Light Overture - A Symphonic Entertainment was composed by Poul Ruders in 2006. Commissioned by the Alabama Symphony Orchestra and Music Director and Principal Conductor Justin Brown for Alabama Power Company’s 100 Year Anniversary Concert. Light Overture subtitled A Symphonic Entertainment is a short piece for symphony orchestra lasting approximately eight minutes. Light Overture is focusing on two interpretations of the word light: ”light” as in the absence of darkness and “light” as in easily comprehensible; in other words a piece with few or no metaphysicalconnotations. It is just a piece setting a festive mood as is often the case with this sort of short “concert opener”. However the journey through Light Overture is not entirely happy-go-lucky. Once in a while slightly darker colours are introduced for the sake of variety and contrast. And formally the composition is quite strict: an outright Prelude and Fugue the former sliding seamlessly into the latter. The Fugue juggles not only its own tune but also picks up stuff from the Prelude. Poul Ruders May 2006

Beethoven’s sacred works include two settings of the Mass. The “Mass in C major”, completed and premiered in 1807, has been unjustly described as a preliminary step towards the great “Missa solemnis”. Yet it is a self-contained and, for its time, decidedly modern piece of church music. Drawing on the rich body of sources, Beethoven specialist Barry Cooper suggests practical solutions to the work’s musical and interpretative problems. His deep study of the sources convinced him to include a fully realized organ part in the score, just as Beethoven envisioned it for the first printed edition. As stated in the sources, the parts for the soloists and choir are notated on joint staves to demonstrate that the soloists are also to sing the choral passages. Rounding off this Urtext edition are a Foreword on the work’s genesis and a detailed Critical Commentary. • Score with realization of the organ part • Bilingual Foreword (Eng/Ger) and Critical Commentary (Eng) • Idiomatic piano reduction

Romance in F major for Violoncello and Orchestra-Just a few months after completing his Cello Sonata op. 6 Strauss composed another work for this instrument: a Romance for cello and orchestra which remained unpublished during his lifetime. According to the autograph manuscript the composition was finished on June 27 1883 and Strauss also prepared the piano reduction himself. The Romance is regarded as one of Strauss??? most mature youthful works though it was long overshadowed by the cello sonata despite several quite successful performances given by the then-famous principal cellist of the Munich Court Orchestra Hanu? Wihan. Only since the posthumous first edition of 1986 has the music world been rediscoveringthis striking work which now also appears in a Henle Urtext edition.

In The Shadow Of The Bat - Concerto for Three Trombones and Orchestra by Niels Marthinsen (2009). Programme note: In the Shadow of the Bat is a triple concerto for three trombones and orchestra inspired by Batman and his enemies The Joker Two-Face and The Penguin. A central idea of modern versions of the Batman myth is that the batman is created by the fantastic villains that he fights and they are created by him - and that Batman is driven by revenge and hate barely held in check by an intense sense of justice. Batman represents 'the dark side' while the villains are hyper-imaginative colourful creative caracters who happen to be completely insane. The rivalry between soloists and orchestra is anything but friendly: The three soloists represent one villain each the orchestra 'is' the batman - and while the villains take centre stage during most of the concerto they are eventually overwhelmed by the sheer power of the orchestra and sent where they belong: The lunatic's asylum. The concerto begins with the creation of the batman: An eight year old boy persuades his parents to leave an opera performance before it is over; outside in an alley they are shot and killed by a criminal while the boy watches. And he decides that all criminals must be punished! Then follows the Villaineuos Fugue: a multi-part fugue-like exposition of villain motives and stylistic environments. It is the exposition of the joker (alto trombone) two-face (tenor trombone) and the penguin (bass trombone). And after a brief and very slow interlude where the three criminals form an alliance and make their plans the Toccata of Crime begins: Bright fast moving highly energetic expansive and colourful music still dominated by the soloists. But later the orchestra moves to centre stage with slow omnious swooping bat-music that climaxes as the soloists are defeated by the orchestra. In the Shadow of the Bat is commissioned

Mathias Rüegg and the Vienna Art Orchestra. Par RUEGG MATHIAS. Celebrating Rüegg’s life as an amazingly prolific jazz arranger and orchestrator, Universal Edition has just released A Centenary Journey, a compilation of the great charts by Rüegg in notated score form. A rarity in published music, these jazz scores “unlock the secrets” to phenomenal performances, echoing the evolution of jazz itself along the way. Students of the art (of any age) can now follow along with the written page, and see the music behind the experience, to study the process from concept to reality. The score includes an audio CD recording of select compositions, as well, performed by the Vienna Art Orchestra. An excellent overview of the development of jazz from1900 to its present form(s)./ Répertoire / Orchestre

Voyage Into the Golden Screen for Chamber Orchestra is a complex experimental work by Danish composer Per Nørgård that has been of elemental important in the composer's work. In the 1960's Nørgård claims to have discovered rather than invented a series of notes he calls 'the infinity series' rather like a twelve-tone series but infinite generative fractal and without the rhythmic and other confines of the true serialists. In Voyage the instruments are microtonally and individually retuned to create an aural space between half-steps. Voyage was the first work in which Nørgård put the infinity series at the centre of the work. Voyage Into The Golden Screen is awork in two movements. The slow-moving layers create aural intensity in the first part while the second movement explores more minimalist textures. Together they create an elemental sound experiment just one element of this composer's monumental creativity and originality.

