The Mouvements Perpetuels is a short three-movement suite originally composed for solo Piano by the French composer Francis Poulenc premiered in Paris in December 1918 when Poulenc was only19. The suite was an immediate success with public and performers and it remains one of the composer's most popular works.Each of the three pieces in the suite ends inconclusively leaving the music unresolved to lingerin our ears and minds. The suite takes about five minutes in performance. The light-hearted miniature is adapted here for an ensemble of 9 instruments Flute Oboe Clarinet Bassoon Horn Violin Viola Cello C Bass whichgives it more dimension and makes it even more interesting.Francis Poulenc was a French composer and pianist. In his early works Poulenc became known for his high spirits and irreverence. During the 1930sa much more serious side to his nature emerged particularly in the religious music he composed from 1936 onwards which he alternated with his more light-hearted works.

The polish composer Henryk Gorecki born in 1933 readily acknowledges the influence of national religious and folk traditions upon his music including the avant-garde works which made his name in the late 1950s.HisPsalm setting Beatus Vir was composed in 1979 to fulfil a request from Karol Wojtyla the Cardinal of Krakow made shortly before his election as pope. The commission the celebrated 900th anniversary of the martyrdom of St.Stanislaw a bishop of Krakow murdered by the king's henchmen while celebrating Mass.Beatus Vir is dedicated to Pope John Paul II and was premiered in his presence during his first pilgrimage to Poland.

Like Objects in a Dark Room for Orchestra. Composed by Henrik Hellstenius in 2007 revised 2014.

The Bavarian State Library in Munich made a quite sensational discovery in 2007: a previously unknown Lied for Voice (soprano) and Piano by Franz Liszt was found which he had written down himself. The work shows Liszt at hisbest; it was composed in 1843 and dedicated to Count Franz von Pocci from Munich. This was a good enough reason for Henle Publishers to publish the manuscript in the form of a high-quality facsimile which also contains the musicin modern music print and extensive information concerning the fascinating circumstances of its genesis. A true delight for all connoisseurs and lovers of Franz Liszt.

So he too is nothing more than an ordinary man. [...] he will place himself above everyone else and become a tyrant!' is what Beethoven is said to have shouted full of rage when Napoleon had declared himself emperor, and supposedly tore the title page of Symphony No. 3 headed 'Bonaparte' to pieces. Despite his anger, however, the work was again headed 'Bonaparte' when he wanted to publish it in 1804. But it was the first edition of 1806 which finally bore the title of Sinfonia eroica. Symphony No. 3 was Beethoven's first work in which he had come to terms with his progressing deafness and left the boundaries of the musical conventions far behind. / Préface : Max Unger / Partition /

Le Complete Vocal Works Johann Pachelbel est connu aujourd'hui comme un compositeur de musique d'orgue et d'un célèbre canon instrumental qui comporte fréquemment dans les programmes de concert et des catalogues d'enregistrement. Cependant, la même chose peut être dite de seulement quelques-uns de ses compositions vocales. Tout au plus, les motets apparaissent parfois dans la musique d'église répertoire. Les arias de Pachelbel , des concertos vocales et magnificat à grande échelle ont reCu peu d'attention jusqu'à présent .Musiciens d'église et musicologues ont longtemps souhaité une édition critique de ces travaux importants , qui survivent dans le manuscrit de Pachelbel et ont été en grande partie composé de ses principaux lieux de travail , Erfurt et Nuremberg. Comme toujours avec ces entreprises , de nouvelles découvertes sont à prévoir en ce qui concerne le corpus d'oeuvres , du matériel source et le contexte des travaux. Cela concerne non seulement la belle musique, mais plutôt un approfondissement de notre compréhension de Pachelbel comme un personnage clé entre traditions méridionales et centrales allemandes , et la reconnaissance d'une oeuvre qui a tous été trop souvent poussé dans l'ombre par le puissant Bach. / Orchestre

Overture From The Tempest Op.109 No.1 comes from an hour-long score of incidental music for orchestra by Finnish composer Jean Sibelius. In 1925 Sibelius was commissioned by the Danish Royal Theatre to create incidental music for Shakespeare's The Tempest. The resulting 34 miniatures represent Sibelius at his most modernistic and it is both rousing and powerful yet elsewhere light gentle and airy fully reflecting the breadth and depth of Shakespeare’s characters.

