Flute Oboe Clarinet Contrabass Clarinet or Double Bass Bassoon Horn Trumpet Trombone 2 Violins Viola Cello PercussionFirst performance: Tokyo 1981 Jo Kondo (cond) Musica Practica Ensemble.

Piano-scoreFlutePiccoloClarinet 1 in DClarinet 2 in ABassoon 1-2Horn 1-4Trumpet 1-2Trombone 1-2Bass TromboneTimpaniPercussionViolin 1 x 5Violin 2 x 5Viola x 3Cello x 3Double bass x 2

For Soprano and Orchestra.Natural History was commissioned by the Boston Symphony Orchestra. It was written for the voice of Dawn Upshaw. The first performance was given by these artists conducted by Sir Simon Rattle on14th January 1999 in Symphony Hall Boston. Orchestra 3 Flutes (3rd doubling piccolo and alto flute)3 Oboes3 Clarinets in Bb3 Bassoons (3rd doubling contrabassoon)4 Horns in F3 Trumpetsin CTubaPercussion (2 players)1. Cymbals Tubular Bells Suspended Cymbal Glockenspiel2. Glockenspiel (shared with first player) Snare Drum TamTam Xylophone Bamboo Chimes Metal Wind Chimes GongTimpaniHarpStrings

Triptykon for Percussion and Orchestra was composed by Pelle Gudmundsen-Holmgreen in 1985. Dedicated to Gert Mortensen. Programme note:TRIPTYKON is inspired by the visual arts (a triptych is a painting on three panels hinged side byside - for instance an altarpiece).The three movements of TRIPTYKON are composed in an eff ort to create clear contrasts of colour.The first movement employs only winds in the orchestra the second movement only strings and in thethird movement the first two movements are repeated on top of each other played simultaneously. Tuepercussion solo part has equally distinctcolours: for the first movement: metal only for the secondmovement: wood only and then finally in the third movement- together with the orchestral tutti - skin!Other distinct features in TRIPTYKON are block-like dispositions polyrhythmic layers and simplicityof tonal colours. Tue often crude articulation of motifs and the frequent use ofrepetition lend a ritualcharacter to the music.TRIPTYKON was composed in close collaboration with percussionist Gert Mortensen and the work isdedicated to him.

3 Scenes for Mezzo-Soprano Baritone and Orchestra.Published 1973Flute(+Alto Flute) Harp 2 Piano(1st+Cembalo 2nd+Electric Piano) 2 Electric Guitar 4 PercussionLibretto: E.Lutyens.

Slingshot By Michael Story Full Orchestra Conductor Score and Parts Grade: 1.5 Item: 00-47447 One of the most flexible pieces ever written, this powerful original work by Michael Story will provide the opportunity for an entire instrumental program to perform together! Perfect also for a first full orchestra experience with plenty of doubling, it can be performed by string orchestra alone or with almost any combination of winds or percussion. The piano part is also completely optional, as it simply reinforces the string parts. The percussion parts are written for up to five players; however, if you have extra percussionists, you can double as many as you wish on the tom-tom part.

Three classic songs from the past give this medley its appeal with catchy rhythmic tunes that your string players will love to play. Arranger John Wasson's fun-loving medley includes Tequila Oye Como Va and La Bamba plus partsfor percussionists to add some salsa flavor to the musical mix.

 Nomenclature 2 Bassons solo3 Percussionnistes6 Premiers violons6 Seconds violons4 Altos3 Violoncelles2 Contrebasses / Basson Et Orchestre

Par MURAIL TRISTAN. Sables reprend certains des partis pris d'Altitude 8000, en les poussant plus loin: absence d'événements ponctuels (aucun son percussif), continuité extrême (aucun silence, si ce n'est au début de la pièce...). Les notes sont considérées comme de simples 'grains de sable' dont l'accumulation va créer des formes, des 'dunes'. La pièce n'est pas encore véritablement spectrale, mais utilise déjà des phénomènes de résonance naturelle. La note de programme écrite à l'occasion de la création précise: 'Le système harmonique utilise les seuls points de référence objectifs... qui sont les résonances naturelles et le bruit blanc, symbolisé par le cluster. La trame harmonique est en évolution permanente: il n'y a pas à un moment donné 'une harmonie', mais un processus de transformation harmonique qui est en cours... Le parti pris non événementiel entraîne qu'il est impossible de distinguer des parties distinctes. On peut seulement considérer cinq régions séparées par des moments où le (les) processus d'évolution se renverse(nt). Tout est soumis à cette règle: trame harmonique, orchestration, densités, intensités, architecture à un moment donné. Toutefois les processus en cours dans chaque ordre de phénomène ne sont pas nécessairement concomitants, et il existe des processus 'croisés'... Le principe de continuité entraîne une écriture 'microcosmique': les notes n'ont pas d'importance par elles-mêmes. On ne les individualise pas, on entend seulement l'évolution qui résulte de leur présence... Tristan Murail / contemporain / Date parution : 1975-01-01/ Répertoire / Orchestre

