Orchestra-The Beginning of the Day by Anne Boyd orchestral version. 5'; for orchestra (triple winds). Published 1994. 3(3rd=picc).2.3(3rd=bcl).3(3rd=cbn) / 4.3.3.1 / 3perc / strings

for Orchestra-Avskedsvariationer/Farewell Variations for Orchestra by Britta Byström (2005). Programme Note Farewell Variations sees the careful approach towards Haydn by Britta Byström. Although you have the title reference to the ”Farewell” Symphony Haydn’s Symphony No. 45 Byström’s approximations are being made in a subtle way similar to her free interpretation of literary works. You will not find any direct thematic connections between Byström and Haydn. Byström’s Haydn inspiration comes in form of the various titles which have been given to a lotof Haydn symphonies in the post-Haydn era. Byström wanted to go in sort of an opposite direction: To compose music based on ”Haydnish” symphonic titles. A kind of symphonic Haydn catalogue appears in the movements. Farewell Variations consist of fourteen variations of Byström’s own thematics. The work begins in sighing and broken phrases – like the shadow of a dance. The titles of the variations lead to the description of daily events starting with morning. A day of Haydn! The last variation farewell ends with the musicians playing on by on. As such there is no story but the titles are the main focus here. Byström says that she musically ”tried to capture some of Haydn’s ease and insights”. Tony Lundman           

Uses: General Revival All Saints DayScripture: Deuteronomy 34:1; John 14:2; Revelation 20:12Incorporating memorable moments from many old favorites - I'll Fly Away When the Roll Is Called UpYonder Unclouded Day and The Sweet By and By - this crowd-pleasing gem is easy to learn fun to sing and quite infectious! Each voice part is featured briefly as the various sections describe their own specialcontributions to harmonious choral singing. Hallelujah By and By will bring back pleasant memories of times gone by and will no doubt create some lasting new impressions for the future.

Kongen Af Himmeby-Demo/Utopiaville-Demofor Symphony Orchestra (2009). The Utopiaville-Demo is commissioned by Finn Schumacker for The Odense Symphony Orchestra. Repertoire operas occationally have orchestral suites: Bits and pieces of overture interlude etc. tied up in a bouquet of 'schönste Tränen'. Contemporary opera usually wither after the first season so the focus is on getting people to come and have a sniff before it's too late. Consequently it seemed obvious to me to start making orchestral excerpts from my operas that are meant to be played before the premiere (and after please); I call them 'operatrailers' when they're substantial enough to be considered independent works and 'opera demos' when they're relatively short and more appetizer-ish. The Utopiaville-Demo is a fast-and-furious cinemascope 3D THX-demo for my chamber opera 'The King ofUtopiaville' which is sort of a mix between a reversed revolutionary opera (reversed because it's about a revolutionthat flops) and a rhythm'n blues theatre concert. The opera takes place on the remote tropical island of Honga-Tonga where a mayor form Europe is taking a much needed holiday as far away as possible from his home town Utopiaville. The mayor desperately needs to get away:He has overstepped his authority blatantly and broken every rule of law he felt like in order to create a modern liberalistic society where sanitation medicare hospitals schools the police and all other public institutions are sold to private investors and then leased back by the public - that way noone will ever have to pay taxes because everything finances itself the mayor says and in order to keep reality at a safe distance he drinks massive amounts of insanely expensive french claret all in the best interest of the inhabitants of Utopiaville of course.Honga Tonga can't get any further away from Waikiki Beach: It looks something like the 1933 version of

for orchestra. Par BARRY GERALD. 'The title, No other people., is taken from Raymond Roussel's New Impressions of Africa, a fifty-nine page poem which took him fifteen years to write - a length of time mainly caused by his tortuous compositional methods. In Roussel, sentences are broken down in maze-like ways, often producing others which relate to the sound of the original. I'm not aware of any direct, illustrative connection between the music of No other people. and Roussel's book. But I was very struck by the everydayness of Zo's drawings. There is something poignant in his not knowing what he was illustrating. Like the drawings of a blind person. Their banality takes on a mysteriousness by being placed by Roussel in his book, seeming to illustrate bizarre events unknown to Zo. They are impersonal, the people in them unaware that they lead another life in a poem of which they know nothing. Something of this is in the music.' Gerald Barry, 2009/ Répertoire / Orchestre

Picnic At Hanging Rock (Utflykt til det okända) for Orchestra by Britta Byström (2010). Programme Note ”What we see and what we seem are but a dream a dream within a dream” – These words opens Peter Wier’s film on Joan Lindsay’s novel Picnic at Hanging Rock from 1967. The story takes place on Valentines Day 1900. A group of school girls go on a picnic at Hanging Rock in Australia and get caught up in a volcanic eruption. Three of the girls disappear without a trace – as if they where swallowed up by the mountain.  Inspiredby Peter Weir’s poetic and many layered film I have composed a tone poem – with the emphasis on poem – or poetry – as opposed to programme music. Disappearance is an important motif. The piece is a series of disappearances and transformations – one after another. At the end you can hear how the sound of the orchestra disappears in a swarm of clanging triangles – a way of picturing the girls disappearing into the mountain.  I have tried to catch several other of the characteristics of the film: The school girls in their white dresses the dangerous yet alluring mountain where the watches mysteriously stop at 12 the spell that makes the girls climb higher and higher and – at the end – the unanswered hesitant question: what really did happen?  Britta Byström   

