By James Curnow. (Score and Parts). MusicWorks Grade 2. Concert Band. Score and full set of parts. Published by Curnow Music.

By Mack Wilberg (1955-). For SATB choir and piano 4 hands/full orchestra (piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoon, 4 horn, 3 trumpet, 3 trombone, tuba, 2 percussion, timpani, handbell (optional), harp, organ (optional), strings). Mixed Voices. Christmas, Choral Leaflet. Vocal score. 16 pages. Duration 3'. Published by Oxford University Press

By Mack Wilberg (1955-). For SATB choir and piano 4-hands/full orchestra (piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoon, 4 horn, 3 trumpet, 3 trombone, tuba, timpani, 5 percussion (glockenspiel, finger cymbals, chimes, suspended cymbal, tambourine, Snare Drum), harp, organ, strings). Mixed Voices. Christmas Choral Leaflet. Vocal score. Duration 5'

(Orchestra). By Malcom Arnold. For Orchestra (Study Score). Music Sales America. 67 pages. Novello and Co Ltd. #NOV162206. Published by Novello and Co Ltd.

By Per Norgard. For Orchestra (Score). Music Sales America. 20th Century. 132 pages. Edition Wilhelm Hansen #WH29399. Published by Edition Wilhelm Hansen

My Spirit was in Heaviness, BWV 21. By Johann Sebastian Bach. Arranged by Arnold Schering. (Study Score). Schott. 99 pages. Published by Eulenburg.

Orchestra (Orchestra)

SKU: BA.BA05538

Composed by Franz Schubert. Edited by Arnold Feil and Douglas Woodfull-Harris. This edition: complete edition, urtext edition. Linen. New Schubert Edition (Neue Ausgabe samtlicher Werke) Series V, Volume 2. Complete edition, Score, anthology. No. 4-6. Baerenreiter Verlag #BA05538_00. Published by Baerenreiter Verlag (BA.BA05538).

ISBN 9790006497041. 33 x 26 cm inches.

Urtext der Neuen Schubert-Ausgabe.

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

Composed by Serge Rachmaninoff. For piano and orchestra. Format: full score (performance parts are not available for this edition). With full score notation. Romantic period. 396 pages. 9x12 inches. Published by Dover Publications.

Composed by Camille Saint-Saens (1835-1921). Edited by Michael Stegemann. This edition: urtext edition. Paperback. Barenreiter Urtext. Score. Opus 78, No. 3. Baerenreiter Verlag #BA07896. Published by Baerenreiter Verlag (BA.BA07896).

By Ludwig van Beethoven (1770-1827). Arranged by Vernon Leidig. Orchestra. Full Orchestra; Masterworks. Full Orchestra. Classical; Masterwork Arrangement; Romantic. Grade 3. Conductor Score and Parts. 178 pages. Published by Alfred Music Publishing

For Orchestra. Music Sales America. Post-1900. 40 pages. Novello and Co Ltd. #NOV951984. Published by Novello and Co Ltd. . Post-1900.

Composed by Malcolm Arnold (1921-2006). Music Sales America. Studyscore. 34 pages. Music Sales #NOV958155. Published by Music Sales

By Monty Norman. Arranged by Victor Lopez. By Monty Norman / arr. Victor Lopez. For Full Orchestra. Full Orchestra. Pop Concert Full Orchestra. Movie. Conductor Score and Parts. Published by Alfred Publishing.
Level: 4 (grade 4).

By Monty Norman. Arranged by Victor Lopez. By Monty Norman / arr. Victor Lopez. For Full Orchestra. Full Orchestra. Pop Concert Full Orchestra. Movie. Conductor Score. Published by Alfred Publishing.
Level: 4 (grade 4).

By Antonin Dvorak (1841-1904). Edited by Jonathan Del Mar. For orchestra. This edition: Urtext edition. Paperback. Score. English/Czech/German. No. 7, Op. 70. Duration 38 minutes. Published by Baerenreiter Verlag

By Ralph Vaughan Williams (1872-1958). Arranged by David Matthews. For soprano voice solo, SSA chorus, and full orchestra (3 flutes (III doubling piccolo), 3 oboes (III doubling English horn), 3 clarinets (III doubling bass clarinet), 3 bassoons (III doubling contra), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, celesta, harp, piano, organ, soprano solo, women). Orchestral. Miscellaneous. Study score. 168 pages. Duration 42'. Published by Oxford University Press

(Violoncello/Double Bass Part Edited By Donald Burrows). By George Frideric Handel (1685-1759). Edited by Donald Burrows. For Orchestra. Music Sales America. Softcover. 148 pages. Novello and Co Ltd. #NOV09092605. Published by Novello and Co Ltd. (HL.14041819

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.

