Night Song For Orchestra

Performed by Geoffrey Applegate violin Accompaniment: Stuttgart Symphony Orchestra Conductor: Emil Kahn Here in a special album designed specifically for the violinist in the earlier stages of technical mastery we have compiled much of the best literature and favorite selections for the violin. Specifically selected for the easiest keys on the violin and with a minimum of fancy finger - or bow - work these magical classics from Offenbach's legendary Barcarolle to Tchaikovsky's Chanson Triste will bring a challenging and rewarding collection of short and medium-length concert-piece masterworks to inspire your development on the violin. Noted American violinistGeoffrey Applegate performs these pieces with grace and subtlety. Study his masterful interpretations and then as he steps aside learn and perform them against the magnificent backdrop of the Stuttgart Symphony Orchestra conducted by Emil Kahn. This is quite simply a treasure-trove of beautiful violin classics which you will come back to again and again - even after you've established yourself as the next virtuoso! Includes a music score printed on high-quality ivory paper and a compact disc containing a complete version with soloist in stereo; then a second version in full stereo of the orchestral accompaniment minus the soloist.

“Hail hail to the guiding Light that brought us tonight to our Savior!” From the new Selah album this energetic song is a driving anthem of upbeat praise and adoration. With its effortless rhythm this one reallysings! IPak includes score and parts for Flute 1 2; Oboe; Clarinet 1 2; Horn 1 2; Trumpet 1 2 3; Trombone 1 2 3/Tuba; Timpani; Percussion 1 & 2; Harp; Rhythm; Violin 1 2; Viola; Cello; String Bass; Keyboard StringReduction.

from West Side Story-From one of the most enduring musicals of all time here is one of iconic songs from West Side Story skillfully adapted for string ensemble by Robert Longfield.This arrangement features several style and tempo changes that reflect the drama and emotion of the original stage and film version.

'Acquainted with Night' is a cycle of six songs for alto and strings harp and timpani. The texts are all concerned with different aspects of night. The first song ‘Lullaby’ to a poem by Beaumont and Fletcher seeks to evokethe ‘care-charming’ powers of sleep. The second a setting of Robert Frost’s ‘Acquainted with the night’ is concerned with the lonely world of a strange city at night and the music is characterised by an insistently repeatedfigure in the accompaniment. The third song contrasts the calmness of the night with the turbulence in a lover’s mind - the poem is by the Earl of Surrey. ‘Out in the dark’ a poem by Edward Thomas is the text of the fourthsong. It is in the form of a scherzo and deals with the mystery and strangeness of night and as the poet puts it the ‘might’ of night. It is as the poet says a hymn to night and the chordal nature of the accompanimentsuggests this quality. This song leads directly into the last which is in fact a reprise of the opening ‘Lullaby’ so completing the cycle.

Par ORCHESTRA TRANS-SIBERIAN. This is the third and final volume of Trans-Siberian Orchestra's Christmas trilogy, featuring their blend of classical, R

On Hearing the First Cuckoo in SpringA Summer Night on the RiverA Song Before SunriseFull Score. Revised Thomas Beecham (Complete Works Volume 27a)Orchestral material available for rental (Ref. HL286 HL287 & HL76).

Score-'RiverRun' was Steven Albert's third work inspired by the writing of James Joyce. The opening movement ‘Rain Music’ is meant to convey the origins of a river. After the sharply accented chords of the movement's introduction themusic becomes quieter suggesting an atmosphere of expectancy. The lightly scored second movement ‘Leafy Speafing’ has a languid cadenza-like opening on alto flute followed by a more tightly focused thematic idea from thesolo viola. The two instruments then engage in a quiet dialogue against the softly changing chords.The third movement ‘Beside the Rivering Waters’ is a fragmented march and scherzo. It opens with a children'ssong. The march for the pit band follows and we are engulfed in a boozy wake. The scherzo brings a return of the current then the march returns abruptly followed by the children's tune - which is in turn transformedinto a raucous pub song. Throughout the fourth movement ‘RiversEnd’ musical ideas from the preceding movements are recalled. Night is falling and the river is moving quietly into darkness. As it approaches the open sea itsmomentum builds and it soon becomes a torrent spilling into the ocean. The work ends quietly.

Short practical arrangements for the developing ensemble. Includes: Frosty the Snow Man Joy to the World Silent Night Hark the Herald Angels Sing O Come All Ye Faithful and The Christmas Song. Grade 3. Arranged for string ensemble.

