Full orchestra

SKU: LO.30-3668MD

Composed by Jay Rouse. Choral. Sacred Anthem, Eastertide, General. Orchestral score and parts. Medallion Music #30/3668MD. Published by Medallion Music (LO.30-3668MD).

UPC: 000308152951.

Orche stral Score and Parts for 10/5296MD Bursting with energy from beginning to end, this arrangement of the familiar Easter hymn is the striking opening number from The Lamb (55/1192MD), a musical by Jay Rouse and Rose Aspinall. Jay added some modern flair and groove to this setting while keeping the melody intact. Ending with a grand and glorious conclusion, this anthem will make a long-lasting impact on worshipers.

Orchestra

SKU: FG.706334-27-1

Composed by Harri Vuori. Score. Published by Fennica Gehrman (FG.706334-27-1).

ISBN 979-0-706334-27-1.

A commission from the Finnish Radio Symphony Orchestra completed in 2003 and premiered in December 2004. This is music constructed in broad arches culminating in shamanistic rhythms in the closing movement. Lasting 40 minutes, it is Vuori's biggest work and rests on two simple kernels. In his striving to develop his material he confesses to be a Sibelian symphonist.

Chamber Orchestra; Orchestra; String Orchestra (Study Score)

SKU: HL.48024880

Study Score. Composed by James Macmillan. Boosey & Hawkes Scores/Books. Classical. Softcover. 80 pages. Duration 900 seconds. Boosey & Hawkes #M060136009. Published by Boosey & Hawkes (HL.48024880).

ISBN 9781784545154. UPC: 840126918670. 7.25x10.25x0.319 inches.

This publication presents under one cover various short works for sundry orchestral scorings. Larghetto for Orchestra is MacMillan's orchestration (2017) of his celebrated Miserere for a cappella mixed choir (2009), a setting in Latin of Psalm 51, 'Have mercy upon me, O God, according to thy great mercy', the penitential text famously set in the 17th century by Gregorio Allegri. The Larghetto orchestration was commissioned by the Pittsburgh Symphony Orchestra in celebration of Manfred Honeck's 10th Anniversary as Music Director. Memoire imperiale is one of a number of variations on General John Reids march tune Old Gaul commissioned from Scottish composers to mark the centenary in 1994 of the Faculty of Music at Edinburgh University. The Faculty was established following a bequest by General Reid (1721-1807), a former law student at the University and a renowned flute player and composer of marches for the BritishArmy, and he asked that an annual concert be organised at which one or more of his compositions be played. Composed in 2012 for the Britten Sinfonia, One is a monody in which a single line is passed around the instruments, painting it with different colours as it emerges and develops. Lasting only a few minutes, its singularity is maintained until blossoming in the lastfew bars. For Sonny (2011, orch 2013) and Ein Lamplein verlosch (2018, orch 2019) are short, private memorial tributes originally for string quartet and here rescored for string orchestra. Hirta was composed in 2016 as part of Deccas The Lost Songs of St Kilda project. Nearly a century ago, the last 36 residents were evacuated from the most remote part of the British Isles, St Kilda, an isolated archipelago off the beautiful and rugged western coast of Scotland. After 86 years, the music of St Kilda was rediscovered, recorded in a Scottish care home by Trevor Morrison, an elderly man who had been taught piano by an inhabitant of St Kilda. The songs were 'reimagined' for the Decca album by various.

Orchestra

SKU: HL.48187533

Composed by Francis Poulenc. Heugel. Classical. Softcover. 128 pages. Heugel & Cie #HE31215. Published by Heugel & Cie (HL.48187533).

UPC: 888680843779. 6x8.25 inches.

“This edition of Les Biches by Francis Poulenc features the score for the whole Orchestra. Initially written as Ballet, it was revised as a suite for Orchestra in the 1940s. This piece has a light style, considered 'beautiful and melancholic' by Jean Cocteau. Lasting 15 minutes 30 seconds, it is divided into five parts: 1. Rondeau 2. Adagietto 3. Rag-Mazurka 4. Andantino 5. Finale Francis Poulenc is French composer and pianist. He also produced Piano and Chamber pieces, Operas, ballets as well as some Orchestral works.&rdquo.

