A Beginner's Guide for Group or Private Instruction. Modern Band. Method, Teacher Resource. Softcover. 256 pages. Published by Little Kids Rock

Opera in Three Acts. Composed by Meredith Oakes. Full Orchestra (Full Score); Larger Works; Masterworks; Performance Music Ensemble. Faber Edition. Masterwork. Score. Faber Music #12- 057153872X. Published by Faber Music

Serie IX (Schriften) Vol. 4.3: Briefe 1952-1956. Composed by Hanns Eisler (1898-1962). Edited by Maren Koster. Restless Times. Breitkopf and Haertel #BV 350. Published by Breitkopf and Haertel

Composed by Gustav Holst (1874-1934). Arranged by Colin Matthews and Imogen Holst. This edition: Limited. Full Orchestra (Full Score); Orchestra Resources; Resources. Classical; Masterwork. Score. 272 pages. Faber Music #12-0571542735. Published by Faber Music

March and One Step. Composed by Henry Fillmore (1881-1958). Edited by Robert E. Foster. Arranged by Robert E. Foster. Authentic Fillmore Edition. Score and part(s). With Standard notation. Duration 1 minute, 48 seconds. Carl Fischer #CB148. Published by Carl Fischer

By George E. Strombeck. For Mixed Large Ensemble. Large Ensemble for Mixed Large Ensemble. Meter: 3/4, 4/4. Traditional. Level: 1.5-2.5. Duration 1'30". Published by David E. Smith Publications.

By Johann Sebastian Bach (1685-1750). Edited by Heinrich Besseler; Hans Gruss. For orchestra (3 trumpets/timpani/2 oboes/2 violins/viola/basso continuo (cello/double bass/harpsichord)). This edition: Stapled, Urtext edition. Score. Text Language: German/English. BWV 1068. 50 pages. Duration 24'. Published by Baerenreiter Verlag

Orchestra

SKU: BR.SON-509

Filmmusik zu Nuit et brouillard. Composed by Hanns Eisler. Edited by Knud Breyer and Oliver Dahin. Hardback. Complete Works. Early modern; Music post-1945. Complete Works. 156 pages. Breitkopf and Haertel #SON 509. Published by Breitkopf and Haertel (BR.SON-509).

ISBN 9790004803318. 10 x 12.5 inches.

Editorial BoardThomas Phleps (Music), Georg Witte (Writings)Editorial MembersMusic: Oliver Dahin / Johannes C. Gall, Writings: Maren KosterEditorial CommitteeMusic: Hartmut Fladt, Werner Grunzweig, Elmar Juchem, Roland Kluttig, Giselher SchubertWritings: Albrecht Betz, Albrecht Riethmuller, Jurgen Schebera, Friederike WissmannThe editorial works are supported by the Deutsche Forschungsgemeinschaft.Sp ecial volumes are made possible with the support of the following foundations:Klockner-Stif tung, Lotto-Stiftung, Hanns und Steffy Eisler StiftungThe goal of the Hanns Eisler Complete Edition (HEGA) is to present to the public all available compositions, writings and letters in an appropriately scholarly form. It takes a historico-critical approach and seeks to document the history of the works and writings by shedding light on their transformations, thus identifying the various versions as witnesses of evolving aesthetic and historical positions. Eislers complete oeuvre (only a limited number of his works had penetrated the publics awareness up until the 1990s) first became the object of an editorial undertaking when the Eisler - Gesammelte Werke (EGW) was founded by Nathan Notowicz. It was later placed under the direction of Manfred Grabs and Eberhardt Klemm, and began issuing its publications in 1968 through the intermediary of the Deutscher Verlag fur Musik in Leipzig. However, only four volumes of music and five volumes of writings were published. The Hanns Eisler Complete Edition pursues the work begun at that time, although it has had to fundamentally revise its editorial principles. In this respect, the Hanns Eisler Complete Edition can be considered as a completely new editorial undertaking. It became necessary to reconceive the organization of the volumes and series as well as the editorial guidelines in order to adapt the standards of historico-critical editing generally applicable today to the specific and sometimes singular circumstances of Eislers works.The Critical Commentaries pertaining to the main volumes follow the music section or, whenever they are too extensive, appear in a special volume.Series I: Choral MusicSeries II: Music for Voice and Instrumental Ensemble or OrchestraSeries III: Music for Voice and PianoSeries IV: Instrumental MusicSeries V: Incidental MusicSeries VI: Film MusicSeries VII: Sketches and FragmentsSeries VIII: Arrangements of works by other composersSeries IX: Writings, Letters and InterviewsSON 501 has been awarded the German Music Edition Prize 2003.SON 502 has been awarded the German Music Edition Prize 2007.

