For Viola & Wind
Ensemble. Composed by
Frank Ezra Levy. Strings,
Viola, Woodwinds,
Woodwind Ensemble,
Concert Band/Wind
Ensemble. Score & Parts.
Seesaw Music Corp
#50501250. Published by
Seesaw Music Corp
(SU.50501250).
Hungarian Rondo Orchestre d'harmonie - Intermédiaire Opus III Wind Orchestra Publications
Concert band - Grade 3 SKU: CL.012-4603-75 Arranged by Glover. Concert Ba...(+)
Concert band - Grade 3
SKU:
CL.012-4603-75
Arranged by Glover.
Concert Band. Spotlight
Series. Audio recording
available separately
(item CL.WFR391).
Oversized, spiral-bound
score. Composed 2017.
Duration 5 minutes, 55
seconds. Opus III Wind
Orchestra Publications
#012-4603-75. Published
by Opus III Wind
Orchestra Publications
(CL.012-4603-75).
Composed by
Carl Maria von Weber for
solo viola with
orchestra, the Hungarian
Rondo has become a
standard repertoire
bassoon solo. This
edition offers a choice
of soloist, including
bassoon, bass clarinet,
euphonium, or tuba. The
band setting is carefully
arranged to require a
minimum of preparation
time, and is playable
with either full concert
band, or if accompanying
a soloist requiring
greater presence, just
woodwinds and horns. The
finale includes an ossia
part as well as the
original. An excellent
piece to feature a guest
artist or outstanding
soloist with your
band!
About C.L.
Barnhouse Spotlight
Series
The
Barnhouse Spotlight
series includes
publications for solo
instruments with concert
band accompaniment. These
publications are designed
to feature outstanding
members of your band as
soloist, and to provide
unique and entertaining
programming options. Solo
parts are graded more
difficult than the band
accompaniments
Hungarian Rondo Orchestre d'harmonie - Intermédiaire Opus III Wind Orchestra Publications
Concert band - Grade 3 SKU: CL.012-4603-00 Arranged by Glover. Concert Ba...(+)
Concert band - Grade 3
SKU:
CL.012-4603-00
Arranged by Glover.
Concert Band. Spotlight
Series. Audio recording
available separately
(item CL.WFR391). Score
and set of parts.
Composed 2017. Duration 5
minutes, 55 seconds. Opus
III Wind Orchestra
Publications
#012-4603-00. Published
by Opus III Wind
Orchestra Publications
(CL.012-4603-00).
Composed by
Carl Maria von Weber for
solo viola with
orchestra, the Hungarian
Rondo has become a
standard repertoire
bassoon solo. This
edition offers a choice
of soloist, including
bassoon, bass clarinet,
euphonium, or tuba. The
band setting is carefully
arranged to require a
minimum of preparation
time, and is playable
with either full concert
band, or if accompanying
a soloist requiring
greater presence, just
woodwinds and horns. The
finale includes an ossia
part as well as the
original. An excellent
piece to feature a guest
artist or outstanding
soloist with your
band!
About C.L.
Barnhouse Spotlight
Series
The
Barnhouse Spotlight
series includes
publications for solo
instruments with concert
band accompaniment. These
publications are designed
to feature outstanding
members of your band as
soloist, and to provide
unique and entertaining
programming options. Solo
parts are graded more
difficult than the band
accompaniments
Hungarian Rondo Orchestre d'harmonie - Intermédiaire Opus III Wind Orchestra Publications
Concert band - Grade 3 SKU: CL.012-4603-01 Arranged by Glover. Concert Ba...(+)
Concert band - Grade 3
SKU:
CL.012-4603-01
Arranged by Glover.
Concert Band. Spotlight
Series. Audio recording
available separately
(item CL.WFR391). Extra
full score. Composed
2017. Duration 5 minutes,
55 seconds. Opus III Wind
Orchestra Publications
#012-4603-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-4603-01).
Composed by
Carl Maria von Weber for
solo viola with
orchestra, the Hungarian
Rondo has become a
standard repertoire
bassoon solo. This
edition offers a choice
of soloist, including
bassoon, bass clarinet,
euphonium, or tuba. The
band setting is carefully
arranged to require a
minimum of preparation
time, and is playable
with either full concert
band, or if accompanying
a soloist requiring
greater presence, just
woodwinds and horns. The
finale includes an ossia
part as well as the
original. An excellent
piece to feature a guest
artist or outstanding
soloist with your
band!
