SKU: AP.33647S

UPC: 038081376783. English.

A fantastic and accessible introduction to music written in the late Renaissance period! This lovely transcription of a work for vocal ensemble includes unison and part playing for young string orchestra.

SKU: AP.29759

UPC: 038081319155. English.

A touch of Copland, a splash of Ives and a pinch of jazz harmony give this arrangement a contemporary but accessible sound. This lush arrangement of Foster's famous lullaby offers students the opportunity to experience chromaticism within beautiful moving lines and harmonies. A violin solo in the middle of the piece offers an improvisational flavor in Americana fashion. (3:30).

SKU: AP.48084S

UPC: 038081550909. English.

Full of dark energy and mystery, with contemporary harmonies and moving melodic lines, Shadowlands by Gary Fagan will provide the means for directors to teach contrasting styles, dynamics, and varied articulations to young players in an easy and fun-to-play format. This lively piece, in A natural minor, will provide younger players with excellent opportunities for achieving rhythmic independence while also providing them with sections that are rhythmically similar. The slower lyrical opening section gives way to a contrasting tempo and style that will appeal to players and audiences alike. (2:15) This title available in MakeMusic Cloud.

SKU: AP.48084

UPC: 038081550893. English.

Full of dark energy and mystery, with contemporary harmonies and moving melodic lines, Shadowlands by Gary Fagan will provide the means for directors to teach contrasting styles, dynamics, and varied articulations to young players in an easy and fun-to-play format. This lively piece, in A natural minor, will provide younger players with excellent opportunities for achieving rhythmic independence while also providing them with sections that are rhythmically similar. The slower lyrical opening section gives way to a contrasting tempo and style that will appeal to players and audiences alike. (2:15) This title is available in MakeMusic Cloud.

SKU: BR.EOS-20472-00

Today, it is hard to believe that Bedrich Smetana kept receiving rejections when he tried to get his enormously popular Moldau printed.

ISBN 9790004780008. 10 x 12.5 inches.

What is also amazing is that the first text-critical edition prepared by the Czech Smetana expert Milan Pospisil in 1999, which had entailed an exhaustive evaluation of the sources and been given a full text-critical editorial treatment as a Eulenburg study score, had no resonance of any kind among performers since no performance material had been published. After 15 years, Pospisils edition is finally being completed in a manner suitable for practice: with a conducting score and orchestral parts which will ensure that all future performances are based on a musical text that is as reliable as can be.

The work depicts the course of the river Vltava, beginning with its first two sources, the cold and warm Vltava, and the confluence of the two streams that join to form a single river; then the course of the Vltava through forests and meadows, and through open countryside where a peasant wedding is being celebrated; water-sprites dance by the light of the moon; on the nearby cliffs castles, mansions and ruins rise proudly into the air; the Vltava eddies in the St John's Rapids, then flows in a broad stream as it continues its course towards Prague, where the Vysehrad appears, before the river finally disappears into the distance as it flows majestically into the Elbe.

Vltava (The Moldau), Smetana's best-known and most frequently performed orchestral work, was written between 19 November and 8 December 1874, at a time when Smetana was already completely deaf. The world premiere took place in Prague on 4 April 1875, but the score was not published until 1880.

SKU: BR.PB-3642-07

ISBN 9790004201282. 6.5 x 9 inches.

SKU: 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.

SKU: HL.244903

8.5x12.0x0.103 inches.

Bryce Dessner's Lachrimae was commissioned by the Amsterdam Sinfonietta, the Scottish Ensemble, and the Norwegian Chamber Orchestra. Composer's Note: Lachrimae is a direct reference to John Dowland's work of the same name. I had played that that piece in school on guitar and decided that I wanted to base something on it. Dowland himself adapted the piece several times into different versions and there's also a Benjamin Britten composition based on the same piece of music, so that was part of my inspiration. When I wrote my work I waslistening to string orchestra music and I think Bartok's Divertimento is the pinnacle of string writing. So the piece is kind of equally inspired by Dowland's Rennaissance Lachrimae and by Bartok's Divertimento.

