3 Scenes for Mezzo-Soprano Baritone and Orchestra.Published 1973Flute(+Alto Flute) Harp 2 Piano(1st+Cembalo 2nd+Electric Piano) 2 Electric Guitar 4 PercussionLibretto: E.Lutyens.

For organ with 10 percussionists: 1: glk 2: vib 3: ch 4: cel 5: pf 6: 6 plumber pipes 6 bells rattle jangles guiro 7: 3 muted gong rasp 3 sus gong 8: sn dr Chin crash cym sus cym mcas 9: 3 tomt 3 sus gong 10: sus b dr 3 wood dr

 Nomenclature 2 Bassons solo3 Percussionnistes6 Premiers violons6 Seconds violons4 Altos3 Violoncelles2 Contrebasses / Basson Et Orchestre

Par MURAIL TRISTAN. Sables reprend certains des partis pris d'Altitude 8000, en les poussant plus loin: absence d'événements ponctuels (aucun son percussif), continuité extrême (aucun silence, si ce n'est au début de la pièce...). Les notes sont considérées comme de simples 'grains de sable' dont l'accumulation va créer des formes, des 'dunes'. La pièce n'est pas encore véritablement spectrale, mais utilise déjà des phénomènes de résonance naturelle. La note de programme écrite à l'occasion de la création précise: 'Le système harmonique utilise les seuls points de référence objectifs... qui sont les résonances naturelles et le bruit blanc, symbolisé par le cluster. La trame harmonique est en évolution permanente: il n'y a pas à un moment donné 'une harmonie', mais un processus de transformation harmonique qui est en cours... Le parti pris non événementiel entraîne qu'il est impossible de distinguer des parties distinctes. On peut seulement considérer cinq régions séparées par des moments où le (les) processus d'évolution se renverse(nt). Tout est soumis à cette règle: trame harmonique, orchestration, densités, intensités, architecture à un moment donné. Toutefois les processus en cours dans chaque ordre de phénomène ne sont pas nécessairement concomitants, et il existe des processus 'croisés'... Le principe de continuité entraîne une écriture 'microcosmique': les notes n'ont pas d'importance par elles-mêmes. On ne les individualise pas, on entend seulement l'évolution qui résulte de leur présence... Tristan Murail / contemporain / Date parution : 1975-01-01/ Répertoire / Orchestre

E-flat major-Many wholly new corrections in the solo and orchestral parts.Piano reduction with a separate solo part as was customary in Beethoven’s day.With Beethoven’s continuo figures for the first time in a modern edition.Beethoven’s fifth and final Piano Concerto is at the same time the culmination of his efforts in this genre and a reflection of all his artistic skill and expertise. The surviving manuscripts provide a clear insight into his working methods and his intentions regarding the work’s performance.The editor Jonathan Del Mar has closely scrutinised the autograph solo piano part and reproduced Beethoven’ssophisticated performance instructions for the first time in a modern edition. Among other things this has special repercussions for the left-hand figured bass line of the piano part during the tutti passages.As with the Piano Concertos Nos. 1 to 4 the Piano reduction appears with a separate solo part containing all the information needed by the soloist to conduct the ensemble from the Piano.

Christmas Cantata-It was into the shadows and winter of this world that Christ came to bring us the light and warmth of his salvation. The new cantata Winter's Grace from renowned composer Joseph M. Martin celebrates this great light andwashes the sanctuary with the message of hope peace joy and love using a program of candles scriptures prayers and music. The incorporation of familiar carols will engage the listener and ease the learning process. There is a full line of support products available to facilitate your presentation of this dramatic new work including a digital resource kit featuring art work PowerPoint visuals a Bible study practice hints interpretivemovement options plus a unique composer's commentary explaining some of the writer's perspective on the composition of the work. Includes: A Winter's Song Celebration for Advent Hop Peace Joy and Love Carols ofAdoration Let the Earth Resound With Praise! A Silent Holy Night and more. Score and Parts for Flute 1

Poul Ruders STUDIUM: Concerto for 2 percussionsoloists and OrchestraAs indicated in the Latin title STUDIUM this concerto is a study or etude for virtuoso percussion and orchestra and a composer’s studium of the meticulous and patient building up a huge structure based on a very tight and sparse material. The title originally means and undertaking done with ardour and the wish to strive for the highest possible goal a natural aim in any artistic endeavour. The orchestra and the soloists work in a body towards the off-centre placed climax the technical level of the soloists increasing form ensemble status to stupefying virtuosic display whereas the orchestra maintainsits tightly composed surround-sound. What then happens shall remain a surprise.Poul Ruders

player's score-Programme Note TRIBUTE TO BALI is a 5-6 minutes piece for 3 percussionists but also the original version for piano solo under the title ?Many returns to Bali? might be called a percussion piece (the piano being a percussive instrument too at least since Bartok?s ?Allegro Barbaro?) referring in sound and attack to Balinese gamelan music.In gamelan orchestras the fastest layers of music are played by high pitched instruments the slowest layers by instruments with deep octaves. The same idea is present in my piece and gives the music a Balinese touch although no Balinese themes or motifs are used. The motives and rhythms are my own brew especially the snake-like rhythmcalled ?Pischop? which played in many layers at the same time avoids the strong beats in a bar. The music might be described as a ?Tribute to Pischop?. It also refers to my piece ?Returns? for guitar (1976) composed after my first visit to Bali in 1975.The piece was composed as a hommage to the cultural rich civilization of Hindu Bali after the bombings on the island in 2002. Percussionist Jacob Weber has with my accept arranged the original piano piece for percussion trio for his debut in 2005 at the Queens Hall at the Royal Library Copenhagen.Per Nørgård (2005)

Vol. 1-With very few studies existing for the Snare Drum Vingt-Huit Miniatures Études Préparatoires fills a very large gap. Covering many aspects including complex rhythms and ornamentation these studies are essential for percussionists. Vingt-Huit Miniatures Études Préparatoires is compiled by two established and highly accredited musicians. F. Dupin frequent soloist with the Orchestra de Paris and professor at the Conservatoire National Supérieur de Musique de Lyon has had a long partnership with M. Jorand ex-soloist with l'Orchestre Philharmonique de Radio France andprofessor at the Conservatoire National de Région de Montpellier. As percussionists themselves and with much invaluable experience between them Vingt-Huit Miniatures Études Préparatoires for Snare Drum is well-informed and essential to aspiring percussion players.