The major upheavals that transformed society and musical aesthetics during the first half of the 20th century also profoundly affected the life of Hanns Eisler, as well as his compositions and writings. The importance and scope of Eislers oeuvre are reason enough to make his works accessible to musical scholarship and practice in a comprehensive fashion. Price reduction for a subscription.

By Oliver Knussen (1952-). Orchestra. Full Orchestra; Masterworks; Score. Faber Edition. 20th Century; Masterwork. Published by Faber Music

Orchestra

SKU: SU.32040140

For Orchestra. Composed by Amy Riebs Mills. Orchestra. Full Score. Subito Music Corporation #32040140. Published by Subito Music Corporation (SU.32040140).

2222; 4331; timp, 2 perc, pno; stgs Duration: 13'30 Composed: 2016 Published by: Amy Mills Music, LLC Like a modern Pictures at an Exhibition…. Ha Shamayim is an original piece for orchestra that was inspired by photographs taken by the Hubble space telescope. Each section is inspired by one photo; the title of each section is the title that NASA gave to the photograph. The words Ha Shamayim are Hebrew for The Heavens. They are written in Genesis 1:1, In the beginning God created the heavens and the earth. The words are also seen in Psalm 19. Section I: Warped Edge-On Galaxy ESO 510-G13 The piece begins in outer space with its glistening stars. Glissandi are used to depict the strange but beautiful warp seen in the photograph. Section II: Galaxy Fires at Neighboring Galaxy Suddenly the piece erupts as one galaxy fires blue gas at its neighbor. They engage in a cosmic battle. Section III: Youthful-looking Galaxy May Be an Adult The adolescent galaxy is personified by a humorous, gawky melody reminiscent of teenage boys who walk on feet that are still too big. Occasionally there is an argument with an authority figure, but the joy of exploring the universe quickly returns. Section IV: Star Birth in Galaxy M83 The dramatic photograph looks like a womb with veins. The music begins on one note, then it begins to explore the initial swelling and stretching. It morphs into an energetic fast theme, still growing. Ultimately it becomes glorious and expansive, like the new star. Section V: String of ‘Cosmic Pearls’ Surrounds an Exploding Star The first theme is a happy circle dance inspired by the circle of white dots in the photograph. The second theme is noble and joyful. It is reminiscent of the melody in the famous chorus in Haydn’s The Creation with the words from Psalm 19, The heavens are telling the glory of God. The music then has flashbacks to the earlier sections, and ends in triumph. The five sections in Ha Shamayim are continuous with no breaks. Difficulty Level: 5 (Advanced/Professional) See composer website for audio sample. Performance materials available on rental only:.

Orchestra

SKU: HL.14010856

Composed by Manuel de Falla. Music Sales America. Classical. Score. Composed 2002. Chester Music #CH61022. Published by Chester Music (HL.14010856).

ISBN 9780711960879. 0.575 inches.

Fuego Fatuo has an interesting history. Manuel De Falla (1876-1946), often regarded as the greatest Spanish composer of the 20th century, wanted to write an opera based around themes from Chopin, whomhe greatly admired. The stage work was never finished; however, several attempts have been made to arrange the work for orchestra, most successfully by the Catalan conductor Antoni Ros-Marba.

Des pite its history,this orchestral suite is far from being a mere mish-mash of Chopin melodies; it is more of a meditation on Chopin's work in general, with the focus on the harmonic and textural elements which De Falla drew from his work.It forms a fascinating insight into the mind of a great musician.

(For Large Orchestra). Composed by Thomas Ades (1971-). Orchestra. Full Orchestra; Larger Works; Masterworks; Score. Faber Edition. 20th Century; Masterwork. Published by Faber Music

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.

Full orchestra

SKU: LO.30-3489MD

Composed by Jay Rouse. Choral, cantatas. Advent, Christmas, Sacred. Full score and parts, plus CD with printable parts. Medallion Music #30/3489MD. Published by Medallion Music (LO.30-3489MD).

UPC: 000308147704.

