John Luther Adams' ...And Bells Remembered... for five percussionists playing: Bowed CrotalesOrchestra BellsVibesChimesBowed Vibes Commissioned by the UniversityOf Wisconsin - River Falls.Duration: 10 minutes 30 seconds.

Standard US Set (without european suppl. parts)-Commissioned by the Michigan State University Alumni Band this three movement work by Karel Husa was the winner of the first Louis Sudler International Wind Band Composition Competition in 1983. A note from thecomposer: 'Divided into three movements this work is a display of virtuoso passages given to solo instruments as well as to the groups of the ensemble. In the Fanfare of the first movement the Brass section concertises in groupsof four Brass quintets (2 Trumpets Horn Trombone and Tuba or Baritone) spread from left to right in back. The Saxophones (SATB) are placed in front of the Brass quintets and the Woodwinds occupy the front of the stage withPercussion on the left and right side. These groups like the Brass quintets play in the concertante style particularly in the first and last movements. 'At the same time each movement contains individual solo passages(for example Timpani and Flute in Movement I - Drum Ceremony and English Horn and other low Woodwinds in Movement II - Elegy). The composition of this piece was prompted by the excellence of Wind and Percussion players today andby the incredible growth of Wind ensembles orchestras and bands in the last 25 years. It is intended for their enjoyment.'

The Silence of the Warrior - Flame and Citron Chamber Suite 2.Orchestra.Flute/Alto FluteClarinet/Bass ClarinetOboePercussionViolinViolaCelloDouble BassPercussionVibraphoneSuspended Cymbal Preferably two1 Antique CrotalesWaterphoneBell Plate SuspendedViolin Bow

Bach To The Future for Percussion Duo and Orchestra was composed by Per Nørgård in 1997. Programme Note: For many years I have been specially fascinated by three of the preludes of Bach?s Well-tempered Piano and I wish with this concerto-version for percussion-duo and orchestra to 'highlight' some of the structural aspects of these pieces: It is my belief that there is a tradition in the music history that makes it possible to let certain germs in an earlier period unfold into new but not heterogenious dimensions of a perhaps several hundred years later phase of the tradition.This concerto is a result of several yearscollaboration with Uffe Savery and Morten Friis ('Safri-Duo') as well in original compositions - (Resonances Repercussion Resumé in EchoZone I-III) as in arrangements of the 3 Bach preludes preparing for the enormous stylistic challenges of this work.A few introductory comments to each movement:I Movement: The archetypal sequence of broken chords within C-major has established itself as almost a cultural code allowing the composer of 1996 to tell his tale-in-tones only by stressing and colouring the tones in the original piece without changing the pitches or (relative) durations as a ?palimpsest? containing as well the old as the new musical tale simultaneously. Later in the movement this singleline is multiplied by the till then discrete but permanently pervading proportion - throughout the piece - very close to the ?Golden Section?(= 3:5:8.t.i:8 before repetition 5 before starting anew from the deepest tone 3 as the rest etc. unchanged). The 3 tonal levels as well as the 3 relative speeds are treated according to these proportions for certain passages but even in those the main focal point is directed at the freely invented melody (by me) incarnating itself solely by the unpermutad sequels of the original prelude.II Movement: One feature of the F sharp-prelude pervades all the six minutes-long second movement: A 4 times identical rhythmic

For Soprano and Barintone soloists SATB and junior chorus and Orchestra.English text selected by Nicholas Fisher from the New Revised Standard Version of the Old and New Testaments. John Joubert 's An English Requiem was commissioned by the Grimmitt Trust for the 2010 Gloucester Three Choirs Festival and was given its first performance at Gloucester Cathedral on 9th August 2010 with the Festival Choirs of Gloucester Hereford and Worcester Carolyn Sampson (Soprano Neal Davies (Baritone) and Philharmonia Orchestra conducted by Adrian Partington. Instrumentation: 3 Flutes (III/Piccolo)3 Oboes (III/Cor Anglais)3 Clarinets (III/Bass Clarinet)3 Bassoons (III/Contrabassoon)4 Horns in F3 Trumpets3 TrombonesTubaTimpaniPercussion (2 Players);Bass Drum Tenor Drum Side Drum Cymbals Tam-tam Crotales Triangle Tubular BellsHarpOrganStrings

Compiled and Arranged by Franco Cesarini. During his experience as a band conductor and teacher of wind orchestra conducting at university, Franco Cesarini has dealt with the topic of warm-ups very frequently. Throughout these long years of conducting he has had the opportunity to try many existing methods, evaluating their advantages and disadvantages. After a long time, he has decided to compile a collection of chorales for warm-ups, which are organized according to the criteria that he considers most effective. While working on his60 Warm-up Chorales for Concert Band, Franco Cesarini has always borne in mind that amateur musicians play for pleasure. He feels that it is extremely important that they have satisfaction at every moment of the rehearsal and not to start the rehearsal with needless "punishing" exercises. Nobody is really motivated to start playing with scales, long notes, or tricky rhythmical exercises. There is often a distinguished absentee in band rehearsals, namely music itself! Although this publication does not foresee a specific tempo for the chorales, they should often be performed rather slowly but without dragging. Dynamics are not indicated, so that the conductor has the opportunity to draw the attention of the musicians to his gestures and to make them react according to his indications. Timpani and bell parts have been added with the aim of not leaving the percussionists completely inactive during the warm-up phase, but can also be omitted. The chorales are written in four parts (SATB) and are also playable in smaller groups. The four voices can be played in different combinations of woodwinds or brass quartets or in mixed combinations. The collection includes ten chorales for the following keys: D flat major, A flat major, E flat major, B flat major, F major and C major. With his 60 Warm-up Chorales Franco Cesarini would like to convey the message to play the chorales in a musical way, thus raising the musicians? awareness of phrasing, the right interpretation of cadences, rubato and agogic. Above all, never do anything without putting the musical aspect in the foreground. 60 Warm-up Chorales for Concert Band: A perfect collection to warm-up and improve tuning of a concert band!

