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

(Featuring: Just the Way You Are (Amazing) / When I Was Your Man / Locked Out of Heaven). Arranged by Victor Lopez. Orchestra. Full Orchestra; Part(s); Score. Pop Concert Full Orchestra. Form: Medley. Pop. Grade 3. 230 pages. Published by Alfred Music

Orchestra

SKU: BA.BA10989

Laudon. Composed by Franz Joseph Haydn. Edited by Sonja Gerlach and Wolfgang Stockmeier. This edition: urtext edition. Stapled. Score. Baerenreiter Verlag #BA10989_00. Published by Baerenreiter Verlag (BA.BA10989).

ISBN 9790006575534. 31 x 24.3 cm inches. Key: C major.

Letters of the composer have come down to us only on a few of Haydn’s symphonies, amongst them the “Laudon” Symphony Hob. I:69. In one of these letters, Haydn agrees to the publisher’s suggestion to name the symphony after the widely known and favoured general Gideon Ernst von Laudon (1717-1790). By using this name, both composer and publisher hoped to increase the commercial success of the work which possibly deserved a military eponym considering its instrumentation with timpani and trumpets. Also, the symphony requires two bassoons, but no flutes, corresponding with the available musicians at the court of Esterházy between 1775 and 1776.

In continuation of the collaboration between Bärenreiter and G. Henle Verlag, this edition is based on the Urtext of the Complete Edition “Joseph Haydn Works” published by G. Henle Verlag.

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

(Concerto No. 1 for Marimba, Strings and Percussion). Composed by Gillingham. Arranged by Nathan Daughtrey. For Soloist(s) with String Orchestra (Solo Marimba Percussion 1 (xylophone, bells, chimes) Percussion 2 (brake drum, cowbell, shaker, suspended cymbal, crash cymbals, temple blocks, triangle) Percussion 3 (4 toms, crash cymbals, bass drum, suspended cymbal, tam tam, hi hat) Violin I Violin II). Medium difficult. Orchestra score only. Duration 16:30. Published by C. Alan Publications

Orchestra - Grade 0.5

SKU: AP.45817

Arranged by Sandra Dackow. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Orchestra Expressions. Folk; Traditional. Score and Part(s). 148 pages. Duration 2:15. Alfred Music #00-45817. Published by Alfred Music (AP.45817).

UPC: 038081525501. English. Traditional Irish Tune.

All in first position with straightforward rhythms and thematic parts for everyone, this poignant song arranged by Sandra Dackow will be a wonderful addition to any concert. The Girl I Left Behind Me first appears in 18th century Ireland, often known as Brighton Camp. It emigrated to the United States along with many other Anglo/Scots/Irish folk tunes and became a popular marching song for soldiers. During the American Civil War, soldiers in both the Confederate and Union armies sang it. A number of cultures have embraced this song, adding their own local lyrics. (2:15) This title is available in MakeMusic Cloud.

About Orchestra Expressions

< p>Play great songs such as Over the Rainbow, Batman, This Land Is Your Land, and Star Wars (Main Title). Listen to and play a variety of styles of music: popular, traditional, classical, folk and patriotic. Read and write music; compose and improvise. Perform in a concert and play for your family and friends. Be a conductor of the orchestra. Learn about composers, such as Antonin Dvorak, Johann Pachelbel, Jacques Offenbach, Pytor Ilyich Tchaikovsky, Giuseppe Verdi, George M. Cohan, George Frideric Handel, Ludwig van Beethoven, Johann Sebastian Bach, Wolfgang Amadeus Mozart, Giacomo Puccini, Georges Bizet, Neal Hefti, and John Williams. Discover how music and art are related. Learn about a variety of musical ensembles including string orchestra, full orchestra, mariachi band, steel drum band, dixieland jazz band, rock band, and more. Play music from around the world, including North America, Europe, Latin America, Asia, and Africa.