SKU: FG.55011-444-9

ISBN 9790550114449.

Eino juhani Rautavaara (1928-2016) was one of Finland's internationally most successful composers. He made his major breakthrough with the Symphony No. 7, Angel of Light, in the 1990s, but his output includes numerous classic operas, concertos, chamber music and choral works.
Over his extensive career, he progressed from Neo-Classicism to strict dodecaphony to free-tonal Neo-Romanticism, combining modernism with mystical romanticism in his later works. According to the composer, the role of the composer is to be mediator, a midwife, who helps the music become alive on its own terms; Listen to what the music wants to tell you, he told his composition students, sense where it wants to go.
Rautavaara rose to great international fame with the success of his Symphony No. 7, Angel of Light (1995) powered by the prize-winning recording (Helsinki Philharmonic, Segerstam, Ondine label) later the same year. Many high-profile international commissions followed, creating yet
more prize-winning recordings.
To mark the 25th anniversary of the work's premiere - in its original form as the Bloomington Symphony - by the Bloomington Symphony Orchestra and conductor David Pickett, Fennica Gehrman is publishing an entirely new edition of the symphony based on all available sources, including the composer's manuscript and his markings in various printed scores.
This is a large-sized conductor score with extensive analysis of the work and its genesis.

SKU: PR.41641531L

UPC: 680160625949.

Far from Home is originally for solo cello based on my exploration of the use of Western instrumental and compositional techniques to express the emotional and cultural characteristics of Thai traditional music. This piece contains both lyrical and virtuosic passages that derived from the traditional Thai fiddle playing and Krao-nai style, which is considered to be among the most demanding styles for solo instruments. Although the musical expression and techniques used in this piece are somewhat different from the traditional Krao-nai style, it still convey the emotions and cultural references of that style. Far from Home was graciously commissioned by the Thailand Philharmonic Orchestra with the generous support of Dr. Sugree Charoensook. It was given its first performance by Thai cellist Tapalin Charoensook, the Thailand Philharmonic Orchestra, and Maestro Alfonso Scarano conducting, on August 22-23, 2014, at Mahidol University, Bangkok, Thailand.
Far from Home is originally for solo cello based on my exploration of the use of Western instrumental and compositional techniques to express the emotional and cultural characteristics of Thai traditional music. This piece contains both lyrical and virtuosic passages that derived from the traditional Thai fiddle playing and Krao-nai style, which is considered to be among the most demanding styles for solo instruments. Although the musical expression and techniques used in this piece are somewhat different from the traditional Krao-nai style, it still convey the emotions and cultural references of that style.Far from Home was graciously commissioned by the Thailand Philharmonic Orchestra with the generous support of Dr. Sugree Charoensook. It was given its first performance by Thai cellist Tapalin Charoensook, the Thailand Philharmonic Orchestra, and Maestro Alfonso Scarano conducting, on August 22-23, 2014, at Mahidol University,Bangkok, Thailand.

SKU: FG.55011-588-0

ISBN 9790550115880.

I wrote my First Symphony while studying in the United States in 1955, but the work has since undergone two substantial changes. The original four-movement structure changed into a two-movement structure in 1988, with an expansive, Romantic and pathos-laden principal movement followed by a grotesque and ironic scherzo. This version seems to owe something to Dmitri Shostakovich, one of the idols of 1950s Modernism in Finland. Later I found that the structure was out of balance, and in 2003 I added a lyrical slow movement (Poetico) between the two existing ones. In order to preserve the 1950s spirit of the original work, I based the slow movement on solo song written around the same time (third movement from the song cycle Die Liebenden).

SKU: HL.48024683

ISBN 9781784545062. UPC: 888680952570. 8.25x11.75 inches.

