By Richard L. Saucedo. (Score and Parts). MusicWorks Grade 3. Concert Band. Score and full set of parts. Published by Hal Leonard.

Orchestra (Full Score) - Grade 4

SKU: HL.14032192

Full Score. Composed by Per Norgard. Music Sales America. 20Th Century, Classical. Softcover. 188 pages. Edition Wilhelm Hansen #KP00865. Published by Edition Wilhelm Hansen (HL.14032192).

ISBN 9788759858394. 12.0x16.5x0.78 inches. International (more than one language).

Symphony No. 6 for orchestra, 1997-99. Preface / Program 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 Gteborg 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 contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of other worlds, is revealed ....The symphony is dedicated to Helle, my wife. - Per Norgard.

Orchestra

SKU: JK.20034

Composed by K. Newell Dayley. Arranged by Sam Cardon. Difficulty Medium, Orchestral Orchestrations, Jesus Christ - Savior, Love. Christian, Inspirational. Duration 3:40. Jackman Music Corporation #20034. Published by Jackman Music Corporation (JK.20034).

John 15:10-12.

Score and parts to accompany the full-choir arrangement of I Feel My Savior's Love, recorded by the Mormon Tabernacle Choir (#00402).
Orchestratio n includes:
Full Score
Flute
Oboe
Clarinet in B Flat
Harp
Piano
Percussion I (Light Triangle, Finger Cymbals)
Percussion II (B.D., Sus. Cymbal)
Violin I (4)
Violin II (4)
Viola (4)
Violoncello (3)
Doublebass (2)
Composer: K. Newell Dayley
Arranger: Sam Cardon
Lyricist: Ralph G. Rogers, K. Newell Dayley and Laurie Huffman
Difficulty: Medium
Performance time: 3:40
Reference: John 15:10-12.

(Score and Sound Masterworks). By Antonin Dvorak (1841-1904). Study Score. Study Score with CD. Softcover with CD. 88 pages. Published by Hal Leonard . Sheet music CD.

Orchestra - Grade 3

SKU: AP.29724

Composed by Doug Spata. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Christmas; Light Concert; Novelty; Winter. Score and Part(s). 126 pages. Duration 3:00. Highland/Etling #00-29724. Published by Highland/Etling (AP.29724).

UPC: 038081320069. English.

With jubilant melodies and a light, festive style, this wonderful new composition is the perfect selection for your holiday concert! Students and audiences alike will thrill to the brisk, joyful style while teachers will appreciate how their students receive valuable experience with basic shifting, syncopation and part independence. Everyone gets a turn at the carefree melodies and a sleigh bell part is included for extra holiday color. (3:00).

Orchestra - Grade 1.5

SKU: AP.45823S

Composed by Michael Kamuf. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Beginning String Orchestra. Score. 12 pages. Duration 2:00. Belwin Music #00-45823S. Published by Belwin Music (AP.45823S).

UPC: 038081529196. English.

Perfect for concerts and festivals, Dayspring by Michael Kamuf is an ideal piece for reinforcing both dotted-quarter/eighth note and syncopation rhythms with your beginning string orchestra. In this driving new work by Michael Kamuf, the lyrical melodies and driving motifs are passed around the entire ensemble, supported by rich harmonies. (2:00).

Orchestra - Grade 1.5

SKU: AP.45823

Composed by Michael Kamuf. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Beginning String Orchestra. Score and Part(s). 72 pages. Duration 2:00. Belwin Music #00-45823. Published by Belwin Music (AP.45823).

UPC: 038081529189. English.

Perfect for concerts and festivals, Dayspring is an ideal piece for reinforcing both dotted-quarter/eighth note and syncopation rhythms with your beginning string orchestra. In this driving new work by Michael Kamuf, the lyrical melodies and driving motifs are passed around the entire ensemble, supported by rich harmonies. (2:00).

Orchestra - Grade 2.5

SKU: AP.38482S

Composed by Bob Phillips. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Form: Overture. Score. 12 pages. Highland/Etling #00-38482S. Published by Highland/Etling (AP.38482S).

UPC: 038081434643. English.

An easier alternative to Pomp and Circumstance! Perfect for graduations and special events with a hopeful, inspirational feel and a catchy melody, this one will make everyone feel upbeat. Premiered outside as part of an art competition, this piece was arranged to make the group sound great even if the venue is acoustically challenging. This title is available in MakeMusic Cloud.