And It Came to Pass, Emmanuel: A compelling musical triumph that invites the listener on a journey that ultimately leads to worship of the Christ Child. The text of the Christmas story blends seamlessly with original narrative and exquisite lyric writing from Rose Aspinall, and Jay Rouse's incredible ability to fashion original melodies and arrange Christmas favorites with nuance and passion is on full display. The musical opens with an ethereal underscore that leads effortlessly into a 6/8 interpretation of Adeste Fideles, followed directly by the theme song and anchor ballad for the musical, And It Came to Pass. Also included are a song written specifically for this work that gives voice to Joseph's fears and longings; a traditional gospel setting of the all-time favorite Jesus, What a Wonderful Child; a syncopated, upbeat angel and shepherd announcement song titled Fire in the Sky; and a tender worship moment at the manger called Jesus, Prince of Peace. With a little something for everyone, this creative work is sure to be an important part of your Christmas season.

Orchestra

SKU: BR.SON-511

Orchestermusik. Composed by Hanns Eisler. Edited by Knud Breyer. Hardback. Complete Works. Early modern; Music post-1945. Complete Works. 248 pages. Breitkopf and Haertel #SON 511. Published by Breitkopf and Haertel (BR.SON-511).

ISBN 9790004803448. 10 x 12.5 inches.

Editorial BoardThomas Phleps (Music), Georg Witte (Writings)Editorial MembersMusic: Oliver Dahin / Johannes C. Gall, Writings: Maren KosterEditorial CommitteeMusic: Hartmut Fladt, Werner Grunzweig, Elmar Juchem, Roland Kluttig, Giselher SchubertWritings: Albrecht Betz, Albrecht Riethmuller, Jurgen Schebera, Friederike WissmannThe editorial works are supported by the Deutsche Forschungsgemeinschaft.Sp ecial volumes are made possible with the support of the following foundations:Klockner-Stif tung, Lotto-Stiftung, Hanns und Steffy Eisler StiftungThe goal of the Hanns Eisler Complete Edition (HEGA) is to present to the public all available compositions, writings and letters in an appropriately scholarly form. It takes a historico-critical approach and seeks to document the history of the works and writings by shedding light on their transformations, thus identifying the various versions as witnesses of evolving aesthetic and historical positions. Eislers complete oeuvre (only a limited number of his works had penetrated the publics awareness up until the 1990s) first became the object of an editorial undertaking when the Eisler - Gesammelte Werke (EGW) was founded by Nathan Notowicz. It was later placed under the direction of Manfred Grabs and Eberhardt Klemm, and began issuing its publications in 1968 through the intermediary of the Deutscher Verlag fur Musik in Leipzig. However, only four volumes of music and five volumes of writings were published. The Hanns Eisler Complete Edition pursues the work begun at that time, although it has had to fundamentally revise its editorial principles. In this respect, the Hanns Eisler Complete Edition can be considered as a completely new editorial undertaking. It became necessary to reconceive the organization of the volumes and series as well as the editorial guidelines in order to adapt the standards of historico-critical editing generally applicable today to the specific and sometimes singular circumstances of Eislers works.The Critical Commentaries pertaining to the main volumes follow the music section or, whenever they are too extensive, appear in a special volume.Series I: Choral MusicSeries II: Music for Voice and Instrumental Ensemble or OrchestraSeries III: Music for Voice and PianoSeries IV: Instrumental MusicSeries V: Incidental MusicSeries VI: Film MusicSeries VII: Sketches and FragmentsSeries VIII: Arrangements of works by other composersSeries IX: Writings, Letters and InterviewsSON 501 has been awarded the German Music Edition Prize 2003.SON 502 has been awarded the German Music Edition Prize 2007.

The major upheavals that transformed society and musical aesthetics during the first half of the 20th century also profoundly affected the life of Hanns Eisler, as well as his compositions and writings. The importance and scope of Eislers oeuvre are reason enough to make his works accessible to musical scholarship and practice in a comprehensive fashion. Price reduction for a subscription.

Orchestra

SKU: BR.SON-506

Kammersymphonie op.69. Composed by Hanns Eisler. Edited by Tobias Fasshauer. Hardback. Complete Works. Early modern; Music post-1945. Complete Works. 148 pages. Breitkopf and Haertel #SON 506. Published by Breitkopf and Haertel (BR.SON-506).

ISBN 9790004802779. 10 x 12.5 inches.

