Full Orchestra - Level 4 - Digital Download SKU: A0.944033 Composed by Ofer Ben-Amots. Contemporary. Score and parts. 50 pages. The Composer's Own Press #4612747. Published by The Composer's Own Press (A0.944033). Composer’s Note: Enchanted Landscapes was commissioned by the Colorado Springs Philharmonic in recognition of the Association’s 90th  Anniversary. Inspired by the theme of America the Beautiful, I decided to portray the actual beauty of the land, rather than to use Katharine Lee Bates and Samuel Ward's famous song as a musical reference. Thus, Enchanted Landscapes was composed as a single-movement Symphonic Poem,  which transforms various visual elements of our magical views into an audible experience. The main melody is vast; Spanning over 30 measures, it conveys the feeling of spaciousness. Then, the same long melody repeats in a different, higher key. The middle part of the composition presents a fanfare-like theme, which builds up through both dynamics and polyphonic means. This section, dominated mainly by the brass and wind instruments, brings in a sense of drama, mystery, and purple mountain majesties. Finally, the use of Melodica sound in the otherwise traditional orchestration, adds a feeling of nostalgia and longing to the pure and proud landscape that watches upon us constantly, and connects us with the earth, with nature, and with ourselves. SCORING INFORMATION: fl. (2),  ob. (2), Eng. hn., cl. in b-flat (2), bass cl. (in b-flat), Trp. (2), Fr. hn. (2), Tbn (2), Tuba, Perc (2) Melodica (or Accord.), Harp, strings.Total Duration: 11 min.Performance material by rental only! For demo recording, questions, or any additional information please e-mail Ofer Ben-Amots at: thecomposerspress@gmail.com

Full Orchestra - Level 5 - Digital Download SKU: A0.534555 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 46 pages. Musik Fabrik Music Publishing #4283543. Published by Musik Fabrik Music Publishing (A0.534555). In 2004, the Orchestre Philharmonique de l’Oise commissioned its musical director, t Thierry Pélicant, this concerto for the late Claude Caens, the principal contrabass of this orchestra. This great artist, who was friends with everyone in this ensemble, wanted everyone to have a part in the festivities, not only the strings, but also the winds, the horns, the trumpets and the percussion, and also that they all should be heard ! Thierry Pélicant wrote therefore a concerto which is at once very symphonic – and for this reason, it is strongly advised that the contrabass be amplified – but also a piece which would express the friendship between the orchestra and the soloist. This concerto strives to be both warm and lyrical : it is not a virtuoso showpiece, inspite of the real technical that it offers to the soloist and which he would do well to try to hid them from the audience. It is also not a battle between the orchestra and this gentle giant : they stroll together, sometimes joyously, sometimes with nostalgia and go through the strong storms which do not fail to present themselves, smiling together and finding them to be envigorating.The work is scored for (2(Pic)2(EH)22/2200/Timp/2perc/strings) and lasts aproximately 23 minutes. The orchestral parts are on rental from the pubilsher.  The full score is available for sale on this site.Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate ssupporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, written for his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gàlvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée (quintet for oboe and strings), Sextuor d’été, and Milonga (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ...

Full Orchestra - Level 5 - Digital Download SKU: A0.534554 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 136 pages. Musik Fabrik Music Publishing #4283537. Published by Musik Fabrik Music Publishing (A0.534554). In 2004, the Orchestre Philharmonique de l’Oise commissioned its musical director, t Thierry Pélicant, this concerto for the late Claude Caens, the principal contrabass of this orchestra. This great artist, who was friends with everyone in this ensemble, wanted everyone to have a part in the festivities, not only the strings, but also the winds, the horns, the trumpets and the percussion, and also that they all should be heard ! Thierry Pélicant wrote therefore a concerto which is at once very symphonic – and for this reason, it is strongly advised that the contrabass be amplified – but also a piece which would express the friendship between the orchestra and the soloist. This concerto strives to be both warm and lyrical : it is not a virtuoso showpiece, inspite of the real technical that it offers to the soloist and which he would do well to try to hid them from the audience. It is also not a battle between the orchestra and this gentle giant : they stroll together, sometimes joyously, sometimes with nostalgia and go through the strong storms which do not fail to present themselves, smiling together and finding them to be envigorating.The work is scored for (2(Pic)2(EH)22/2200/Timp/2perc/strings) and lasts aproximately 23 minutes. The orchestral parts are on rental from the pubilsher.  The piano reduction with the solo part is available for sale on this site.Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate ssupporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, written for his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gàlvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée (quintet for oboe and strings), Sextuor d’été, and Milonga (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ...

