Full Orchestra - Level 5 - Digital Download

SKU: A0.1315331

Composed by Geraldine (Denny) Green. 21st Century,Classical,Contemporary,Romantic Period. 468 pages. Geraldine (Denny) Green at Oakmountmusic #904077. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1315331).

Duration : Approx. 30 minutes
Instrumentation
Flutes 1&2
Piccolo/Flute 3
Oboes 1&2
Cor Anglais
Clarinets 1&2 in Bflat
Bass Clarinet in Bflat (To Low C)
Bassoons 1&2
Horns 1 – 4 in F
Trumpets 1&2 in Bflat
Tenor Trombones 1&2
Bass Trombone
Tuba
Timpani – 4
Bass Drum, Sleigh Bells, Temple Blocks, Maracas, Cymbals – Crash and Suspended Snare Drum,Tambourine Triangle Tubular Bell (only 1 B bell required) Glockenspeil Xylophone
Celesta
Harp
Violins 1&2
Violas
Cellos
Double Basses

About The Work
On Tuesday March 24th 2020, one day into the first UK national Lockdown at the start of the worldwide Covid-19 Pandemic, my Mum died! She was 91 and had been poorly with many different illnesses for the previous 6 months, so we knew it was coming. But the timing and unfathomable sadness of her death, together with the start of a worldwide pandemic, little did I know it at the time, was to bring forth from me a tsunami of music the likes of which I hadn’t written for many years. A set of six solo studies for various members of the clarinet family came first, written between March 20th and April 20th. As I wrote them they were orchestrating themselves in my head and forming something else as well. That “something else� grew and grew, as the Six Studies intertwined themselves around each other and expanded together, joining forces with two brand new themes to form what soon was to become an immense orchestral work. The title was easy. Glastry is a tiny district in the middle of the Co.Down countryside of Northern Ireland, where my Mum was born and brought up. And Pearl was her name. Her full name was actually Margaret Mary Ward (eventually to become Denny when she married my Dad, Colum Denny, from Belfast), but everyone always called her Pearl. The nickname was bestowed upon her just after she was born on February 28th 1929 and stuck ever since.

The Glastry Pearl is a tribute to my Mum and the great and mighty person she was to me and all who knew her. It employs at least one theme or motif from each of the Six Studies For Various Solo Clarinets and uses them throughout the work in the from of Leitmotifs. It was only when the work was nearing completion that I began to wonder how to describe it. Freddy Naftel, a good composer friend of mine, suggested that Tone Poem was a fitting description and I immediately agreed. The music itself is completely tonal and highly Romantic, yet also peppered with exciting contemporary disonance. I believe it to be a good, and hopefully fun, challenge to symphony orchestras, both professional and high standard amateur alike. It offers everything from the the somber opening to the hilarious and wildly energetic central Waltz, to the glorious soaring final section, so plenty of variety to please many palates.

Full Orchestra - Level 4 - Digital Download

SKU: A0.730401

Composed by James Nathaniel Holland. Contemporary,Musical/Show,Opera. Score and parts. 37 pages. James Nathaniel Holland #3142471. Published by James Nathaniel Holland (A0.730401).

Tenor Aria From the Hillside from the 21st Century Opera ON THE WINGS OF THE SCARLET MESSENGER (Based on the Henry James novel, On the Wings of a Dove) here with full orchestral accompaniment. (Full score in concert pitch, voice, and individual parts included)  This accompaniment can also be used with the solo and male ensemble that is contained in the full vocal score.

