(For the victims of the 2011 Queensland Floods). By Loreta Fin. Orchestra. Part(s); Score; String Orchestra. Wilfin String Orchestra: Young String Ensemble Series. Grade 1; Grade 1.5. 66 pages. Published by Alfred Music

Orchestra - Grade 1.5

SKU: AP.44785S

Composed by Igor Stravinsky. Arranged by Michael Story. Masterworks; Performance Music Ensemble; Single Titles; String Orchestra. Belwin Beginning String Orchestra. Form: Transcription. 20th Century; Masterwork Arrangement. Score. 8 pages. Duration 1:50. Belwin Music #00-44785S. Published by Belwin Music (AP.44785S).

UPC: 038081516998. English.

One of the most important works of the 20th century was Stravinsky's ballet, The Firebird. The iconic Finale is now accessible to young players with this effective arrangement by Michael Story. All meter changes have been squared off, while still maintaining the spirit and integrity of the original work. (1:50).

Composed by Igor Stravinsky (1882-1971). Arranged by Michael Story. Orchestra. Masterworks; Part(s); Score; String Orchestra. Belwin Beginning String Orchestra. Form: Transcription. 20th Century; Masterwork Arrangement. Grade 1.5. 76 pages. Published by Belwin Music

Orchestra

SKU: PR.416415720

For Orchestra. Composed by Narong Prangcharoen. Full score. 24 pages. Duration 5:30. Theodore Presser Company #416-41572. Published by Theodore Presser Company (PR.416415720).

UPC: 680160636150.

Illum inating Journey is composed to celebrate Maestro Carl St. Clair's 25th Anniversary season with Pacific Symphony. Maestro St. Clair is one of the few conductors who has dedicated his time to new music and support for living composers. I first encountered Maestro St. Clair in 2004 when I was one of the finalists for the Young Composers Competition. After I won that competition, I had an opportunity to work with Maestro St. Clair on the piece that he commissioned for the Pacific Symphony in 2005. That's the beginning of the journey of our friendship. Illuminating Journey is inspired by Maestro St. Clair's personality and the music he loved. The piece is mainly based on the pitch material from Maestro St. Clair's name CARL which can be translated as C = C, A = A, R = Re, and L = La. That pitch material already has the character of Illuminating sound for the open 5th and octave. The piece also incorporates some musical references that have some meaning for Maestro St. Clair, such as the hopefulness of the melodic intervals from West Side Story, There's a Place for Us, composed by Leonard Bernstein, who was also Maestro St. Clair's mentor. Illuminating Journey starts with the rhythmic motion of the pitch C and moves on to create a set of pitches. The note C functions as a center for the endless energy of this piece and creates a triumphant ending. I would personally like to thank Maestro St. Clair for his dedication on my music and his friendship throughout the past 10 years. The work with Maestro St. Clair and the Pacific Symphony was an early step in my career as a composer. I often mentioned that I may not be able to come this far without that part of my life. Thank you very much, Maestro St. Clair and the Pacific Symphony. Let's celebrate our Illuminating Journey together.

Orchestra

SKU: PR.41641572L

For Orchestra. Composed by Narong Prangcharoen. Large Score. 24 pages. Duration 5:30. Theodore Presser Company #416-41572L. Published by Theodore Presser Company (PR.41641572L).

UPC: 680160636167.

Illum inating Journey is composed to celebrate Maestro Carl St. Clair's 25th Anniversary season with Pacific Symphony. Maestro St. Clair is one of the few conductors who has dedicated his time to new music and support for living composers. I first encountered Maestro St. Clair in 2004 when I was one of the finalists for the Young Composers Competition. After I won that competition, I had an opportunity to work with Maestro St. Clair on the piece that he commissioned for the Pacific Symphony in 2005. That's the beginning of the journey of our friendship. Illuminating Journey is inspired by Maestro St. Clair's personality and the music he loved. The piece is mainly based on the pitch material from Maestro St. Clair's name CARL which can be translated as C = C, A = A, R = Re, and L = La. That pitch material already has the character of Illuminating sound for the open 5th and octave. The piece also incorporates some musical references that have some meaning for Maestro St. Clair, such as the hopefulness of the melodic intervals from West Side Story, There's a Place for Us, composed by Leonard Bernstein, who was also Maestro St. Clair's mentor. Illuminating Journey starts with the rhythmic motion of the pitch C and moves on to create a set of pitches. The note C functions as a center for the endless energy of this piece and creates a triumphant ending. I would personally like to thank Maestro St. Clair for his dedication on my music and his friendship throughout the past 10 years. The work with Maestro St. Clair and the Pacific Symphony was an early step in my career as a composer. I often mentioned that I may not be able to come this far without that part of my life. Thank you very much, Maestro St. Clair and the Pacific Symphony. Let's celebrate our Illuminating Journey together.

