Les Chevaliers de la Table Ronde = Ritter der Tafelrunde. By Scott Richards. For orchestra. Swiss import. Score and parts. Published by Editions Marc Reift. (EMR 4591)

Tone Poem - Urtext based on the Complete Edition Jean Sibelius Works (JSW). Composed by Jean Sibelius (1865-1957). Edited by Timo Virtanen. Full score. Breitkopf and Haertel #PB- 5658. Published by Breitkopf and Haertel

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.

Study Score. By Johann Sebastian Bach. Arranged by Harry Newstone. (Study Score). Schott. 60 pages. Published by Eulenburg.

Ergaenzungen von Nors S. Josephson. Composed by Anton Bruckner (1824-1896). Arranged by Nors. S. Josephson. This edition: Paperbound. German title: Finale zur 9.Sinfonie. Full score. WAB 109, No. 4. 162 pages. Duration 15 minutes. Published by Carus Verlag (CA.4058800).

Orchestra (2(picc).2(cor ang).2.A-sax.2. - 4.2.2CaP.3.0. - timp.perc - hp/pno - str)

SKU: BR.EOS-20829

Urtext. Composed by Georges Bizet. Edited by Lesley A. Wright. Orchestra; stapled. Eulenburg Orchestral Series. Suite; Romantic. Full score. 68 pages. Duration 18'. Breitkopf and Haertel #EOS 20829. Published by Breitkopf and Haertel (BR.EOS-20829).

ISBN 9790004780275. 10 x 12.5 inches.

From Stage Flop to Concert Favorite

The story of Alphonse Daudet's drama L'Arlesienne to which Georges Bizet composed several pieces in 1872 focuses on the story of love and suicide and was inspired by true events. The musical drama had flopped at its premiere, but the suite that Bizet arranged shortly afterwards from its stage music enjoys great popularity to this very day. After Bizet's death, his friend Ernest Guiraud put together four more movements of themes and motives by Bizet for a second suite establishing a musical connection to Provence und Arles especially in the outer movements, the Pastorale and the effective Fandarole. With this edition, Breitkopf & Hartel continues its successful collaboration with Eulenburg.

Original Version. By Igor Stravinsky. Arranged by Herbert Schneider. (Study Score). Schott. 220 pages. Published by Eulenburg.

Orchestra (Study Score)

SKU: HL.51489052

Orchestra Study Score. Composed by Franz Joseph Haydn. Edited by Klaus Lippe and Sonja Gerlach. Study Score. Clothbound. Henle Study Scores. Classical. Softcover. 60 pages. G. Henle #HN9052. Published by G. Henle (HL.51489052).

ISBN 9790201890524. UPC: 888680950682. 7.0x9.0x0.238 inches. Preface: Ullrich Schneidler.

Joseph Haydn's so-called Paris Symphonies were composed in 1785 and 1786 for the masonic lodge “Société Olympique” in Paris, which ran a large orchestra and organised regular concerts. These six works are notable for their artful motivic work and playful wit. Haydn here pays tribute both to the discerning taste of the Paris audience and to the excellent abilities of the musicians in the orchestra. These symphonies rapidly became famous and popular throughout Europe, thanks to editions published variously in Paris, Vienna and London. This E-flat major Symphony, composed in 1786, is notable for its colourful use of the woodwind, which are also allowed to come to the fore in solo passages. This study edition reproduces the musical text of the Haydn Complete Edition, which isa guarantor of the finest scholarship. An informative preface and a brief critical report make this handy score an ideal companion for all Haydn fans, both present and future.

Orchestra

SKU: FG.55011-323-7

The Trees Op. 75 (for orchestra). Composed by Jean Sibelius. Arranged by Ernst Pingoud. Score. Fennica Gehrman #55011-323-7. Published by Fennica Gehrman (FG.55011-323-7).

ISBN 9790550113237.

Erns t Pingoud was a notable composer and orchestral colorist. His orchestral transcription of Sibelius's beloved The Trees suite brings to life the depiction of forest trees in their fulll color.

