Piccolo Moods

(Alto Saxophone Feature). Composed by Catherine McMichael. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bb Clarinet 1, Bb Clarinet 2/3, Bb Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2/3, Horn in F 1/2, Horn in F 3/4, Trombone 1/2, Bass Trombone, Euphonium, Tuba,). Grade 4. Score and parts. Duration 6:00. Published by C. Alan Publications

(Full Score and Parts). By Tommy J. Fry. Concert Band. For Piccolo, Flute I, Flute II, Oboe I, Oboe II, Clarinet I, Clarinet II, Clarinet III, Alto Clarinet, Bass Clarinet, Contra Alto Clarinet, Bassoon I, Bassoon II, Alto Saxophone I, Alto Saxophone II, Tenor Saxophone, Baritone Saxophone, Trumpet I, Trumpet II,. Carl Fischer Classic Band Editions. Score and Set of Parts. Standard notation. 30 pages

Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piccolo, Timpani, Trombone, Trumpet 1, Trumpet 2, Viola, Violin 1 and more.

SKU: PR.41641366L

For Violin and Orchestra. Composed by Behzad Ranjbaran. Contemporary. Large Score. With Standard notation. Composed 1994. 144 pages. Duration 31 minutes. Theodore Presser Company #416-41366L. Published by Theodore Presser Company (PR.41641366L).

UPC: 680160585755.

From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violins open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movements primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violinas open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movementas primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violin's open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement's primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notionof writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures.The notes of the violin’s open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes:1 st movement: A-D-A2nd movement: D-G-D3rd movement: E-A-EThe overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement’s primary theme. While the movements share similar musical materials, each one is definedby distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgivingferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes fromthe previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.

Concert Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Claves, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Piccolo 1, Piccolo 2 and more. - Grade 3-3.5

SKU: CF.CPS19

Composed by Elliot Del Borgo. FS-SWS 1 Spine. Carl Fischer Concert Performance Series. Classical. Score and Set of Parts. With Standard notation. Carl Fischer Music #CPS19. Published by Carl Fischer Music (CF.CPS19).

ISBN 9780825844645. UPC: 798408044640. 9 X 12 inches. Key: F major.

Highland Echoes, a dramatic new tone poem by a master of contemporary band scoring, is an evocative musical reflection of Scotland and the changing moods of the Scottish Highlands. The skirl of bagpipes, the distinctive Scottish snap rhythm and the drone of the pipes, create a series of distinctive moods, which feature Del Borgo's usual brilliant use of the percussion section and distinctive melodiousness. Duration: 4' 50.

Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Clarinet 1, Contrabass, Flute 2, Harp, Horn 1, Horn 2, Oboe 2, Percussion 1, Percussion 2, Piano, Piccolo, Timpani, Trumpet 1, Trumpet 2, Viola, Violin 1, Violin 2, Violoncello, tenor Trombone

SKU: PR.11640342S

For Orchestra. Composed by Clint Needham. Study Score. 54 pages. Duration 9 minutes. Theodore Presser Company #116-40342S. Published by Theodore Presser Company (PR.11640342S).

UPC: 680160687749.

The Body Electric draws its inspiration from great American poet, Walt Whitman's work I Sing the Body Electric. Two years earlier, while writing a setting of Whitman's Crossing Brooklyn Ferry for baritone and chamber orchestra, I became enamored with many of the poems from his collection, The Leaves of Grass. I had not revisited Whitman's poetry since high school and that distance provided a fresh look at Whitman's poetry. In the spring of 2009, I came back to this collection and decided to write another work inspired by Whitman's poetry, this time for chamber orchestra alone. Writing a work that attempted to capture the mood of this epic poem seemed impossible. Because of the inherent abstract nature of text-less music, writing a work that was a musical blow-by-blow of the poem seemed equally impossible. For me, the solution was to take three fragments of the poem and focus on conveying their particular moods. In the score, I have included the following lines at the beginning of each section: the Body electric, A divine nimbus exhales, and the Body at auction. the Body Electric was written for the 2009 Wellesley College Composers Conference and was premiered on the final concert of the conference with Jim Baker conducting. Clint Needham.
the Body Electric draws its inspiration from great American poet, Walt Whitman’s work I Sing theBody Electric. Two years earlier, while writing a setting of Whitman’s Crossing Brooklyn Ferry forbaritone and chamber orchestra, I became enamored with many of the poems from his collection,The Leaves of Grass. I had not revisited Whitman’s poetry since high school and that distanceprovided a fresh look at Whitman’s poetry. In the spring of 2009, I came back to this collectionand decided to write another work inspired by Whitman’s poetry, this time for chamber orchestraalone.Writing a work that attempted to capture the mood of this epic poem seemed impossible. Becauseof the inherent abstract nature of text-less music, writing a work that was a musical blow-by-blowof the poem seemed equally impossible. For me, the solution was to take three fragments of thepoem and focus on conveying their particular moods. In the score, I have included the followinglines at the beginning of each section: the Body electric, A divine nimbus exhales, and the Bodyat auction.the Body Electric was written for the 2009 Wellesley College Composers Conference and waspremiered on the final concert of the conference with Jim Baker conducting.Clint Needham.

Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Clarinet 1, Contrabass, Flute 2, Harp, Horn 1, Horn 2, Oboe 2, Percussion 1, Percussion 2, Piano, Piccolo, Timpani, Trumpet 1, Trumpet 2, Viola, Violin 1, Violin 2, Violoncello, tenor Trombone

SKU: PR.11640342L

For Orchestra. Composed by Clint Needham. Large Score. 54 pages. Duration 9 minutes. Theodore Presser Company #116-40342L. Published by Theodore Presser Company (PR.11640342L).

UPC: 680160687756.

The Body Electric draws its inspiration from great American poet, Walt Whitman's work I Sing the Body Electric. Two years earlier, while writing a setting of Whitman's Crossing Brooklyn Ferry for baritone and chamber orchestra, I became enamored with many of the poems from his collection, The Leaves of Grass. I had not revisited Whitman's poetry since high school and that distance provided a fresh look at Whitman's poetry. In the spring of 2009, I came back to this collection and decided to write another work inspired by Whitman's poetry, this time for chamber orchestra alone. Writing a work that attempted to capture the mood of this epic poem seemed impossible. Because of the inherent abstract nature of text-less music, writing a work that was a musical blow-by-blow of the poem seemed equally impossible. For me, the solution was to take three fragments of the poem and focus on conveying their particular moods. In the score, I have included the following lines at the beginning of each section: the Body electric, A divine nimbus exhales, and the Body at auction. the Body Electric was written for the 2009 Wellesley College Composers Conference and was premiered on the final concert of the conference with Jim Baker conducting. Clint Needham.
the Body Electric draws its inspiration from great American poet, Walt Whitman’s work I Sing theBody Electric. Two years earlier, while writing a setting of Whitman’s Crossing Brooklyn Ferry forbaritone and chamber orchestra, I became enamored with many of the poems from his collection,The Leaves of Grass. I had not revisited Whitman’s poetry since high school and that distanceprovided a fresh look at Whitman’s poetry. In the spring of 2009, I came back to this collectionand decided to write another work inspired by Whitman’s poetry, this time for chamber orchestraalone.Writing a work that attempted to capture the mood of this epic poem seemed impossible. Becauseof the inherent abstract nature of text-less music, writing a work that was a musical blow-by-blowof the poem seemed equally impossible. For me, the solution was to take three fragments of thepoem and focus on conveying their particular moods. In the score, I have included the followinglines at the beginning of each section: the Body electric, A divine nimbus exhales, and the Bodyat auction.the Body Electric was written for the 2009 Wellesley College Composers Conference and waspremiered on the final concert of the conference with Jim Baker conducting.Clint Needham.

Orchestra Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 4 horns, 2 Trumpets, 3 Trombones, tuba, timpani, 2 Violins, viola, cello, contrabass

SKU: CA.5008709

Florentiner Sinfonie. Composed by Josef Gabriel Rheinberger. Edited by Werner Aderhold. This edition: Complete edition. 1x 50.087/21 piccolo, 1x 50.087/22 flute 1, 1x 50.087/23 flute 2, 1x 50.087/24 oboe 1, 1x 50.087/25 oboe 2, 1x 50.087/26 clarinet 1, 1x 50.087/27 clarinet 2, 1x 50.087/28 bassoon 1, 1x 50.087/29 bassoon 2, 1x 50.087/30 horn 1, 1x 50.087/31 horn 2, 1x 50.0. Josef Gabriel Rheinberger - Complete Works. German title: Sinfonie In F 20. Set of Orchestra Parts. Composed 1875. Op. 87. 212 pages. Duration 53 minutes. Carus Verlag #CV 50.087/09. Published by Carus Verlag (CA.5008709).

