The hardback edition of Magnus Lindberg's Kraft (1983–85) - for Soloists and Orchestra with live Electronics. KRAFT was premiered at the Helsinki Festival by the Toimii Ensemble and the Finnish Radio Symphony Orchestra conducted by Esa-Pekka Salonen on 4 September 1985. KRAFT was also the recipient of the Nordic Music Prize 1988. All the musical material of the piece has been prepared with a micro-computer with programmes written in FORTH allowing a very flexible control of rhythm and chord processes. The programme is based on a formalization of rules for creation of rhythmic events gestures and temporal processes and an environment allowing a graphical output for metric notation. Similar rule-based programmes control the creation of harmonic material by a comparison to previously defined and accepted chordal successions given by the composer. The control of amplification and spatialization of the soloists during the performance is done with an application written in PreFORM and running on a Macintosh computer allowing a precise control of movement in the hall in real time.

Score-Gliere's energetic dance movement again shows why it has become an icon of light classical programming for orchestras everywhere. From the ballet 'The Red Poppy' the deliberate opening in the low strings accelerating tothe frenzied Cossack-style dance makes this work a captivating experience for orchestra and audience alike.

Suite for Orchestra-Incidental music with the famous 'Sicilienne'Fauré wrote ?Pelléas et Mélisande? 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 ?Pelléas et Mélisande? 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 Fauré?s mostpopular compositions and now exists in countless arrangements.Bärenreiter?s new scholarly-critical edition of the four-movement orchestral suite ?Pelléas et Mélisande? Op.80 is based on ?Gabriel Fauré The Complete Works? Volume IV/2 which appeared in 2016.First Urtext edition Based on ?Gabriel Fauré The Complete Works?Score and orchestral parts available for sale (BA7895)

Suite for Orchestra-Incidental music with the famous 'Sicilienne'Fauré wrote ?Pelléas et Mélisande? 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 ?Pelléas et Mélisande? 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 Fauré?s mostpopular compositions and now exists in countless arrangements.Bärenreiter?s new scholarly-critical edition of the four-movement orchestral suite ?Pelléas et Mélisande? Op.80 is based on ?Gabriel Fauré The Complete Works? Volume IV/2 which appeared in 2016.First Urtext edition Based on ?Gabriel Fauré The Complete Works?Score and orchestral parts available for sale (BA7895)

Suite for Orchestra-Incidental music with the famous 'Sicilienne'Fauré wrote ?Pelléas et Mélisande? 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 ?Pelléas et Mélisande? 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 Fauré?s mostpopular compositions and now exists in countless arrangements.Bärenreiter?s new scholarly-critical edition of the four-movement orchestral suite ?Pelléas et Mélisande? Op.80 is based on ?Gabriel Fauré The Complete Works? Volume IV/2 which appeared in 2016.First Urtext edition Based on ?Gabriel Fauré The Complete Works?Score and orchestral parts available for sale (BA7895)

Suite for Orchestra-In 1918 Gabriel Fauré 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 Fauré?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 earliermusic.This scholarly-critical edition of the four-movement Masques et Bergamasques Op.112 is based on Gabriel Fauré The Complete Works Volume IV/2.First Urtext edition Based on Gabriel Fauré The Complete WorksScore and orchestral parts in a large format (25.5 x 32.5 cm) available for sale

Suite for Orchestra-In 1918 Gabriel Fauré 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 Fauré?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 earliermusic.This scholarly-critical edition of the four-movement Masques et Bergamasques Op.112 is based on Gabriel Fauré The Complete Works Volume IV/2.First Urtext edition Based on Gabriel Fauré The Complete WorksScore and orchestral parts in a large format (25.5 x 32.5 cm) available for sale

Suite for Orchestra-In 1918 Gabriel Fauré 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 Fauré?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 earliermusic.This scholarly-critical edition of the four-movement Masques et Bergamasques Op.112 is based on Gabriel Fauré The Complete Works Volume IV/2.First Urtext edition Based on Gabriel Fauré The Complete WorksScore and orchestral parts in a large format (25.5 x 32.5 cm) available for sale

Published in 1953 the Concerto for Clarinet and Orchestra was composed by the French composer conductor and winner of the Grand Prix de Rome in 1927 Henri Tomasi (1901-1971). This concerto was dedicated to Ulysse Delécluse (1907-1995) a French Clarinettist known for his transcription of 'Quinze études' by J. S. Bach for the clarinet. Each of its three movements were chosen to be the examination pieces at the Paris Conservatoire the first movement for the Examination Solo in 1953 and the second and third for the Contest Solo in 1966. This concerto begins with an unconventional start the clarinet playing on its ownand being joined later by the orchestra. It also contains some unusual material such as polychords and dissonances through the piece. Notes on this concerto by Henri Tomasi himself were written in 1957 describing the importance of the improvisation for the principal topic.