Orchestra (2.2(cor ang).2.A-sax.2 - 4.2.2CaP.3.0 - timp.perc - hp/pno - str)

SKU: BR.EOS-20828

Urtext. Composed by Georges Bizet. Edited by Lesley A. Wright. Orchestra; Softcover. Eulenburg Orchestral Series.

The world premiere of the play L'Arlesienne with the incidental music by Georges Bizet was a notable failure not only for the playwright Alphonse Daudet, but also for the composer.

Suite; Romantic. Full score. 60 pages. Duration 17'. Breitkopf and Haertel #EOS 20828. Published by Breitkopf and Haertel (BR.EOS-20828).

ISBN 9790004784693. 10 x 12.5 inches.

The two four-movement orchestral suites, in turn, are still thrilling concert-goers all over the world, ever since their first performances in 1872 and 1880 respectively. In 1998 and 2001, Lesley A. Wright presented the score and orchestral parts of the two repertoire pieces in an Urtext edition prepared for the first time on the basis of all relevant sources. Thus not only will the yellow Urtext angel be gracing the conducting score and orchestral parts, but, next to the standardized large format and new layout of the parts, there are other user-friendly improvements, such as practical page-turns, page-turn aids and intelligent cue notes.

Orchestra (2(picc).2(cor ang).2.2 - 2.1.0.0 - hp- str (6 db are required))

SKU: BR.PB-5569-07

Suite d'Orchestre - Urtext. Composed by Maurice Ravel. Edited by Jean-Francois Monnard. Orchestra; stapled. Partitur-Bibliothek (Score Library). An homage to Francois Couperin, but most notably to the French music of the late 18th century. In his multi-layered work Ravel assimilates the events of World War I in a moving and intensely personal way. Have a look into PB 5540. Suite; Ballet; Early modern. Study Score. 72 pages. Duration 17'. Breitkopf and Haertel #PB 5569-07. Published by Breitkopf and Haertel (BR.PB-5569-07).

ISBN 9790004213797. 6.5 x 9 inches.

Ravel's multi-layered homage in Breitkopf UrtextIn his homage Le Tombeau de Couperin, Ravel is less specifically interested in Couperin than in French music of the late 18th century. In his preface, editor Jean-Francois Monnard explains how Ravel paid a moving and intensely personal tribute to the events of World War I with his multi-layered work. The orchestral version goes back to the original, eponymous piano suite (1914-17). Then, in 1919, the composer selected four pieces from this source, orchestrated them with all of his grace and artistry; the result provides a charming contrast to the pseudo-Baroque musical idiom, and places the pieces in a new and effective sequence. The work quickly gained great popularity immediately after the concertant world premiere, when the three dance movements of the orchestral suite were included in a ballet production.The underpinnings of Monnard's edition are provided by the most important sources. The preface features a great deal of information on the interpretation and performance history of the work. This is the fifth major Ravel work now available in print from Breitkopf Urtext.

An homage to Francois Couperin, but most notably to the French music of the late 18th century. In his multi-layered work Ravel assimilates the events of World War I in a moving and intensely personal way.

Orchestra

SKU: HL.48181134

For Orchestra. Composed by Eugene Bozza. Leduc. Classical. Softcover. Alphonse Leduc #AL20312. Published by Alphonse Leduc (HL.48181134).

UPC: 888680860561. 11.0x13.5x0.083 inches.

To this day, Eugene Bozza (1905-1991) remains one of the most prolific composers French composer. His Instrumental Board provides a clear glossary of all principal orchestral instruments. During his studies at the Paris Conservatoire, Bozza won prizes for violin, conducting and composition, as well as the Grand Prix de Rome. He then conducted the orchestra of the Opera-Comique and became Head of the Conservatoire in Valenciennes, whilst remaining a prominent composer. Compiled in 1947, Bozza's Instrumental Board addresses the range of each instruments and their potential. The Instrumental Board provides a helpful aid to orchestral writing.

Composed by Joel Raney. Arranged by Joel Raney. Christmas. Score and instrument parts. Published by Hope Publishing Company

Orchestra

SKU: SU.94010400

For Orchestra. Composed by James Lee III. Orchestra. Study Score. Subito Music Corporation #94010400. Published by Subito Music Corporation (SU.94010400).

