Kongen Af Himmeby-Demo/Utopiaville-Demofor Symphony Orchestra (2009). The Utopiaville-Demo is commissioned by Finn Schumacker for The Odense Symphony Orchestra. Repertoire operas occationally have orchestral suites: Bits and pieces of overture interlude etc. tied up in a bouquet of 'schönste Tränen'. Contemporary opera usually wither after the first season so the focus is on getting people to come and have a sniff before it's too late. Consequently it seemed obvious to me to start making orchestral excerpts from my operas that are meant to be played before the premiere (and after please); I call them 'operatrailers' when they're substantial enough to be considered independent works and 'opera demos' when they're relatively short and more appetizer-ish. The Utopiaville-Demo is a fast-and-furious cinemascope 3D THX-demo for my chamber opera 'The King ofUtopiaville' which is sort of a mix between a reversed revolutionary opera (reversed because it's about a revolutionthat flops) and a rhythm'n blues theatre concert. The opera takes place on the remote tropical island of Honga-Tonga where a mayor form Europe is taking a much needed holiday as far away as possible from his home town Utopiaville. The mayor desperately needs to get away:He has overstepped his authority blatantly and broken every rule of law he felt like in order to create a modern liberalistic society where sanitation medicare hospitals schools the police and all other public institutions are sold to private investors and then leased back by the public - that way noone will ever have to pay taxes because everything finances itself the mayor says and in order to keep reality at a safe distance he drinks massive amounts of insanely expensive french claret all in the best interest of the inhabitants of Utopiaville of course.Honga Tonga can't get any further away from Waikiki Beach: It looks something like the 1933 version of

London No. 12-Joseph Haydn's 'Eulenburg Pocket Score' is the result of his second trip to England in 1794. This work is one of the still popular from the series of the so-called '12 London Symphonies' (Hob. 1/93 - Hob. 104).The work characterized by musical finesse and various sonic stimuli has the following four movements: I. Adagio - Allegro - II. Allegretto (C major) - III. Menuet: Moderato - IV. Presto. The somewhat unusual epithet 'military symphony' refers essentially to the second and the fourth movement ('Allegretto' and 'Presto') in which the instrumentation is enriched by timpani triangle cymbals and bass drum and thereby the evokes the impression of amilitary band. A 'trumpet signal' especially set in the second movement led to such a characterization. On the value and importance of this G major Symphony the following article from the Allgemeine Musikalische Zeitung of April 1799 reveals: 'It is a little less learned and easier to grasp than some of the other's newest works but new ones Ideas just as rich as they. Perhaps the surprise in music can not be furthered than it is here by the sudden collapse of full Janissary music in the minor of the second movement-since until then one has no suspicion that these Turkish instruments are attached to the symphony. But here too not only the inventive but also the prudent artist shows. Nevertheless the Andante is nevertheless a whole: for in all the pleasing and easy things that the composer in order to infer from the idea of his coup deceitfully brought it into the first part of it it is nevertheless arranged and worked in a march.' The 'Military Symphony' was premiered on March 31 1799 in London.

The twelve 'London Symphonies' comprise the sublime final statement of Haydn's symphonic 'uvre. They were written for the London impresario Johann Peter Salomon and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Hailing from 1791 the Symphony in D major no. 96 numbers among the first symphonies written in and for London. The epithet given to it by posterity 'The Miracle' was bestowed erroneously for the miracle ' that no one was injured when a chandelier fell during a concert ' took place during a performance of a different Haydn symphony. And yet it is a miracle of musical esprit nonetheless from the subtlerelations between the motives consisting of broken triads that open all four movements to the virtuosic shifts in mood owing to surprising harmonies Haydn here submits a prime example of how he develops musical ideas. This study edition adopts the musical text of the Haydn Complete Edition thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans. The twelve 'London Symphonies' comprise the sublime final statement of Haydn's symphonic 'uvre. They were written for the London impresario Johann Peter Salomon and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Hailing from 1791 the Symphony in D major no. 96 numbers among the first symphonies written in and for London. The epithet given to it by posterity 'The Miracle' was bestowed erroneously for the miracle ' that no one was injured when a chandelier fell during a concert ' took place during a performance of a different Haydn symphony. And yet it is a miracle of musical esprit nonetheless from the subtlerelations between the motives consisting of broken triads that open all four movements to the virtuosic shifts in mood owing to surprising harmonies Haydn here submits a prime example of how he develops musical ideas. This study edition adopts the musical text of the Haydn Complete Edition thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