Orchestra (Parts)

SKU: HL.14041966

Set of Parts. Composed by George Frideric Handel. Edited by Donald Burrows. Music Sales America. Classical. Softcover. Hal Leonard #NOV72007102. Published by Hal Leonard (HL.14041966).

Handel's majestical setting of John Dryden in a cantata to honour the patron saint of music, first performed in London in 1739. Newly edited by Donald Burrows.

Full orchestra

SKU: LO.30-2105LA

Composed by John Purifoy. Choral. Sacred Anthem, Eastertide. Orchestral score and parts. Laurel Press #30/2105LA. Published by Laurel Press (LO.30-2105LA).

UPC: 000308105933.

This inspiring new treatment of a favorite hymn promises to add vitality to every Easter service. The congregation joins in singing the hymn and the choir concludes with a jubilant Alleluia! Christ is risen today! (From Out of the Shadows: SATB - 55/1085L; SAB - 55/1086L).

Composed by Larry Shackley. For full orchestra. Sacred Anthem, Baptism, Dedications, Family Days, General. Orchestral score and parts. Exaltation Publications #30/2169L. Published by Exaltation Publications

By Leroy Anderson. By Leroy Anderson. For Full Orchestra. Full Orchestra. Leroy Anderson Classic Full Orchestra. Level: Medium Easy to Medium (grade III-IV). Conductor Score, Parts & CD. 144 pages. Duration 2:27. Published by Alfred Publishing.

Composed by Ludwig van Beethoven (1770-1827). Edited by Jens Dufner. For Orchestra (Study Score). Henle Study Scores. Softcover. 130 pages. G. Henle #HN9813. Published by G. Henle

Tone Poem - Urtext based on the Complete Edition Jean Sibelius Works (JSW). Composed by Jean Sibelius (1865-1957). Edited by Timo Virtanen. Full score. Breitkopf and Haertel #PB- 5658. Published by Breitkopf and Haertel

Orchestra orchestra - Grade 4

SKU: KJ.SO378C

Composed by Deborah Baker Monday. Score and parts. Neil A. Kjos Music Company #SO378C. Published by Neil A. Kjos Music Company (KJ.SO378C).

ISBN 9788402704702. UPC: 8402704700.

Port Washington, New York is a community on Long Island, New York that is filled with centuries of history. Situated on a waterfront, it also is the recipient of intense weather. Deborah Baker Monday has expertly captured Mother Nature at work in Port Washington, while musically portraying the passage of time in very special ways. Not to be missed!

Duration: 5:46.

Orchestra orchestra - Grade 4

SKU: KJ.SO378F

Composed by Deborah Baker Monday. Score only. Neil A. Kjos Music Company #SO378F. Published by Neil A. Kjos Music Company (KJ.SO378F).

UPC: 8402704699.

Port Washington, New York is a community on Long Island, New York that is filled with centuries of history. Situated on a waterfront, it also is the recipient of intense weather. Deborah Baker Monday has expertly captured Mother Nature at work in Port Washington, while musically portraying the passage of time in very special ways. Not to be missed!

Duration: 5:46.

Orchestra

SKU: BR.SON-444

Complete Works. Composed by Felix Bartholdy Mendelssohn. Edited by Ralf Wehner. Linen. Complete Works.

Editorial Board: Christian Martin Schmidt (chairman), Peter Ward Jones, Friedhelm Krummacher, R. Larry Todd, Ralf Wehner; research associates: Ralf Wehner, Clemens Harasim, Birgit Muller

Romantic period. Complete Works. 312 pages. Breitkopf and Haertel #SON 444. Published by Breitkopf and Haertel (BR.SON-444).

ISBN 9790004803523. 10 x 12.5 inches.

The Leipziger Ausgabe der Werke von Felix Mendelssohn Bartholdy pursues the goal of making accessible to the public in an adequately scholarly form all of Mendelssohn's accessible compositions, letters and writings, along with all other documents of his artistic oeuvre. A considerable number of Mendelssohn's works are still waiting to be published; many others have been published in an unsatisfactory manner.Though the new Mendelssohn Complete Edition follows the ten volumes of the Leipziger Mendelssohn Ausgabe (LMA) published by the Deutscher Verlag fur Musik (DVfM) in Leipzig since 1961, it sees itself as a fundamentally new conception which reflects the present-day standard of scholarly editions.The first volumes of the new Complete Edition were presented in Leipzig on 3 November 1997 at Mendelssohn Festtage in Leipzig.SON 411 - 413 have been awarded the German Music Edition Prize 2006.

