Schirmer - Orchestra

Thou Must Leave Thy Holy Dwelling-From Berlioz' Nativity oratorio The Childhood of Christ (L'enfance du Christ) Op.25 this lovely SATB anthem may be performed with keyboard or chamber orchestra. In addition to the traditional English lyrics of the G.Schirmer edition the original French text is now also included. Available separately: SATB VoiceTrax CD. Score and parts available digitally (ob 1 2 cl 1 2 vn 1 2 va vc b). Duration: ca. 3:10.

G. Schirmer Inc.-Composed in the style of a grand and descriptive film score The Last Centaur is a musical depiction of a centaur who is separated from his family by war the ensuing adventures and ultimate reunion with hisfamily and friends. The music begins with a stately lyrical theme in the horns followed by solo Oboe. This main theme is then woven throughout the work as it develops and grows with intensity. Sweeping woodwind lines and majesticBrass fanfares capture the excitement of the drama and ultimate joyous resolution. Powerful and evocative writing! Dur: 6:00

Here's a classic work adapted for developing groups that makes an excellent contest or festival piece. Using three movements from the original six Johnnie's suite is an excellent chance to play quality literature with youryounger band. Includes: I.Lisbon II.Horkstow Grange and VI. Lost Lady Found. (G. Schirmer Concert Band Library)

Score and Parts-Charles Ives' Postlude In F for Orchestra. Score and parts.The Postlude in F composed in 1895 is Charles Ives' earliest known work for large Orchestra. It is based on anearlier Organ piece which Ives performed at the Baptist Church in Danbury Conneticut on May 11 1890 (at the age of fifteen; on the cover page of the full score Ives mistakenly gave 1892 for the year of the Organcomposition). The version for Orchestra was probably produced as an orchestration assignment for a class of Horatio Parker Ives' teacher at Yale College. Ives recalled that the 'New Haven Orchestra' - that is the New Haven Symphony Orchestra organised by Parker in 1895- read through the work in 1896. The Postlude in F which was also preperation for work on the First Symphony (its first movement also completed in1895) contains some suprisingly mature and beautiful writing especially in the magical closing pages. - Kenneth D. Singleton.

Score-Morton Gould's Venice for Double Orchestra and Brass Choir. Full score.Commissioned by Milton Katims for the Seattle Symphony Orchestra pursuant to a grant from the U.S. Office of Education Department of Health Education and Welfare under Title III of the Elementary and Secondary Education Act of 1965.First performance May 2 1967 by the Seattle and Spokane Symphony Orchestra under the direction of MiltonKatims in Kennedy Pavilion Gonzaga University Spokane Wash. assisted by the Gonzaga U. Brass Choir and Spokane Junior Symphony.

Study Score-Declaration Suite consists of the orchestral movements from 'Declaration - a symphonic narrative' for Orchestra two solo speakers and speaking chorus. In its original form the work includes a setting of theDeclaration of Independence.The composition was comissioned by Station WRC and WRC-TV of the National Broadcasting Company Washington D. C. for the National Symphony Orchestra of that city and was composed during thesummer and fall of 1956. The National Symphony Orchestra Dr. Howard Mitchell conducting gave the first complete performances at the Inaugural Concert in Constitution Hall Washington D. C. January 20 1957 and during theOrchestra's regular subscription series the week following.Declaration Suite was first performed by the Symphony of the Air under Dr. Mitchell in Carnegie Hall New York February 14 1957 as part of theannual WNYC American Music Festival.The movements are:I. Liberty Bell (Passacaglia)II. Midnight Ride (Scherzo)III. Concord Bridge (Memorial)IV. Summer '76 (Serenade)V. Celebration (Chorale and Fugue)

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.

Score-Morton Gould's Minstrel Show for Orchestra. Study score.Born in Richmond Hill New York on 10 December 1913 Morton Gould was recognised early on as a child prodigy with the ability toimprovise and compose. At the age of six he had his first composition published. He studied at the Institute of Musical Art (now the Juilliard School) but his most important teachers were Abby Whiteside (Piano) and Vincent Jones(composition).Gould enjoyed an illustrious career. In addition to gaining a Pulitzer Prize for 'Stringmusic' he was Musical America's 1994 Composer-of-the-Year and recieved a Kennedy Center Honor in recognition oflifetime contributions to American culture.A long-time member of the American Society of Composers Authors and Publishers Gould was elected president of ASCAP in 1986 a post he held until 1994. In 1986 he waselected to the American Academy and Institute of Arts and Letters. He also served on the board of the American Symphony Orchestra League and on the National Endowment for the Arts music panel.

John Corigliano (b. 1938) is an American composer. One of his most enjoyable compositions is The Mannheim Rocket commissioned by the Mannheim orchestra in the year 2000. It takes inspiration from theRocket of the title – a famous compositional device invented by the orchestra in the 1700s. From there it swiftly traverses 200 years of German music cleverly hiding quotes from some of the most famous orchestralworks of the era rising to its zenith before falling back to earth – exactly as a real rocket would. Described by the composer as a “marvellous journey” this orchestral piece is one of the mostentertaining in the repertoire – both to play and to listen to.

Score-William Schuman's Prayer In Time Of War for Orchestra. Study score.This work was first performed under the title 'Prayer-1943' by the Pittsburg Symphony Orchestra under the direction of Fritz Reiner on February 26 1943.Duration: approx 15 minutes.Instrumentation:3 Flutes (3rd Flute interchangeable with Piccolo)2 OboesEnglish Horn2 Clarinets in B-flat2 Bassoons4 Horns in F3 Trumpets in C3 TrombonesTubaTimpaniPercussion (Bass Drum Cymbals Gong Snare Drum)Violin IViolin IIViolaVioloncelloBass

Score-'A Colorful Symphony' is based on a chapter from Norton Juster's popular book for children 'The Phantom Tollbooth' in which a little boy enters a magic land where an orchestra and its conductor play the colours into the worldeach day. Rodriguez's setting for Narrator and Orchestra has become a musical classic in its own right and is regularly performed by major Orchestras.

Score-This work was written between 1992 and 1995 when Bright Sheng was the composer-in-residence with the Seattle Symphony Orchestra. Written for orchestra with large percussion section.

Full Score-These remarkable cantatas from Menotti's later period spring from his profound devotion to the Catholic tradition and feature texts by two of the Church's best-loved poets St. Teresa of Avila and St. John of the Cross. Includes“Muero porque no muero” (for soprano chorus and orchestra) and “Oh llama de amor viva” (for baritone chorus and orchestra).