TEMPUS FUGIT was commissioned to celebrate the centenary of Finnish independence on 6 December 2017 and it received its first performance in Helsinki on that day, given by the Finnish Radio Symphony Orchestra.

The composer says that “if you translate TEMPUS FUGIT as 'Time Flies', you could say that Finland has travelled a long way already -but 100 years is a short time-span, and living as a human in this part of the world started long ago and, we hope, will continue formillennia to come. This relates to my fascination with Bernd Alois Zimmermann's concept of spherical time - that the past, the present and the future are continuously linked and within reach. You can also examine the inter-connection of musical time in the earlier works of Stockhausen such as Kontakte and Gruppen which had a big impact on me as a young composer. A translation of TEMPUS FUGIT that I prefer is 'Time in Flight', offering the idea that time escapes from us but bequeaths a tangible residue, rather like aplane travelling towards the distance but leaving a visible vapour trail.” This 30-minute score is a major addition to the orchestral repertory.

SKU: PO.PEL22

ISBN 9781877564475.

For Lilburn's only full-length choral work, Prodigal Country, the composer set three poems to music – Robin Hyde's Journey from New Zealand, Allen Curnow's New Zealand City and Walt Whitman's Song of Myself. Across a single, winding movement, Prodigal Country conjures nostalgia and strangeness through its sung text and drifting melodic contours. The imagery of the river dominates the work, which, for Lilburn, seemed to represent freedom, while elsewhere Hyde's evocative landscape is rugged and harsh, Curnow's text emphasises the hesitancy and unease reminiscent of the Depression and Whitman's romanticism is celebrated through Lilburn's lyrical, melodic treatment. Douglas Lilburn occupies a pre-eminent position in New Zealand music, with a legacy extending well beyond his compositional output. As a composer, teacher and mentor he presided in innumerable ways over the artistic growth of New Zealand from 1940 onwards. From the early works redolent of the influence of Sibelius and Vaughan Williams, to the electro-acoustic pieces of his later years, his works have been instrumental in establishing a genuine vernacular in New Zealand classical music.

SKU: 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.

SKU: HL.14028514

ISBN 9780711997813. UPC: 888680744199. 8.25x11.75x0.26 inches.

Concerto for flute and orchestra. Study score edition. First performed at the Flanders Festival in Brussels 12th October 2001. Composer's Notes: I have been very familiar with the flute since my earliest pieces. I like the sound in which breathing is ever present and with timbral possibilities that befit my musical language: the instrument's body makes it possible to write phrases that go through grinding textures coloured with phonemes whispered by the flutist which gradually go towards pure and smooth sounds. Kaija Saariaho Duration 18 minutes. Solo part is also available on sale. Conductor's score and orchestral parts are available on hire only.

SKU: PO.UME14

ISBN 9781877564864.

Comp leted while Ritchie was Composer-in-Residence with the Dunedin Sinfonia in 1993, Boum is named after a mysterious echo heard by characters in E.M. Forster's novel A Passage to India. The echo comes to symbolise the mysteries of life and death, and was a starting point to a general theme of existentialism and human struggle that pervades Ritchie's symphony.An eclectic range of influences can be heard across Boum's four movements. A languid, Eastern-sounding violin theme in the first movement is influenced by gamelan music, referencing the pelog scale. Inspired by traditional music of the Cook Islands, the jaunty second movement is a vigorous scherzo dominated by the sound of log-drum and tom-toms. The third movement is a lament for the victims of the Bosnian war, its evocative opening inspired by the wailing of a Maori karanga, while the fourth movement can be thought of as a symphonic dance, its pulse and motivic ideas reminiscent of rock music.

SKU: SU.27120080

Reflections on my life living by the Pacific Ocean and the inspiration that its beauty and drama brings.Orchestra Duration: 22' Composed: 2006 Published by: Lapis Island Press Performance materials available on rental:.