SKU: BA.BA07894-65
ISBN 9790006562558. 32.5 x 25.5 cm inches.
In the style of commedia dell'arteIn 1918 Gabriel Faure, then 73 years old, received a commission from Prince Albert I of Monaco to write stage music invoking the atmosphere of the commedia dell'arte.The four-movement orchestral suite op. 112, consisting of Ouverture, Menuet, Gavotte and Pastorale, combines previously unpublished parts of this stage music. The Pastorale of 1919 was Faure's last composition for orchestra, the Ouverture originated in a piece of 1864 for piano duet and the original version of the Gavotte was written for piano as early as 1869. The op. 112 orchestral suite demonstrates how the composer, now older and more experienced, reworked and improved his earlier music.This scholarly-critical edition of the four-movement Masques et Bergamasques op. 112 is based on Gabriel Faure The Complete Works, Volume IV/2.
About Barenreiter Urtext Orchestral Parts
Why musicians love to play from Bärenreiter Urtext Orchestral Parts
- Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
SKU: CF.YPS203
ISBN 9781491152232. UPC: 680160909735. Key: D minor.
Imagine Bach trying to compose in his studio while being pestered by a spider! Arachnophobia and Fugue exposes students to the Baroque style of music using dramatic contrasts, light articulation, chorale-style sections, and multiple references to Bach's works. The spider is represented by the xylophone and/or marimba supported by the flutes. As a humorous bonus, auxiliary percussion includes rolled-up newspapers to swat the pesky spider throughout the piece.Good music played well inspires the imagination. Imagine Bach trying to compose in his studio while being pestered by a spider! First and foremost this is educational music exposing kids to the Baroque style of music. Dramatic dynamic contrasts, light articulation, chorale-style, and multiple references to Bach’s works form the basis for the work. Toccata and Fugue in D Minor, Sleepers Wake, Little Fugue in G Minor, Sheep May Safely Graze, Dies Irae, and Come Sweet Death are the basis for this look into an imaginary situation with the Great Baroque Master. The spider is represented by either a solo xylophone or multiple xylophones and/or marimba (supported by the flutes.) As a humorous bonus auxiliary percussion use rolled up newspapers to swat the pesky spider throughout the piece in rhythm with the music.
SKU: BA.BA07590-65
ISBN 9790006541607. 32.5 x 25.5 cm inches. Preface: Marco Uvietta.
For this scholarly-critical edition, the editor has consulted no less than 16 sources, many more than were ever used for any other edition of the Requiem; some of these sources were never evaluated before and one source, a hand-written vocal score, particularly relevant to the evaluation of the Liber scriptus, was newly discovered.As such, this edition offers new philological and editorial decisions regarding phrasing, articulation and dynamics and succeeds in presenting practical suggestions to solve musical problems and those concerning the interpretation of this famous work.This edition comprises a concise Critical Commentary in the score as well as a detailed one on the Barenreiter website. The most important editions published in the 19th century are compared with regard to musicological questions in the work. The genesis of some misunderstandings included in the 1913 and 1964 Ricordi editions is traced. The first version of the Liber scriptus for chorus is included in the appendix while the later version for mezzosoprano solo is to be found in the main part of the edition.
SKU: BA.BA05364-65
ISBN 9790006469437. 32.5 x 25.5 cm inches. Key: D major.
SKU: CF.YPS241
ISBN 9781491159651. UPC: 680160918249.
