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

Premiered at the festival 'Magma Berlin 2002' by the Berlin Philharmonic Orchestra conducted by David Robertson 29th November 2002.3 Flutes 1st and 2nd also Alto Flutes in G 3rd also Piccolo3 Oboes 3rd also Cor Anglais in F3 Clarinets in Bb 3rd also Bass Clarinet in Bb3 Bassoons 3rd also Contra Bassoon4 Horn in F3 Trumpets in Bb3 Trombones1 TubaTimpani4 Percussion four playersPlayer 1 - Vibraphone Glockenspiel Water Chime Bell Tree Japanese Wood Blocks Cymbal (Suspended) TamTam (Medium)Player 2 - Triangle Tubular Bells Crotales Marimba Chinese CymbalPlayer 3 - TamTam (Large) Java Gong(Large very low) Bell Lyra (Handheld) Sizzle CymbalPlayer 4 - Bass Drum Glockenspiel Xylophone1 Harp1 Piano also CelestaStrings - 16/14/12/10/8All transposing instruments are notated in their relevant transpositions.Any accidental apply only to the note that it immediately precedes except tied notes.Naturals appear occasionally 'for safety'.'LISTENING EARTH' is a symphonic drama a one- movement composition in four parts based on the work by two writers Joseph Addison (1672-1719) and W.H.Auden (1907-1973). Joseph Addison is not particularly well known; he was English a classical scholar essayist poet and politician but one of his hymns was used by Benjamin Britten. in his setting of a Thomas Tallis canon.The hymn is singularly beautiful and being a composer always inspired by extramusical stimuli such as poems nature paintings I was immediately convinced when I carne across the Addison hymn that here was exactly what I wanted to use as my major source of inspiration for this piece commissioned by and written for The Berlin Philharmonic. I don't refer to the hymn in its entirety but have chosen the following 3 excerpts all acting as mottos for the first three sections of the piece thus turning the piece into a straightforward tonepoem in the classical

A Posthuman Guide To The Orchestra - for Siri and Orchestra (2017). Commissioned by the the Oslo Philharmonic Orchestra.First Performance: Oslo 03.05.2018 conducted by Eivind Aadland.

Schumann’s Concerto for Piano and Orchestra in A Minor Op. 54 is fine example of Romanticism and has a dynamic mood like much of his work. There is a sober atmosphere though dignified melody runs throughout but overall a unified and structured piece that broke away from the trend for virtuosic displays. Completed in 1845 when he appended two movements to the revised Fantasie; it is one of a handful of larger works by Schumann. The finished concerto premiered on New Year's Day of 1846 by the composer's wife and pianist Clara Wieck Schumann. Eulenberg's celebrated and highly authoritative miniature score is the definitive reference source for study performancepreparation or simply for those with a love of the great orchestral works.

The Third Symphony is scored for full orchestra constructed in four movements strictly following the High Classical and Romantic traditions with a tragic and expansive overture (Adagio lamentoso & Allegro marziale) a symphonicnocturne (Andante molto expressivo) a light and quick scherzo (Presto) and a vibrant rondo-finale (Molto allegro). The “Hero” in the subtitle does not represent any human figure but to art itself and its failingsocial status. The music is grand and highly emotional containing rich folk elements that strive to prove the unity between an ethnical spirit and the meaning of selfhood. (2012) ca. 32'

Aulis Sallinen was born in 1935 in Salmi on the northern shore of Lake Ladoga (which the Soviet Union claimed in 1944). His early musical experience was playing the violin. Improvising (including jazz) on the piano led him to write his first compositions as a teenager. After studying with Aarre Merikanto and Joonas Kokkonen at the Sibelius Academy he joined the staff there. He was Administrator of the Finnish Radio Symphony Orchestra (1960-69); Secretary and member of the Board (1958-73) then Chairman (1971-73) of the Finnish Composers' Society; member of the board of TEOSTO (Finnish copyright society) from 1970-84 then Chairman from 1988-90; he also served for severalyears on the Board of the Finnish National Opera.Here is the Facsimile of the Sixth Symphony that was composed over 1989-1990 and commissioned and first performed by the New Zealand Symphony Orchestra.

A Vision was written for the tenor Anthony Rolfe Johnson and commissioned by the London Mozart Players. The first performance was at the Gregynog Festival in June 1991. Geoffrey Burgon has set 7 poems of John Clare (1793-1846)and the poems that Burgon has chosen were all written whilst Clare was in Northampton Asylum. The work is scored for tenor and string orchestra. There is a prominent part for solo violin which reflects Clare’s love of thatinstrument and upon which he would play folk tunes and dances.

A superb set of selections from one of the longest running Broadway shows in history A Chorus Line. The music for this 1975 hit show was composed by Marvin Hamlisch and these faithful full orchestra arrangements by Robert W. Lowden are suitable for players at Grades 3-4.

Description With the premiere in 1908 of Rapsodie Espagnole , Ravel’s first entirely orchestral composition, the French composer achieved renown as a highly original and imaginative composer. In 1911 he recast the Mother Goose Suite , his extremely successful work for piano four-hands as an orchestral work. Based on five fairy tales, among them 'Sleeping Beauty', 'Tom Thumb' and 'Beauty and the Beast', this collection continues to enchant listeners of all ages with its variety of moods. After a decade after its initial appearance as a piano work, Ravel transcribed his evocative Pavane For A Dead Princess for orchestra, now one of his best-known and most frequently performed compositions. These three rich orchestral settings are presented in full score in this authoritative edition. Songlist Mother Goose Suite Pavane For A Dead Princess Rapsodie Espagnole

Der Schatz Der Sierra Madre-A Media Luz and Der Schatz Der Sierra Madre arranged for Salon Orchestra by Rene Mense. Parts for the following instruments:3. Violin; 4. Tenor Saxophone; 3. Trumpet; 2. Trombone; Baritone Saxophone; Cello.

Score-The score for Elliott Carter's A Mirror On Which To Dwell for Soprano and Chamber Orchestra set to Six poems by Elizabeth Bishop. Performance duration 19 Minutes 30 seconds.

Ode To A Postman for Symphony Orchestra was composed by Anders Koppel in 2004 for the 50th anniversary of Amatørsymfonikerne.

John Leavitt's original composition for orchestra will make for a lively and upbeat prelude or instrumental moment in worship.

Eulenburg Miniature Score for A Faust Symphony by Franz Liszt. For tenor men's choir and orchestra.

Hommage A Ernst Junger, Per Orchestra - Partitura. Par BATTISTELLI GIORGIO. / Musique contemporaine / Date parution : 1905-06-29/ Répertoire / Orchestre