Cantata for Whit Sunday-Cantata for Whit SundayIn 1717 Telemann composed his cantata ?Gott Der Hoffnung Erfülle Euch? for the first day of Whitsun based on a text by Erdmann Neumeister. It forms part of the ?Concerten-Jahrgang? also known as ?Das Harmonische Zion? or ?Italienischer Jahrgang? where all the cantatas are conceived as concertos for vocal and instrumental parts and have been colourfully scored.This particular work includes two Oboes two Corni da Caccia and Strings. Vocal soloists choir and instruments alternate and have equal musical standing in this festive Whitsun cantata which provides a valuable addition to the church service orconcert repertoire.Urtext edition based on ?Georg Philipp Telemann Musical Works?Cantata for the first day of WhitsunIdeal for church services and concertsAn attractive addition to the repertoire with a view to the 250th anniversary of Telemann?s death (2017)Full score & parts (BA5898) and vocal score (BA5898-90) available for sale

For generations the people of the world walked in darkness unable to find their way. They yearned for a king who would lead them. Could This Be the Day? is one of the most memorable moments from Joseph and Pamela Martin'scantata Canticle of Joy and is available here as a separate octavo. Orchestrated by Brant Adams and incorporating “O Come O Come. Emmanuel ” this hauntingly beautiful Advent choral expresses the world's deeplonging and emotional prayers of hope that the Messiah will come.

Jules Vern's popular 1873 adventure novel Around the World in Eighty Days has inspired countless readers as well as two motion pictures. The first of these produced by Michael Todd and released in 1956 featured a score by Victor Young that would earn him his sole Oscar Award (awarded posthumously in 1957) for best motion picture score. This arrangement for concert band by Alfred Reed captures the magical essense of Young's original score. Reed's singular talent for band writing would lead to engagements as staff composer for NBC and ABC television from 1948-1953.

Parts for Handel's anthem for the wedding service of Princess Anne 1734 for SATB soloists with SSAATTBB Chorus and orchestra edited by Donald Burrows.

Symphony No. 1 - Oceanic Days (1995-97) by the Faroese composer Sunleif Rasmussen. In 2002 Rasmussen was awarded the Nordic Council's Music Prize for Symphony No. 1. Parts are available on hire: hire@ewh.dk  

Linz Symphony-Mozart composed the Symphony In C Major K.425 known as the ?Linz Symphony? within a few days in October/early November 1783 in the palace of Count Johann Joseph Anton von Thun-Hohenstein (1711 1798) in Linz where together with Constanze he stayed for three weeks on the way back from a trip to Salzburg. ?On Tuesday the fourth of November? wrote Mozart to his father on 31 October (the day after his arrival in Linz) ?I will be giving a concert in the theatre and since I have no symphony with me I am writing one as fast as I can for it must be ready by then?. Accordingly this work was performed for the first time in the theater inLinz on 4 November 1783.Urtext of the New Mozart EditionFull score and parts (BA4704) and study score format 22.5 x 16.5cm (TP16) available for sale

Linz Symphony-Mozart composed the Symphony In C Major K.425 known as the ?Linz Symphony? within a few days in October/early November 1783 in the palace of Count Johann Joseph Anton von Thun-Hohenstein (1711 1798) in Linz where together with Constanze he stayed for three weeks on the way back from a trip to Salzburg. ?On Tuesday the fourth of November? wrote Mozart to his father on 31 October (the day after his arrival in Linz) ?I will be giving a concert in the theatre and since I have no symphony with me I am writing one as fast as I can for it must be ready by then?. Accordingly this work was performed for the first time in the theater inLinz on 4 November 1783.Urtext of the New Mozart EditionFull score and parts (BA4704) and study score format 22.5 x 16.5cm (TP16) available for sale

Linz Symphony-Mozart composed the Symphony In C Major K.425 known as the ?Linz Symphony? within a few days in October/early November 1783 in the palace of Count Johann Joseph Anton von Thun-Hohenstein (1711 1798) in Linz where together with Constanze he stayed for three weeks on the way back from a trip to Salzburg. ?On Tuesday the fourth of November? wrote Mozart to his father on 31 October (the day after his arrival in Linz) ?I will be giving a concert in the theatre and since I have no symphony with me I am writing one as fast as I can for it must be ready by then?. Accordingly this work was performed for the first time in the theater inLinz on 4 November 1783.Urtext of the New Mozart EditionFull score and parts (BA4704) and study score format 22.5 x 16.5cm (TP16) available for sale

Fanfarer-Danmarks Radio for Orchestra BVN 351 was composed by Rued Langgaard in 1948. Instrumentation: 3.2.2.2/4.3.3.1/timp/2 perc/org/str. Parts are available on hire: hire@ewh.dk This extremely short orchestral piece was composed 7 May1948 in Ribe. Exactly between 5:45 and 6:45 in the morning(“normal time”). Rued Langgaard indicates the time of dayin both the sketch for the composition and the fair copy of thescore. Fair-copying of the score took place on 10 May 4:30 to6:00 in the morning (“summertime”) after it should be noted Langgaard had taken his obligatory morning constitutional inRibe (he suffered from insomnia and arose in the early morninghours). After the work’s final measure Langgaard wrote:“Short razor-sharp line of thought in music excluding allextraneous ‘developmental’ fussiness and with lightning fastmovement in all the parts”. The same day 10 May he sent thescore as program suggestion to the State Broadcasting Servicein Copenhagen under the title Denmark’s Radio Fandfare forGrand Orchestra – “fandfare” as a sarcastically meant spellingmistake with an allusion to “the Devil” (fanden = the Devil inDanish). Langgaard had as is known an ambivalent relationshipwith the State Broadcasting Service. The work was not acceptedand the score was therefore returned to Langgaard whonevertheless submitted it again. The State Broadcasting Serviceclearly regarded the piece as a joke from the composer’s side.When Langgaard died in 1952 the unperformed score was tobe found in broadcasting corporation’s music