By Ludwig van Beethoven. Arranged by Vernon Leidig. By Ludwig van Beethoven / arr. By Vernon Leidig. For Full Orchestra. Full Orchestra. Full Orchestra. Level: 3 (grade 3). Conductor Score and Parts. Published by Alfred Publishing.

Orchestra (Score)

SKU: HL.49005353

Study Score. Composed by Hans Werner Henze. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Study Score. Composed 1962. 100 pages. Duration 18'. Schott Music #ED5029. Published by Schott Music (HL.49005353).

ISBN 9790001057646. UPC: 884088085544. 8.25x11.75x0.334 inches.

Like my oratorio Novae de infinito laudes, this work, too, has been influenced by the human world and the scenery of Rome, indeed, perhaps even by the greater hardness of the roman language compared to that of Naples. The first four notes of the subsidiary theme of the second movement which appears for the first time in bar 36 are borrowed from the song My own, my own from the second act of my opera Elegy for Young Lovers; they appear again and again in various forms, even in the second and third movements.- Hans Werner Henze.

(Second Movement). By Franz Joseph Haydn (1732-1809). Arranged by Richard Meyer. Orchestra. Full Orchestra; Masterworks; Part(s); Score. Highland First Philharmonic. Form: Transcription. Classical; Masterwork Arrangement. Grade 2. 194 pages. Published by Alfred Music Publishing

Orchestra - Grade 3.5

SKU: AP.33734S

Composed by Gustav Mahler. Arranged by Bob Lipton. Masterworks; Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Form: Transcription. Masterwork Arrangement; Romantic. Score. 16 pages. Highland/Etling #00-33734S. Published by Highland/Etling (AP.33734S).

UPC: 038081385402. English.

You can hear the genius of Mahler's string writing in this accessible arrangement of the second movement of his Resurrection symphony. Staying true to the original orchestration, your students will have a chance to soar with the romanticism of the main theme and dance with the charm of the pizzicato section. Mahler called this movement a remembrance of happy times. Your students will create happy memories playing the music of this revered master.

Full Score String Orchestra (SCORE) - Grade 3-4

SKU: HL.4491059

Composed by Ludwig van Beethoven. Arranged by Robert Longfield. Music for String Orchestra. Classical, Movies. 8 pages. Published by Hal Leonard (HL.4491059).

UPC: 884088569693. 9.0x12.0x0.017 inches.

As heard in the Oscar-winning movie The King's Speech, one of Beethoven's most beloved movements accompanied the dramatic moments of this monumental film. Robert Longfield's accessible adaptation for string orchestra can be a centerpiece of most any program.

Orchestra 2.2.2.2: 4Sax(opt.; AATB; all dCl): 2.3.3.0: Perc(1): Hp(or Pno): Gtr: Str (9-8-7-6-5 in set)

SKU: AP.36-A601299

Composed by Morton Gould. Full Orchestra; Performance Music Ensemble. Kalmus Orchestra Library. Score. LudwigMasters Publications #36-A601299. Published by LudwigMasters Publications (AP.36-A601299).

ISBN 9798888522424. UPC: 676737533847. English.

Morton Gould, equally comfortable in the worlds of both serious and light music, presented his symphonettes (an Americanization of the term sinfonietta, much like kitchenette and dinette) as works of a truly American vernacular, drawing on popular culture as well as classical forms. His American Symphonette No. 2 was the work that first made Gould a name among the American public through radio, with the second movement (Pavanne) a pop orchestra standard to this day. Instrumentation: 2.2.2.2: 4Sax(opt.; AATB; all dCl): 2.3.3.0: Perc(1): Hp(or Pno): Gtr: Str (9-8-7-6-5 in set). The original condensed score is included with this set, but the full score has been extracted from the complete work and also included.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

Orchestra 2.2.2.2: 4Sax(opt.; AATB; all dCl): 2.3.3.0: Perc(1): Hp(or Pno): Gtr: Str (9-8-7-6-5 in set)

SKU: AP.36-A601201

Composed by Morton Gould. Full Orchestra; Performance Music Ensemble. Kalmus Orchestra Library. Score. LudwigMasters Publications #36-A601201. Published by LudwigMasters Publications (AP.36-A601201).

ISBN 9798888522431. UPC: 676737534301. English.

