John Tavener's Mother Of God Here I Stand taken from Veil of the Temple and arranged for String Orchestra. ommissioned by the Temple Music Trustfor Premiere in The Temple Church London. This versioncontains conductor's score and full set of parts (8x Violin 1 8x Violin 2 5x Viola 5x Cello 5x Double Bass).

These stringsets arrange seven classic melodies from 'The King and I' and 'South Pacific' for intermediate string ensemble. The arrangements are relatively straightforward great fun to play and will make the perfect programme for the end of term concert.

String Quartet Version - Parts)-The composer writes: 'The backdrop for this commission was to complement music by the great Ludwig van Beethoven. Beethoven’s scores for string quartet are cornucopias of techniques and musicality. They were certainly not meant for pure entertainment. Ending up with Beethoven’s quartet Op. 59 No. 1 as a reference for this piece I even used elements from this quartet in my own composition. Beethoven’s position as a free artist has been of great importance to all following composers. This is of equal inspiration as his music. As a free artist one has to reflect upon our own time and not be afraid of allowing reality affect our work. When I was in the middle of writingthis piece something horrible happened in my neighbourhood. A bomb exploded in Oslo and a killer shot teenagers on an island summer camp. My nation’s reputation as a peaceful country to live in was drastically and forever changed. It was hard to compose. Papers and online media were soon filled with horrible pictures from the events. The lead-coloured skies being a recurring sight. The ambiguity in the title reflects both hope and dread. Beethoven’s light shines through strong and full of life! The piece was commissioned by the Engegård Quartet in 2011 and appears the recording String Quartets vol IV: Schubert-Ratkje-Britten-Haydn. A later piece was composed for string orchestra: 'Tale of Lead and Frozen Light' (2014)'. The composer writes: 'The backdrop for this commission was to complement music by the great Ludwig van Beethoven. Beethoven’s scores for string quartet are cornucopias of techniques and musicality. They were certainly not meant for pure entertainment. Ending up with Beethoven’s quartet Op. 59 No. 1 as a reference for this piece I even used elements from this quartet in my own composition. Beethoven’s position as a free artist has been of great importance to all following composers. This is of equal inspiration as his music. As a free artist one has to reflect upon our own time and not be afraid of allowing reality affect our work. When I was in the middle of writingthis piece something horrible happened in my neighbourhood. A bomb exploded in Oslo and a killer shot teenagers on an island summer camp. My nation’s reputation as a peaceful country to live in was drastically and forever changed. It was hard to compose. Papers and online media were soon filled with horrible pictures from the events. The lead-coloured skies being a recurring sight. The ambiguity in the title reflects both hope and dread. Beethoven’s light shines through strong and full of life! The piece was commissioned by the Engegård Quartet in 2011 and appears the recording String Quartets vol IV: Schubert-Ratkje-Britten-Haydn. A later piece was composed for string orchestra: 'Tale of Lead and Frozen Light' (2014)'.

Viisi pohjoismaista sävelmää jousiorkesterille. Par SONNINEN AHTI. Ahti Sonninen's brisk arrangements of Nordic melodies are set for string orchestra without violas (violin I, II, III, cello I, II and double bass). Idiomatic, variable writing and short movements make the the five-movement-series perfect for for young string players. This product includes the full score and a set of parts (3-3-3 violin parts, 2-2 cello parts and 1 double bass part). Movements: I Merimiestanssi ? Folk melody from Iceland II Je beder eder, alle mine maend ? Folk song from Denmark III Pål sine høner ? Folk song from Norway IV Värmlandsvisan ? Folk melody from Sweden V Karjalan kisa ? Folk melody from Finland / Date parution : 2022-12-12/ Répertoire / Orchestre à Cordes

Lament by Mack Wilberg for String Orchestra with optional Organ.This moving piece for String Orchestra is full of pathos and emotion. Stylistically evocative of Samuel Barber's Adagio for Strings and the distinctive musical language of Arvo Pärt Lament is based around a two-bar arching ostinato artfully developing musical fragments and enriching the texture to reach a powerful central climax. This is a welcome addition to the String Orchestra repertory.This piece was recorded on the 2019 Mormon Tabernacle Choir and Orchestra CD Tree of Life under the title 'And Wept Bitterly (Lament on an Ostinato for StringOrchestra)'.This complete set of parts includes: 4 x vln I 4 x vln II 3 x vla 2 x vc and 1 x db.

