This popular march was written for the film 'The Dam Busters' about the wartime exploits of the R.A.F.'s 617 squadron and their attempts to destroy the dams in Germany's industrial heartland using the 'bouncing bomb' a secret weapon invented by Barnes-Wallis. No secret weapons are required to perform this arrangement just a reasonably able orchestra! Saxophone parts are provided as alternatives (or additions) to the horn parts. The 3rd violin doubles the viola (where necessary at the octave) and either may be omitted.Duration: 4 minutes Orchestration2 Flutes 2 Oboes 3 Clarinets in Bb 2 Bassoons 2 Horns in F (or Alto saxes in Eb or Tenorsaxes in Bb) 3 Trumpets in Bb 2 Trombones Tuba Timpani Percussion (Triangle Cymbals Side Drum Bass drum) Strings (Violin 1 Violin 2 Viola or Violin 3 Cello Bass)

Music by James Horner from the motion picture Titanic arranged by John Moss for full orchestra. Conductor Flute 1 Flute 2 Oboe 1 Oboe2 Bb Clarinet 1 Bb Clarinet 2 Bb Bass Clarinet Bassoon Bb Trumpet 1 Bb Trumpet 2 Bb Trumpet 3 F Horn 1 F Horn 2 F Horn 3 F Horn 4 Trombone 1 Trombone 2 Trombone 3 Tuba Timpani Percussion 1 Percussion 2 Piano Violin 1 (8) Violin 2 (8) Viola (8) Cello (4) String Bass (4)

Score-Silvestre Revueltas' ‘Sensemaya’ was written in 1937 for chamber orchestra; one year later the composer transcribed it for a huge orchestra of twenty-seven wind instruments fourteen percussion instruments and strings. The rhythms are laid out precisely and have considerable visceral impact very much in a manner that recalls Igor Stravinsky's The Rite of Spring. However Revueltas' masterful orchestration and ability to evoke the ancient Maya civilization with decidedly modern music are uniquely his own. It is a unique orchestral spectacle something only Revueltas could have written and in its way it is one of the most brutal works of its time. The workbegins with a low note in the bassoon as the percussion plays the sinuous syncopated rhythm that drives the work. Soon a solo horn enters playing the first of this work's two major themes a muscular ominous motif. Other horns join the first one to play the theme growing louder and more emphatic but rigorously yoked to the underlying rhythm. Eventually the horns blast as loudly as they can with obsessive trills on the bassoon far underneath and the violins enter with the slashing second theme. The horns take up this new theme and bring it to a climax after which the music returns to its opening texture. This recapitulation brings with it a mood of foreboding. The rhythm becomes even more obsessive and finally the music reaches a massive climax during which both themes are played overlapping sometimes in part and sometimes in whole by woodwinds brass and violins in what sounds like a musical riot. The coda feels like the final dropping of a knife.

Premiered by The New York Philharmonic conducted by Lorin Maazel at Avery Fisher Hall Lincoln Center New York City 10th June 2004. Orchestration 3 Flutes 3rd dbl. Piccolo2 Oboes1 English Horn in F3 Clarinets in Bb 3rd dbl. Bas Clarinet in Bb2 Bassoons1 Contra Bassoon4 Horns in F3 Trumpets in Bb3 Trombones1 Tuba1 (set of) Timpani2 Percussion (two players)1: Bass Drum (large) Chinese Cymbal Mark Tree2: TamTam (large) Vibraphone Antique Cymbal1 Harp1 Piano dbl. CelestaStringsAll non-octave transposing instruments are notated in their relevanttranspositions.Horns notated in bass clef sound a fourth above the notated pitch.All accidentals apply to each single note only except tied notes. Naturals for 'safety'. Programme Note This piece marks the conclusion of what could now be called 'The Nightshade Trilogy' three pieces which explore the contrasting worlds of Light and Darkness. As opposed to the earlier chamber work Nightshade which dealt with extremes of high and low pitches and the chamber orchestra composition Second Nightshade a two-fold piece contrasting darkness/anxiety and light/calm Final Nightshade for full symphony orchestra takes us on a journey in which the forces of dark and light struggle - and co-exist - in a predominantly polyphonic web with brooding undertones. The melodic point-of-departure is not surprisingly to be found in either of the two preceding pieces of the Trilogy but in an older piece Corpus Cum Figuris from 1985. Over the ensuing years I've dreamt on and off of 'doing something' with the opening measures of this older work perhaps even building a new composition on that very simple inward-looking time was ripe and there's a nice nostalgia angle to the idea: Corpus Cum Figuris was the first piece of mine to be

About Concerto Movement for Horn and OrchestraBy Wolfgang Amadeus Mozart. Edited by Dominic Nunns. For Horn Solo Oboe (2) Horn (2) Strings. Piano Reduction/Vocal Score. KV 494a. Duration 4'30''. Published by Baerenreiter-Ausgaben (German import). (BA5349 90)

Victor Caussinus wrote two versions of Air varié, a concertante piece for ophicleide and orchestra: one for an instrument in C and symphonic orchestra, the other one for an instrument in B b and concert band. The piece belongs to the theme and variation genre. After an andante Introduction in minor, the theme is stated and followed by three variations and a Polacca. After a brief return of the Andante, the piece ends with a virtuoso Finale.The arrangement for euphonium or saxhorn and piano is adapted from the original manuscript of the concert band version, the instrumentation of which calls for: '1 piccolo in D b, 1 soprano clarinet in E b, 4 clarinets in B b (including one solo), 2 bassoons, 2 cornets in A b, 2 horns in E b, 2 horns in B b, 2 trumpets in E b, 3 trombones, 1 ophicleide in B b?. / Tuba Et Piano

Chamber orchestra 16'. Instrumentation: 3 Oboes (all double English Horn) Bassoon 2 Horns Harpsichord Strings.

