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 2 - Digital Download

SKU: A0.1494427

By Adele. By Adele Adkins and Greg Kurstin. Arranged by Paul Lorenz. Broadway,Classical,Musical/Show,Pop,Rock,Soul. 39 pages. Paul Lorenz #1071020. Published by Paul Lorenz (A0.1494427).

Adele Easy On Me Orchestral Version by Paul Lorenz – Sheet Music for a Breathtaking Crossover Masterpiece

Discover the extraordinary orchestral arrangement of Adele’s iconic hit Easy On Me by the renowned composer and arranger Paul Lorenz. This exclusive sheet music offers musicians and ensembles the chance to perform a piece that blends the emotional depth of Adele’s original song with the grandeur and sophistication of a full orchestra. Whether you are a professional musician or part of an ensemble, this sheet music is designed to elevate your performance and captivate your audience.

A Unique Orchestral Experience

Paul Lorenz, known for his collaborations with the London Symphony Orchestra, has created a version of Easy On Me that is both powerful and moving. The arrangement captures the soul of Adele’s lyrics and melodies while introducing rich, orchestral textures that add a new dimension to the song. This sheet music allows you to bring that same majestic sound to your own performances, whether in a concert hall, studio, or classroom setting.

What You’ll Find in This Sheet Music

Complete Orchestral Score: The sheet music includes a full score, meticulously arranged to ensure that every instrument shines. Each part is crafted with precision, allowing musicians to deliver a flawless performance.
Individual Parts for All Instruments: From strings to woodwinds, brass, and percussion, every section of the orchestra is represented. The individual parts are easy to follow, making it simple for musicians of all levels to perform together.
Detailed Performance Notes: Paul Lorenz has included insights and tips on how to best bring out the emotion and dynamics of the piece. These notes are invaluable for conductors and musicians looking to deliver a performance that resonates with their audience.

Why Choose Paul Lorenz’s Orchestral Arrangement?

This sheet music is more than just notes on a page; it’s a gateway to an unforgettable musical experience. Paul Lorenz’s arrangement of Easy On Me has been praised for its innovative approach to orchestral music, combining classical techniques with contemporary elements. By choosing this sheet music, you’re not only adding a stunning piece to your repertoire but also embracing a composition that bridges the gap between pop and classical music.

Perfect for Concerts, Recitals, and Special Performances

This orchestral version of Easy On Me is ideal for a wide range of performances. Whether you’re planning a concert, a recital, or a special event, this piece will leave a lasting impression on your audience. Its universal appeal makes it suitable for diverse audiences, ensuring that everyone in attendance will be moved by the performance.

Get Your Copy Today

Don’t miss out on the opportunity to perform this beautiful and powerful orchestral arrangement of Easy On Me. Purchase your copy of Paul Lorenz’s sheet music today and take the first step towards an unforgettable performance. Available in digital and print formats, this sheet music is ready to be part of your next musical journey.

Full Orchestra - Level 5 - Digital Download

SKU: A0.1322867

Composed by Malcolm D Robertson. 21st Century,Classical,Contemporary. 111 pages. Mr Malcolm D Robertson #911135. Published by Mr Malcolm D Robertson (A0.1322867).

Composed between the end of December 2022 & the start of July 2023. The Symphony is in 4 movements following a more classical ordering and is a little under 35 minutes in length. The initial rising scale idea with 'missing' notes pervades much of the material in the symphony The symphony took longer to compose than is normal for me as it was composed during the difficult period of my father's swiftly evolving final illness, death & dealing with the aftermath. The shadow of my father's final illness & witnessing his swift decline particularly hangs over the slow 2nd movement. The first movement after a broad but forward moving introduction, is energetic with a continual forward momentum. The 3rd movement is a deliberately elusive scherzo movement with a strange inconclusive coda. The finale, after a reserved opening is surprisingly optimistic pushing to a sonorous conclusion. As is the norm for me, I composed directly into full score.
Orchestral parts can be supplied upon request.

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 - Level 4 - Digital Download

SKU: A0.1502417

By Bernhard Heinrich Romberg. By Bernhard Heinrich Romberg. Arranged by Transcriptions by John Wion / Elaine Baker D'Angelo. 19th Century. 16 pages. Elaine Baker D'Angelo #1078222. Published by Elaine Baker D'Angelo (A0.1502417).

ROMBERG FLUTE CONCERTO
Elaine Baker D’Angelo, Representative
5 West Ridge Trail, Plymouth, MA 02360

To Whom This May Concern:

You have purchased an orchestral score and a set of parts for the Bernard
Romberg Flute concerto, op 17. The product is marked: “for rental only”
because the previous distributor had a policy prohibiting purchase of these
materials. Only the Flute part and the Piano Accompaniment were available for
purchase. John Wion, discoverer of the work has authorized me to now sell the
score and orchestral parts. This enclosure is to provide you with a record of
your legal purchase in case keeping the parts in your possession was ever
questioned.

Also, please find below some comments from Dr. Jon Ceander Mitchell of the
University of Massachusetts at Boston who conducted me performing the
concerto in April, 2012. His suggestions and errata information will hopefully
lend assistance to you as you prepare for your concert.

