The sultan Shakriar convinced of the falshood and inconstancy of all women had sworn an oath to put to death each of his wives after the first night. However the sultana Scheherazade saved her life by arousing his interest in the tales which she told him during 1001 nights. Driven by curiosity the sultan postponed her execution from day to day and at last abandoned his sanguinary design. Scheherazade told many miraculous stories to the sultan. For her tales she borrowed verses from the poets and words from folk songs combining fairy-tales with adventures.

Folk Tune (also known as Sheep Shearing Song) was originally composed for piano by Eugene Goossens. This setting for symphonic band by Percy Grainger bears the hallmark ingenious application of instrumentation and harmonizing that Grainger became so well known for.

A Chanukah Anthem-Set with strings woodwinds and percussion this soaring melody by Broadway composers Sheldon Harnick and David Shire is a wonderful addition to your holiday repertoire.

Score-H'UN (Lacerations) is a FULL SCORE to the extensive work written by Bright Sheng. This work recounts the Chinese Culteral Revolution 1966-1976. This was a very dark sad time for the people of China. This work contains no melodybecause the composer felt this horrific time did not deserve one.

Score-John Jacob Niles' I Wonder As I Wander arranged for Orchestra.This Christian folk hymn was inspired by a song heard by Niles at a fundraising meeting for evangelicals which he attendedin Murphy North Carolina. Niles wrote of the moment he first heard the tune:'A girl had stepped out to the edge of the little platform attached to the automobile. She began to sing. Her clothes wereunbelievable dirty and ragged and she too was unwashed. Her ash-blond hair hung down in long skeins.... But best of all she was beautiful and in her untutored way she could sing. She smiled as she sang smiled rather sadly and sang only a single line of a song'.Niles requested that the girl repeat the fragment seven times paying her a quarter per performance and left with 'three lines of verse a garbled fragment ofmelodic material—and a magnificent idea'. He completed his composition on October 4 1933 and I Wonder As I Wander was first performed on December 19 1933 at the John C. Campbell Folk School in Brasstown North Carolina.This melodic arrangement by Michael Brown offers an opportunity for every group of instruments to shine making it an excellent choice for school concerts or showcases.

Everyone Sang was composed by Scottish composer Helen Grime in 2010. It was commissioned by BBC Radio 3 for the 75th anniversary of the BBC Scottish Symphony Orchestra. It was first performed at CityHall Candleriggs Glasgow in December 2010 and is arranged for Orchestra. When composing this piece Grime states that she imagined the Orchestra as many individual voices  that were capableof producing a unified melody but also breaking off into separate strands of song. Since it was composed as a commemoration for the BBC Scottish Symphony Orchestra Grime wished to emphasise the Orchestra as a grand unified whole as well as their individual sections and sounds.  The piece unifies the orchestra with a sense of celebration and elation as well as a sense of melancholy making it apt that the pieceis named after a poem by Siegfried Sassoon. 

In The Shadow Of The Bat - Concerto for Three Trombones and Orchestra by Niels Marthinsen (2009). Programme note: In the Shadow of the Bat is a triple concerto for three trombones and orchestra inspired by Batman and his enemies The Joker Two-Face and The Penguin. A central idea of modern versions of the Batman myth is that the batman is created by the fantastic villains that he fights and they are created by him - and that Batman is driven by revenge and hate barely held in check by an intense sense of justice. Batman represents 'the dark side' while the villains are hyper-imaginative colourful creative caracters who happen to be completely insane. The rivalry between soloists and orchestra is anything but friendly: The three soloists represent one villain each the orchestra 'is' the batman - and while the villains take centre stage during most of the concerto they are eventually overwhelmed by the sheer power of the orchestra and sent where they belong: The lunatic's asylum. The concerto begins with the creation of the batman: An eight year old boy persuades his parents to leave an opera performance before it is over; outside in an alley they are shot and killed by a criminal while the boy watches. And he decides that all criminals must be punished! Then follows the Villaineuos Fugue: a multi-part fugue-like exposition of villain motives and stylistic environments. It is the exposition of the joker (alto trombone) two-face (tenor trombone) and the penguin (bass trombone). And after a brief and very slow interlude where the three criminals form an alliance and make their plans the Toccata of Crime begins: Bright fast moving highly energetic expansive and colourful music still dominated by the soloists. But later the orchestra moves to centre stage with slow omnious swooping bat-music that climaxes as the soloists are defeated by the orchestra. In the Shadow of the Bat is commissioned

It is recommended that 32 copies of the performance score are purchased for a performance for the producer conductor continuo player Venus Adonis Cupid Little Cupids (x 6) and the Chorus (x20). Minor roles (3 Shepherds Shepherdess Huntsman) are to be drawn from the Chorus.