Full Orchestra - Digital Download SKU: A0.961995 Composed by 馬水é¾� Ma Shui Long. 20th Century,Contemporary. Score and parts. 20 pages. SpringAutumnmusic #48521. Published by SpringAutumnmusic (A0.961995). 《玩燈》1977年《玩燈─元宵節記趣》，管弦樂元宵夜，å�šå…ƒå®µï¼Œæ��燈籠，這是作者兒時年年所盼望而最高興的時刻。這清新的回憶，就是本曲寫作的曲æ„�與動機。開始是一段åº�，那是迎神的鑼鼓å�¹å¥�è�²ï¼Œç”±é� è€Œè¿‘。輕快活潑的主題由此中介入展開。家家戶戶孩å­�們，喜氣洋洋，æ��著燈籠看熱鬧。廟å�£å»£å ´ï¼Œæ¯�年逢此佳節，更是點燈çµ�彩，花燈樣å¼�ç�³ç‘¯æ»¿ç›®ï¼Œç¾Žä¸�å‹�收，更有趣的是元宵節謎語晚會，舞é¾�ã€�舞ç�…，人山人海，一片熱鬧é�žå¸¸çš„景象。曲中也加入片段慢æ�¿æ¨‚å�¥ï¼Œé‚£æ˜¯å…ƒå®µç¯€ï¼Œå®¶å®¶æˆ¶æˆ¶åœ˜åœ“和氣至親的寫照。 全曲在輕快活潑的主題中進行，步入高潮。※本曲1977年應國家文化è—�術基金會委託創作之作å“�。å�Œå¹´æ–¼å�°åŒ—國父紀念館舉行世界首演，由廖年賦指æ�®å�°åŒ—世紀交響樂團擔任演出。1977< Lantern Festival>, for orchestra  Hand lanterns and sweet yuanxiao rice dumplings are two traditional items children eagerly anticipate during the annual Lantern Festival; and the composer of this piece was inspired by recollections of this joyous time from his childhood. The composition starts with a brisk and lively prelude for drums, gongs and wind instruments to welcome the deity associated with the Lantern Festival. Delighted children everywhere carry lanterns and gather in the square in front of the local temple to celebrate this exciting event. Traditional activities include dancing dragons and lions, amusing riddles and numerous brightly-lit and beautifully decorated lanterns which complete the scene. The composer has also included adagio passages to portray the amiable mood of family reunion during this special holiday. The entire composition builds to a final crescendo in a lively pace. Lantern Festival was commissioned by the National Culture and Arts Foundation in 1977, and premiered the same year by the Taipei Century Symphony Orchestra, conducted by Nien-Fu David Liao Nianfu at Taiwan's National Dr. Sun Yat-sen Memorial Hall.