(Berceuse and Finale). Composed by Igor Stravinsky (1882-1971). Arranged by Jack Bullock. Orchestra. Full Orchestra; Masterworks; Part(s); Score; SmartMusic. Belwin Intermediate Full Orchestra. Form: Transcription. 20th Century; Masterwork Arrangement. Grade 3. 152 pages. Published by Belwin Music

Orchestra

SKU: PE.0300530854

Composed by Edited by Percy Marshall Young, Sir Arthur Seymour Sullivan, and Text by Sir William Schwenck Gilbert. This edition: Orchestra extra string. Broude Trust. Part(s). 4 pages. Edition Peters #98-0300530854. Published by Edition Peters (PE.0300530854).

ISBN 9790300530857.

Orig inal item: BT-GS3OV-CB.

Orchestra

SKU: PE.030053082X

Composed by Edited by Percy Marshall Young, Sir Arthur Seymour Sullivan, and Text by Sir William Schwenck Gilbert. This edition: Orchestra extra string. Broude Trust. Part(s). 8 pages. Edition Peters #98-030053082X. Published by Edition Peters (PE.030053082X).

ISBN 9790300530826.

Orig inal item: BT-GS3OV-VLN2.

Orchestra

SKU: PE.0300530838

Composed by Edited by Percy Marshall Young, Sir Arthur Seymour Sullivan, and Text by Sir William Schwenck Gilbert. This edition: Orchestra extra string. Broude Trust. Part(s). 8 pages. Edition Peters #98-0300530838. Published by Edition Peters (PE.0300530838).

ISBN 9790300530833.

Orig inal item: BT-GS3OV-VLA.

Orchestra

SKU: PE.0300530811

Composed by Edited by Percy Marshall Young, Sir Arthur Seymour Sullivan, and Text by Sir William Schwenck Gilbert. This edition: Orchestra extra string. Broude Trust. Part(s). 8 pages. Edition Peters #98-0300530811. Published by Edition Peters (PE.0300530811).

ISBN 9790300530819.

Orig inal item: BT-GS3OV-VLN1.

Orchestra

SKU: FG.55011-610-8

Two mythical scenes op 1. Composed by Aulis Sallinen. Study score. Fennica Gehrman #55011-610-8. Published by Fennica Gehrman (FG.55011-610-8).

ISBN 9790550116108.

Two Mythical Scenes for orchestra was completed in 1956, when Sallinen was Aarre Merikanto's composition student for his second term. The work received its premiere performance only after a good deal of pressure from Prof. Merikanto's side, and was finally premiered in a concert by the Sibelius Academy Symphony Orchestra, conducted by Jussi Jalas. The work received opus number 1, as it was the first publicly performed work by Sallinen.
The composer has told that he was inspired by a 1947 book published by the Finnish Literary Society (SKS) Myytillisia kuvia (Mythical Scenes/Images). The second movement of the work, Kalmanvaen joulukirkko (The Christmas Service of the Dead) is based on the stories in which the dead rise from their graves early in the Christmas Day morning to attend their own special ceremony led by a dead priest. The opening movement Kulkue (Procession) depicts the dead in a procession towards the church.
In 2020 Sallinen revised the score slightly. In his own words with very small changes helping the sixty years younger and less experienced self. The revisions mostly concerned nuances and dynamics, bowings and some bridges. The original structure, rhythmic and harmonic world is still the same as they were when young Sallinen composed the work in 1956.