Eine kleine Nachtmusik' '... written with ease, but skillfully refined' 'Eine kleine NachtMusick' is how Mozart entered the Serenade in G major in his personal catalogue of works on 10 August 1787. It was written without any known incentive or commission during the time that Mozart was composing 'Don Giovanni', a time when he was celebrating his greatest success as an opera composer. The work is one of the jewels of Mozart's output, combining bright radiance and a natural simplicity with brilliant refinement. Similarly, the autograph manuscript of this perfect masterpiece is captivating because of its balanced clarity and beautiful handwriting. The manuscript was inaccessible to the public for almost half a century, but now Bärenreiter has received exclusive permission to produce a new facsimile of Mozart's original. The edition reproduces the facsimile pages as individual sheets and leaves, reflecting the way the original copy has survived. These pages ' in high-quality colour printing, each trimmed individually ' are presented in a handsome box. This is accompanied by a booklet with an introductory text by Wolfgang Rehm including information on the genesis of the composition and the various aspects of the autograph manuscript. 'The fact that it's all over town does not alter anything in the quality of this occasional piece written with ease but skillfully refined.' (Wolfgang Hildesheimer) BÄRENREITER FACSIMILE The seal is used exclusively for facsimile editions published by Bärenreiter which meet the highest demands in both scholarly and technical terms. The distinguishing features include: - a facsimile in high-quality colour printing - scholarly commentary 'Facsimile of the autograph score KV 525 'Introduction: 'I. 1787: The work. Its background, genesis, significance and impact 'II. The Autograph. Its clear, its twisted paths 'Notes and References 'Einführung: 'I. 1787: Das Werk. Sein Umfeld, seine Entstehung, Bedeutung und Wirkung 'II. Das Autograph. Seine eindeutigen, seine verschlungenen Pfade 'Anmerkungen 'Watermark No. 55 'Facsimile of the autograph fragment KV 525a Edition no.: BVK 2282 ISBN: 9783761822821 Volume / Series: Documenta musicologica II/46 / Bärenreiter Facsimile Editor: Rehm, Wolfgang Language(s) of work: German, English Product format: Facsimile Binding: in a case Pages / Format: 38 S. - 25,4 x 34,0 cm

Invisible Cities for Orchestra by Swedish composer Britta Byström (2013). Programme note: Invisible Cities is an orchestral piece inspired by the Italian writer Italo Calvino's novel 'Le città invisible' (1972). The novel consists of many short poetical descriptions of wondrous cities. This is what the explorer Marco Polo reports to Kublai Khan of what he has seen during his travels. Gradually though Kublai Khan begins to suspect that Marco Polo all the time describes one and the same city but in many different ways: Marco Polo's own hometownVenice.  This was also my musical idea: to present the same motif in many different ways. The piece has eleven movements just as the novel consists of eleven different kinds of cities. Before every new musical 'city' there is a 'walk' – a little piano line which takes the listener from one city to another. This piano line is a quotation from Witold Lutoslawski'sVenetian Games. There are also other music connected to Venice hidden in my piece: the well-known Barcarolle by Offenbach and some fragments from Carnival in Venice. These references are the 'invisible cities' of my piece the material hidden under the music's surface. Marco Polo explains to Kublai Khan: 'To distinguish the other cities' qualities I must speak of a first city that remains implicit. For me it is Venice.'  (c) Britta Byström  Britta Byström’s careful ear for musical qualities such as timbre and resonance has resulted in an idiom that could almost be labeled impressionistic. She began composing already as a teenager and later studied composition at Musikhögskolan in Stockholm with Pär Lindgren and Bent Sørensen.

A Wedding Bouquet was the idea of Lord Berners who wanted Frederick Ashton to make a ballet pantomime out of one of Gertrude Stein's plays and who both wrote the music and designed the 'decor' and costumes. The name ofthe play was 'They must be Wedded to Their Wife' but this was thought too long for advertising and was changed to A Wedding Bouquet. Lord Berners went to visit Gertrude Stein in Bilignin and she liked the idea and he foundin her house a carpet which gave him the pattern for the backcloth for the ballet.The ballet was first spoken of as a choral ballet and the opera chorus did sing or chant the words at the early performances but it was entirelyunlike any other choral ballet before or since. The words explained the action introduced the characters made utterly irrelevant comments worked themselves into a frenzied rhythmical accompaniment or injected on occasional aptphrase that devastated dancers and audience alike. Not all of the words have ever been really intelligible but gradually the audience got to know certain phrases by heart and the ballet has a devoted public although inevitably ithas always been a rather special one and to this day there are people who detest the whole affair don't 'understand' it and think it an absurd waste of time and talent.

Full Score-Eugene Onegin the most popular of Tchaikovsky's operas is widely considered a theatrical masterpiece. Adapted from a novel in verse form by Aleksandr Pushkin it is the tale of a jaded Russian aristocrat who scorns the love of Tatyana an attractive young girl of the provincial petty nobility. After years of aimless wandering Onegin returns to St. Petersburg to find Tatyana much changed and married to a prince. Onegin falls in love but this time she rejects him in favour of marital fidelity. Full lyrics in Russian.

Performer Level (correlates with Book 1 p. 34) Based on She'll Be Coming 'Round the Mountain this version is geared for that first concert experience.

The music for this piece was inspired by a short extract from a traditional melody sung by women cloth-workers in Barra in the Western Isles of Scotland. The Scottish folk music tradition is one that Weir has frequently drawn onin the past both in shorter works such as the songs of Scotch Minstrelsy and in her second opera The Vanishing Bridegroom and it is one she has completely assimilated into her technique. The modal feel of this piece however is as much a result of Weir's intuitive and idiomatic harmonic sense as of the original inspiration. Overture for Orchestra commissioned by the Boston Symphony Orchestra in honour of the 50th anniversary of the Tanglewood MusicCentre in 1991; it received its first performance there on 3 August that year.

This work was commissioned by the Royal Philharmonic Orchestra. It was first performed on 2nd May 2000 at the Barbican Centre London conducted by Peter Maxwell Davies. Duration c.23 minutes. Peter Maxwell Davies: The hornwriting is extremely virtuoso throughout not least in exploring the full range of the horn from the deepest notes in the bass normally exclusive to an orchestral fourth horn player to the highest most exposed sostenuto of afirst horn soloist presenting here challenges of embouchure and sheer stamina I should think fairly unprecedented.Solo part and piano reduction on sale (CH61758) Conductor's score and orchestral parts available for hire.