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)

A short piece for small orchestra written in 1989 when the composer heard of Michael Vyner's death. Premiered in October 1989 at Glyndebourne Sussex by the London Sinfonietta and conducted by the composer just six days afterVyman's death.Approximately six minutes in duration it is based on the plainsong ‘Cor meum et caro mea exultaverunt in Deum vivum’ and is scored for two oboes two bassoons two horns two trumpets timpani and strings.

Invisible Cities for Orchestra by Swedish composer Britta Byström (2013). Programme note: Invisible Cities is an orchestral piece inspired by the Italian writer Italo Calvino's novel 'Le città invisible' (1972). The novel consists of many short poetical descriptions of wondrous cities. This is what the explorer Marco Polo reports to Kublai Khan of what he has seen during his travels. Gradually though Kublai Khan begins to suspect that Marco Polo all the time describes one and the same city but in many different ways: Marco Polo's own hometownVenice.  This was also my musical idea: to present the same motif in many different ways. The piece has eleven movements just as the novel consists of eleven different kinds of cities. Before every new musical 'city' there is a 'walk' – a little piano line which takes the listener from one city to another. This piano line is a quotation from Witold Lutoslawski'sVenetian Games. There are also other music connected to Venice hidden in my piece: the well-known Barcarolle by Offenbach and some fragments from Carnival in Venice. These references are the 'invisible cities' of my piece the material hidden under the music's surface. Marco Polo explains to Kublai Khan: 'To distinguish the other cities' qualities I must speak of a first city that remains implicit. For me it is Venice.'  (c) Britta Byström  Britta Byström’s careful ear for musical qualities such as timbre and resonance has resulted in an idiom that could almost be labeled impressionistic. She began composing already as a teenager and later studied composition at Musikhögskolan in Stockholm with Pär Lindgren and Bent Sørensen.

From the Birthday Cantata, this familiar tune is filled with the infectious melodic material and mesmerizing harmonic content that are so characteristically Bach. The Best of Bach can be played with just strings or by adding any combination of winds up to full orchestra instrumentation. (3:07) / Partitions classique / Ensemble et orchestre / Orchestre / ALFRED PUBLISHING

1.Vocifération funèbre; 2.Libation; 3.Incantation; 4.Présages; 5.Exhortation; 6.Hymne à la Justice; 7.Conclusion (Soli SATB chorus and piano duet (or orchestra))

The music of Igor Stravinsky's Funeral Song op.5 composed by the young composer as an orchestral memorial to his teacher Nikolai Rimsky-Korsakov disappeared after just one performance in 1909. Following its rediscovery in 2015 and world premiere in St Petersburg last December orchestras around the world have swiftly added Funeral Song into their current seasons.   The Funeral Song score has been reconstructed from the complete set of parts by Dr. Natalia Braginskaya and the St Petersburg Conservatory in collaboration with Stravinsky?s publisher Boosey

According to his dating of the autograph Haydn composed the Symphony no. 89 in F major in 1787 just one year after the six so-called Paris symphonies. It was written together with its sister work the G-major Symphony no. 88 for the violinist Johann Tost who sold it to the Parisian publisher Sieber. In both works Haydn continues the compositional achievements of the Paris symphonies: mastery of orchestration richness of musical ideas and details and an idiosyncratic multicoloured use of the wind section (which still makes do without Clarinets). In contrast to the buoyant G-major symphony the F-major symphony possesses a ratherpastoral sweet character which in parts can nevertheless soar to dramatic heights. This study edition reproduces the musical text of the Haydn Complete Edition which is a guarantor of the finest scholarship. An informative preface and a brief critical report make this handy score an ideal companion for all Haydn fans both present and future.

George Butterworth was born in London on July 12th 1885 to a well-to-do family. Eton School was followed by university at Trinity College Oxford where he met Vaughan Williams and Cecil Sharp. He taught for a while at Radley studied for a short time at the Royal College of Music then concentrated more or less full time on collecting folk songs sometimes with Vaughan Williams. When the First World War started in 1914 he joined the Durham Light Infantry as a Lieutenant. In the trenches he was mentioned in dispatches for outstanding courage and won the Military Cross. He led a successful raid on August 15th 1916 in the Battle of the Somme but during the raidButterworth was killed by a sniper's bullet.Much of his music is influenced by folk-song. The idyll 'Banks of Green Willow' is one of his best works and perfectly captures the nature of the English countryside. It is almost as if the music occurred naturally and Butterworth just discovered it.This pack comprises one full score string parts 4/4/3/4/2 and any wind brass and percussion parts.Orchestration:2 Flutes 2 Oboes 2 Clarinets in A or Bb 2 Bassoons2 Horns in F Trumpet in Bb Harp Strings (Violin 1 Violin 2 Viola Cello Double Bass)