Tie A Yellow Ribbon-Von Peermusic gibt es Arrangements berühmter Klassiker diverser Genres für Salonorchester in Doppelnummern (Bänden mit 2 Musiktiteln) - ähnlich wie die Doppelnummern für Combo. Unterschieden wird dabei in Besetzungen bis 3 Saxophone/Blechbläser (Standard) bis 5 Sax./6 Blechbläser (Standard + Ergänzer) und den Ergänzer-Stimmensatz. Hier der Standardsatz. Die Besetzung - Standard: C-Stimme (Akkordbezifferung und Text); Gitarre/Melodie (Akkordbezifferung und Text); Drums/Melodie (mit Text); 1./2. Violine; 1./3. Stimme Altsax; 2. Stimme Tenorsax; 1./2. Stimme Trompete; 1. Stimme Posaune; Bass; Klavier(Akkordbezifferung und Text). Hier der Doppelband mit More Than I Can Say (Curtis/Allison) und Tie A Yellow Ribbon (Levine/Brown).

Concerto and ripieno part-Haydn's Symphony No.8 is the final piece in his triptych on the times of the day consisting of the symphonies Le Matin Le Midi and Le Soir (Hoboken I:6-8). The cycle originated in 1761 on a commission from Haydn's patron Prince Anton Esterházy. Whether the Prince was hoping for a counterpart to Vivaldi's famous concertos on the four seasons or pursued a different idea can no longer be determined. It was doubtless the purpose of these concertante symphonies to present to a select audience the Prince's chamber ensemble which had been assembled or expanded that spring as well as its new conductor. The pieces are laid out on a large scale full of pomp andsplendour and the scoring at times divided into thirteen separate parts offers virtually every player an opportunity to display his prowess as a soloist.At that time the Esterházy ensemble was made up of six or seven players of the violin or viola (the seventh was actually retained as a flautist) one player each of the violoncello and violone two oboists doubling on flute two horn players and a bassoonist. This listing includes Haydn himself who conducted the ensemble from the first violinist's desk. Contrary to a widely held belief there was no harpsichord. Indeed the only genres that employed a keyboard instrument at that time in the Viennese area were vocal - namely operas cantatas and church music.Urtext from Joseph Haydn WerkeFull score & parts (BA4673) available for sale

I Was Glad When They Said Unto Me (Score)-Orchestrated by Gordon Jacob.Instrumentation.2 Flutes2 Oboes2 Clarinets in B flat2 Bassoons4 Horns in F8 Trumpets in B flat2 Tenor TrombonesTubaTimpaniPiccolo SnareHarpOrganChorusStrings

Symphony in Bb major Hob. I:102-The twelve London Symphonies??? comprise the sublime final statement of Haydn???s symphonic ??uvre. They were written for the London impresario Johann Peter Salomon and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. The energetic surging B-flat-major Symphony no. 102 belongs to the group of the last three symphonies premiered in early 1795. Exceptionally Haydn here dispenses with the clarinets that are otherwise generally featured in his late symphonies. The instrumentation of the Adagio is also unusual in that Haydn includes trumpets and timpani both muted. This study edition adopts the musical text of theHaydn Complete Edition thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

Mon Concerto pour orchestre (2007) est une oeuvre de vingt minutes dans laquelle les différentes sections de l'orchestre, ainsi que différents solos et duos du sein de l'orchestre, sont mis en évidence que la musique se déploie. Le travail continue mon intérêt pour les formes à deux mouvement qui a commencé avec mon Concerto pour violoncelle (1991), et plus tard a été développé dans Sortilège (1996) et la Symphonie (Broken Consort) (2004). Dans ces oeuvres, et dans le Concerto pour orchestre, chaque mouvement est le même poids et de l'importance avec le second développement de matériel plus tôt et prendre de nouvelles directions.La forme en deux mouvements du Concerto pour orchestre vient d'une structure symphonique sonate, remodeler la forme en quatre mouvements traditionnels et en combinant cela avec les aspects de la forme sonate, une tradition qui remonte à Liszt, Schoenberg et Sibelius:1er mouvement (i) l'exposition d'idées - dramatique et soudaine (ii) scherzo et développement 1 - résolue2ème mouvement (iii) adagio - calme et tranquille (iv) le développement 2 avec récapitulation - intense et énergiqueLe Concerto pour orchestre a été commandée par le Musikalische Akademie des Nationaltheatre-Orchesters Mannheim avec le soutien de Die Landesbank Baden-Württemberg pour ses deux premières représentations le 31 Mars et 1er Avril 2008 réalisée par Friedemann Layer. La partition est dédiée à l'amitié et l'admiration pour Ronald Zollman. / Orchestre