Editorial BoardThomas Phleps (Music), Georg Witte (Writings)Editorial MembersMusic: Oliver Dahin / Johannes C. Gall, Writings: Maren KosterEditorial CommitteeMusic: Hartmut Fladt, Werner Grunzweig, Elmar Juchem, Roland Kluttig, Giselher SchubertWritings: Albrecht Betz, Albrecht Riethmuller, Jurgen Schebera, Friederike WissmannThe editorial works are supported by the Deutsche Forschungsgemeinschaft.Sp ecial volumes are made possible with the support of the following foundations:Klockner-Stif tung, Lotto-Stiftung, Hanns und Steffy Eisler StiftungThe goal of the Hanns Eisler Complete Edition (HEGA) is to present to the public all available compositions, writings and letters in an appropriately scholarly form. It takes a historico-critical approach and seeks to document the history of the works and writings by shedding light on their transformations, thus identifying the various versions as witnesses of evolving aesthetic and historical positions. Eislers complete oeuvre (only a limited number of his works had penetrated the publics awareness up until the 1990s) first became the object of an editorial undertaking when the Eisler - Gesammelte Werke (EGW) was founded by Nathan Notowicz. It was later placed under the direction of Manfred Grabs and Eberhardt Klemm, and began issuing its publications in 1968 through the intermediary of the Deutscher Verlag fur Musik in Leipzig. However, only four volumes of music and five volumes of writings were published. The Hanns Eisler Complete Edition pursues the work begun at that time, although it has had to fundamentally revise its editorial principles. In this respect, the Hanns Eisler Complete Edition can be considered as a completely new editorial undertaking. It became necessary to reconceive the organization of the volumes and series as well as the editorial guidelines in order to adapt the standards of historico-critical editing generally applicable today to the specific and sometimes singular circumstances of Eislers works.The Critical Commentaries pertaining to the main volumes follow the music section or, whenever they are too extensive, appear in a special volume.Series I: Choral MusicSeries II: Music for Voice and Instrumental Ensemble or OrchestraSeries III: Music for Voice and PianoSeries IV: Instrumental MusicSeries V: Incidental MusicSeries VI: Film MusicSeries VII: Sketches and FragmentsSeries VIII: Arrangements of works by other composersSeries IX: Writings, Letters and InterviewsSON 501 has been awarded the German Music Edition Prize 2003.SON 502 has been awarded the German Music Edition Prize 2007.

The major upheavals that transformed society and musical aesthetics during the first half of the 20th century also profoundly affected the life of Hanns Eisler, as well as his compositions and writings. The importance and scope of Eislers oeuvre are reason enough to make his works accessible to musical scholarship and practice in a comprehensive fashion. Price reduction for a subscription.

Orchestra

SKU: SU.28120090

For Orchestra. Composed by Alla Pavolva. Orchestra. Study Score. Subito Music Corporation #28120090. Published by Subito Music Corporation (SU.28120090).

Orchestra Duration: 46' Composed: 2004 Published by: Alla Pavlova Music Alla Pavlova has written music for the ballet Sulamith, based on the 1923 story by Russian writer Alexandre Kuprin about the love of King Solomon for Sulamith, a servant from his vineyard. Instrumentation is for full symphony (winds: 3.2.3.2.; brass: 4.; 4.3.1.; Timp.; Perc. (Bells; Bass-dr.; Snare-dr; Susp.cymb.; Triangle; Tambour.; Tom-tom; Tam-tam; Vibroph.; Glock.); Hp; Pn; Organ (or Harmon.); Strings). The Sulamith Suite (which has been recorded by the Moscow Philharmonic for Naxos) can be heard at http://www.allapavlova.co m/listen.html. Performance materials available on rental only:.

By Georges Bizet (1838-1875). Edited by Robert Didion. For Orchestra (Study Score). Study Score. Softcover. 64 pages. Hal Leonard #ETP1544. Published by Hal Leonard

(I. Thrice Welcome, II. In the Shadow of the Mountain). Composed by Howard Shore. Arranged by Victor L�³pez. Orchestra. Full Orchestra; Score. Pop Concert Full Orchestra. Form: Suite. Movie. Grade 3.5. 24 pages. Published by Alfred Music

Orchestra

SKU: HL.49009448

Composed by Franz Schubert. Edited by Max Alberti. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Study Score. 54 pages. Duration 8'. Eulenburg Edition #ETP 1130. Published by Eulenburg Edition (HL.49009448).

ISBN 9790200209600. 5.5x7.5x0.165 inches.

With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.

Study Score. By Johann Sebastian Bach. Arranged by Harry Newstone. (Study Score). Schott. 60 pages. Published by Eulenburg.