Editorial Board: Christian Martin Schmidt (chairman), Peter Ward Jones, Friedhelm Krummacher, R. Larry Todd, Ralf Wehner; research associates: Ralf Wehner, Clemens Harasim, Birgit Muller.

Orchestra

SKU: BR.DV-4253

Complete Works. Composed by Felix Bartholdy Mendelssohn. Orchestra; Softbound. Deutscher Verlag.

Editorial Board: Christian Martin Schmidt (chairman), Peter Ward Jones, Friedhelm Krummacher, R. Larry Todd, Ralf Wehner; research associates: Ralf Wehner, Clemens Harasim, Birgit Muller

Romantic period. Complete Works. 112 pages. Deutscher Verlag fur Musik #DV 4253. Published by Deutscher Verlag fur Musik (BR.DV-4253).

ISBN 9790200440041. 9 x 12 inches.

The Leipziger Ausgabe der Werke von Felix Mendelssohn Bartholdy pursues the goal of making accessible to the public in an adequately scholarly form all of Mendelssohn's accessible compositions, letters and writings, along with all other documents of his artistic oeuvre. A considerable number of Mendelssohn's works are still waiting to be published; many others have been published in an unsatisfactory manner.Though the new Mendelssohn Complete Edition follows the ten volumes of the Leipziger Mendelssohn Ausgabe (LMA) published by the Deutscher Verlag fur Musik (DVfM) in Leipzig since 1961, it sees itself as a fundamentally new conception which reflects the present-day standard of scholarly editions.The first volumes of the new Complete Edition were presented in Leipzig on 3 November 1997 at Mendelssohn Festtage in Leipzig.SON 411 - 413 have been awarded the German Music Edition Prize 2006.

Editorial Board: Christian Martin Schmidt (chairman), Peter Ward Jones, Friedhelm Krummacher, R. Larry Todd, Ralf Wehner; research associates: Ralf Wehner, Clemens Harasim, Birgit Muller Price reduction for a subscription.

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.

Orchestra - Grade 1.5

SKU: AP.49467

Composed by Susan H. Day (ASCAP). MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Highland String Orchestra (HSO). Programmatic. Score and Part(s). Duration 2:00. Highland/Etling #00-49467. Published by Highland/Etling (AP.49467).

ISBN 9781470650162. UPC: 038081570945. English.

On the Open Seas is an exciting new sea chantey by Susan H. Day. Written because sea-faring voyagers are always looking for their next adventure on the open seas! This piece is written in E minor, 4/4 time, and features a spirited, memorable melody, detache bowing, easy rhythms, accents, pizzicato, and fun for all! Bass and cello double, and viola rhythms double 2nd violin rhythms throughout for ease of teaching. Optional piano adds harmonic color. Perfect for any concert occasion, students and teachers will want to keep performing this one! (2:00) This title is available in MakeMusic Cloud.

Orchestra - Grade 1.5

SKU: AP.49467S

Composed by Susan H. Day (ASCAP). MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Highland String Orchestra (HSO). Score. Duration 2:00. Highland/Etling #00-49467S. Published by Highland/Etling (AP.49467S).

ISBN 9781470650179. UPC: 038081570952. English.

On the Open Seas is an exciting new sea chantey by Susan H. Day. Written because sea-faring voyagers are always looking for their next adventure on the open seas! This piece is written in E minor, 4/4 time, and features a spirited, memorable melody, detache bowing, easy rhythms, accents, pizzicato, and fun for all! Bass and cello double, and viola rhythms double 2nd violin rhythms throughout for ease of teaching. Optional piano adds harmonic color. Perfect for any concert occasion, students and teachers will want to keep performing this one! (2:00) This title is available in MakeMusic Cloud.

Orchestra (Score) - Grade 4

SKU: HL.14027994

Composed by Poul Ruders. Music Sales America. Classical. Set. 86 pages. Edition Wilhelm Hansen #WH29830. Published by Edition Wilhelm Hansen (HL.14027994).

ISBN 9788759864593.

