in Full Score. Par SAINT-SAENS CAMILLE. Considered throughout much of his career as the preeminent French composer, Camille Saint-Saëns wrote music that embodies a characteristic French concern for clarity and order, together with his own assured mastery of the composer's craft. These qualities are evident in Saint-Saëns' Symphony No. 3, widely regarded as the composer's major orchestral work, and one of the very few to incorporated the organ as a featured instrument. Saint-Saëns wrote this symphony during the period of his greatest creativity — in the 1870s and '80s — at which time he also produced such important works as the opera Samson et Dalila, Le Carnaval des animaux, the Piano Concerto No. 4, and the Violin Concerto No. 3. Deeply moving and majestic, the 'Organ' Symphony bears all the hallmarks of Saint-Saëns' fluent mastery of orchestral composition. It is reprinted here form an authoritative full-score edition published by Durand et Schoenewerk, Paris. Reprint of the Durand et Schoenewerk, Paris, edition. Widely regarded as the composer's major orchestral work, and one of the few to incorporate the organ as a featured instrument./ Répertoire / Orchestre

Score-Morton Gould's Serenade Of Carols for small Orchestra. Study score.1st Movement - moderately moving (3:40)Kings of OrientThe Babe OfBethlehemRockingGreensleeves2nd Movement - briskly (3:15)Boar's Head CarolPatapanCarol Of Service3rd Movement - slowly moving(4:20)Come Love We GodCoventry CarolThe Holly And The Ivy4th Movement - gay and jubilant (3:30)Irish CarolGod Rest Ye Merry GentlemenWassailSongMy Dancing DayTotal playing time: 14:45

Orchestral work commissioned by the BBC and premiered by the BBC Symphony Orchestra under the direction of Andrew Davis The Barbican Hall November 1992.Quoting Lindberg: 'After having written a Piano Concerto in 1991preceded by three works for different orchestral effectives (Kinetics Marea and Joy) I felt that I had come to an end with a certain musical expression and also compositional technique. All these works were based upon anextended chaconne principle with chord chains cycling around undergoing constant transformation and being articulated in a very gestural way. The musical paradox and evidently also the challenge was the discrepancy between abrick-like method expressed in a world of gestures (with all difficulties involved in conceiving music out of phrases) aiming at a continuity in terms of progression and development.After the Piano Concerto in the autumn of1991 I strongly felt that I couldn't continue in that direction anymore. I started to work on a project called Corrente for 16 players as a study for the full orchestra version entitled Corrente II.In order to bring theharmonic and rhythmic world closer to each other I abandoned the chaconne principle and based the harmony on different scale aggregates. By combining these scales and by filtering or by enhancing them with additional pitchesbased on more acoustically oriented views of the scales by considering them as partials of virtual fundamentals I was able to work in a rich harmonic world without actually having to do harmonic transformations and progressions.The rhythmic material was based on pattern figures with a rather kaleidoscopic approach of repetition and variation.By combining these pattern figures and scales aggregates I wanted to give the musical expression a 'narrative'sense of streams and directions moving around in different orchestral constellations.Corrente II for symphony orchestra is based on the same material as the piece for chamber orchestra. As the timbral palette and the mass

Composer's Program Note Repertoire operas occationally have orchestral suites: Bits and pieces of overture interlude etc. tied upin a bouquet of 'schönste Tränen'. Contemporary opera usually wither after the first season so the focusis on getting people to come and have a sniff before it's too late. Consequently it seemed obvious to meto start making orchestral excerpts from my operas that are meant to be played before the premiere (andafter please); I call them 'opera trailers' when they're substantial enough to be considered independent works and 'opera demos' when they're relatively short and moreappetizer-ish. SNOW WHITE'S MIRROR is a full scale two act dramatic opera written for the Danish National Opera. The opera is a modern re-telling for grown-ups of the brothers Grimm's fairy tale: Snow White is a self-centered teenage narcissist and the villain of the opera; she ends up loosing everyone but herself either because she kills them or because they decide they can't stand being around her anymore. But apparently she's o.k. with that...The music is intended for a large audience: it's basically pop music done with all the craftmanship of aclassical composer who's equally at home with large scale symphonic form avantgarde technique opera singing - and modern pop. The Trailer is in three movements. It contains three sections of the opera; the prelude an interlude close to the beginning of the second act and the final scene but one. It's a gloomy sort of trailer starting out in grand title sequence style moving on to a decidedly odd piece where Snow White find her way to the dwarfs (who're creepy junkies doing pornography to get money to buy dope) and ending in kind of an eerie rejection mood: Everyone still alive walks out on Snow White singing 'skin as white as snow hands red with blood soul as black as ivory'.(NM 2010)

Orchestration-Song of the Shadows is an invitation to contemplate the love and sacrifice of Christ. Tracing in song the last days of the Savior this deeply moving work is truly an opportunity to worship. Choirs of every level will find it within their scope.

Recorded by Josh Groban this inspirational song reminds us of the importance of giving in life and for all we have to be thankful. The moving arrangement is beautifully orchestrated adding to the rich vocal harmonies that set the exquisite melody and text. Perfect for every choir any time of year including Christmas.