About C.L.
Barnhouse Spotlight
Series
The
Barnhouse Spotlight
series includes
publications for solo
instruments with concert
band accompaniment. These
publications are designed
to feature outstanding
members of your band as
soloist, and to provide
unique and entertaining
programming options. Solo
parts are graded more
difficult than the band
accompaniments
Shlof,
Mayn Kind. Composed
by Larry Clark. Young
Band (YPS). Set of Score
and Parts. With Standard
notation.
8+2+4+4+2+2+5+2+2+4+4+4+6
+3+2+3+1+1+2+6+12 pages.
Duration 4 minutes, 31
seconds. Carl Fischer
Music #YPS208. Published
by Carl Fischer Music
(CF.YPS208).
ISBN
9781491152287. UPC:
680160909780. Key: D
minor.
A stunning
and heart-wrenching
composition based on the
Jewish folk son Shlof,
Mayn Kind. You can
hear the emotional
content pour out of this
piece written in memory
of an outstanding
orchestra director. The
piece beginnings with
original material to set
the tone, followed by
a clarinet solo on the
song. It then develops
through a variety of
different harmonic
presentation before
building to a nice key
change and climatic
moment. The piece ends as
it began, but with a more
hopeful tone. An amazing
piece. Sleep, My Child
was commissioned by the
Madison Middle School
Band and Orchestra in
Tampa, Florida, and is
dedicated to the memory
of their Director of
Orchestras Kevin Frye.
Director of Bands Chris
Shultz championed the
commissioning of this
piece to honor Kevin
after he passed away in
December 2016. Mr. Frye
was a beloved member of
the staff at Madison
Middle as well as the
music community of Tampa
and the state of
Florida. I was a
personal friend of
Kevin’s. We were
in several musical groups
together when we were
young that were formative
to both of our musical
careers. I also guest
conducted his Madison
Middle School Orchestra
several times over the
past four years. His
musicianship, teaching
skills and love for his
students were
exemplary.When taking on
the challenge of writing
a piece to honor
Kevin’s legacy,
Mr. Shultz and I decided
to try and include
several important aspects
of Kevin’s life
into the piece. Kevin was
proudly Jewish, a
fantastic trumpet player
and loved Jazz. With that
in mind, and after a lot
of research, a Jewish
folk song Shlof, Mayn
Kind was selected as the
basis for the piece, not
to be religious, but to
honor his faith and
heritage. Plus it is a
beautiful song, and I
felt the title reflected
the sentiment I was
looking to express, which
is of someone taking rest
after a long battle with
illness. Thus, a lullaby
seemed appropriate.I also
wanted to incorporate
Jazz into the piece, but
in a concert setting, so
you will hear as the
piece develops, the
harmonies of the folk
song expand into ones
found more commonly in
Jazz compositions. Not
in a far out way, but in
a subtle way to again
honor this part of his
life. For example the
climactic moment of the
piece at the fermata in
m. 57 is a Dbmaj9#11
chord. It appropriately
give the piece the angst
that I was looking for at
this moment in the piece,
while honoring the
importance of Jazz in
Kevin’s musical
life.The piece was also
conceived to include both
the Madison band and
orchestra in the
performance at the
premiere. I wanted the
pieces to work separately
by the band and
separately by the
orchestra, but I also
wanted them to be able to
play the piece together
to honor Kevin.The piece
begins with original
material designed to set
the mood of the piece
with a tempo/style
marking of pensive, but
also as material that I
used as connective
musical tissue between
statements of the folk
song. After this
introduction, the folk
song is presented by a
solo violin (or clarinet)
with orchestral
accompaniment in a simple
straight forward
presentation of the song.
