Based on the Henle Complete Edition of the Works of Joseph Haydn.Orchestral parts available in a large format (25.5 x 32.5 cm).Haydn?s Symphony No.26 received its nickname Lamentazione during his lifetime though it is unclear whether this stems directly from the composer. This work probably originated no later than 1770. Its first and second movements quote excerpts from Gregorian chants used in Holy Week. In Haydn?s day it was customary to play individual movements in church services and it may be assumed that these two movements were performed and possibly composed independently from each other.Continuing thecollaboration between Bärenreiter and the Henle publishing company in the areas of large-scale choral works operas and symphonies Haydn?s Symphony No.26 is appearing based on the Henle Complete Edition of the Works of Joseph Haydn. The complete performance material for several of Haydn?s Sturm und Drang symphonies and all of the London and Paris symphonies has already been published.

Based on the Henle Complete Edition of the Works of Joseph Haydn.Orchestral parts available in a large format (25.5 x 32.5 cm).Haydn?s Symphony No.26 received its nickname Lamentazione during his lifetime though it is unclear whether this stems directly from the composer. This work probably originated no later than 1770. Its first and second movements quote excerpts from Gregorian chants used in Holy Week. In Haydn?s day it was customary to play individual movements in church services and it may be assumed that these two movements were performed and possibly composed independently from each other.Continuing thecollaboration between Bärenreiter and the Henle publishing company in the areas of large-scale choral works operas and symphonies Haydn?s Symphony No.26 is appearing based on the Henle Complete Edition of the Works of Joseph Haydn. The complete performance material for several of Haydn?s Sturm und Drang symphonies and all of the London and Paris symphonies has already been published.

Poul Ruder's Wind-Drumming for Wind Quintet and 4 Percussionists (1979/85). Parts are for hire: hire@ewh.dk Programme NoteWind-Drumming was written in 1979 on a commission from The Danish Percussion Ensemble.The piece is a clash of two kinds of sound-associations; the mystic exotic impact of Latin-American drumming and the more well dressed reputation of Western concert-instruments in this case a wind-quintet (w. electric flute).The two instrumental camps either melt into one soft humming ritual or are split wide apart the winds tearing their way through the undergrowth ofrainforest-drumming. There is more than one way of getting on to WIND-DRUMMING: obviously it is about the confrontation of two incongruent ways of living a lament on the damage done to the tropical rainforests of the world by modern civilisation. One can hear it plainly as a direct rhythm-show a downright number or a joyous homage to the most exiting kind of folkloristic music at all: the carnal spell of the Brazilian Samba. Poul Ruders

Orchestral work commissioned by the BBC and premiered by the BBC Symphony Orchestra under the direction of Andrew Davis The Barbican Hall November 1992.Quoting Lindberg: 'After having written a Piano Concerto in 1991preceded by three works for different orchestral effectives (Kinetics Marea and Joy) I felt that I had come to an end with a certain musical expression and also compositional technique. All these works were based upon anextended chaconne principle with chord chains cycling around undergoing constant transformation and being articulated in a very gestural way. The musical paradox and evidently also the challenge was the discrepancy between abrick-like method expressed in a world of gestures (with all difficulties involved in conceiving music out of phrases) aiming at a continuity in terms of progression and development.After the Piano Concerto in the autumn of1991 I strongly felt that I couldn't continue in that direction anymore. I started to work on a project called Corrente for 16 players as a study for the full orchestra version entitled Corrente II.In order to bring theharmonic and rhythmic world closer to each other I abandoned the chaconne principle and based the harmony on different scale aggregates. By combining these scales and by filtering or by enhancing them with additional pitchesbased on more acoustically oriented views of the scales by considering them as partials of virtual fundamentals I was able to work in a rich harmonic world without actually having to do harmonic transformations and progressions.The rhythmic material was based on pattern figures with a rather kaleidoscopic approach of repetition and variation.By combining these pattern figures and scales aggregates I wanted to give the musical expression a 'narrative'sense of streams and directions moving around in different orchestral constellations.Corrente II for symphony orchestra is based on the same material as the piece for chamber orchestra. As the timbral palette and the mass

Version 2-From the preface: Symphony No. 5 constitutes a special 'family of works' within Rued Langgaard's output. The starting-point was the orchestral piece Summer Legend Drama which was written in1917-18 and premiered at the Nordic Music Festival in Copenhagen on 16 June 1919 with Frederik Schnedler-Petersen as conductor. After a revision in 1941 this work was entitledA Thing of the Past (BVN 140). In 1920 Langgaard wrote his Symphonic Festival Play (BVN 166) which he based on Summer Legend Drama but which incorpo rates a new middle section and a new conclusion and at the same time is considerablyshorter.The composer conducted the Symphonic Festival Play himself at the Danish Concert Society on 20 April 1921. The following year the work was performed in Berlin by the Blüthner Orchestra and in Vienna by the Vienna Symphony Orchestra on both occasions under the direction of the German conductor Hans Seeber-van der Floe. Langgaard's next step was to abbreviate and revise the Summer Legend Drama in 1926; he presented it at a concert on 11 April 1927 in Copenhagen under the designation Symphony no. 5 (one movement). This is the version that the composer later named 'version 1' and which the Rued Langgaard Edition published in 2002.

Ralph Vaughan Williams' Flos Campi for SATB wordless chorus Viola solo and Orchestra. Part for Viola.This work is one of Vaughan Williams's most enigmatic pieces. Although the six movements all borrow their titles from the Old Testament's Song of Solomon the Chorus never articulates a single word. Instead it serves as a section of the Orchestra creating an elegant vocal texture and backdrop to the Viola's haunting solo lines.Flos Campi was premiered in October 1925 by the violist Lionel Tertis singers from the RCM and the Queen's Hall Orchestra directed by Sir Henry Wood.