Haydn's Symphony No.8 is the final piece in his triptych on the times of the day consisting of the symphonies Le Matin Le Midi and Le Soir (Hoboken I:6-8). The cycle originated in 1761 on a commission from Haydn's patron Prince Anton Esterházy. Whether the Prince was hoping for a counterpart to Vivaldi's famous concertos on the four seasons or pursued a different idea can no longer be determined. It was doubtless the purpose of these concertante symphonies to present to a select audience the Prince's chamber ensemble which had been assembled or expanded that spring as well as its new conductor. The pieces are laid out on a large scale full of pomp andsplendour and the scoring at times divided into thirteen separate parts offers virtually every player an opportunity to display his prowess as a soloist.At that time the Esterházy ensemble was made up of six or seven players of the violin or viola (the seventh was actually retained as a flautist) one player each of the violoncello and violone two oboists doubling on flute two horn players and a bassoonist. This listing includes Haydn himself who conducted the ensemble from the first violinist's desk. Contrary to a widely held belief there was no harpsichord. Indeed the only genres that employed a keyboard instrument at that time in the Viennese area were vocal - namely operas cantatas and church music.Urtext from Joseph Haydn WerkeFull score & parts (BA4673) available for sale

Symphony in D major Hob. I:104-The twelve London Symphoniesâ? comprise the sublime final statement of Haydnâ??s symphonic Å?uvre. They were written for the London impresario Johann Peter Salomon and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. The D-major Symphony no. 104 was composed as the last of the London Symphoniesâ? in early 1795 and is not only the concluding work but also the highlight of Haydnâ??s symphonic output overall. It firmly established the high standards of the genre for future generations of composers and probably Haydnâ??s most performed symphony to this day. This study edition adopts the musical text of the Haydn CompleteEdition thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

Edition complète avec commentaire critique, reliure paperback, Reihe I, Band 10. Par HAYDN FRANZ JOSEF. / Répertoire / Orchestre

Tafelmusik I - Full score from the Telemann Selected Musical Works Edition Georg Philipp Telemann (1681–1767)Musical Works Edited by Martin Ruhnke und Wolf Hobohm in cooperation with the Telemann Conservation and Research Centre in Magdeburg This edition is designed to present researchers and performers with a representative selection of the works of Georg Philipp Telemann in reliable scholarly editions. It will contain characteristic works from each genre of the composer's voluminous œuvre including chamber music instrumental concertos orchestral suites pieces for keyboard instruments church cantatas Passion settings motets psalms masses sacred concertos operas oratorios secular cantatas songs and arias. Each volume contains a preface several facsimile reproductions from the source material and a critical report. The suitability of the edition for performance purposes is emphasized by the instrumental parts accompanying the volumes of chamber music.

Par HENZE HANS WERNER. In this work, I had wanted completely to submit to the traditional rules of the classical symphony so as to mould my musical expression as if in a furnace and enable it to reach the listener as directly and clearly as possible. The first movement is a kind of German dance, an Allemande, so to speak; the second one a Lied. The third, in strict scherzo-form, is a representation of the sufferings of the German poet Friedrich Hölderlin, in Dr. Autenriedth's mental institution in Tübingen. The last movement is a setting of Hölderlin's poem 'Half of Live'. - Hans Werner Henze/ Répertoire / Orchestre