String orchestra - Grade 3 - Digital Download SKU: IZ.OMS141 Composed by Daniel Baldwin. Pathways Series. Score and Parts. 26 pages. Imagine Music - Digital #OMS141. Published by Imagine Music - Digital (IZ.OMS141). 9 x 12 in inches.Cyclone was commissioned by my good friend Doug Beyer in the spring of 2009. His plan was to premiere the piece with his group (he was teaching at Garden City Community College at the time) that next fall. Unfortunately, the strings program was cut at the end of that semester and he never had the chance program the piece. It was premiered in May of 2013 by the Tabor College Symphonic Orchestra under my direction. It was inspired by the painting Twisted Ironies, a beautiful portrayal of a tornado, which was given to the composer as a gift by the artist. The drum set part was added at the suggestion of a string teacher in the community. The piece alternates dramatic lyricism with driving string and percussion statements. There is an optional first violin solo as well as a drum set solo, which will add some flair to you concert!

String Orchestra - Digital Download SKU: A0.532834 Composed by Therese Brenet. 20th Century,Contemporary. Score and parts. 39 pages. Musik Fabrik Music Publishing #45419. Published by Musik Fabrik Music Publishing (A0.532834). Thérèse Brenet was attracted to the Chinese poems in La Flûte de Jade by Franz Toussaint. She chose seven of these poems in a contrasting style and assembled them into a single work, striving to create an unusual orchestration which reflects this delicate, fantastic and sensual qualities of these poems. Her orchestration uses a small group of strings which are re-enforced by a harpsichord, a vibraphone, a harp and percussion, often superimposed, which serve to underline the delicate character of the poems. IN addition, she uses all styles of vocal production, from whispered passages to spoken words or screams, and from singing normally to sprechgesang. The work finishes serenely with a long melody in flute upon which the baritone repeats the last phrases of the poem in a long perdendosi. The voice and the flute slowly die away without there being a definite ending to the work, which allow the listener to imagine that the work continues, as in a waking dream. One could imagine hearing the echo of the words whispered by the baritone and the arien and luminous sounds of the flute which has lulled us as a soloist throughout the seven poems of the cycle. The orchestration is for 4 percussion, harp, harpsichord, piano and strings (44221). The piece generally lasts approximately fourteen minutes. The composer has intentionally broken with tradition by using instrumental notation for the vovcal part. This notations gives, in her view, a greater ease of reading when the voice exchanges with the flute. This version for flute, voice and piano is identical, as much as is possible, with the orchestral version, excpet for short segments in the 5th and 7th poems. These differences only affect the flute and piano parts and do not affect the vocal part. The Baritone may therefore use this score for performances with orchestra. The Flutist should use the part included in the orchestral parts for performances with orchestra. This work was first performed at the Villa Medicis during Thérèse Brenet time spend there during her Prix de Rome voyage. It was recorded in 2014 with Kurt Ollmann Baritone, Christel Rayneau, flute and the National Polish Radio Orchestra under the direction of Paul Wehage. The orchestral materials are on rental from the publisher.