Score-Rossano Galante's The Redwoods for Orchestra.The Redwoods was commissioned in 1998 by the North Tonawanda High School Band under the direction of Norman Alexander.Thiswork inspired by the beauty power and majesty of the Redwood - the most remarkable of trees - begins with a heroic-romantic Trumpet melody accompanied by Woodwind arpeggios punctuated by Brass rhythms. After a transition theopening melody is followed by the rich lush main theme (m.29) which is stated by the Horns and Woodwinds.After the main theme has undergone variations in orchestration a new section follows (m.65) with the upperWoodwinds playing a second delicately stated theme reminiscent of a music box. The new theme is heard just once more (m.73) but played in a heroic manner by the Trumpets and Trombones in juxtaposition of the original 'music box'statement.The main theme recapitulates in a similar heroic manner (m.82) and as each theme returns it is heard with a change of instrumentation and accompaniment. After the final thematic statement a Brass fanfare bringsus to the end of the piece which culminates in a grand climax.

Score-William Schuman's Prayer In Time Of War for Orchestra. Study score.This work was first performed under the title 'Prayer-1943' by the Pittsburg Symphony Orchestra under the direction of Fritz Reiner on February 26 1943.Duration: approx 15 minutes.Instrumentation:3 Flutes (3rd Flute interchangeable with Piccolo)2 OboesEnglish Horn2 Clarinets in B-flat2 Bassoons4 Horns in F3 Trumpets in C3 TrombonesTubaTimpaniPercussion (Bass Drum Cymbals Gong Snare Drum)Violin IViolin IIViolaVioloncelloBass

'Le Voyage Dans La Lune is a continuous orchestral score of approximately 14 minutes comprising two outer fast sections and a slower inner section of a dream-like character. The work is directly inspired by the film Le Voyage Dans La Lune (1902) written and directed by the pioneering French film-maker Georges Méliès. Méliès was influenced by 19th century interests in science and discoveries as well as the science fiction of Jules Verne. At the same time his work seems fantastic surreal and satirical. Some critics point out an underlying critique of colonial adventuring. The plot centres on a group of astronomers who decide tolaunch a rocket to the moon containing a handful of their number. They reach the moon (famously landing on the moon?s face) and then encounter a strange race of aliens whom they battle and destroy. The return to earth involves a dramatic descent a plunge into the ocean and then celebratory dancing. The film inhabits a surreal and dream-like space and uses an idiosyncratic visual language which transforms reality. This inspired an active musical response in my own score which is by turns abrupt smooth lyrical and violent and expresses something of the strange shifting surfaces and multiple and layered tempos evident in the film. The canons in the horns in the first scene reflect the intense arguments of the astronomers as they consider the project. The slower inner section is inspired by the scenes of the industrial City viewed from its rooftops by the astronomers. It also expresses the wonder of the astronomers as they see the earth rise from the perspective of the moon after their arrival there. The music of the final section is in places conflicted reflecting the violent encounters with the moon?s inhabitants. It moves into a more harmonious phase at the close to match the celebrations upon the astronomers? return from their adventuring. The music could be considered to be a surreal mini-opera

Based on the play by Beaumarchais The Barber Of Seville is one of the greatest of all comic operas delighting audiences with its keenly sketched characters melodic elegance rhythmic exhilaration superb ensemble writing and original and delightful orchestration. Presented in full score reproduced directly from the authoritative edition published by Ricordi.

For Speaker And 5 Instrumentalists. Par SCHOENBERG ARNOLD. Pierrot lunaire marks the high point of Schoenberg's expressionistic period, the essence of which he described as renouncing tonal centers and systematic relationships, replacing them with the twelve-tone method he was later to develop, with its dodecaphonic principles. Dethroning tonality and 'emancipating the dissonance' led to a radical change in his understanding of form and the intensity of musical expression beginning in 1907/1908: 'And I am unconditionally approaching a new kind of expression - I can sense it. The sounds now are virtually becoming a bestially direct expression of sensual and intellectual feelings - almost as if everything had been directly propagated.' (Diary entry, March 1912.)/ Répertoire / Récitant et 5 Instrumentistes

Henryk Mikolaj Gorecki's career spans more than 40 years dating from the post-Stalinist era of the mid 1950s and embracing a catalogue of more than 70 acknowledged works. It was not however until the phenomenal success of histhird symphony Symphony of Sorrowful Songs Op 36 which brought the composer world-wide renown through its numerous performances and recordings that his music reached an extended audience outside his native Poland. Since thenthe directness and emotional impact of his music have established him as one of the major figures of contemporary music.

This is the full score of Aheym For Orchestra composed by Bryce Dessner best known as the guitarist of The National but also an acclaimed composer in his own right.   If sodesired this work can be performed with Strings alone: the Wind and Percussion instruments are optional. Composed in 2009 for the Kronos Quartet for their performance in Brooklyn's Prospect Park for the CelebrateBrooklyn! festival Aheym (meaning 'homeward' in Yiddish) was directly inspired by his parents' migration to Brooklyn. The score in this edition was first performed by the London Sinfonietta at the Southbank Centre in London onthe 9th of October 2012. The work lasts around 8 minutes and is filled with dynamic tempo changes a mix of staccato and smooth playing and all-round excitement. It's a fantastic piece to play and the genius composition will keepaudiences on their toes.

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