Quoting five Major points:

1) There must be at least one very strong 2nd violin player as some melodies are
introduced from there.
2) Trumpets can double the horns at the octave, though only in spots and very
discreetly, and not playing at all in the second movement. It is most unusual to
have timpani but no trumpets.
3) 2nd movement halfway through, the descending viola line that needs to be
completed by a cellist. [p.38, 5 before E, one cellist to play f-B-Csharp 8ths]
4) An A sharp in the solo line in 1st movement that is critical; otherwise it sounds
bluesy [p. 30,5 after H].
5) Missed accidentals in 1st violin in the 3rd movement [p. 43, 2nd and 3rd mm
and p. 51, 3rd and 4th mm. C naturals].

Full Orchestra - Level 4 - Digital Download

SKU: A0.1510342

By Bernhard Heinrich Romberg. By Bernhard Heinrich Romberg. Arranged by Original Manuscript Transcriptions, John Wion / Piano Red, Elaine Baker D'Angelo. Classical. 131 pages. Elaine Baker D'Angelo #1085534. Published by Elaine Baker D'Angelo (A0.1510342).

To Whom This May Concern:

You have purchased an orchestral score and a set of parts for the Bernard
Romberg Flute concerto, op 17. The product is marked: “for rental only”
because the previous distributor had a policy prohibiting purchase of these
materials. Only the Flute part and the Piano Accompaniment were available for
purchase. John Wion, discoverer of the work has authorized me to now sell the
score and orchestral parts. This enclosure is to provide you with a record of
your legal purchase in case keeping the parts in your possession was ever
questioned.

Also, please find below some comments from Dr. Jon Ceander Mitchell of the
University of Massachusetts at Boston who conducted me performing the
concerto in April, 2012. His suggestions and errata information will hopefully
lend assistance to you as you prepare for your concert.

Quoting five Major points:

1) There must be at least one very strong 2nd violin player as some melodies are
introduced from there.
2) Trumpets can double the horns at the octave, though only in spots and very
discreetly, and not playing at all in the second movement. It is most unusual to
have timpani but no trumpets.
3) 2nd movement halfway through, the descending viola line that needs to be
completed by a cellist. [p.38, 5 before E, one cellist to play f-B-Csharp 8ths]
4) An A sharp in the solo line in 1st movement that is critical; otherwise it sounds
bluesy [p. 30,5 after H].
5) Missed accidentals in 1st violin in the 3rd movement [p. 43, 2nd and 3rd mm
and p. 51, 3rd and 4th mm. C naturals].

Full Orchestra - Level 4 - Digital Download

SKU: A0.869355

Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Jazz,Romantic Period. Score and parts. 73 pages. Thomas Oboe Lee #15875. Published by Thomas Oboe Lee (A0.869355).

Instrumentation: solo alto saxophone & 2222-4231-perc-drumset-strings. Program note. Maestro Max Hobart called me in the spring of 2009 and told me to check out this young jazz phenom on the saxophone named Grace Kelly. I said OK, that’s cool. That summer we went to the Regatta Bar in Harvard Square to hear her play with her band, and I was duly impressed by her musicality, soulfulness and chops. Max asked if I would be interested in writing a concerto for her and the Wellesley Symphony. I said, Sure. It sounds like a great idea. One of the most cherished jazz records in my vast collection is the collaboration between Stan Getz and Eddie Sauter entitled Focus. Eddie, who used to be an arranger for the Benny Goodman Band in the forties, went on to create the Sauter Finegan Band in the early fifties. The band was one of the first to include the piccolo, oboe, bassoon, harp, celesta, French horn, tuba, xylophone, glockenspiel, chimes, timpani, and other unusual symphonic instruments in the standard big band format of trumpets, trombones, saxophones and rhythm section of piano, bass and drum set. On the album Focus Eddie Sauter composed seven tracks of music for string orchestra and rhythm section. Stan Getz did not have a written part - he just improvised over the written music. If you are not familiar with this recording, then you will do yourself a huge favor if you go find it and add it to your own CD collection. The music is phenomenal and Stan is on top of his game, soaring above the strings with endless melodic inventions, flights of imagination and whimsy! It is one of those desert island CDs one should not be without. When I emailed Grace about this project and mentioned Stan Getz’s Focus, she said, It’s one of my favorite albums. So, we got off on a positive note immediately. My work, Focus on Grace … Concerto for Jazz Saxophone and Orchestra, is very much inspired both by the Stan Getz album and by the performances I heard of Grace and her band. The first movement is based on a funk groove in D minor: Grace’s part is initially written-out but she improvises freely in the coda. The second movement is a boss nova: as in the Stan Getz album, Grace does not have a written part but improvises over a set of chord changes provided by the orchestra. The third and last movement is an Afro-Cuban groove in six-eight: Grace has a written melody at first but soon launches into improvisation on a 12-bar blues in F. She ends the concerto in a free cadenza to show off her virtuosity and saxophone chops. ENJOY!!!