Orchestra - Grade 1.5

SKU: AP.48038S

Composed by Rob Grice. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Score. 16 pages. Duration 2:35. Belwin Music #00-48038S. Published by Belwin Music (AP.48038S).

UPC: 038081554648. English.

Armor of the Mystic by Rob Grice is an ominous piece for younger orchestras that offers the opportunity to perform a mature-sounding composition without parts that are too technically demanding. With dissonant harmonies and pulsating rhythms, this powerful concert work is sure to stimulate the imaginations of young musicians as well as capture the attention of your audience. This work is great for festival performances and will program well on your next concert! This title is available in MakeMusic Cloud. (2:35).

Orchestra - Grade 1.5

SKU: AP.48038

Composed by Rob Grice. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Score and Part(s). 156 pages. Duration 2:35. Belwin Music #00-48038. Published by Belwin Music (AP.48038).

UPC: 038081554631. English.

Armor of the Mystic by Rob Grice is an ominous piece for younger orchestras that offers the opportunity to perform a mature-sounding composition without parts that are too technically demanding. With dissonant harmonies and pulsating rhythms, this powerful concert work is sure to stimulate the imaginations of young musicians as well as capture the attention of your audience. This work is great for festival performances and will program well on your next concert! This title is available in MakeMusic Cloud. (2:35).

Orchestra - Grade 3

SKU: AP.40467S

Arranged by Albert Wang. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Folk; Multicultural; Traditional. Score. 24 pages. Highland/Etling #00-40467S. Published by Highland/Etling (AP.40467S).

UPC: 038081454214. English. Traditional Xinjiang Folk Song of China.

Very beautiful, yet also thrilling to play, this piece, celebrating young love, is familiar to most Chinese people. It uses slides, syncopation, rich harmonies, and unusual intervals to reflect the exotic musical melting pot that has influenced this folk music.

Orchestra

SKU: BA.BA06861

Sinfonie (1923-1928). Composed by Leos Janacek. Arranged by Leoš Faltus and Miloš Štedron. This edition: complete edition, urtext edition. Linen. Complete Critical Edition of the Works of Leos Janacek H/3. Complete edition, Score, Set of parts. Duration 40 minutes. Baerenreiter Verlag #BA06861_00. Published by Baerenreiter Verlag (BA.BA06861).

ISBN 9790260104211. 34.3 x 27 cm inches.

Leoš Janácek’s symphonic fragment Dunaj (The Danube) dates from the period of the composition of “Katya Kabanova”. The composer was not concerned with a musical-picturesque description of a river landscape, but with the mythical link between women’s destinies and water.

“Pale green waves of the Danube! There are so many of you, and one followed by another. You remain interlocked in a continuous flow. You surprise yourselves where you ended up – on the Czech shores! Look back downstream and you will have an impression of what you have left behind in your haste. It pleases you here. Here I will rest with my symphony.” Thus Leoš Janácek described the idea behind the composition project which occupied him in 1923/24. However, after further work, it remained incomplete in 1926. His “symphony” entitled Dunaj has survived as a continuously-notated, four-movement bundle of sketches in score form. It is one of the works which occupied him until his death. The scholarly reconstruction by the two Brno composers Miloš Štedron and Leoš Faltus closely follows the original manuscript.

A whole conglomeration of motifs stands behind the incomplete work. What at first seems like a counterpart to Smetana’s Vltava, in fact doesn’t turn out to be a musical depiction of the Danube. On the contrary, the fateful link between the destiny of women, water and death permeates the range of motifs found in the work. It seems to be no coincidence that Janácek, whilst working on the opera Katya Kabanova, in which the Volga, as the river bringing death plays an almost mythical role, planned a Danube symphony, and that its content was linked with the destiny of women: in the sketches, two poems were found which may have provided the stimulus for several movements of the symphony. He copied a poem by Pavla Kriciková into the second movement, in which a girl remarks that whilst bathing in a pond, she was observed by a man. Filled with shame, the young naked woman jumps into the water and drowns. The outer movements likewise draw on the poem “Lola” by the Czech writer Sonja Špálová, published under the pseudonym Alexander Insarov. This is about a prostitute who asks for her heart’s desire: she is given a palace, but then goes on a long search for it and is finally no longer wanted by anyone. She suffers, feels cold and just wants a warm fire. Janácek adds his remark “she jumps into the Danube” to the inconclusive ending.

