Composed by John Williams. Arranged by Paul Lavender. For Orchestra (Score). Pop Specials for Strings. Grade 3-4. Softcover. 12 pages. Published by Hal Leonard

Orchestra - Grade 2

SKU: AP.4319

(from Psalm 19). Composed by Benedetto Marcello. Arranged by Vernon Leidig. Full Orchestra; Masterworks; Performance Music Ensemble; Single Titles. Highland/Etling Full Orchestra. Form: March. Baroque; Masterwork Arrangement. Score and Part(s). 104 pages. Highland/Etling #00-4319. Published by Highland/Etling (AP.4319).

UPC: 038081026176. English.

From the masterful pen of Vernon Leidig comes this special orchestration of Marcello's well-known majestic march. Scored with today's multipleability large groups in mind (alternate string and wind parts, etc.), the piece is adaptable to virtually any performance situation, including combined festival orchestra. Your young group will sound full and mature with this excellent arrangement.

Orchestra - Grade 2

SKU: AP.4319S

(from Psalm 19). Composed by Benedetto Marcello. Arranged by Vernon Leidig. Full Orchestra; Masterworks. Highland/Etling Full Orchestra. Baroque; Masterwork Arrangement. Score. 20 pages. Highland/Etling #00-4319S. Published by Highland/Etling (AP.4319S).

UPC: 038081027319. English.

From the masterful pen of Vernon Leidig comes this special orchestration of Marcello's well-known majestic march. Scored with today's multipleability large groups in mind (alternate string and wind parts, etc.), the piece is adaptable to virtually any performance situation, including combined festival orchestra. Your young group will sound full and mature with this excellent arrangement.

For Orchestra. By Wolfgang Amadeus Mozart. (Study Score). Schott. 94 pages. Published by Eulenburg.

By Antonio Carlos Jobim. Edited by Rob Duboff and Jeffrey Sultanof. Arranged by Claus Ogerman. For studio orchestra (English Vocal, Portuguese Vocal, Woodwind 1: Piccolo/Bass Flute (Alto Flute Alt Part)/C Flute, Woodwind 2: Piccolo/Bass Flute (Alto Flute Alt Part)/C Flute/Alto Flute, Woodwind 3: Bass Flute (Alto Flute Alt Part)/C Flute/Alto Flute, Woodwind 4: Bass Flute). Recorded by Antonio Carlos Jobim. Bossa Nova. Medium. Score and parts. Published by Jazz Lines Publications

Composed by John Williams. Arranged by James Kazik. For Orchestra (Score). Pop Specials for Strings. Softcover. 20 pages. Published by Hal Leonard

Orchestra

SKU: HL.14033079

Composed by Per Norgard. Music Sales America. Classical. Score. 164 pages. Music Sales #KP01073. Published by Music Sales (HL.14033079).

ISBN 9788759858332. Danish.

There were wild oatsAnd the soil was blackBut sparkledWhen the sun was outThe air sharp in the nostrilsHard to defineSomewhere between knife and coal andAcid and that special light and sweetWhiteness thornbushes exhaleIt was nothing specialBecause everything was special...Thus the opening line of the poem TERRAINS VAGUES by Klaus Rifbjerg, the Danish Poet. I chose to adopt this title for my orchestral work, because of its closeness in associations: an indeterminable, often polarized, state of rhythmic and tonal ambiguity.The expression seems created by the Franch author, Victor Hugo:And here lies the fascination: in the kinds of terrains vagues, which are simultaniously bizarre and ugly, as if created by two alien species of nature. To watch the suburb is like observing and amphibium: trees vanish, roofs appear, grass vanish, cobble stones appear, ploughing fields vanish, shops appear, beaten tracks vanish - passions appear; the murmur of Nature Divine ends, the noise of Mankind takes over. (Victor Hugo)Still, the atmosphere as well as the material of TERRAINS VAGUES have its origin, in my SYMPHONY NO. 6 (1999), the last minute of which, cut up rough, appears as the start of my new work. The music of TERRAINS VAGUES subdivides itself, without breaks, into three sections, or shades:I: TERRAINS - II: VAGUES (Waves) III: TERRAINS VAGUES.Per Norgard, March 2001.

