Orchestra (2(picc).2(cor ang).2.2 - 2.1.0.0 - hp- str (6 db are required))

SKU: BR.PB-5569-07

Suite d'Orchestre - Urtext. Composed by Maurice Ravel. Edited by Jean-Francois Monnard. Orchestra; stapled. Partitur-Bibliothek (Score Library). An homage to Francois Couperin, but most notably to the French music of the late 18th century. In his multi-layered work Ravel assimilates the events of World War I in a moving and intensely personal way. Have a look into PB 5540. Suite; Ballet; Early modern. Study Score. 72 pages. Duration 17'. Breitkopf and Haertel #PB 5569-07. Published by Breitkopf and Haertel (BR.PB-5569-07).

ISBN 9790004213797. 6.5 x 9 inches.

Ravel's multi-layered homage in Breitkopf UrtextIn his homage Le Tombeau de Couperin, Ravel is less specifically interested in Couperin than in French music of the late 18th century. In his preface, editor Jean-Francois Monnard explains how Ravel paid a moving and intensely personal tribute to the events of World War I with his multi-layered work. The orchestral version goes back to the original, eponymous piano suite (1914-17). Then, in 1919, the composer selected four pieces from this source, orchestrated them with all of his grace and artistry; the result provides a charming contrast to the pseudo-Baroque musical idiom, and places the pieces in a new and effective sequence. The work quickly gained great popularity immediately after the concertant world premiere, when the three dance movements of the orchestral suite were included in a ballet production.The underpinnings of Monnard's edition are provided by the most important sources. The preface features a great deal of information on the interpretation and performance history of the work. This is the fifth major Ravel work now available in print from Breitkopf Urtext.

An homage to Francois Couperin, but most notably to the French music of the late 18th century. In his multi-layered work Ravel assimilates the events of World War I in a moving and intensely personal way.

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

SKU: BR.SON-625

Scenes historiques op.25, op.66. Composed by Jean Sibelius. Edited by Kari Kilpelainen. Linen. Complete Works. Late-romantic; Early modern. Complete Works. 228 pages. Breitkopf and Haertel #SON 625. Published by Breitkopf and Haertel (BR.SON-625).

ISBN 9790004803271. 10 x 12.5 inches.

In 1998, at the end of the 20th century, Breitkopf & Hartel started the publication of the Complete Edition, which is made possible thanks to the cooperation of the various Sibelius publishers. The Editors (Helsinki University Library and The Sibelius Society of Finland) and the Editorial Committee (Chairman: Timo Virtanen, Helsinki) believe that the volumes of JSW will provide the basis for a now conception of the creative work of Jean Sibelius.Reviews: One immediately recognizes the towering production quality of these volumes - a point that can be extended to all volumes thus far published in the set. The music is a joy to read; and the lucidity and thoroughness of the texts ... are models of scholarly editions, and should be required reading for all bibliography and music-editing courses. ... In sum, the JSW is a remarkable project: the scholarship is impeccable, the music scores and texts are simply a joy to study. Edward Jurkowski, Notes December 2011: 442-443At the back of this magnificent book are pages of critical commentary on a bar-by-bar analysis of an endless supply of musical notation requiring interpretation by the editor. ... For the general, non-musically trained, purchaser of the edition there is the magisterial introduction to read, and fascinating reading it is. Edward W. Clark, Sibelius Society Newsletter 2009 The Sibelius pieces, however, are a revelation. I opened this magnificently produced volume - complete with multilingual critical report and generous facsimiles of original manuscripts - expecting Grieg-style quasi-nationalistic character pieces, and was instead presented with an incredible array of styles, textures, harmonic languages and levels of difficulty. Chris White, Piano Professional Summer 2009: 2This is not only a scholarly edition of one of the composer's major works, it is also a model for the philological editing of music in general. ... JSW has chosen to have the emendations reflected in two places, in certain cases even in three: as graphic indications in the music text, in prose form in the critical commentary, and sometimes also in the form of a warning footnote on the music page. There can be no doubt that such a procedure is very user-friendly, but it disturbs the appearance of the music and may mislead the user into thinking that there are two or more equally valid readings. Niels Krabbe, Fontes Artis Musicae 54/2, 2007: 248 Editorial standards are high throughout, and maintain a careful balance between the competing demands of practical exigency and the need to provide as much scholarly evidence of variants as possible. The critical commentaries provide concise and effective descriptions of the sources and, where appropriate, information on compositional genesis and historical context. The introduction to each volume provide useful background information on historical reception, including much new material not previously brought to light in Tawaststjerna's biography. Daniel M. Grimley, Nineteenth-Century Music Review 2/2, 2005: 244.