2,1 2,1 2,1 2,1; 4331; timp, perc(3), cel, hp; stgs Duration: 11' Composed: 2013 Published by: Subito Music Publishing Performance materials available on rental: Alas! Babylon’s Final Sunset is another installment in my series of works that musically comment on the biblical books of Daniel and Revelation. The principal source of inspiration for this works comes from the 18th chapter of the book of Revelation. This chapter states that the career of Babylon the Great is finally coming to an end. The music begins with a mysterious pianissimo tremolo accompanied by tam-tam and bass drum. The initial flourishes in the oboes and English horn serve as the principal motive of warning. As the music continues, there are varying degrees of agitation among the strings and woodwinds. Throughout the work there are rhythmic motives in the brass, percussion, and various woodwind instruments that sing and speak Babylon is Fallen in triple meter. As the tutti ensemble arrives at a climax, the orchestral texture becomes thinner and slightly transparent. As the music continues, the opening motive returns in the oboes, however the counterpoint produces a series of solo laments. These passages are intended to provide picturesque images of these words: And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone shall be heard no more at all in thee; And the light of a candle shall shine no more at all in thee. and the voice of the bridegroom and of the bride shall be heard no more at all in thee: for thy merchants were the great men of the earth; for by thy sorceries were all nations deceived. And in her was found the blood of prophets, and of saints, and of all that were slain upon the earth. Rev. 18:22-24 The following passages musically comment on the historical career of Babylon with a sense of her impending destruction. The series of laments transforms into the more emphatic rhythmic motive Babylon is Fallen. The orchestral texture begins to become more condense, once again, with the initial flourishes of, but with notable variations. Finally, the celesta, harp, oboes, English horn, and strings sing profundities that are finally transformed into a minor mode tonality that fades away with the ringing of the tam-tam. Babylon has finally seen her last sunset.

Orchestra (Full Score) - 3-4

SKU: HL.48030040

Composed by Hershy Kay. Arranged by Robert Longfield. Boosey & Hawkes Orchestra. Classical. 20 pages. Boosey & Hawkes #M051778843. Published by Boosey & Hawkes (HL.48030040).

UPC: 884088867324. 9.0x12.0x0.043 inches.

Known for his extensive orchestration work with Leonard Bernstein and numerous Broadway hits, Hershy Kay was a notable composer in his own right. This movement is taken from his popular Cakewalk ballet suite for orchestra, which was based on piano melodies of Louis Moreau Gottschalk.

Chamber Orchestra; Orchestra; String Orchestra (Study Score)

SKU: HL.48024880

Study Score. Composed by James Macmillan. Boosey & Hawkes Scores/Books. Classical. Softcover. 80 pages. Duration 900 seconds. Boosey & Hawkes #M060136009. Published by Boosey & Hawkes (HL.48024880).

ISBN 9781784545154. UPC: 840126918670. 7.25x10.25x0.319 inches.

This publication presents under one cover various short works for sundry orchestral scorings. Larghetto for Orchestra is MacMillan's orchestration (2017) of his celebrated Miserere for a cappella mixed choir (2009), a setting in Latin of Psalm 51, 'Have mercy upon me, O God, according to thy great mercy', the penitential text famously set in the 17th century by Gregorio Allegri. The Larghetto orchestration was commissioned by the Pittsburgh Symphony Orchestra in celebration of Manfred Honeck's 10th Anniversary as Music Director. Memoire imperiale is one of a number of variations on General John Reids march tune Old Gaul commissioned from Scottish composers to mark the centenary in 1994 of the Faculty of Music at Edinburgh University. The Faculty was established following a bequest by General Reid (1721-1807), a former law student at the University and a renowned flute player and composer of marches for the BritishArmy, and he asked that an annual concert be organised at which one or more of his compositions be played. Composed in 2012 for the Britten Sinfonia, One is a monody in which a single line is passed around the instruments, painting it with different colours as it emerges and develops. Lasting only a few minutes, its singularity is maintained until blossoming in the lastfew bars. For Sonny (2011, orch 2013) and Ein Lamplein verlosch (2018, orch 2019) are short, private memorial tributes originally for string quartet and here rescored for string orchestra. Hirta was composed in 2016 as part of Deccas The Lost Songs of St Kilda project. Nearly a century ago, the last 36 residents were evacuated from the most remote part of the British Isles, St Kilda, an isolated archipelago off the beautiful and rugged western coast of Scotland. After 86 years, the music of St Kilda was rediscovered, recorded in a Scottish care home by Trevor Morrison, an elderly man who had been taught piano by an inhabitant of St Kilda. The songs were 'reimagined' for the Decca album by various.

