Filled with surprise and humor any fan of Bugs Bunny will recognize these unforgettable themes! The zany music of the Raymond Scott Quintette originally recorded in the late 1930s was a popular resource for the early Warner Bros. cartoons scored by Carl Stalling.

Concerto for String Orchestra - the magnum opus of Grayna Bacewicz (1909-1969) the outstanding composer and violinist - was composed in 1948 and at once became one of the most frequently performed works of this Polish artist. This masterpieceof neoclassicism fascinates as much by its invention and virtuosic briliance as its harmonious combination of formal elements of a traditional nature with new tonal ideas. The form of the three-movement Concerto oscillates between that of the baroqueconcerto grosso and the early classical sonata cycle. The neoclassical tendency is evident above all in the articulation of the musical structure in keeping with the rigours of periodicity and the manner of developing thematic threads derived fromthem while the concertato character of particular movements and the generally linear texture indicate baroque connections. The first movement (Allegro) - in the form of an early classical sonata allegro - begins with a subject with energeticfigurations emblematic for the whole piece and based on a constant pendulum-like semiquaver movement anchored securely on D. It is precisely because of the nature of this subject that Bacewiczs work has been compared to the Brandenburg Concertosby Jan Sebastian Bach The second movement (Andante) while retaining its concertato charakter is at the same time an example of the composers ability to create emotionally serene lyrical moods and her sense of cantilena derived from the spiritof romantic song (a motto-subject presented at the beginning by cello solo). In this movement it is both the process of evolution and the instrumental colouring which constitute the constructional agents forming here a self-containedvalue. In thethird movement (Vivo) the composer returns to her favourite type of music understood as an expression of pure motion in the form of figural motives with infinite transformational possibilities. The spontaneity of the music the constant mutabilityof the tonal situations and the sophisticated acerbic harmonies - as Witold Lutosawski described them - form a colourful mosaic built in the structural skeleton of a sonata rondo. Concerto for String Orchestra is not only proof of thestylizing tendency of the composer but also of an unerring intuition concerning the technical and expressive possibilities inherent in a string instruments ensemble. [Magorzata Gsiorowska translated by Ewa Cholewka]

The superheroes are back and more popular (and powerful) than ever! Alan Silvestri's theme perfectly portrays the excitement and heroics of the new blockbuster film and Larry Moore brings energy and excitement to this arrangement for string orchestra.

Suite for strings. Par LORD JON. Jon Lord dedicated the Suite for string orchestra to Sir Malcolm Arnold who is portrayed in the first movement. Another two musical pictures (his mother and an old friend) make the study of analogies and contrasts of the persona complete./ Répertoire / Orchestre à Cordes

Composer John Leavitt has adapted this string setting from his notable original work for choir. “The One Who Makes Peace ” the beloved Jewish prayer which served as the text basis conveys the underlying emotion thatmakes this work so passionate and effective. Each section of the orchestra has engaging part writing and a short violin cadenza closes this beautiful concert selection.

Score-The title Gazebo Dances was suggested by the pavilions (often seen on village greens in towns throughout the countryside) where public band concerts are given on summer evenings. The delights of that sort ofentertainment are portrayed in this set of dances which begins with a Rossini-like Overture is followed by a rather peg-legged Waltz a long-lined Adagio and finishes with a bouncy Tarantella.

The melodic excitement verve and stimulating rhythms in Praetorius's music portray the 'Spirit of The Dance' during the 16th and 17th Centuries. It inspired rejoicing jollity and energy. Michael Praetorius was one of a number of 16th and 17th century German musicians to use the latinised form of his name; his real name was Michael Schultz. He was a prolific composer and was much in demand by the nobility of the period to compose for dancing at the courts of Dukes. Terpsichore is the name of the Greek Muse of Dancing and Praetorius used this name as the title of his French Dances commissioned by the Duke of Brunswick and Lueneburg. Some of the tunes were obtained from theFrench Dance Masters and musicians who were in service at the court of the Duke to instruct students in the art of dancing. Other tunes he composed.

From one of the most powerful and successful Broadway musicals in recent years Stephen Schwartz's Wicked features a magnificent array of songs filled with grit as well as humor. One of the show's high points is this upbeat and entertaining production number.

From “The Prince of Egypt” (the Dreamworks animated film of the life of Moses) the majestic and inspirational opening melody gradually builds in intensity and grandeur leading to a simple and lyrical Hebrew prayerthat unfolds into a great choral outpouring of emotion at the final breathtaking chorus. May be performed with piano alone with CD accompaniment or with the full instrumental orchestration – a truly unforgettable concertmoment!