Anthems for the Chapel RoyalO sing unto the Lord a new song HWV 249a for Soloists (AB) Chorus (SATB) Flute 2 Oboes 2 Trumpets Strings Continuo BA 4263I will magnify thee HWV 250b for Soloists (SATB) Chorus (SATB) Oboe Strings Continuo BA 4264As pants the hart HWV 251e for Soloists (SAATBB) Chorus (SAATB) 2 Oboes Strings Continuo BA 4265Let God Arise HWV 256b for Soloists (AB) Chorus (SATB) Oboe Strings Continuo BA 4266Handel?s four anthems were all composed during his London period in the Chapel Royal. ?As pants the hart? his fifth setting of this Psalm text waswritten in March 1738 for performance at a benefit concert for the King?s Theatre in the Haymarket.Until just before Handel?s first visit to England the only instrument permitted to accompany the service in the Chapel Royal was the organ. These four works with their orchestral accompaniments thus represent something akin to a new genre in English church music.The four anthems are presented in clearly laid out vocal scores with straightforward piano reductions based on the Urtext from the Halle Handel Edition. Their enticingly varied and self-sufficient orchestral writing provides a suitable framework for the festive chorus and equally festive solo numbers. Today they sound as splendid as ever!The full scores and vocal scores also contain a German translation along with the original English text.

Anthems for the Chapel RoyalO sing unto the Lord a new song HWV 249a for Soloists (AB) Chorus (SATB) Flute 2 Oboes 2 Trumpets Strings Continuo BA 4263I will magnify thee HWV 250b for Soloists (SATB) Chorus (SATB) Oboe Strings Continuo BA 4264As pants the hart HWV 251e for Soloists (SAATBB) Chorus (SAATB) 2 Oboes Strings Continuo BA 4265Let God Arise HWV 256b for Soloists (AB) Chorus (SATB) Oboe Strings Continuo BA 4266Handel?s four anthems were all composed during his London period in the Chapel Royal. ?As pants the hart? his fifth setting of this Psalm text waswritten in March 1738 for performance at a benefit concert for the King?s Theatre in the Haymarket.Until just before Handel?s first visit to England the only instrument permitted to accompany the service in the Chapel Royal was the organ. These four works with their orchestral accompaniments thus represent something akin to a new genre in English church music.The four anthems are presented in clearly laid out vocal scores with straightforward piano reductions based on the Urtext from the Halle Handel Edition. Their enticingly varied and self-sufficient orchestral writing provides a suitable framework for the festive chorus and equally festive solo numbers. Today they sound as splendid as ever!The full scores and vocal scores also contain a German translation along with the original English text.

Glitter and glamour good-looking people a lot of Bling Bling and fast cars ? images like these will cross our minds when we think of the movie world. However reality proves to be different : as a rule a tremendous amount of work will have been done on the set before a film is ready to be shown on the big screen. A visit to an actual movie set inspired John Emerson Blackstone to write a composition bearing the same name. He had both seen a number of characteristic attributes and heard the typical phrases used in film making and he incorporated them into ?On the Movie Set? . In the first part ?The Clapboard? a ?director?s assistant? is supposed to shout ?Quieton the set?? and ?Action!? as is done before a real scene is shot. Subsequently in order to create the right atmosphere the clacking of a ?Clapboard? should be heard. During a romantic scene we should be transported to another world by means of sweet sounds in the background so romantic music is of course heard in the next part ?Love Scene?. At the end of a long working day ?It?s a wrap? is called on the set to inform everyone that the filming on that day is completed. Now there is only one more thing left to dream of : an Oscar..... Perf. Note: The use of the right props will add to the performance and appreciation of ?On the Movie Set?. A red carpet and a glamorous reception should give your audience the feeling they are attending a real ?opening night?!

Glitter and glamour good-looking people a lot of Bling Bling and fast cars ? images like these will cross our minds when we think of the movie world. However reality proves to be different : as a rule a tremendous amount of work will have been done on the set before a film is ready to be shown on the big screen. A visit to an actual movie set inspired John Emerson Blackstone to write a composition bearing the same name. He had both seen a number of characteristic attributes and heard the typical phrases used in film making and he incorporated them into ?On the Movie Set? . In the first part ?The Clapboard? a ?director?s assistant? is supposed to shout ?Quieton the set?? and ?Action!? as is done before a real scene is shot. Subsequently in order to create the right atmosphere the clacking of a ?Clapboard? should be heard. During a romantic scene we should be transported to another world by means of sweet sounds in the background so romantic music is of course heard in the next part ?Love Scene?. At the end of a long working day ?It?s a wrap? is called on the set to inform everyone that the filming on that day is completed. Now there is only one more thing left to dream of : an Oscar..... Perf. Note: The use of the right props will add to the performance and appreciation of ?On the Movie Set?. A red carpet and a glamorous reception should give your audience the feeling they are attending a real ?opening night?!