Orchestra

SKU: BR.SON-627

Ouverture JS 145, Baletscen JS 163. Composed by Jean Sibelius. Edited by Tuija Wicklund. Linen. Complete Works. Late-romantic; Early modern. Complete Works. 196 pages. Breitkopf and Haertel #SON 627. Published by Breitkopf and Haertel (BR.SON-627).

ISBN 9790004803295. 10 x 12.5 inches.

In 1998, at the end of the 20th century, Breitkopf & Hartel started the publication of the Complete Edition, which is made possible thanks to the cooperation of the various Sibelius publishers. The Editors (Helsinki University Library and The Sibelius Society of Finland) and the Editorial Committee (Chairman: Timo Virtanen, Helsinki) believe that the volumes of JSW will provide the basis for a now conception of the creative work of Jean Sibelius.Reviews: One immediately recognizes the towering production quality of these volumes - a point that can be extended to all volumes thus far published in the set. The music is a joy to read; and the lucidity and thoroughness of the texts … are models of scholarly editions, and should be required reading for all bibliography and music-editing courses. … In sum, the JSW is a remarkable project: the scholarship is impeccable, the music scores and texts are simply a joy to study. Edward Jurkowski, Notes December 2011: 442-443At the back of this magnificent book are pages of critical commentary on a bar-by-bar analysis of an endless supply of musical notation requiring interpretation by the editor. … For the general, non-musically trained, purchaser of the edition there is the magisterial introduction to read, and fascinating reading it is. Edward W. Clark, Sibelius Society Newsletter 2009 The Sibelius pieces, however, are a revelation. I opened this magnificently produced volume - complete with multilingual critical report and generous facsimiles of original manuscripts - expecting Grieg-style quasi-nationalistic character pieces, and was instead presented with an incredible array of styles, textures, harmonic languages and levels of difficulty. Chris White, Piano Professional Summer 2009: 2This is not only a scholarly edition of one of the composer's major works, it is also a model for the philological editing of music in general. … JSW has chosen to have the emendations reflected in two places, in certain cases even in three: as graphic indications in the music text, in prose form in the critical commentary, and sometimes also in the form of a warning footnote on the music page. There can be no doubt that such a procedure is very user-friendly, but it disturbs the appearance of the music and may mislead the user into thinking that there are two or more equally valid readings. Niels Krabbe, Fontes Artis Musicae 54/2, 2007: 248 Editorial standards are high throughout, and maintain a careful balance between the competing demands of practical exigency and the need to provide as much scholarly evidence of variants as possible. The critical commentaries provide concise and effective descriptions of the sources and, where appropriate, information on compositional genesis and historical context. The introduction to each volume provide useful background information on historical reception, including much new material not previously brought to light in Tawaststjerna's biography. Daniel M. Grimley, Nineteenth-Century Music Review 2/2, 2005: 244.

Orchestra

SKU: CF.CY765F

Composed by Louise Talma. Full score. With Standard notation. 100 pages. Carl Fischer Music #CY765F. Published by Carl Fischer Music (CF.CY765F).

ISBN 9781491144435. UPC: 680160901937.

Short ly after the death of her mother in 1942, Talma found herself for the first time at MacDowell Colony, where she immersed herself in composing. She wrote her Piano Sonata No. 1 in 1943 and then turned to a major work, the Toccata for Orchestra. The latter won her the Juilliard Publication Prize in 1946 and almost certainly contributed to Talma being awarded back-to-back Guggenheim awards, a first for a woman composer.

