A delightful tone poem composed as an oboe solo with wind orchestra accompaniment and dedicated to Susan Hicks Brashier. Later versions for solo clarinet and flute and orchestra accompaniments followed. Each solo instrument withpiano accompaniment is also available for recitals and contest. Grade 3.

Condensed Score-A delightful tone poem composed as an oboe solo with wind orchestra accompaniment and dedicated to Susan Hicks Brashier. Later versions for solo clarinet and flute and orchestra accompaniments followed. Each solo instrument withpiano accompaniment is also available for recitals and contest. Grade 3.

'Letter from Home was commissioned as a patriotic work in 1944 by Paul Whiteman and his Radio Hall of Fame Orchestra. Composed toward the end of the Second World War this music suggests the emotions of a soldier reading a letter from home. The music has been described as Copland's 'most sentimental' and reflects his own homesickness while visiting Mexico. This sensitive transcription by Brian Belski has produced another wonderful wind band setting from America's most iconic composer.” - Craig Kirchoff (Windependence Series Editor)Instrumentation: flute I flute II oboe clarinet I in Bb clarinet II in Bb clarinet III in Bb bass clarinet in Bb bassoon soprano saxophone in Bb alto saxophone in Eb tenor saxophone in Bb baritone saxophone in Eb trumpet in Bb I trumpet in Bb II trumpet in B

Score-Commissioned by the Michigan State University Alumni Band this three movement work by Pulitzer Prize-winning composer Karel Husa was the winner of the first Louis Sudler International Wind Band Composition Competition in 1983.Previously available only in rental we are proud to offer this important work for publication.A note from the composer: Divided into three movements this work is a display of virtuoso passages given to solo instrumentsas well as to the groups of the ensemble. In the Fanfare of the first movement the brass section “concertizes” in groups of four brass quintets (2 trumpets horn trombone and tuba or baritone) spread from left toright in back. The saxophones (S A T B) are placed in front of the brass quintets and the woodwinds occupy the front of the stage with percussion on the left and right side. These groups like the brass quintets play in theconcertante style particularly in the first and last movements. At the same time each movement contains individual solo passages (for example timpani and flute in Movement I – “Drum Ceremony” andEnglish horn and other low woodwinds in Movement II – “Elegy”). The composition of this piece was prompted by the excellence of wind and percussion players today and by the incredible growth of wind ensembles orchestras and bands in the last 25 years. It is intended for their enjoyment.

Flutes Forever est une conversation musicale entre flûtistes solistes. Cette composition débute avec une introduction orchestrale pétillante. Les flûtistes exposent ensuite une ligne mélodique à trois voix qui se caractérise par un rythme enlevé syncopé et en staccato. Après un court interlude orchestral le thème d?ouverture est réexposé. Le trio se développe selon la même structure. Les solistes entrent en conversation avec l?accompagnement avant d?introduire un nouveau thème. Flutes Forever est une pièce surprenante et plaisante à jouer.

Scholarly critical edition with many corrections in the score and orchestral parts.Clear presentation of orchestral parts in an enlarged format 25.5 cm x 32.5 cm.?Prélude A L?Aprés-Midi D?Un Faune? often referred to as the first composition of the ?modern? era is one of Debussy?s most popular and frequently performed orchestral works. The piece comes down to us in an array of sources and several important ones are drawn upon for the first time in Bärenreiter?s scholarly-critical edition.Most of the currently available editions are based on the first edition from 1895 which however contains many engraver errors.When the corresponding orchestral parts are also taken into consideration countless discrepancies are revealed.Bärenreiter?s Urtext edition incorporates readings of a printed copy of the score from c. 1908 which shows corrections and emendations by the composer. These important changes found in no other source include metronome markings different pitches and additional notes as well as added tempo and articulation markings which all subtly enhance Debussy?s finely sculpted work. There is even a breath mark added to the famous solo Flute passage which opens the work.