This is followed by a
woodwind section
statement of the folk
song accompanied by muted
trumpets. During this
presentation the harmony
starts to expand with
more color notes in the
chords. The low brass are
added half way through
this statement to add
depth and lushness.The
introductory material
returns, but with some
angry hits in the lower
voices. This leads to a
full ensemble state of
new material that is used
to transition to the
climax of the piece, and
to build tension. After
the build, the piece
modulates to a shortened
statement of the folk
song with more advanced
harmonies and an active
counter line in the
violas, horns, saxes and
first clarinets to
further build the
tension. This tension
is released at the
fermata in m. 57, as
mentioned above. After a
thoughtful pause, the
piece concludes with a
completion of the folk
song again with a solo
violin (or clarinet)
followed by a return of
the introductory material
to tie the piece
together. The piece ends
hopeful, with a solo
trumpet (Kevin’s
instrument) that is
dissonant at first, but
then resolves as if to
say - everything will be
OK! It has been my
distinct honor to have
been asked to write this
piece in Kevin’s
memory! I hope that in
some small way the piece
helps to bring comfort to
his family, students,
colleagues and to all
those that knew
him!–Larry
ClarkLakeland, FLÂ
2017.
Band Bass Clarinet, Bass Drum, Bassoon, Bell Tree, Bells, Clarinet 1, Clarinet 2...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bell Tree,
Bells, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Tam-tam, Timpani
and more. - Grade 2
SKU: CF.YPS208F
Shlof, Mayn Kind.
Composed by Larry Clark.
Young Band (YPS). Full
score. With Standard
notation. 12 pages. Carl
Fischer Music #YPS208F.
Published by Carl Fischer
Music (CF.YPS208F).
ISBN 9781491152966.
UPC:
680160910465.
A
stunning and
heart-wrenching
composition based on the
Jewish folk son Shlof,
Mayn Kind. You can
hear the emotional
content pour out of this
piece written in memory
of an outstanding
orchestra director. The
piece beginnings with
original material to set
the tone, followed by
a clarinet solo on the
song. It then develops
through a variety of
different harmonic
presentation before
building to a nice key
change and climatic
moment. The piece ends as
it began, but with a more
hopeful tone. An amazing
piece. Sleep, My Child
was commissioned by the
Madison Middle School
Band and Orchestra in
Tampa, Florida, and is
dedicated to the memory
of their Director of
Orchestras Kevin Frye.
Director of Bands Chris
Shultz championed the
commissioning of this
piece to honor Kevin
after he passed away in
December 2016. Mr. Frye
was a beloved member of
the staff at Madison
Middle as well as the
music community of Tampa
and the state of
Florida. I was a
personal friend of
Kevin’s. We were
in several musical groups
together when we were
young that were formative
to both of our musical
careers. I also guest
conducted his Madison
Middle School Orchestra
several times over the
past four years. His
musicianship, teaching
skills and love for his
students were
exemplary.When taking on
the challenge of writing
a piece to honor
Kevin’s legacy,
Mr. Shultz and I decided
to try and include
several important aspects
of Kevin’s life
into the piece. Kevin was
proudly Jewish, a
fantastic trumpet player
and loved Jazz. With that
in mind, and after a lot
of research, a Jewish
folk song Shlof, Mayn
Kind was selected as the
basis for the piece, not
to be religious, but to
honor his faith and
heritage. Plus it is a
beautiful song, and I
felt the title reflected
the sentiment I was
looking to express, which
is of someone taking rest
after a long battle with
illness. Thus, a lullaby
seemed appropriate.I also
wanted to incorporate
Jazz into the piece, but
in a concert setting, so
you will hear as the
piece develops, the
harmonies of the folk
song expand into ones
found more commonly in
Jazz compositions. Not
in a far out way, but in
a subtle way to again
honor this part of his
life. For example the
climactic moment of the
piece at the fermata in
m. 57 is a Dbmaj9#11
chord. It appropriately
give the piece the angst
that I was looking for at
this moment in the piece,
while honoring the
importance of Jazz in
Kevin’s musical
life.The piece was also
conceived to include both
the Madison band and
orchestra in the
performance at the
premiere. I wanted the
pieces to work separately
by the band and
separately by the
orchestra, but I also
wanted them to be able to
play the piece together
to honor Kevin.The piece
begins with original
material designed to set
the mood of the piece
with a tempo/style
marking of pensive, but
also as material that I
used as connective
musical tissue between
statements of the folk
song. After this
introduction, the folk
song is presented by a
solo violin (or clarinet)
with orchestral
accompaniment in a simple
straight forward
presentation of the song.