Music educator and composer Jeff Frizzi brings us this new movement for strings that features bold diatonic themes easy syncopation and well-scored interesting parts for all sections. Ideal for developing orchestras program andcontest use.

(Twinkle Twinkle Little Star)-The memorable tune that started so many young string players' playing experience is transformed into a set of variations ala Mozart himself. Your players will be charmed by the inventive treatments of this simple diatonic songwith Robert's impressive movement for string orchestra.

Written for the Richmond Symphony Youth Orchestra Animal Rhapsody is a three movement work with each one dedicated to a different animal. Movements: I. The Amur Leopard II. The Beluga Whale III. Galapagos Penguin

Trois po?mes d?Henri Michaux was written for the Zagreb Biennale and first performed there by the orchestra and choir of Radio Zagreb conducted by the composer and Slavko Zlatic on 9 May 1963. It is composed for 20-part choirand an orchestra similar to that of the Symphony of Psalms though without the lower strings of the latter.Lutoslaswski has said that the general outline of the work came to him first and only then did he choose the threepoems. These reflect his Francophile taste: Henri Michaux was born in Belgium in 1899 and later became a painter: the trenchant Le Grand Combat with its onomatopoeic invented words dates form the 1920s; the other two texts which are more philosophic than pictorial form the 1930s. Choir and orchestra need separate conductors even though throughout they alternate more often than they combine.A description of the course of the music itself will bemore useful than any discussion of its technical processes or of its notation. A quiet section of orchestral polyphony which brass sforzandi punctuate with increasing frequency frames the beginning and end of Pens?es. Afterthe choir?s first unaccompanied passage the woodwind have a staccato section over which the female voices singing downward glissandi are superimposed (?Ombre de mondes infimes??). Then the woodwind and both pianos join in alapping ostinato which illustrates the text of the next forte choir entry ?Pens?es la nage merveilleuse?? The climax of the movement comes as these characteristic woodwind figures alternate with the tintinnabulation of agamelan-like ensemble of vibraphone c?leste harp and pianos.

Symphony No. 8 for Orchestra (2011) by Per Nørgård. Premiered on September 19 2013 by the Helsinki Philharmonic Orchestra and John Storgårds. Programme note:  The first movement opens with sculptural rising and falling scales. Visually the sound may call to mind say spirals or ziggurats (temple towers). Brisk music leads to the climax of the movement.  The second movement is slow and sensually melodious and has three interludes of greater timbral melodic action.  The third movement begins very restlessly but towards the climax thetempo gradually begins to accelerate. An oscillating pianissimo murmur ends the movement – and the symphony.  Symphony no. 8 is commissioned by Helsinki Philharmonic Orchestra and is besides the Orchestra dedicated to the conductor John Storgårds.  Per Nørgård (2012)   

Full Score-The Horn Concerto was written in 1971 and was the first of the ten concertos Gregson has composed to date. It is dedicated to the English horn player Ifor James who died in 2004 and was originally written for brass band. However in 2013 Gregson was asked by Paul Klein Principal Horn of the Ulster Orchestra and BBC Northern Ireland to undertake an orchestral version for him.  Gregson decided to score the concerto for a late Haydn sized orchestra with the addition of a percussionist to add some colour to the texture. The concerto takes as its starting point the Mozartian model namely a sonata form opening movement a song-like slow movement and a jaunty rondo finale. The opening movement opens with a strident motif built on rising fourths announced by the soloist and answered by the orchestra. This pattern of ‘question/answer’ continues until a climactic moment breaks the tension and is followed by a lyrical second subject announced by the soloist over undulating rhythmic patterns on strings. The music is developed and recapitulated from these ideas with the lyrical idea returning via solo clarinet with horn answering in canon. The movement ends with the strident fourths this time in inversion. The slow movement is in tertiary form and opens with an expansive melody from the soloist over a repetitive harmonic and melodic pattern. This is expanded and developed building all the while in intensity until it is interrupted by cadenza-like passages on the horn and muted brass. After a brief climax the music subsides into a moment of emotional serenity before the opening melody returns this time on solo oboe with the horn interweaving its own answering melodic lines. The rondo finale is more light-hearted in mood with a catchy 6/8 tune at its heart. It is twice interrupted first by an idea built on long held chromatic notes from the soloist against a highly rhythmic backdrop (wind brass and snare drum) then by a slower more thoughtful melodic idea. However