PROGRAM NOTES Heartbreak Trail describes the forced relocation of approximately 100,000 Native Americans in the 1830s. Known as the Trail of Tears, thousands lost their lives during the march, and it is remembered today as a great human-rights atrocity and a shameful period in American history. The opening A-section captures the sadness of those in the five tribes who were forced from their homeland. The fast B-section represents the determination to survive the long, difficult trek. Although there were many obstacles, thousands did survive, but a dark A-section returns to depict the loss of homeland, fellow tribe members, and a depression over the new lack of freedom. PERFORMANCE NOTES The opening should be at a moderate pace and section entrances should be balanced at mezzo piano. In m. 12 have the woodwinds play out their melodic material. In m. 20 the brass should pick up the same volume level as did the woodwinds previously. Measure 27 should die away from what was, and then a sudden change in volume, and mood at m. 31. The entire B-section should be bold, with attention paid to the many accents. (Before working the B-section, an explanation of the difference in accents will probably aid in accuracy.) Measures 37 and 41 have the timpanist and tom-tom player play a very strong forte with attention to the accents. Measures 51 to 52 work a strong quick crescendo to fortissimo. This should set up the tutti forte at m. 53. In m. 61 start a gradual diminuendo to the return of the A-section at m. 68. Explain how to execute the staggered breathing for the flutes, tenor sax and trombone starting at m. 73. Although the final percussion from m. 73 to the end is soft and fading, make sure the final sleigh bell sounds are heard clearly. PROGRAM NOTESHeartbreak Trail describes the forced relocation of approximately 100,000 Native Americans in the 1830s. Known as the Trail of Tears, thousands lost their lives during the march, and it is remembered today as a great human-rights atrocity and a shameful period in American history. The opening A-section captures the sadness of those in the five tribes who were forced from their homeland. The fast B-section represents the determination to survive the long, difficult trek.Although there were many obstacles, thousands did survive, but a dark A-section returns to depict the loss of homeland, fellow tribe members, and a depression over the new lack of freedom.PERFORMANCE NOTESThe opening should be at a moderate pace and section entrances should be balanced at mezzo piano. In m. 12 have the woodwinds play out their melodic material. In m. 20 the brass should pick up the same volume level as did the woodwinds previously. Measure 27 should die away from what was, and then a sudden change in volume, and mood at m. 31. The entire B-section should be bold, with attention paid to the many accents. (Before working the B-section, an explanation of the difference in accents will probably aid in accuracy.) Measures 37 and 41 have the timpanist and tom-tom player play a very strong forte with attention to the accents. Measures 51 to 52 work a strong quick crescendo to fortissimo. This should set up the tutti forte at m. 53. In m. 61 start a gradual diminuendo to the return of the A-section at m. 68. Explain how to execute the staggered breathing for the flutes, tenor sax and trombone starting at m. 73. Although the final percussion from m. 73 to the end is soft and fading, make sure the final sleigh bell sounds are heard clearly.
SKU: CF.YPS222
ISBN 9781491156629. UPC: 680160915163. 9 x 12 inches.
Written in an upbeat Latin rhythmic form, Chips, and Salsa, Too begins with percussion under a nice rhythmic motif in the winds. A tuneful minor melody in the clarinets, well below the break, continues above this Latin groove after the intro. The tubas (and cross-cued for euphoniums and bass clarinets) and flutes have a melody together beginning in m. 43, and the rest of the band is gradually layered in the mix until everybody is contributing to the mix. Latin rhythms, featured percussion, and lots of nice melodies for the winds makes this a piece your students and audiences will love! Pay careful attention to the articulation because without it you will lose the rhythmic feel. The tempo is marked quarter=152, but you can play it faster if you like. Too slow, and you can't dance to it! The syncopated rhythms are infectious and you will be surprised at how quickly your band catches on. The ranges are perfect for young players and there are plenty of doublings to assist smaller bands. Use as many percussionists as possible, but insist they groove together and don't cover up the winds. Remember, it's a dance. Have fun! Kiefer.ed@gmail.com Facebook: The Music of Ed Kiefer.Written in an upbeat Latin rhythmic form, Chips, and Salsa, Too begins with percussion under a nice rhythmic motif in the winds. A tuneful minor melody in the clarinets, well below the break, continues above this Latin groove after the intro. The tubas (and cross-cued for euphoniums and bass clarinets) and flutes have a melody together beginning in m. 43, and the rest of the band is gradually layered in the mix until everybody is contributing to the mix.Latin rhythms, featured percussion, and lots of nice melodies for the winds makes this a piece your students and audiences will love!Pay careful attention to the articulation because without it you will lose the rhythmic feel. The tempo is marked quarter=152, but you can play it faster if you like. Too slow, and you can’t dance to it! The syncopated rhythms are infectious and you will be surprised at how quickly your band catches on. The ranges are perfect for young players and there are plenty of doublings to assist smaller bands. Use as many percussionists as possible, but insist they groove together and don’t cover up the winds. Remember, it’s a dance. Have fun!Kiefer.ed@gmail.comFacebook: The Music of Ed Kiefer.
SKU: CF.YPS253
ISBN 9781491161364. UPC: 680160919956.