Orchestration-Here is a breathtaking Holy Week offering that will echo through hearts during that important time of corporate reflection. From the best-selling cantata A Time for Alleluia this lovely version of an American folk hymn issensitively joined with Alexander's classic text on the message of the cross. Deeply moving!

Orchestration-The musical is narrated by Luke as he writes of Jesus's last days on earth. Highly effective when presented by choir and narrator but naturally suited for full staging. It may be performed in its entirety or in segments atseveral services. The words and music of this new Pepper Choplin cantata are very dynamic and will immerse the audience in the passion and intensity of the major events of Holy Week. As the character of Luke is deeply touched bythe story he is recording the choir and soloists assume his role in the drama. Once Upon a Tree was written for Pepper's own church Greystone Baptist Church in Raleigh North Carolina. The choir rehearsed the musical asit was being written and played a special role as the work was formed and perfected. It will be a profoundly moving experience for choirs and congregations.

The work opens with a dramatic brass fanfare before moving to a spirited allegro. The slower middle portion is rather jazzy in character with a trumpet solo. After several statements of this lush song the faster music returns before the opening fanfare reprises closing the piece in dramatic fashion. Includes generous cross-cuing to enable performances with smaller instrumentations.

Weaving together several passages of scripture with the “Great Commission ” J. Paul Williams has written a moving and inspirational text for missions and evangelism. Joseph Martin's majestic accompaniment and lyricalmelody make this a memorable anthem for any occasion where the focus is on service. Accessible to large or small choirs.

Carl Nielsen (1865-1931) was a Danish musician often seen as his country’s greatest composer. While his operas and songs have become embedded within the cultural heritage in his native Denmark internationally he is better known for his symphonies and concertos distinguished by his prominent use of Brass instruments and dramatic changes in tonality.His Symphony No.3 (Op. 27 FS. 60) was composed in 1911 and is often subtitled Sinfonia Espansiva after the tempo designation of the first movement. Somewhat unusually the second movement includes vocal parts: wordless solos for Soprano and Baritone. Throughout Nielsenexpertly contrasts sections of blissful calm with passages of incredible angst creating a wonderfully moving masterpiece.

Score-'RiverRun' was Steven Albert's third work inspired by the writing of James Joyce. The opening movement ‘Rain Music’ is meant to convey the origins of a river. After the sharply accented chords of the movement's introduction themusic becomes quieter suggesting an atmosphere of expectancy. The lightly scored second movement ‘Leafy Speafing’ has a languid cadenza-like opening on alto flute followed by a more tightly focused thematic idea from thesolo viola. The two instruments then engage in a quiet dialogue against the softly changing chords.The third movement ‘Beside the Rivering Waters’ is a fragmented march and scherzo. It opens with a children'ssong. The march for the pit band follows and we are engulfed in a boozy wake. The scherzo brings a return of the current then the march returns abruptly followed by the children's tune - which is in turn transformedinto a raucous pub song. Throughout the fourth movement ‘RiversEnd’ musical ideas from the preceding movements are recalled. Night is falling and the river is moving quietly into darkness. As it approaches the open sea itsmomentum builds and it soon becomes a torrent spilling into the ocean. The work ends quietly.

In The Shadow Of The Bat - Concerto for Three Trombones and Orchestra by Niels Marthinsen (2009). Programme note: In the Shadow of the Bat is a triple concerto for three trombones and orchestra inspired by Batman and his enemies The Joker Two-Face and The Penguin. A central idea of modern versions of the Batman myth is that the batman is created by the fantastic villains that he fights and they are created by him - and that Batman is driven by revenge and hate barely held in check by an intense sense of justice. Batman represents 'the dark side' while the villains are hyper-imaginative colourful creative caracters who happen to be completely insane. The rivalry between soloists and orchestra is anything but friendly: The three soloists represent one villain each the orchestra 'is' the batman - and while the villains take centre stage during most of the concerto they are eventually overwhelmed by the sheer power of the orchestra and sent where they belong: The lunatic's asylum. The concerto begins with the creation of the batman: An eight year old boy persuades his parents to leave an opera performance before it is over; outside in an alley they are shot and killed by a criminal while the boy watches. And he decides that all criminals must be punished! Then follows the Villaineuos Fugue: a multi-part fugue-like exposition of villain motives and stylistic environments. It is the exposition of the joker (alto trombone) two-face (tenor trombone) and the penguin (bass trombone). And after a brief and very slow interlude where the three criminals form an alliance and make their plans the Toccata of Crime begins: Bright fast moving highly energetic expansive and colourful music still dominated by the soloists. But later the orchestra moves to centre stage with slow omnious swooping bat-music that climaxes as the soloists are defeated by the orchestra. In the Shadow of the Bat is commissioned

The work opens with a dramatic brass fanfare before moving to a spirited allegro. The slower middle portion is rather jazzy in character with a trumpet solo. After several statements of this lush song the faster music returns before the opening fanfare reprises closing the piece in dramatic fashion. Includes generous cross-cuing to enable performances with smaller instrumentations.