Concert for Group and Orchestra

Suite for Group and Orchestra (1975)-Full Score and Study Score of this work are available for sale.A set of individual parts are for rental only not for sale.Prices and conditions are available on request.Please contact: Hal Leonard Europe Distribution BV - RentaldepartmentE-Mail: rental@halleonardeurope.nl Sarabande de Jon Lord fut compos? en 1975 et sorti comme disque solo l?ann?e d?apr?s. Cette nouvelle ?dition r?vis?e bas?e sur la version deconcert du compositeur de 2010 est la toute premi?re version publi?e de l??uvre. Lord l?avait con?ue pour accompagner son Concerto for Group and Orchestra lors d?interpr?tations en direct. Un morceau virtuose qui combine les forces de groupede rock et d?orchestre inspir? par les suites pour clavier de Jean-S?bastien Bach. Cette nouvelle ?dition compl?te est ?dit?e par le chef d?orchestre Paul Mann collaborateur musical de Jon Lord depuis longtemps. Elle se repose sur de nombreusessources qui ?taient indisponibles auparavant comme le manuscrit de la version originale ainsi qu?une copie de la partition corrig?e en consultation avec le compositeur apr?s la premi?re de 2010. Par cons?quent cette ?dition est sans doute unerepr?sentation aussi pr?cise que possible des derni?res r?flexions de Jon Lord sur cette ?uvre.

The ultimate in performance flexibility and a great way to add some sizzle to your next concert! Written for a professional Venezuelan-born violist this work draws inspiration from the passionate melodies and lively dance rhythms of Latin music. Ideal for young orchestras who are interested in featuring a soloist the piece comes with an advanced viola solo as well as an easier version that can be performed by a violist in your group. Optional advanced and easy solo violin parts are also included making this piece useful in a variety of situations. Easy percussion parts really add flare making this the showstopper of your next program. Hot!

J.S. Bach?s Four Orchestral Suites belong to that select group of works one could truly call classical hits! They stem from Bach?s extremely productive time in Cöthen which ended in 1721.Unfortunately the only sources that have come down to us are copyist parts from Leipzig. These originally formed the basis for the critical complete edition volume which was published in 1967 as part of the ?New Bach Edition?.At that time Bärenreiter also issued separate scores and parts which however were prepared with additional articulation and performance suggestions. Bärenreiter?s new edition of Bach?s great four suites nowpresents the Urtext as found in the ?New Bach Edition? i.e. without emendations and performance suggestions. The orchestral parts have been re-engraved and the material includes an alternative version of the Overture and Air to the D major suite BWV 1068 including a ?Violino concertato? part.- Urtext editions of these important works.- Newly engraved parts and fully realized continuo.- For the first time an alternative version of the Overture and Air to the D major suite BWV 1068 with ? Violino concertato ? is included.- Full scores study scores and performance material available for sale.

J.S. Bach?s four Orchestral Suites belong to that select group of works one could truly call classical hits! They stem from Bach?s extremely productive time in Cöthen which ended in 1721.Unfortunately the only sources that have come down to us are copyist parts from Leipzig. These originally formed the basis for the critical complete edition volume which was published in 1967 as part of the ?New Bach Edition?.At that time Bärenreiter also issued separate scores and parts which however were prepared with additional articulation and performance suggestions. Bärenreiter?s new edition of Bach?s great four suites now presents the Urtext as found in the ?New BachEdition? i.e. without emendations and performance suggestions. The orchestral parts have been re-engraved and the material includes an alternative version of the Overture and Air to the D major suite BWV 1068 including a ?Violino concertato? part.Urtext editions of these important works.Newly engraved parts and fully realized continuo.For the first time an alternative version of the Overture and Air to the D major suite BWV 1068 with ? Violino concertato ? is included.Full scores study scores & performance material available for sale

J.S. Bach?s four Orchestral Suites belong to that select group of works one could truly call classical hits! They stem from Bach?s extremely productive time in Cöthen which ended in 1721.Unfortunately the only sources that have come down to us are copyist parts from Leipzig. These originally formed the basis for the critical complete edition volume which was published in 1967 as part of the ?New Bach Edition?.At that time Bärenreiter also issued separate scores and parts which however were prepared with additional articulation and performance suggestions. Bärenreiter?s new edition of Bach?s great four suites now presents the Urtext as found in the ?New BachEdition? i.e. without emendations and performance suggestions. The orchestral parts have been re-engraved and the material includes an alternative version of the Overture and Air to the D major suite BWV 1068 including a ?Violino concertato? part.Urtext editions of these important works.Newly engraved parts and fully realized continuo.For the first time an alternative version of the Overture and Air to the D major suite BWV 1068 with ? Violino concertato ? is included.Full scores study scores & performance material available for sale

The word GONG is saturated with associations: the splendour of the Orient mysticism drama loud metallic clangour violent impact etc. The present piece draws upon all those connotations but it is primarily a symphonic drama about the life and behaviour of the sun our closest star and prime source of life on Earth. Describing the sun in music is not a new idea of course; during a visit to Greece Carl Nielsen was inspired by the orbit of the sun and its very un-Danish ferocity and thus wrote the 'Helios Overture'. GONG is a 'Helios Overture' too of sorts albeit more abstract. Recent astronomical research shows that the surface of the sun reverberates like a gong infour different simultaneous tempi (not directly depicted in the score though); the sun looks like a GONG - the O in the written work looks like the sun; there is even a solar research group called GONG (Global Oscillation Network Group). Formally the composition follows the life and fate of the sun from the initial explotional birth through the hyper-activity as energy source as we know it today to the final predicted flaring up and collapse into a so-called 'white dwarf'. But - being a musical composition not an astrophysical thesis - GONG is brought to its compositional conclusion by a 'real concert-ending' a chord taken from the middle of the piece and sustained over several bars from virtual nothingness to full force.