Hold in Remembrance Jesus Christ, BWV 67. By Johann Sebastian Bach. Arranged by Arnold Schering. (Study Score). Schott. 40 pages. Published by Eulenburg.

Choros No. 7. (Parts). By Heitor Villa-Lobos (1887-1959). For Chamber Ensemble. Editions Durand. 30 pages. Editions Durand #ME0208500. Published by Editions Durand

Orchestra (picc.2.2.2.2.dbl bsn - 2.2.3.0 - timp - str)

SKU: BR.PB-14615

Urtext based on the Complete Edition (G. Henle Verlag). Composed by Ludwig van Beethoven. Edited by Jens Dufner. Orchestra; Softbound. Partitur-Bibliothek (Score Library).

The study score (,,Studien-Edition) is available at G. Henle Verlag.

Symphony; Classical. Full score. 120 pages. Duration 36'. Breitkopf and Haertel #PB 14615. Published by Breitkopf and Haertel (BR.PB-14615).

ISBN 9790004214909. 10 x 12.5 inches.

The Famous One in the Leading EditionBeethoven spent a relatively long time on his 5th Symphony. Thus, first sketches can already be found from as early as 1804, four years before the work was premiered in Vienna in December 1808. Not only impressive is its striking opening theme, letting everyone know immediately that this is Beethoven being played, but also its nickname symphony of fate. Nothing in the sources prefigures the much-cited fate, musically knocking here at the door. The autograph of the score and the set of parts prepared from it, including Beethoven's revisions, serve as the main sources of this Urtext edition, together with the missing copy of the score, now extant only incomplete in photographs, and the original edition of the parts authorized by Beethoven. The new performance material is based on the recently published volume of the New Beethoven Complete Edition.

Orchestra (Score) - Grade 4

SKU: HL.14023384

Composed by Per Norgard. Music Sales America. 20th Century. Score. Composed 2002. 120 pages. Edition Wilhelm Hansen #WH29117. Published by Edition Wilhelm Hansen (HL.14023384).

ISBN 9788759850466. UPC: 884088435851. 12.0x16.5x0.582 inches. English.

Work for Orchestra dating from 1970.

Composed by George Frideric Handel (1685-1759). For voice and string orchestra. Orchestra. 2 scores and 9 parts. Published by Noten Roehr

Orchestra (Full Score) - Grade 4

SKU: HL.14032192

Full Score. Composed by Per Norgard. Music Sales America. 20Th Century, Classical. Softcover. 188 pages. Edition Wilhelm Hansen #KP00865. Published by Edition Wilhelm Hansen (HL.14032192).

ISBN 9788759858394. 12.0x16.5x0.78 inches. International (more than one language).

Symphony No. 6 for orchestra, 1997-99. Preface / Program Note:... with the Lord a day is like a thousand years, and a thousand years is like a day(New Testament, 2 Peter 3:8)My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra, the Gteborg Symphony Orchestra and the Oslo Philharmonic Orchestra, to be premiered at the millenium 2000.The subtitle AT THE END OF THE DAY can be understood literally or it can mean when all is added up. However, in my opinion, nothing ever quite adds up, there is always something missing, any ending will be provisional ...This symphony appears to end only a few minutes into the first movement, the first passage, as the music fades away to almost-silence, after a start of flying colours. But then there is still something, a small motive (first heard in the initial sound-waves) which reappears, hesitant, but persistent, and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next, until all the voices become obsessed with the same phrase, a see-saw motive based on thirds. This section evolves into almost martial ferocity, when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony, emplyoing instruments that I have never used before: double-bass tuba, double-bass trombone, double-bass clarinet, and bass flute).The second movement, the second passage, apparently takes off where the first passage ended, but now the events are more ambiguous, and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia, the characteristic baroque bass-variation.Without a break follows the third and last passage, in a contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of other worlds, is revealed ....The symphony is dedicated to Helle, my wife. - Per Norgard.

(Featuring: Jealous Guy / Instant Karma / Imagine). By John Lennon. Arranged by Roland Barrett. Orchestra. Full Orchestra; Score. Pop Concert Full Orchestra. Form: Medley. Light Concert; Pop/Rock. Grade 3. 16 pages. Published by Alfred Music