Full Orchestra - Level 5 - Digital Download SKU: A0.1030571 Composed by Hans Zimmer, Lebo M, and Mark Mancina. Arranged by Brian Strohmetz. Broadway,Film/TV,Multicultural,Musical/Show,World. Score and parts. 71 pages. Brian Strohmetz #633740. Published by Brian Strohmetz (A0.1030571). For Orchestra, Solo Vocalist and Choir Shadowland is a song written by Lebo M., Hans Zimmer and Mark Mancina for the musical The Lion King (1997), a stage adaptation of Disney's 1994 animated film of the same name. Based on the song Lea Halalela (Holy Land), a track featured on Lebo's Lion King-inspired concept album Rhythm of the Pride Lands (1995), Lebo composed the track with Zimmer, while both Lebo and Mancina contributed new lyrics to its melody. Lebo based the song's lyrics on his own experiences having been exiled from South Africa during apartheid, therefore imbuing Shadowland with themes about refugeeism and survival. Originally performed by Trinidadian-American singer and actress Heather Headley as Nala, and South African actress Tsidii Le Loka as Rafiki, roles both performers originated on stage, Shadowland narrates Nala's decision to leave the Pride Lands in search of a more habitable environment upon realizing that her homeland has grown dry and barren in the midst of Scar's reign. Taking place shortly after Nala rejects Scar's romantic advances, director Julie Taymor used the song to develop Nala into a stronger character for the stage adaptation, and identified Shadowland as her favorite among the production's original songs, believing its message and themes to be universal. Musically, Shadowland is a soul power ballad. Sung in both English and African languages, its instrumentation combines African percussion with European orchestration to create a more exotic sound while accompanying pop vocals and African chants; some critics have observed political themes such as feminism, injustice and the ecosystem throughout the song's lyrics. Shadowland has been mostly positively received by music and theatre critics; both Headley and actresses who replaced her in subsequent productions of the musical have been praised for their vocals and performances.

Full Orchestra - Level 5 - Digital Download SKU: A0.533762 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 55 pages. Musik Fabrik Music Publishing #3043953. Published by Musik Fabrik Music Publishing (A0.533762). Flute Concerto (2006) was commissioned by flutist Judith von Hopf and theKiev Philharmonic and premiered by them under the direction of GuidoLamell. The work is in two movements: Chanson and Fantasy Variations.The first movement, Chanson, is an extended “song� that develops through avariety of textures. The opening song material is centered around G#. In turn,this G# is revealed to be a quasi-dominant of a D centered sonority. (A briefcoda returns to G#, in preparation for the D center of the second movement.)The second movement, Fantasy Variations, is cast as two presentations ofthe theme surrounding five free variations, plus a coda. The theme serves asthe basis of the musical material for each variation as well as the structuraltemplate for each. Also, each variation contains material referring backspecifically to the previous variation.The opening theme is declamatory and massive. The first variation is fastand limber. The second variation is introspective and stratified. The thirdvariation is fleeting. The fourth variation is distant and spare. The fifthvariation is fast and driving. The final theme begins whispered and slowlyregains its declamatory nature before a brief and intense coda ends the workin a blaze.This item is the score and the solo part only. The orchestral parts are on rental from the publisher. The piano reduction is for sale as a seperate item.Instrumentation2 Flutes (2nd dbl. Picc.)2 OboesEnglish Horn2 Clarinets in BbBass Clarinet in Bb2 Bassoons4 Horns in F/Bb2 Trumpets in C2 TrombonesTubaPercussion (2 players)I: tubular bells, crotales, bass drum, whip/slapstickII: vibraphone (motor off), snare drum(Percussion I needs one rosined bow.Percussion II needs one rosined bow.)PianoSolo Flute(If necessary, discreet amplification of the soloist is acceptable.)Violin IViolin IIViolaCelloContrabass(at least two players [ideally more] must have machine extension to low C)

Full Orchestra - Level 3 - Digital Download SKU: A0.746958 By Keith Terrett. By Alberich Zwyssig. Arranged by Keith Terrett. Classical,Multicultural,Patriotic,Traditional,World. 29 pages. Keith Terrett #5033583. Published by Keith Terrett (A0.746958). Arranged for the Orchestre national d'Île-de-France, The Swiss Psalm (German: Schweizerpsalm [ˈʃvaɪtsərˌpsalm] / Trittst im Morgenrot daher...; French: Cantique suisse, [kɑ̃tik sɥis]; Italian: Salmo svizzero, [ˈsalmo ˈzvittsero]; Romansh: Psalm Svizzer, [ˈ(p)salm ˈʒvi�tser]) is the national anthem of Switzerland.It was composed in 1841, by Alberich Zwyssig (1808–1854). Since then, it has been frequently sung at patriotic events. The Federal Council declined, however, on numerous occasions to accept the psalm as the official anthem. This was because the council wanted the people to express their say on what they wanted as a national anthem. From 1961 to 1981, it provisionally replaced Rufst du, mein Vaterland (When You Call, My Country; French Ô monts indépendants; Italian Ci chiami o patria, Romansh E clomas, tger paeis), the anthem by Johann Rudolf Wyss (1743–1818) that was set to the melody of God Save the King. On 1 April 1981, the Swiss Psalm was declared the official Swiss national anthem.In 2014, the Société suisse d'utilité publique [fr] organized a public competition and unofficial vote to change the lyrics of the national anthem.