The group Teach-In from the Netherlands won the Eurovision Song Contest in 1975 with the song Ding-a-Dong. It was the fourth time that a Dutch entry had won the prestigious festival but since then no Dutch artist has even come near first place again. The original Ding-a-Dong was performed in keeping with tradition with the accompaniment of a large orchestra. This sparkling arrangement of the catchy song provides a cheerful note in every concert. The melody will certainly stay in the audience’s memory long after the performance.

Standard US Set (without european suppl. parts)-Commissioned by the Michigan State University Alumni Band this three movement work by Karel Husa was the winner of the first Louis Sudler International Wind Band Composition Competition in 1983. A note from thecomposer: 'Divided into three movements this work is a display of virtuoso passages given to solo instruments as well as to the groups of the ensemble. In the Fanfare of the first movement the Brass section concertises in groupsof four Brass quintets (2 Trumpets Horn Trombone and Tuba or Baritone) spread from left to right in back. The Saxophones (SATB) are placed in front of the Brass quintets and the Woodwinds occupy the front of the stage withPercussion on the left and right side. These groups like the Brass quintets play in the concertante style particularly in the first and last movements. 'At the same time each movement contains individual solo passages(for example Timpani and Flute in Movement I - Drum Ceremony and English Horn and other low Woodwinds in Movement II - Elegy). The composition of this piece was prompted by the excellence of Wind and Percussion players today andby the incredible growth of Wind ensembles orchestras and bands in the last 25 years. It is intended for their enjoyment.'

Immediately command your audience’s attention with this thrilling fanfare that includes sweeping lines forceful rhythms and counterpoint - and all in a short grade 2.5 that is quite achievable! Your group will sound like a symphony orchestra as the music drives through several sections before a flurry of chords bring the work to an exciting conclusion. Intense!

A touching and intense memoriam piece the mechanics are on the easy side of Grade 4 but the demand for tone quality and control in tenuto passages and long slurred phrases calls for the best of musicianship from any group. The 'Adagio e Rubato' tempo indication invites the kind of wonderfully expressive ensemble playing that should probably make up a larger part of band literature than it does today. Over a quiet unifying heartbeat from the timpani the band explores the emotions felt after a tragic personal loss. A soaring F Horn solo (cued in Trumpet. and Alto Saxophone) leads poignantly toward a gentle Orchestra Bells and Wind Chime ending.

One hundred years after the dedication of the Statue of Liberty in 1886 John Williams was commissioned to compose a fanfare for the re-dedication ceremony. At this event Mr. Williams led the Boston Pops Orchestra in the firstperformance of this work which the composer described as ?a group of American airs and tunes of my own invention.?

This work features all of your school district's string orchestras at once and was written to celebrate the 150th anniversary of the Freeport, Illinois orchestra program. The piece combines elementary, middle school, and high school string orchestras each playing age-appropriate material, making for the perfect closer to an 'All-City,' multi-level concert. During the course of this energetic rondo, each group is featured on their own melody. As the piece unfolds, the melodies are creatively combined, keeping all the players 'on their toes' and active at all times. Grade levels for the three groups are: Elementary - Grade 1.5 - Middle school - Grade 2.5 - High school - Grade 3.5. (4:45) / Orchestre A Cordes

Contrasto Grosso est une suite dansante en trois mouvements de caractères et de styles variés. Le titre de l?œuvre dérive du terme concerto grosso une forme musicale dont la structure se caractérise par une instrumentation alternant les passages orchestraux en tutti et les passages instrumentaux joués par des groupes solistes. Le changement de couleurs sonores et la diversité des nuances obtenus par cette alternance donnent à l?œuvre une expressivité très contrastée. Dans chacun des trois mouvements de cette œuvre Jacob de Haan confie à de petits groupes solistes l?interprétation de fragments écrits dans le style de la musique de laRenaissance et qui offrent ainsi un contraste saisissant avec les passages en tutti basés sur une écriture classique ou traditionnelle.

Vagn Holmboe's Concerto No.11 Op.44 For Trumpet And Orchestra is part of a series of 'Chamber' concertos written for soloists with smaller accompaniment groups. Concerto no.11 is based upon the concertos of Joseph Haydn and features the fast-slow-fast formal structure typical of the Classical concerto. Holmboe's melodic writing is modelled upon the motivic and thematic developments that are highly characteristic of Haydn's melodic constructions lending the work a timeless air.