for Flute, Harp and Orchestra. Par MOZART WOLFGANG AMADEUS. / Répertoire / Trio

Mack Wilberg's How Can I Keep From Singing? for SATB choir and Piano. Wilberg's arrangement of Robert Lowry's text and melody is a beautifully reflective take on the well-known hymn. Simple vocal lines are enhanced by a gently flowing accompaniment rich in suspensions and harmonic interest. This part can be played on the Piano or by the unusual combination of Flutes Cors Anglais Harp and Strings.

A ballet in five movements for orchestra was commissioned by The Royal Opera House for Sir Kenneth MacMillan and The Royal Ballet. The first performance was given at The Royal Opera House on 19th March 1992.Scoring 4 FLUTES;2 OBOES; COR ANGLAIS; 2 CLARINETS IN BFLAT(2ND DOUBLING CLARINET IN E FLAT); BASS CLARINET IN B FLAT; 2 BASSOONS; CONTRA BASSOON; 4 HORNS IN F; 4 TRUMPETS IN C; 2 TROMBONES; 1 BASS TROMBONE; TUBA; HARP; CELESTA; TIMPANI; SOPRANOSTEEL PAN; PERCUSSION; STRINGS.The duration of this work is 34 minutes Conductor's score piano score and orchestral parts are available on hire.

10 Christmas Songs For Electric Guitar. Every year it's the same thing: When the sparkling sounds of strings and flutes were heard and classic Christmas carols were played, the electric guitar player better left his instrument at home and rather helped himself to grandma's Christmas biscuits. Enough of that! With these original and authentic arrangements for electric guitar, any old-fashioned Christmas biscuit becomes a rock-laden rum truffle - true to the motto 'Sharper the axe [originally: Sweeter the bells?] never sounded than on Christmas day!'. / Recueil / Guitare Electrique

Includes: Full Score 2 Flutes 2 Oboes 2 Clarinets 2 Bassoons 3 Horns 3 Trumpets 3 Trombones Tuba Harp Percussion 2 Violins Viola Cello and Bass

Instrumental Accompaniment Set-Includes: 2 Flutes 2 Oboes 2 Clarinets B-Flat 2 Bassoons 2 Horns 2 Trumpets In C Timpani Glockenspiel Harp Or Piano (optional) 2 Violins Viola Cello Bass and Full Score.

Instrumental Accompaniment Set-Includes: 2 Flutes 2 Oboes B-Flat Clarinet Bassoon 2 Horns 2 Trumpets Timpani Percussion Harp Strings and Full Score

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.

Instrumental Accompaniment Set-Includes: Flutes Oboe Clarinet Bassoon 2 Horns Trumpet 2 Trombones Tuba Timpani Bells Percussion Harp 2 Violins Viola Cello Bass and Full Score

Instrumental Accompaniment Set-Instrumentation: 2 Flutes Oboe 2 Clarinets 3 Trumpets 2 Horns 3 Trombones 2 Percussion Timpani Harp Strings and Full Score

Includes: Piccolo 2 Flutes 2 Oboes 2 Bb Clarinets (1 also in A) 2 Bassoons 4 Horns in F 3 Bb Trumpets 3 Trombones Tuba Timpani Percussion (Bass Snare Cymbal Triangle Xylophone Glockenspiel) Harp and Strings

A Chorale arranged for 15 Instruments. Full Score for ensemble.Bach's Befichl du deine Wege is a chorale setting (BWV 272) which Hans Abrahamsen has arranged for fifteen instruments. In Hans Albrahamsen's adaptation Bachs chorale gradually ernerges from two melodic fragments both borrowed from the Danish composer Poul Ruders' Four Dances in One Movernent'. In fact both fragments are taken from the last three bars of Ruders' composition. One of Ruders' small melodies is descending the other is ascending. The metamorphosis from Ruders to Bach can be accomplished because both of Ruders' melodic fragments are in fact 'hidden' among the parts of this Bach choraleinasmuch as the composer has transposed it into B minor. In the first verse we hear only the descending Ruders melody. In the secend verse Ruders' second ascending and chrornatically coloured melody is added. In the subsequent verses more and more melodies are added. Thus the piece begins with Poul Ruders' melodic fragment in the foreground. In the course of the next verse Ruders' material gradually recedes into the background and permits Bachs face to ernerge with increasing clarty in the foreground. The piece is dedicated to Poul Ruders.             - Thomas MichelsenArrangement1 Flute1 Oboe1 Clarinet In Bb1 Bassoon1 Horn in F1 Trumpet in Bb1 Trombone (Tenor)1 Vibraphone (Motor Off)1 Harp1 Piano1 Violin I1 Violin II1 Viola1 Cello1 Double Bass

Premiered by The New York Philharmonic conducted by Lorin Maazel at Avery Fisher Hall Lincoln Center New York City 10th June 2004. Orchestration 3 Flutes 3rd dbl. Piccolo2 Oboes1 English Horn in F3 Clarinets in Bb 3rd dbl. Bas Clarinet in Bb2 Bassoons1 Contra Bassoon4 Horns in F3 Trumpets in Bb3 Trombones1 Tuba1 (set of) Timpani2 Percussion (two players)1: Bass Drum (large) Chinese Cymbal Mark Tree2: TamTam (large) Vibraphone Antique Cymbal1 Harp1 Piano dbl. CelestaStringsAll non-octave transposing instruments are notated in their relevanttranspositions.Horns notated in bass clef sound a fourth above the notated pitch.All accidentals apply to each single note only except tied notes. Naturals for 'safety'. Programme Note This piece marks the conclusion of what could now be called 'The Nightshade Trilogy' three pieces which explore the contrasting worlds of Light and Darkness. As opposed to the earlier chamber work Nightshade which dealt with extremes of high and low pitches and the chamber orchestra composition Second Nightshade a two-fold piece contrasting darkness/anxiety and light/calm Final Nightshade for full symphony orchestra takes us on a journey in which the forces of dark and light struggle - and co-exist - in a predominantly polyphonic web with brooding undertones. The melodic point-of-departure is not surprisingly to be found in either of the two preceding pieces of the Trilogy but in an older piece Corpus Cum Figuris from 1985. Over the ensuing years I've dreamt on and off of 'doing something' with the opening measures of this older work perhaps even building a new composition on that very simple inward-looking time was ripe and there's a nice nostalgia angle to the idea: Corpus Cum Figuris was the first piece of mine to be

Jocelyn Pook’s Hearing Voices was commissioned by BBC3 for the BBC Concert Orchestra who gave the first performance at the Queen Elizabeth Hall London on 3 December 2012 with Melanie Pappenheim mezzosoprano conducted by Charles Hazlewood.The text for Hearing Voices was written by Emma Bernard. It also uses the words of artists Bobby Baker and Julie McNamara Jocelyn's relatives PhyllisWilliams and Mary Pook and the seamstress Agnes Richter inmate in a German asylum in the 1890s who covered her straightjacket with densely embroidered text. Instrumentation:2 Flutes (I/Alto II/Piccolo)2 Oboes (II/Cor Anglais)2 Clarinets (II/Bass Clarinet)2 Bassoons (II/Contrabassoon)4 Horns2 Trumpets3 TrombonesTubaTimpaniPercussion (2 players):Hi-Hat Cymbals Splash Cymbal Sleigh Bells Side Drum Bass Drum Temple Blocks Crotales Glockenspiel Vibraphone Xylophone Tubular BellsHarpSampler (recorded voices)StringsSolo mezzo-sopranoDuration: circa 35 minutes