ISBN 9790007079376. Key: F major. Language: all languages.

Rheinber ger began work on his second Symphony during his visit to Italy with his wife in 1874. He was commissioned to write it by an orchestral society in Florence - an indication that his reputation had already spread throughout Europe. The autograph score contains a poem by his wife Fanny, which in four sections expressed the moods of impressions of the visit which seem to underlie the symphony. Contemporaries praised particularly the beauty of the Adagio. The work is here presented for the first time in an edition based critically on the sources. Score and parts available separately - see item CA.5008700.

By Calixa Lavallée. Arranged by Paul Sylvester. For Brass Choir (4.2.2.1.1.perc). Brass - Brass Choir; Masterworks. Eighth Note Publications. Romantic. Duration 00:01:35. Published by Eighth Note Publications

Orchestra Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 4 horns, 2 Trumpets, 3 Trombones, tuba, timpani, 2 Violins, viola, cello, contrabass

SKU: CA.5022400

Florentiner Sinfonie. Composed by Josef Gabriel Rheinberger. Edited by Werner Aderhold. This edition: Complete edition, linen cover. Josef Gabriel Rheinberger - Complete Works. German title: Sinfonie In F 20. Josef Gabriel Rheinberger. Complete Works. Full score (complete edition / selected edition). Composed 1875. Op. 87. 320 pages. Duration 53 minutes. Carus Verlag #CV 50.224/00. Published by Carus Verlag (CA.5022400).

ISBN 9790007087418. Key: F major. Language: all languages.

Rheinber ger began work on his second Symphony during his visit to Italy with his wife in 1874. He was commissioned to write it by an orchestral society in Florence - an indication that his reputation had already spread throughout Europe. The autograph score contains a poem by his wife Fanny, which in four sections expressed the moods of impressions of the visit which seem to underlie the symphony. Contemporaries praised particularly the beauty of the Adagio. The work is here presented for the first time in an edition based critically on the sources.

By Girolamo Frescobaldi (1583-1643). Arranged by David Marlatt. For Brass Choir (4.4.3.1.1.perc). Brass - Brass Choir; Masterworks. Eighth Note Publications. Baroque. Duration 00:04:20. Published by Eighth Note Publications

Orchestra Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 4 horns, 2 Trumpets, 3 Trombones, tuba, timpani, 2 Violins, viola, cello, contrabass

SKU: CA.5008712

Florentiner Sinfonie. Composed by Josef Gabriel Rheinberger. Edited by Werner Aderhold. This edition: Complete edition. Josef Gabriel Rheinberger - Complete Works. German title: Sinfonie In F 20. Josef Gabriel Rheinberger. Complete Works. Single Part, Violin 2. Composed 1875. Op. 87. 20 pages. Duration 53 minutes. Carus Verlag #CV 50.087/12. Published by Carus Verlag (CA.5008712).

ISBN 9790007079390. Key: F major. Language: all languages.

Rheinber ger began work on his second Symphony during his visit to Italy with his wife in 1874. He was commissioned to write it by an orchestral society in Florence - an indication that his reputation had already spread throughout Europe. The autograph score contains a poem by his wife Fanny, which in four sections expressed the moods of impressions of the visit which seem to underlie the symphony. Contemporaries praised particularly the beauty of the Adagio. The work is here presented for the first time in an edition based critically on the sources. Score and part available separately - see item CA.5008700.

Orchestra Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 4 horns, 2 Trumpets, 3 Trombones, tuba, timpani, 2 Violins, viola, cello, contrabass

SKU: CA.5008719

Florentiner Sinfonie. Composed by Josef Gabriel Rheinberger. Edited by Werner Aderhold. This edition: Complete edition. Josef Gabriel Rheinberger - Complete Works. German title: Sinfonie In F 20. Josef Gabriel Rheinberger. Complete Works. Set of Orchestra Parts. Composed 1875. Op. 87. Duration 53 minutes. Carus Verlag #CV 50.087/19. Published by Carus Verlag (CA.5008719).

