The first published edition of Malcolm Arnold's playful 1956 overture written for the Gerald Hoffnung Festival. The orchestral score includes parts for three vacuum cleaners, an electric polisher and four rifles. / Orchestre

Festouverture is a Festival Overture by Anders Koppel composed for Aalborg Symphony Orchestra in 2009/10.

Leroy Anderson's A Christmas Festival has long been a staple of concert performances for both bands and orchestras. Freshly engraved with a full score and edited parts SATB choral settings by Russ Robinison can be used in the performance. Sure to enhance any Christmas concert!

'Academic Festival Overture' 'Tragic Overture' and 'Variations On A Theme By Joseph Haydn'. Breitkopf & Hartel editions.

Purcell composed six of his finest odes to honour the birthdays of Queen Mary in successive years from 1689. Celebrate this festival (1693) contains writing on all scales, from eloquent chamber music to joyous choruses with strings, Trumpet and Oboes. This authoritative performing edition is prepared by the leading Purcell expert, Robert King.

Version 2-From the preface: Symphony No. 5 constitutes a special 'family of works' within Rued Langgaard's output. The starting-point was the orchestral piece Summer Legend Drama which was written in1917-18 and premiered at the Nordic Music Festival in Copenhagen on 16 June 1919 with Frederik Schnedler-Petersen as conductor. After a revision in 1941 this work was entitledA Thing of the Past (BVN 140). In 1920 Langgaard wrote his Symphonic Festival Play (BVN 166) which he based on Summer Legend Drama but which incorpo rates a new middle section and a new conclusion and at the same time is considerablyshorter.The composer conducted the Symphonic Festival Play himself at the Danish Concert Society on 20 April 1921. The following year the work was performed in Berlin by the Blüthner Orchestra and in Vienna by the Vienna Symphony Orchestra on both occasions under the direction of the German conductor Hans Seeber-van der Floe. Langgaard's next step was to abbreviate and revise the Summer Legend Drama in 1926; he presented it at a concert on 11 April 1927 in Copenhagen under the designation Symphony no. 5 (one movement). This is the version that the composer later named 'version 1' and which the Rued Langgaard Edition published in 2002.

For chamber or small orchestra.Published 1979Commissioned by Festival Nieuwe Muziek Middelburg the Netherlands.First performance: Chamber Version: Middelburg (Nieuwe Muziek) 1979 Xenakis Ensemble Maki Ishii(cond). Small Orchestra Version: London (Ring of Fire Festival) 1989 London Chamber Symphony Odaline de la Martinez (cond).

Score-Carlos Surinach's Melorhythmic Dramas was commissioned by the Meadow Brook Music Festival Committee Oakland University Rochester Michigan. Dedicated to the Meadow Brook Festival the work was premiered on August 16 1966 by the Detroit Symphony Orchestra with Sixten Ehrling as Musical Director.'Through verse prose music dance - or whatever may be - drama is a performed event involving intense conflict of forces. Effect action artifice and contrasts are part of it. To give the feeling of drama a theatrical trend is not compulsary. Pure melorhythmic music (and its orchestral technique) may have the power to express dramaticemotions without yielding to human deeds or stage stituations'. - Carlos SurinachThe seven Melorhythmic Dramas: 1. Fervid 2. Festive 3. Poignant 4. Tragic 5.Voluptuous 6. Vehement 7. Mournful

Full Score-The Persian traditional music (called the Dastgah Segah) is based on intervals made of three quarter-tones and natural whole-tones. Segah has no interval in common with the European/ Western equal-temperament tuning. This lack of common intervalsbetween the Segah mode and the equal-temperament tuning will lead to a cognitive dissonance if this mode is set against the equal-temperament system. My goal has been to elaborate on the innate tensions that exists between the two interval systemsand use it as a symbol for the existing political and cultural tensions between the Persian and the Western cultures. The piece consists of two Persian traditional instruments the Ney (Persian vertical bamboo flute) and the Kamanche (Persian spikefiddle) as the musical representatives of the Persian culture set against the Western orchestra as the musical representative of the Western culture. A small ensemble of Western instruments consisting of a harp and string quintet accompanies thePersian instruments. The harp is tuned to the Segah intervals and the string quintet plays in the Segah mode. The orchestra is performing inthe Western equal- temperament tuning. From the very first bars of the main section of the piece confusionsand misunderstandings arise. The orchestra being unable to play in Segah or understand the mode becomes more and more agitated. Musical tensions between the soloists and the orchestra lead to musical confrontations and finally to musicalviolence. The orchestra becomes extremely violent and militaristic and tries to suppress the soloists efforts to express their musical thoughts. In the midst of all these confusions and cultural misunderstandings musical connections and attractionsstart to take place. The orchestra and the soloists find themselves musically attracted to each other and start imitating each others musical phrases. Cognitive dissonances start to be gradually transformed to musical dialogues symbolizing thegradual replacement of the clash of civilizations with the dialogue of civilizations. Segah was written for Khosrow and Kian Soltani and premiered at the Segah Festival on January 15 2016.