From Disney's blockbuster Moana and an Oscar®-nominated Best Original Song here is the energetic and upbeat single “How Far I'll Go” in a solidly scored well-paced version for the concert stage.

Du blockbuster des studios Disney Vaiana ??? La L?gende du bout du monde et nomin? pour la meilleure chanson originale voici le single ?nergique et entra?nant Le Bleu lumi?re dans une version bien arrang?e et au bon tempo pour votre concert.

The Odyssee tells the story of Odysseus the undaunted hero. In times long ago the blind poet Homer wrote this famous epic. The 'Odyssey' follows the 'Iliad' the story of the bloody war between the Greek and the Trojans. This battle endsafter ten years thanks to the Odysseys famous trick. the Trojan Horse. The Odyssey is not a war epic but a story about perseverance loyalty adventure and the survival instinct of its ingenious hero. In The Odyssey Homer describes howOdysseus the king of Ithaca had to endure another ten years of affliction after the ten years of war in Troy before he could finally return to his home land. During those years his wife Penelope had to try and keep her many admirers away.These men not only wanted het hand but also the kingship. To prove her husbands worth she played a trick: 'As soon as I have finished weaving this shroud for my father-in-law Laertes I will choose one of you to become my husband' she promisedthem. But during the night she secretly loosened what she had woven during the day prolonging the time until Odysseus would finally return. After twenty long years when he finally stood at the door she wondered: Is this really my husband? Ishe an imposter? Cunningly she asked him to move the bed because only she and her husband know that the bed was immovable and was build around an old three trunk! Odysseus was deeply moved: this really was his wife his Penelope! Nearly threethousands years later the loyalty and strength of this character and all the dangerous adventures that Odysseus survived thanks to courage and intelligence still moves us today. Odyssee by Jan Bosveld is not just an adventure story butrather a characteristic piece in which memories of Homers story can be heard. The composition opens with a firm stirring theme describing our hero Odysseus in detail: This man is not to be taken lightly. The further development of thisshort introduction completes this character sketch: trustworthy perseverant and a genius. After that we can picture Odysseus on the lonely beach of Ogygia. Do the trumpets depict his memories of the war of Troy? Does he think of his wife as werecognise the weaving loom of Penelope in the murmuring eighth? In the solemn plaintive part that follows we can imagine Penelope feeling lonely sitting in the womens room with her servants.One of the girls plays the harp but that does notclear the sombre atmosphere. Then we can imagine seeing the sorceress Circe who changed Odysseus men into swine. After she gives a simple magic sign something follows that reminds us of the sound of pigs grunting. Then the Odysseus theme resounds:the hero comes to savi his comrades. Assisted by Hermes he forces Circe to lift the spell. The piece ends the same way as it began with an animated theme: Odysseus is still the same undefeated and not to be taken lighty!

Where You Are - How Far I'll Go - You're Welcome - We Know the Way-Skillfully arranged for flexible or incomplete instrumentation here is an entertaining medley that features catchy songs from the composer of Broadway`s Hamilton Lin-Manuel Miranda. Includes: Where You Are - How Far Ill Go - You`re Welcome - WeKnow the Way.

Disney's blockbuster animated film features catchy songs from the composer of Broadway's Hamilton Lin-Manuel Miranda. Here's an entertaining medley for the concert stage that includes: 'How Far I'll Go' 'We Know the Way' 'Where You Are' and 'You're Welcome'.

