SKU: A0.1152896

Circle of Life has become an iconic modern masterpiece that every student knows and loves. This arrangement gives the violins and violas a chance to shine. There are seven parts: 4 violin parts and 3 viola parts. A piano part is also provided for rehearsal purposes. Six copies of each string part are included. The arrangement is appropriate for both junior and senior high school string students. Approximately 2 1/2 minutes.

SKU: A0.1237959

Arrangement of Hakuna Matata from The Lion King: The Broadway Musical for beginning string orchestra.

SKU: A0.992010

Ravel Piano Trio String Orchestra . The third, slow movement from Maurice Ravel's Piano Trio (1915) is titled Passacaille, the French equivalent to the Italian Passacaglia, an old Baroque theme and variations form built around a haunting bass melody that recurs through ever changing contexts as the texture builds and more dense harmonies are explored. Ravel's intuitive utilization of the piano's vast range and sonorous qualities have been fully realized and reimagined on a more grand, but equally intimate level for a full string orchestra with the use of a Violin and 'Cello soloists to recreate a chamber music experience that's striking to the ears of the listener.
Difficulty: Intermediate-Advanced
Perfect for students and sounds great in churches/temples/places of worship.
Duration: Aprox. 7 min
The score calls for at least 2 bass players, at least 4 cellist (including 1 solo cello), at least 4 violas, at least 4 second violins, and at least 4 first violins (including 1 solo violin).

SKU: A0.742492

Around the year 1726, John Walsh, a London music publisher, created a wonderful forgery in order to run around the copyright laws of the day: he pretended to pirate an edition supposedly published by the House of Roger in Amsterdam. This forgery included 12 Sonatas for solo instrument and continuo which had been composed by one George Frideric Handel (1685-1759). Around 1793 the House of Arnold published the same set, omitting two of the original 12 and replacing them with two others by Handel. So at this point there were a total of 14 solo sonatas available to the public.

In the year 1879 Friedrich Chrysander issued these 14 works and several others in volume 27 of the German Handel Society’s Gesamtausgabe of Handel’s works. Since then they have been edited from this scholarly work many times, and afflicted by all sorts of permutations which reflect the various styles of performance in vogue over the years. One finds editions stripped of ornamentation but loaded with articulation and dynamic markings at one end of the spectrum, and editions with modest stenographic and florid ornamentation at the other.

The Sonata in C Minor (London: 1712) is a pure example of the middle phase of the solo sonata da chiesa [church sonata]. The first three movements are indicative of the style found in sonatas derived from the disruptive canzona of the early 17th century. An initial slow movement with walking bass is followed by an imitative movement (in this case, a fugue with a chromatic subject), which in turn leads to an Adagio. This latter movement in the relative major is a ricercare containing several imitative entrances. The finale is a spirited binary-form Bourrée angloise, an item taken over from the French ordre or dance suite. The extraordinarily short length of this movement seems to indicate that a trio is missing here; therefore, I have added the bourrée from the Royal Fireworks Music of 1749 to act as a trio, but players are certainly free to omit it. Adding a series of variations based on the chord changes of the Bourrée angloise would be an alternative way to lend weight to this final movement.

Taken from https://www.idrs.org/scores/Lehrer/DRArch/69HandelSonataCm.html

SKU: A0.965600

I would like to present my first string orchestra, Walk Among The Gods. It includes a director's score, as well as individual parts for Violin I, Violin II, Viola, Violoncello, and Contrabass. This composition is centered around Greek Mythology by highlighting a different character in each movement; Aphrodite, Hades, Kronos and Zeus.

Aphrodite: Dance With The Goddess of Love is written as a Polonaise (Polish dance) in a Rondo format. This movement is taken at an Andante.

Hades: March to the Underworld is a haunting march written in G minor. I composed this in cut time at an Allegro Moderato. This is definitely my favorite of all four movements.
 
Kronos: The God of Time is comprised of many different time signatures to go along with its meaning; 5/4, 6/8, 12/8, 4/4, 6/4, 3/8 and 3/4. 
 
 Zeus: King of the Gods is meant to create a regal, but triumphant feel as the finale. I also had fun writing a good portion of this movement pizzicato.
 
Enjoy!

SKU: A0.1389128

Gabriel Fauré's Pelléas et Mélisande, Op. 80, is a suite of incidental music composed in 1898 for Maurice Maeterlinck's play of the same name. Fauré's composition is renowned for its delicate and evocative portrayal of the mysterious and tragic atmosphere of Maeterlinck's symbolist drama.

The suite consists of four movements:

    Prélude: The Prelude sets the mood for the entire piece, introducing listeners to the ethereal and melancholic world of Pelléas et Mélisande. Fauré's masterful orchestration creates an otherworldly atmosphere, with shimmering strings, delicate woodwinds, and haunting harmonies.

    Fileuse: This movement, often translated as Spinning Song, depicts Mélisande at her spinning wheel. The music captures the hypnotic rhythm of spinning, with gentle, flowing melodies and a sense of introspection.

    Sicilienne: The Sicilienne is perhaps the most famous movement of the suite. Its graceful melody, accompanied by a gentle dance-like rhythm, evokes a sense of nostalgia and longing. Fauré's use of the Sicilian rhythm lends the piece a timeless quality, transporting listeners to a world of beauty and sorrow.

    Mort de Mélisande: The suite concludes with the Death of Mélisande. This movement is a powerful culmination of the emotional journey depicted throughout the music. Fauré's music reflects the tragic climax of Maeterlinck's play, with poignant melodies and rich harmonies conveying a sense of grief and finality.

Overall, Fauré's Pelléas et Mélisande Op. 80 is a masterpiece of impressionistic music, capturing the emotional depth and beauty of Maeterlinck's timeless tale.