This is followed by a
woodwind section
statement of the folk
song accompanied by muted
trumpets. During this
presentation the harmony
starts to expand with
more color notes in the
chords. The low brass are
added half way through
this statement to add
depth and lushness.The
introductory material
returns, but with some
angry hits in the lower
voices. This leads to a
full ensemble state of
new material that is used
to transition to the
climax of the piece, and
to build tension. After
the build, the piece
modulates to a shortened
statement of the folk
song with more advanced
harmonies and an active
counter line in the
violas, horns, saxes and
first clarinets to
further build the
tension. This tension
is released at the
fermata in m. 57, as
mentioned above. After a
thoughtful pause, the
piece concludes with a
completion of the folk
song again with a solo
violin (or clarinet)
followed by a return of
the introductory material
to tie the piece
together. The piece ends
hopeful, with a solo
trumpet (Kevin’s
instrument) that is
dissonant at first, but
then resolves as if to
say - everything will be
OK! It has been my
distinct honor to have
been asked to write this
piece in Kevin’s
memory! I hope that in
some small way the piece
helps to bring comfort to
his family, students,
colleagues and to all
those that knew
him!–Larry
ClarkLakeland, FLÂ
2017.
200 B.C. Orchestre d'harmonie - Intermédiaire/avancé Oxford University Press
Concert band - Grade 4 SKU: MH.0-931329-53-1 Composed by Gregory B.Rudger...(+)
Concert band - Grade 4
SKU:
MH.0-931329-53-1
Composed by Gregory
B.Rudgers. Suitable for
high school, community,
and college bands.
Conductor score and set
of parts. Duration 7:30.
Published by Manhattan
Beach Music
(MH.0-931329-53-1).
ISBN
9780931329531.
Jour
ney back to ancient
Greece and view a place
of long-gone legend.
Follow the trail to the
Kingdom of Ithaca, from
the heroic palace, to a
place of tranquility, to
a reckless dance of
abandon, to the return of
Odysseus. The melodic
material used in 200 B.C.
is from a two thousand
year old Greek hymn to
Apollo. The legendary
adventures of Odysseus as
described by Homer in the
Odyssey (ca. 700 B.C.)
provide the programmatic
material. The music is
freely based upon the
First Delphic Hymn (or
Paen to Apollo), composed
ca. 200 B.C. The source
is a transcription
appearing on pages 363 -
367 of Ancient and
Oriental Music, Edited by
Egon Wellesz (Oxford
University Press: London,
1957). Each movement of
the work depicts a key
event in the epic Homeric
poem, as described below.
Movement I: Intrada - The
first four notes of this
movement, C - Bb - G -
Bb, are the melodic and
harmonic foundation for
the entire work. These
pitches, introduced in a
simple and direct manner,
are subsequently
developed in more complex
fashions throughout the
suite. Following this
stately introduction is a
militaristic fanfare that
introduces the
dotted-eighth and
sixteenth-note figure
later reprised in the
second and fourth
movements. Indeed, all
the musical ideas which
will be central to the
remaining movements first
appear in the Intrada.
This movement depicts the
grandeur of Odysseus and
his kingdom in Ithaca,
and establishes the
heroic mood of the entire
work. Movement II: Ballad
- After a brief
restatement of the
opening
dotted-eighth-and-sixteen
th fanfare, the second
movement extracts the
falling third (Bb to G)
from the C - Bb - G - Bb
motif and extends it and
expands it into a
haunting solo for alto
saxophone. The C - Bb - G
- Bb motif appears again
(see measures 23 - 33 in
trumpets) as counterpoint
to this melody, now
pulsing through the thick
texture of the band. Many
performers have come to
view the Ballad as the
emotional epicenter of
the entire suite; my
conception of the Ballad
is to achieve a union of
pathos and strength.
Programmatically, this
movement depicts
Odysseus's son,
Telemachos, as he both
longs for Odysseus's
return and stoically
defends his father's
kingdom. Movement III:
Dance - It will take
Odysseus twenty years to
return to Ithaca. During
his absence, noblemen
besiege his palace,
violating the sanctity of
the household and seeking
the hand of his wife,
Penelope. This movement
depicts the wanton
revelries that result.
The original four-note
motif is chromatically
altered and the meter is
made irregular. The rapid
tempo, driving
percussion, and angular
meter and melodies
combine in an explosion
of reckless abandon.