Christmas Cantata-It was into the shadows and winter of this world that Christ came to bring us the light and warmth of his salvation. The new cantata Winter's Grace from renowned composer Joseph M. Martin celebrates this great light andwashes the sanctuary with the message of hope peace joy and love using a program of candles scriptures prayers and music. The incorporation of familiar carols will engage the listener and ease the learning process. There is a full line of support products available to facilitate your presentation of this dramatic new work including a digital resource kit featuring art work PowerPoint visuals a Bible study practice hints interpretivemovement options plus a unique composer's commentary explaining some of the writer's perspective on the composition of the work. Includes: A Winter's Song Celebration for Advent Hop Peace Joy and Love Carols ofAdoration Let the Earth Resound With Praise! A Silent Holy Night and more. Score and Parts for Flute 1and2 Oboe/English Horn Clarinet 1and2 Bassoon Horn 1and2 Percusson 1and2 Harp Piano Timpani Trumpet 1 2and3 Trombone 1and2 Bass Trombone Tuba Violin 1 Violin 2 Viola Cello Double Bass.

Poul Ruders STUDIUM: Concerto for 2 percussionsoloists and OrchestraAs indicated in the Latin title STUDIUM this concerto is a study or etude for virtuoso percussion and orchestra and a composer’s studium of the meticulous and patient building up a huge structure based on a very tight and sparse material. The title originally means and undertaking done with ardour and the wish to strive for the highest possible goal a natural aim in any artistic endeavour. The orchestra and the soloists work in a body towards the off-centre placed climax the technical level of the soloists increasing form ensemble status to stupefying virtuosic display whereas the orchestra maintainsits tightly composed surround-sound. What then happens shall remain a surprise.Poul Ruders

player's score-Programme Note TRIBUTE TO BALI is a 5-6 minutes piece for 3 percussionists but also the original version for piano solo under the title ?Many returns to Bali? might be called a percussion piece (the piano being a percussive instrument too at least since Bartok?s ?Allegro Barbaro?) referring in sound and attack to Balinese gamelan music.In gamelan orchestras the fastest layers of music are played by high pitched instruments the slowest layers by instruments with deep octaves. The same idea is present in my piece and gives the music a Balinese touch although no Balinese themes or motifs are used. The motives and rhythms are my own brew especially the snake-like rhythmcalled ?Pischop? which played in many layers at the same time avoids the strong beats in a bar. The music might be described as a ?Tribute to Pischop?. It also refers to my piece ?Returns? for guitar (1976) composed after my first visit to Bali in 1975.The piece was composed as a hommage to the cultural rich civilization of Hindu Bali after the bombings on the island in 2002. Percussionist Jacob Weber has with my accept arranged the original piano piece for percussion trio for his debut in 2005 at the Queens Hall at the Royal Library Copenhagen.Per Nørgård (2005)

Par BENJAMIN GEORGE. A beguiling 20-minute work for countertenor, women's voices and orchestra, Dream of the Song, George Benjamin's first work since his ground-breaking opera Written on Skin, was premiered in 2015 by the countertenor Bejun Mehta, the Netherlands Chamber Choir and the Royal Concertgebouw Orchestra conducted by the composer. Employing a reduced orchestra (two oboes, four horns, two percussionists and two harps and strings), the work sets verse by three major poets who spent formative years in Granada- two Hebrew poets of mid-11th century, Samuel HaNagid and Solomon Ibn Gabirol (sung by solo countertenor in English versions by Peter Cole), and Gabriel Garcia Lorca (sung by the female chorus in the original Spanish). This inspired pairing of texts creates a rich, melancholy and strange poetic conjunction, expressed most beautifully in the final movement which, overlaying soloist and choir, offers two simultaneous visions of dawn, conceived a millennium apart./ Répertoire / Choeur