Par HAYDN JOSEPH. According to his dating of the autograph, Haydn composed the Symphony no. 89 in F major in 1787, just one year after the six so-called Paris symphonies. It was written, together with its sister work, the G-major Symphony no. 88, for the violinist Johann Tost, who sold it to the Parisian publisher Sieber. In both works, Haydn continues the compositional achievements of the Paris symphonies: mastery of orchestration, richness of musical ideas and details, and an idiosyncratic, multicoloured use of the wind section (which still makes do without Clarinets). In contrast to the buoyant G-major symphony, the F-major symphony possesses a ratherpastoral, sweet character, which in parts can nevertheless soar to dramatic heights. This study edition reproduces the musical text of the Haydn Complete Edition, which is a guarantor of the finest scholarship. An informative preface and a brief critical report make this handy score an ideal companion for all Haydn fans, both present and future. / Friesenhagen, Andreas / Répertoire / Orchestre

Tie A Yellow Ribbon-Von Peermusic gibt es Arrangements berühmter Klassiker diverser Genres für Salonorchester in Doppelnummern (Bänden mit 2 Musiktiteln) - ähnlich wie die Doppelnummern für Combo. Unterschieden wird dabei in Besetzungen bis 3 Saxophone/Blechbläser (Standard) bis 5 Sax./6 Blechbläser (Standard + Ergänzer) und den Ergänzer-Stimmensatz. Hier der Standardsatz. Die Besetzung - Standard: C-Stimme (Akkordbezifferung und Text); Gitarre/Melodie (Akkordbezifferung und Text); Drums/Melodie (mit Text); 1./2. Violine; 1./3. Stimme Altsax; 2. Stimme Tenorsax; 1./2. Stimme Trompete; 1. Stimme Posaune; Bass; Klavier(Akkordbezifferung und Text). Hier der Doppelband mit More Than I Can Say (Curtis/Allison) und Tie A Yellow Ribbon (Levine/Brown).

This year celebrate our national holidays by programming this splendid montage of American hymns. “When I Can Read My Title Clear ” “I Know That My Redeemer Lives ” and the beloved “I WillArise” make up this trio of praises and the general nature of these early hymns make programming a breeze for any time of the year. An extraction from the commemorative cantata Legacy of Faith.

Tafelmusik I - Full score from the Telemann Selected Musical Works Edition Georg Philipp Telemann (1681–1767)Musical Works Edited by Martin Ruhnke und Wolf Hobohm in cooperation with the Telemann Conservation and Research Centre in Magdeburg This edition is designed to present researchers and performers with a representative selection of the works of Georg Philipp Telemann in reliable scholarly editions. It will contain characteristic works from each genre of the composer's voluminous œuvre including chamber music instrumental concertos orchestral suites pieces for keyboard instruments church cantatas Passion settings motets psalms masses sacred concertos operas oratorios secular cantatas songs and arias. Each volume contains a preface several facsimile reproductions from the source material and a critical report. The suitability of the edition for performance purposes is emphasized by the instrumental parts accompanying the volumes of chamber music.

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

Composer's Note: Quilting co-commissioned by the BBC Symphony Orchestra and the Los Angeles Philharmonic is my first stand alone work fororchestra and is loosely inspired by the American tradition of quilt making. I composed Quilting while living most of last year in Paris. During my time there I thought a lot about what it means to compose symphonic music as ayoung American in the 21st century when so many of the many masterworks which are programmed year in and out by orchestras across the country are European. I considered which artistic traditions defined the American 19th-century.I began to think of the American crafts-tradition of quilting as a foil to the high-art tradition of European orchestral composition. As the score for my new work began to take shape I started thinking about themanuscript itself as an object its vertical and horizontal planes create a kind of patterned geometry of their own. Visually the way a musical score is woven together like patchwork brought to mind quilts and the great Americantradition of quilting. I imagined about how conducting an orchestra can feel like stitching a piece together or sewing together a large number of musical ideas and musicians into a coherent and transcendent whole. Quilting was an integral part of American vernacular in the 18th and 19th centuries the African-American quilting tradition is especially fascinating and the quilts tell the stories of the women and communities who made them.The names of the quilt patterns themselves can have their own sense of narrative: 'jacobs ladder' 'drunkards path' 'solomon's puzzle' and (my favorite for its relevance to this piece) 'the road to California.' -Bryce Dessner