Featuring: Toccata and Fugue in D Minor / A Night on Bald Mountain / Thriller. Composed by Rod Temperton, Johann Sebastian Bach, and Modest Mussorgsky. Arranged by Ralph Ford. Masterworks; Part(s); Score; String Orchestra. Pop Concert String Orchestra. Form: Medley. Fall; Halloween; Masterwork Arrangement; Pop. 128 pages. Published by Alfred Music

Orchestra (Orchestra)

SKU: HL.14008415

Composed by Sir Peter Maxwell Davies. Music Sales America. Post-1900. Sheet Music, Miniature Score. With Text language: English. 110 pages. Chester Music #CH55687. Published by Chester Music (HL.14008415).

UPC: 884088808242. 8.5x11.0x0.261 inches.

This work, written by Maxwell Davies in 1983 for chamber orchestra, was commissioned to celebrate the quartercentenary of Edinburgh University. The first performance was given by the Scottish Chamber Orchestra conducted by Edward Harper in October 1983. Duration c. 29mins. This work was thought through in outline following a visit to the ruined pre-Reformation church of Hoy in Orkney, on a fine Spring afternoon after Maxwell Davies had played the harmonium for the tiny congregation in its large bleak Victorian replacement. The old church was surrounded by the graves of centuries, the more recent ones with familiar names, largely of people who lived in houses now ruinous - crofters, fishermen, clerics, sea-captains. Next to it stood the chief farmhouse, the Bu, going back to Viking times. He thought of the lives and deaths encompassed there, expressed through hundreds of years of music in the church, and in the big barn of the farm. The plainsongs 'Dies Irae' and 'Victimae Paschali Laudes' are used throughout the work - the first concerning the Day of Judgement, from the Mass for the Dead, the second particular to Easter Sunday and the Resurrection. These are subject to constant transformation - the intervallic contour slowly changes from one into the other, and their notes are made to dance through Renaissance astrological 'magic square' patterns. The orchestra consists of double woodwind, two horns, two trumpets and strings.

Orchestra

SKU: BA.BA06861

Sinfonie (1923-1928). Composed by Leos Janacek. Arranged by Leoš Faltus and Miloš Štedron. This edition: complete edition, urtext edition. Linen. Complete Critical Edition of the Works of Leos Janacek H/3. Complete edition, Score, Set of parts. Duration 40 minutes. Baerenreiter Verlag #BA06861_00. Published by Baerenreiter Verlag (BA.BA06861).

ISBN 9790260104211. 34.3 x 27 cm inches.

Leoš Janácek’s symphonic fragment Dunaj (The Danube) dates from the period of the composition of “Katya Kabanova”. The composer was not concerned with a musical-picturesque description of a river landscape, but with the mythical link between women’s destinies and water.

“Pale green waves of the Danube! There are so many of you, and one followed by another. You remain interlocked in a continuous flow. You surprise yourselves where you ended up – on the Czech shores! Look back downstream and you will have an impression of what you have left behind in your haste. It pleases you here. Here I will rest with my symphony.” Thus Leoš Janácek described the idea behind the composition project which occupied him in 1923/24. However, after further work, it remained incomplete in 1926. His “symphony” entitled Dunaj has survived as a continuously-notated, four-movement bundle of sketches in score form. It is one of the works which occupied him until his death. The scholarly reconstruction by the two Brno composers Miloš Štedron and Leoš Faltus closely follows the original manuscript.