Full Score-Vivace (2010) for string orchestra began its musical life as the third movement of my Sonata for Guitar (2009) recorded by Isaac Bustos on MSR Classics [MS 1581]. While writing the sonata I began to realize what a symphonic instrument the guitar really is and how well idiomatic guitar figurations might translate to the orchestra. As the title suggests Vivace is a short lively piece tinged with spiritual uplift. Supported by a steady rhythmic ostinato in stretto the broad melody (in slow harmonic rhythm) is presented first in the highest voice and then answered in a lower one. The dovetailing of gestures and its consequent antiphonal character permeate the movement.Often the melody is presented in harmony at the interval of the 7th or 9th. As with many of my recent compositions variation color and drama are enhanced by the juxtaposition of pandiatonic passages with those that are chromatic and dissonant. --Peter Lieuwen Vivace has been recorded by the Slovak National Symphony Orchestra on MSR Classics [MS 1582].

Via Della Fortuna by Sadie Harrison. Written in 2013 especially for the St. Christopher Chamber Orchestra and Donatus Katkus.6; for String OrchestraWorld premiere: 25th April 2013 St. Katharine'sChurch Vilnius St. Christopher Chamber Orchestra conducted by Donatus Katkus.UK premiere: 10th May 2013 Cardiff Millennium Centre Vale of Glamorgan Festival.I - Casa di Caccia Antica (The House of the AncientHunt)II - Casa degli Amorini Dorati (The House of the Golden Cupids)III - Casa del poeta tragico (The House of the tragic poet)IV - Return to the Casa di Caccia Antica and northwards to Lithuania and the Amber Road(Gintaro Kelias)The piece is in four short movements each taking its title from one of the houses that line the main streets in Pompeii. Borrowing Mussorgsky's 'Promenade' from Pictures at an Exhibition the piece has twowalkers (violas) who take the listener with them onto the Via Della Fortuna then lead them from house to house. Several amber objects were found within the houses linking Pompeii with Lithuania. The lastmovement returns to the House of the Ancient Hunt then heads northwards along the Gintaro Kelias. The jubilant closing music refers to an earlier work (Geda's Weavings) based on Lithuanian folksongs.

Three of John Williams' recent film scores are combined in this spectacular showcase for string orchestra with Ted Ricketts' skilled arrangement. Includes: Harry Potter and the Scorcerer's Stone Theme from A.I. and The Patriot.

This Simple Symphony is entirely based on material from works which the composer wrote between the ages of nine and twelve. (The actual sources are given in footnotes to each movement.) Although the development of thesethemes is in many places quite new there are large stretches of the work which are taken bodily from the early pieces - save for the re-scoring for strings. It is suitable for string quartets or string orchestras beingscored for Violin I Violin II Viola Cello and Double Bass.

Player Score-John Luther Adams' Untouched for String Quartet. Player score. Over the years my large ensemble works have sometimes included String Quartet. However I didn't write my first piece forString Quartet alone until I was fifty-nine. Now in my second String Quartet the fingers of the players still have yet to touch the fingerboard. This music contains no normal stopped tones. All the sounds areproduced either as natural harmonics or on open strings. The highest harmonic utilized is the 10th. Some of the harmonics may be more resonant when played as double harmonics. For example the 6th harmonic can beproduced by simultaneously touching the nodes for the 2nd and 3rd harmonics. Dynamics are free. But all the sounds in the air at any moment should be equally balanced. - John Luther Adams