Morton Gould (1913-1996), equally comfortable in the worlds of both serious and light music, presented his symphonettes (an Americanization of the term sinfonietta, much like kitchenette and dinette) as works of a truly American vernacular, drawing on popular culture as well as classical forms. His American Symphonette No. 2 was the work that first made Gould a name among the American public through radio, with the second movement (Pavanne) a pop orchestra standard to this day. Instrumentation: 2.2.2.2: 4Sax(opt.; AATB; all dCl): 2.3.3.0: Perc(1): Hp(or Pno): Gtr: Str (9-8-7-6-5 in set). The original condensed score is included with this set, but the full score has been extracted from the complete work and also included.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

2nd Movement. Composed by Peter Ilyich Tchaikovsky (1840-1893). Arranged by Richard Meyer (ASCAP). Full Orchestra; Performance Music Ensemble; Single Titles. Highland/Etling First Philharmonic. Masterwork Arrangement. Part(s); Score. Alfred Music #00-49045. Published by Alfred Music

Orchestra 2.2.2.2: 4Sax(opt.; AATB; all dCl): 2.3.3.0: Perc(1): Hp(or Pno): Gtr: Str (9-8-7-6-5 in set)

SKU: AP.36-A601290

Composed by Morton Gould. Full Orchestra; Performance Music Ensemble. Kalmus Orchestra Library. Masterwork. Score and Part(s). LudwigMasters Publications #36-A601290. Published by LudwigMasters Publications (AP.36-A601290).

UPC: 676737533533. English.

Morton Gould, equally comfortable in the worlds of both serious and light music, presented his symphonettes (an Americanization of the term sinfonietta, much like kitchenette and dinette) as works of a truly American vernacular, drawing on popular culture as well as classical forms. His American Symphonette No. 2 was the work that first made Gould a name among the American public through radio, with the second movement (Pavanne) a pop orchestra standard to this day. Instrumentation: 2.2.2.2: 4Sax(opt.; AATB; all dCl): 2.3.3.0: Perc(1): Hp(or Pno): Gtr: Str (9-8-7-6-5 in set). The original condensed score is included with this set, but the full score has been extracted from the complete work and also included.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

2nd Movement. Composed by Peter Ilyich Tchaikovsky (1840-1893). Arranged by Richard Meyer (ASCAP). Full Orchestra; Performance Music Ensemble; Single Titles. Highland/Etling First Philharmonic. Masterwork Arrangement. Score. Alfred Music #00-49045S. Published by Alfred Music

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

By Robert W. Smith. By Robert W. Smith. For Full Orchestra. Full Orchestra. Belwin Intermediate Full Orchestra. Level: Easy to Medium Easy (grade II-III). Conductor Score & Parts. 142 pages. Published by Alfred Publishing.

Orchestra

SKU: PR.11641867L

Composed by William Kraft. Spiral. Large Score. Duration 16 minutes, 25 seconds. Theodore Presser Company #116-41867L. Published by Theodore Presser Company (PR.11641867L).

UPC: 680160683215.

Conte xtures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.

Orchestra

SKU: PR.11641867S

Composed by William Kraft. Full score. Duration 16 minutes, 25 seconds. Theodore Presser Company #116-41867S. Published by Theodore Presser Company (PR.11641867S).

UPC: 680160683208.

Conte xtures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.

Orchestra

SKU: BA.BA06861

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

ISBN 9790260104211. 34.3 x 27 cm inches.

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

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

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

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

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

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

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
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- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
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(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

SKU: HL.51489069

Study Score. Composed by Franz Joseph Haydn. Edited by Horst Walter. Henle Music Folios. Classical. Softcover. 93 pages. G. Henle #HN9069. Published by G. Henle (HL.51489069).

UPC: 840126951905. 6.75x9.5x0.291 inches.

Haydn arrived in London at the beginning of February 1794 for his second stay in England. By this time, he had completed three movements of the Symphony in D major Hob. I:101, and the finished work was premiered on 3 March. Even the members of the audience at the premiere took note of the pendulum-like accompanying figure in the second movement, which was in fact explicitly mentioned in a review: “The management of the accompaniments of the andante, though perfectly simple, was masterly.” The even tick-tock oscillations sparked the imagination of listeners so much, apparently, that the nickname “Clock” came into use later in the nineteenth century. And while this name may have nothing to do with Haydn, is it even possible to listen to the famous second movement today without making the association? To everyone wishing to become more acquainted with this symphony, let this inexpensive study edition be commended - with reliable commentaries on its genesis, sources, and edition as well as an unassailable musical text taken from the Haydn Complete Edition.

Hawkes Pocket Score 1554. Composed by James Macmillan. Boosey and Hawkes Scores/Books. Classical. Softcover. 76 pages. Boosey and Hawkes #M060132148. Published by Boosey and Hawkes (HL.48024126).

Orchestra (Study Score)

SKU: HL.48024115

Composed by James Macmillan. Boosey & Hawkes Scores/Books. Classical. Softcover. 104 pages. Boosey & Hawkes #M060125461. Published by Boosey & Hawkes (HL.48024115).

