Orchestration-One of the most performed sacred songs of our time is brilliantly arranged and orchestrated by master composer Mark Hayes. The words of Psalm 8 spring to life in this modern classic made all the more powerful by the arranger'stheatrical approach to the anthem. The full orchestration and the track options provide choirs of every size the opportunity to sing this amazing testament of praise!

This complete orchestration by Robert Russell Bennett the arranger of the original Broadway production is a standard among professional and community orchestras alike and includes The Sound of Music (main title) How Can Love Survive The Lonely Goatherd My Favorite Things Sixteen Going on Seventeen Do-R?-Mi Edelweiss An Ordinary Couple No Way to Stop It Maria and Climb Ev'ry Mountain. (Score is not available separately) Duration-ca. 10:30

School Orchestra. Various graded orchestral pieces suitable for school orchestras from the acclaimed Shawnee Press catalogue.

Score-Silvestre Revueltas' ‘Sensemaya’ was written in 1937 for chamber orchestra; one year later the composer transcribed it for a huge orchestra of twenty-seven wind instruments fourteen percussion instruments and strings. The rhythms are laid out precisely and have considerable visceral impact very much in a manner that recalls Igor Stravinsky's The Rite of Spring. However Revueltas' masterful orchestration and ability to evoke the ancient Maya civilization with decidedly modern music are uniquely his own. It is a unique orchestral spectacle something only Revueltas could have written and in its way it is one of the most brutal works of its time. The workbegins with a low note in the bassoon as the percussion plays the sinuous syncopated rhythm that drives the work. Soon a solo horn enters playing the first of this work's two major themes a muscular ominous motif. Other horns join the first one to play the theme growing louder and more emphatic but rigorously yoked to the underlying rhythm. Eventually the horns blast as loudly as they can with obsessive trills on the bassoon far underneath and the violins enter with the slashing second theme. The horns take up this new theme and bring it to a climax after which the music returns to its opening texture. This recapitulation brings with it a mood of foreboding. The rhythm becomes even more obsessive and finally the music reaches a massive climax during which both themes are played overlapping sometimes in part and sometimes in whole by woodwinds brass and violins in what sounds like a musical riot. The coda feels like the final dropping of a knife.

A Cantata for Holy Week or Easter Orchestration-This work is intended to celebrate God's faithfulness and his everlasting promises to his people. Incorporating new anthems as well as familiar hymns the cantata is appropriate for either Holy Week Easter or post-Easterpresentations. From the promises made to Abraham and David to their fulfillment in Christ Jesus Covenant of Grace is a testimony to God's redeeming work. Brilliant orchestrations from Brant Adams enhance the presentationand a full line of support materials is also available.

Celebrating the Miracle of Christmas-From the inspired pen of Joseph Martin comes a new sacred work that will truly warm the hearts of all who hear it. Filled with classic carols as well as newly composed anthems this hopeful work is both familiar and fresh drawingthe congregation close with brilliant orchestrations and poetic narrations. This joyous Christmas gift shines new light upon the miracles surrounding the birth of Jesus. Unforgettable! A full line of support products are availableto help enable churches of every size to enjoy this outstanding new seasonal offering. Support products include a brilliant orchestration by Brant Adams in traditional format or on the exciting ?print-your-own? iPrintCD-ROM or use the outstanding StudioTrax CD. Shorten your learning time by using the RehearsalTrax CDs.

In the early years of our century when vital new forces were revolutionising the arts Russian-born Alexander Scriabin (1872-1915) was one of the visionary pioneers who sought a new musical language. At least a full decade before the advances of Stravinsky and Schoenberg Scriabin had begun the process of a complete break with all musical conventions. By 1905 he was immersed in a search for a way to express in sound the mystical and theosophical ideas obsessed him. Scriabin’s last two orchestral works were the products of a virtual delirium of composing. Simultaneously refining his poem called Poem of Ecstasy andcompleting the symphony that grew out of it (and shared its name) Scriabin never forgot the rapture of composing this work about creation and self-fulfilment: “I gasp for breath but oh what bliss! The very meter kindles the meaning…” Prometheus: Poem of Fire – Scriabin’s last and most revolutionary symphony – portrays Man’s epic journey from the mists of beginning time to a wonderous self-realisation given the gift of fire and light to make creative vision possible. Massively scored Prometheus incorporates a “colour Organ” to bathe the performance space in a vast interplay of coloured lights. For the music professional and every student of composition orchestration and conducting both scores are strikingly original and instructive. Equally fascinating are Scriabin’s approach to composition the extraordinary sonorities of his orchestra and his fanciful often supercharged performance instructions that replace conventional words for tempo mood and expression.

