From the songwriting team who brought us Dear Evan Hansen and La La Land the blockbuster movie musical The Greatest Showman is based on the true story of P.T. Barnum with Hugh Jackman in the title role. This arrangement of the powerful songs from the film is a dynamic musical montage for the concert stage. Includes Come Alive The Greatest Show A Million Dreams Rewrite the Stars and This Is Me.

Full Score-From the songwriting team who brought us Dear Evan Hansen and La La Land the blockbuster movie musical The Greatest Showman is based on the true story of P.T. Barnum with Hugh Jackman in the title role. This arrangement of the powerful songs from the film is a dynamic musical montage for the concert stage. Includes Come Alive The Greatest Show A Million Dreams Rewrite the Stars and This Is Me.

Score-Morton Gould's Minstrel Show for Orchestra. Study score.Born in Richmond Hill New York on 10 December 1913 Morton Gould was recognised early on as a child prodigy with the ability toimprovise and compose. At the age of six he had his first composition published. He studied at the Institute of Musical Art (now the Juilliard School) but his most important teachers were Abby Whiteside (Piano) and Vincent Jones(composition).Gould enjoyed an illustrious career. In addition to gaining a Pulitzer Prize for 'Stringmusic' he was Musical America's 1994 Composer-of-the-Year and recieved a Kennedy Center Honor in recognition oflifetime contributions to American culture.A long-time member of the American Society of Composers Authors and Publishers Gould was elected president of ASCAP in 1986 a post he held until 1994. In 1986 he waselected to the American Academy and Institute of Arts and Letters. He also served on the board of the American Symphony Orchestra League and on the National Endowment for the Arts music panel.

Symphonic Suite from-Score to this terrific Symphonic suite featuring the music of Howard Shore from The Lord Of The Rings - Fellowship Of The Ring.

Exquisite, fresh carol settings are woven together with scripture lessons and poetic narration to create a refreshing celebration of Advent and Christmas. Howard Helvey's artistry shines in each rich arrangement. Optional congregational readings and singing are included as well, to complete the presentation. The work is as singable as it is effective and inspiring, and will usher in the season of rejoicing with joy and festivity. Create a celebration of the Incarnation with Sing We Now of Christmas. Performance time is 30 minutes if it is performed only with narration (and no lessons and additional congregational carols). If performed with the scripture lessons and congregational carols, performance time is 55 minutes. / Orchestre

Par HOWARD EMILY. Dualities by Emily Howard is a contemporary work for an Ensemble of 14 players. The work is an expression of the fascination with the juxtaposition of extremes and explores relationships between emotion and reason, constructivism and spontaneity, complexity and simplicity. The resultant musical structure is an accumulation of transitions between contrasting soundworlds. Dualities was commissioned by Ensemble 10/10, the Contemporary Music Group of the Royal Liverpool Philharmonic who gave the first performance on 5 October 2005 at the Eleanor Rathbone Theatre, University of Liverpool. / Date parution : 2023-03-11/ Répertoire / Ensemble

E-moll Op. 64-Mendelssohn’s Violin Concerto op. 64 is a key work of the 19th century adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David who worked closely with the composer during its composition and played it at the première; the ‘child prodigy’ Joseph Joachim; and Hubert Léonard a young Belgian virtuoso about whom little is known.As proof sheets for the Violin Concerto in E minor were long considered lost it could be described as somewhat of a sensation when proofs for the soloviolin part resurfaced together with a letter from Mendelssohn to Léonard.The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Léonard.The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown.It is safe to assume that all of this was done with Mendelssohn’s approval. That the young violinist made a positive impression on the composer is confirmed in the latter’s correspondence following their joint performance. Mendelssohn is full of praise for Léonard’s playing and offers to lend his support in finding employment in Germany.This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice.The editor Clive Brown is an acknowledged expert on Romantic performance practice.- New source situation owing to recently rediscovered proofs- Revised Urtext edition- With a separate booklet on performance practice (BA9060) (Eng/Ger)- Full score in the revised early and late (popular) versions (BA9099)

Inspired by the spiritual “Were You There ” this musical experience is based on several monologues by thosse who were at the cross. The work leads us through many emotions: from the Holy Love shown to Mary Magdalene to the intimacy of Mother Marty's Still My Son to the regret of Peter in It Should Have Been Me. The musical can be of almost any length since each momologue and anthem may be used independently. However We WereThere is used it will provide a powerful Holy Week resource for years to come. Maximum length if all pieces are used: 53 minutes.Includes: Were You There?; Holy Love; Christ Is Our Brother; Surely This Was the Sonof God; How Can It Be?; Still My Son; It Should Have Been Me; We Were There; At the Cross.

Listing for Trombone Parts 1 and 2 only.Orchestration: 2 Flutes 2 Oboes 2 Clarinets in Bb 2 Bassoons 2 Horns in F 2 Trumpets in Bb 3 Trombones Tuba Snare drum Strings (Violin 1 Violin 2 Viola Cello Bass)Peter Warlock wrote the Capriol Suite for Piano duet. He also produced a version for string orchestra and both were published in 1926. Two years later in 1928 he made this arrangement for full orchestra. This new edition corrects a few minor errors that were present in the 1928 edition published by Curwen and also shows the trumpets in Bb; they were shown in C originally. The six movements which are based on sixteenth century dance tunesare:- Basse-Danse Pavane Tordion Bransles Pieds-en-l´air Mattachins.

Listing for Viola Part only.Orchestration: 2 Flutes 2 Oboes 2 Clarinets in Bb 2 Bassoons 2 Horns in F 2 Trumpets in Bb 3 Trombones Tuba Snare drum Strings (Violin 1 Violin 2 Viola Cello Bass)Peter Warlock wrote the Capriol Suite for Piano duet. He also produced a version for string orchestra and both were published in 1926. Two years later in 1928 he made this arrangement for full orchestra. This new edition corrects a few minor errors that were present in the 1928 edition published by Curwen and also shows the trumpets in Bb; they were shown in C originally. The six movements which are based on sixteenth century dance tunes are:- Basse-Danse Pavane Tordion Bransles Pieds-en-l´air Mattachins.

ORCHESTRATION: Fl(s) (opt); (2) Ob; Cl(s) (opt); Bsn; Hn(s) (opt); 2 Tpt; Trb(s) (opt); Timp; Str. This edition gives the ‘original’ orchestration of 2 Oboes (though both play together doubling the soprano chorus line) Bassoon (continuo) 2 Trumpets (parts are given in D and Bb and are shown in the score at concert pitch) Timpani strings and SATB chorus. However additional parts are included for Flutes Clarinets in Bb Horns and Trombones which double the chorus lines and can be used either to reinforce the choral line or to replace it completely to provide an orchestra-only concert version. One chorus part is included in the orchestral set and additional copies areavailable should they be required. Many choirs and singers already have copies of the ‘Messiah’ and most should be compatible with this orchestral version. Duration 4.5 mins.

Henry Mancini's concert albums and countless live concerts featured some of his finest work as an arranger. This well-crafted medley features four of the Andrew Lloyd Webber's beloved songs from the classic Broadway show.Includes: Superstar Everything's Alright King Herod's Song I Don't Know How To Love Him.