A whole conglomeration of motifs stands behind the incomplete work. What at first seems like a counterpart to Smetana’s Vltava, in fact doesn’t turn out to be a musical depiction of the Danube. On the contrary, the fateful link between the destiny of women, water and death permeates the range of motifs found in the work. It seems to be no coincidence that Janácek, whilst working on the opera Katya Kabanova, in which the Volga, as the river bringing death plays an almost mythical role, planned a Danube symphony, and that its content was linked with the destiny of women: in the sketches, two poems were found which may have provided the stimulus for several movements of the symphony. He copied a poem by Pavla Kriciková into the second movement, in which a girl remarks that whilst bathing in a pond, she was observed by a man. Filled with shame, the young naked woman jumps into the water and drowns. The outer movements likewise draw on the poem “Lola” by the Czech writer Sonja Špálová, published under the pseudonym Alexander Insarov. This is about a prostitute who asks for her heart’s desire: she is given a palace, but then goes on a long search for it and is finally no longer wanted by anyone. She suffers, feels cold and just wants a warm fire. Janácek adds his remark “she jumps into the Danube” to the inconclusive ending.

To these tangible literary models is added Adolf Veselý’s verbal account which reports that the composer wanted to portray “in the Danube, the female sex with all its passions and driving forces”. The third movement is said to characterise the city of Vienna in the form of a woman.

It is evident that in his composition, Janácek was not striving for a simple, natural lyricism. The River Danube is masculine in the Slavic language – “ten Dunaj” – and assumes an almost mythical significance in the national character, indeed often also a role bringing death. The four movements are motivically conceived. Elements of sound painting, small wave-like figures in the first movement, motoric, driving movements in the third are obvious evocations of water. And the content and the literary level are easy to discover. The “tremolo of the four timpani”, which was amongst Janácek’s first inspirations, appears in the second movement. It is not difficult to retrace in it the fate of the drowning bather. The oboe enters lamentoso towards the end of the movement over timpani playing tremolo, its descending figure is taken over by the flute, then upper strings and intensified considerably. The motif of drowning – Lola’s despair – returns again in the fourth movement in the clarinet, before the work ends abruptly and dramatically.

One special effect is the use of a soprano voice in the motor-driven third movement. The singer vocalises mainly in parallel with the solo oboe, but also in dialogue with other parts such as the viola d’amore, which Janácek used in several late works as a sort of “voice of love”.

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

Orchestra - Grade 2

SKU: AP.48044S

Composed by Tanner Otto. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Score. 12 pages. Duration 2:10. Belwin Music #00-48044S. Published by Belwin Music (AP.48044S).

ISBN 9781470658779. UPC: 038081550824. English.

Students will love playing The Ascent by Tanner Otto for its upbeat, driving rhythms and beautiful melodies. This piece begins with a triumphant ostinato pattern that reappears throughout the work. The animated main theme leads to a cold and tense middle section before building back into familiar melody. This piece is perfect for working on the A minor and C major finger pattern and staccato bowing. (2:10) This title available in MakeMusic Cloud.

Orchestra - Grade 2

SKU: AP.48044

Composed by Tanner Otto. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Score and Part(s). 144 pages. Duration 2:10. Belwin Music #00-48044. Published by Belwin Music (AP.48044).

ISBN 9781470658762. UPC: 038081550817. English.

Students will love playing The Ascent by Tanner Otto for its upbeat, driving rhythms and beautiful melodies. This piece begins with a triumphant ostinato pattern that reappears throughout the work. The animated main theme leads to a cold and tense middle section before building back into familiar melody. This piece is perfect for working on the A minor and C major finger pattern and staccato bowing. (2:10) 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.

Orchestral Score. Composed by John Powell. This edition: Paperback/Softcover. Sheet music. Study score. Composed 2010. 412 pages. Omni Music Publishers #OMNI 50792. Published by Omni Music Publishers

Orchestral Fantasia. By Igor Stravinsky. (Study Score). Schott. 39 pages. Published by Eulenburg Germany (Schott).

Orchestra

SKU: HL.49019910

Composed by John Casken. This edition: Saddle stitching. Sheet music. Study Score. Softcover. Composed 2007. 76 pages. Duration 20'. Schott Music #ED13617. Published by Schott Music (HL.49019910).

ISBN 9790220134395. UPC: 888680089528. 8.25x11.75x0.25 inches.