Aulis Sallinen’s Symphony No.7 is related to J.R.R. Tolkien’s great novel 'The Lord of the Rings.' The symphony does not actually depict the events in the novel; rather it is a musical expression of the literary atmosphere and poetry. The symphony was commissioned by the Gothenburg Symphony Orchestra and composed in 1995-6. Orchestration: 3 Flutes 3 Oboes 3 Clarinets in B flat 3 Bassoons 4 Horns in F 4 Trumpets in B flat 3 Trombones Tuba Timpani Percussion Celesta Harp Strings. The duration of the work is 25 minutes full score and orchestral material is available for hire.

This convenient playing and study edition marks the first single-volume publication of five great staples of the orchestral repertoire: Jubilee Overture overture to the play Preciosa and overtures to the operas Der Freischütz Euryanthe and Oberon.One of the Romantic school's first composers of note Carl Maria von Weber devised novel conceptions of orchestration and subject matter that helped to lay the foundations for nineteenth-century opera. Marschner Meyerbeer and Wagner were influenced by Weber's works as well as latter-day composers such as Hindemith Mahler Stravinsky and Debussy who remarked that the sound of the Weber orchestra derived from thecomposer's scrutiny of the soul of each instrument.Reprint of 'Preciosa' from a Breitkopf and Härtel Leipzig n.d. edition. All others from Overtüren für Orchester von C.M. von Weber C. F. Peters Leipzig n.d.

The Chanson de Nuit was originally entitled Evensong though it is difficult to discern any religiosity in the work. And although published in 1897 scholars suggest that these works may have been written in the 1880’s. The contrast of the two melodies which Elgar then intertwines yield a satisfying short work especially with the composer’s fine Orchestration.Elgar published the Chanson de Nuit and its partner Chanson de Matin at the time of his life when he was also creating the Enigma Variations and The Dream of Gerontius. This work was originally created as a Violin and Piano duet but Elgar then Orchestrated the work and it was presented at the Proms. Sincethen other arrangements have been created.

Stravinsky won his initial fame with the ballet The Firebird (L’Oiseau De Feu) using enormous orchestration and dynamic elements. Commissioned by Diaghilev it was his first large scale work.Orchestrated for 2 Flutes; 2Oboes; 2 Clarinets; 2 bassons; 4 Horns; 2 Trumpets; 3 Trombones; Tuba; Percussion; Harp; Pianoforte; 2 Violins Viola; Cello; Double-Bass.

Musique de scène-“An enchanted dream” – these words from poet Charles Van Leberghe give an idea of the public’s enthusiasm for the first English language performance on June 21 1898 of Maurice Maeterlinck’s symbolist play. Staged at the Prince of Wales Theatre the play was translated by Jack W. Mackail with stage music composed by Gabriel Fauré. Occupied by various administrative tasks the composer asked his favourite student Charles Koechlin to orchestrate the score in May 1898. The London theatre’s limited instrumental staff corresponded perfectly to the apprentice musician’s ideals of clarity and transparency.Established by Roger Nichols and Otfrid Nies this trilingual edition (French – English – German) is based on signed manuscripts and distinguishes itself through a 60-page critical commentary that precisely retraces the birth of the work. The book presents for the first time the complete incidental music written for the London premiere of Pelléas et Mélisande with the aim of staying true to Koechlin’s original annotated version. Koechlin’s orchestration is equal to the work: a model of clarity and refinement.

Orchestration-The Rose of Calvary is the greatly anticipated sequel to the best-selling cantata The Winter Rose. Using the same beautiful imagery the work tells the story of Jesus's ministry passion death on the cross and histriumphant resurrection. This creative work has nine new anthems and contains opportunities for soloists and narrators. Written to function as either a work for Holy Week or with the optional ending as a joyful celebration of theresurrection this musical offers maximum flexibility to the director. Brant Adams reprises his role as orchestrator and Pamela Martin once again provides thoughtful and meaningful narration. Spectacular!

Description A towering figure among Russian composers of the late 19th century, Rimsky-Korsakov was one of musicÂ’s master orchestrators. The 3 works in full score in this collection, Dance of the Buffoons, Capriccio Espagnol, Russian Easter Festival (Overture), display his mastery of orchestration. They are reproduced from early authoritative scores. Songlist Capricio Espagnol Dance Of The Buffoons Russian Easter Festival Overture

The music of Igor Stravinsky's Funeral Song op.5 composed by the young composer as an orchestral memorial to his teacher Nikolai Rimsky-Korsakov disappeared after just one performance in 1909. Following its rediscovery in 2015 and world premiere in St Petersburg last December orchestras around the world have swiftly added Funeral Song into their current seasons.   The Funeral Song score has been reconstructed from the complete set of parts by Dr. Natalia Braginskaya and the St Petersburg Conservatory in collaboration with Stravinsky?s publisher Boosey