ISBN 9790007132514. Key: F major. Language: all languages.

Rheinber ger began work on his second Symphony during his visit to Italy with his wife in 1874. He was commissioned to write it by an orchestral society in Florence - an indication that his reputation had already spread throughout Europe. The autograph score contains a poem by his wife Fanny, which in four sections expressed the moods of impressions of the visit which seem to underlie the symphony. Contemporaries praised particularly the beauty of the Adagio. The work is here presented for the first time in an edition based critically on the sources. Score and parts available separately - see item CA.5008700.

Orchestra Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 4 horns, 2 Trumpets, 3 Trombones, tuba, timpani, 2 Violins, viola, cello, contrabass

SKU: CA.5008711

Florentiner Sinfonie. Composed by Josef Gabriel Rheinberger. Edited by Werner Aderhold. This edition: Complete edition. Josef Gabriel Rheinberger - Complete Works. German title: Sinfonie In F 20. Josef Gabriel Rheinberger. Complete Works. Single Part, Violin 1. Composed 1875. Op. 87. 20 pages. Duration 53 minutes. Carus Verlag #CV 50.087/11. Published by Carus Verlag (CA.5008711).

ISBN 9790007079383. Key: F major. Language: all languages.

Rheinber ger began work on his second Symphony during his visit to Italy with his wife in 1874. He was commissioned to write it by an orchestral society in Florence - an indication that his reputation had already spread throughout Europe. The autograph score contains a poem by his wife Fanny, which in four sections expressed the moods of impressions of the visit which seem to underlie the symphony. Contemporaries praised particularly the beauty of the Adagio. The work is here presented for the first time in an edition based critically on the sources. Score and part available separately - see item CA.5008700.

Euphonium and Piano. By James Curnow. (EUPHONIUM). Curnow Concert Band Full Set. Published by Curnow Music.

Orchestra Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 4 horns, 2 Trumpets, 3 Trombones, tuba, timpani, 2 Violins, viola, cello, contrabass

SKU: CA.5008715

Florentiner Sinfonie. Composed by Josef Gabriel Rheinberger. Edited by Werner Aderhold. This edition: Complete edition. Josef Gabriel Rheinberger - Complete Works. German title: Sinfonie In F 20. Josef Gabriel Rheinberger. Complete Works. Single Part, Double Bass. Composed 1875. Op. 87. 16 pages. Duration 53 minutes. Carus Verlag #CV 50.087/15. Published by Carus Verlag (CA.5008715).

ISBN 9790007079420. Key: F major. Language: all languages.

Rheinber ger began work on his second Symphony during his visit to Italy with his wife in 1874. He was commissioned to write it by an orchestral society in Florence - an indication that his reputation had already spread throughout Europe. The autograph score contains a poem by his wife Fanny, which in four sections expressed the moods of impressions of the visit which seem to underlie the symphony. Contemporaries praised particularly the beauty of the Adagio. The work is here presented for the first time in an edition based critically on the sources. Score and part available separately - see item CA.5008700.

By Girolamo Frescobaldi (1583-1643). Arranged by David Marlatt. For 4 Trumpets and Organ. Brass - Cornet (Trumpet) Quartet; Masterworks; Quartet. Eighth Note Publications. Baroque. Duration 00:04:20. Published by Eighth Note Publications

Orchestra Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 4 horns, 2 Trumpets, 3 Trombones, tuba, timpani, 2 Violins, viola, cello, contrabass

SKU: CA.5008713

Florentiner Sinfonie. Composed by Josef Gabriel Rheinberger. Edited by Werner Aderhold. This edition: Complete edition. Josef Gabriel Rheinberger - Complete Works. German title: Sinfonie In F 20. Josef Gabriel Rheinberger. Complete Works. Single Part, Viola. Composed 1875. Op. 87. 20 pages. Duration 53 minutes. Carus Verlag #CV 50.087/13. Published by Carus Verlag (CA.5008713).

ISBN 9790007079406. Key: F major. Language: all languages.

