SKU: HL.48024880

ISBN 9781784545154. UPC: 840126918670. 7.25x10.25x0.319 inches.

This publication presents under one cover various short works for sundry orchestral scorings. Larghetto for Orchestra is MacMillan's orchestration (2017) of his celebrated Miserere for a cappella mixed choir (2009), a setting in Latin of Psalm 51, 'Have mercy upon me, O God, according to thy great mercy', the penitential text famously set in the 17th century by Gregorio Allegri. The Larghetto orchestration was commissioned by the Pittsburgh Symphony Orchestra in celebration of Manfred Honeck's 10th Anniversary as Music Director. Memoire imperiale is one of a number of variations on General John Reids march tune Old Gaul commissioned from Scottish composers to mark the centenary in 1994 of the Faculty of Music at Edinburgh University. The Faculty was established following a bequest by General Reid (1721-1807), a former law student at the University and a renowned flute player and composer of marches for the BritishArmy, and he asked that an annual concert be organised at which one or more of his compositions be played. Composed in 2012 for the Britten Sinfonia, One is a monody in which a single line is passed around the instruments, painting it with different colours as it emerges and develops. Lasting only a few minutes, its singularity is maintained until blossoming in the lastfew bars. For Sonny (2011, orch 2013) and Ein Lamplein verlosch (2018, orch 2019) are short, private memorial tributes originally for string quartet and here rescored for string orchestra. Hirta was composed in 2016 as part of Deccas The Lost Songs of St Kilda project. Nearly a century ago, the last 36 residents were evacuated from the most remote part of the British Isles, St Kilda, an isolated archipelago off the beautiful and rugged western coast of Scotland. After 86 years, the music of St Kilda was rediscovered, recorded in a Scottish care home by Trevor Morrison, an elderly man who had been taught piano by an inhabitant of St Kilda. The songs were 'reimagined' for the Decca album by various.

SKU: PR.41641576L

UPC: 680160636549. 11 x 17 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

SKU: AP.50831

ISBN 9781470666194. UPC: 038081584805. English.

Fury, by Chris M. Bernotas, is an exhilarating piece that will excite and energize your intermediate string orchestra. It features angular rhythms, strong melodic lines for all, and intense energy that will keep students on the edge of their seats. Whether played at a contest, as a concert opener or closer, this piece will leave a lasting impression. (2:35) Correlates to Sound Innovations, Book 1, Level 4.

SKU: BT.ALHE31215

French.

This edition of Les Biches by Francis Poulenc features the score for the whole Orchestra. Initially written as Ballet, it was revised as a suite for Orchestra in the 1940s. This piece has a light style, considered _x001A_beautiful andmelancholic_x001A_ by Jean Cocteau. Lasting 15 minutes 30 seconds, it is divided into five parts: 1. Rondeau 2. Adagietto 3. Rag-Mazurka 4. Andantino 5. Finale Francis Poulenc is French composer and pianist. He also producedPiano and Chamber pieces, Operas, ballets as well as some Orchestral works.

SKU: FG.706334-27-1

ISBN 979-0-706334-27-1.

A commission from the Finnish Radio Symphony Orchestra completed in 2003 and premiered in December 2004. This is music constructed in broad arches culminating in shamanistic rhythms in the closing movement. Lasting 40 minutes, it is Vuori's biggest work and rests on two simple kernels. In his striving to develop his material he confesses to be a Sibelian symphonist.

SKU: CL.CTS-7867-01

One of Claude T. Smith's last completed works, Raise Your Voice in Song was commissioned by the Nebraska Music Educators Association for the 50th Anniversary on NMEA! It was written for the 1986 All-State Band, Choir and Orchestra for their combined performance on November 22, 1986 in Hastings, NE. This majestic work lends itself as a finale, for full orchestra, or a combined performance with choir. There are two sets of lyrics (secular and Christmas).

SKU: HL.14019145

ISBN 9788759860625. 12.0x16.5x0.436 inches. English.

This work was written with a mix between computer technology and the more traditional orchestra, the piece was composed in such a way that it would support its own acoustics. Lindberg worked with amplification of instruments and electronically transformed sounds thus producing greater possibilities to abandon acoustic limits. In order for the piece to be supported by it's own acoustics, the piece had to be written in terms of foreground and background harmony, every foreground chord would always have it's background, a shadow existing without it's main chord. Another theme to the piece is that of textural motion as rapid gestures and motions are a big part of the composer's interest. Static repitions seemed to limit the piece however so they were compensated for on another level, so with a repetitive rhythmic pattern, the harmonic material changes rapidly or when a chain of chords is static the rhythmic and timbral qualities vary frequently. Work for orchestra commissioned by the Finnish Broadcasting Company.

SKU: BT.MUSM570200047

English.

For Orchestra (triple winds). Published in 1988. 3(3rd+picc).3(3rd+ca).3(3rd+Ebcl).3(3rd+cbn) / 4.4.3(2T,1B).1 / hp.4perc / str Commissioned by the Australian Broadcasting Commission. First performance: Sydney Symphony Orchestra conducted by Stuart Challender, Sydney Opera House, 24th May 1989. Score.

SKU: HL.14043674

ISBN 9781783054725. 12.25x16.75x0.9 inches.

Phaedra by German composer Hans Werner Henze is a 'concert opera' in two acts whose first performance was given at the Berlin State Opera in 2007. Phaedra was Henze 's penultimate opera, and this item presents the full score, with the entire work lasting around 75 minutes. Featuring a unique libretto by Christian Lehnert and sound effects by Francesco Antonioni, this opera presents the wonderful story of Phaedra, filled with drama and fantastic music. This Full Score  presents the work in German and English language, and features detailed instructions for the supplied CD, on which some sound effects are included that are to be used in conjunction with the instruments. Phaedrawas co-commissioned and co-produced by Staatsoper Unter den Linden Berlin, Berliner Festspiele, Theatre de la Monnaie Brussels, Alte Oper Frankfurt and Wiener Festwochen. Hans Werner Henze  was a hugely prolific composer who drew influences from a wide number of sources. Phaedra is regarded as among his greatest works and would certainly make for a stunning performance.

SKU: FG.042-08325-3

ISBN 979-0-042-08325-3.

Merikanto completed the third and final version of Pan in 1924, having destroyed the earlier versions in fits of self-criticism. Its music is full of life, sprouting new impulses and possibilities, but there are also opposite forces at work, arresting the flow and nurturing meditative concen!tration.

SKU: PO.PEL27S

ISBN 9781877564420.

From the compulsive unfurling of the opening movement, the choppiness of the second, the curvaceous swell of the third and the upward cresting of the fourth, we experience in Lilburn's music for Allen Curnow's Landfall in Unknown Seas a life-affirming endeavour. The work touches both the heart and the mind and was a much-needed tonic for New Zealand wartime audiences.