(Orchestra)

SKU: HL.35027092

Composed by J. Paul Williams. Arranged by Joseph M. Martin. Harold Flammer Easter. Communion, Holy Week, Lent. CD-ROM, Score and Parts. Published by Shawnee Press (HL.35027092).

UPC: 884088472344. 5x5 inches.

Uses: Communion, Lent, Holy Week

Scripture: Psalm 16:11; 1 Corinthians 11:23-26; Isaiah 25:1-9; Luke 22:19-20

This J. Paul Williams gem is set to a well-known American folk song with breathtaking results. Each verse presents a different tableau in the life of Christ and takes us on a journey through his life and ministry. Ideal for Communion or Holy Week services! Thoughtful! Available separately: SATB, iPrint Orch CD-ROM (Flt 1&2,Oboe,Clnt 1&2,Bassoon, Horn 1&2, Perc 1&2, Harp, Violin 1, Violin 2, Viola, Cello, Dbl Bass), StudioTrax CD; Duration: ca. 3:05.

By Helmut Lachenmann. For orchestra. Breitkopf Full Scores. Published by Breitkopf and Haertel (German import).

Orchestra - Grade 3

SKU: AP.38505

Composed by Carrie Lane Gruselle. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Score and Part(s). 156 pages. Highland/Etling #00-38505. Published by Highland/Etling (AP.38505).

UPC: 038081439747. English.

A beautiful exploration of programmatic music and tonality/modality in four movements! Although all four snapshots of Wisconsin appear to be in the key of G (one sharp), closer examination finds four contrasting tonal centers and modes, allowing students to experience varying keys/modes and their inherent expressive tendencies, while using similar pitches and finger patterns.

SKU: CL.130-2416-00

Composed by Fletcher. String Orchestra. Score and set of parts. Composed 1992. C.L. Barnhouse #130-2416-00. Published by C.L. Barnhouse (CL.130-2416-00).

Orchestra (Full Score)

SKU: HL.14043216

Orchestra Full Score. Composed by Michael Nyman. Music Sales America. Classical, Contemporary. Softcover. 160 pages. Chester Music #CH60952. Published by Chester Music (HL.14043216).

ISBN 9781783056200. English.

Mic hael Nyman's Musique A Grande Vitesse (MGV) translates as ‘high speed music’ and was commissioned by the Festival de Lille for the inauguration of the TGV North EuropeanParis-Lille line in 1993.

This piece of sheet music runs continuously, but was conceived as an abstract, imaginary journey; or rather five inter-connected journeys, each ending with a slow, mainly stepwise melody which isonly heard in its 'genuine' form when the piece reaches its destination.

Thematic 'transformation' is a key to MGV as a whole. Throughout the piece ideas - rhythmic, melodic, harmonic, motivic, textural -constantly change their identity as they pass through different musical 'environments'.

The opening bars establish both a recurrent rhythmic principle - 9, 11, or 13-beat rhythmic cycles heard against a regular 8 - and aharmonic process - chord sequences (mainly over C and E) which have the note E in common. (Coincidentally, MGV begins in C and ends in E). A later scalic, syncopated figure (again first heard over C, E and A)begins the second section, featuring Brass, in D flat.

The topography of MGV should be experienced without reference to planning, description or timetables. Its tempo changes and unpredictable slowings downbear no logical relation to the high speed of the Paris-Lille journey, while the temptation to treat MGV as a concerto grosso, with the Michael Nyman band as the ripeno, was resisted: more suitably theband (amplified in live performance) lays down the tracks on which MGV runs.

For Full Orchestra. Composed by Eric Whitacre (1970-). Eric Whitacre Orchestra. Softcover. 20 pages. Duration 100 seconds. Published by Hal Leonard