Deluxe Score-Includes: Belle Gaston The Mob Song How Does a Moment Last Forever Beauty and the Beast and Evermore. (Performance time - ca. 3:00)

Sibelius completed this work in February 1923 and conducted the premiere at Helsinki on February 19 of that same year. His first reference to the work in 1918 described it as wild and passionate in character. Dark with pastoral contrasts. Probably in 4 movements...intensifying in a dark orchestral swell [until] the main theme is drowned. At the same time he cautioned that his plan could change — and how it did! — depending on the way my musical thinking develops. I am always a slave to my themes and obey their demands.

Here is a powerful anthem perfect for general use or more specifically for Epiphany. Incorporating the classic hymn How Brightly Shines the Morning Star this anthem is a celebration of our journey of faith and a reminder to walk in the light of the Christ.

Orchestration: 3(pic)(2afl).+ pic.3+ca.3+bcl.3+cbn/6.4.4.1/timp.perc/hp/pf/strTHE RAINBOW SNAKE is an Indian legend about how the rainbow came into being. It is said that a snake heard the Indians grieving over a very long drought and the unfruitfulness of the land so it wound itself into a ball and wasthrown high into the air.It unwound itself again and grew longer and longer until b

A beautiful song of faith and love “Jesus Is My Song of Grace” tells how God sang to us through His son and of our deep love and commitment to life with Him. “This shall be my alleluia...this shall be mybenediction...Jesus is my song of grace.” Lush harmonies and a gorgeous poetic text make this love song a must for many occasions.

for two Violins Strings and Basso continuo-In 2001 Bärenreiter issued a newly engraved keyboard reduction and solo parts to this concerto based on the acclaimed New Bach Edition.The present expanded new publication goes a step further in that it offers not only the two solo Violin parts as presented in the New Bach Edition but also two additional parts with fingerings and bowings by the baroque specialist Andrew Manze.Manze also offers players enlightened comments (English/German) on historical performance practices dealing with how the instrument was held fingerings bowing shifting the use of open strings and much much more.Full score & parts (BA5188) 2 Violins and Pianoreduction (BA5188-90) and study score (TP284) available for sale.

Cantata No.211: Schweigt stille plaudert nicht (Be quiet chatter not) BWV 211.The Coffee Cantata (BA 10211) and the Peasant Cantata (BA 10212) both on librettos by Picander are among the best-known and most frequently performed of Bach’s secular cantatas.Written in or around 1733 the Coffee Cantata deals humorously with the importance of the newly fashionable beverage. This is demonstrated in the soprano aria “Ah how sweet the coffee tastes lovelier than a thousand kisses milder than Muscatel”.Both cantatas reveal Bach’s mastery in their unusual subject-matter formal design andmusical workmanship. Now they appear in separate editions based on the “New Bach Edition” with straightforward and easy-to-play piano reductions by Andreas Köhs.- Urtext of the “New Bach Edition”.- Straightforward and easy-to-play piano reduction.- Vocal score (BA10211-90) performance material (BA10211) and study score (TP1211) available for sale

Score-Alan Hovhaness' Prelude and Quadruple Fugue for Orchestra. Full score.This work is dedicated to Dr. Howard Hanson and the Eastman-Rochester Symphony Orchestra for the 25th anniversary of theFestival of American Music 1955.

With Christopher Hogwood’s new edition of Elgar’s much loved Serenade a scholarly-critical edition of the work is now available for the first time. As with other Elgar works modern editions of the Serenade have always suffered from an enormous number of inconsistancies between the score and parts and unclear divisi and unison passages. The editor has clarified these discrepancies drawing on Elgar’s version of the work for Piano four hands (the original version) and the recently discovered autograph manuscript of the first movement. The edition also contains a facsimile showing the original ending of thethird movement as well as an informative foreword (Ger/Eng) and a critical commentary (Eng).The first scholarly-critical Urtext edition of this popular work for string orchestra.Foreword (Ger/Eng) and critical commentary (Eng).With facsimile pages.Full score and performance material (BA9041) available for sale.

