SKU: SU.33000450

2(1) 222; 2200; timp; stgs Duration: 10' Composed: 2003 Published by: Beteca Music Performance materials available on rental only:.

SKU: SU.33000400

2222; 4331; timp, 3 perc, pno/cel. Hp; stgs Duration: 13 ' Composed: 1987 Published by: Beteca Music Performance materials available on rental only:.

SKU: SU.33000200

Instrumentation:2(1) 2(1) 2 2(1); 3331; timp, perc, hp, hpschd; stgs Duration: 23' Composed: 1991 Published by: Beteca Music Performance materials available on rental only:.

SKU: SU.33000320

2(1) 2 2(Eb) 1; 3220; timp, 3 perc, pno; stgs Duration: 7' Composed: 2012 Published by: Beteca Music Performance materials available on rental only:.

SKU: SU.33000610

Facsimile Manuscript PrintOrchestra [2,1 22 2,1; 4331; timp, 3perc, pno; stgs] Duration: 20' Composed: 1973 Published by: Beteca Music Performance materials available on rental:.

SKU: SU.33000500

2(1) 222; 3331; 5 perc, hp; stgs Duration: 18'Composed: 1987 Published by: Beteca Music Performance materials available on rental only:.

SKU: AP.1-ADV6410

UPC: 805095064100. English.

A modern arrangement of Volver with an Afro-Cuban flavor in 6/8 time. The solo violinist is given significant technical and musical challenges throughout.

SKU: AP.12-0571539092

ISBN 9780571539093. English.

These mature and well-crafted pieces for an ensemble of ten players showcase Tom Coult's ear for beguiling, burnished sonorities and his ability to harness the most complex of technical devices to rich emotional ends. Whilst his musical schemas are often audacious and innovative, the security and light touch with which Coult carries them out ensures that his Four Perpetual MotionsM are always as expressive as they are impressive. Coult was one of the winners of the 2012 Royal Philharmonic Society Composition Prize and was consequently commissioned to write this 13-minute work for the Philharmonia's Music of Today Series.

SKU: KN.8462

UPC: 822795084627.

An excellent example of Baroque literature in a non-contrapuntal style, the parts in this setting are technically simple, thereby allowing directors ample time to work on concepts of musicality and interpretation during rehearsals. In his score notes, John also explains that in Handel's day this piece was typically played three times-- strings alone, winds alone, then strings and winds together-- and gives specific suggestions for directors interested in supplementing this edition with wind parts. An optional piano part is provided with each standard string set.