Kongen Af Himmeby-Demo/Utopiaville-Demofor Symphony Orchestra (2009). The Utopiaville-Demo is commissioned by Finn Schumacker for The Odense Symphony Orchestra. Repertoire operas occationally have orchestral suites: Bits and pieces of overture interlude etc. tied up in a bouquet of 'schönste Tränen'. Contemporary opera usually wither after the first season so the focus is on getting people to come and have a sniff before it's too late. Consequently it seemed obvious to me to start making orchestral excerpts from my operas that are meant to be played before the premiere (and after please); I call them 'operatrailers' when they're substantial enough to be considered independent works and 'opera demos' when they're relatively short and more appetizer-ish. The Utopiaville-Demo is a fast-and-furious cinemascope 3D THX-demo for my chamber opera 'The King ofUtopiaville' which is sort of a mix between a reversed revolutionary opera (reversed because it's about a revolutionthat flops) and a rhythm'n blues theatre concert. The opera takes place on the remote tropical island of Honga-Tonga where a mayor form Europe is taking a much needed holiday as far away as possible from his home town Utopiaville. The mayor desperately needs to get away:He has overstepped his authority blatantly and broken every rule of law he felt like in order to create a modern liberalistic society where sanitation medicare hospitals schools the police and all other public institutions are sold to private investors and then leased back by the public - that way noone will ever have to pay taxes because everything finances itself the mayor says and in order to keep reality at a safe distance he drinks massive amounts of insanely expensive french claret all in the best interest of the inhabitants of Utopiaville of course.Honga Tonga can't get any further away from Waikiki Beach: It looks something like the 1933 version of

The Odyssee tells the story of Odysseus the undaunted hero. In times long ago the blind poet Homer wrote this famous epic. The 'Odyssey' follows the 'Iliad' the story of the bloody war between the Greek and the Trojans. This battle endsafter ten years thanks to the Odysseys famous trick. the Trojan Horse. The Odyssey is not a war epic but a story about perseverance loyalty adventure and the survival instinct of its ingenious hero. In The Odyssey Homer describes howOdysseus the king of Ithaca had to endure another ten years of affliction after the ten years of war in Troy before he could finally return to his home land. During those years his wife Penelope had to try and keep her many admirers away.These men not only wanted het hand but also the kingship. To prove her husbands worth she played a trick: 'As soon as I have finished weaving this shroud for my father-in-law Laertes I will choose one of you to become my husband' she promisedthem. But during the night she secretly loosened what she had woven during the day prolonging the time until Odysseus would finally return. After twenty long years when he finally stood at the door she wondered: Is this really my husband? Ishe an imposter? Cunningly she asked him to move the bed because only she and her husband know that the bed was immovable and was build around an old three trunk! Odysseus was deeply moved: this really was his wife his Penelope! Nearly threethousands years later the loyalty and strength of this character and all the dangerous adventures that Odysseus survived thanks to courage and intelligence still moves us today. Odyssee by Jan Bosveld is not just an adventure story butrather a characteristic piece in which memories of Homers story can be heard. The composition opens with a firm stirring theme describing our hero Odysseus in detail: This man is not to be taken lightly. The further development of thisshort introduction completes this character sketch: trustworthy perseverant and a genius. After that we can picture Odysseus on the lonely beach of Ogygia. Do the trumpets depict his memories of the war of Troy? Does he think of his wife as werecognise the weaving loom of Penelope in the murmuring eighth? In the solemn plaintive part that follows we can imagine Penelope feeling lonely sitting in the womens room with her servants.One of the girls plays the harp but that does notclear the sombre atmosphere. Then we can imagine seeing the sorceress Circe who changed Odysseus men into swine. After she gives a simple magic sign something follows that reminds us of the sound of pigs grunting. Then the Odysseus theme resounds:the hero comes to savi his comrades. Assisted by Hermes he forces Circe to lift the spell. The piece ends the same way as it began with an animated theme: Odysseus is still the same undefeated and not to be taken lighty!