Instrumentation:  pic, fl12,ob12,eh,cl12,bcl,tenor sax, bsn12,hrn1234, trpt 12, trmb, btrm, timp, hand cym/egg shaker, hrp, voice, strings

Duration: 4:00 minutes  (Sample here begins with extra measure) 

Video presentation at: https://www.youtube.com/watch?v=u47yb4kiE0Y

Curious? Listen to the complete opera playlist en demo at: http://www.youtube.com/watch?v=Rr5x_aXnUMM&list=PLEcbVsA36MCvHG_MTBdv7x2UNjwG27sMa

Adaptation, Libretto, and Music by James Nathaniel Holland Performance: James Nathaniel Holland, Tenor Orchestra: CH Symphony Group (Complete Duration: 2 hours)

BRIEF SYNOPSIS: In the urban capital of Soon Rafa, lovers Mariana (Soprano) and Kai (Bass) cannot be together because of Mariana's disapproving wealthy Aunt (Mezzo-Soprano). Torn between love and financial security, an unlikely opportunity arises when a dying rich Occidental, Justin (Tenor) reveals his romantic interest in Kai. The couple plot a pretense to inherit Justin's money and be free to marry and live together. This aria occurs in Act I, Scene 2. Justin (tenor) has just hired a group of porters, including Kai (bass), to guide him through the jungles of the island to photograph the mythical bird, the Scarlet Messenger. Although the men insist it is a legend, Justin inspires them to persevere with him.

Aria Libretto, Justin (tenor singing):
From the hillside, something breaks free.
Is it real? Or just illusion?
Oh how I have to see you, feel that beauty.
Upon your wings our souls must one day fly to heaven.
Never doubt that you can find him, hiding among your dreams.
For when you feel all hope is gone, that's when you spot his red wings, fiery bright. (to the group of porters)
So come with me, all's not in vain. It is real, just not illusion.
The day is fading fast, oh, so quickly.
We'll be the first to see that blazing path of fire.
The Scarlet Messenger!
Oh how that would be the greatest gift of my life.

 Composer website: http://lacoronadelossantos.net/jamesnathanielholland.html

 Music, Lyrics, Performance Copyright 2017 James Nathaniel Holland.

Full Orchestra - Level 3 - Digital Download

SKU: A0.1447011

Composed by Jenny-Joy Ahimsa Moore. Classical,Contemporary. 15 pages. Jenny Joy Ahimsa Moore #1026786. Published by Jenny Joy Ahimsa Moore (A0.1447011).

This piece is for a symphony that would  play more challenging music. It is how I view, and harmonize, my dysfuctional/abusive family. The middle section falls apart much like my family truly was, behind closed doors. That is: we lived in the same house, but we did not communicate, we did not listen to each other.  Near the end, it becomes much darker, almost funereal, like the truth of what being the youngest child (of a narcissistice mother,  with an older narcissistic sister, a dad who chooses to remain ignorant) in my family was truly like. The various parts represent members of my family , sometimes several parts represent one member, or (at times) one part represents several members. Typically, the flute represents my sister, clarinet represents myself (sometimes tuba and trumpet as well). The parts overlap , to show how we did not listen and spoke at each other rather than with each other. This piece  shows not just what each person was like on the outside, but also shows the more subtle sides of each member that few people really see or know about (the abuse behind closed doors). This piece is multi faceted, multi layered, like the 4 main members of my family are. The very end points to the Grace of God being the only thing that can heal my family at this point. The flute ends higher than clarinet, in the Hope that Healing can truly occur (not just my family, but with other families that hurt as well).

Full Orchestra - Level 4 - Digital Download

SKU: A0.809057

Composed by Kim Diehnelt. Contemporary. Score and parts. 28 pages. Kim Diehnelt #4367718. Published by Kim Diehnelt (A0.809057).

Striadica: A Symphonic Passage

The every-day, reshaped by contingencies. The time-bound path twists through certainty, bewilderment, and fragile reconstruction. Upon release, recognition arrives.

Duration: 8 - 9 mins.

I was specifically asked to write a work where everyone had something to play. As is my usual style, I tend to allow the second players and less-prominent instruments a chance to shine, and in general shake up the usual orchestral hierarchy. (The second violins, for example, even get their own solo passage!)

The wind parts are much more individualized, where the first part may have a completely different line than the second.
A colleague who is a trombone player challenged me to write parts that sing for his instrument; hence the word dolce occurs in the low brass parts. Although the low brass parts are rather simple, they do require finesse and nuance.