A brief introduction sets the mood for this hauntingly beautiful piece. As gentle breezes begin to blow on the surface, the clouds above begin appear in an array of different formations. The clouds float slowly from east to west, as if in an Impressionistic painting. This is one of nature's beautiful settings, and one can seemingly follow the clouds for hours. From a young player's vantage point they must confidently play the intentional dissonance on the third beat of measures 10, 14, 42 and 46. Once they get used to the sound it should become an enjoyable dissonance. In measures 25 to 27, balance the flutes and clarinets so the volume level is consistent between both parts. In general, the piece should be performed at a very relaxed pace, but a disciplined steady beat will be necessary to keep the sixteenth notes even and relaxed at measures 29 through 34. The final chord is a Bb major 7, and the clarinets and alto saxes should be equal in volume before the gradual fade.A brief introduction sets the mood for this hauntingly beautiful piece. As gentle breezes begin to blow on the surface, the clouds above begin appear in an array of different formations. The clouds float slowly from east to west, as if in an Impressionistic painting. This is one of nature's beautiful settings, and one can seemingly follow the clouds for hours.From a young player's vantage point they must confidently play the intentional dissonance on the third beat of measures 10, 14, 42 and 46. Once they get used to the sound it should become an “enjoyable dissonance.” In measures 25 to 27, balance the flutes and clarinets so the volume level is consistent between both parts. In general, the piece should be performed at a very relaxed pace, but a disciplined steady beat will be necessary to keep the sixteenth notes even and relaxed at measures 29 through 34. The final chord is a Bb major 7, and the clarinets and alto saxes should be equal in volume before the gradual fade.
SKU: BA.BA10418-65
ISBN 9790006564705. 32.5 x 25.5 cm inches. Key: G major.
SKU: BA.BA08834-65
ISBN 9790006567256. 32.5 x 25.5 cm inches.
SKU: BA.BA07895-65
ISBN 9790006562572. 32.5 x 25.5 cm inches.
Incidental music with the famous SicilienneFaure wrote Pelleas et Melisande in 1898 originally as incidental music to Maurice Maeterlinck's like-named play. After the premiere and subsequent performances, he set about reworking the musical material into an orchestral suite. The premiere of the originally three-movement suite took place in February 1901 under the baton of Camille Chevillard.In December 1912, the four-movement version of Pelleas et Melisande was finally premiered. The additional movement, the Sicilienne, was taken from the third interlude of the incidental music. This delightful piece would later become one of Faure's most popular compositions and now exists in countless arrangements.BA$?renreiter's new scholarly-critical edition of the four-movement orchestral suite Pelleas et Melisande op. 80 is based on Gabriel Faure The Complete Works, Volume IV/2 which appeared in 2016.* First Urtext edition * Based on Gabriel Faure The Complete Works* Score and orchestral parts in a large format (25.5 x 32.5 cm).
SKU: CF.YPS256
ISBN 9781491161586. UPC: 680160920259.
This setting of the beautiful holiday song is accessible for very young bands. All melody sections are in comfortable ranges and the background parts are very interesting and yet, not difficult. All instruments get the melody at some point. Written in bridge form, it begins softly, with soft sleigh bells and clarinets below the break, adding flutes, then brass, then building to a minor section and a very short percussion feature. The section at m. 61 features bell tones under the melody and definitely will put the listener in the holiday spirit! The piece then slowly decrescendos back from where it came, to clarinets in the low register and soft sleigh bells. A good opportunity to teach the students about bridge form. Be sure to keep the same tempo throughout, and although you will want to start softly, keep enough air moving to have good tones in the beginning and closing sections. Time spent on the fp bell tones will really make this setting sparkle! Lots of percussion, but feel free to add more if you need to keep everyone participating. It can also be performed with just a few percussionists, but make sure you cover the sleigh bell part!.This setting of the beautiful holiday song is accessible for very young bands. All melody sections are in comfortable ranges and the background parts are very interesting and yet, not difficult. All instruments get the melody at some point. Written in bridge form, it begins softly, with soft sleigh bells and clarinets below the break, adding flutes, then brass, then building to a minor section and a very short percussion feature. The section at m. 61 features bell tones under the melody and definitely will put the listener in the holiday spirit! The piece then slowly decrescendos back from where it came, to clarinets in the low register and soft sleigh bells. A good opportunity to teach the students about bridge form.Be sure to keep the same tempo throughout, and although you will want to start softly, keep enough air moving to have good tones in the beginning and closing sections. Time spent on the fp bell tones will really make this setting sparkle! Lots of percussion, but feel free to add more if you need to keep everyone participating. It can also be performed with just a few percussionists, but make sure you cover the sleigh bell part!