Edvard Grieg: Landkjenning (Score). Hellstenius describes his new work, written for the 100th anniversary of the Oslo Philharmonic, a ?compositional interpretation? of Edvard Grieg?s ?Landkjenning? for choir and orchestra with a text by Bjørnstjerne Bjørnson.

When Beethoven received a commission from Vienna’s Burgtheater to compose stage music for Goethe’s tragedy Egmont in 1809 he viewed it as a great honour. The impetus would have been all the stronger sincethe drama about a Dutch nobleman who falls victim to a plot by a Spanish ruler from the outset provided for music at several points. Beethoven repeatedly declared later on that he had received no honorarium from thetheatre’s management but had written the music “solely out of love for the poet”. The overture became separated from the rest of the incidental music very early on; it was separately published and soon performedas a concert piece independent of the stage tragedy. We now issue it as a study score based on the text of the Beethoven Complete Edition and with a new preface.

'Le Voyage Dans La Lune is a continuous orchestral score of approximately 14 minutes comprising two outer fast sections and a slower inner section of a dream-like character. The work is directly inspired by the film Le Voyage Dans La Lune (1902) written and directed by the pioneering French film-maker Georges Méliès. Méliès was influenced by 19th century interests in science and discoveries as well as the science fiction of Jules Verne. At the same time his work seems fantastic surreal and satirical. Some critics point out an underlying critique of colonial adventuring. The plot centres on a group of astronomers who decide tolaunch a rocket to the moon containing a handful of their number. They reach the moon (famously landing on the moon?s face) and then encounter a strange race of aliens whom they battle and destroy. The return to earth involves a dramatic descent a plunge into the ocean and then celebratory dancing. The film inhabits a surreal and dream-like space and uses an idiosyncratic visual language which transforms reality. This inspired an active musical response in my own score which is by turns abrupt smooth lyrical and violent and expresses something of the strange shifting surfaces and multiple and layered tempos evident in the film. The canons in the horns in the first scene reflect the intense arguments of the astronomers as they consider the project. The slower inner section is inspired by the scenes of the industrial City viewed from its rooftops by the astronomers. It also expresses the wonder of the astronomers as they see the earth rise from the perspective of the moon after their arrival there. The music of the final section is in places conflicted reflecting the violent encounters with the moon?s inhabitants. It moves into a more harmonious phase at the close to match the celebrations upon the astronomers? return from their adventuring. The music could be considered to be a surreal mini-opera

An innovative devotional work for full orchestra accompanied by tape cassette (which runs for the duration of the piece). The music is based on the plagal of the fourth Byzantine tone. Large (A3) score. This is a special item which is made to order. Please e-mail our Mail Order Department for further information.

Jean Sibelius completed this work in February 1923 and conducted the premiere in Helsinki on February 19 of that same year. His first reference to the work in 1918 described it as 'wild and passionate in character. Dark with pastoral contrasts. Probably in 4 movements...intensifying in a dark orchestral swell [until] the main theme is drowned.' At the same time he cautioned that his plan could change — and how it did! — 'depending on the way my musical thinking develops. I am always a slave to my themes and obey their demands.'

Orchestration: 3(pic)(2afl).+ pic.3+ca.3+bcl.3+cbn/6.4.4.1/timp.perc/hp/pf/strTHE RAINBOW SNAKE is an Indian legend about how the rainbow came into being. It is said that a snake heard the Indians grieving over a very long drought and the unfruitfulness of the land so it wound itself into a ball and wasthrown high into the air.It unwound itself again and grew longer and longer until b

Une nouvelle version fraîche de l'un des favoris record est maintenant disponible avec ce paramètre créatif de la mousse de John. Son style léger, festive et astucieux flair arrangeur est pop orchestrale écrit à son meilleur. / Orchestre