My Concerto for Orchestra (2007) is a twenty-minute work in which different sections of the orchestra, as well as individual solos and duos from within the orchestra, are highlighted as the music unfolds. The work continues my interest in two-movement forms that began with my Cello Concerto (1991), and was later developed in Sortilege (1996) and Symphony (Broken Consort) (2004). In these works, and in the Concerto for Orchestra, each movement is given equal weight and importance with the second developing earlier material and taking it in new directions.The two-movement form of the Concerto for Orchestra derives from a symphonic sonata structure, reshaping the traditional four-movement form and combining this with aspects of sonata form, a tradition that goes back to Liszt, Schoenberg and Sibelius:1st movement (i) exposition of ideas - dramatic and sudden (ii) scherzo and development 1 - resolute2nd movement (iii) adagio - calm and unhurried (iv) development 2 with recapitulation - intense and energeticThe Concerto for Orchestra was commissioned by the Musikalische Akademie des Nationaltheatre-Orchester s Mannheim with the support of Die Landesbank Baden-Wurttemberg for its first two performances on 31st March and 1st April 2008 conducted by Friedemann Layer. The score is dedicated in friendship and admiration to Ronald Zollman.John Casken

3(3.pic).2. ca.2(2.Ebcl).bcl.3(3.cbsn )-4.3(1.Dtpt).2.btbn.1-ti mp.3perc(crot, vib, tub bells, sizz cym, Chinese cym, h.h, Swiss cow-bell, gong, horizontal gong, 2tam-t, tamb, bng, s.d, 5tom-t, b.d, clav, casts, marac, 5tempbl, wdbl, cabaca, vibraslap)-hp-str.

Orchestral Score. Composed by John Powell. Sheet music. Study score. Composed 2014 (2021). 404 pages. Omni Music Publishing #OMNI 50799. Published by Omni Music Publishing

Full orchestra

SKU: LO.30-3714L

Choral, cantatas. Advent, Christmas, Sacred. CD with printable parts. Lorenz Publishing Company #30/3714L. Published by Lorenz Publishing Company (LO.30-3714L).

UPC: 000308154320.

CD with Printable Parts for 65/2101L From the collaborative efforts of Lloyd Larson, Mary McDonald, Jay Rouse, and Larry Shackley, Everlasting Light showcases the profound significance of the light of Christ come to earth. An insightful narration by Rose Aspinall incorporates scripture and personal reflection to tie together the compelling combination of powerful original music and beloved carols. Mary McDonald’s celebratory opener, Everlasting Light, acts as the cornerstone of the work. Larry Shackley’s Longing for the Light beautifully portrays a yearning for restoration; Jay Rouse offers a stirring original song with words inspired by Mary’s Songs of Praise found in Luke 1:44-56; and Lloyd Larson’s Shepherds and Angels adds rhythmic and joyful energy. The work concludes with a robust medley of carols that points back to the opening song: He is the Light, Everlasting Light; born a Savior, born this night. He is the One, the Everlasting Son; Child of heaven, He is the Light!.

Full orchestra

SKU: LO.30-3712L

Choral, cantatas. Advent, Christmas, Sacred. Full score. Lorenz Publishing Company #30/3712L. Published by Lorenz Publishing Company (LO.30-3712L).

UPC: 000308154306.

Full Score for 65/2101L From the collaborative efforts of Lloyd Larson, Mary McDonald, Jay Rouse, and Larry Shackley, Everlasting Light showcases the profound significance of the light of Christ come to earth. An insightful narration by Rose Aspinall incorporates scripture and personal reflection to tie together the compelling combination of powerful original music and beloved carols. Mary McDonaldâ??s celebratory opener, Everlasting Light, acts as the cornerstone of the work. Larry Shackleyâ??s Longing for the Light beautifully portrays a yearning for restoration; Jay Rouse offers a stirring original song with words inspired by Maryâ??s Songs of Praise found in Luke 1:44-56; and Lloyd Larsonâ??s Shepherds and Angels adds rhythmic and joyful energy. The work concludes with a robust medley of carols that points back to the opening song: He is the Light, Everlasting Light; born a Savior, born this night. He is the One, the Everlasting Son; Child of heaven, He is the Light!.