Full Orchestra - Intermediate - Digital Download Composed by Manuel de Espinosa de los Monteros (1730-1810). Arranged by Keith Terrett. Classical Period, European, Patriotic. 30 pages. Published by Music for all Occasions

Full Orchestra - Level 3 - Digital Download SKU: A0.746971 Composed by Montenegrin folk song. Arranged by Keith Terrett. 20th Century,Multicultural,Patriotic,Praise & Worship,Traditional,World. 27 pages. Keith Terrett #5205655. Published by Keith Terrett (A0.746971). The National Anthem of Montenegro arranged for Symphony Orchestra. There are versions for Brass Quintet & String Orchestra in my on-line stores.Oj, svijetla majska zoro (Montenegrin Cyrillic: „Ој, �вијетла мај�ка зоро, trans. Oh, Bright Dawn of May) is the official National anthem of Montenegro adopted in 2004. Before becoming the anthem, it was a popular folk song of the Montenegrins, with many variations of its text. The oldest one is dated to the 2nd half of the 19th century, known as Oh, Bright Dawn of Heroism, oh!, a popular Montenegrin folk song.It was played in public for the first time in 1863 in the national theater in Belgrade. It was a component song of the Battle of Grahovo or blood feud in Montenegro (Бој на Грахову или крвна о�вета у Црној Гори) heroic play in three parts. It is unknown if the text’s authors are also the play’s, namely the following Montenegrin composer/writers: the father of Marko Car Jovan Car and an unknown Obrad Vitković. The play and the Montenegrin folk song was also played/sung in the National Theater again in 1870 and 1876. Its first record in Montenegro itself dates to 1887, when it was included into the regular school program of Montenegrin national songs for pupils in the 3rd grade. It was reconfirmed in the teacher’s plan for Montenegrin schools of 1888, which speculates that it must have been an established folk song for decades by then.Sekule Drljević, party strongman of a minor political party which was active in the Yugoslavian Kingdom in Montenegro known as the Montenegrin Federalist Party, rewrote the text and published it in 1937 in the book of then’s Croatian writer of Montenegrin origins Savić Marković Štedimlija known as Crvena Hrvatska (Red Croatia), which confounded the thesis not of a Serb ethnic origin of the Montenegrins, which was the dominant one back then, but rather from the Croats. Its name was Eternal Ours… (Vje�na naša). When Nikola Hercigonja wrote down Oh, Bright Dawn of May shortly after WWII ended after 1945, he erroneously concluded that Drljević was the original wholesale author of this song, which also led to its considerable decline in popularity as a Montenegrin folk song altogether.The song survived until today under various names as a popular Montenegrin folk song under the name Oh, Bright Dawn of May (Oj svijetla majska zoro). This version of the song has been one of the several versions proposed in 1993 during the first discussion on the official anthem, however, on which there was no consensus because of the disputed melodic value.Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com Love national anthems, then join me on twitter, facebook, instagram & soundcloud for frequent updates on my Olympic anthems!

Full Orchestra - Level 4 - Digital Download SKU: A0.1143801 By Alex Tinlin. By Alex Tinlin. Arranged by Alex Tinlin. 20th Century,Christmas. Score and parts. 130 pages. Alex Tinlin #744112. Published by Alex Tinlin (A0.1143801). This Christmas-themed piece was originally written for the strings of the St Clement Danes School Orchestra in 1993. It is based on two predominant themes, the Christmas carols 'The First Noel' and 'Deck the Halls'.