String Ensemble Cello,Double Bass,Viola,Violin - Level 4 - Digital Download SKU: A0.1112894 Composed by Wolfgang Amadeus Mozart. Arranged by Regis Bookshar. Chamber,Christian,Classical,Instructional,Religious. 44 pages. Regis Bookshar #714847. Published by Regis Bookshar (A0.1112894). Recordare (from Requiem (K. 626) - Wolfgang Amadeus Mozart/Franz Xaver Sussmayr - String Orchestra - Advanced/Intermediate - Digital Download. Hauntingly beautiful is how the Recordare from Mozart's Requiem is often described. Originally written for an orchestra and four vocal soloists, it has now been transcribed by Regis Bookshar for a String Orchestra, consisting of 3 Violins, 2 Violas, 2 Violoncellos and 1 Double Bass, and would be a wonderful addition to any music library. This arrangement will provide students with the opportunity to play this beautiful composition, something which they may not have had the opportunity to do, otherwise. This selection could be performed for concerts, recitals and church services and is suitable for high school and college students but professional musicians would also enjoy playing this arrangement. Included are a score and a complete set of parts (44 pages). The Regis Bookshar Trumpet Ensemble has performed the Trumpet Quintet version of the Recordare for funerals, providing beautiful, introspective music for the occasion. There is some controversy surrounding the circumstances of the Requiem's composition because Mozart died before he could complete it. Count Franz von Walsegg had commissioned a Requiem Mass but Mozart had received only half of the payment in advance. So, upon his death on December 5th, 1791, his widow, Constanze, wished to have the work completed secretly by someone else and submit it to the count as having been completed by Mozart to collect the final payment. Joseph von Eybler was one of the first composers to be asked to complete the score and had worked on a number of movements but felt unable to complete the remainder and gave the manuscript back to Constanze Mozart. The task was then given to another composer, Franz Xaver Sussmayr. Sussmayr borrowed some of Eybler's work in making his completion, added his own orchestration to other movements and added several new movements which a Requiem Mass would normally comprise. He then added a final section by adapting the opening two movements which Mozart had written to the different words which finish the Requiem Mass, which according to both Sussmayr and Mozart's wife, was done according to Mozart's directions. The completed score, initially by Mozart but largely finished by Sussmayr, was then dispatched to Count Walsegg complete with a counterfeited signature of Mozart dated 1792. Despite the controversy over how much of the music is actually Mozart's, the commonly performed Sussmayr version has become widely accepted by the public, and is considered one of Mozart's finest compositions. The Recordare is considered by many people to be one of the most beautiful compositions in Mozart's entire catalogue. Regis Bookshar, a trumpet player, has performed the Requiem in concert with a full orchestra, soloists and a chorus and felt that other musicians should have the opportunity to play the hauntingly beautiful Recordare as well. So, in addition to this arrangement for a String Orchestra, he has made quite a few other arrangements of this beautiful composition. There are Quintets, Sextets, Septets and Octets readily available for a wide variety of instrumental ensembles. Please take the time to look for other versions of this composition. You may fine something else which may also suit your needs. I would also encourage you to search for other arrangements by Regis Bookshar as well, as there are numerous arrangements in a variety of styles, also available for purchase. You may find something else which might interest you. Please continue to check periodically because new arrangements are being added as often as possible. I'm certain that this beautiful arrangement of Mozart's Recordare, will continue to entertain both performers and audiences alike for years to come.

Level 3-4 - Digital Download SKU: HX.337027 By One Direction. Arranged by Larry Moore. This edition: scorch. Pop. 1 pages. Duration 110. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.337027).

String Orchestra - Level 3-4 - Digital Download SKU: HX.337019 By One Direction. Arranged by Larry Moore. This edition: scorch. Pop. 8 pages. Duration 110. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.337019).

String Orchestra - Level 3 - Digital Download SKU: A0.1383453 Composed by Graham Boag. 21st Century,Classical,New Age. 329 pages. Graham Boag #967895. Published by Graham Boag (A0.1383453). When I started writing this piece, I didn’t have a title in mind but as it developed, I began to think that it sounded like a mixture of different bird song in one place. The only thing I was sure about was, I wanted it to be minimalist in style with ideas morphing into each other and letting that process shape the music.   “The Menagerie� is written for String Orchestra and is around 8’ 25� in duration. From the initial one note pedal tone, the piece evolves providing melodic and rhythmic nuances which create the music and direction.

String Orchestra - Level 5 - Digital Download SKU: A0.942953 Composed by Geoffrey Peterson. Contemporary. Score and parts. 43 pages. Geoffrey Peterson #4267231. Published by Geoffrey Peterson (A0.942953). Link to complete recording: https://soundcloud.com/geoffrey-peterson/sets/the-edmund-fitzgerald-concerto On November 9th, 1975, the S.S. Edmund Fitzgerald left port in Superior, Wisconsin. The 729-foot-long iron ore carrier, loaded with 26 thousand tons of taconite pellets for the auto industry, was bound for Detroit. Earlier that day, the weather service had issued a gale warning. This was not unusual, considering that gale storms are typical during November on Lake Superior. The Fitzgerald’s Captain, Ernest McSorley, and her 29-member crew headed northeast unaware of the maelstrom they would soon encounter. At around 2 a.m., Bernie Cooper, captain of the Arthur M. Andersen, another freighter which was following a few miles behind the Fitzgerald, radioed Captain McSorley to consult with him about the worsening storm. They had both decided to take a more northerly route along the Canadian shore, which they hoped would provide some shelter from the violent gale winds and waves. The Fitzgerald’s long-range radar stopped working the following day and was needed in order to avoid Six-Fathom Shoal, a shallow area of Lake Superior that could rupture the ship’s hull. McSorley soon radioed the Anderson to report that the Fitzgerald had sustained some topside damage...a fence rail down, two vents lost or damaged, and a starboard list. A list meant that the Fitzgerald was taking on too much water and was causing it to lean to one side. The short-range radar also stopped working, and the radio direction beacon from nearby Whitefish Point vanished. This would make it impossible for the Fitzgerald to reach the lee waters of Whitefish Bay and escape the 80 mph winds churning 20 to 30-foot waves. At 7:10 p.m. that night, First Mate Morgan Clark of the Andersen radioed the Fitzgerald to see how they were doing. Captain McSorley replied, We’re holding our own. This was the last contact anyone would have with the Fitzgerald. Shortly thereafter, the Edmund Fitzgerald disappeared from the Anderson’s radar screen. All 29 of her crew were lost on November 10th, 1975. The Edmund Fitzgerald chronicles the tragic final voyage of the well-known shipwreck in 4 movements; Embarkment, The Gales, Six-Fathom Shoal (We’re holding our own.) and Entombment-Dirge. The concerto makes use of several musical quotes. The first is Spanish Ladies, an English sea chantey, which appears in both the 1st and 3rd movements. The second is the funeral march theme from the 2nd movement of Beethoven’s 3rd Symphony which is heard in the 4th movement of the concerto. In addition, a chime is rung 29 times during the final bars of the concerto to memorialize the men who lost their lives. The Crew of the S.S. Edmund Fitzgerald: Michael E. Armagost, Frederick J. Beetcher, Thomas D. Bentsen, Edward F. Bindon, Thomas D. Borgeson, Oliver J. Champeau, Nolan S. Church, Ransom E. Cundy, Thomas E. Edwards, Russell G. Haskell, George J. Holl, Bruce L. Hudson, Allen G. Kalmon, Gordon F. MacLellan, Joseph W. Mazes, John H. McCarthy, Ernest M. McSorley, Eugene W. O'Brien, Karl A. Peckol, John J. Poviach, James A. Pratt, Robert C. Rafferty, Paul M. Riippa, John D. Simmons, William J. Spengler, Mark A. Thomas, Ralph G. Walton, David E. Weiss, Blaine H. Wilhelm.

