SKU: TM.07789SC
Rev 1920; Can reduce instrumentation if necessary and have the absent instrument cues played by the orchestra: Omit FL III part and FL II will play from alternate FL II & Picc part instead. OB II and ENG HN can be performed by 1 player and follow notes when to omit one of the parts. BASS CL and CONTRA BN can be omitted. If using 2 COR(/TPT): use the 2 parts titled FOR REDUCED ORCHESTRA. If using 3 COR(/TPT): use regular parts and omit TPT II part.
SKU: TM.07789SET
SKU: ST.B628
ISBN 9790220217265.
Full Score: Centenary Edition 1972. Hardback. . Orchestral material available for rental (Ref.
SKU: HL.50605373
ISBN 9781705181171. UPC: 196288107309. 11.0x17.0x0.433 inches.
Premiere: Boston Pops Orchestra, John Williams conducting, Boston, MA, May 4, 1982. Recording: Lancaster Festival Orchestra, Gary Sheldon, conductor. Dedicated to Eubie Blake and to the memory of George Gershwin.
SKU: AP.18287
UPC: 038081167879. English.
The title of this piece refers both to the often hectic activity of the holiday season and the perpetual motion rhythms (played in eighth notes) that appear throughout the arrangement. Familiar carols are presented, accompanied by the perpetual motion which is passed between different sections of the orchestra. You'd better slow down-you don't want to miss this one!
SKU: ST.MB92
ISBN 9790220223259.
In his brief career George Butterworth (1885-1916) composed only a small quantity of orchestral works, but what he wrote has never subsequently been absent from the repertoire. The two English Idylls, the Rhapsody 'A Shropshire Lad' and the idyll The Banks of Green Willow are, with the music of his friend Ralph Vaughan Williams and of Gustav Holst, among the most exquisite statements of the English folk-song idiom. This complete and authoritative collection includes an earlier version of The Banks of Green Willow, and a fragment of an Orchestral Fantasia. Work in progress in 1914 when Butterworth enlisted to serve in the Great War, it suggests the composer setting out in a bolder direction, perhaps inspired by the example of Vaughan Williams's A London Symphony. Orchestral parts are available for rental.
SKU: PO.PEL26S
ISBN 9781877564437.
Lilburn's Diversions for String Orchestra (1947) was composed within a few years of the composer's return to New Zealand after studying with Ralph Vaughan Williams at the Royal College of Music in London. At the heart of the work is a love for rural New Zealand, a tribute to the dignity and grace of ordinary people, and a lyrical vision of duty to home. .
SKU: PR.11641867L
UPC: 680160683215.
Contextures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.
SKU: PR.11641867S
UPC: 680160683208.
SKU: PR.PH000471
UPC: 680160501977.
SKU: AP.48057S
ISBN 9781470652340. UPC: 038081557830. English.
Doug Adams' arrangement of Panic! At the Disco's chart-topping pop-rock anthem, High Hopes, is going to excite your string orchestra and audience. It will be hard to stop them from singing along. Scored perfectly for younger string orchestras, students will fill the hall with a rich sound and strong rhythmic presence. (2:00).
SKU: AP.48057
ISBN 9781470652258. UPC: 038081557823. English.
SKU: AP.49882S
ISBN 9781470663766. UPC: 038081580784. English.
This arrangement of the Panic! At the Disco hit High Hopes is perfect for strings! Very smooth, rhythmic transitions and easy playability. It is arranged for 2 different grade levels, so you can include more performers with different playing levels. This can be performed at 2 different tempos with the play along tracks: 164 and 140. The middle section, measure 81, opens up the phrasing for a more legato flavor. Great fun to play! (3:45).
SKU: AP.49882
ISBN 9781470663759. UPC: 038081580777. English.
This arrangement of the Panic! At the Disco hit High Hopes is perfect for strings! Very smooth, rhythmic transitions and easy playability. It is arranged for two different grade levels, so you can include more performers with different playing levels. This can be performed at two different tempos with the play-along tracks: 164 and 140. The middle section, measure 81, opens up the phrasing for a more legato flavor. Great fun to play! (3:45).
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