Original Version. Schumann?s Cello Concerto Rediscovered In her first Urtext edition for Edition Peters, internationally renowned cellist Josephine Knight reveals Robert Schumann?s original version of his Cello Concerto in A minor Op. 129 ? a piece he actually called a ?ConcertstĂĽck? ? removing generations of inauthentic editorial interventions. This is the only available modern scholarly edition of the work as Schumann originally conceived it, and restores the text from October 1850, based on the composer?s manuscript held in the Biblioteka Jagiello?ska in KrakĂłw. This Full Score matches the separately available edition for Cello and Piano (EP 73488). Matching orchestral material is also available from the publisher. Only modern Urtext edition based on Schumann?s original 1850 manuscript Many new corrections and clarifications, especially to the cello part Scholarly preface detailing history of the work and this edition by editor Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music London Cello Part contains Josephine Knight's fingering and bowing suggestions Critical Commentary Cello and piano edition available separately from Edition Peters: orchestral parts available for rental Recording of the ConcertstĂĽck featuring Josephine Knight available from Dutton Robert Schumann?s tragic last years have mired many of his greatest works in unnecessary doubt. The story of the suppression of his Violin Concerto by well-meaning friends is relatively well-known. Few, however, know that the version of the Cello Concerto that is routinely heard today is so far from Schumann?s original conception of the work ? not only in details of phrasing and articulation, but also featuring a different ending with a bold final flourish from the cello. Composed in a burst of inspiration in two weeks in October 1850 shortly after he and Clara had moved to DĂĽsseldorf, Schumann (who in 1850 was still in good health) never heard the piece performed. In an effort to promote a performance of the work, he gave the score to the cellist Robert Emil BockmĂĽhl. BockmĂĽhl made revisions that Schumann resisted, and the hoped-for performance never happened. Schumann?s health failed and he died aged just 46 in 1856. The Concerto, in an already substantially revised form, was premiered in 1860 but it was not given significant recognition until it was championed by Pablo Casals in the 20th century by which time (and since) the text for the work had accreted additions and alterations from generations of soloists. Now Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music, London has returned to the original 1850 manuscript of the work, which is in the Biblioteka Jagiello?ska in KrakĂłw, to reveal Schumann?s original thoughts for the first time in a modern Urtext edition. The edition reflects Schumann?s original conception of the work as a ConcertstĂĽck and restores Schumann?s musical text, free of posthumous interventions. ?My ultimate wish,? says the editor, ?is to give performers both access to, and confidence that they are playing from, an edition which is a true representation of the piece in its original form, no matter how much more difficult this might be. I found that incorporating the changes enabled the piece to take on a completely different character ? one that is lighter and happier, even ?cheerful?, as Schumann himself described the work.'

In the tripartite 'Cowboy Suite' Alan Laken takes us to the Wild West the domain of cowboys indians trappers and other fortune hunters. Around 1890 the west coast of America was reached which in effect meant the end of the Wild West. Its stories however survived and have been a source of inspiration for many books films and of course music. Some characters such as Jesse James Billy the Kid and Buffalo Bill are forever linked to these tales. In the 'Cowboy Suite' we first hear the 'Hoedown'. At the end of an exhausting workday the labourers used to lay down their tools among others the 'hoes' and spontaneously began to play music on the instruments which they then possessed (guitars fiddles and banjos) and to dance. After being jolted on the 'Wagon Trail' we reach the third part the 'Cowboy Roundup'. In this last part it becomes clear that as a cattle driver it is imperative to stay firmly seated in the saddle. As the cattle are rounded up i.e. driven together spectacular things happen.

This exciting medley of American spirituals is sure to please! Mike Hannickel's carefully crafted THREE AMERICAN SPIRITUALS helps young bands develop those all-important listening skills. They'll hear how each tune contrasts and complements the others when ?Go Tell It On The Mountain? ?Swing Low Sweet Chariot? and ?Who did Swallow Jo-Jo-Jonah? all come together in rousing counterpoint! THREE AMERICAN SPIRITUALS works wonderfully with the unpredictable instrumentation of so many youth bands while it's contrapuntal nature allows every section to shine. THREE AMERICAN SPIRITUALS allows each parent to say honestly to their child 'I HEARD you play your part!'

String Quartets Book XI op. 77 und 103-These are the last of the nearly seventy quartets in Haydn?s oeuvre. Originally he intended to write a set of six quartets as so often in the past but at the time they were written in 1803 Haydn?s healthwas so poor that he could not fully satisfy the commission from Prince Lobkowitz. Instead he published only two complete quartets as op. 77. Later he allowed an incomplete work consisting of two middle movements to appear as op.103 adding to the print the portentous words: ?Gone is all my strength old and weak am I?. Musically however these quartets are anything but weak: they represent the aged composer virtually at the zenith of his powers.Haydn even went so far as to call op. 77 no. 2 his ?most beautiful string quartet?.

