In memoriam Witold Lutoslawski for Orchestra. This work was commissioned for the Suntory International program for music composition 1994. The first performance was given on 11 June 1994 Tokyo. Duration 40 minutes.

A serious concert or festival piece Invictus was written in memory of the composer's grandfather and based on a poem of the same title by William Ernest Henley. This extensive emotional composition will thrill performers and audiences alike with interesting effects and textures. A new musical masterpiece!

Hjärtats Nycklar is a Chamber Opera composed by Peter Bruun with libretto by Ylva Eggehorn(Martin Lönnebo).

Written in an extended fanfare form Richard incorporates layers of rhythmic patterns along with layers of tonalities into a work that is both strident and powerful. The final sequence blossoms into a dynamic statement for winds and percussion. Dur: 2:10

An energetic and passionate piece from the Norwegian composer Christian Sinding. This piece is scored for Violin and Orchestra.

Written as a commission for the Palmetto Consortium of South Carolina this expansive work explores the delight wonderment and excitement of a young boy's hopes and dreams. Several stylistic elements combine to depict variousemotions and imaginings. In the words of the composer ?a boy's dreams are fantastical and mysterious show great curiosity and yet most importantly they are innocent and credulous.? A terrific and fresh work forwinds! Dur: 6:45

Begin or end your next concert with this dynamic and challenging new work from Richard Saucedo! Filled with rich musical imagery the opening section features prominent roles for alto and soprano sax soloists while the percussionsection provides a pulsating ostinato accompaniment. After a beautiful lyric section the fast pace returns with antiphonal tradeoffs and culminating in a bombastic statement from the entire ensemble. Dur: 6:00

Rachel Steckler O'Kaine has written out the optional conga and sekere parts to aid your percussionist in creating Afro-Cuban rhythms as easily as possible. Check out the performance notes for specific notation used in the conga part. This is an extremely well-written chart worthy of your highest festival or contest considerations. Great material for better bands.

This publication for the first time presents the full score of George Antheil's Ballet Mécanique as it was originally conceived. The work to prepare this edition was the result of a remarkable collaboration between a teamof editors musicologists engravers and other musicians. With the original Pianola parts transcribed for MIDI by Paul Lehrmann (who also gave the premiere of this version and subsequently recorded it) Antheil's composition canfinally be performed as he imagined it. The instumental arrangement is unusual including a minimum of four pianolas electric bells propellers and a siren!

New York Pops arranger Stanley Applebaum has skillfully crafted this fast moving medley featuring four themes from Bizet's immortal opera Carmen. From the trumpet fanfare in the Prelude to the jazzy sax led Toreador Song this up-tempo tribute to theater is sure to please any audience. Bizet at its best!

The Full Score for Peter Maxwell Davies’ fourth in a series of ten string quartets commissioned by the Naxos Recording company first performed by the Maggini Quartet on 20th August 2004 at the Chapel of the Royal Palace Oslo Norway as part of the Olso Chamber Music Festival. Composer Note: The fourth Naxos quartet was written in January and February of 2004 with the intention of producing something lighter and much less fierce than itspredecessor an unpremeditated and spontaneous reaction to the illegal invasion of Iraq.I returned to the well-known Brueghel picture of children's games (1560 now in Vienna) which had been the inspiration for my sixthStrathclyde Concerto for flute and orchestra. These illustrations liberated my musical imagination but I feel it would limit the listener's perception to be too specific about which game relates to exactly which section of thework. Suffice it to say that there is vigorous play - leap-frog bind the devil with a cord truss wrestling - alongside quieter pastimes - masks guess whom I shall choose courting odds and evens. The single movementjuxtaposes these activities as abruptly and intimately as they occur in Brueghel. Rather as the eye is taken into different perspectives and proportions of scale within the picture taking liberties which would never be presentin for instance Brunelleschi architectural drawings so here with a constant sequence of transformation processes I have distorted the neat precise implications of modal progression expressed in the unison opening phrase(from F to B through A sharp/B flat) so that the ear is led en route into the sound equivalents of strange passageways and closed rooms: sicut exposition ludus. As work on the quartet progressed I became aware that Iwas reading into and behind the games adult motives and implications concerning aggression and war with their consequences. It was impossible to escape into innocent childhood fantasy. The nature of the F to B

Quite possibly one of Robert Longfield's finest works for concert band this theme and variations is based on a simple sequence of four notes. The set of six variations and a powerful finale provides the form in which Robert covers a wealth of styles portraying the full gamut of musical textures and emotions. A fabulous piece to showcase your advanced ensemble in concert or at festival. Highly recommended!