Infinite Rooms - Double Concerto for Violin/Viola Double Bass and Orchestra by Britta Byström (2016). Dedicated to Malin Broman and Rick Stotijn.Commissioned by the Swedish Radio Symphony Orchestra and the South Netherlands Philharmonic.

o.Op. 82 TrV 133- We are grateful to the University of Edinburgh Library Centre for Research Collections for providing us with access to a manuscript of this work. At shelf-mark Mus.M.645 is a set of parts in the hand of an unknown copyist annotated by John Parr (the bassoonist of Sheffield) who also wrote a full score and second copies of the bassoon and bass parts. The score is dated 1930 and the bassoon part 1934. It is here entitled merely 'duet for flute and bassoon with orchestra' and ascribed to R. Strauss.   We are also grateful for advice from Dr Christian Wolf of the Richard-Strauss-Institut in Munich whohave access to a copy of  'der Zweikampf' made by Cl. Schubert but the Richard-Strauss-Archiv in Garmisch-Partenkirchen will not permit them to make a complete copy for us but has permitted sample pages to be copied confirming the identity of the music. They also affirm the considerable doubt as to Richard Strauss being the composer however no other composer has been suggested in his stead.  In the Strauss bibliography a date of composition of 1884 is given when he was twenty years old.   We would also like to acknowledge with thanks the help of Drs Jenny Nex and Lance Whitehead of Edinburgh in deciphering the manuscript and advising on the piano reduction.   In editing the work we have corrected a few evident errors and made the dynamics consistent. There was no given tempo indication in some of the parts but Parr added 'allegro moderato' which is also the tempo indication in the Munich manuscript.  He also suggested the bass pizzicato in most of the polacca but perhaps this was intended only for the double bass should one be present. There are some discrepancies between the Edinburgh score and parts which we have resolved somewhat arbitrarily on musical grounds.  The differences between the Munich and Edinburgh versions are mostly small as far as we can discern; the

Urtext. Study edition of the score. For two Flutes two Oboes two Clarinets two Bassoons a Contrabassoon two Horns in C two Horns in F three Trombones Timpani in F and E and full string ensemble (Violins 1 & 2 Viola Cello and Double Bass).

Symphony No. 6 'At The End Of Day' (1997-99) for Orchestra by Per Nørgård. Programme note: ”… with the Lord a day is like a thousand years and a thousand years is like a day”  (New Testament 2 Peter 3:8)  My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra the Göteborg Symphony Orchestra and the Oslo Philharmonic Orchestra to be premiered at the millenium 2000.  The subtitle AT THE END OF THE DAY can be understood literally or it can mean “when all is added up”. However in my opinion nothing ever quite adds up there is always “something” missing any ending will be provisional ...  This symphony appears to end only a few minutes into the first movement the first passage as the music fades away to almost-silence after a start of flying colours. But then there is still “something” a small motive (first heard in the initial sound-waves) which reappears hesitant but persistent and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next until all the voices become obsessed with the same phrase a see-saw motive based on thirds. This section evolves into almost martial ferocity when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony emplyoing instruments that I have never used before: double-bass tuba double-bass trombone double-bass clarinet and bass flute).  The second movement the second passage apparently takes off where the first passage ended but now the events are more ambiguous and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia the characteristic baroque bass-variation.  Without a break follows the third and last passage in a

Jack Mason's showcase features six songs skillfully scored for school orchestra. This set from Bernstein's timeless West Side Story contains score and seperate parts for Flute I Flute II Piccolo Oboe I Oboe II English Horn Clarinet in B I Clarinet in B II Bassoon I Bassoon II Alto-Sax I Alto-Sax II Tenor-Sax. Baritone-Sax F-Horn I-IV Trompete I-III Posaune I-III Tuba 3 Timpani-Percussion Harp 8 Violin I 8 Violin II 4 Viola 4 Cello and 4 Double Bass.

Howard Blake's The Snowman - Schools Version. Instrumentation: Flute Oboe (or 2nd Flute) 2 Clarinets in Bb Bassoon 2 Horns in F 2 Trumpets in Bb Trombone/Tuba Descant/Tenor Recorder Treble Recorder Classroom Percussion Orchestral Percussion 3 Timpani Violin 1 Violin 2 Viola/Violin 3 Cello Double Bass Rhythm Guitars/Bass Guitar and Piano Duet. This is the score only. A score and set of parts isavailable under the code CH78001.

Howard Blake's The Snowman - Schools Version. Instrumentation: Flute Oboe (or 2nd Flute) 2 Clarinets in Bb Bassoon 2 Horns in F 2 Trumpets in Bb Trombone/Tuba Descant/Tenor Recorder Treble Recorder Classroom Percussion Orchestral Percussion 3 Timpani Violin 1 Violin 2 Viola/Violin 3 Cello Double Bass Rhythm Guitars/Bass Guitar and Piano Duet. This is the score and setof parts. A score only version is available under the code CH78001-01.