Lu s Tinoco's L dia for 16 musicians. Score.This work was commissioned by the Companhia Nacional de Bailado for ?L dia? a ballet with choreography by Paulo Ribeiro. It was first performed by Lisbon Metropolitan Orchestra soloists conducted by Pedro Neves Teatro Cam es in Lisbon 7th of November 2014.Instrumentation: Flute (= Piccolo) Oboe (= Cor Anglais) 2 Clarinets in Bb (2nd = Bass clarinet) Bassoon (= Contrabassoon) Horn in F Trumpet in Bb (= Flugelhorn) Trombone 2 Percussionists Harp 2 Violins Viola Violoncello and Contrabass (with C extension).

Thomas Simaku's The Rose Of The World for Soprano SATB choir and Chamber Ensemble (9 players). A setting of the W. B. Yeats poem of the same name. Composed 2014-5. Published 2015.Instrumentation: Soprano SATB choir Flute Clarinet Bass Clarinet 3 Percussionists Piano Violin Cello.First performance: Rachel Nicholls (soprano) Philharmonia Chorus BBC Concert Orchestra Stephen Cleobury (conductor); Easter at King's Festival King's College Chapel Cambridge; 1st April 2015 with live BBC Radio 3 broadcast.

Par MOZART WOLFGANG AMADEUS. Raccolta di facili brani per orchestra di studenti (partitura e parti).Arrangiamenti di Luigi Verrini e Matteo Ferrari. I 4 celebri brani di Mozart coinvolgono lo studente nelle sonorità perfette del classicismo. La Marcia turca e un estratto della Sinfonica n. 40 entusiasmeranno pubblico e studenti. Gli arrangiamenti prevedono un organico strumentale suddiviso in una per pianoforte, tre parti per chitarra, quattro parti per strumento melodico (flauto, violino, oboe e clarinetti) e percussioni./ Répertoire / Ensemble

Poul Ruders MONODRAMAMONODRAMA dedicated to percussion virtuoso Gert Sørensen and commissioned by The Danish Radio was written in New York in the early winter 1988 and makes the centre as well as the middle of the tri-part opus called The Drama Trilogy. All three works employ the word Drama in their title Drama in the original meaning of the word: event. No specified event but a premonition or omen rather that something is afoot a free Drama-offer from which anyone may populate the stage of his private inner theatre.The first piece of the series DRAMAPHONIA for piano and chamber ensemble was premiered in London in the spring of 1988 by Lontano and Poul Rosenbaum. Thispiece is emotionally and rhythmically unstable as opposed to MONODRAMA (single-event) which is modelled from the archetypal idea of obtaining accomplishment from nothingness. The 31 instruments of the orchestra (no flutes and no violins or violas) are more or less wrapped around the solo-part to become one with that and thus emerge as one gigantic percussion instrument. The rhythmical patterns of the orchestral part more or less follow those of the percussionpart a single-event also on the rhythmical level.After 20 minutes climbing toward the peak of rage the composition casts its slough and is reborn into a chorale-like march and the struggle between totally depopulated sound-scapes and ferociously roaring sub-oceanic storms begin and the piece paces toward the abyss; rage becomes despondency New Rage as opposed to New Age the spineless worshipper of beauty without pain.The third instalment of the DRAMA TRILOGY the cello concerto POLYDRAMA will be premiered in Stockholm May 1990.MONODRAMA lasts aprox. 32 minutes.Poul Ruders

Per Voce Recitante, Orchestra D'Archi, Percussioni, Nastro - Partitura. Par BATTISTELLI GIORGIO. Italian / Musique contemporaine / Date parution : 1905-06-30/ Répertoire / Voix et Ensemble Mixte

I am the gentle light by Paul Mealor is dedicated to Christopher Bell and the National Youth Choir of Scotland's National Boys Choir and was premiered by them on BBC One's Songs of Praise on St Andrew's Day 2012. Vocal Score for the version with Orchestra.Instrumentation:Two-part treble choirPianoPercussion (1 player):Wind chimesSuspended cymbalStringsDuration: circa 2½ minutes

per un percussionista e orchestra d'archi. Par ALSINA CARLOS ROQUE. / Répertoire / Divers

I am the gentle light by Paul Mealor is dedicated to Christopher Bell and the National Youth Choir of Scotland's National Boys Choir and was premiered by them on BBC One's Songs of Praise on St Andrew's Day 2012. Vocal Score for the version with Orchestra.Instrumentation:Two-part treble choirPianoPercussion (1 player):Wind chimesSuspended cymbalStringsDuration: circa 2½ minutes