Two of Saint-Saens most popular works appear together in this affordable volume. First composed in a song form Danse Macabre was later rewritten as a symphonic poem. It is important to remember that risque music was considered more daring and controversial than today and audiences at its 1875 debut were resistant to its unconventional charms but it eventually became a crowd pleaser. Havanaise is among the most challenging of violin and orchestra pieces but a standard showpiece in the repertoire of every serious violinist. Based on the Cuban dance Habanera the 1887 work features a languid mood highlighted by bursts of virtuoso activity. This volumecontains the full score for violin and orchestra of both these magnificent pieces.

The first of Joaquin Rodrigo's attempts at composition for the concerto genre Concierto De Aranjuez quickly became the most popular and recognizable of his works. Written for Solo Guitar and Orchestra it reveals the composer's great affinity for those two mediums as well as his reverence for the long-standing traditions of Spanish Classical music. It was composed in 1939 after Rodrigo's return to Madrid from France (where he had fled to escape the Spanish Civil War) and premiered to great success in 1940.The Concierto De Aranjuez is notable for the way in which Rodrigo managed to wed unusual instrumentation of the relatively small voice ofthe solo guitar to that of the full orchestra. With a nod to Spanish folk music and straightforward lyrical disposition it is an extremely imaginative piece with meandering melody and distinctive colour throughout.Eulenberg's celebrated and highly authoritative miniature score is the definitive reference source for study performance preparation or simply for those with a love of the great orchestral works.

Now available for SSA voices this marvelous work was released a few years ago to great acclaim and remains popular. Fully orchestrated in 4 distinctive movements this “missa brevis” tastefully weaves American folksongs spirituals and hymns into a liturgical fabric. May be performed with piano chamber orchestra or full orchestra.

Monteverdi's Vespers of 1610 is a work which has both fascinated and perplexed musicologists and performers for many years. It forms by far the larger part of the composer's first significant publication of sacred music entitled: 'Of the most blessed virgin a Mass for six voices for church choirs and Vespers for more voices with several sacred concertos suitable for princely chapels or apartments'. By the time this publication appeared Monteverdi had been in the service of the Gonzaga court at Mantua for at least 18 years and he was seeking a change of employment so that the dedication of the volume to the reigning pope Paul V may be interpreted as a form ofself-advertisement. Originally issued as an Urtext study score the edition is based closely on the extant printed source the set of partbooks published at Venice in 1610 and retains the original note values key and mensuration signatures.

Olivier Messiaen (1908-1992) is known for his unique composition style. Incorporating complex rhythms harmony melodies and his passion for ornithology his Opera Saint Francois D'Assise is no exception to the composer's popular distinctive style. Composed between 1975-1983 Saint Francois D'Assise displays the composer's devout Catholicism. The work is in three acts and eight scenes and both the music and libretto were written by Messiaen. Saint Francois D'Assise incorporates Messiaen's popular compositional techniques such as his modes of limited transposition use ofleitmotifs use of birdsong and an instrumentation for a huge orchestra. This piece also makes use of the composer's synesthesia. Saint Francois D'Assise is essential to all advanced Opera companies seeking to address a modern and varied performance work.

Two Movements from Karl Jenkins’ popular Adiemus arranged here for a Flexible Ensemble. Originally written as a piece for a Delta Airlines television commercial the fusion of ethnic vocals and orchestral backing proved so popular with consumers that a full-length Adiemus album Songs of Sanctuary was created with the aid of vocalist Miriam Stockley and the London Philharmonic Orchestra in 1995. This item contains the full score for Flexible Ensemble complete with parts for photocopying.

Born in Havana Cuba in 1895 Ernesto Lecuona is arguably Cuba's greatest serious composer. He was a gifted pianist who wrote hundreds of songs and piano works before he died in 1963. Most of his music is composed in a rich authentic Cuban style. The most famous of his works is Malagueña the sixth movement of his Suite Andalucia for solo piano which was first published in 1928. Malagueña has been recorded as a popular song (with added lyrics) as a serious piano work (even by Lecuona himself in the 1950's) and also as a jazz standard (Bill Holman's arrangement for the Stan Kenton Orchestra in the early 1960's.) Over the years it has been arranged many times for variousother mediums ranging from symphony orchestra to field arrangements for drum and bugle corps.In 1976 James Barnes arranged Malagueña for the University of Kansas Marching Band. A few years later with permission from the publisher he expanded this original arrangement into a full work for symphonic band called Prelude Fantasy and Fandango on Lecuona's Malagueña. After several performances in the spring of 1978 (most notably at the MENC Convention in Colorado Springs) this work along with over 200 other Barnes manuscripts lay fallow in the KU Band Library. While packing up his office belongings when he retired from The University of Kansas in 2015 Barnes came across this long languishing Prelude Fantasy and Fandango which remained in condensed score. In the fall of 2016 he completely re-composed the opening portion of the work reduced the number of required percussion and disposed of the two harps in his 1978 version. This new setting features evocative thinly scored extended solo passages for clarinet bassoon and flute before the full wind band concludes the work with a powerful dramatic setting of the main themes of Lecuona's masterful Malagueña.