(Study Score - Flute/Piccolo, Oboe, Clarinet, Horn, Bassoon, Bass). Composed by Leos Jan�¡cek. Edited by Jir�­ Zahr�¡dka. For Mixed Woodwind Ensemble, Woodwind Ensemble (Study Score). Henle Study Scores. Softcover. G. Henle #HN7093. Published by G. Henle

Orchestra

SKU: SU.91580100

For Orchestra. Composed by Steven Mercurio. Vocal/Choral, Opera. CD (Audio). Subito Music Corporation #91580100. Published by Subito Music Corporation (SU.91580100).

A Grateful Tail - Movement by Movement Siriusly, Dog Star Sirius, the brightest star in the night sky, has been used by travelers and navigators for thousands of years as a guiding star and so it is here as the opening movement for the symphony. Sirius, the cornerstone to the constellation Canis Maggiore or Big Dog sits at the foot of Orion, the hunter, leading the way. Highly cinematic, the movement evokes both a musical and visual sense of the mythological and mysterious elements of Sirius and its Dog Godstar secrets. From the clarion call of the opening, Sirius theme, the sound is buoyant and frisky emulating the nature of doggy playtime. Puppy pleasures abound as a doggy four-step, my turn on the traditional American two-step dance, is introduced. The movement transforms into an actual orchestrated frolic of small, large and medium dog barks beginning with the winds (smaller dogs) and ultimately, the big dog, brass. The movement climaxes with the coda or, Dog Park, where the winds and the brass bark and play together over the, doggy ostinato four-step rhythm, culminating with the final call of the Sirius theme. Let Sleeping Dogs Lie, Peacefully It's all in a dog's day and life. Tranquility presides over this supremely gentle, intermezzo-like movement. After a day of play, every dog needs rest. Let Sleeping Dogs Lie, is a lyrical andante inspired by the profound serenity and beauty of a dog at rest. The Last Will and Testament of Silverdene Emblem O'Neill Based on a powerful piece of prose written by the American playwright, Eugene O'Neill this text was intended as a consolation piece for Carlotta, his wife, who had become grief-stricken over the loss of their beloved dog, the Dalmatian known as Blemie.Written for a singing actor who personifies the role of Blemie, a dog at the end of his life, the movement plays like a one act, musical drama as we follow Blemie through a wonderfully three-dimensional, emotional and psychological journey writing his Last Will and Testament, for those who have loved him. Wagging the Tail: Ossia Fido's Lament A life-affirming rumba/samba using Blemie's final words from O'Neill's text, this final movement employs the most unique American musical invention, the gospel choir. In order to make the dances come alive, this movement also calls upon the colors of a rhythm section. Creating the spirit of an Irish Funeral, the movement is a joyful and revival-like celebration of a dog's life as its spirit lives on forever in the hearts and minds of dog lovers everywhere. Remember Me, remember me! My spirit is wagging a grateful tail. Published by: Subito Music Publishing Release Date: July 9, 2013.

Orchestra

SKU: SU.28120010

For Orchestra. Composed by Alla Pavlova. Orchestra. Study Score. Subito Music Corporation #28120010. Published by Subito Music Corporation (SU.28120010).

Ballet Suite in 5 movements (revised version)3222; 4331; timp, perc, hp, pno; stgs Duration: 24' Composed: 2008 Published by: Alla Pavlova Music Although it maintains the charm of the original Hans Christian Andersen tale, Alla Pavlova's Thumbelina is a considerable musical, visual and narrative expansion of the story to make it suitable as a full-length ballet and family-programming alternative to The Nutcracker. Musically, it is scored for full symphony orchestra ([3,2,2,2]-[4,3,3,1]-[tim p.,perc.]-[Hp]-[Strings], Percussion: Bass dr., Snare dr., Wooden Block, Tambourine, Triangle, Glock., Vibraphone, Celesta) and contains not only many beautiful, lyrical and moving waltzes and other classical themes, but also rhythms such as tango, boogie-woogie and ragtime. Narratively, the story has been adapted to include a varied and colorful cast of characters. The Thumbelina Suite (which has been recorded by the Tchaikovsky Symphony Orchestra for Naxos) can be heard at http://www.allapavlova.co m/listen.html or by clicking on the image below. She has created a synopsis of the ballet, which is of course based on the Andersen fairy tale. We’ll gladly send this synopsis on request. Recording: 21st Century Classics – Naxos 8.579003 Performance materials available on rental only:.

By William Walton (1902-1983). Arranged by James Brooks Kuykendall. For Orchestra. Reference Material. William Walton Edition. Full score. 320 pages. Published by Oxford University Press