Orchestra - Digital Download Music from the last movement of the Ninth Symphony. Composed by Ludwig van Beethoven (1770-1827). Arranged by Herbert von Karajan. This edition: score. Downloadable. Duration 2 minutes 15 seconds. Schott Music - Digital #Q2742. Published by Schott Music - Digital

Full Orchestra - Level 4 - Digital Download SKU: A0.869295 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 149 pages. Thomas Oboe Lee #431379. Published by Thomas Oboe Lee (A0.869295). Instrumentation: 3222-4231-timp-2perc-hp-chorus-strings Program note:It has been a wonderful two years of thinking, learning and working on my Continental Harmony Project with the Bangor Symphony Orchestra. It is a rare occasion that a composer in the 21st century would receive a commission to write a musical work of such scale: a 40-minute piece for symphony orchestra, 200-plus chorus and a ballet company.   At the Bangor Public Library I found some wonderful evocative 19th century texts for the chorus about the city of Bangor and its environs: the Penobscot River, Mt. Ktaadn, the logging industry, the native American culture, etc.   At times I felt overwhelmed, but most of the times I was exuberant and quite inspired by the music that came forth in the process.   The premiere is less than a month away, and I am looking forward to it. Susan Jonason, Executive Director of the Bangor Symphony, has made the occasion a very public one: a free concert on a Saturday evening! I hope the audience will go home humming the tunes from the work as they walk into the crisp, cool Bangor night.Formally the work is in five movements. The first, third and fifth movements are choral, and the two in between are orchestral.   In the premiere, the Robinson Ballet will dance in the orchestral movements.  The first movement is about the Penobscot River from winter to spring. The melting of the ice is a harbinger of things to come: warmer weather, for instance; but it has also contributed to a lot of flooding in the city of Bangor and its surroundings.The second movement is a waltz, a grand 19th century ballroom waltz for the ladies of the rich lumber barons. They come to the ball showing off their latest hats and gowns from London, Paris and Milan.The third movement is about the woods and the people who work in them. Thoreau’s text about Mt. Ktaadn is full of awesome thoughts about how nature is beautiful, yet unkind to man.   It is followed by a J.G. Whittier lyric entitled The Logger’s Boast. The original song had twenty stanzas to it. I whittled it down to five. I don’t know what the original song sounded like, so I made up my own version of a lumberjack’s drinking song.The fourth movement is a wild, drunken polka. After a long week of working in the woods the lumbermen come back to the city and spend all their earnings on booze, women and gambling. And they dance the night away …The last movement begins with a funeral march for Joe Attien, a native American who was Thoreau’s guide when he came up here in the 1900’s. The work ends with a rousing march, a centennial hymn to the city of Bangor.   God bless our city Bangor, now! On this its birthday morn …NB: The two ballet movements, II. La Valse and IV. Drunken Polka, are optional.

Full Orchestra - Level 4 - Digital Download SKU: A0.994957 Composed by Antonio Vivaldi. Arranged by Chris Knapp. Baroque,Classical. Score and parts. 46 pages. Chris Knapp #599741. Published by Chris Knapp (A0.994957). This vibrant arrangement of the first movement from the Four Seasons, is a great one for pushing an amateur orchestra, allowing soloist opportunities for Clarinet, Flute and Violin 1. N.B: Part for Clarinet are A for this arrangement - parts in Bb are far too difficult under the fingers in my experience. However, parts in Bb are available for free on request after purchase.

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 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 4 - Digital Download SKU: A0.734883 Composed by Joseph Hasper. Contemporary. Score and parts. 27 pages. Joseph Hasper #4345893. Published by Joseph Hasper (A0.734883). The second movement of Joseph Hasper's Symphony No. 1. This is such a touching movement that it may be played separately from the symphony, and therefore has been given its own title.Scored for 2.2.2.2, 4.3.2.1, timp, perc, stringsThis purchase is for the score only and is available for immediate digital download. For a FREE set of parts after purchasing a score please contact info@josephhasper.com.  

Full Orchestra - Level 3 - Digital Download SKU: A0.1153609 By Antonin Dvorak. By Antonin Dvorak. Arranged by Marc GARETTO. 19th Century,Chamber,Classical,Romantic Period,Standards. Score and Parts. 79 pages. Marc GARETTO - Harmonie Editions #753874. Published by Marc GARETTO - Harmonie Editions (A0.1153609). A shortened and easier version, adapted for modern full orchestra. Including extracts from the 4 movements of the original symphony no 9 Opus 95 Many free world transposed parts on request.

