for Baritone and Chamber Orchestra-Full Score and Study Score of this work are available for sale.A set of individual parts are for rental only not for sale.Prices and conditions are available on request.Please contact: Hal Leonard Europe Distribution BV - RentaldepartmentE-Mail: rental@halleonardeurope.nl

Full Score and Study Score of this work are available for sale.A set of individual parts are for rental only not for sale.Prices and conditions are available on request.Please contact: Hal Leonard Europe Distribution BV - RentaldepartmentE-Mail: rental@halleonardeurope.nl

Study Score-Declaration Suite consists of the orchestral movements from 'Declaration - a symphonic narrative' for Orchestra two solo speakers and speaking chorus. In its original form the work includes a setting of theDeclaration of Independence.The composition was comissioned by Station WRC and WRC-TV of the National Broadcasting Company Washington D. C. for the National Symphony Orchestra of that city and was composed during thesummer and fall of 1956. The National Symphony Orchestra Dr. Howard Mitchell conducting gave the first complete performances at the Inaugural Concert in Constitution Hall Washington D. C. January 20 1957 and during theOrchestra's regular subscription series the week following.Declaration Suite was first performed by the Symphony of the Air under Dr. Mitchell in Carnegie Hall New York February 14 1957 as part of theannual WNYC American Music Festival.The movements are:I. Liberty Bell (Passacaglia)II. Midnight Ride (Scherzo)III. Concord Bridge (Memorial)IV. Summer '76 (Serenade)V. Celebration (Chorale and Fugue)

Par MURAIL TRISTAN. Time and Again tente de rompre, partiellement, avec l'esthétique qui domine dans mes oeuvres précédentes, une esthétique de la continuité où la forme est structurée par des processus se déroulant en un flot presque ininterrompu. Ici, la forme musicale cherche à créer une architecture du temps plus complexe, qui joue de flash-backs, prémonitions, boucles..., comme si l'on se trouvait dans une sorte de machine à remonter le temps. Pour néanmoins préserver une sorte de continuité sous-jacente, j'ai d'abord imaginé une structure 'linéaire' pour la pièce, comportant des évolutions progressives et logiques, et j'ai parfois réalisé des fragments de cette pièce virtuelle, puis, un peu comme un cinéaste, j'ai 'monté' la structure de la pièce, en coupant, dupliquant, insérant, collant. A peu près aux deux tiers de la pièce, le temps s'inverse et s'écoule deux fois plus vite - on repasse, plus symboliquement que textuellement, par toutes les étapes des deux premiers tiers, avec parfois des superpositions, des inserts ou des raccourcis. L'orchestration n'est pas tout à fait conventionnelle - les vents et la percussion sont en nombre habituel, mais les cordes sont réduites à environ la moitié de l'effectif normal. J'ai cherché ainsi une qualité particulière du son des cordes moins volumineux, mais plus intense. Les cordes jouent le plus souvent des parties individuelles. Leur emploi principal consiste à colorer ou distordre les sons joués par les autres instruments, ou à construire des spectres sonores complexes. L'orchestre est enrichi par un synthétiseur (un Yamaha DX7) qui a deux principales fonctions. Grâce à son aptitude à synthétiser des sons par modulation de fréquence, il peut émettre directement des spectres riches identiques à ceux que j'utilise dans mon écriture orchestrale. La composition de cette pièce a donc impliqué d'abord la programmation des sons sur le synthétiseur (un seul son peut produire une texture très riche et n'est souvent utilisé qu'une seule fois). Dans d'autres cas, je l'utilise comme un complément de la section des percussions et du piano, le synthétiseur ayant la tâche d'émettre les sons non tempérés. Time and Again est une commande du 'John Feeney Charitable Trust' pour le City of Birmigham Symphony Orchestra, et a été créé à Birmingham le 21 janvier 1986 par cet orchestre, sous la direction de Simon Rattle. La pièce était destinée à être jouée en première partie de la Turangalila Symphonie d'Olivier Messiaen, pour une série de concerts en Angleterre. Cela explique qu'un auditeur attentif trouvera peut-être quelques allusions à cette symphonie dans Time and Again... Tristan Murail Enregistrement: 1 CD Montaigne/Naïve, MN782175 Désintégrations - Gondwana - Time and again Ensemble L'Itinéraire, Orchestre National de France, Yves Prin (direction) - Orchestre Beethoven Halle de Bonn, Karl Anton Rickenbacher (direction) / contemporain / Date parution : 1985-01-01/ Répertoire / Orchestre

Les Cloches De Monsigneur Grieg (1993-99) for small Symphony Orchestra by Asbjørn Schaathun.'Edvard Grieg's 'Bell Ringing' for Piano Op.54 No.6... seen through Monsigneur A. Schaathun's half shut eyes...'Commissioned by the The Norwegian Radio Orchestra.