(Featuring: Strike Up the Band! / I Got Rhythm / Embraceable You / An American in Paris / Prelude II / Summertime / Rhapsody in Blue). Arranged by Jerry Brubaker. Orchestra. Full Orchestra; Score. Pop Symphonic Full Orchestra. Form: Medley. Jazz. Grade 4. 32 pages. Published by Alfred Music

(Featuring: Light My Fire / People Are Strange / Hello, I Love You). Composed by The Doors. Arranged by Patrick Roszell. Orchestra. Full Orchestra; Part(s); Score. Pop Concert Full Orchestra. Form: Medley. Rock. Grade 3. 226 pages. Published by Alfred Music

Orchestra - Grade 0.5

SKU: AP.45817S

Arranged by Sandra Dackow. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Orchestra Expressions. Folk; Traditional. Score. 8 pages. Duration 2:15. Alfred Music #00-45817S. Published by Alfred Music (AP.45817S).

UPC: 038081525518. English. Traditional Irish Tune.

All in first position with straightforward rhythms and thematic parts for everyone, this poignant song arranged by Sandra Dackow will be a wonderful addition to any concert. The Girl I Left Behind Me first appears in 18th century Ireland, often known as Brighton Camp. It emigrated to the United States along with many other Anglo/Scots/Irish folk tunes and became a popular marching song for soldiers. During the American Civil War, soldiers in both the Confederate and Union armies sang it. A number of cultures have embraced this song, adding their own local lyrics. (2:15) This title is available in MakeMusic Cloud.

About Orchestra Expressions

< p>Play great songs such as Over the Rainbow, Batman, This Land Is Your Land, and Star Wars (Main Title). Listen to and play a variety of styles of music: popular, traditional, classical, folk and patriotic. Read and write music; compose and improvise. Perform in a concert and play for your family and friends. Be a conductor of the orchestra. Learn about composers, such as Antonin Dvorak, Johann Pachelbel, Jacques Offenbach, Pytor Ilyich Tchaikovsky, Giuseppe Verdi, George M. Cohan, George Frideric Handel, Ludwig van Beethoven, Johann Sebastian Bach, Wolfgang Amadeus Mozart, Giacomo Puccini, Georges Bizet, Neal Hefti, and John Williams. Discover how music and art are related. Learn about a variety of musical ensembles including string orchestra, full orchestra, mariachi band, steel drum band, dixieland jazz band, rock band, and more. Play music from around the world, including North America, Europe, Latin America, Asia, and Africa.

(Featuring: Strike Up the Band! / I Got Rhythm / Embraceable You / An American in Paris / Prelude II / Summertime / Rhapsody in Blue). Arranged by Jerry Brubaker. Orchestra. Full Orchestra; Part(s); Score. Pop Symphonic Full Orchestra. Form: Medley. Jazz. Grade 4. 244 pages. Published by Alfred Music

Orchestra (2252-4332-11-0-2 alto saxophones-tenor saxophone-baritone saxophone-baritone horn-double bass)

SKU: GH.CG-6043

For symfonisk blasorkester. Composed by Stig Gustafson. Arranged by Stig Gustafson. Three Songs in Advent for Symphonic Wind Band. Score and parts. Duration 4 minutes. Gehrmans Musikforlag #CG 6043. Published by Gehrmans Musikforlag (GH.CG-6043).

ISBN 979-0-070-04068-6.

Three well known songs in Advent in arrangement for symphonic wind band.

By Peter Ilyich Tchaikovsky. Arranged by Merle J. Isaac. By Peter I. Tchaikovsky / arr. Merle Isaac. For Full Orchestra. Full Orchestra. Concert Full Orchestra. Level: 3.5 (grade 3.5). Conductor Score and Parts. 176 pages. Duration 2:38. Published by Alfred Publishing.

By Peter Ilyich Tchaikovsky. Arranged by Merle J. Isaac. By Peter I. Tchaikovsky / arr. Merle Isaac. For Full Orchestra. Full Orchestra. Concert Full Orchestra. Level: 3.5 (grade 3.5). Conductor Score. 1 pages. Published by Alfred Publishing.