ISBN 9780851628219. UPC: 888680708962. 7.25x10.25 inches.

This work was written for the Britten Sinfonia and Nicholas Daniel, and is dedicated to him. It is in three movements. The first opens with a gradual building up of rhythmic layers on violas, bassoon and trumpet before the soloist joins in. Suddenly the music is thrown forward by a metrical modulation and becomes very fast, flighty and virtuosic. Structurally, the music eventually goes into reverse before a solemn coda. The second movement is based on an earlier work for solo oboe, in angustiis... The solo material is expressive and sad, and enters into much dialogue with other wind instruments throughout. The reflective character of the movement is interrupted by little dyadic patterns, various pizzicato outbursts, some scherzo-like material and agitated faster passages, but the principal mood is introverted and cantabile. The last movement begins brashly and has a clownish character. The overall feeling is extrovert and dramatic, showing off the oboe in fast display. Some of the original ideas from the opening movement are re-introduced in new guises, before an exultant and joyous ending.

Orchestra

SKU: PO.UME14

Composed by Anthony Ritchie. Perfect. Full score. Promethean Editions #UME14. Published by Promethean Editions (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.

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

Orchestra (Score)

SKU: HL.288106

Orchestra Score. Composed by Per Nø, rd, and rgå. Music Sales America. Classical. Softcover. 176 pages. Duration 2100 seconds. Edition Wilhelm Hansen #WH31431. Published by Edition Wilhelm Hansen (HL.288106).

Symphony No. 8 for Orchestra (2011) by Per Norgard. Premiered on September 19, 2013 by the Helsinki Philharmonic Orchestra and John Storgards. Programme note: The first movement opens with sculptural rising and falling scales. Visually the sound may call to mind, say, spirals or ziggurats (temple towers). Brisk music leads to the climax of the movement.The second movement is slow and sensually melodious and has three interludes of greater timbral melodic action. The third movement begins very restlessly but towards the climax the tempo gradually begins to accelerate. An oscillating pianissimomurmur ends the movement - and the symphony. Symphony no. 8 is commissioned by Helsinki Philharmonic Orchestra and is besides the Orchestra dedicated to the conductor John Storgards. Per Norgard (2012).

By Paulo Braga Diniz. Orchestra. Level: Grade 3. Music Book. Published by Neil A. Kjos Music Company.

Orchestra

SKU: BT.WH33185

Composed by Poul Ruders. Classical. Score Only. Composed 2021. 100 pages. Edition Wilhelm Hansen #WH33185. Published by Edition Wilhelm Hansen (BT.WH33185).

ISBN 9788759841761.

All music is sound, but not all music is simple. Simplicity is a virtue, especially in the arts, a fact which becomes increasingly and inescapably obvious to me the older I get. In Sound and Simplicity four out of the sevenmovements are very simple (as in the absence of any structural and metric complexity) indeed, in fact the second movement Trance, a sustained chord, employs only four notes, but gradually presented over three octaves.

Orchestra

SKU: FG.55011-610-8

Two mythical scenes op 1. Composed by Aulis Sallinen. Study score. Fennica Gehrman #55011-610-8. Published by Fennica Gehrman (FG.55011-610-8).

ISBN 9790550116108.

Two Mythical Scenes for orchestra was completed in 1956, when Sallinen was Aarre Merikanto's composition student for his second term. The work received its premiere performance only after a good deal of pressure from Prof. Merikanto's side, and was finally premiered in a concert by the Sibelius Academy Symphony Orchestra, conducted by Jussi Jalas. The work received opus number 1, as it was the first publicly performed work by Sallinen.
The composer has told that he was inspired by a 1947 book published by the Finnish Literary Society (SKS) Myytillisia kuvia (Mythical Scenes/Images). The second movement of the work, Kalmanvaen joulukirkko (The Christmas Service of the Dead) is based on the stories in which the dead rise from their graves early in the Christmas Day morning to attend their own special ceremony led by a dead priest. The opening movement Kulkue (Procession) depicts the dead in a procession towards the church.
In 2020 Sallinen revised the score slightly. In his own words with very small changes helping the sixty years younger and less experienced self. The revisions mostly concerned nuances and dynamics, bowings and some bridges. The original structure, rhythmic and harmonic world is still the same as they were when young Sallinen composed the work in 1956.

(Movement 1 from Three Folk Song Settings for Band). Arranged by Andrew Boysen, Jr.. Concert Band. Concert Band; Part(s); Score. Alfred Concert Band. Folk. Grade 4. 154 pages. Published by Alfred Music