Score-for Flute and Orchestra Full Score. Flute Moon premiered by the Houston Symphony Orchestra in 1999 is for solo flute/piccolo with a chamber orchestra comprised of harp piano percussion and strings. The music is based onChinese mythology and a poem written in c.1200 by Jiang Kui. The title of the piece is implied in the poetry which begins Oh moonlight my old friend how many times have you accompanied my flute beside the wintersweet blossom?Composer Bright Sheng who emigrated from China to the U.S. in 1982 at the age of 27 is a master at translating Eastern subject matter and sensibility into the language of Western contemporary classical composition. Duration: c.17 minutes.

For Flute (Piccolo Alto Flute Basss Flute) Clarinet (Bass Clarinet) Piano Violin Viola and Cello.Published in 2005.Commissioned by the Onix Ensemble.Score.

Elisabeth Lutyens' music from the film 'The Skull' (1965). A3 conductor's score.Instrumentation: 2 Flutes (doubling Alto flute and Piccolo) 2 Clarinets (doubling Bass clarinet and Contrabass clarinet) 3 Horns 3 Trombones 2 Percussion Timpani Harp Piano Cimbalom Organ Violas (divisi) Cellos (divisi) Double bass.

Scena for Soprano speaker (actress) 2 female mimes (one preferably a dancer) 1 male mime and ensemble: Flute (+Piccolo Alto Flute) Clarinet (+Bass Clarinet) Piano (+Celeste) 2 Percussion Violin(+Viola) CelloPublished 1973Libretto: E. Lutyens.First performance: Jane Manning Freda Dowie Vesuvius Ensemble Alexander Ray London Ballet Theatre York Festival 21st June 1976.

(1991) Solo oboe and small chamber ensemble (flute/piccolo bass clarinet violin cello piano and percussion) Firecracker is a virtuosic piece spun off from a motive inspired by the diabolically difficult etudes of Antonio Pasculli (1842-1924) perhaps the greatest virtuoso of his day. The musical fireworks are briefly interrupted by a playful tango interlude. Duration - ca. 13:00

English Masque in 3 Teilen. Klavierauszug nach dem Urtext der Hallischen Händel-Ausgabe (englisch/deutsch)
Ausgabe : Klavierauszug
Herausgeber : Windszus, Wolfram
Instrumentierung : Sopran solo, 2 Tenor solo, Bass solo, Gemischter Chor: STTTB/ SATB, Piccolo, 2 Flöte, 2 Oboe, Streicher, Basso continuo

Three French Songs by Louis Moyse based on traditional French melodies with English text by Edmond Brelsford.These three pieces are for SSATB choir with two Piccolos (or Flutes) and Piano accompaniment.Contents: Joli Tambour (Pretty Drum Boy) O Ma Tendre Musette (O my gentle Musette) Gentle Alouette (Pretty Skylark).

Commissioned by Norland Music Festival with the financial support from The Norwegian Culture Council. Premiered by Bodo Sinfonietta and Christian Lindberg.InstrumentationFlute/PiccoloOboe/English HornBb ClarinetBassoonoHorn in FTrumpet in BbTrombonePercussion 1 - Vibraphone Grand Cassa 3 suspended metals Crotales 2 BongosPercussion 2 - Marimba Timpani (F-C) 3 suspended metals Glockenspiel 2 BongosPiano2 ViolinsViolaCelloDouble Bass (5 String or with C extension)

Premiered by The New York Philharmonic conducted by Lorin Maazel at Avery Fisher Hall Lincoln Center New York City 10th June 2004. Orchestration 3 Flutes 3rd dbl. Piccolo2 Oboes1 English Horn in F3 Clarinets in Bb 3rd dbl. Bas Clarinet in Bb2 Bassoons1 Contra Bassoon4 Horns in F3 Trumpets in Bb3 Trombones1 Tuba1 (set of) Timpani2 Percussion (two players)1: Bass Drum (large) Chinese Cymbal Mark Tree2: TamTam (large) Vibraphone Antique Cymbal1 Harp1 Piano dbl. CelestaStringsAll non-octave transposing instruments are notated in their relevanttranspositions.Horns notated in bass clef sound a fourth above the notated pitch.All accidentals apply to each single note only except tied notes. Naturals for 'safety'. Programme Note This piece marks the conclusion of what could now be called 'The Nightshade Trilogy' three pieces which explore the contrasting worlds of Light and Darkness. As opposed to the earlier chamber work Nightshade which dealt with extremes of high and low pitches and the chamber orchestra composition Second Nightshade a two-fold piece contrasting darkness/anxiety and light/calm Final Nightshade for full symphony orchestra takes us on a journey in which the forces of dark and light struggle - and co-exist - in a predominantly polyphonic web with brooding undertones. The melodic point-of-departure is not surprisingly to be found in either of the two preceding pieces of the Trilogy but in an older piece Corpus Cum Figuris from 1985. Over the ensuing years I've dreamt on and off of 'doing something' with the opening measures of this older work perhaps even building a new composition on that very simple inward-looking time was ripe and there's a nice nostalgia angle to the idea: Corpus Cum Figuris was the first piece of mine to be

Premiered at the festival 'Magma Berlin 2002' by the Berlin Philharmonic Orchestra conducted by David Robertson 29th November 2002.3 Flutes 1st and 2nd also Alto Flutes in G 3rd also Piccolo3 Oboes 3rd also Cor Anglais in F3 Clarinets in Bb 3rd also Bass Clarinet in Bb3 Bassoons 3rd also Contra Bassoon4 Horn in F3 Trumpets in Bb3 Trombones1 TubaTimpani4 Percussion four playersPlayer 1 - Vibraphone Glockenspiel Water Chime Bell Tree Japanese Wood Blocks Cymbal (Suspended) TamTam (Medium)Player 2 - Triangle Tubular Bells Crotales Marimba Chinese CymbalPlayer 3 - TamTam (Large) Java Gong(Large very low) Bell Lyra (Handheld) Sizzle CymbalPlayer 4 - Bass Drum Glockenspiel Xylophone1 Harp1 Piano also CelestaStrings - 16/14/12/10/8All transposing instruments are notated in their relevant transpositions.Any accidental apply only to the note that it immediately precedes except tied notes.Naturals appear occasionally 'for safety'.'LISTENING EARTH' is a symphonic drama a one- movement composition in four parts based on the work by two writers Joseph Addison (1672-1719) and W.H.Auden (1907-1973). Joseph Addison is not particularly well known; he was English a classical scholar essayist poet and politician but one of his hymns was used by Benjamin Britten. in his setting of a Thomas Tallis canon.The hymn is singularly beautiful and being a composer always inspired by extramusical stimuli such as poems nature paintings I was immediately convinced when I carne across the Addison hymn that here was exactly what I wanted to use as my major source of inspiration for this piece commissioned by and written for The Berlin Philharmonic. I don't refer to the hymn in its entirety but have chosen the following 3 excerpts all acting as mottos for the first three sections of the piece thus turning the piece into a straightforward tonepoem in the classical