In general, none of the parts are overly challenging; rather, I hope each player finds the music allows them the opportunity to express themselves both individually and as an ensemble.


Instrumentation

1 Piccolo
2 Flutes
2 Oboes
2 Clarinets in A
2 Bassoons
4 Horns in F
2 Trumpets in C
3 Trombones (2 Tenor, 1 Bass Trombone)
1 Tuba
Timpani (B / D)
Percussion: Wood Blocks, Snare Drum
1 Harp
Strings

------

Commissioned by the Lake Forest Civic Orchestra, IL. Premiere performance May, 2018

This item contains ONLY THE SCORE. The PDF, when printed double sided will make for an 8 ½ by 11 score with a left margin suitable for comb binding. (Please consider a larger sized comb than usual so pages may be turned quietly!) A full set of hard-copy parts are available directly from Kim Diehnelt. (Kim@KimDiehnelt.com)

© 2017 Kim Diehnelt (ASCAP)

Full Orchestra - Level 4 - Digital Download

SKU: A0.1018959

Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 34 pages. Benjamin Sajo #6078723. Published by Benjamin Sajo (A0.1018959).

Programme Notes:

 This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles.

 The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  

 The second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners.

 Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.

About the Composer:

 Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.

Full Orchestra - Level 4 - Digital Download

SKU: A0.1018940

Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 13 pages. Benjamin Sajo #6078661. Published by Benjamin Sajo (A0.1018940).

Programme Notes:

 This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles.

 The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  

 The second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners.

 Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.

About the Composer:

 Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.

Full Orchestra - Level 4 - Digital Download

SKU: A0.1370381

Composed by Claude Debussy. Arranged by Ben Trigg. 19th Century,Romantic Period. 221 pages. OlivePress Music #954757. Published by OlivePress Music (A0.1370381).

From Debussyâ??s Préludes, Book I:

I: The Wind Over The Plains
II: The Girl With The Flaxen Hair
III: Puckâ??s Dance
IV: The Sunken Cathedral

Debussyâ??s piano music is filled with colour, texture, vibrancy, sonority. To play it is to be taken inside a sound world greater than the instrument itself. In other words, it seems to demand orchestration. Whether the fanfare call of Puckâ??s Dance, the sotto voce flurries evoking The Wind Over The Plains, or the deepest and highest reaches of the musical spectrum explored in the under-water world of The Sunken Cathedral, Debussyâ??s music seems to drop hints at obvious orchestral manoeuvres. His great skill, of course, was condensing these musical ideas to the piano. But the fruit is there fo the taking, and indeed other orchestrations exist of the complete suite of piano preludes â?? Books I and II. So, why another?

This particular suite cherry-picks some of my own favourite movements from the suite, and arranges them in a â??symphonicâ?? structure to present an opening, expository movement (The Wind Over The Plains), a romantic Adagio (The Girl With The Flaxen Hair), a sprightly â??scherzoâ?? (Puckâ??s Dance), concluding with an epic finale (The Sunken Cathedral). This condensed suite may make the music more approachable for some orchestras, and offers something shorter to concert programmes wishing to feature other major works alongside, instead of performing all 24 preludes.

I hope you enjoy performing this suite as much as I enjoyed arranging it.

Instrumentation:

• Piccolo
• 2 Flutes
• 2 Oboes
• Cor Anglais
• 2 Clarinets in Bâ?­
• Bass Clarinet in Bâ?­
• 2 Bassoons
• Contrabassoon
• 4 Horns in F
• 3 Trumpets in Bâ?­
• 2 Trombones
• Bass Trombone
• Tuba
• Timpani
• Percussion (3/4 players):
  • Triangle, Crash Cymbals, Suspended Cymbal, Bass Drum, Tam-Tam, Glockenspiel, Tubular Bells
• Celesta
• Harp
• Violin 1 (divisi à 4)
• Violin 2 (divisi à 4)
• Viola (divisi à 4)
• Violoncello (divisi à 4)
• Contrabass (B extension where possible) (divisi à 4)