The Odyssee tells the story of Odysseus the undaunted hero. In times long ago the blind poet Homer wrote this famous epic. The 'Odyssey' follows the 'Iliad' the story of the bloody war between the Greek and the Trojans. This battle endsafter ten years thanks to the Odysseys famous trick. the Trojan Horse. The Odyssey is not a war epic but a story about perseverance loyalty adventure and the survival instinct of its ingenious hero. In The Odyssey Homer describes howOdysseus the king of Ithaca had to endure another ten years of affliction after the ten years of war in Troy before he could finally return to his home land. During those years his wife Penelope had to try and keep her many admirers away.These men not only wanted het hand but also the kingship. To prove her husbands worth she played a trick: 'As soon as I have finished weaving this shroud for my father-in-law Laertes I will choose one of you to become my husband' she promisedthem. But during the night she secretly loosened what she had woven during the day prolonging the time until Odysseus would finally return. After twenty long years when he finally stood at the door she wondered: Is this really my husband? Ishe an imposter? Cunningly she asked him to move the bed because only she and her husband know that the bed was immovable and was build around an old three trunk! Odysseus was deeply moved: this really was his wife his Penelope! Nearly threethousands years later the loyalty and strength of this character and all the dangerous adventures that Odysseus survived thanks to courage and intelligence still moves us today. Odyssee by Jan Bosveld is not just an adventure story butrather a characteristic piece in which memories of Homers story can be heard. The composition opens with a firm stirring theme describing our hero Odysseus in detail: This man is not to be taken lightly. The further development of thisshort introduction completes this character sketch: trustworthy perseverant and a genius. After that we can picture Odysseus on the lonely beach of Ogygia. Do the trumpets depict his memories of the war of Troy? Does he think of his wife as werecognise the weaving loom of Penelope in the murmuring eighth? In the solemn plaintive part that follows we can imagine Penelope feeling lonely sitting in the womens room with her servants.One of the girls plays the harp but that does notclear the sombre atmosphere. Then we can imagine seeing the sorceress Circe who changed Odysseus men into swine. After she gives a simple magic sign something follows that reminds us of the sound of pigs grunting. Then the Odysseus theme resounds:the hero comes to savi his comrades. Assisted by Hermes he forces Circe to lift the spell. The piece ends the same way as it began with an animated theme: Odysseus is still the same undefeated and not to be taken lighty!

Intermediate-level arrangements of well-known Classical and Romantic works. Par AUTEURS DIVERS / BROOKER DAVID (Arr.). In his preface to 'Piano Trios on Stage”, the arranger, David Brooker, reminds us that, just as the string quartet, the piano trio has always been one of the pillars of chamber music. In the 19th and early 20th century, it was almost like the later invention of the gramophone record, allowing larger works, in arrangement, as well as lighter pieces to be presented to small audiences, often as background music. David comments that string players have plenty of easy material to introduce them to the pleasure of making music with other instrumentalists but when it comes to piano parts these are usually written or arranged with a teacher or more advanced student in mind. David sets out to rectify that imbalance and his arrangements aim to put all three players on an equal footing. Of easy to intermediate standard, they are ideal for violinists, cellists and pianists who are now ready to try their hand at proper chamber music. The music is fun and instantly recognizable, drawing on Grieg's 'Peer Gynt”, Tchaikovsky's 'Nutcracker” and Leopold Mozart's 'Musical Sleigh Ride”./ Recueil / Violon Ou Flûte, Violoncelle Et Piano

In the final days of November, as the nights grew longer and the vicious North winds began to pound the embattled city, the kingdom was rapidly nearing its darkest hour. As enemy forces threatened from every side, the exhausted council gathered in the great hall for one final desperate meeting. With all hope waning, with all other options exhausted, and with one last chance to save his people, the king summoned all remaining forces and invoked The Seventh Resolution. A contemporary bold work! (4:30) / Orchestre D'Harmonie

When Queen Caroline the wife of King George II of England died on 20 November 1737 Handel was commissioned to write an anthem for her funeral service. She was buried in King Henry VII?s Chapel Westminster Abbey on the evening of 17 December 1737 with Handel?s work performed after the funeral service.To emphasize the solemnity of the occasion he used a roughly 100-piece Orchestra and 80 Choristers. The piece is a so-called ?full anthem? consisting of an instrumental Introduction (?Symphony?) and thirteen interlinked choruses. The words were written by Edward Willes the Sub-Dean of Westminster at that time using passages from the King James Bible and theBook of Common Prayer albeit sometimes departing from the original wording.The absence of sections for solo voice has made this anthem a favourite among ambitious choruses and a highlight of any concert programme. Our edition contains the original unabridged version with English text. Martin Focke?s Piano reduction follows the Urtext of the Halle Handel Edition.Original unabridged version.Urtext from the Halle Handel Edition.Straightforward easy-to-play Piano reduction.Full score performance material (BA4267) and Vocal score (BA4267-90) based on the Urtext Halle Handel Edition available for sale.

Minor: Triads. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion

Wanna listen to the king you look like an Elvis-In this great Disney musical a little girl Lilo adopts what she believes is a puppy but is what turns out to be an alien that has landed on earth by mistake. Their friendship is sealed by their mutual love of the music of the king - Elvis Presley. This arrangement contains a selection of Elvis classics that were featured in the film and is sure leave your audience humming Elvis songs long after they have left the concert.

Wanna listen to the king you look like an Elvis-In this great Disney musical a little girl Lilo adopts what she believes is a puppy but is what turns out to be an alien that has landed on earth by mistake. Their friendship is sealed by their mutual love of the music of the king - Elvis Presley. This arrangement contains a selection of Elvis classics that were featured in the film and is sure leave your audience humming Elvis songs long after they have left the concert.

Wanna listen to the king you look like an Elvis-In this great Disney musical a little girl Lilo adopts what she believes is a puppy but is what turns out to be an alien that has landed on earth by mistake. Their friendship is sealed by their mutual love of the music of the king - Elvis Presley. This arrangement contains a selection of Elvis classics that were featured in the film and is sure leave your audience humming Elvis songs long after they have left the concert.