Full Orchestra - Level 3 - Digital Download

SKU: A0.730411

Composed by James Nathaniel Holland. Contemporary,Holiday,Love,Wedding. Score and parts. 35 pages. James Nathaniel Holland #3367719. Published by James Nathaniel Holland (A0.730411).

A beautiful, sentimental slow waltz from the Pas de Deux of the ballet, The Snow Queen by American Costa Rican composer James Nathaniel Holland.   Here arranged in the original orchestral format. Intermediate level. Full score in concert pitch.  Individual parts included. Instr: 1 picc, 12fl, 12 ob, eh, 12clb, bcl, 12bsn, 1234hrn, 123trp, 12trm, btrm,tba, chimes/tim, hrp (or pno) strings

Perfect for Valentine's Day, Wedding Father Daughter Waltz, or anytime of the year!

With Optional Lyrics (Reduced piano for solo voice or SATB choir sold separately):

Beautiful and bright as the Red Rose;
With only one hope: 'You'll remember me.'
Know that I'll always love you,
And that this love will not fade.
Fresh, so sweet, the fragrance,
Of those happy times, wonderful, sublime, we once shared.
If I should dare, say you still care!
Think of my love as a Rose.
(Brief music interlude)
I wish you nothing but gladness,
And a life filled with Joy!
Seasons may come;
Years, they may go,
Love can survive,
Through Winter's snow.
And so this love will for you,
Think of my love as a Rose.
As Seasons fly; Years, as they go,
Think of my love as a Rose!
J.N. Holland

(Duration: 6 minutes)

YouTube Video Presentation:  https://youtu.be/9dgnKajSsE8 
Composer website: http://lacoronadelossantos.net/jamesnathanielholland.html
Facebook page:  https://www.facebook.com/jamesnathanielholland/

Full Orchestra - Level 3 - Digital Download

SKU: A0.730417

Composed by James Nathaniel Holland. Holiday,Wedding. 35 pages. James Nathaniel Holland #3369855. Published by James Nathaniel Holland (A0.730417).

A beautiful, sentimental slow waltz from the Pas de Deux of the ballet, The Snow Queen by American composer James Nathaniel Holland.   Here arranged in the key of C (HIGH) orchestral format. Intermediate level. Full score in concert pitch. Individual parts included.   Can be used with any piano vocal arrangement in the same key.

Instr: 1 picc, 12fl, 12 ob, eh, 12clb, bcl, 12bsn, 1234hrn, 123trp, 12trm, btrm,tba, chimes/tim, hrp (or pno) strings

Perfect for Valentine's Day, Wedding Father Daughter Waltz, or anytime of the year!

With Optional Lyrics (Reduced piano for solo voice or SATB choir sold separately):

Beautiful and bright as the Red Rose;
With only one hope: 'You'll remember me.'
Know that I'll always love you,
And that this love will not fade.
Fresh, so sweet, the fragrance,
Of those happy times, wonderful, sublime, we once shared.
If I should dare, say you still care!
Think of my love as a Rose.
(Brief music interlude)
I wish you nothing but gladness,
And a life filled with Joy!
Seasons may come;
Years, they may go,
Love can survive,
Through Winter's snow.
And so this love will for you,
Think of my love as a Rose.
As Seasons fly; Years, as they go,
Think of my love as a Rose!
J.N. Holland

(Duration: 6 minutes)

YouTube Video Presentation:  https://youtu.be/9dgnKajSsE8
Facebook page:  https://www.facebook.com/jamesnathanielholland/.

Full Orchestra - Level 3 - Digital Download

SKU: A0.1512855

Composed by Chris Knapp. 21st Century,Classical. 83 pages. Chris Knapp #1087810. Published by Chris Knapp (A0.1512855).

About the piece

'To The Moon' takes inspiration from the Earth's Moon, the beauty and
majesty of the celestial body and all it encompasses. It also charts the energy and excitement surrounding the space race and the ultimate goal to get to the Moon! The piece helps to explore extended tonalities and considers a different approach to Orchestral writing and performance choreography.

This piece can be performed by any number of performers, ideally, traditional Orchestral numbers work well but experimentation with larger/fewer numbers on various parts within the different 'ensembles' can produce exciting results.

Performance directions

The ideal performing conditions for this piece are that the orchestra are split into 4 'ensembles' as indicated in the score. Each ensemble is grouped in a way that means all ensembles are pointing to the centre (see diagram 1 below). The audience should similarly be positioned around the room in a circle behinf each of the ensembles. Therefore, an ideal focal point for this performance would be a visual representation of the Moon in the centre of the room, ideally lit in some way. Representations of the Moon may take the form of a 3D lit representation (potentially made, perhaps a local Art project) or a projected representation onto the floor of the performance space. The

Moon should be of sufficient size as to not be lost in the space and careful planning should be done to ensure optimal visual effect. The role of the conductor during the performance ideally would be minimal, perhaps sat in one of the ensembles providing minimal direction. However, due to the capabilities of the performers, the conductor may have to take a more active role in the performance. In this case, diagram 1 (below) shows the ideal place for the conductor to be positioned so that performers can see as much as possible but so that attention is not diverted from the visual effect.

To get in touch email me at: cknapp.nottingham@gmail.com.