Dramma per musica in thre acts-Rodelinda Regina de' Longobardi HWV 19; Opera in three acts. After Giulio Cesare and Tamerlano Rodelinda is the third masterly opera that Handel composed between December 1723 and January 1725. The words were written by Nicola Haym the author of many other Handel librettos. The first performance took place at the King’s Theatre in the Haymarket London on 13 February 1725. Rodelinda thrives entirely on the ethical supremacy of conjugal love and thus prefigures the great operas by Gluck and Beethoven on the same subject. The plot is taken from the history of the Lombard royalty. Oskar Hagen’s revival of Rodelinda in 1920 ushered in the modern Handel operamovement. The work forms the climax to a series of dramatic masterpieces that includes Handel’s most significant operas. Handel returned to Rodelinda on two occasions in December 1725 and in May 1731. Many far-reaching changes were necessary owing to the different skills of the new singers. For example Handel wrote three new arias and a duet for the first revival. Yet the changes he made for this performance doubtless to accommodate the needs and wishes of the singers also improve the work’s dramatic substance. Our vocal score is based on the Urtext of the full score published in the Halle Handel Edition (II/16) and reproduces the various alternative readings and versions in an appendix. Urtext of the Halle Handel Edition.U47 Full score (BA4064) & vocal score (BA4064-90) available for sale. Performance material (BA4064-72) available for hire

Miniature Score.This work was commissioned by the Royal Philharmonic Orchestra. It was first performed on 13th May 1998 London. This piece is based on a genuine old tune 'Maxwell's Strathspey' which the composer found inan 1824 collection of Scottish melodies and which unfolds at the start of the piece on solo cello. Variations and a bold up-tempo to the quick dance we know as a reel ultimately yield to the magic that has been promised right atthe start: the northern lights take over at the end of the piece. Its inspiration comes from a walk to a community event in Hoy Hall during which Davies saw the lights in the sky pulsing in and out of time with the sounds comingfrom the hall. Duration 12 minutes. Conductor's score and orchestral parts are available on hire.

Anna Thorvaldsdottir's Aeriality Orchestra for Orchestra.Written for the Iceland Symphony Orchestra and premiered in the new Reykjavik Concert Hall and Conference Center HARPA on 24 November 2011 by IcelandSymphony Orchestra conducted by Ilan Volkov.Duration: 13 minutes

Orchestral work commissioned by the BBC and premiered by the BBC Symphony Orchestra under the direction of Andrew Davis The Barbican Hall November 1992.Quoting Lindberg: 'After having written a Piano Concerto in 1991preceded by three works for different orchestral effectives (Kinetics Marea and Joy) I felt that I had come to an end with a certain musical expression and also compositional technique. All these works were based upon anextended chaconne principle with chord chains cycling around undergoing constant transformation and being articulated in a very gestural way. The musical paradox and evidently also the challenge was the discrepancy between abrick-like method expressed in a world of gestures (with all difficulties involved in conceiving music out of phrases) aiming at a continuity in terms of progression and development.After the Piano Concerto in the autumn of1991 I strongly felt that I couldn't continue in that direction anymore. I started to work on a project called Corrente for 16 players as a study for the full orchestra version entitled Corrente II.In order to bring theharmonic and rhythmic world closer to each other I abandoned the chaconne principle and based the harmony on different scale aggregates. By combining these scales and by filtering or by enhancing them with additional pitchesbased on more acoustically oriented views of the scales by considering them as partials of virtual fundamentals I was able to work in a rich harmonic world without actually having to do harmonic transformations and progressions.The rhythmic material was based on pattern figures with a rather kaleidoscopic approach of repetition and variation.By combining these pattern figures and scales aggregates I wanted to give the musical expression a 'narrative'sense of streams and directions moving around in different orchestral constellations.Corrente II for symphony orchestra is based on the same material as the piece for chamber orchestra. As the timbral palette and the mass