SKU: HL.49044665
ISBN 9790001200103. UPC: 841886022928. 9.0x12.0x0.213 inches.
This 'Suite' is not one of my 'epic' instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom.Almost every individual movement allots the solo flute a specific tonal colouring and an instrumental group from the orchestra: in the opening Allemande, the flutes of the orchestra (including alto and bass flute and later also piccolo to include the entire flute family); the string section in the Sarabande; in both chorales (extremely muted in the first and brutalist in the second), the brass etc.; and it is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously.This permits the flute to remain the provider of all impulses; it attaches itself to the wide variety of instrumental colours, becomes suffused with these colours and thereby shines in different lights - acerbic, pale and radiant. This first performance marks the conclusion of my two-year residence with the Cleveland Orchestra. The immense versatility of this fine body of sound (which is indeed treated as such with the sum of its parts) and the exciting dark timbre of its principal flautist Joshua Smith have to a great extent determined the form and tonal character of my Flute en suite. Jorg WidmannThis 'Suite' is not one of my 'epic' instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom.Every individual movement allots the solo flute an instrumental group from the orchestra: in the opening Allemande, the flutes of the orchestra; the string section in the Sarabande; in both chorales the brass etc.; and it is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously.This first performance marks the conclusion of my two-year residence with the Cleveland Orchestra. The immense versatility of this fine body of sound and the exciting dark timbre of its principal flautist Joshua Smith have to a great extent determined the form and tonal character of my Flute en suite. Jorg Widmann3 (2. auch Altfl., 3. auch Bassfl., alle auch Picc.) * 3 (2. auch Ob. d'am., 3. auch Engl. Hr.) * 0 * 3 (3. auch Kfg.) - 4 * 4 * 3 * 1 - S. (Glsp. * Vibr. * 3 hg. Beck. [h./m./t.] * chin. Beck. * 4 Gongs * 4 Buckelgongs * 2 Tamt. [m./t.] * Wassertamt. * gr. Tr. * Metal Chimes * Peitsche) (2 Spieler) - Hfe. * Cel. (auch Cemb.) - Str. (10 * 8 * 6 * 4 * 3).
SKU: BA.BA08966-65
ISBN 9790006563982. 32.5 x 25.5 cm inches.
Sacred works occupy a large part of Charles Gounod's oeuvre. It was the Messe solennelle en l'honneur de Sainte Cecile that established his fame as a church composer. Its melodic invention and effective handling of the orchestra reveal a close proximity to opera. This Urtext edition is based not only on the original print of 1856 but also on copyists' manuscripts and autograph sources. Rounding off this well-researched Urtext edition are an informative Introduction and a detailed Critical Commentary. The edition is being published to celebrate the 200th anniversary of Gounod's birth.
SKU: BA.BA05781-65
ISBN 9790006473519. 32.5 x 25.5 cm inches.
SKU: PR.416415010
UPC: 680160619306. 9 x 12 inches.
Piccolo, 2 Flutes, 2 Oboes, English Horn, 2 Clarinets in Bb, Bass Clarinet, 2 Bassoons, 4 Horns in F, 3 Trumpets in C, 2 Trombones, Bass Trombone, Tuba, Timpani, 4 Percussion: Glockenspiel, Vibraphone, Xylophone, Bass Drum, Cabasa, Cymbals, Daf, Guiro, Sleigh Bells, Snare Drum, Tambourine, Tam-Tam, Triangle, Wood Blocks, Celesta, Harp, Solo Piano, Strings.
SKU: HL.288112
Andalag # 2 - Duo for two Flutes (2011). Part of Andalag - Suite in 11 movements. Programme note: Some years ago I was asked by the Faroese ensemble Aldubaran to compose duets for the woodwinds within the ensemble. The idea then came to me to write a Suite with the name Andalag in 11 movements. 8 movements are duets and are approximately 4 min. long. 2 movements are quartets and are approximately 8 min. long, and 1 movement is an octet which is approximately 16 min. long. In other words, the Suite will last approximately 60 min. The (octet) instrumentation is 2 flutes, 2 clarinets, 2 horns and 2 bassoons. The Faroese word andalag has a multilayerd meaning. The first half of the word is anda and means to breath or spirit, and the second half of the word lag means melodi, mood or layer. I use two small ideas in this Suite. One idea is in a sort of major mood and the other in a sort of minor mood. Sunleif Rasmussen, May 2013.