Orchestra (Study Score)

SKU: HL.50606858

In A Major, Op. 141. Composed by Dmitri Shostakovich. Study Score. Classical. Softcover. Sikorski #SIK2515. Published by Sikorski (HL.50606858).

UPC: 196288194552.

Weakened by a series of chronic illnesses and aware of his impending death, Shostakovich looks back on his life in Symphony No.15 inA major, op.141. The work opens with cheerful reminiscences from his youth, featuring quotations from his early works and allusions to Rossini. But already by the second movement, a funeral march rich with self-quotation, the mood changes. In the cantabile movement which follows, one hears the murmuring ghosts of the past. With echoes of Richard Wagner, the eerie finale ultimately instructs the listener to remain fearful through its crumbling tonality. This volume is part of the revised and corrected new edition of all 15 symphonies by Dmitri Shostakovich published by Boosey & Hawkes and Sikorski as large format study scores for optimal legibility. All scores and the related orchestral parts have been newly computer typeset, and the orchestral parts are also compatible for performance use with scores in “The New Collected Works of DmitriShostakovich”.

Special Import titles are specialty titles that are not generally offered for sale by US based retailers. These items must be obtained from our overseas suppliers. When you order a special import title, it will be shipped from our overseas warehouse. The shipment time will be slower than items shipped directly from our US warehouse and may be subject to delays.

Orchestra - Grade 1.5

SKU: AP.46716

Composed by Doug Spata. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Graduation. Score and Part(s). 124 pages. Highland/Etling #00-46716. Published by Highland/Etling (AP.46716).

UPC: 038081532851. English.

Created with easy notes and rhythms, this regal march in the style of William Walton is playable by beginners for graduation ceremonies. It can also be learned quickly by more advanced ensembles for any concert or special event. The form is modular, so adding cuts and repeats to extend the piece is perfect for timing a procession. Enter the Laureates by Doug Spata is the perfect way to showcase your orchestra at community events!

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score)

SKU: HL.49018099

Boy Soprano, Soprano, Tenor, Flugelhorn, Mixed Chorus, and Chamber Orchestra Study Score. Composed by Harald Weiss. This edition: Paperback/Soft Cover. Sheet music. Study Score. Classical. Softcover. Composed 2008/2009. 188 pages. Duration 100'. Schott Music #ED20619. Published by Schott Music (HL.49018099).

ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.

On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.

Orchestra

SKU: PE.EP68784

In Memoriam. For Large Mixed Ensemble. Composed by Tyshawn Sorey. Edition Peters. Book. 28 pages. Edition Peters #98-EP68784. Published by Edition Peters (PE.EP68784).

ISBN 9790300762302. English.

For Olly Woodrow Wilson, Jr. in memoriam for large mixed ensemble was composed by Tyshawn Sorey on a co-commission from the San Francisco Contemporary Music Players and from Radio France and Ensemble Intercontemporain. Ensemble Intercontemporain recorded the world premiere performance, conducted by Elena Schwarz at the Maison de la Radio et de la Musique, Paris, on February 7, 2021 for a broadcast that March.

Olly Wilson's influence is heard not in the style of the piece, which unfolds slowly and contemplatively over the course of a single 20-minute movement, but in the use of pitch materials borrowed from a pair of Wilson compositions of special importance to Sorey: Akwan and Piece for Four.

Calling for 16 players, including a five-string contrabass, this score is published as part of the Peters Contemporary Library and includes extensive performance instructions. Performance materials are available for rent.

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Marching band - Grade 2

SKU: RM.COCC03061-BA

Composed by Riccardo Cocciante. Arranged by Jerome Naulais. Marching band. Orchestra. Full set. Editions Robert Martin #COCC03061-BA. Published by Editions Robert Martin (RM.COCC03061-BA).

ISBN 9790231030617.

Marching band - Grade 2

SKU: RM.COCC03061-CO

Composed by Riccardo Cocciante. Arranged by Jerome Naulais. Marching band. Orchestra. Conductor's score. Editions Robert Martin #COCC03061-CO. Published by Editions Robert Martin (RM.COCC03061-CO).

Marching band - Grade 2

SKU: RM.COCC03064-CO

Composed by Riccardo Cocciante. Arranged by Jerome Naulais. Marching band. Orchestra. Conductor's score. Editions Robert Martin #COCC03064-CO. Published by Editions Robert Martin (RM.COCC03064-CO).