Stephen Albert's Into Eclipse for Tenor and Chamber Orchestra. Full score.'Into Eclipse is based on Ted Hughes' adaptation of Seneca's Oedipus. The five episodes chosen astexts for this musical setting form an abbreviated version in song of this Roman dramatisation of the Oedipus myth.Seneca's play has no external action. As Peter Brook informs us in his introduction to the play '...it takes place nowhere...possibly it was read aloud in the bathhouse to friends.' It therefore seemed possible to take the essential elements of the tale and transform them into a rather complete musical statement that wasnon-theatrical yet dramatic in its own terms. Into Eclipse is thus not a monodrama nor even a solo oratorio but rather a 'Herosong.' It is somewhat in the tradition but not of course in the manner of earlyballadeers and minstrels who often set ancient stories and myths to music and performed these musical narratives for both court and country village.The story is sung from different viewpoints (that of Creon thechorus of citizens and of course Oedipus the king) all encompassed within the bounds of one man's voice and his complement of instruments. There is no concious attempt to 'paint' or emphasise particular words or phrases withinthe text nor was there an effort to musically heighten Seneca's already nightmarish vision with its withering onslaught of bloodthirsty images. To do so seemed to risk weighing down the cycle in a morbid atmosphere one filledwith caricature and the grotesque.' - Stephen AlbertThe full-Orchestra version of Into Eclipse was premiered on September 8 1986 by the Seattle Symphony with Gary Lakes Tenor andGerard Schwarz conductor. It is also available in a version for Tenor and Chamber Ensemble [Flute/Piccolo Clarinet/Piccolo Clarinet Horn Trumpet Percussion (2 players) Harp Piano and Strings]. This version was premiered on

A Chamber Cantata for Holy Week or Easter. Par MARTIN JOSEPH M.. From ministry to humility and Calvary to victory, the story of Christ's redemptive grace is clearly presented in this meaningful offering. There is a pleasing blend of original material with familiar hymns, along with a scripture-based narration. This flexible chamber cantata includes two final songs: one for Holy Week, and the other for Easter. A smaller, yet effective orchestration provides instrumental or track options, while voice dominant tracks make learning convenient and approachable. A cantata of remembrance, reflection and resurrection! Songs include:A Quiet Gathering; Somewhere in the Silence; Prepare Your Hearts; I Heard the Voice of Jesus Calling; Just Beyond the Palms; In the Stillness of This Moment; Silent Was the Night: The Lamb Is Silent Now; The Silence Speaks; Set Free Your Alleluia! Score and Parts (fl 1, fl 2/ob, cl, tpt, tbn, vn 1-2, vc, db) available as a digital download. / Date parution : 2023-06-01/ Recueil / SATB

Stephen Sondheim's most recognized song was written for the stage (A Little Night Music) but became an American standard when it was recorded by legendary singers Judy Collins Barbra Streisand and Frank Sinatra. Itsdramatic and lyric atmosphere is taken to new heights with Bob Krogstad's exquisite treatment for strings ? a stunning version for the concert stage. (Advanced level)

Four Pieces For Orchestra was composed by Hans Abrahamsen in 2000-2003. Programme note: In 1983 Hans Abrahamsen wrote the first seven of his Ten Studies for Piano. In the early eighties most composers who wrote for the piano were still making strenuous efforts to distance themselves from the instrument?s romantic past for example treating it as a percussion instrument rather than exploiting its expressive ?singing? potential. The piano?s modern identity as a mechanical rational emotionally cool instrument is reflected in Abrahamsen?s studies 5 7; but in the first four studies Abrahamsen allows the piano to?recollect? its past: especially what the composer calls ?the golden German romantic time full of expression night timelessness dream and the irrational?. Accordingly these first four studies were given German one might specifically say Schumanesque - titles: Traumlied (?Dreamsong?) Sturm (?Storm?) Arabeske (?Arabesque?) and Ende (?End?). While Abrahamsen was in no way dissatisfied with the first four Studies as piano music he soon felt the urge to expand them in both time and space. In their new identity as Four Pieces for Orchestra created between 2000-2003 the original studies nearly doubled in length while the forces required expanded from one soloist to an orchestra of Mahlerian/Straussian dimensions including instruments beloved by the late-romantics: Wagner tubas bass trumpet guitar mandolin and the hammer used so memorably in Mahler?s Sixth Symphony and Alban Berg?s Three Pieces for Orchestra. The results are not so much ?arrangements? of the four piano studies more recompositions. A helpful comparison might be made with certain painters: Cézanne portraying the same mountain from different angles; or Monet obsessively returning to Rouen Cathedral in different lights and weather conditions. Abrahamsen himself remembers an important visit to the Munch Museum in Oslo where he saw how Munch painted the same subject