Full Orchestra - Digital Download SKU: A0.1112762 Composed by LORENZO ONDARRA QUINTANA. 20th Century,Praise & Worship,Religious. 84 pages. OE OFICINA #714754. Published by OE OFICINA (A0.1112762). Para 4 voces mixtas y orquesta sinfónica - I Centenario Provinciae Capucinae Nav. - Cant. - Arag. ORCHESTRAL SCORES ARE AVAILABLE FOR RENTAL The Te Deum for mixed choir and symphony orchestra by Lorenzo Ondarra (1931- 2012) was composed in 1998 at the request of the Provincial Curia of the Capuchin Friars, to commemorate the First Centenary, in 2000, of the Restoration of the Navarre, Cantabria and Aragón Capuchin Province. The main theme is the Gregorian melody of the Te Deum, a thanksgiving hymn, which combines the melody of the Tonus Solemnis and the Tonus Simplex. The Gregorian melody alternates between the choir and the orchestra, and develops in a free style as a paraphrase, with frequent melodic movements through parallel fourths and fifths: a typical feature of Ondarra’s compositional language. Modal features permeate the entire work, succeeding one another with tonal sections and even bitonal elements. Ondarra’s orchestration reflects an outstanding work, in which the wind instruments, together with the ubtlety of the woods and strings, plays an important role. Through its deep religiosity, the work combines recollection and the invitation to prayer with moments of brilliance in the treatment of the voices, which are exquisitely interwoven with the orchestral timbres. El Te Deum para coro mixto y orquesta sinfónica de Lorenzo Ondarra (1931- 2012) fue compuesto en 1998 por encargo de la Curia Provincial de los Hermanos Capuchinos, para conmemorar el Primer Centenario, en 2000, de la Restauración de la Provincia Capuchina de Navarra, Cantabria y Aragón. El material temático principal es la melodía gregoriana del Te Deum – himno de acción de gracias – alternando la melodía del Tonus Solemnis y del Tonus Simplex. La melodía gregoriana aparece de forma alternada por el coro y por la orquesta, y se desarrolla en un estilo libre a modo de paráfrasis, con frecuentes movimientos melódicos por cuartas y quintas paralelas, propios del lenguaje compositivo de Ondarra. Los rasgos modales impregnan toda la obra, y se suceden con secciones tonales e incluso con elementos bitonales. La orquestación de Ondarra refleja un brillante trabajo, otorgando una presencia importante a los instrumentos de viento, junto a la sutileza de maderas y cuerdas. La obra combina desde su profunda religiosidad, el recogimiento y la invitación a la oración, con momentos de luminosidad en el tratamiento de las voces, exquisitamente entretejidas con los timbres orquestales. Lorenzo Ondarraren abesbatza misto eta orkestra sinfonikorako Te Deum (1931- 2012) 1998an konposatu zen Anaia Kaputxinoen Probintzia Kuriaren enkarguz, 2000. urtean Nafarroa, Kantabria eta Aragoiko Kaputxinoen probintziaren zaharberritzearen lehenengo mendeurrena ospatzeko. Material tematiko nagusia Te Deum -eko melodía gregorianoa da, Tonus Solemnis-eko eta Tonus Simplex- eko melodiak aldizkatuz. Melodia gregorianoa txandaka azaltzen da koruaren eta orkestraren bitartez interpretatuz eta Ondarraren konposatzeko eran ohikoa den bezala estilo libre batean parafrasi moduan garatuta eta gehienetan laudun eta bostun paraleloekin egindako melodiekin osatuta dago. Obra ezaugarri modalez beterik dago, sekzio tonalak eraikiz edota elementu bitonalak izanik. Ondarraren orkestrazioak lan paregabea helarazten du, haize-instrumentuen presentzia nagusituz eta zur-instrumentuen eta hari instrumentuen presentzia sotilduz. Obra honek, sakoneko erlijiotasuna eta ahotsen eta orkestraren arteko nahasketa paregabea konbinatzen ditu.

