Beethoven's Egmont Overture is one of the most famous pieces in the orchestral repertoire. Until now there has not been a string version that captures the full effect of the original. Since many directors have expressed the need for good literature for larger string programs Robert McCashin is pleased to offer this shorter arrangement which effectively utilizes the full string orchestra. Excellent for exposing your students to a classic without having to recruit wind players.

New York Pops arranger Stanley Applebaum has skillfully crafted this fast moving medley featuring four themes from Bizet's immortal opera Carmen. From the trumpet fanfare in the Prelude to the jazzy sax led Toreador Song this up-tempo tribute to theater is sure to please any audience. Bizet at its best!

The Magic Flute In Full Score was created at the peak of the Enlightenment Mozart's divine and enduring milestone of Opera is both a light-hearted fairy tale and an epic story of the strugglebetween good and evil.The Magic Flute met instant acclaim at its 1791 premiere and it remains among one of Mozart's most performed and admired works.

The Clinton 12-In August 1956 Clinton Tennessee was the the site of one of the most significant events of the American Civil Rights movement as 12 courageous teenagers walked into history becoming the first students to desegregate astate-supported high school in the south. Commissioned by the East Tennessee School Band and Orchestra Association Richard Saucedo captures the mood of this monumental event along with its sense of anger and frustration but alsowith feelings of hope and determination as the nation struggles to defeat bigotry and fear. Dur: 5:45 (Grade 5)

Hjärtats Nycklar is a Chamber Opera composed by Peter Bruun with libretto by Ylva Eggehorn(Martin Lönnebo).

Saariaho’s L’armour De Loin is an opera in five acts and was premiered in Salzburg in August 2000 with additional productions being staged at the theatre Bern in Switzerland. The story is based on the life ofPrince of Bleye one of the first great troubadours of the 12th century and follows his glowing passion for a woman from the East of whom he has only heard is the central theme of the libretto. Libretto written by AminMaalouf.This is the Full Score of Saariaho’s remarkable opera.

The masters of funk Tower of Power are as relevant and active today as ever before. This hit from the '70s features a moderate tempo groove with an occasional 7/8 measure thrown in for kicks. Paul's arrangement for mature bandsalso includes an optional open section for any soloist.

These three pieces form a very short instrumental opera based on the life of James Reid a bagpiper in Prince Charlie's Jacobite army who was captured by the English in 1746 and executed after a judge had classified the bagpipes as a weapon. This piece is a string trio version of Sketches from a Bagpiper's Album (1984) for clarinet and piano scored for Violin Cello and Viola. Duration: c. 8 minutes. Score and parts included.

An energetic and passionate piece from the Norwegian composer Christian Sinding. This piece is scored for Violin and Orchestra.

Thus Saw St. John is a work for Orchestra which was inspired by Chapter 6 of the Book Of Revelation.

Composed in 12/8 and entirely in one energetic tempo this masterful work is a musical tribute to the late Sir Malcolm Arnold one of the most notable English composers of our time. The opening section features a variety of shortsolo statements of the theme which then leads to well-timed and impressive declarations from the entire ensemble. Within in the confines of this brief yet impressive work Richard manages to skillfully capture feelings of bothseriousness and playfulness. Along an English Countryside is wonderful as a program opener for festival or contest. Dur: 2:55

Faksimile Der Autographen Partitur In Der Bibliotheque Nationale De France-Facsimile of the autograph score held in the Bibliothèque nationale de FranceDocumenta musicologica II/532920 pp. of facsimile and 12 pp. of Commentary (Eng/Ger/French)Half-leather binding Love and insanity tenderness and vulgarity bordering on the grotesque: Hector Berlioz never avoided extremes neither in his life nor in his oeuvre. His entire Symphonie fantastique is pervaded by a musical ?idée fixe? representing a woman he adored. The symphony brought about his breakthrough and has remained popular ever since. The impact of his masterly approach to composition especially in the treatment of theorchestration could still be felt in the 20th century. Berlioz revised the work for years before it finally reached its definitive version. He entered many of these changes in the autograph score which was also used for performances by pasting strips of paper over the bars or parts in question. This facsimile edition in high-quality four-colour reproduction presents the manuscript as it is today ? with strips of paper that can be folded out making both versions visible. Hugh Macdonald General Editor of the New Berlioz Edition explains the work?s genesis and presents particular passages from each movement.