New York is the city which fascinates and inspires Ruders. Time and again he goes back there to work. 'Manhattan Abstraction' (1982) subtitles - a symphonic skyline for large orchestra - was conceived there. Ruders' Brittish colleague Oliver Knussen defines the piece as: - a performance of an extraordinary Morden-Times-like construction. It is a sort of symphonic sculpture, which in the composer's own words words propels forth from one particular inspiration: the New York profile, as seen from Liberty Island, one icy cold January day with it's open, clear sky and dazzling sun light. 'Manhatten Abstraction' appears as an amalgam of some of the compositorical habits found in present pieces. For instance, are present here compositorical ideas and melodic loans from 'Capriccio Pian'e Forte', 2nd String Quartet(1979), 'Four Compositions' (1980), and 2nd Piano Sonata(1982). The question at hand is mainly concerned with the enhanced elaboration of Ruders' use of the classic English change-ringing system: a permuting method pre-determining the order of tone-appearances and /or tone groups; a serial technique in other words. In spite of the rigidly fixed material, Ruders somehow manages to chisel out a personal expression by way of emphasising contrasting elements already existing within the material itself. The spiky, repetitive sections form a counterpart to a more human violin-solo. This dialectical tension is - as hinted by the title - a symphonic abstraction of a fascinating metropolis; the most beautiful and the ugliest. The subtitle: a symphonic skyline reflects the musical erection of the Manhattan profile, which under the clear sky, materializes into the most powerful and compelling man-made sculpture on earth. Thus 'Manhattan Abstraction' is a homage to, as well as a vision of, this giant contraption of concrete, glass, and chrome.

Orchestra

SKU: LO.30-2645L

Composed by Mary McDonald. Arranged by Michael Lawrence. Choral. Sacred Anthem, All Saints' Day, Eastertide, General, Lent. Orchestral score and parts. Lorenz Publishing Company #30/2645L. Published by Lorenz Publishing Company (LO.30-2645L).

UPC: 000308126587.

A powerful choral prayer, this reverent original anthem by Mary McDonald calls upon God to purify our hearts; cleanse and make us new. Full of soaring vocals and breathtaking harmonies, along with an optional orchestration by Michael Lawrence, this piece is a masterful call to God's people to gather in His house in penitence and devotion. The orchestra includes a Conductor's Score and parts for 2 Flutes, Oboe, 2 Clarinets, Bassoon (sub Bass Clarinet), 3 Trumpets, 2 Horns (sub 2 Alto Saxes), 2 Trombones (sub 2 Tenor Saxes), Tuba, Percussion, Harp, Piano, 2 Violins, Viola, Cello, and Bass (string reduction included).

(The Journey from Darkness to Light). By Lloyd Larson. Arranged by Mary Mcdonald. Orchestra. For Flute, Clarinet, 2 Trumpet, Horn, 2 Trombone, Percussion, Piano, Synthesized Strings. Cantata. Choral: Advent. Orchestral Score and Parts. Published by Lorenz Publishing Company

Orchestra

SKU: HL.14011919

Composed by Karsten Fundal. Music Sales America. Score. Music Sales #KP01477. Published by Music Sales (HL.14011919).

ISBN 9788759878644. English-Danish.

Orc hestration: 3(pic)(afl).2+ca.1+2bcl.2 +cbn/4.3.3.1/timp.2perc/h p/pf/strParts are for hire: hire@ewh.dkProgramnote Hush er et studie i morke og lys, kold og varm lyd. Jeg har ogsa i dette stykke forsogt at introducere staerke folelsesmaessige udtryk, ved brug af instrumentale farver og tonale virkemidler. Titlen Hush er forbundet med et slags indre digt jeg har haft i tankerne medens jeg komponerede. Da jeg jo ikke er digter i ord, er det ufuldstaendigt og utilstraekkeligt i sin form, men derfor alligevel meget godt beskrivende for stykkets vaesen. Det lyder nogenlunde sadan her i mit hoved:Hush little heart- hush.!!was time running too fast or did the hours sometimesseem long?,Were your beats too many or were they too few in the end?Hush little heart- hushdid you see too little or did you sometimes see too much?,was life too small or was it sometimes larger than life?was your thirst quenched or did you end up drained?hush, hush, little heart- hush!!,Don't be afraid, maybe you knew all the time:that one day you would have to be still-or maybe you didn't?Is that why you were beating so fast?hush, hush little heart-hush,- be comforted, 'cause even as you feel so small Your very existence is strange and beautiful - so, hush, hush, be comforted, be still my beating heart.