Full Orchestra - Level 4 - Digital Download SKU: A0.976721 Composed by 12th Century Plainchant. Arranged by Robert Myers. Christian,Christmas,Contemporary,Sacred. Score and parts. 76 pages. WheatMyer Music #4798079. Published by WheatMyer Music (A0.976721). DIVINUM MYSTERIUM is a chant tune dating to the 12th century which is associated with the hymn, Of the Father's Love Begotten, based on the Latin hymn, Corde natus ex parentis, written by Prudentius in the late 4th / early 5th century. This is thus one of the very oldest texts and tunes still sung in our churches today. The shape and flow of this arrangement, which includes quotations from CANTIQUE de NOEL (O Holy Night) – Adolphe Adam (1844), was strongly influenced by what one writer described as the strong wave shapes of the tune. I’ve attempted to make these waves a significant feature of the piece, featured in both the constant crescendo/decrescendos and the interweaving of the two tunes. And, just as ocean waves don’t arrive in steady rhythms, these musical waves are variable – sometimes closely spaced, sometimes not, and sometimes overlapping. The unique character of each of the three major sections is implied in their headings: (1) with mystery and wonder, (2) Joyfully – a child is born, and (3) contemplative – God is with us. The opening section portrays the mystery of the trinity (the hymn text was written as an apology for the Nicene Creed) mixed with the wonder of the Creator God lying in a manger. Since the tune is derived from medieval chant, I wanted this section to reflect the loose metrical nature of that genre, so the melodic phrasing should predominate over any sense of meter up to letter C. The initial tonal and metrical ambiguity and the fractured melodic lines gradually meld into conventional tonality and clear statements of the two main themes. Don’t let the poco rit. just before C be too poco. Build a definite sense of tension in anticipation of the Presto section. The Presto section presents the first complete statement of the main theme. I felt a strong, rhythmic treatment should follow the ambiguity of the opening to reflect the joy of the Messiah’s incarnation realized. However, the gravity of the text demands avoidance of frivolity and banality. Thus, I used a combination of the long, flowing lines with a syncopated pulse and echoing rhythms to produce what I hope is a fresh but still reverent treatment of this ancient hymn – one that produces a kaleidoscope of tonal color. Arriving at the third section at letter F, the asymmetrical pulse gradually shifts into a straight 3 pattern. The slower tempo and return of the secondary theme call us to reflect on the import of God now with us. The marking of Let off the gas and coast to the end is a word picture of how the tempo should draw to a close, as would an expert helmsman allow the ship’s momentum to stop just as it taps the dock. One parting moment is provided to savor the woodwinds closing phrase from CANTIQUE de NOEL. Robert Myers S.D.G. INSTRUMENTATION Fl 1,2; Oboe 1,2; Bb Cl 1,2 ; Bsn 1,2 Hn in F 1/2, 3/4; C Tpt 1,2 (Opt Bb Tpt 1,2); Tbn 1, 2; Tuba Timpani Perc. 1 (cymbals, tam-tam, vibraphone) Perc. 2 (chimes, snare) Perc. 3 (concert toms (4), bass drum) Vln 1,2; Vla 1,2; VC; DB

Full Orchestra - Level 2 - Digital Download SKU: A0.984088 Composed by Alice Minguez. Concert,Contemporary,Instructional,Standards. Score and parts. 20 pages. Alice Minguez #3585663. Published by Alice Minguez (A0.984088). Duration ~2 minutes.