Orchestration:2 Flutes 2 Oboes 2 Clarinets in Bb 2 Bassoons 2 Horns in F (or Horns/Saxophones in Eb) 2 Trumpets in Bb 3 Trombones Tuba Timpani Percussion (Side drum Glockenspiel [1 player]) Strings (Violin 1 Violin 2 Viola or Violin 3 Cello Double Bass)The famous Rule Britannia in a new arrangement by Nigel Wicken. Each verse features different sections of the orchestra. The final part has the benefit of some interesting harmonies more 'Wicken' than 'Arne'. Although no voice part is scored it is quite possible for the audience to join in at the traditional moments! The Violin 3 part is a treble clef version of the Viola partexcept for a few out-of-range notes.Duration: 4 minutes.

George Butterworth was born in London on July 12th 1885 to a well-to-do family. Eton School was followed by university at Trinity College Oxford where he met Vaughan Williams and Cecil Sharp. He taught for a while at Radley studied for a short time at the Royal College of Music then concentrated more or less full time on collecting folk songs sometimes with Vaughan Williams. When the First World War started in 1914 he joined the Durham Light Infantry as a Lieutenant. In the trenches he was mentioned in dispatches for outstanding courage and won the Military Cross. He led a successful raid on August 15th 1916 in the Battle of the Somme but during the raidButterworth was killed by a sniper's bullet.Much of his music is influenced by folk-song. The idyll 'Banks of Green Willow' is one of his best works and perfectly captures the nature of the English countryside. It is almost as if the music occurred naturally and Butterworth just discovered it.This pack comprises one full score string parts 4/4/3/4/2 and any wind brass and percussion parts.Orchestration:2 Flutes 2 Oboes 2 Clarinets in A or Bb 2 Bassoons2 Horns in F Trumpet in Bb Harp Strings (Violin 1 Violin 2 Viola Cello Double Bass)

Piano-scoreFlutePiccoloClarinet 1 in DClarinet 2 in ABassoon 1-2Horn 1-4Trumpet 1-2Trombone 1-2Bass TromboneTimpaniPercussionViolin 1 x 5Violin 2 x 5Viola x 3Cello x 3Double bass x 2

Commissioned for a premiere performance at the Texas Music Educators' Association 2000 convention Joseph Martin's Come to the Music is alive and electric with driving rhythm memorable melodies mixed meter and joyful text. Optional percussion and piccolo accompaniment included at the back of the octavo enhance the medieval dance quality of this exciting piece. Score and parts for flute 1&2 (fl 2 dbl piccolo) oboe clarinet 1&2 bassoon horn 1&2 trumpets 1-3 trombone 1&2 tuba timpani percussion 1-3 harp piano violin 1&2 viola cello double bass.

Flute Oboe Clarinet Contrabass Clarinet or Double Bass Bassoon Horn Trumpet Trombone 2 Violins Viola Cello PercussionFirst performance: Tokyo 1981 Jo Kondo (cond) Musica Practica Ensemble.

Wenn Die Rose Sich Selbst Schmückt Schmückt Sie Auch Den Garten (When The Rose Beautifies Itself It Beautifies The Garden ) was composed by Per Nørgård in 1971. Chamber Cantata for four performers Scored for Soprano Alto Flute Double Bass and Percussion (all playing also Crotales). Composed for and dedicated to Dorothy Dorrow. Parts available: KP01092 Preface / Programme Note The title of the work is borrowed from a fragment by the German poet Friedrich Rückert.This fragment this short sentence (which Rückert apparently neverelaborated upon) is the entire basis of the work. I was inspired by the meaning as well as the sound of these words.I perceive the meaning of the sentence as being a defence for the refinement of an individual’s personal gifts - far from the present hostility toward individuality and the senseless praise of impersonal success in society. Personal refinement can so the fragment in my interpretation at its best be accompanied by a deep sense of responsibility and become an active and positive influence in society.The sound the timbre of the individual words and characters is employed both instraightforward text-sequences as well as in the exploration of individual vowels and consonants as pure sounds. The soprano is often used purely instrumentally echoing and pre-echoing discreetly the notes of the flute and the harmonics of the double bass often imperceptably stealing their notes and altering them into human sounds which then yetagain are absorbed into the instrumental tapestry. Per Nørgård 1971

Octet in F major D 803-Franz Schubert's Octet In F major D 803 for Clarinet (B flat/C) Bassoon Horn (F/C) 2 Violins Viola Violoncello and Double Bass.This composition was modelled on Beethoven?s Septet op. 20 whose Divertimento character and six-part layout were adopted by Schubert although he merely expanded the instrumentation by adding a second Violin.In a letter he numbered his octet amongst the chamber music workswith which he desired to blaze a ?path to the great symphony?. It can no longer be ascertained whether the composition was commissioned by Count Ferdinand Troyer who had a musical salon in Vienna and played the Clarinet. We onlyknow that Schubert composed the work at the beginning of 1824 taking only a few weeks to do so and that it was performed at Troyer?s shortly afterwards. Today it is one of the most popular larger chamber music works.

Karsten Fundal's For A While - Double Concerto for Flute (Bass Flute) and Cor Anglais (2010). Written For Janne Thomsen and Nicholas Daniel. For Århus Symphony Orchestra and Holstebro Klassiske Musikdage.Dedicated to Janne Thomsen. Solo Flute part: WH31225C Solo Cor Anglais: WH31225D Orch. parts are available on hire: hire@ewh.dk