Concertino Da Camera written in 1935 by Jacques Ibert (1890-1962) is a small concerto for Alto Saxophone and eleven instruments: Flute Bassoon Oboe Horn Trumpet and Strings. This concertino in two movements Allegro con moto and Larghetto РAnimato Molto is dedicated to the saxophonist Sigurd Rascher and stands out for its large use of the Alto Saxophone. It can be technically challenging and has a strong lyrical part. This volume is the pocket version of the score. Its author Jacques Ibert (1890-1962) is a neoclassical composer who won the Prix de Rome in 1919. He composed many symphonicsuites operas and seven orchestras including 'Angelique' (1926) and 'Divertissement' (1930). He also was in charge of the Accad̩mie de France in the Villa M̩dicis (Roma) and was later administrator for the Paris Opera. This concerto has some similarities with is Flute Concerto (1934) also published by Alphonse Leduc.

Gustav Mahler's symphonies tend to be scored for a large orchestra putting this wonderful music out of reach of many smaller orchestras. This arrangement whilst not simplifying the music attempts to remedy this by reducing the orchestral requirements. The original orchestration requires 3 flutes 3 oboes 3 clarinets 3 bassoons 7 horns 4 trumpets 3 trombones tuba timpani percussion and strings. Although in many of Mahler's symphonies each movement seems to be an integral part of the larger work we feel that this movement can stand alone quite happily and offers a good entry to the symphonic world of Gustav Mahler.

Overture / Ouverture - to Beethoven’s 6th Symphony by Thomas Agerfeldt Olesen (2012). Scored for 2 Horns 2 Trumpets 2 Trombones and Timpani. Commissioned by The Danish National Radio Orchestra. Parts available: WH31619A

Score-William Schuman's Prayer In Time Of War for Orchestra. Study score.This work was first performed under the title 'Prayer-1943' by the Pittsburg Symphony Orchestra under the direction of Fritz Reiner on February 26 1943.Duration: approx 15 minutes.Instrumentation:3 Flutes (3rd Flute interchangeable with Piccolo)2 OboesEnglish Horn2 Clarinets in B-flat2 Bassoons4 Horns in F3 Trumpets in C3 TrombonesTubaTimpaniPercussion (Bass Drum Cymbals Gong Snare Drum)Violin IViolin IIViolaVioloncelloBass

Full Score-The Horn Concerto was written in 1971 and was the first of the ten concertos Gregson has composed to date. It is dedicated to the English horn player Ifor James who died in 2004 and was originally written for brass band. However in 2013 Gregson was asked by Paul Klein Principal Horn of the Ulster Orchestra and BBC Northern Ireland to undertake an orchestral version for him.  Gregson decided to score the concerto for a late Haydn sized orchestra with the addition of a percussionist to add some colour to the texture. The concerto takes as its starting point the Mozartian model namely a sonata form opening movement a song-like slow movement and a jaunty rondo finale. The opening movement opens with a strident motif built on rising fourths announced by the soloist and answered by the orchestra. This pattern of ‘question/answer’ continues until a climactic moment breaks the tension and is followed by a lyrical second subject announced by the soloist over undulating rhythmic patterns on strings. The music is developed and recapitulated from these ideas with the lyrical idea returning via solo clarinet with horn answering in canon. The movement ends with the strident fourths this time in inversion. The slow movement is in tertiary form and opens with an expansive melody from the soloist over a repetitive harmonic and melodic pattern. This is expanded and developed building all the while in intensity until it is interrupted by cadenza-like passages on the horn and muted brass. After a brief climax the music subsides into a moment of emotional serenity before the opening melody returns this time on solo oboe with the horn interweaving its own answering melodic lines. The rondo finale is more light-hearted in mood with a catchy 6/8 tune at its heart. It is twice interrupted first by an idea built on long held chromatic notes from the soloist against a highly rhythmic backdrop (wind brass and snare drum) then by a slower more thoughtful melodic idea. However

Roughly eight months after the death of Anton n Dvorák (1 May 1904) his son-in-law Josef Suk began to compose a funeral symphony. While he was working on it fate struck a second time with the death of his beloved wife Otilie. He dedicated the five-movement symphony to Dvorák and his daughter Otilie and named it after the Angel of Death ?Asrael?.The principal source for our edition is the first edition of the score (1907) supplemented by the corrections Suk entered at the suggestion of conductor Václav Talich (1921). The most significant change was the expansion of the orchestra to include ad libitum parts for the fifth and sixth horns.Firstscholarly-critical editionIncludes Suk?s later corrections including ad libitum parts for the fifth and sixth hornsDetailed Foreword (Cz/Eng/Ger) and Critical Commentary (Eng) by the editorPerformance material (BA9532-72) available for hire