Movement IV: March
Building from a delicate
woodwind ensemble
accompanied by finger
cymbals to a fully
orchestrated statement
replete with thundering
percussion, this is a
resounding march of
victory. Odysseus has
returned in triumph to
restore dignity to his
household and to reclaim
the throne of the Kingdom
of Ithaca. Ensemble
instrumentation: 1
Piccolo, 8 Flute 1 - 2, 2
Oboe 1 - 2, 4 Bb Clarinet
1, 4 Bb Clarinet 2, 4 Bb
Clarinet 3, 1 Eb Alto
Clarinet, 3 Bb Bass
Clarinet, 2 Bassoon 1 -
2, 3 Eb Alto Saxophone 1,
3 Eb Alto Saxophone 2, 2
Bb Tenor Saxophone, 1 Eb
Baritone Saxophone, 3 Bb
Trumpet 1, 3 Bb Trumpet
2, 3 Bb Trumpet 3, 2 F
Horn 1-2, 2 F Horn 3-4, 2
Trombone 1, 2 Trombone 2,
2 Trombone 3, 3 Euphonium
(B.C.), 2 Euphonium T.C.,
4 Tuba, 1 Timpani, 2
Mallet Percussion: Bells,
Xylophone, 2 Percussion
1: Snare Drum,
Tambourine, 2 Percussion
2: Crash Cymbals,
Suspended Cymbal,
Tom-Tom, Finger Cymbals,
1 Percussion 3: Bass
Drum.
Allegro Spiritoso Orchestre d'harmonie - Intermédiaire Kjos Music Company
Orchestra concert band - Grade 3-4 SKU: KJ.SOS1C Composed by Robert Frost...(+)
Orchestra concert band -
Grade 3-4
SKU:
KJ.SOS1C
Composed by
Robert Frost. Arranged by
Jean Baptiste Senaille.
Score and parts. Neil A.
Kjos Music Company
#SOS1C. Published by Neil
A. Kjos Music Company
(KJ.SOS1C).
UPC:
8402703965.
This
arrangement provides a
rich and energetic
accompaniment for the
virtuosic, yet accessible
solo part. The multiple
solo options of violin,
viola, or cello, are all
arranged in the key of D
Minor, thus using the
same accompaniment. Lots
of fantastic options
here!
Concert Band (Full Score) SKU: HL.1428484 For Chorus and String Quarte...(+)
Concert Band (Full Score)
SKU: HL.1428484
For Chorus and String
Quartet. Composed by
Bruce Adolphe. LKM Music.
Concert. Softcover. 40
pages. Duration 1800
seconds. Lauren Keiser
Music Publishing
#X094035. Published by
Lauren Keiser Music
Publishing (HL.1428484).
ISBN 9798350122275.
UPC: 196288202462.
9.0x12.0x0.199
inches.
Memory
Believes (a requiem) is a
seven-movement work for
chamber choir and string
quartet dedicated to the
memory of the composer's
brother, Jonathan Adolphe
(1952-2022). Four
Meditation movements,
each for solo violin,
solo cello, solo viola,
and the entire string
quartet, are interspersed
with three movements that
include the choir and
quartet. The texts set
are “Because I could
not stop for Death”
(Emily Dickinson), “Are
there not a thousand
forms of sorrow” (Ethan
Canin), and “Memory
Believes” (William
Faulkner). The string
quartet score and parts
and the choral score are
available separately.
Whitewater Orchestre d'harmonie Faber Music Limited
Orchestra 12 Strings SKU: AP.12-0571518796 For Twelve Solo Strings...(+)
Orchestra 12 Strings
SKU:
AP.12-0571518796
For Twelve Solo
Strings. Composed by
Matthew Hindson. Full
Orchestra (Full Score);
Larger Works;
Masterworks; Performance
Music Ensemble. Faber
Edition. 20th Century;
Masterwork. Score. Faber
Music #12-0571518796.
Published by Faber Music
(AP.12-0571518796).
ISBN 9780571518791.
English.
Commission
ed by the Faber Music
Millennium Series, and
premiered by the BT
Scottish Ensemble in
London, May 2000. The
rushing waters of a river
are the central image of
this work, scored for
seven violins, two
violas, two cellos, and
bass. With a program
note. Duration ca. 18
minutes.