“In this work I gave everything I had to give. […] What I did here I will never do again”. Camille Saint-Saëns was justifiably proud of his Symphony No.3 in C minor Op.78 dedicated to the memory of Franz Liszt. Like Beethoven’s Ninth this so-called “Organ Symphony” was commissioned by the Philharmonic Society in London where it received its premiere on 19 May 1886. In this first scholarly-critical edition of the symphony a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No.3 marksthe launch of a large-scale project: the publication of Camille Saint-Saëns - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series. First scholarly-critical edition of this famous symphony based on Camille Saint-Saëns – Complete Edition of the Instrumental Works Now with separate parts for all winds Orchestral parts in a large format (25.5 cm x 32.5 cm)

“In this work I gave everything I had to give. […] What I did here I will never do again”. Camille Saint-Saëns was justifiably proud of his Symphony No.3 in C minor Op.78 dedicated to the memory of Franz Liszt. Like Beethoven’s Ninth this so-called “Organ Symphony” was commissioned by the Philharmonic Society in London where it received its premiere on 19 May 1886. In this first scholarly-critical edition of the symphony a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No.3 marksthe launch of a large-scale project: the publication of Camille Saint-Saëns - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series. First scholarly-critical edition of this famous symphony based on Camille Saint-Saëns – Complete Edition of the Instrumental Works Now with separate parts for all winds Orchestral parts in a large format (25.5 cm x 32.5 cm)

“In this work I gave everything I had to give. […] What I did here I will never do again”. Camille Saint-Saëns was justifiably proud of his Symphony No.3 in C minor Op.78 dedicated to the memory of Franz Liszt. Like Beethoven’s Ninth this so-called “Organ Symphony” was commissioned by the Philharmonic Society in London where it received its premiere on 19 May 1886. In this first scholarly-critical edition of the symphony a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No.3 marksthe launch of a large-scale project: the publication of Camille Saint-Saëns - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series. First scholarly-critical edition of this famous symphony based on Camille Saint-Saëns – Complete Edition of the Instrumental Works Now with separate parts for all winds Orchestral parts in a large format (25.5 cm x 32.5 cm)

Symphony No. 6 'At The End Of Day' (1997-99) for Orchestra by Per Nørgård. Programme note: ”… with the Lord a day is like a thousand years and a thousand years is like a day”  (New Testament 2 Peter 3:8)  My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra the Göteborg Symphony Orchestra and the Oslo Philharmonic Orchestra to be premiered at the millenium 2000.  The subtitle AT THE END OF THE DAY can be understood literally or it can mean “when all is added up”. However in my opinion nothing ever quite adds up there is always “something” missing any ending will be provisional ...  This symphony appears to end only a few minutes into the first movement the first passage as the music fades away to almost-silence after a start of flying colours. But then there is still “something” a small motive (first heard in the initial sound-waves) which reappears hesitant but persistent and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next until all the voices become obsessed with the same phrase a see-saw motive based on thirds. This section evolves into almost martial ferocity when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony emplyoing instruments that I have never used before: double-bass tuba double-bass trombone double-bass clarinet and bass flute).  The second movement the second passage apparently takes off where the first passage ended but now the events are more ambiguous and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia the characteristic baroque bass-variation.  Without a break follows the third and last passage in a

Haydn's Symphony Hob. I:89 belongs to a group of symphonies composed between the ?Paris? symphonies (Hob. I:82-87) and their ?London? counterparts (Hob. I: 93-104) the last ones he wrote before his trips to England in 1791-92 and 1794-95.The Symphony in F major is dated 1787 in the autograph score. In this work Haydn borrowed two movements from an earlier piece possibly owing to deadline pressure. The second and fourth movements are arrangements of movements 2 and 3 from his Concerto in F major Hob. VIIh:5 for two ?lire organizzate? and orchestra. The fact that he also arranged movements from his other lire concertos suggests that heregarded them as a sort of musical quarry. This at least allowed him to recycle parts of these works after his patron had probably prohibited him from offering them commercially.This edition continues the collaboration with the Henle publishing company regarding Haydn's large-scale choral works operas and symphonies. It is based on the Henle Complete Edition of the Works of Joseph Haydn. The complete performance material for several Sturm und Drang symphonies and all of the London and Paris symphonies is now available from Bärenreiter.

Selections From The Phantom Of The Opera is a brilliant collection of songs written for full Orchestra and composed by Andrew Lloyd Webber.This superb collection contains songs such as All I Ask Of You Think Of Me and of course the most famously known title song The Phantom Of The Opera.Watch The Phantom Of The Opera here:Andrew Lloyd Webber is possibly one of Britons most famous composers of theatrical music. Webber isbest known for his compositions for the musical Joseph And The Amazing Technicolor Dreamcoat .

