Take your audience on a musical journey in this simplified melodic setting of the timeless spiritual Joshua Fit the Battle of Jericho. Cellos and basses are doubled throughout with very limited demands on the entire ensemble. Rehearsal piano part is included.

Bryce Dessner's Réponse Lutos awski was c o-commissioned by the National Audiovisual Institute of Poland and the Mexico National Orchestraand first performed by the Polish National Radio Symphony Orchestra at Teatr Wielki-Polish National Opera in Warsaw Poland on November 29 2014. Composer's Note: Réponse Lutos awski was written as an homage to Witold Lutos awski’s amazing composition for string orchestra Musique funèbre. I spent months studying the score and recordings of the work as well as many of his other pieces. This was an amazingprocess of discovering one of the 20th-centuries great musical minds and allowing his adventurous spirit to influence my own musical decisions. My Réponse Lutos awski is written in five movements each of which isinspired either directly or indirectly by the Lutos awski score. I like to think that his music opened a window in a certain direction for me or pushed open a door through which I could then pass and take my journey with themusic. Duration: Approximately 20 minutes

Orchestral Accompaniment Score and Parts-Sunrise Mass is a spiritual extended work by Ola Gjeilo which uses the liturgical Latin text. Full Score and String Orchestra parts.The four movements bring us on a metaphysical journey from the heavens to earth from the echo of ?The Spheres? (Kyrie) to ?Identity & The Ground? (Sanctus) with its earthly themes. Neither expressly sacred nor secular this is an exquisite work for advanced high school level and beyond.Vocal Score: HL08501827

Par DONAHOE ERICA. Students will love Shipwreck Coast---a dark and stormy piece by Erica Donahoe! Cello and string bass players will enjoy digging into the opening melody, and all members of the orchestra will be challenged with an exciting and rewarding musical journey. (3:30) / Date parution : 2022-10-12/ Répertoire / Orchestre à Cordes

The composer writes:Pilgrim was inspired it will be no surprise to learn by reading Bunyan's Pilgrim's Progress - Vaughan Williams's great opera on the subject had fascinated me from its first performance yet it was a long time before I caught up with this essential item in any well-stocked library of English classics. It made a great impression not least because of its theme of a journey of self-discovery and a rediscovery or renewal of faith. These are ideas which have a strong interest for me not in religious terms but in their application to every aspect of human life (including great journeys) and this piece reflects my response in musical terms to this concern. The tempo of the whole piece which lasts about 18 minutes is basically slow. There are two quick episodes but these act somewhat like the trio sections of a classical scherzo save that the tempo relationships are inverted (the classical trios would have been slower not quicker) and the canvas is much larger being that of a single substantial slow movement. The form of the whole is perhaps fantasia-like rather than having any relationship to classical forms such as sonata or rondo - some motifs and themes are varied as the work develops and the opening chords are of primary importance throughout the work. There has been no attempt to convey any pictorial elements deriving from Bunyan's great book. There is however one feature which upon completion of the score struck me with some force which is that almost all the thematic material is essentially striving upwards - there is a constant upward movement (sometimes over a lengthy period) throughout the work. Pilgrim was commissioned by the Luton Music Club for the Raphael Ensemble with funds provided by the Eastern Arts Board and Bedfordshire County Council and is dedicated to the Luton Music Club. The first performance was given in Luton on February 10th 1997 and followed as part of a joint scheme by performances in the same week at the Music Clubs of Bedford and Leighton Buzzard.

The composer writes:Pilgrim was inspired it will be no surprise to learn by reading Bunyan's Pilgrim's Progress - Vaughan Williams's great opera on the subject had fascinated me from its first performance yet it was a long time before I caught up with this essential item in any well-stocked library of English classics. It made a great impression not least because of its theme of a journey of self-discovery and a rediscovery or renewal of faith. These are ideas which have a strong interest for me not in religious terms but in their application to every aspect of human life (including great journeys) and this piece reflects my response in musical terms to this concern. The tempo of the whole piece which lasts about 18 minutes is basically slow. There are two quick episodes but these act somewhat like the trio sections of a classical scherzo save that the tempo relationships are inverted (the classical trios would have been slower not quicker) and the canvas is much larger being that of a single substantial slow movement. The form of the whole is perhaps fantasia-like rather than having any relationship to classical forms such as sonata or rondo - some motifs and themes are varied as the work develops and the opening chords are of primary importance throughout the work. There has been no attempt to convey any pictorial elements deriving from Bunyan's great book. There is however one feature which upon completion of the score struck me with some force which is that almost all the thematic material is essentially striving upwards - there is a constant upward movement (sometimes over a lengthy period) throughout the work. Pilgrim was commissioned by the Luton Music Club for the Raphael Ensemble with funds provided by the Eastern Arts Board and Bedfordshire County Council and is dedicated to the Luton Music Club. The first performance was given in Luton on February 10th 1997 and followed as part of a joint scheme by performances in the same week at the Music Clubs of Bedford and Leighton Buzzard.

This fierce concert piece takes the orchestra on an exciting musical journey. With strong rhythm and melodic themes, each section has the opportunity to perform important lines. Students will be challenged to perform with various emotional styles, including both intense and legato melodies. (2:30) Correlates to Sound Innovations Book 2, Level 2. / Orchestre A Cordes

Score and Parts-Ballade for Strings is about the journey to and the arrival on the ultimate tonic key of D major at the very end of the piece but not before. The work employs four distinct thematic elements. Expressive playing is required throughout. Ballade is written for advancing ensembles with expanded use of rhythms ranges and keys but technical demands are still carefully considered. Viola T.C. and optional piano reduction are included.

This arrangement of Hacia Belén va una burra, one of the most widely known carols in South and Central America tells the story of a donkey's journey to Bethlehem. The piece is sprightly and accented, emphasizing the dance-like movement inherent in a villancico. (2:15) / Orchestre A Cordes

Take a trip to the Emerald Isle in this very accessible medley featuring 'Danny Boy' and 'Irish Washerwoman.' Beginning with the much-loved ballad and concluding with the high-spirited jig, this piece makes a great concert closer. / Orchestre A Cordes