Riduzione Per Canto E Pianoforte Di G. Luporini. Par VERDI GIUSEPPE. Te Deum, together with Ave Maria, Stabat Mater and Laudi alla Vergine Maria, is one of the Quattro pezzi sacri composed by Giuseppe Verdi between 1890 and 1898 and first released by Ricordi in 1898. According to the composer, Te Deum is the best piece and undoubtedly one of the most significant. For double SATB choir, with a short soprano solo, and big orchestra composed by 3 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 4 bassoons, 4 horns, 3 trumpets, 4 trombones, percussions (kettledrums and bass drum) and strings. The present edition offers the choral and piano reduction by Gaetano Luporini. / Classique / Répertoire / SATB Double Choeur et Piano Réduction

Pour Cor Anglais (Ou Flûte Ou Clarinette Ou Alto) Violon Et Violoncelle-Rarely has a musical work been better characterized by its subtitle than Nicolas Bacri’s Lyric Interlude: ‘A Study in Pastoral Style’. When in 2008 the composer received the commission for a piece with English Horn from Cecilia Benner patron of the Chamber Music Society of Detroit he immediately thought of the duo between this instrument and the Oboe that Berlioz in the Symphonie fantastique placed at the beginning of the ‘Scène aux champs’ making suddenly appear a nocturnal country landscape where two shepherds carry on a dialogue on their pipes. First performed in March 2009 atone of the Scarab Club Concerts in Detroit the Lyric Interlude for English Horn Violin and Cello (Op.110a) nonetheless proclaims another tradition: that of British pastoralism illustrated by the music of Ralph Vaughan Williams (1872-1958) the 50th anniversary of his death having just been celebrated. This score pays him homage of rare sensitivity: set off by refined counterpoint the undulating lament of the beginning rhythmically supple evokes the waving wheat as does Vaughan Williams in the opening undulation of his Symphony No.3. The lyrical effusion briefly interrupted by a scherzo in 6/8 again pours out making the work evolve towards a slow ecstatic atmosphere close to the last of the English composer’s Three Preludes on Welsh Hymn Tunes. Far from bucolic postcard clichés and servile imitation this Lyric Interlude opens the doors to a realm where pure beauty reigns. The composer also wrote another version of this work for English Horn (or Flute Clarinet or Viola) and Piano Op.110b (AL 30 750)

for flute, english horn, clarinet in A, bassoon, french horn and piano. Par PERLE GEORGE. / Répertoire / Flûte Traversière, Cor Anglais, Clarinette en La,

Combining the classical Mass form with American musical styles Missa Americana joins together both old and new. This innovative combination allows the work to be performed in both church and concert settings. IncorporatingEnglish and traditional Latin texts Missa Americana is set for mixed choir and soprano and tenor soli with orchestral or organ accompaniment. Movements: Introit and Kyrie Gloria Credo Offertory (text from Psalm 138) Sanctus and Benedictus Agnus Dei (based on American hymn tune). Publications available: SATB Score Organ Score and Orchestra (score and parts for 2 Flutes Piccolo 2 Oboes English Horn 2 Bb Clarinets Bb Bass Clarinet 2Bassoons 4 F Horns 3 Bb Trumpets 2 Trombones Bass Trombone Tuba Timpani Percussion (3 players) Harp Celesta (Piano) Violin Viola Cello and Bass). Total Performance Time: Approx. 26 minutes

Commissioned by Norland Music Festival with the financial support from The Norwegian Culture Council. Premiered by Bodo Sinfonietta and Christian Lindberg.InstrumentationFlute/PiccoloOboe/English HornBb ClarinetBassoonoHorn in FTrumpet in BbTrombonePercussion 1 - Vibraphone Grand Cassa 3 suspended metals Crotales 2 BongosPercussion 2 - Marimba Timpani (F-C) 3 suspended metals Glockenspiel 2 BongosPiano2 ViolinsViolaCelloDouble Bass (5 String or with C extension)