To these tangible literary models is added Adolf Veselý’s verbal account which reports that the composer wanted to portray “in the Danube, the female sex with all its passions and driving forces”. The third movement is said to characterise the city of Vienna in the form of a woman.

It is evident that in his composition, Janácek was not striving for a simple, natural lyricism. The River Danube is masculine in the Slavic language – “ten Dunaj” – and assumes an almost mythical significance in the national character, indeed often also a role bringing death. The four movements are motivically conceived. Elements of sound painting, small wave-like figures in the first movement, motoric, driving movements in the third are obvious evocations of water. And the content and the literary level are easy to discover. The “tremolo of the four timpani”, which was amongst Janácek’s first inspirations, appears in the second movement. It is not difficult to retrace in it the fate of the drowning bather. The oboe enters lamentoso towards the end of the movement over timpani playing tremolo, its descending figure is taken over by the flute, then upper strings and intensified considerably. The motif of drowning – Lola’s despair – returns again in the fourth movement in the clarinet, before the work ends abruptly and dramatically.

One special effect is the use of a soprano voice in the motor-driven third movement. The singer vocalises mainly in parallel with the solo oboe, but also in dialogue with other parts such as the viola d’amore, which Janácek used in several late works as a sort of “voice of love”.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Orchestra - Grade 4

SKU: HL.14000916

Composed by Hans Abrahamsen. Music Sales America. Classical. Score. Composed 2002. 55 pages. Edition Wilhelm Hansen #WH29689. Published by Edition Wilhelm Hansen (HL.14000916).

ISBN 9788759859179. 12.0x16.5x0.538 inches. English.

Stratifica tions was composed by Hans Abrahamsen in 1973-75 and was premiered in the summer 1977 by the Iceland Symphony Orchestra at the Young Nordic Music Festival in Reykjavik. Programme note: The stratifications referred to in the title unfold two different levels. There is the stratification of the time dimension produced by the opposition of contrasting parts, at the same time the polyphony, the presence of several simultaneously sounding layers, is of great importance to the music. By garish colours and clear-cut outlines a polyrhythmic simultaneousness of simple melodies is produced with more gestic music and other material which give a peculiar set piece-like effect inthe sound picture. The new simplicity details are here woven together in a new kind of complex whole. Stratifications begins with a series of concretistic masklike pictures of the music. It is like seeing lantern slides. But this fictive form crackles and the music gets attentive and real. The music is in a night-mare condition, where it is not getting anywhere in spite of a great dynamic display. But finally is liberating itself and rising in triumph.

Orchestra - Grade 3.5

SKU: AP.33667S

Finale. Composed by Felix Bartholdy Mendelssohn. Arranged by Christina Hans. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Masterwork Arrangement; Romantic. Score. 12 pages. Belwin Music #00-33667S. Published by Belwin Music (AP.33667S).

UPC: 038081375083. English.

The Scottish countryside became the inspiration for Mendelssohn's Symphony No. 3, also known as the Scottish Symphony. This arrangement of the triumphant coda (Allegro Maestoso Assai) from Movement IV features a majestic melody, rhythmic energy, and a fiery ending. The 6/8 rhythms have been simplified and the key has been changed to make it accessible for young strings. This title is available in MakeMusic Cloud.

Orchestra - Grade 4

SKU: AP.41225S

Movement 1. Composed by Felix Bartholdy Mendelssohn. Arranged by Kirk Moss. MakeMusic Cloud; Masterworks; Performance Music Ensemble; Single Titles; String Orchestra. Belwin Concert String Orchestra. Masterwork Arrangement; Romantic. Score. 48 pages. Belwin Music #00-41225S. Published by Belwin Music (AP.41225S).

UPC: 038081478876. English.