Full orchestra

SKU: LO.30-3713L

Choral, cantatas. Advent, Christmas, Sacred. Instrumental parts. Lorenz Publishing Company #30/3713L. Published by Lorenz Publishing Company (LO.30-3713L).

UPC: 000308154313.

Set of Parts for 65/2101L From the collaborative efforts of Lloyd Larson, Mary McDonald, Jay Rouse, and Larry Shackley, Everlasting Light showcases the profound significance of the light of Christ come to earth. An insightful narration by Rose Aspinall incorporates scripture and personal reflection to tie together the compelling combination of powerful original music and beloved carols. Mary McDonald’s celebratory opener, Everlasting Light, acts as the cornerstone of the work. Larry Shackley’s Longing for the Light beautifully portrays a yearning for restoration; Jay Rouse offers a stirring original song with words inspired by Mary’s Songs of Praise found in Luke 1:44-56; and Lloyd Larson’s Shepherds and Angels adds rhythmic and joyful energy. The work concludes with a robust medley of carols that points back to the opening song: He is the Light, Everlasting Light; born a Savior, born this night. He is the One, the Everlasting Son; Child of heaven, He is the Light!.

For Orchestra. By George Frideric Handel. (Study Score). Schott. 58 pages. Published by Eulenburg London (Schott).

Orchestra - Grade 2

SKU: AP.49900S

Composed by Michael Kamuf. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Score. Duration 3:00. Belwin Music #00-49900S. Published by Belwin Music (AP.49900S).

ISBN 9781470657369. UPC: 038081575513. English.

Beautiful melodies and rich harmonies make To the Moon and Back an excellent lyrical work for your young string orchestra. All sections will shine as melodic material is passed through the ensemble in this highly expressive piece by composer Michael Kamuf. An outstanding choice for concert and festival performances! (3:00).

Orchestra - Grade 2

SKU: AP.49900

Composed by Michael Kamuf. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Programmatic. Score and Part(s). Duration 3:00. Belwin Music #00-49900. Published by Belwin Music (AP.49900).

ISBN 9781470657352. UPC: 038081575506. English.

Beautiful melodies and rich harmonies make To the Moon and Back an excellent lyrical work for your young string orchestra. All sections will shine as melodic material is passed through the ensemble in this highly expressive piece by composer Michael Kamuf. An outstanding choice for concert and festival performances! (3:00).

By Nikolay Andreyevich Rimsky-Korsakov. Arranged by Richard Meyer. By Nikolay Rimsky-Korsakov / arr. Richard Meyer. For Full Orchestra. Full Orchestra. First Philharmonic. Level: Grade 2.5. Conductor Score and Parts. Published by Alfred Publishing.

(For the victims of the 2011 Queensland Floods). By Loreta Fin. Orchestra. Part(s); Score; String Orchestra. Wilfin String Orchestra: Young String Ensemble Series. Grade 1; Grade 1.5. 66 pages. Published by Alfred Music

Rhenish Symphony - Urtext. Composed by Robert Schumann. Edited by Joachim Draheim. Symphony. Orchester-Bibliothek (Orchestral Library). The 5 study scores of the symphonies (incl. early version of the 4th symphony) in slipcase are temporarily out of print. The single editions are, however, still available. Romantic. Violoncello part. Breitkopf and Haertel #OB 5263-23. Published by Breitkopf and Haertel (BR.OB-5263-23). 0.48

Rhenish Symphony - Urtext. Composed by Robert Schumann. Edited by Joachim Draheim. Symphony. Orchester-Bibliothek (Orchestral Library). The 5 study scores of the symphonies (incl. early version of the 4th symphony) in slipcase are temporarily out of print. The single editions are, however, still available. Romantic. Violin 2 part. Breitkopf and Haertel #OB 5263-16. Published by Breitkopf and Haertel (BR.OB-5263-16). 0.48