Orchestra

SKU: BT.ALHE31215

Composed by Francis Poulenc. Classical. Study Score. 128 pages. Heugel & Cie #ALHE31215. Published by Heugel & Cie (BT.ALHE31215).

French.

This edition of Les Biches by Francis Poulenc features the score for the whole Orchestra. Initially written as Ballet, it was revised as a suite for Orchestra in the 1940s. This piece has a light style, considered _x001A_beautiful andmelancholic_x001A_ by Jean Cocteau. Lasting 15 minutes 30 seconds, it is divided into five parts: 1. Rondeau 2. Adagietto 3. Rag-Mazurka 4. Andantino 5. Finale Francis Poulenc is French composer and pianist. He also producedPiano and Chamber pieces, Operas, ballets as well as some Orchestral works.

Orchestra

SKU: PR.416415760

For Really Big Orchestra. Composed by PDQ Bach. Edited by Prof. Peter Schickele. Study Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576. Published by Theodore Presser Company (PR.416415760).

UPC: 680160636532. 9 x 12 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

Orchestra

SKU: PR.41641576L

For Really Big Orchestra. Composed by PDQ Bach. Edited by Peter Schickele. Large Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576L. Published by Theodore Presser Company (PR.41641576L).

UPC: 680160636549. 11 x 17 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

Orchestra

SKU: FG.55011-652-8

Composed by Antti Auvinen. Study score. Fennica Gehrman #55011-652-8. Published by Fennica Gehrman (FG.55011-652-8).

ISBN 9790550116528.

Himm el Punk was born out of social commentary. It addresses narrow-mindedness manifesting itself in the rejection of particular values on religous grounds. Piety turns to hypocrisy as those who think otherwise are branded as an inferior caste, thereby even justifying the denial of human rights to them.

Orchestra

SKU: FG.042-08325-3

Composed by Aarre Merikanto. Score. Published by Fennica Gehrman (FG.042-08325-3).

ISBN 979-0-042-08325-3.

Merikanto completed the third and final version of Pan in 1924, having destroyed the earlier versions in fits of self-criticism. Its music is full of life, sprouting new impulses and possibilities, but there are also opposite forces at work, arresting the flow and nurturing meditative concen!tration.

Orchestra (Full Score)

SKU: HL.14043674

Konzertoper in zwei Akten. Composed by Hans Werner Henze. Music Sales America. Opera. Softcover. 266 pages. Chester Music #CH69586. Published by Chester Music (HL.14043674).

ISBN 9781783054725. 12.25x16.75x0.9 inches.

Phaedra by German composer Hans Werner Henze is a 'concert opera' in two acts whose first performance was given at the Berlin State Opera in 2007. Phaedra was Henze 's penultimate opera, and this item presents the full score, with the entire work lasting around 75 minutes. Featuring a unique libretto by Christian Lehnert and sound effects by Francesco Antonioni, this opera presents the wonderful story of Phaedra, filled with drama and fantastic music. This Full Score  presents the work in German and English language, and features detailed instructions for the supplied CD, on which some sound effects are included that are to be used in conjunction with the instruments. Phaedrawas co-commissioned and co-produced by Staatsoper Unter den Linden Berlin, Berliner Festspiele, Theatre de la Monnaie Brussels, Alte Oper Frankfurt and Wiener Festwochen. Hans Werner Henze  was a hugely prolific composer who drew influences from a wide number of sources. Phaedra is regarded as among his greatest works and would certainly make for a stunning performance.

Orchestra - Grade 2

SKU: AP.50831

Composed by Chris M. Bernotas. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Sound Innovations for String Orchestra. Score and Part(s). Alfred Music #00-50831. Published by Alfred Music (AP.50831).

ISBN 9781470666194. UPC: 038081584805. English.

