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

Composed and published 2014.Commissioned by Festival Internacional Cervantino 2014.First performance: Randall Scarlata (baritone) and Ensemble Redes Festival Internacional Cervantino 2014 13th October 2014.Duration: 12 minutes.Instrumentation: Flute(=Bass Flute) Bass Clarinet Percussion Guitar Violin Viola.[Percussion: Triangle Cymbal Large Tam-Tam Wood Block Tambourine Wooden Chimes Sleigh Bells Güiro Maracas Bongos 3 Tom-toms Felxatone Waterphone Vibraphone Marimba 29-inch Timpani].

The use of Tibetan Bells and Wind Chimes provides an ethereal atmosphere that is echoed in the music and text. Originally written for treble choir this new voicing is most effective. The description of the surrounding nature and stars becomes sound in this beautiful composition. Its festival use has already become popular for any season.

Lunteren a village on the Veluwe (a wooded region in the Netherlands) sets the scene annually for a village festival dominated by folklore. Festa Paesana (Italian for village festival) is set to music by several folkloric sketches. The theme in Festa Paesana is partly based on a Dutch anthem (Wien Neerlands bloed); when other lyrics are used it is also known as the Lunteren anthem.The work begins with a festive introduction completed by chimes and drums in which pieces of the Lunteren anthem are heard. The music then transitions to represent a horse auction. We hear horses run their first rounds in the auction ring while being whipped. The following theme is partly basedon the anthem. The tension of the traditional auction is amplified by an ever-increasing cadence reaching its climax when the word ?Sold!? is shouted. The night ends with a majestic variation on the Lunteren anthem.The next morning when the tower clock hits seven times the village is awaked by the reveille of the heralds. In a fugatic version of the anthem we can hear the village slowly come to life. This evolves with the chiming of all towers in the village; the celebration can begin. Carriages drawn by horses rumble through the village and thus it is easy to hear when a horse hesitates or runs amuck. A traditional folk dance group then dances a whirling waltz while the audience shares their pleasure. Musicians march along the scene and take over the waltz theme in their march. Until deep in the night the musicians are still heard playing in the streets. Meanwhile we hear the anthem theme being played in a choral variation (in minor). The first time it is played quietly as a preparation for Sunday. Then it is played in a celebrating way enabling the devout village residents to remember the past pleasant celebration with satisfaction.

This overture is written in the conventional three-part style. Extensive percussion includes anvil slapstick wind chimes and crystal water glasses. The opening and closing themes are written in a spirited and festive style. The middle section explores a more contemporary setting of Thomas Hasting's hymn song Rock of Ages Clef for Me. Excellent for contest or festival.

For Tanya is a lyrical romantic work dedicated to the composer's wife. The original version for flute alto saxophone and piano was premiered in Ukraine. This version features flute duo with piano and optional wind chimes. Eugene Magalif has been an honored guest at the Galway Flute Festival in Switzerland and Southern Music is proud to present this publication as part of the inch.James Galway Presents inch. series designed to introduce players of all abilities to noteworthy contemporary works and composers for flute.