From the composer of Festival of Carols and The Winter Rose comes a cantata that celebrates the legacy of early American carols and hymnody. Composed in the spirit of folk music the cantata combines traditionalsounds with more rustic elements creating a blend that is fresh and pleasing. Popular American carols like Away In a Manger and O Little Town of Bethlehem dance with traditional spirituals such as Children GoWhere I Send Thee and Go Tell It on the Mountain. Sacred Harp tunes are re-tooled for Advent and stand alongside new versions of Shaker hymns and Appalachian melodies. Thoughtful narration weaves the movements togetherin a meaningful tapestry of song and Scripture. Two orchestral options are available allowing maximum flexibility in performance. A full line of support products is also available. Available separately: SATB CD-ROM FullOrchestration (Score & Parts for Flute 1 & 2 alto recorder Oboe/English Horn Clarinet 1 & 2 Bassoon Horn 1 & 2 Trumpet 1-3 Trombone 1 & 2 Bass Trombone/Tuba Timpani Percussion Acoustic Guitar Banjo Harp Piano Synth Solo fiddle Violin 1 & 2 Viola Cello Double Bass) Printed Full Orchestration Appalachian Consort Orchestration (Score & parts for Flute Violin Cello Mandolin Guitar Percussion and Piano) StudioTrax CD (accompanimentonly) SplitTrax CD Listening CD 10-Pack Listening CDs Preview Pack (Book/CD combo) RehearsalTrax CDs (part predominant reproducible) Digital Resource Kit (PowerPoint Choir Devotionals Poster Program Flyers Children'sProgram PDFs). Duration: approx. 40 min.

from Canticle of the Cross-Uses: Lent Holy Week Good FridayScripture: Genesis 1:31; Matthew 4:23 13:54-56; John 19:30A significant text and a compelling melody combine to create a moving testament of grace. Set in threetableaus from the life of Christ the text employs sacred metaphor connecting the listener to Jesus as Carpenter Healer and Redeemer. Based upon a folk song the music moves from gentle beauty to sections that are powerful anddramatic. The final lines of “it is finished it is good ” bring an emotive completion to the great story of grace. Available separately: SATB StudioTrax CD Orchestration (Score and parts for alto recorder oboe/english horn clarinet 1&2 bassoon horn 1&2 trumpets 1-3 trombone 1&2 tuba timpani percussion 1&2 harp piano violin 1&2 viola cello double bass). Duration: ca. 4:28.

Preview Pack (Book/CD)-Preview Pack (SATB Book/Listening CD): Inspired by Celtic music traditions this new work for Lent or Holy Week presents Christ's journey to the cross. Utilizing folk songs hymns and newly composed sacred songs the musicadorns the heart-felt message of God's love and grace displayed in Christ's redemptive work on Calvary. A thoughtful narration weaves the movements of the work together with Scripture prayer and poetry while delivering areflective message of hope and assurance. Gentle orchestrations capture the Celtic spirit of the music in a smaller more restrained approach in keeping with Holy Week considerations. A full line of support products is available.Duration: approx. 30 minutes. Titles include: Prologue The Song of the Cross A Celtic Hosanna Come to the Upper Room The Garden of Tears The Carpenter A Tree Once Stood Consolation of the Cross Epilogue. Availableseparately: SATB Listening CD Preview Pack (Book/CD) StudioTrax CD (Accompaniment only) RehearsalTrax CDs 10-Pack Listening CDs Digital Resource Kit Chamber Orchestration (Score & Parts for Soprano Recorder/Penny Whistle Alto Recorder Oboe/English Horn Clarinet 1&2 Bassoon Horn 1&2 Trumpet 1-3 Trombone 1&2 Tuba Timpani Percussion 1&2 Harp Piano Violin 1&2 Viola Cello Double Bass) and Chamber Orchestration CD-ROM. Duration: ca.30:00.

Premiered by The New York Philharmonic conducted by Lorin Maazel at Avery Fisher Hall Lincoln Center New York City 10th June 2004. Orchestration 3 Flutes 3rd dbl. Piccolo2 Oboes1 English Horn in F3 Clarinets in Bb 3rd dbl. Bas Clarinet in Bb2 Bassoons1 Contra Bassoon4 Horns in F3 Trumpets in Bb3 Trombones1 Tuba1 (set of) Timpani2 Percussion (two players)1: Bass Drum (large) Chinese Cymbal Mark Tree2: TamTam (large) Vibraphone Antique Cymbal1 Harp1 Piano dbl. CelestaStringsAll non-octave transposing instruments are notated in their relevanttranspositions.Horns notated in bass clef sound a fourth above the notated pitch.All accidentals apply to each single note only except tied notes. Naturals for 'safety'. Programme Note This piece marks the conclusion of what could now be called 'The Nightshade Trilogy' three pieces which explore the contrasting worlds of Light and Darkness. As opposed to the earlier chamber work Nightshade which dealt with extremes of high and low pitches and the chamber orchestra composition Second Nightshade a two-fold piece contrasting darkness/anxiety and light/calm Final Nightshade for full symphony orchestra takes us on a journey in which the forces of dark and light struggle - and co-exist - in a predominantly polyphonic web with brooding undertones. The melodic point-of-departure is not surprisingly to be found in either of the two preceding pieces of the Trilogy but in an older piece Corpus Cum Figuris from 1985. Over the ensuing years I've dreamt on and off of 'doing something' with the opening measures of this older work perhaps even building a new composition on that very simple inward-looking time was ripe and there's a nice nostalgia angle to the idea: Corpus Cum Figuris was the first piece of mine to be