Full Orchestra - Level 3 - Digital Download SKU: A0.742584 By The Beatles. By John Lennon and Paul McCartney. Arranged by Arte Nova Music Lab. Film/TV. Score and parts. 56 pages. Arte Nova Music Lab #6431873. Published by Arte Nova Music Lab (A0.742584). I Want to Hold Your Hand is a song by the English rock band the Beatles. Written by John Lennon and Paul McCartney, and recorded on 17 October 1963, it was the first Beatles record to be made using four-track equipment.With advance orders exceeding one million copies in the United Kingdom, I Want to Hold Your Hand would have gone straight to the top of the British record charts on its day of release (29 November 1963) had it not been blocked by the group's first million-seller She Loves You, their previous UK single, which was having a resurgence of popularity following intense media coverage of the group. Taking two weeks to dislodge its predecessor, I Want to Hold Your Hand stayed at number one for five weeks and remained in the UK top 50 for 21 weeks in total.It was also the group's first American number-one hit, entering the Billboard Hot 100 chart on 18 January 1964 at number 45 and starting the British Invasion of the American music industry. By 1 February it topped the Hot 100, and stayed there for seven weeks before being replaced by She Loves You. It remained on theBillboard chart for 15 weeks.I Want to Hold Your Hand became the Beatles' best-selling single worldwide selling more than 12 million copies. In 2018,Billboard magazine named it the 48th biggest hit of all time on the Billboard Hot 100. In the UK, it was the second highest selling single of the 1960s, behind She Loves You.Taken from https://en.wikipedia.org/wiki/I_Want_to_Hold_Your_Hand

Full Orchestra - Level 4 - Digital Download SKU: A0.869364 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 104 pages. Thomas Oboe Lee #25515. Published by Thomas Oboe Lee (A0.869364). Instrumentation: SATB chorus and soloists plus orchestra 2222-2221-timp-perc-hp-org-strings. Mass for the Holy Year 2000 is in nine movements and scored for SATB chorus, chamber orchestra and organ. I set the entire Latin text from the Ordinary of the Mass: Kyrie, Gloria, Credo, Sanctus and Agnus Dei. In between these sections, I added four settings of contemporary poems written in English. Initially, I wanted to use poems that would bring to the listener's attention the serious humanitarian issues we face every day on earth as we enter a new millennium: religious and ethnic wars, poverty, genocide, AIDS, intolerance, social inequality and racial injustice. But as I began to slowly understand the text of the Mass, I decided that the contemporary poems I would use should reflect and amplify what is already in the Latin text. It is all about faith and redemption. Elizabeth Kirschner (b. 1955) is a poet who lives in Chestnut Hill, Massachusetts. Her poem is about the search for God. Claude McKay (1890-1948), a member of the Harlem Renaissance Poets, was originally from Jamaica. His poem asks for God's presence. Edith Stein (1891-1942) was a Carmelite nun who was killed by the Nazis during World War II because she was a Jew. Her poem celebrates God's presence. The final poem is by the Trappist monk, Thomas Merton (1915-1968). His poem, which was published posthumously, is about the assassination of the civil rights leader, Dr. Martin Luther King.

Full Orchestra - Level 4 - Digital Download SKU: A0.869362 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 109 pages. Thomas Oboe Lee #25513. Published by Thomas Oboe Lee (A0.869362). Instrumentation: SATB chorus and soloists plus orchestra 2222-2221-timp-perc-hp-org-strings. Mass for the Holy Year 2000 is in nine movements and scored for SATB chorus, chamber orchestra and organ. I set the entire Latin text from the Ordinary of the Mass: Kyrie, Gloria, Credo, Sanctus and Agnus Dei. In between these sections, I added four settings of contemporary poems written in English. Initially, I wanted to use poems that would bring to the listener's attention the serious humanitarian issues we face every day on earth as we enter a new millennium: religious and ethnic wars, poverty, genocide, AIDS, intolerance, social inequality and racial injustice. But as I began to slowly understand the text of the Mass, I decided that the contemporary poems I would use should reflect and amplify what is already in the Latin text. It is all about faith and redemption. Elizabeth Kirschner (b. 1955) is a poet who lives in Chestnut Hill, Massachusetts. Her poem is about the search for God. Claude McKay (1890-1948), a member of the Harlem Renaissance Poets, was originally from Jamaica. His poem asks for God's presence. Edith Stein (1891-1942) was a Carmelite nun who was killed by the Nazis during World War II because she was a Jew. Her poem celebrates God's presence. The final poem is by the Trappist monk, Thomas Merton (1915-1968). His poem, which was published posthumously, is about the assassination of the civil rights leader, Dr. Martin Luther King.