Galloping Ghosts Orchestre d'harmonie - Intermédiaire/avancé Manhattan Beach Music
Concert band - Grade 4 SKU: MH.1-59913-064-5 Composed by William Ryden. S...(+)
Concert band - Grade 4
SKU:
MH.1-59913-064-5
Composed by William
Ryden. Suitable for high
school, community, and
college bands. Conductor
score and set of parts.
Duration 2:45. Published
by Manhattan Beach Music
(MH.1-59913-064-5).
ISBN
9781599130644.
I
wrote Galloping Ghosts (A
Ragtime March) to
conclude a concert of my
chamber music in New York
City on October 28, 1986.
It is the final part of a
work called Rags for
Divers Players. This work
was written to show the
variety possible within
the standard rag form. I
used all the players
available for the finale
-- two violins, viola,
cello, bass, flute, oboe,
clarinet, horn, bassoon,
and piano. Since this is
a rather unusual
instrumental combination
and not easy to
reassemble, I decided to
rescore the work for
concert band. Galloping
Ghosts is written in a
standard march form but
incorporates many of the
syncopations found in
ragtime. The uniquely
American music called
ragtime traces its
history to African
rhythms brought over by
slaves. Over the years
this music became welded
to European musical forms
such as the quadrille and
the march. Drums and
banjos and the minstrel
tradition lent a special
flavor, and from all
these elements ragtime
slowly evolved within the
largely unknown black
subculture of the late
19th century. In the late
1890's it emerged as a
fully developed form in
the classic piano solos
of Scott Joplin
(1869-1917). Joplin's
1899 hit, Maple Leaf Rag,
was an overnight
sensation and brought
ragtime worldwide fame.
Ensemble instrumentation:
1 Piccolo, 8 Flute 1 and
2, 2 Oboe, 1 Eb Clarinet,
4 Bb Clarinet 1, 4 Bb
Clarinet 2, 4 Bb Clarinet
3, 2 Eb Alto Clarinet, 3
Bb Bass and Bb Contrabass
Clarinet, 2 Bassoon 1 and
2, 2 Eb Alto Saxophone 1,
2 Eb Alto Saxophone 2, 2
Bb Tenor Saxophone, 1 Eb
Baritone Saxophone, 3 Bb
Cornet 1, 3 Bb Cornet 2,
3 Bb Cornet 3, 2 Horn 1
and 2 in F, 2 Horn 3 and
4 in F, 4 Trombone 1 and
2, 4 Bass Trombone, 2
Baritone (B.C.), 2
Baritone (T.C.), 4 Tuba,
1 String Bass, 1 Timpani,
1 Xylophone, 3 Percussion
1, 3 Percussion 2.
Chorus Of Hebrew Slaves Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Editions Marc Reift (Swiss import)
Choeur des esclaves hebreux = Hebraischer Sklavenchor = Coro di schiavi ebrei. B...(+)
Choeur des esclaves
hebreux = Hebraischer
Sklavenchor = Coro di
schiavi ebrei. By
Giuseppe Verdi. For solo
instrument (flute, oboe,
clarinet, bassoon, alto
saxophone, tenor
saxophone, horn in Eb,
horn in F, trumpet,
trombone, bass trombone,
tuba, euphonium, Bb bass,
Eb bass, violin, viola,
or violoncello) and
concert band. Swiss
import. Level: 3 . Score
and parts. Published by
Editions Marc Reift. (EMR
10307)
Winter Days Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Editions Marc Reift (Swiss import)
By John G. Mortimer. For solo instrument (flute, clarinet, bassoon, alto saxopho...(+)
By John G. Mortimer. For
solo instrument (flute,
clarinet, bassoon, alto
saxophone, tenor
saxophone, horn in F,
trumpet, trombone, bass
trombone, tuba,
euphonium, Bb bass,
violin, viola,
violoncello, or
contrabass) and concert
band. Swiss import.
Level: 2 . Score and
parts. Published by
Editions Marc Reift. (EMR
10313)
Concerto Pour Une Voix Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Editions Marc Reift (Swiss import)
By Saint-Preux. Arranged by Jerome Naulais. For solo instrument (flute, clarinet...(+)
By Saint-Preux. Arranged
by Jerome Naulais. For
solo instrument (flute,
clarinet, bassoon, alto
saxophone, trumpet,
trombone, euphonium,
viola, violin, or
violoncello) and concert
band. Swiss import.
Level: 3 . Score and
parts. Published by
Editions Marc Reift. (EMR
10368)