Full Orchestra - Digital Download SKU: A0.1112703 Composed by LORENZO ONDARRA QUINTANA. 20th Century,Praise & Worship,Religious. 48 pages. OE OFICINA #714716. Published by OE OFICINA (A0.1112703). Para 4 voces mixtas y orquesta sinfónica - REDUCCIÓN A 4 voces mixtas y piano In I Centenario Provinciae Capucinae Nav. - Cant. - Arag. ORCHESTRAL SCORES ARE AVAILABLE FOR RENTAL The Te Deum for mixed choir and symphony orchestra by Lorenzo Ondarra (1931- 2012) was composed in 1998 at the request of the Provincial Curia of the Capuchin Friars, to commemorate the First Centenary, in 2000, of the Restoration of the Navarre, Cantabria and Aragón Capuchin Province. The main theme is the Gregorian melody of the Te Deum, a thanksgiving hymn, which combines the melody of the Tonus Solemnis and the Tonus Simplex. The Gregorian melody alternates between the choir and the orchestra, and develops in a free style as a paraphrase, with frequent melodic movements through parallel fourths and fifths: a typical feature of Ondarra’s compositional language. Modal features permeate the entire work, succeeding one another with tonal sections and even bitonal elements. Ondarra’s orchestration reflects an outstanding work, in which the wind instruments, together with the ubtlety of the woods and strings, plays an important role. Through its deep religiosity, the work combines recollection and the invitation to prayer with moments of brilliance in the treatment of the voices, which are exquisitely interwoven with the orchestral timbres. El Te Deum para coro mixto y orquesta sinfónica de Lorenzo Ondarra (1931- 2012) fue compuesto en 1998 por encargo de la Curia Provincial de los Hermanos Capuchinos, para conmemorar el Primer Centenario, en 2000, de la Restauración de la Provincia Capuchina de Navarra, Cantabria y Aragón. El material temático principal es la melodía gregoriana del Te Deum – himno de acción de gracias – alternando la melodía del Tonus Solemnis y del Tonus Simplex. La melodía gregoriana aparece de forma alternada por el coro y por la orquesta, y se desarrolla en un estilo libre a modo de paráfrasis, con frecuentes movimientos melódicos por cuartas y quintas paralelas, propios del lenguaje compositivo de Ondarra. Los rasgos modales impregnan toda la obra, y se suceden con secciones tonales e incluso con elementos bitonales. La orquestación de Ondarra refleja un brillante trabajo, otorgando una presencia importante a los instrumentos de viento, junto a la sutileza de maderas y cuerdas. La obra combina desde su profunda religiosidad, el recogimiento y la invitación a la oración, con momentos de luminosidad en el tratamiento de las voces, exquisitamente entretejidas con los timbres orquestales. Lorenzo Ondarraren abesbatza misto eta orkestra sinfonikorako Te Deum (1931- 2012) 1998an konposatu zen Anaia Kaputxinoen Probintzia Kuriaren enkarguz, 2000. urtean Nafarroa, Kantabria eta Aragoiko Kaputxinoen probintziaren zaharberritzearen lehenengo mendeurrena ospatzeko. Material tematiko nagusia Te Deum -eko melodía gregorianoa da, Tonus Solemnis-eko eta Tonus Simplex- eko melodiak aldizkatuz. Melodia gregorianoa txandaka azaltzen da koruaren eta orkestraren bitartez interpretatuz eta Ondarraren konposatzeko eran ohikoa den bezala estilo libre batean parafrasi moduan garatuta eta gehienetan laudun eta bostun paraleloekin egindako melodiekin osatuta dago. Obra ezaugarri modalez beterik dago, sekzio tonalak eraikiz edota elementu bitonalak izanik. Ondarraren orkestrazioak lan paregabea helarazten du, haize-instrumentuen presentzia nagusituz eta zur-instrumentuen eta hari instrumentuen presentzia sotilduz. Obra honek, sakoneko erlijiotasuna eta ahotsen eta orkestraren arteko nahasketa paregabea konbinatzen ditu.

Orchestra - Digital Download SKU: S9.Q54206 Based on a piano music by Karl Amadeus Hartmann. Composed by Hans Werner Henze and Karl Amadeus Hartmann. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 20 minutes. Schott Music - Digital #Q54206. Published by Schott Music - Digital (S9.Q54206). These are free arrangements of three movements from Hartmann’s Piano Sonata ‘27. April 1945.’ Hartmann wrote the Sonata after witnessing endless columns of emaciated prisoners leaving the Dachau concentration camp. The music contains quotes from Jewish folk tunes and from revolutionary songs of the International Worker’s Movement. It is a declaration of pity and outrage and of solidarity with the victims of Nazi Fascism. (from: Hans Werner Henze, Ein Werkverzeichnis 1946-96 [ED 8579])3 (2. auch Picc., 3. auch Picc. u. Altfl.) · 2 · Engl. Hr. · 2 · Bassklar. · Heckelphon · Altsax. (auch Tenorsax.) · 2 · Kfg. - 4 · 3 · 3 · 1 - P. S. (hg. Beck. · 3 Tamt. [h./m./t.] · Tomt. · kl. Tr. [mit Schnarrs.] · gr. Tr. · gr. Tr. [mit Beck.] · Fingerzimb. · Röhrengl. · Glsp. · Vibr. · Marimba) (2 Spieler) - Hfe. · Cel. · Klav. - Str.

Full Orchestra - Digital Download SKU: A0.1009861 Composed by CAPONNETTO, Alfredo. 20th Century,Christian,Contemporary,Sacred. Score and parts. 113 pages. Europa Edition Ltd #3515323. Published by Europa Edition Ltd (A0.1009861). Exaudi is a cantata in three movements for symphony orchestra and SATB choir, by the Scotland-based Italian composer Alfredo Caponnetto. It symbolizes a spiritual journey through our innermost hopes and afflictions. The words are taken freely from Psalm 55, and in this new layout their meaning becomes more universal, crossing the line between religion and philosophy.