Par HAYDN JOSEPH. Les trois Symphonies de Haydn nos 90 à 92 pourraient en fait être présentées sous l’appellation de «Symphonies parisiennes, seconde partie», car elles sont nées en 1788-1789 également dans le cadre d’une commande de la Société Olympique pour laquelle Haydn avait déjà composé ses six «Symphonies parisiennes» nos 82 à 87 quelques années auparavant. De façon assez amusante, Haydn les vendit ensuite une nouvelle fois au Prince von Oettingen-Wallerstein, qui souhaitait «acquérir 3 nouvelles “Synfonien” de lui». Au-delà de ces complications mercantiles, Haydn se montre, dans ces œuvres, en pleine possession et en pleine maîtrise de son métier de symphoniste. La Symphonie en Mi bémol n° 91 fut, si l’on en croit le manuscrit autographe, terminée en 1788, et surprend – même selon les critères de Haydn – par le nombre de ses particularismes, comme par exemple le thème de contrepoint baroque du premier mouvement, ou les enchaînements de trilles dans le mouvement lent à variations. L’édition d’étude reprend le texte de l’édition complète des œuvres de Haydn, garantissant ainsi la plus haute qualité scientifique. Une préface informative et un bref commentaire critique font de cette partition en format maniable un accompagnateur idéal pour tous les fans de Haydn, ainsi que tous ceux qui souhaitent le devenir./ Répertoire / Orchestre Symphonique

Many of the old hymns have great sometimes stunning messages. Michael Hurley feels that sometimes the “antiquated” melody and/or harmony can get in the way of these important words. He has embarked upon an ongoingproject to create fresh new music for these grand expressions of faith. He has definitely accomplished that with this arrangement! Higher Ground is lively and upbeat with exciting harmonies and catchy syncopation.“Pressing on the upward way” is no problem with this uplifting choral. The melody soars as the mood of the text climbs higher adding a great high soprano descant on the final verse “I want to scale the utmostheight and catch a gleam of glory bright!” A wonderful orchestration or accompaniment CD is available taking this spirited octavo to new heights...to Higher Ground!

Eight Varied Pieces For Orchestra-Three new collections of varied pieces for orchestra for players from beginner to grade 3 standard.This collection of three books each containing eight varied pieces has been compiled to capture the imagination of young players and to introduce them to a wide range of musical styles.Special effects appropriate to each instrument provide additional learning points and great entertainment both in rehearsal and performance. There are glissandos for strings and trombone flutter tonguing for flute and trumpets (for those able to) and a range of vocal sounds for all!The scoring allows these pieces to be played by variouscombinations of instruments. Ideally your orchestra should have some instruments from each section but if not (for example no brass) then the supplementary piano part (available separately) can be used to fill the gaps. It can also be used to provide extra support in rehearsals.As well as the normal percussion parts some of the pieces make use of a drum kit. For orchestras without a drum kit player a drum kit and bass backing track is available to download free of charge either as MP3 or WAV files.OrchestrationDescant recorder Treble recorder Flute 1 Flute 2 or Oboe Clarinet 1 Clarinet 2 Alto Sax Bassoon Horn in F Horn in Eb Trumpet 1 Trumpet 2 Trombone (Bass clef) Trombone (Treble clef) Timpani Drum Kit Percussion 1 Percuission 2 Percussion 3.Strings (Violin 1 Violin 2 Violin 3 Viola Cello Bass)Orchanics 2 contains:-Marching through Mud (Richard Ling); When I was a lad (from HMS Pinafore); Ghost Ride (Richard Ling); Largo (Dvorak); Battle Zone (Richard Ling); Persian March (J Strauss II); Lazy Horse (Richard Ling); Good King Wenceslas.

Air pour l'orchestre. Par HENZE HANS WERNER. In October of 1997, I received an invitation from New York Philharmonic Music Director Kurt Masur asking me to contribute a musical message for the coming millennium. Maestro Masur's letter read 'My dream would be to have you provide us with a work lasting from 10 to 15 minutes that could both stand on its own or perhaps be combined with musical messages with other composers which we might compile for a full evening's concert.' I welcomed the opportunity to bring one of six unique perspectives to this collective exploration of the meanings of the new millennium, and it is my hope that the Multi-Arts Production Fund will chose to support the New York Philharmonic's 'Messages for the Millennium' project. My Millennium Message, Fraternité, Air for Orchestra, can best be described as a quiet and placid work in which all the instruments of the orchestra are as one ... and sing in praise of harmony and peace. - Hans Werner Henze/ Répertoire / Orchestre

Johann Friedrich Fasch (1688 - 1758) was a prolific composer who composed a variety of cantatas concertos symphonies and other chamber music. Although none of the music was published during his lifetime much of his instrumental music was later published and is still frequently performed today. The only known composition of his for lute is this Concerto in D Minor in three movements: Allegro moderato Andante and Un poco allegro. This edition includes the full orchestral score orchestral parts as well as guitar and lute parts. Victor Van Puijenbroeck has adapted the original solo part and included in the set are parts for both lute (the part has been adapted from lutetablature to modern notation) and guitar (capotasto). Instrumentation: Full Score Guitar (or Lute) - separate parts included for each instrument Violin I Violin II Viola Cembalo/Cello/Contrabass Johann Friedrich Fasch (1688 - 1758) was a prolific composer who composed a variety of cantatas concertos symphonies and other chamber music. Although none of the music was published during his lifetime much of his instrumental music was later published and is still frequently performed today. The only known composition of his for lute is this Concerto in D Minor in three movements: Allegro moderato Andante and Un poco allegro. This edition includes the full orchestral score orchestral parts as well as guitar and lute parts. Victor Van Puijenbroeck has adapted the original solo part and included in the set are parts for both lute (the part has been adapted from lutetablature to modern notation) and guitar (capotasto). Instrumentation: Full Score Guitar (or Lute) - separate parts included for each instrument Violin I Violin II Viola Cembalo/Cello/Contrabass