Full Score-Full orchestra score for Per Nørgård's Symphony No. 5 (1987-90 rev.1991). Manuscript copy. Programme note: My 5th Symphony was commissioned by the Danish Radio Symphony Orchestra and premiered on December 6th 1990 by and dedicated to the Danish Radio Symphony Orchestra and conductor Esa-Pekka Salonen.  After the premiere in 1990 I decided to revise the beginning (and only the beginning) of the work. The first pages of the score were discarded and about 20 seconds of new music was written in the summer of 1991. The new and final versionwas premiered on 1st of May 1992.  The symphony progresses without pauses between movements often in several layers of tempo with mutual ´golden section´proportions. The listener´s experience of form in the work will therefore depend on the directions of his own attention. But so far as overall divisions are concerned four sections (perhaps five) - running into each other - can be traced: an expansive cascading introduction a kind of scherzo an chaconne-like adagio and a kind of finale again with the phenomenon of ´cascades´ as a main idea. However as the course is from time to time thrown into chaos by convulsive twitching and crises other experiences of form are opened out within a spectrum from wild to cautious from dramatic to contemplative in a universe of tempi which can suggest the title of a book of poems by the Danish Michael Strunge (1958-1986): ´Velocity of life.´  A listener described the symphony as “a walk with a fire-breathing dragon” and a reviewer described it with words like “a pacifist in times of war”. Anyway words and programme note are – as Carl Nielsen said about titles – only “road signs” for personal experiences in the area of music itself.  Per Nørgård

Commissioned jointly for Colin Currie by the City of Birmingham Symphony Orchestra and the Borletti-Buitoni Trust. First performance on 14th May 2008 at Symphony Hall Birmingham by Colin Currie (percussion) and the City ofBirmingham Symphony Orchestra conducted by Martyn Brabbins.NOTE FOR PERFORMANCEIn table top the unpitched solo percussion part in the 9th movement the scoring was initially left open. The present full score showsa suggested instrumentation  which was devised by Colin Currie in conjunction with the composer. Soloists  should attempt to match the timbres used but should not feel constrained by the  exact choice ofinstruments.COMPOSER’S NOTEThe percussion instruments used in a table of noises in some ways represent the odd things that were on my great uncle Ash’s parlour table that fascinated me as a child. There is even abottle; there was always a milk bottle with the silver top pushed in surrounded by other essentials for his life. From birth he was quite severely handicapped in one of his legs and couldn’t walk too far without his trusty crutch.He kept everything he needed within arm’s length. In the list of instruments for the solo part there’s everything from deep log drum sounds to very high metallic chime sounds. Wood glass metal and a whistle. Mostlysmall-scale things with a large gong behind used sparingly. I think that we managed to keep below 30 instruments in all which I was keen to do. I didn’t want scores of things that are only played once they have to earn theirkeep. I didn’t want to use a marimba but thought that trying to make the xylophone sound in a more expressive way would be more of a challenge. The percussionist sits for much of the time on a Cajon a flamenco instrument which isessentially a wooden box. The player hits the front of the box in various ways rather as you play a conga. There are guitar strings inside and bells to add to the overall colour. I would like to thank Colin Currie for the

Genesys Fanfare was written for and performed by the members of the Brass and Percussion sections of the Flint Symphony Orchestra. Later the work was rescored for full orchestra and ultimately for concert band in this present arrangement. This band version was first performed in 2016 by the combined Wind Ensembles of Texas Lutheran University conducted by Beth Bronk. The musical ideas for this fanfare are straightforward - the theme is a rhythmic representation of the name of the institution that commissioned the piece - Genesys Hospital. The asymmetrical repetition of the spoken rhythm however yields a refreshingly compelling pulse which drives the music all the waythrough.

Light Overture - A Symphonic Entertainment was composed by Poul Ruders in 2006. Commissioned by the Alabama Symphony Orchestra and Music Director and Principal Conductor Justin Brown for Alabama Power Company’s 100 Year Anniversary Concert. Light Overture subtitled A Symphonic Entertainment is a short piece for symphony orchestra lasting approximately eight minutes. Light Overture is focusing on two interpretations of the word light: ”light” as in the absence of darkness and “light” as in easily comprehensible; in other words a piece with few or no metaphysicalconnotations. It is just a piece setting a festive mood as is often the case with this sort of short “concert opener”. However the journey through Light Overture is not entirely happy-go-lucky. Once in a while slightly darker colours are introduced for the sake of variety and contrast. And formally the composition is quite strict: an outright Prelude and Fugue the former sliding seamlessly into the latter. The Fugue juggles not only its own tune but also picks up stuff from the Prelude. Poul Ruders May 2006