String Orchestra - Level 3 - Digital Download SKU: A0.560156 Composed by Thomas Morley. Arranged by Lisa Ochoco. Concert,Renaissance. Score and parts. 13 pages. Lisa L Ochoco #6535135. Published by Lisa L Ochoco (A0.560156). Thomas Morley was one of the most well-known English composers of madrigals during the Renaissance. His music is still widely performed by singers today. It is assumed that he studied music and/or sung under the direction of William Byrd. Morley's madrigal compositions stand out from other Renaissance pieces because of their lighter tone and quicker tempos.

String Orchestra - Digital Download SKU: A0.1010888 Composed by John McNeil Johnston. Contemporary,Standards. Score and parts. 18 pages. John M. Johnston #2914155. Published by John M. Johnston (A0.1010888). Johnston: Divertimento for Strings: Full Score OnlyDivertimento for Strings was written for advanced Youth or High School string orchestra.  It is an exploration of counterpoint, chromaticism, and texture within a construct of playability.  As a ‘teaching piece’, it can be useful to point out the various forms: I.                    Allegro is in a bare-bones Sonata Allegro form. II.                Adagio is reminiscent in the latter bars of a Habanera. III.              Waltz is just that, a wistful, swirling dance movement. IV.              Gigue hearkens back to the Baroque style in compound meter, and is embellished with 19th century chromatic harmonies. This piece was originally written for the Wilton High School Orchestra • Wilton, CT, USA under the direction of, and at the suggestion of Marshall Meade in 2016. I hope you enjoy it! - Mac Johnston   Instrumentation: Violins 1A & B, Violins 2 A & B, Violas, Violoncellos 1 & 2, and Double Basses.  Copyright © 2016 John McNeil Johnston • all rights reserved.

String Orchestra - Level 3 - Digital Download SKU: A0.1256309 By Michael Blostein. By Michael Blostein. 21st Century,Chamber,Classical,Instructional. Score and Parts. 23 pages. Michael D. Blostein #849780. Published by Michael D. Blostein (A0.1256309). The title refers to a lightness of style as well as a lightness of bow weight, combined with an ever-changing balance. The piece begins with unison ideas (pitch, rhythm and bowing), then begins to expand, encouraging each section to gain some independence. We reset, and expand further. This process continues until the contrapuntal lines create complex harmonic textures that travel in unexpected directions, yet make musical sense. Much like an individual’s own journey, the path taken is not always direct and clear, but the end result is musically satisfying.Significant attention music be placed on dynamics throughout.From a technique standpoint, this work asks the most of the bass section. The shifting requests in the other sections are minimal, although there are sufficient opportunities to shift should student and/or teacher choose. Bow placement and control, tone production and ensemble balance are where much of the focused work will be required from students.