Fury, by Chris M. Bernotas, is an exhilarating piece that will excite and energize your intermediate string orchestra. It features angular rhythms, strong melodic lines for all, and intense energy that will keep students on the edge of their seats. Whether played at a contest, as a concert opener or closer, this piece will leave a lasting impression. (2:35) Correlates to Sound Innovations, Book 1, Level 4.

Orchestra - Grade 2

SKU: AP.50831S

Composed by Chris M. Bernotas. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Sound Innovations for String Orchestra. Score. Alfred Music #00-50831S. Published by Alfred Music (AP.50831S).

ISBN 9781470666200. UPC: 038081584812. English.

Fury, by Chris M. Bernotas, is an exhilarating piece that will excite and energize your intermediate string orchestra. It features angular rhythms, strong melodic lines for all, and intense energy that will keep students on the edge of their seats. Whether played at a contest, as a concert opener or closer, this piece will leave a lasting impression. (2:35) Correlates to Sound Innovations, Book 1, Level 4.

Orchestra (Study Score)

SKU: HL.48024642

Orchestra Study Score. Composed by Sergei Prokofiev. Boosey & Hawkes Scores/Books. Classical, Russian. Softcover. 68 pages. Duration 780 seconds. Boosey & Hawkes #M060133053. Published by Boosey & Hawkes (HL.48024642).

ISBN 9781784542658. UPC: 888680949068. 7.25x10.25x0.241 inches.

New edition of this enigmatic, single-movement work for full orchestra lasting 13 minutes and dating from the early-1930s. In his preface, Gerard McBurney comments that, Despite the music's modernist surface, the Chant symphonique's 'three closely integrated movements' correspond rather neatly to a traditional sonata-form exposition, development and recapitulation. There is even an overall tonality of sorts - D major. But 'parts', 'moods', keys and cadences are all subjected in this unusual work to tremendous pressure and distortion, so that we quickly begin to suspect that something other, different and more mysterious, is really going on here..

Orchestra

SKU: BA.BA08833

Composed by Ludwig van Beethoven. Edited by Helga Lühning. This edition: urtext edition. Stapled. Score. Composed 1806. No. 3. Baerenreiter Verlag #BA08833_00. Published by Baerenreiter Verlag (BA.BA08833).

ISBN 9790006566594. 31 x 24.3 cm inches. Preface: Luhning, Helga.

Of the four overtures that Beethoven composed for his only opera, the “Leonore Overture” No. 3 is the most popular. The first reviewer found fault with it for its “incessant dissonances and overblown fluttering of the violins” (Wiener Theater-Zeitung, 1806), but it soon became famous as “one of the most imposing, difficult, yet richest and strangest of compositions” (Allgemeine Musikalische Zeitung, 1810). This version of the “Leonore Overture” quickly established itself independently of the stage in the concert hall and has found a lasting place in the symphonic repertoire.

The editor has devoted herself to the complex genesis of the various “Leonore Overture” versions, in particular the question whether the trumpet call in measures 272–277 and 294–299 should be played by one or two instruments. The edition is based on the Complete Edition of the “Works of Ludwig van Beethoven” issued by the G. Henle publishing company.

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

By Georges Bizet (1838-1875). Arranged by Richard Meyer. Orchestra. Full Orchestra; Masterworks; Score; SmartMusic. Highland First Philharmonic. Form: Transcription. Latin; Masterwork Arrangement; Romantic. Grade 2. 12 pages. Published by Alfred Music (AP

By Mack Wilberg (1955-). For SATB choir and piano 4-hands/full orchestra (piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoon, 4 horn, 3 trumpet, 3 trombone, tuba, timpani, 5 percussion (glockenspiel, finger cymbals, chimes, suspended cymbal, tambourine, Snare Drum), harp, organ, strings). Mixed Voices. Christmas Choral Leaflet. Vocal score. Duration 5'

Orchestra

SKU: PO.PEL27S

Composed by Douglas Lilburn. Sws. Score. Promethean Editions #PEL27S. Published by Promethean Editions (PO.PEL27S).

ISBN 9781877564420.