(A Tribute to The Beatles)-Master arranger Bruce Healey brings us a spectacular showcase of pop music's greatest act with 13 memorable songs each given a new creative treatment in this stunning symphonic arrangement. Includes: All My Loving All YouNeed Is Love Blackbird Can't Buy Me Love Come Together Day Tripper Here Comes The Sun If I Fell Lady Madonna Let It Be Ob-La-Di Ob-La-Da Something and Yesterday.

With 2 violino concertato-Haydn's Symphony No.8 is the final piece in his triptych on the times of the day consisting of the symphonies Le Matin Le Midi and Le Soir (Hoboken I:6-8). The cycle originated in 1761 on a commission from Haydn's patron Prince Anton Esterházy. Whether the Prince was hoping for a counterpart to Vivaldi's famous concertos on the four seasons or pursued a different idea can no longer be determined. It was doubtless the purpose of these concertante symphonies to present to a select audience the Prince's chamber ensemble which had been assembled or expanded that spring as well as its new conductor. The pieces are laid out on a large scale full of pomp andsplendour and the scoring at times divided into thirteen separate parts offers virtually every player an opportunity to display his prowess as a soloist.At that time the Esterházy ensemble was made up of six or seven players of the violin or viola (the seventh was actually retained as a flautist) one player each of the violoncello and violone two oboists doubling on flute two horn players and a bassoonist. This listing includes Haydn himself who conducted the ensemble from the first violinist's desk. Contrary to a widely held belief there was no harpsichord. Indeed the only genres that employed a keyboard instrument at that time in the Viennese area were vocal - namely operas cantatas and church music.Urtext from Joseph Haydn WerkeFull score & parts (BA4673) available for sale

Haydn's Symphony No.8 is the final piece in his triptych on the times of the day consisting of the symphonies Le Matin Le Midi and Le Soir (Hoboken I:6-8). The cycle originated in 1761 on a commission from Haydn's patron Prince Anton Esterházy. Whether the Prince was hoping for a counterpart to Vivaldi's famous concertos on the four seasons or pursued a different idea can no longer be determined. It was doubtless the purpose of these concertante symphonies to present to a select audience the Prince's chamber ensemble which had been assembled or expanded that spring as well as its new conductor. The pieces are laid out on a large scale full of pomp andsplendour and the scoring at times divided into thirteen separate parts offers virtually every player an opportunity to display his prowess as a soloist.At that time the Esterházy ensemble was made up of six or seven players of the violin or viola (the seventh was actually retained as a flautist) one player each of the violoncello and violone two oboists doubling on flute two horn players and a bassoonist. This listing includes Haydn himself who conducted the ensemble from the first violinist's desk. Contrary to a widely held belief there was no harpsichord. Indeed the only genres that employed a keyboard instrument at that time in the Viennese area were vocal - namely operas cantatas and church music.Urtext from Joseph Haydn WerkeFull score & parts (BA4673) available for sale

Full Score. Par BERLIOZ HECTOR. Hector Berlioz (1803–1869), considered the father of modern orchestration, possessed an intuitive musical genius all the more remarkable for his limited formal musical education. A brilliant colorist, a master of the unexpected rhythmic break, he brought a new symphonic richness to Romantic music. Both damned and venerated by his contemporaries — Mendelssohn considered him devoid of talent, Paganini declared him the one true heir to the spirit of Beethoven — Berlioz seems to have sought in music a way to soothe and give voice to the turbulent psychological instabilities and contradictions of what has come to be called 'program music' — i. e. , instrumental music with an extramusical significance. He strove to communicate musically the experiences, psychological themes, scenic description, and literary allusions more commonly associated with the confessional writings of Romantic poets. This Dover edition presents two of the greatest of these 'program' pieces: the Symphonie Fantastique (1830) and Harold in Italy (1834). Here are the full scores of both major symphonic works — painstakingly reproduced from the authoritative Breitkopf & Härtel edition, available for the first time in one convenient volume — plus Berlioz's 'program' for the Symphonie Fantastique. Musicians and music lovers everywhere will value this high-quality, inexpensive edition — ideal for study and performance. Reprint of Nos. 1 and 3 of Serie I, Symphonien (1900), of Werke von Hector Berlioz, Breitkopf and Härtel, Leipzig, 1900–1910. Breitkopf & Hartel edition./ Répertoire / Orchestre