String Orchestra - Digital Download SKU: S9.Q49929 Composed by Felix Bartholdy Mendelssohn. This edition: set of parts. Eulenburg Orchestral Series. Downloadable, Set of parts. Ernst Eulenburg & Co. GmbH - Digital #Q49929. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q49929). Key: F major.The Allgemeine Musikalische Zeitung, Leipzig 1827, reports that Mendelssohn, between the ages of 12-14, and under the guidance of his teacher Carl Friedrich Zelter, composed 'symphonies for strings alone in the style of C. P. E. Bach, which were then performed in the house of his highly refined and cultivated parents.' These remarkably fresh and precociously accomplished works were presented during Sunday musicales held at the Mendelssohn family residence and performed by members of the Berlin Court Orchestra under the direction of the composer himself. The instrumental parts are based on the recently-published Eulenburg study scores of the 12 Sinfonias for strings, newly-edited by Boris von Haken from the extant autograph MSS in the collection of the Staatsbibliothek zu Berlin - Stiftung Preussischer Kulturbestiz.

String Orchestra - Level 5 - Digital Download SKU: A0.1408288 Composed by Ashlyn Graham. 21st Century,Chamber,Classical,Contemporary,Instructional. 17 pages. Ashlyn Graham #990872. Published by Ashlyn Graham (A0.1408288). This is a shortened version of my original piece Cordolium. The original description is as follows: Cordolium, meaning heartfelt grief; sorrow of the heart, heartache. I wrote this piece with one of my favorite pieces in mind: Barber's Adagio for Strings. I wanted to challenge myself to convey emotion like Barber did, and to write a piece with a lot of emotional potential. Cordolium travels through the stages of grief, allowing the musicans to express denial, agitation, and depression, before it concludes with a dejected acceptance of all the sorrow that came before. I realized the original is too long especially for advanced HS groups so I decided to create this cut version to accomodate. This shortened version forced me to cut some transitions and some beautiful sections out, but it still contains the main motifs and allows all the expression in a shorter time. It also includes more bowing and a few more dynamics to help give student groups more directions. The original work can be found here: Cordolium

String Orchestra - Level 4 - Digital Download SKU: A0.1187783 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Emeric I. Panyko. Hip-Hop,Pop,R & B,Singer/Songwriter. Score and Parts. 18 pages. Emeric I. Panyko #787398. Published by Emeric I. Panyko (A0.1187783). This score is an interpretation of Billie Eilish's i love you for string orchestra (Violin I and II, Viola, Cello, and Bass). It is at a difficulty level appropriate for an advanced high school-level string orchestra.The original song is emotive, heartbreaking, and desperate. My effort to capture this can be seen in the contrast between the bright, dramatic dynamic changes (from fff to ppp) and the humble, nimble pizzicato passages, making for a captivating take on Eilish's masterpiece. I am careful to not allow one instrument to tyrannize the vocals. The resonance of the acoustic guitar in the original is emulated by a synced pizz.-and-arco passage at the end. Playing direction informs the interpreter to the emotional direction of the piece.

String Orchestra - Level 4 - Digital Download SKU: A0.876668 Composed by Dosia McKay. 20th Century,Contemporary. Score and parts. 23 pages. Gavia Music #63367. Published by Gavia Music (A0.876668). A note from the composer: I wrote Farewell Dream Garden for the International Music in the Garden Composers’ Competition Wroclaw - Kraków 2010/2011. The competition was sponsored by the Botanical Gardens of Wroclaw to commemorate the 200th anniversary of their founding. The guidelines of the competition suggested a musical portrayal of times of day in the garden and I chose to depict nighttime, or more specifically, dreaming. My idea of a night garden is deeply lyrical, emotional, and colorful. Broadly arching phrases of the soprano vocalise, ebbs and flows of the string orchestra, and intricate flute textures all compound to make Farewell one of my most romantic and spectacular compositions to date. The composition won the second prize in the competition. For Soprano, Flute, and String Orchestra (4, 4, 3, 2, 1, or larger)Total duration 11:30 Copyright 2010 Dosia McKay / Gavia Music (ASCAP) Watch performance by Sylwia OlszyÅ„ska, soprano, and Renata Guzik, flute, with The Orpheus Orchestra under the direction of Jan BaryÅ‚a: https://www.youtube.com/watch?v=deq746QS3HcPerusal score only.

String Orchestra - Level 4 - Digital Download SKU: A0.1206485 Composed by Simon Watkins. Contemporary. Score and parts. 32 pages. Simon Watkins #804688. Published by Simon Watkins (A0.1206485). A piece for string orchestra.  Borne of a growing sense of unease in 2019 about the direction of travel in the world, the dark and disturbing nature of this piece is I hope more catharsis than valediction.  Framed by six orchestral 'screams', a set of variations explores other emotional regions including sadness, resignation, mischief, stillness, hope and light.  The climax, though also a scream is however one of more defiance than frustration.If all that doesn't sound too gloomy, string orchestras of mixed capabilities might find this an enjoyable challenge!  Parts can be made available separately on this site.