SKU: CF.W2651
ISBN 9780825885273. UPC: 798408085278. 9 x 12 inches.
Written for master flutist Robert Dick, Pan Penseroso includes a number of procedures explored in his pioneering book The Other Flute: A Performance Manual of Contemporary Techniques. Originally written for one flute, Bresnick created a two-flute version in order to make the piece accessible to a greater variety of players. This work is presented in three movements, each of which takes their titles from John Milton's poem Il Penseroso (The Contemplative Man). The music aligns itself with this response to the poets earlier L'Allegro (The Cheerful Man). Orchestra version available on rental. Duration: 24'.Pan Penseroso (2009) is a concerto for flute or two flutes and orchestra or piano inthree movements:1. The Noise of Folly2. Prophetic Strain3. More is Meant (Than Meets the Ear)Pan Penseroso and the titles of its three movements are taken from John Milton’s great poemIl Penseroso (The Contemplative Man). The music aligns itself with this response to the poet’searlier L’Allegro (the Cheerful Man). In my concerto the flutist Pan, like the mature Milton,casts a reflective musical eye on the world, renouncing all “vain deluding joyes,” so as tobetter hear the “Sweet Bird that shunn’st the noise of folly…”Written for the master flutist Robert Dick, Pan Penseroso includes a number of proceduresexplored in.
SKU: BA.BA10402-65
ISBN 9790260108233. 32.5 x 25.5 cm inches. Key: G minor.
SKU: PR.41641386L
UPC: 680160607921.
Piccolo, 2 Flutes, 2 Oboes, English Horn, 3 Clarinets in Bb, Bass Clarinet, 2 Bassoons, Contrabassoon, 4 Horns in F, 4 Trumpets in C, 2 Trombones, Bass Trombone, Tuba, Timpani, 3 Percussion, Piano/Celesta, Harp, Strings.
SKU: BA.BA04718-65
ISBN 9790006453931. 32.5 x 25.5 cm inches. Key: A major.
SKU: PR.41641485L
UPC: 680160616244.
3 Flutes (3rd double Piccolo), 3 Oboes (3rd double English Horn), 3 Clarinets (3rd double Bass Clarinet), 2 Bassoons, Contrabassoon, 4 Horns in F, 3 Trumpets in Bb, 2 Trombones, Bass Trombone, Tuba, Timpani, 3 Percussion, I: Burmese Hand Gong, Glockenspiel, Sus. Cymbal, Xylophone, Chimes, II: Tam-tam, Large Sus. Cymbal, 4 Tom-toms, 4 Wood Blocks, III: Large Triangle, Bass Drum, Strings.
SKU: PR.416414850
UPC: 680160616237.
SKU: PR.416413860
UPC: 680160607914.
SKU: PR.41641501L
UPC: 680160619313. 11 x 17 inches.
SKU: BA.BA05646-65
ISBN 9790006499199. 32.5 x 25.5 cm inches. Key: C major.
SKU: BA.BA10401-65
ISBN 9790260108172. 32.5 x 25.5 cm inches. Key: D major.
SKU: CF.SPS94
ISBN 9781491161449. UPC: 680160920037.