A slow and somber Grave introduction leads to a light-hearted Allegro, presenting an ideal piece to teach sonata form to your students. The clearly marked bowings and artist-level fingerings will save precious rehearsal minutes and contribute to a professional sound. This arrangement re-scores the first movement of Sinfonia No. 9 from six voices, requiring two separate viola parts, to the traditional five-voice string orchestra. Consistent with selected professional performances of the work, the first of two recapitulations has been seamlessly omitted to create a more balanced form, eliminate redundancies akin to counterpoint exercises, and showcase the young composer's emerging creativity by emphasizing his striking use of the key of A-major before reaffirming the home key. The elimination of a repeat reduces the duration to 8:30. (11:30) This title is available in MakeMusic Cloud.

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score)

SKU: HL.49018099

Boy Soprano, Soprano, Tenor, Flugelhorn, Mixed Chorus, and Chamber Orchestra Study Score. Composed by Harald Weiss. This edition: Paperback/Soft Cover. Sheet music. Study Score. Classical. Softcover. Composed 2008/2009. 188 pages. Duration 100'. Schott Music #ED20619. Published by Schott Music (HL.49018099).

ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.

On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.

Composed by Michael Sweeney. MusicWorks Grade 3. Concert. Score and parts. Published by Hal Leonard

Composed by Michael Sweeney. MusicWorks Grade 2. Concert. Score and parts (with online audio). Published by Hal Leonard

Orchestra - Grade 3

SKU: AP.49898

From African Suite. Composed by Samuel Coleridge-Taylor. Arranged by Kirk Moss. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Belwin Concert String Orchestra. Form: Dance. Masterwork Arrangement. Score and Part(s). Duration 3:00. Belwin Music #00-49898. Published by Belwin Music (AP.49898).

ISBN 9781470657314. UPC: 038081575469. English.

Originally composed for piano as the final movement of African Suite, Danse begins with two introductory chords followed by energetic swinging rhythms and repeated angular melodies. Students will love the moods in this festive overture, evocative of later Broadway musicals. The artistic turning point of Samuel Coleridge-Taylor's career happened in his twenties when he met the African-American poet Paul Laurence Dunbar. Dunbar influenced the young composer to concentrate on his African heritage. Born in suburban London to Alice Martin, an Englishwoman and the daughter of a blacksmith, his father, Dr. Daniel Peter Hughes Taylor, was a Creole of Sierra Leone who qualified as a Member of the Royal College of Surgeons (MRCS) and returned to Africa before his son's birth. Called Coleridge by his family, he was raised in Croydon, Surrey, by his mother and her father, Benjamin Holmans, who taught him the violin. (3:00).

Orchestra - Grade 3

SKU: AP.49063

To the Stars. Composed by Richard Meyer. MakeMusic Cloud; Performance Music Ensemble; String Orchestra. Highland/Etling String Orchestra. Programmatic. Score and Part(s). 138 pages. Duration 5:50. Highland/Etling #00-49063. Published by Highland/Etling (AP.49063).

ISBN 9781470645847. UPC: 038081564241. English.

Take your orchestra on a fantastic journey into the far reaches of outer space with this thrilling overture that is sure to capture the imaginations of all of your young performers. Memorable melodies abound here, and the variety of key signatures, time signatures, and musical styles make this a great teaching piece perfect for contest or festival. The interesting orchestration gives this piece a mature, cinematic sound and allows every section of the string orchestra their chance in the spotlight. Ad Astra is a fantastic work by Richard Meyer! (5:50) This title is available in MakeMusic Cloud.

Orchestra - Grade 3

SKU: AP.49063S

To the Stars. Composed by Richard Meyer. MakeMusic Cloud; Performance Music Ensemble; String Orchestra. Highland/Etling String Orchestra. Score. 24 pages. Duration 5:50. Highland/Etling #00-49063S. Published by Highland/Etling (AP.49063S).

ISBN 9781470645854. UPC: 038081564258. English.

Take your orchestra on a fantastic journey into the far reaches of outer space with this thrilling overture that is sure to capture the imaginations of all of your young performers. Memorable melodies abound here, and the variety of key signatures, time signatures, and musical styles make this a great teaching piece perfect for contest or festival. The interesting orchestration gives this piece a mature, cinematic sound and allows every section of the string orchestra their chance in the spotlight. Ad Astra is a fantastic work by Richard Meyer! (5:50) This title available in MakeMusic Cloud.