These are the last of the nearly seventy quartets in Haydn?s oeuvre. Originally he intended to write a set of six quartets as so often in the past but at the time they were written in 1803 Haydn?s healthwas so poor that he could not fully satisfy the commission from Prince Lobkowitz. Instead he published only two complete quartets as Op. 77. Later he allowed an incomplete work consisting of two middle movementsto appear as op. 103 adding to the print the portentous words: ?Gone is all my strength old and weak am I.? Musically however these quartets are anything but weak: they represent the aged composer virtually at the zenith ofhis powers. Haydn even went so far as to call Op. 77 no. 2 his ?most beautiful String quartet?.

Performance/Easy Limited Edition Series - Grade 4-Ray Charles could rock with the best of them and this tune shows why! Featuring a touch of gospel style this exciting arrangement includes a driving pulse an effective stop time section the trademark call and response and a full-blown push to the end.

Letter from Sado is an exciting new piece for young band based on a Japanese haiku of the same name. Sado refers to Sado Island in Japan in which various artists religious and military leaders were sent in exile many years ago. The island hashistorically had a strong community of taiko drummers and as such the piece incorporates optional homemade taiko drums. Blackshaw writes: ?To capture the idea of interpretation and the concept of reading between the lines the students are invitedto become decision makers about particular sections in the music. For example the opening and closing sections of the piece use the same material which is a selection of repeated melodic figures. The students themselves decide how to play thesefigures as individuals in small teams and then as a whole band. Their decisions include ideas regarding tempo (how fast?) dynamics (how loud?) and articulation (smooth short or hard?). To inspire them we use the haiku poem; i.e. the openingsection invites the students to play the material as if it were a stormy wild sea and the closing section invites the students to play the same melodic figures but this time draw their inspiration from Heavens River or as we know it the MilkyWay. In-between there is an elaborate heavily textured section that becomes increasingly powerful. The music doesnt rest harmonically until the whole band plays in unison. These multiple layers of sound represent the many thoughts and ideas thatwould have surrounded those individuals sent to Sado Island in exile the final unison is representative of their own breakthrough experience sending them on a pathway to inner peace and acceptance.? Embrace your players creativity offer them yourtrust and see how far Letter from Sado can take your band!

In Circles - 16 Imaginary Dances for 18 Players (2010). Parts are available on hire: hire@ewh.dk Instr.: FluteOboeClarinet in BbBass ClarinetBassoonHorn2 Trumpets In BbTenor-Bassposaune2 PercussionistsPiano2 ViolinsViola2 CellosDouble Bass Programme note About five years ago the Ensemble Modern commissioned a composition giving me relatively free rein over instrumentation duration and completion date. I was very excited about the opportunity and eager to start work but first I had to finish asymphony and a cello concerto. However when I wanted to begin writing the piece for Frankfurt inspiration became silent and remained silent for the next three years apart from the two works for chamber orchestra: I experienced my first writer’s block. This was not my first commission but the first time that I was seriously worried about a piece and started thinking about the commissioning ensemble and its expectations. If anything I held the Ensemble Modern in too high esteem. The ensemble is notorious for being a group of all-rounders who have already seen and done everything. However it was simply time for me to challenge my self-belief as composer and to search out what kind of composer I really am. Whatever the true reason was I still didn’t get anything down on paper. Nothing would gel. In 2008 a stipend from a New York foundation led me to an Italian lavender-castle from the 15th century far away from everything else deep in Umbria. The deadline for my first opera moved dangerously closer but was barely started. The next commission for an orchestra was also waiting in addition to the piece for EM: only empty sheets.  When I came home six weeks later though I hadn’t finished anything the spell was broken. Behind the massive walls drafts had been created for what within the