On November 5th, 2017, a mass shooting took place at the First Baptist Church in Sutherland Springs, Texas. Twenty-six innocent people lost their lives that day, including an unborn child. Overture to a Small Town is dedicated to these victims and the loved ones they left behind. From the biggest cities to the smallest towns, the senseless bloodshed must end. Despite the darkness of this tragedy, it is my intent through this music to portray a sense of hope, dignity, and innocence deserved by all America's cities and towns. The opening moments of this piece should be treated delicately, ensuring that the brass section moves together in one unified voice, and that the crotales evoke distant flickers of light. Similarly, in mm. 120-127, articulations in the flutes, trumpets and mallets should be strong enough to be heard, but without being aggressive. The textural layering in mm. 48-53 should be executed with machine-like precision of both rhythm and articulation. This passage should evoke the sound of many voices rising together. There should be a great contrast between the opening Piano dynamic and the final Forte dynamic. In mm. 65-69, both mallet percussionists may play the indicated notes in any octave they choose. Both players should move rapidly between notes in any order. This passage should sound fluid and ethereal. In mm. 69-73: If there is no English Horn available to the ensemble, the Trumpet should play this passage solo. If there is an English Horn, both instruments should play the passage together. This impressionistic composition about these vanished structures, although written for more advanced ensembles, has only one flute, clarinet, trumpet, horn and trombone part. As a result, smaller bands can play this composition without having to look for a flex-band arrangement. Use this to develop the essential skills of syncopation and counting while also offering the security of only having one part for each instrument voice. An exciting contrasting selection for bands looking for a harmonically interesting composition, this also works well as a contest selection. .On November 5th, 2017, a mass shooting took place at the First Baptist Church in Sutherland Springs, Texas. Twenty-six innocent people lost their lives that day, including an unborn child. Overture to a Small Town is dedicated to these victims and the loved ones they left behind. From the biggest cities to the smallest towns, the senseless bloodshed must end. Despite the darkness of this tragedy, it is my intent through this music to portray a sense of hope, dignity, and innocence deserved by all America’s cities and towns. The opening moments of this piece should be treated delicately, ensuring that the brass section moves together in one unified voice, and that the crotales evoke distant flickers of light. Similarly, in mm. 120-127, articulations in the flutes, trumpets and mallets should be strong enough to be heard, but without being aggressive. The textural layering in mm. 48-53 should be executed with machine-like precision of both rhythm and articulation. This passage should evoke the sound of many voices rising together. There should be a great contrast between the opening Piano dynamic and the final Forte dynamic. In mm. 65-69, both mallet percussionists may play the indicated notes in any octave they choose. Both players should move rapidly between notes in any order. This passage should sound fluid and ethereal. In mm. 69-73: If there is no English Horn available to the ensemble, the Trumpet should play this passage solo. If there is an English Horn, both instruments should play the passage together.This impressionistic composition about these vanished structures, although written for more advanced ensembles, has only one flute, clarinet, trumpet, horn and trombone part. As a result, smaller bands can play this composition without having to look for a flex-band arrangement. Use this to develop the essential skills of syncopation and counting while also offering the security of only having one part for each instrument voice. An exciting contrasting selection for bands looking for a harmonically interesting composition, this also works well as a contest selection. .
SKU: BA.BA04201-65
ISBN 9790006444816. 32.5 x 25.5 cm inches. Key: B-flat major.
SKU: HL.14027993
ISBN 9788759811832. English.
Premiered at the festival 'Magma Berlin 2002' by the Berlin Philharmonic Orchestra, conducted by David Robertson, 29th November 2002.3 Flutes, 1st and 2nd also Alto Flutes in G, 3rd also Piccolo3 Oboes, 3rd also Cor Anglais in F3 Clarinets in Bb, 3rd also Bass Clarinet in Bb3 Bassoons, 3rd also Contra Bassoon4 Horn in F3 Trumpets in Bb3 Trombones1 TubaTimpani4 Percussion, four playersPlayer 1 - Vibraphone, Glockenspiel, Water Chime, Bell Tree, Japanese Wood Blocks, Cymbal (Suspended), TamTam (Medium)Player 2 - Triangle, Tubular Bells, Crotales, Marimba, Chinese CymbalPlayer 3 - TamTam (Large), Java Gong(Large, very low), Bell Lyra (Handheld), Sizzle CymbalPlayer 4 - Bass Drum, Glockenspiel, Xylophone1 Harp1 Piano, also CelestaStrings - 16/14/12/10/8All transposing instruments are notated in their relevant transpositions.Any accidental apply only to the note that it immediately precedes, except tied notes.Naturals appear occasionally 'for safety'.'LISTENING EARTH' is a symphonic drama, a one- movement composition in four parts based on the work by two writers, Joseph Addison (1672-1719) and W.H.Auden (1907-1973). Joseph Addison is not particularly well known; he was English, a classical scholar, essayist, poet and politician, but one of his hymns was used by Benjamin Britten. in his setting of a Thomas Tallis canon.The hymn is singularly beautiful and being a composer always inspired by extramusical stimuli such as poems, nature, paintings, I was immediately convinced when I carne across the Addison hymn, that here was exactly what I wanted to use as my major source of inspiration for this piece, commissioned by and written for The Berlin Philharmonic. I don't refer to the hymn in its entirety, but have chosen the following 3 excerpts, all acting as mottos for the first three sections of the piece, thus turning the piece into a straightforward tonepoem in the classical.
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