for Full Orchestra. Par WHITACRE ERIC. The continuing popularity of Eric Whitacre's dramatic and evocative music is evident in concert programming everywhere, with his symphonic, choral, and operatic works. October is arguably his most notable symphonic work, now adapted in this stunning version for full orchestra. / Date parution : 2022-11-29/ Répertoire / Orchestre

Prelude-During the time that he was playing in the Orchestra of the Royal Theatre in Copenhagen Carl Nielsen composed his two operas of which Saul and David is the first. Criticised as more of an oratorio than an opera Saul and David has not enjoyed many performances although this short majestic and psychologically revealing Prelude to Act II has become a popular short concert piece. It evokes the majesty of the court of Saul just before news arrives of the Philistine giant Goliath and hints at struggles both external and within the main characters. The dissonant Trumpets may have aroused excitement at the premiere in 1902 and still create a powerful effect in today'sperformances.

Two superb strikingly original works by one of the most gifted composers of the French School: Pelléas et Mélisande Op. 80 a suite for orchestra written after Fauré's incidental music for the drama by Maurice Maeterlinck; and the enormously popular Pavane Op. 50 one of the most performed short orchestral works in the repertoire.Reprint of the J. Hamelle & Cie. Paris n.d. editions.

Score-The festive occasion that the title refers to was a program of American works Sergey Koussevitzky and the Boston Symphony Orchestra were presenting in Boston and New York in the fall of 1939 for which the conductor asked Schuman to compose an opening piece. Now one of Schuman's most popular works.

Orchestral & Instrumental Carol & Hymn Accompaniments-John Rutter's Un Flambeau Jeannette Isabelle/Bring A Torch Jeannette Isabella for SATB choir (with divisions) and small Orchestra.Set of parts for Rutter's arrangement of this popular French carol. This set contains the following string parts: 4 x vln I 4 x vln II 3 x vla 2 x vc 1 x db.

This popular march was written for the film 'The Dam Busters' about the wartime exploits of the R.A.F.'s 617 squadron and their attempts to destroy the dams in Germany's industrial heartland using the 'bouncing bomb' a secret weapon invented by Barnes-Wallis. No secret weapons are required to perform this arrangement just a reasonably able orchestra! Saxophone parts are provided as alternatives (or additions) to the horn parts. The 3rd violin doubles the viola (where necessary at the octave) and either may be omitted.Duration: 4 minutes Orchestration2 Flutes 2 Oboes 3 Clarinets in Bb 2 Bassoons 2 Horns in F (or Alto saxes in Eb or Tenorsaxes in Bb) 3 Trumpets in Bb 2 Trombones Tuba Timpani Percussion (Triangle Cymbals Side Drum Bass drum) Strings (Violin 1 Violin 2 Viola or Violin 3 Cello Bass)

Along with Swan Lake The Nutcracker represents one of Tchaikovsky's most popular and most-performed works. Based on E.T.A. Hoffman's The Nutcracker And The Mouse King the piece was commissioned in 1891 and first performed in St Petersberg the following year. The story of enchanted toys and Christmas magic has become a firm favourite and the piece was the first historically to make orchestral use of the Celesta. As a work of previously unrivalled orchestration the piece has become vital reading for those studying the development of the orchestra or important Romantic works.

A minor E major D minor-Violin Concertos in A minor E major and Double Concerto in D minor.To this day Bach's violin concertos are among the most popular repertoire pieces of many violinists who have to meet great technical demands in these works. Created during Bach's time in Köthen in which the composer presented works of revolutionary novelty and originality the violin concertos testify to Bach's rich instrumental imagination. Whereas his examples still followed a rather rigid structure in the outer movements Bach managed to achieve a closer connection and integration of the formal sections by treating the roles of the soloist and the orchestra in a differentiated and varying way.