I. The Asteroid Field (4:50) II. Parade of the Ewoks (4:10) III. Cantina Band (2:15) IV. Here They Come (2:15) V. Luke and Leia (4:45) VI. The Forest Battle (4:05) (Total performance time - ca. 24 minutes)

Par BRUCH MAX. Thanks to the premiere performance by Joseph Joachim and to the release of the printed edition in 1868, Max Bruch's Violin Concerto #1 zipped onto the road to success and has never left it since. Yet from the preface of the 'BreitkopfUrtext' edition,one can infer how things looked like behind the dazzling facade. After the world premiere, the composer struggled for the definitive form. He wrote '3, 4 development sections in the finale,' and sought the advice of celebrated virtuosi such as Joseph Joachim and Ferdinand David to revise the solo part. And after all this was done (see above), Bruch suffered under the work's popularity: 'Have I written nothing but this one concerto?' The new Urtext edition is based primarily on the first edition. Next to the main source and the autograph, what is supremely interesting is a solo part with entries by Joachim and Bruch. It confirms how intensively the two men collaborated on honing the final form of the work./ Répertoire / Orchestre

Symphony No. 6 'At The End Of Day' (1997-99) for Orchestra by Per Nørgård. Programme note: ”… with the Lord a day is like a thousand years and a thousand years is like a day”  (New Testament 2 Peter 3:8)  My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra the Göteborg Symphony Orchestra and the Oslo Philharmonic Orchestra to be premiered at the millenium 2000.  The subtitle AT THE END OF THE DAY can be understood literally or it can mean “when all is added up”. However in my opinion nothing ever quite adds up there is always “something” missing any ending will be provisional ...  This symphony appears to end only a few minutes into the first movement the first passage as the music fades away to almost-silence after a start of flying colours. But then there is still “something” a small motive (first heard in the initial sound-waves) which reappears hesitant but persistent and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next until all the voices become obsessed with the same phrase a see-saw motive based on thirds. This section evolves into almost martial ferocity when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony emplyoing instruments that I have never used before: double-bass tuba double-bass trombone double-bass clarinet and bass flute).  The second movement the second passage apparently takes off where the first passage ended but now the events are more ambiguous and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia the characteristic baroque bass-variation.  Without a break follows the third and last passage in a

19 Bände im Versand-Schuber. Par BACH JOHANN SEBASTIAN. Awarded with the German Music Edition Prize 'Best Edition' 2008. Johann Sebastian Bach: Sämtliche Kantaten, Motetten, Choräle und Geistliche Lieder. The complete cantatas, chorales and motets in study editions in 19 volumes. This special edition exclusively offers the authoritative text of the New Bach Edition meeting Bärenreiter Urtext standards. It is well presented on high quality paper and has a durable sewn binding. A MUST for everyone who is passionate about Bach´s music! No group of works in Johann Sebastian Bach?s output is as wide-ranging as the cantatas. This is hardly surprising considering that for over five years Bach was required to compose a work, or at least re-work an existing one, for every Sunday and festival of the church year, as well as for numerous secular occasions such as council inaugurations, school and university celebrations and royal birthdays. Unfortunately, not all cantatas have survived. However, over 200 sacred and secular works exist and form a corpus of works suitable for all possible occasions. This rich musical heritage is still as relevant today as it was then. Bärenreiter?s unique edition, which encompasses more than 11, 000 pages, includes all cantatas together with the motets, chorales and sacred songs in the Urtext of the ?New Bach Edition? (NBA Series I and III). As a special extra, the recently rediscovered aria ? Alles mit Gott und nichts ohn ? ihn ? is also included. Only available here is an additional volume with an introduction (German/English) by Christoph Wolff and an index. The Barenreiter study scores are a prime example of how Barenreiter takes a musical text and transfers it into a practical format. The Barenreiter Study Scores, format 16. 5 x 22. 5cm, are ideal for musical analysis, rehearsal purposes and even conducting. The Study Scores are distinguished by high quality paper and binding as well as an excellent layout. In this way masterworks of musical history are made available as compact sized scores at extremely affordable prices! Barenreiter presents the Complete Cantatas, Chorales and Motets in a handy, readable and affordable paperbackformat. The special ediion of 19 volumes (including an index) exclusively offers the authoritative musical text of these masterworks. Each volume is printed on high quality paper and has a durable sewn binding A must for everyone who is passionate about Bach's music. These scores are the last word in Bach scholarship and an extraordinary publishing achievement / Mottet / Répertoire / Partition de Poche