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 (4(2picc).3(cor ang).heck.Eb-clar.2.Bb-cl ar(clar).4(dble bsn) - 8(4T-tuba).2alphn.4.4.2 - org.cel - 2hp.2timp.perc(6).wind m.thunder m - str - off stage: 12hn.2trp.2tbne)

SKU: BR.PB-5710

Tone Poem - Urtext. Composed by Richard Strauss. Edited by Nick Pfefferkorn. Orchestra; Softbound. Partitur-Bibliothek (Score Library). Symphonic poem; Late-romantic; Early modern. Sheet Music. 204 pages. Duration 50'. Breitkopf and Haertel #PB 5710. Published by Breitkopf and Haertel (BR.PB-5710).

ISBN 9790004216477. 10.5 x 14 inches.

Richard Strauss's last completed tone poem is regarded as the pinnacle of his art of orchestration: Now I've finally learned to orchestrate, he himself is once supposed to have said about it after the dress rehearsal. The single-movement Alpine symphony that we know today ultimately evolved - over almost 15 years - from the original drafts of an artist's tragedy, titled Der Antichrist. Eine Alpensinfonie [The Antichrist. An Alpine Symphony] up to the stage of the last sketches. With unprecedented plasticity, the work showcases a (metaphysical?) mountain hike with stops in the forest, at the waterfall, on the alpine pasture and, of course, at the summit. Apropos alpine pastures: up to the score's fair copy stage, Strauss envisaged a high and a low alphorn for the section Auf der Alm [On the Alpine Pasture] and the well-known Dulioh theme, though for various reasons first detailed in our new Urtext edition, these exotic instruments did not find their way into the printed version. In the new edition, the editor, Nick Pfefferkorn, reproduces the alphorn passages in small print, also adding two alphorn parts to the performance material, besides evaluating the corrections made by Walter Seifert at Strauss's request.

First Urtext edition since the first editionEvaluation of all available sources, including sketches and the score corrected by Walter Seifert Extensive preface on the work's compositional history and receptionDetailed Critical ReportFacsimile pages.

Orchestra

SKU: BR.PB-5432

Composed by Helmut Lachenmann. Orchestra; stapled. Partitur-Bibliothek (Score Library).

World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017

Have a look into EB 9283.

New music (post-2000). Full score. Composed 2016/17/20. 48 pages. Duration 8'. Breitkopf and Haertel #PB 5432. Published by Breitkopf and Haertel (BR.PB-5432).

ISBN 9790004212790. 10 x 12.5 inches.

Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.

World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.

Orchestra (Score)

SKU: HL.283507

Orchestra Score. Composed by Bent Sorensen. Music Sales America. Classical. Softcover. 49 pages. Duration 780 seconds. Edition Wilhelm Hansen #KP01914. Published by Edition Wilhelm Hansen (HL.283507).

Exit Music for Orchestra was composed by Bent Sorensen in 2006-07. Exit Music was commissioned by the Bergen International Festival for the Bergen Philharmonic Orchestra, and is dedicated to Per Norgard on the occasion of his 75th birthday. Programme note It began with a dream, as it always does when I compose. I dreamt that I was standing in an open doorway on a hill in an otherwise open landscape. I do not know what was behind the door, but in front of it - towards the landscape - I saw my music disappearing. I stood looking for the music, and started to hear it, to remember it in time with its disappearance. The dream continued to recur as strange pictures in my daydreams, and I continued to try to write down the music that had vanished. It was also the dream that gave the piece its title- Exit Music. Exit Music is based on three simple songs (the songs that vanish through the doorway): a little lullaby, which continues to reappearin fragments; a strange polyphonic pop song that refers to a section of my opera Under the Sky; and a passionate little love song, which concludes the piece on the strings, very quietly and in unison. These simple songs are then constantly overpainted by enervating repeated motes in fairly simple rhythms, which push the songs out of the room. (Bent Sorensen).

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

Orchestra (FULL SCORE)

SKU: HL.263038

For Orchestra. Composed by John Luther Adams. Music Sales America. Classical. Softcover. Composed 2017. 162 pages. Chester Music #CH87131. Published by Chester Music (HL.263038).

UPC: 888680952907. 12.0x16.5x0.565 inches.

“Over the years my orchestral music has become simpler and more expansive. Clouds of Forgetting, Clouds of Unknowing (1991-95) contains four different musical textures. In the White Silence (1998) has three. For Lou Harrison (2002) reduces this to just two. In Dark Waves (2007), I finally got to one. When I first heard that piece I began to wonder if I could sustain a similar sound for a longer span of time. The result is Become Ocean, a meditation on the vast, deep and mysterious tides of existence. The title is borrowed from a mesostic verse that John Cage wrote in honor of Lou Harrison's birthday. Likening Harrison's music to a river in delta, Cage writes: Listening to it we become ocean. Life on this earth first emerged from the sea. And as the polar ice melts and sea level rises, we humans find ourselves facing the prospect that once again we may quite literally become ocean.” John Luther Adams.

Orchestral Score. Composed by Alan Menken. This edition: Paperback/Softcover. Sheet music. Study score. Composed 2010. Omni Music Publishing #OMNI 50796. Published by Omni Music Publishing

By Andre Previn. For Orchestra. Classical. Sheet Music. Published by Chester Music.

Full Orchestra

SKU: SU.32040110

For Full Orchestra. Composed by Amy Riebs Mills. Orchestra. Full Score. Subito Music Corporation #32040110. Published by Subito Music Corporation (SU.32040110).

2,1 2,1 2,1 2; 4331; timp, 2perc, cel; stgs Duration: 8' Composed: 2012 Published by: Amy Mills Music, LLC Creative setting of 3 carols: O Come O Come Emanuel intertwined with Ma Navu Ding Dong Merrily on High with bells, glock, chimes Angels We Have Heard on High with charming mixed meter Majestic recap of Rejoice section of O Come O Come Emanuel Maestro Harvey Felder, after the premiere with the Tacoma Symphony: The thing that I really appreciated about your Christmas Angels and Bells was the skillful and artistic writing. As you know, holiday music typically offers little or no musical depth, which leads to a less than enthusiastic reaction from the orchestra. Your piece offered a level of musical sophistication worthy of a professional symphony while still creating a festive holiday spirit. The orchestra and I enjoyed having the opportunity to dig into something substantive yet fun on our holiday concert. See composer website for audio sample. Performance materials available on rental only:.

Orchestra (0.1.cor ang.0.B-clar.2 - 4.0.3.0 - timp.perc - hp - str)

SKU: BR.PB-5583

Tuonelan joutsen - Urtext based on the Complete Edition Jean Sibelius Works (JSW). Composed by Jean Sibelius. Edited by Tuija Wicklund. Orchestra; stapled. Partitur-Bibliothek (Score Library). Symphonic poem; Suite; Early modern; Late-romantic. Full score. 24 pages. Duration 10'. Breitkopf and Haertel #PB 5583. Published by Breitkopf and Haertel (BR.PB-5583).

ISBN 9790004213933. 10 x 12.5 inches.

Little is known about the actual composition process of Lemminkainen and the performance and publication history is rather complex, resulting in a first complete printing of all the four movements en suite through the complete edition of Jean Sibelius Works only in 2013.In summer 1894 Sibelius went to Central Europe, carrying among others a plan for an opera freely based on the Kalevala in his mind. But during this trip he reassessed his composing: I think I have found my old self again, musically speaking. I think I really am a tone painter and a poet. As a result he abandoned his opera plans, but musical parts may have found their way into the Lemminkainen pieces which he started composing during that time. Definitely the overture had, it is now known and loved as The Swan of Tuonela. Lemminkainen became popular from the beginning and has attained a fixed position in the concert repertoire.

By Andrew Lloyd Webber. Arranged by Henry Mancini. Full Orchestra. Size 9x12 inches. Published by Hal Leonard.