2005-Søren Nils Eichberg's Symphony No. 1 'Stürzten wir uns ins Feuer' for Orchestra (2005). DK Programnote Eichbergs 1. Symfoni er skrevet i 2005 og blev uropført Ã¥ret efter af Odense Symfoniorkester. Symfonien er i ét sammenhængende forløb og varer en halv time. Den har en undertitel: 'Stürzten wir uns ins Feuer' ('Styrtede vi os i flammerne'). Ordene er taget fra bogen 'Jesusevangeliet' skrevet i 1991 af den portugiske Nobelprismodtager José Saramago. Det fulde citat er en dommedagsvision der lyder sÃ¥dan her: '… og var viligesÃ¥ dumdristige eller vovemodige som sommerfuglene og natsværmerne og styrtede vi os i flammerne én og alle hele menneskeslægten - mÃ¥ske sÃ¥ en sÃ¥ kraftig brand en sÃ¥ skærende lue ville gennemtrænge Vorherres lukkede øjenlÃ¥g og vække ham fra hans træge blunden - for sent ganske vist til at nÃ¥ at opfatte os men dog tidsnok til at mærke begyndelsen af det store intet nu da vi ikke længere var…' Visionen fascinerede Eichberg med det samme han læste bogen. 'Der er for mennesket noget direkte magisk tiltrækkende ved den kollektive selvdestruktion og katastrofen som sÃ¥dan ogsÃ¥ selvom det egentlig synes ulogisk og gang pÃ¥ gang styrter vi os hovedkulds ind i ilden. Jeg vidste med det samme at jeg ville bruge citatet i musik pÃ¥ et tidspunkt.' Men nÃ¥r citatet stÃ¥r over Søren Nils Eichbergs Symfoni nr. 1 er det konkret ogsÃ¥ fordi han fandt at det udtrykte noget om situationen i begyndelsen af 2000-tallet. 'Europa førte igen angrebskrig ' forklarer han 'og de politiske strømninger der 60 Ã¥r forinden lagde Europa i ruiner var pÃ¥ fremmarch igen. I Danmark lod man dem ligefrem fÃ¥ parlamentarisk indflydelse.

Here's the hottest chart of the year for your swinging jazzers to play. It attacks all the way and never lets your audience relax. Based on the familiar changes of Avalon this chart is flat out 'pedal to the metal.' It features a tenor chase with a trumpet option and is loaded with some great ensemble writing behind the soloists. Definitely HOT!

The Full Score for Peter Maxwell Davies’ fourth in a series of ten string quartets commissioned by the Naxos Recording company first performed by the Maggini Quartet on 20th August 2004 at the Chapel of the Royal Palace Oslo Norway as part of the Olso Chamber Music Festival. Composer Note: The fourth Naxos quartet was written in January and February of 2004 with the intention of producing something lighter and much less fierce than itspredecessor an unpremeditated and spontaneous reaction to the illegal invasion of Iraq.I returned to the well-known Brueghel picture of children's games (1560 now in Vienna) which had been the inspiration for my sixthStrathclyde Concerto for flute and orchestra. These illustrations liberated my musical imagination but I feel it would limit the listener's perception to be too specific about which game relates to exactly which section of thework. Suffice it to say that there is vigorous play - leap-frog bind the devil with a cord truss wrestling - alongside quieter pastimes - masks guess whom I shall choose courting odds and evens. The single movementjuxtaposes these activities as abruptly and intimately as they occur in Brueghel. Rather as the eye is taken into different perspectives and proportions of scale within the picture taking liberties which would never be presentin for instance Brunelleschi architectural drawings so here with a constant sequence of transformation processes I have distorted the neat precise implications of modal progression expressed in the unison opening phrase(from F to B through A sharp/B flat) so that the ear is led en route into the sound equivalents of strange passageways and closed rooms: sicut exposition ludus. As work on the quartet progressed I became aware that Iwas reading into and behind the games adult motives and implications concerning aggression and war with their consequences. It was impossible to escape into innocent childhood fantasy. The nature of the F to B