For solo bassoon and twelve solo strings. Commissioned by Radio France for Pascal Gallois and the Orchestre Philharmonique de Radio France. World première in Paris Maison de la Radio under the baton of Kirill Karabits on November 2 2002.The twelve solo strings are to be amplified and projected via four loudspeakers. The piece can also be performed acoustically substituting the acoustic screen for one of gauze creating the illusion of an invisible string ensemble.Instrumentation:Solo Bassoon7 Violins2 Violas2 CellosDouble Bass.

Octet-Octet in F major Op.post.166 D 803 for Clarinet (in B-flat) Bassoon Horn Violin (2) Viola Violincello Double Bass?I have done little new by way of lieder. In compensation I have tried my hand at several instrumental things for I have composed two quartets for Violins Viola and Violincello [A minor D 804; D minor D 810] and an octet [F major D 803] and will write yet another quartet [not carried out]. Indeed in this way I hope to prepare the way to the full-scale symphony. The latest news in Vienna is that Beethoven will give a concert [on 7 May 1824] ...I too am inclined to give a similar concert next Year God willing.?ThusSchubert writing on 31 March 1824 to his friend Leopold Kupelwieser in Rome in a lengthy letter whose first section is decidedly low-spirited. In order to prepare the way to the full-scale symphony by which he doubtless meant the genre as a whole rather than any specific work he wrote string quartets and a large-scale piece of chamber music for strings and winds taking Beethoven as his guide.Urtext of the New Schubert EditionParts (BA5617) and study score format 22.5 x 16.5cm (TP302) available for sale

Written for a Quintet with Violin Viola Cello and Bassoon and Piano the Quintet in A Major (Trout)Op.114 is a wonderful early composition by these great Austrian master. It was Franz Schubert's first turly significant chamber work and this 1819 piece is indicative of his romantic genius and melodic warmth.

Samson an oratorio for soloists mixed chorus and orchestra by George Frideric Handel libretto by Newburgh Hamilton after Milton’s Samson Agonistes. Edited by Donald Burrows.This item is the full set of parts.BassoonCello/BassFlute 1Flute 2Horn 1Horn 2Oboe 1Oboe 2OrganHarpsichordTimpaniTrombone 1Trombone 2Trumpet 1Trumpet 2ViolaViolin 1Violin 2

Howard Blake's The Snowman - Schools Version. Instrumentation: Flute Oboe (or 2nd Flute) 2 Clarinets in Bb Bassoon 2 Horns in F 2 Trumpets in Bb Trombone/Tuba Descant/Tenor Recorder Treble Recorder Classroom Percussion Orchestral Percussion 3 Timpani Violin 1 Violin 2 Viola/Violin 3 Cello Double Bass Rhythm Guitars/Bass Guitar and Piano Duet. This is the score and setof parts. A score only version is available under the code CH78001-01.

Two-Part Etudes for Band and Orchestra Viola-Written in a wide range of keys this comprehensive collection of 46 etudes is divided into four sections based on time signatures. Individual part books contain both Part A and B so players can switch back and forth at any time.The conductor's score provides detailed notes and rehearsal. Available for:25318010 Conductor / $12.9525318020 Flute / $4.9525318030 Oboe / $4.9525318040 Bassoon / $4.9525318050 Bb Clarinet;Bb Bass Clarinet / $4.9525318060 Eb Alto Clarinet / $4.9525318070 Eb Alto Saxophone; Eb Baritone Saxophone / $4.9525318080 Bb Tenor Saxophone / $4.9525318090 Bb Trumpet; Baritone T.C. /$4.9525318100 F Horn / $4.9525318110 Trombone; Baritone B.C. / $4.9525318120 Tuba / $4.9525318130 Percussion / $4.9525318140 Mallet Percussion / $4.9525318150 Timpani /$4.9525318151 Violin / $4.9925318152 Viola / $4.9925318153 Cello; String Bass / $4.99

for voice oboe (or cor anglais or violin) horn (or viola) bassoon (or viola or cello) and tambourine

Composed for the Monday Evening Concerts Los Angeles. For soprano solo oboe B-flat clarinet bassoon horn percussion violin viola and cello. Duration: 18 minutes.

Score-For Clarinet Bassoon French Horn Violin Viola Cello and Double Bass. Parts: GS81579

Arrangement and Orchestration by Andrea Cappellari. Full score and 26 parts: 1) C Instr. (Flute Violin) / 1) Bb Instr. (Clarinet Soprano Sax. Trumpet) / 2) C Instr. (Flute Violin Oboe) / 2) Bb Instr. (Clarinet) / 3) C Instr. (Violin Viola) / 3) Bb Instr. (Clarinet Soprano Sax.) / 4) C Instr. (VViola) / 4) Bb Instr. (Clarinet Soprano Sax.) / 5) C Instr. (Violin Viola) / 5) Eb Instr. (Alto Sax.) / 6) C Instr. (Violin Viola) / 6) Eb Instr. (Alto Sax.) / 7) C Instr. (Violin Viola Oboe) / 7) Bb Instr. (Clarinet Soprano Sax. Trumpet) / 7nstr. (Alto Sax.) / 8) C Instruments(Violin Viola) / 8) Bb Instr. (Clarinet Soprano Sax. Trumpet) / 8) Eb Instr. (Alto Sax.) / Guitar/ Piano 1 / Piano 2 / Bass Cello Bassoon / Timpani / Maracas / Cymbals Bass drum / Snare drum / Four Hands Pialibitum. Performance possibile also without Piano.

zur Oper Die Leiden des jungen Werthers Partitur - P - flute, oboe, clarinet, bassoon, horn, 2 violins, viola, cello and double bass Difficulté: difficult pages: 40

In Circles - 16 Imaginary Dances for 18 Players (2010). Parts are available on hire: hire@ewh.dk Instr.: FluteOboeClarinet in BbBass ClarinetBassoonHorn2 Trumpets In BbTenor-Bassposaune2 PercussionistsPiano2 ViolinsViola2 CellosDouble Bass Programme note About five years ago the Ensemble Modern commissioned a composition giving me relatively free rein over instrumentation duration and completion date. I was very excited about the opportunity and eager to start work but first I had to finish asymphony and a cello concerto. However when I wanted to begin writing the piece for Frankfurt inspiration became silent and remained silent for the next three years apart from the two works for chamber orchestra: I experienced my first writer’s block. This was not my first commission but the first time that I was seriously worried about a piece and started thinking about the commissioning ensemble and its expectations. If anything I held the Ensemble Modern in too high esteem. The ensemble is notorious for being a group of all-rounders who have already seen and done everything. However it was simply time for me to challenge my self-belief as composer and to search out what kind of composer I really am. Whatever the true reason was I still didn’t get anything down on paper. Nothing would gel. In 2008 a stipend from a New York foundation led me to an Italian lavender-castle from the 15th century far away from everything else deep in Umbria. The deadline for my first opera moved dangerously closer but was barely started. The next commission for an orchestra was also waiting in addition to the piece for EM: only empty sheets.  When I came home six weeks later though I hadn’t finished anything the spell was broken. Behind the massive walls drafts had been created for what within the