Work for mixed ensemble of 18 players. Composed for and premiered by the Indiana University New Music Ensemble. Instrumentation: Flute (d Piccolo) Oboe (d English Horn) Bb Clarinet Eb Alto Saxophone Bassoon Horn in F Trumpet in C Trombone Tuba 2 Percussionists Harp Piano (d Celesta) 2 Violins Viola Cello Contrabass.

Percy Grainger's extraordinary scoring skills permeate this classic carefree work for symphonic band. Children's March: ?Over the Hills and Far Away? originally a piano solo was orchestrated by the composerwhile he was a member of the U.S. Coast Guard Artillery Band. It includes two unusual scoring elements for the time - a prominent part for piano (cued in the winds) and brief four-part vocal interludes to be sung by members ofthe band (or a small chorus ad lib). Grainger believed that the greatest expressivity could be found in the lower instruments of the band (particularly the lower woodwinds) and Children's March includes a liberal andhighly specialized use of the bassoons English horn bass clarinet and low saxophones. The march was first performed by the renowned Goldman Band in 1919 and was recorded in its original form by the same band with the composerconducting. (Full set includes a vocal score.)

Condensed Score-Percy Grainger's extraordinary scoring skills permeate this classic carefree work for symphonic band. Children's March: “Over the Hills and Far Away” originally a piano solo was orchestrated by the composerwhile he was a member of the U.S. Coast Guard Artillery Band. It includes two unusual scoring elements for the time - a prominent part for piano (cued in the winds) and brief four-part vocal interludes to be sung by members ofthe band (or a small chorus ad lib). Grainger believed that the greatest expressivity could be found in the lower instruments of the band (particularly the lower woodwinds) and Children's March includes a liberal andhighly specialized use of the bassoons English horn bass clarinet and low saxophones. The march was first performed by the renowned Goldman Band in 1919 and was recorded in its original form by the same band with the composerconducting. (Full set includes a vocal score.)

From the composer of Festival of Carols and The Winter Rose comes a cantata that celebrates the legacy of early American carols and hymnody. Composed in the spirit of folk music the cantata combines traditionalsounds with more rustic elements creating a blend that is fresh and pleasing. Popular American carols like Away In a Manger and O Little Town of Bethlehem dance with traditional spirituals such as Children GoWhere I Send Thee and Go Tell It on the Mountain. Sacred Harp tunes are re-tooled for Advent and stand alongside new versions of Shaker hymns and Appalachian melodies. Thoughtful narration weaves the movements togetherin a meaningful tapestry of song and Scripture. Two orchestral options are available allowing maximum flexibility in performance. A full line of support products is also available. Available separately: SATB CD-ROM FullOrchestration (Score

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

For Narrator Children's Choir And Instrumental Accompaniment (Ensemble Version)-Following on the success of her two operatic works for children and teens ? Douce et Barbe Bleue Les Fables Enchantées Little Thummie and Cendrillon (based on Perrault) as well as the adaptation of Maupassant?s short story The Dumpling (2014) ? Isabelle Aboulker once again hits the bull?s eye with Myla And The Boat-Tree a commission from the Villecroze Music Academy. In 2015 this musical tale for Narrator Children?s Choir and Instrumental Accompaniment was awarded the ?Music for Young Performers Prize? by the French Music Publishers Association. Both in the French version and MarciMeth?s excellent English translation it provides the material for an enthralling educational adventure in which children between the ages of five and eight are invited into their first experience of opera and choir singing. With her trademark finesse and sensitivity the composer tells the story of a little girl dealing with the death of a person she?d cherished above all: her grandfather. Written for choir in unison this tale wafts shimmering melodies over an instrumental accompaniment suffused in turn with gentle melancholy and light humour. An art that speaks from an open heart. The work was written in three versions: for Narrator Children?s Choir and Piano (AL30732) for Narrator Children?s Choir and Trio (Clarinet in Bb Cello and Piano: AL30733) for Narrator Children?s Choir and Instrumental Ensemble (Flute Oboe Clarinet in Bb Bassoon Horn Trumpet in C Trombone Percussion 2 Violins Alto Cello Bass: AL30734) Choral score: AL30743 Listen to Isabelle Aboulker talking about ?Myla and the Boat-Tree?: