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.

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 (Score)

SKU: HL.14005410

Composed by Geoffrey Burgon. Music Sales America. Classical. Book [Softcover]. Composed 2002. Chester Music #CH55781. Published by Chester Music (HL.14005410).

'Acquainted with Night', is a cycle of six songs, for alto and strings, harp and timpani. The texts are all concerned with different aspects of night. The first song, 'Lullaby' to a poem by Beaumont and Fletcher, seeks to evoke the 'care-charming' powers of sleep. The second, a setting of Robert Frost's 'Acquainted with the night', is concerned with the lonely world of a strange city at night and the music is characterised by an insistently repeated figure in the accompaniment. The third song contrasts the calmness of the night with the turbulence in a lover's mind - the poem is by the Earl of Surrey. 'Out in the dark' a poem by Edward Thomas, is the text of the fourth song. It is in the form of a scherzo and deals with the mystery and strangeness of night, and, as the poet puts it, the 'might' of night. It is, as the poet says, a hymn to night and the chordal nature of the accompaniment suggests this quality. This song leads directly into the last, which is in fact a reprise of the opening 'Lullaby' so completing the cycle.

Orchestra - Grade 3

SKU: AP.40424S

Composed by Adolphe-Charles Adam. Arranged by Jeffrey E. Turner. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Christmas; Light Concert; Sacred; Winter. Score. 8 pages. Belwin Music #00-40424S. Published by Belwin Music (AP.40424S).

UPC: 038081451183. English.

An enchanting arrangement of this beautiful classic! Written in 3/4 for young players, it starts with a solo cello accompanied by delicate strings above, evolving into the full string orchestra majestically singing praise like angels from above. An optional percussion part is included for added drama.

Orchestra

SKU: SU.91580100

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

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

Full orchestra

SKU: LO.30-3707MD

Composed by Marty Parks. Choral. Sacred Anthem, Advent, Christmas. Orchestral score and CD with printable parts. Medallion Music #30/3707MD. Published by Medallion Music (LO.30-3707MD).

UPC: 000308154122.

Orche stral Score and CD with Printable Parts for 10/5315MD Only a Silent Night is a lovely, tranquil arrangement from beloved composer, Marty Parks. The music is outstanding, but the true beauty of this Christmas ballad lies in Marty's original text: And only the song of the herald angels could offer the earth something glorious with only three words that could change the world: God with us! Invite God’s presence into your worship with this moving anthem.

Orchestra Voice

SKU: AP.12-057154309X

Composed by George Benjamin and Martin Crimp. This edition: Limited. Full Orchestra; Larger Works; Performance Music Ensemble. Form: Opera. Living Composer. Book; Score. 112 pages. Faber Music #12-057154309X. Published by Faber Music (AP.12-057154309X).

ISBN 9780571543090. English.

Picture a Day Like This is the fourth operatic collaboration between George Benjamin and Martin Crimp, whose acclaimed partnership produced Written on Skin, Lessons in Love and Violence, and Into the Little Hill. This limited edition of the full score is one of only 150, presented in a cloth-bound hard cover. It is signed by George Benjamin and Martin Crimp and includes facsimile reproductions of pages from the manuscript, sketches by Benjamin and Crimp, and a photograph of Benjamin, Crimp, and directors Daniel Jeanneteau and Marie-Christine Soma in rehearsal at the Aix-en-Provence Festival.

In this bittersweet fable of grief and renewal. Benjamin and Crimp tell the story of a woman who has lost her child: if, before nightfall, she meets one truly happy person and cuts a button from their sleeve, her child will live again. In her search she meets a pair of lovers, a composer and their assistant, an artisan, collector, and, in a beautiful garden, the mysterious Zabelle.

Benjamin proves with this taut, sharp miniature that he is the finest opera composer of today…a work of depth of feeling, humanistic artistry, and expressive rigor…a drama that is miraculously condensed.
-- Süddeutsche Zeitung (Reinhard J. Brembeck) 9 July 2023.

Orchestra

SKU: PO.PE120

Composed by Christos Hatzis. Perfect. Score. Promethean Editions #PE120. Published by Promethean Editions (PO.PE120).

ISBN 9781877564208.

Comm issioned by lOrchestre symphonique de Montréal, Hatzis's The Isle is Full of Noises (2013) is a fascinating work inspired by Shakespeare's The Tempest and the biblical allegory of Eden. Hatzis traces a regressive history of music as the trajectory of the work. The work begins with textural extended techniques and gradually transforms into melody and harmony, nodding to influences from Debussy and Mendelssohn's Midsummer Night's Dream along the way.

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: HP.C6037O

Composed by Lloyd Larson. Piano with Optional Orchestra. Advent, Sacred. Set of Instrumental Parts. Hope Publishing Company #C6037O. Published by Hope Publishing Company (HP.C6037O).

UPC: 763628260378. Lloyd Larson. Isaiah 9:2, Isaiah 9:6.

Original anthem From Lloyd Larson, this Advent anthem with a text based on Isaiah 9:2, 6 is built around an original melody which then leads into Come, Thou Long-Expected Jesus. It is easily learned with minimal rehearsal time. This setting comes from Lloyd's blockbuster cantata Were You There on That Christmas Night (code no. 8611). Orchestrations: Conductor's Score, Flute, Oboe (Soprano Sax or Clarinet), Clarinet, Bassoon (Bass Clarinet), Horn (Clarinet), 2 Trumpets, 2 Trombones (Baritone T. C. ), Percussion I & II, Piano, Harp, 2 Violins, Viola, Cello and String Reduction.

Orchestra - Grade 3

SKU: AP.49937S

Composed by Kirt Mosier. Performance Music Ensemble; String Orchestra. Highland/Etling String Orchestra. Latin. Score. Duration 3:40. Highland/Etling #00-49937S. Published by Highland/Etling (AP.49937S).

ISBN 9781470662295. UPC: 038081579498. English.

Tango Traicionero, by Kirt Mosier, means treacherous tango. The tango is a Latin dance that first developed in Buenos Aires, Argentina, in the mid-19th century. Imagine a gathering of bohemian nomads and workers having a dance party in the streets. There is a natural tension in this tango which mirrors the intoxicating nighttime atmosphere. All orchestra sections work together to perform slides and shifts between notes of the melodic figures to add intrigue to the sound. A lively middle section builds to a key change and recapitulation. The work culminates with tense chords to an exciting finish. (3:40).

Orchestra

SKU: BT.ALHE32608

Composed by Henri Dutilleux. Classical. Score Only. Heugel & Cie #ALHE32608. Published by Heugel & Cie (BT.ALHE32608).

French.

Composed in 1978 by Henri Dutilleux, Timbres, Espace, Mouvement Ou La Nuit Etoileé is a work for Orchestra, also named “The Starry Night” after the painting by Van Gogh. It was commissioned by Mstislav Rostropovich for the National Symphony Orchestraof Washington and is dedicated to Charles Münch.This work for Orchestra lasts approximately 20 minutes and depicts the content of the painting. It is scored for a full Orchestra without Violins or Violas. The Cellos serve to represent space, with swirling solos alongside calmer sections, while thelack of Violins and Violas epitomises for the quiet and motionless sections of the painting. The solo of the Wind instruments and Drums characterizes the clouds and the light of the moon and stars.It is divided into two parts: 1. Nébuleuse (Nebula) and 2.Constellations, which are divided by a Cello interlude.

Full orchestra

SKU: LO.30-3733L

Composed by Joel Raney. Arranged by Ed Hogan. Choral, cantatas. Advent, Christmas, Sacred. CD with printable parts. Lorenz Publishing Company #30/3733L. Published by Lorenz Publishing Company (LO.30-3733L).

UPC: 000308154610.

CD with Printable Parts for 65/2106L Joel Raney calls on Celtic musical traditions and instrumentation to deliver a refreshing sound for Christmas! The orchestration by Ed Hogan incorporates Irish flutes, drums, acoustic guitar, and fiddle to paint vivid imagery of a beautifully lush and green Irish countryside. Familiar Christmas carols appear, as do some familiar Christmas texts set to beloved Irish and Welsh folk songs. An ethereal opening sets the stage before breaking into an exuberant rendition of I Saw Three Ships. Come, Thou Long-Expected Jesus; Away in a Manger; Gentle Mary Laid Her Child; and the beloved Angels We Have Heard on High all make appearances as the work progresses, culminating with a rhythmic re-imagining of O Come, All Ye Faithful set to the traditional Scottish melody Loch Lomond. One of the highlights of this musical is O Holy Night, written for soloist and choir and set to the timeless tune, LONDONDERRY AIR. Present the Christmas story in a uniquely captivating way with this imaginative work!

Full orchestra

SKU: LO.30-3734L

Composed by Joel Raney. Arranged by Ed Hogan. Choral, cantatas. Advent, Christmas, Sacred. Score and parts, plus CD with printable parts. Lorenz Publishing Company #30/3734L. Published by Lorenz Publishing Company (LO.30-3734L).

UPC: 000308154627.

Score and Parts plus CD with Printable Parts for 65/2106L Joel Raney calls on Celtic musical traditions and instrumentation to deliver a refreshing sound for Christmas! The orchestration by Ed Hogan incorporates Irish flutes, drums, acoustic guitar, and fiddle to paint vivid imagery of a beautifully lush and green Irish countryside. Familiar Christmas carols appear, as do some familiar Christmas texts set to beloved Irish and Welsh folk songs. An ethereal opening sets the stage before breaking into an exuberant rendition of I Saw Three Ships. Come, Thou Long-Expected Jesus; Away in a Manger; Gentle Mary Laid Her Child; and the beloved Angels We Have Heard on High all make appearances as the work progresses, culminating with a rhythmic re-imagining of O Come, All Ye Faithful set to the traditional Scottish melody Loch Lomond. One of the highlights of this musical is O Holy Night, written for soloist and choir and set to the timeless tune, LONDONDERRY AIR. Present the Christmas story in a uniquely captivating way with this imaginative work!

Full orchestra

SKU: LO.30-3732L

Composed by Joel Raney. Arranged by Ed Hogan. Choral, cantatas. Advent, Christmas, Sacred. Instrumental parts. Lorenz Publishing Company #30/3732L. Published by Lorenz Publishing Company (LO.30-3732L).

UPC: 000308154603.

Set of Parts for 65/2106L Joel Raney calls on Celtic musical traditions and instrumentation to deliver a refreshing sound for Christmas! The orchestration by Ed Hogan incorporates Irish flutes, drums, acoustic guitar, and fiddle to paint vivid imagery of a beautifully lush and green Irish countryside. Familiar Christmas carols appear, as do some familiar Christmas texts set to beloved Irish and Welsh folk songs. An ethereal opening sets the stage before breaking into an exuberant rendition of I Saw Three Ships. Come, Thou Long-Expected Jesus; Away in a Manger; Gentle Mary Laid Her Child; and the beloved Angels We Have Heard on High all make appearances as the work progresses, culminating with a rhythmic re-imagining of O Come, All Ye Faithful set to the traditional Scottish melody Loch Lomond. One of the highlights of this musical is O Holy Night, written for soloist and choir and set to the timeless tune, LONDONDERRY AIR. Present the Christmas story in a uniquely captivating way with this imaginative work!

Full orchestra

SKU: LO.30-3731L

Composed by Joel Raney. Arranged by Ed Hogan. Choral, cantatas. Advent, Christmas, Sacred. Full score. Lorenz Publishing Company #30/3731L. Published by Lorenz Publishing Company (LO.30-3731L).

UPC: 000308154597.

Full Score for 65/2106L Joel Raney calls on Celtic musical traditions and instrumentation to deliver a refreshing sound for Christmas! The orchestration by Ed Hogan incorporates Irish flutes, drums, acoustic guitar, and fiddle to paint vivid imagery of a beautifully lush and green Irish countryside. Familiar Christmas carols appear, as do some familiar Christmas texts set to beloved Irish and Welsh folk songs. An ethereal opening sets the stage before breaking into an exuberant rendition of I Saw Three Ships. Come, Thou Long-Expected Jesus; Away in a Manger; Gentle Mary Laid Her Child; and the beloved Angels We Have Heard on High all make appearances as the work progresses, culminating with a rhythmic re-imagining of O Come, All Ye Faithful set to the traditional Scottish melody Loch Lomond. One of the highlights of this musical is O Holy Night, written for soloist and choir and set to the timeless tune, LONDONDERRY AIR. Present the Christmas story in a uniquely captivating way with this imaginative work!

Orchestra

SKU: FG.042-08249-2

Composed by Aarre Merikanto. Score. Published by Fennica Gehrman (FG.042-08249-2).

ISBN 979-0-042-08249-2.

Notturno (1929) is a short work from Merikanto's most inventive and productive period and one in which the composer's originality and formal mastery is strongly present. Merikanto's depiction of night proceeds from a skilfully orchestrated sunset into dark and motionless nocturnal chorales.