The conductor and Keyboard player Christopher Hogwood has edited the new edition of Music For The Royal Fireworks. The edition is the result of thorough revision and correction based on the source material. During this process some incorrect notes were corrected and in particular the Viola part was revised. Misunderstood instructions from Handel relating to the colla parte coupling of the Viola with the second Oboe as in the overture or with the bass parts have been reassessed. Doubling with other parts resulted in passages which were too high or too low: these have now been rectified and a part suited to the range of the viola has been madepossible.- New critical edition based on new sources.- Detailed Prefaces (Ger/Eng).- Urtext of the â??Halle Handel Editionâ?.- Full score performance material (BA4299) and study score (TP373) available for sale.

Opera In Three Acts-Premiered in London in 1733 Handel’s “magic opera” Orlando is based on a libretto by Carlo Sigismondo Capeci that derives indirectly from Ludovico Ariosto’s epic poem Orlando furioso. This subject was very popular at the time and was frequently set to music e.g. by Jean-Baptiste Lully Agostino Steffani and Joseph Haydn. The title role of Orlando is the last one that Handel wrote for the celebrated castrato Senesino. Several stunning stage effects intended to illustrate Zoroastro’s sorcery call for sophisticated baroque stage machinery.The vocal score has been adapted andcarefully amended in keeping with the revision of the complete edition volume. The engraving and presentation of the former vocal score (BA 4027-90) have also been meticulously revised in many details. However the pagination stays the same so that both vocal scores are compatible with each other. A new Foreword in two languages (Eng/Ger) is also included in the edition.- Urtext edition based on the Halle Handel Edition- Full score (BA4087-01) & vocal score (BA4087-90) available for sale and performance material (BA4027-72) available for hire

(with We Shall Overcome)-Beginning with the key anthem from the civil rights movement We Shall Overcome Mark Hayes leads the singer into Bill Wither's song Lean On Me creating a powerfully moving ballad of inspiration hope and courage. The orchestration adds even more spirit. Available separately: SATB SAB TTBB SSA Orchestration Score and Parts StudioTrax CD. Duration: ca. 3:55. INCLUDES: Score and parts for Piano Electric Guitar Bass/Drums/Violin 1 Violin 2 Viola Cello

2nd Septenary-Olivier Messiaen (1908-1992) is known for his unique composition style. Incorporating complex rhythms harmony melodies and his passion for ornithology his La Transfiguration De Notre-Seigneur Jésus-Christ for Choir Seven solo instruments and Orchestra is no exception to the composer's popular distinctive style. Composed between 1965-1969  La Transfiguration De Notre-Seigneur Jésus-Christ is based on the account of Jesus' Transfiguration found in the Gospels of Matthew Mark and Luke. The work requires a huge 200 performers and with 14 movements a typicalperformance lasts about an hour and a half. La Transfiguration De Notre-Seigneur Jésus-Christ incorporates Messiaen's popular compositional techniques such as his modes of limited transposition and the use of birdsong. Texts are largely based on the Bible. La Transfiguration De Notre-Seigneur Jésus-Christ is essential to all advanced musicians seeking to expand and vary their ensemble repertoire on a large-scale.

Score-Paul Creston (1906-1985) was an American composer of Italian descent. He taught himself composition and music theory while working full-time to support his family meaning his style was independent of any outsideinfluence. His work is noted for its complex and shifting rhythms while retaining a distinctly modern American tonal sound. Invocation And Dance (Op. 58) was composed in 1953 and came roughly half-waythrough his compositional career. Scored for full orchestra it is available here as a study score.

Ralph Vaughan Williams' Flos Campi for SATB wordless chorus Viola solo and Orchestra. Study score.This work is one of Vaughan Williams's most enigmatic pieces. Although the six movements all borrow their titles from the Old Testament's Song of Solomon the Chorus never articulates a single word. Instead it serves as a section of the Orchestra creating an elegant vocal texture and backdrop to the Viola's haunting solo lines.Flos Campi was premiered in October 1925 by the violist Lionel Tertis singers from the RCM and the Queen's Hall Orchestra directed by Sir Henry Wood.