Rheinber ger began work on his second Symphony during his visit to Italy with his wife in 1874. He was commissioned to write it by an orchestral society in Florence - an indication that his reputation had already spread throughout Europe. The autograph score contains a poem by his wife Fanny, which in four sections expressed the moods of impressions of the visit which seem to underlie the symphony. Contemporaries praised particularly the beauty of the Adagio. The work is here presented for the first time in an edition based critically on the sources. Score and part available separately - see item CA.5008700.

Orchestra Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 4 horns, 2 Trumpets, 3 Trombones, tuba, timpani, 2 Violins, viola, cello, contrabass

SKU: CA.5008714

Florentiner Sinfonie. Composed by Josef Gabriel Rheinberger. Edited by Werner Aderhold. This edition: Complete edition. Josef Gabriel Rheinberger - Complete Works. German title: Sinfonie In F 20. Josef Gabriel Rheinberger. Complete Works. Single Part, Cello. Composed 1875. Op. 87. 20 pages. Duration 53 minutes. Carus Verlag #CV 50.087/14. Published by Carus Verlag (CA.5008714).

ISBN 9790007079413. Key: F major. Language: all languages.

Rheinber ger began work on his second Symphony during his visit to Italy with his wife in 1874. He was commissioned to write it by an orchestral society in Florence - an indication that his reputation had already spread throughout Europe. The autograph score contains a poem by his wife Fanny, which in four sections expressed the moods of impressions of the visit which seem to underlie the symphony. Contemporaries praised particularly the beauty of the Adagio. The work is here presented for the first time in an edition based critically on the sources. Score and part available separately - see item CA.5008700.

Concert Band

SKU: PE.EP68748

Score. Composed by Shawn E. Okpebholo. Edition Peters. Contemporary. Score. 36 pages. Edition Peters #98-EP68748. Published by Edition Peters (PE.EP68748).

ISBN 9790300762289.

S hawn Okpebholo's Heritage, in the Edition Peters Concert Band Series, evokes moods, events and sounds (including West African drumming and indigenous melodies) from an ethnomusicological research visit the composer undertook to Nigeria. One of the primary musical themes of the work is an adaptation of a song that comes from the Esan people, a small ethnic group in the southern part of Nigeria and the tribe to which the composer has deep historical and family ties.

The Esan language is poetic in nature and, at various moments in the work, the musicians chant the text from an Esan song:

Ekine leleyea do obhimen la doeki nalo.

(My investment in you is paid off. Because of your hard work, your future is bright)

Heritage< /em> is a revised version of a work previously entitled This is Africa, which was commissioned by Professor Marcellus Brown and the Boise State University Symphonic Winds for the 2011 National CBDNA Convention and is dedicated to the memory of Dr Harry Begian.

Orchestrati on:

1 Piccolo, 2 Flute 1, 2 Flute 2, 1 Oboe 1, 1 Oboe 2, 1 Clarinet in E-flat, 3 Clarinet 1 in B-flat, 3 Clarinet 2 in B-flat, 3 Clarinet 3 in B-flat, 2 Bass Clarinet 1 and 2, 1 Bassoon 1, 1 Bassoon 2, 1 Alto Saxophone 1, 1 Alto Saxophone 2, 1 Tenor Saxophone, 1 Baritone Saxophone, 1 Trumpet 1 in B-flat, 1 Trumpet 2 in B-flat, 1 Trumpet 3 in B-flat, 1 Trumpet 4 in B-flat, 1 Horn 1 in F, 1 Horn 2 in F, 1 Horn 3 in F, 1 Horn 4 in F, 1 Trombone 1, 1 Trombone 2, 1 Bass Trombone, 1 Euphonium 1, 1 Euphonium 2, 2 Tuba 1 and 2, 1 String Bass, 1 Percussion 1, 1 Percussion 2, 1 Drum Kit, 1 Bongos, 1 Congas, 1 Horn 1 in E-flat, 1 Horn 2 in E-flat, 1 Horn 3 in E-flat, 1 Horn 4 in E-flat, 1 Trombone 1 (B-flat treble clef), 1 Trombone 2 (B-flat treble clef), 1 Bass Trombone (B-flat treble clef), 1 Euphonium 1 (B-flat treble clef), 1 Euphonium 2 (B-flat treble clef), 2 Tuba 1 and 2 (B-flat treble clef), 2 Tuba 1 and 2 (E-flat treb.