdy’s most performed compositions.  Previously this work was only available in one composite version: the Julius Rietz edition from the 1860s.The new Bärenreiter edition consist of two versions each containing additional material from further sources.Version one the “Rome” version exists itself in two versions and has never been published in a performing edition.  Version two the “London” version also exists in two versions one of which was published by Mendelssohn in 1835.This pioneering edition documents the development of the composition and the various changes made by Mendelssohn.  The new edition offers orchestras for the first time the possibility to perform this famous work based on all known sources. Score and large format orchestral parts with both versions back-to-back First ever Critical Edition Edited by Christopher Hogwood

Parry wrote 'I was glad' for chorus with an organ accompaniment. There have been various orchestral arrangements but here Peter Lawson has endeavoured to produce an orchestration in the style that Parry himself might have employed. The Organ part is optional and serves to add depth at appropriate moments. Whilst a chorus part is published in this edition this orchestration is compatible with the original choral copy as published by Novello.Duration: 7 minutes Orchestration2 Flutes 2 Oboes 2 Clarinets in Bb 2 Bassoons 4 Horns in F 2 Trumpets in Bb 3 Trombones Tuba Timpani Percussion (Cymbals) Strings (Violin 1 Violin 2 Viola Cello Bass) Organ (optional)

These four splendid anthems were composed for the coronation of George II in October 1727 and have since retained a position at the heart of the English choral tradition. The popular anthem Zadok the Priest has been performed at all subsequent coronations and Handel's other contributions to the royal occasion - Let thy hand be strengthened  The King shall rejoice and My heart is inditing - have the same majestic grandeur with affecting contrasts between different sections of the sacred texts. The editor Clifford Bartlett has corrected various inconsistencies in Handel's score and completedetails of sources and editorial method additional performance notes and a critical commentary are included.

Concert Overture-The Hebrides Op.26Concert OvertureThe Hebrides the third in Bärenreiter’s series of critical editions of Mendelssohn’s great overtures is one of Mendelssohn Bartholdy’s most performed compositions.  Previously this work was only available in one composite version: the Julius Rietz edition from the 1860s.The new Bärenreiter edition consist of two versions each containing additional material from further sources.Version one the “Rome” version exists itself in two versions and has never been published in a performing edition.  Version two the “London” version also exists in two versions one of which was published by Mendelssohn in 1835.This pioneering edition documents the development of the composition and the various changes made by Mendelssohn.  The new edition offers orchestras for the first time the possibility to perform this famous work based on all known sources. Score and large format orchestral parts with both versions back-to-back First ever Critical Edition Edited by Christopher Hogwood

Hardback-This volume presents newly engraved and edited scores of all Walton's popular film scores including the various Shakespeare suites and for the first time on sale his music for the film Battle of Britain.