From the compulsive unfurling of the opening movement, the choppiness of the second, the curvaceous swell of the third and the upward cresting of the fourth, we experience in Lilburn's music for Allen Curnow's Landfall in Unknown Seas a life-affirming endeavour. The work touches both the heart and the mind and was a much-needed tonic for New Zealand wartime audiences.

Orchestra

SKU: HL.14019145

Composed by Magnus Lindberg. Music Sales America. Classical. Book [Softcover]. 48 pages. Music Sales #KP00119. Published by Music Sales (HL.14019145).

ISBN 9788759860625. 12.0x16.5x0.436 inches. English.

This work was written with a mix between computer technology and the more traditional orchestra, the piece was composed in such a way that it would support its own acoustics. Lindberg worked with amplification of instruments and electronically transformed sounds thus producing greater possibilities to abandon acoustic limits. In order for the piece to be supported by it's own acoustics, the piece had to be written in terms of foreground and background harmony, every foreground chord would always have it's background, a shadow existing without it's main chord. Another theme to the piece is that of textural motion as rapid gestures and motions are a big part of the composer's interest. Static repitions seemed to limit the piece however so they were compensated for on another level, so with a repetitive rhythmic pattern, the harmonic material changes rapidly or when a chain of chords is static the rhythmic and timbral qualities vary frequently. Work for orchestra commissioned by the Finnish Broadcasting Company.

Grade 4

SKU: CL.CTS-7867-01

Full orchestra (with optional chorus). Composed by Claude T. Smith. Full Orchestra. Extra full score. Composed 2018. Claude T. Smith Publications #CTS-7867-01. Published by Claude T. Smith Publications (CL.CTS-7867-01).

One of Claude T. Smith's last completed works, Raise Your Voice in Song was commissioned by the Nebraska Music Educators Association for the 50th Anniversary on NMEA! It was written for the 1986 All-State Band, Choir and Orchestra for their combined performance on November 22, 1986 in Hastings, NE. This majestic work lends itself as a finale, for full orchestra, or a combined performance with choir. There are two sets of lyrics (secular and Christmas).

Orchestra - Grade 3.5

SKU: AP.31604

Arranged by Vince Gassi. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Christmas; Sacred; Traditional; Winter. Score and Part(s). 134 pages. Highland/Etling #00-31604. Published by Highland/Etling (AP.31604).

UPC: 038081349534. English. Traditional English Carol.

You'll have no trouble getting into the Christmas spirit with this delightful adaptation of a traditional English Carol. Coated with a layer of sugar frosting, this piece will warm you up with its joyous harmonies and charming melodies, making you feel like you are sitting in front of a crackly fire sipping hot cocoa on a crisp wintry night. Sure to become an audience favorite!

Orchestra

SKU: PO.UME17S

Composed by Anthony Ritchie. Perfect. Full score. Promethean Editions #UME17S. Published by Promethean Editions (PO.UME17S).

ISBN 9781877564857.

Ritc hie's expansive and concept-heavy Symphony No.2 sees insistent quaver and semiquaver rhythms organised into jagged patterns, with playfully syncopated rhythmic interplay. Thunderous percussion and powerful brass evoke destructive warfare, turning to optimism in celebration of human progress, while tightly twisting canonic lines, infused with metaphorical meaning, display Ritchie's mastery of counterpoint.

Orchestra

SKU: AP.12-0571572138

Composed by Carl Vine. Full Orchestra (Full Score); Masterworks; Performance Music Ensemble; Single Titles. Faber Edition. Form: Concerto. 20th Century; Masterwork. Score. Faber Music #12-0571572138. Published by Faber Music (AP.12-0571572138).

ISBN 9780571572137. English.

Composed for Steven Isserlis in 2004, Carl Vine's Concerto for Cello is an exhilarating 20-minute work that traverses a vast emotional palette. The concerto begins arrestingly, with soloist pitted against orchestra, though as it develops the two factions move towards union. A slow chorale led by the cellist frames the central section, whilst relentless motor rhythms drive the work to its close.