SKU: A0.1281289

Golden Hour is a captivating musical masterpiece composed by Jvke (Jake Lawson) and arranged for tenor saxophone solo and concert band. This enchanting composition takes its inspiration from the magical moments that occur during the twilight of a sunlit day. As the sun begins to set, casting its warm, golden glow across the landscape, a sense of tranquility and introspection permeates the air.

The piece opens with a gentle and lyrical marimba and vibraphone duo playing the iconic melody of the piano that Jvke played.

The concert band, in turn, weaves a tapestry of harmonies and textures that complement the soloist's performance. The lush instrumentation adds depth and color to the overall experience, accentuating the serene ambiance of the Golden Hour. Soft woodwind harmonies, shimmering brass chords, and delicate percussion accompaniment provide a seamless backdrop for the saxophone solo, creating a harmonious balance between the soloist and the ensemble.

As the piece progresses, the music gradually builds in intensity, representing the gradual transition from twilight to dusk. The interplay between the soloist and the ensemble intensifies, symbolizing the beauty and complexities of life's fleeting moments.

In the climax, the saxophone's soaring melodies soar over the powerful ensemble, culminating in a breathtaking and emotionally charged finale. The music captures the essence of the fleeting beauty of a golden hour, leaving the audience captivated and moved by its evocative storytelling.

SKU: A0.1225840

RAGING FURIES - Rasende Furien
Goddesses of revenge - Göttinnenn der Rage

Concert Piece for big orchestra - Score and Parts

The image of the raging furies as a topos has permeated the world of thoughts and images of mankind for thousands of years and has inspired and fascinated countless artists.
This idea is also based on an emotional background, a violent, uncontrolled emotional outburst, a rage (Latin: furor, in the sense of frenzy, passion and madness, French: rage). The resulting affect action is described as rage or fury, combined with a state of mind of uncontrolled excitement in the sense of being beside oneself or out of one's senses.
The personification of these affects was in Greek and Roman mythology with the trio of vengeance goddesses, the Erinyens (Latin furia) called: Alekto (the incessant, the never resting), Megaira (German: Megäre, the envious anger) and Tisiphone (the Vengeance avenging the murder, represented with a dog's head and bat's wings), and another, that of Nemesis (the reconciling justice). Already in antiquity they were depicted in sculptures, embossed on coins or immortalized as images on amphorae.
They appear in all eras of fine arts, sometimes in female, male or androgynous form, e.g. as avenging angels, or as hybrid beings between humans and animals. Pictures by Albrecht Dürer, Hieronymus Bosch, Tizian, Peter Paul Rubens, William Hamilton, Johann Heinrich Fuessli, Franz von Stuck, Alfred Kubin, Salvador Dali, Francis Bacon, Yongbo Zhao and many others are proof of this.
They found their way into the literature of Virgil (Aeneis), Dante (Divine Comedy) or John Milton (Paradise Lost). Goethe lets them appear in Faust II, Schiller (Die Kraniche des Ibykus) and many others refer to them directly or in a modified form, such as Kurt Tucholsky (Gripsholm Palace), Alfred Döblin (Berlin Alexanderplatz), Max Frisch (Homo Faber) or Jean-Paul Sartre (The Flies).
In opera, they become an important element in highly dramatic scenes, especially on themes with a mythological or historical background, often also related to the underworld, as in Monteverdi (Il Ritorno d`Ulisse in Patria), Lully (Armide), Gluck (Orpheus and Euridice) or Purcell (Dido and Aeneas). Haendel dedicates an aria to them in Rinaldo, the Furie Terribili. Mozart also uses it in The Magic Flute, in his aria Der Hölle Rache by the Queen of the Night.
Furies appear up to the present in various forms, in comics, fantasy novels, computer games, or kung fu films of the 70s (Furies on the yellow river). They are even popular as plastic children's toys, mostly in particularly frightening and creepy presentations (Matchbox/Fighting Furies or Warhammer/Erinnye). This remarkable history and reception inspired Rainer Fabich to create this new orchestral work from his MYThS series. PEGASUS - Ride on Wings, ULYSSES - Prélude to an Odyssey and THE AMONZS - Myth and Projection have already been released. As the title suggests, this is frantically wild music (Allegro molto vivace) that seems to run away, like an action film with fast motives and runs of strings and woodwinds, combined with strong accents of brass and massive percussion Set. Alternations of straight and asymmetrical beats illustrate erratic sequences of movement, as are typical of scenes with the highest intensity, especially in films (e.g. a chase). In the jazzy middle section, the furies calm down a little, before they pick up speed again in a bombastic third section and increase to the point of ecstasy.

SKU: A0.844229

An original arrangement of the holiday classic for full orchestra and male vocal in the key of C, modulating to Db.  Can be performed with or without the optional rhythm section (piano, electric bass and drum set) giving your orchestra some flexibility in programming this arrangement.  Visit www.chrisrinaman.com for more information on the arrangements and compositions of Chris Rinaman.    

As a composer, arranger and orchestrator, Chris's work encompasses big band writing, orchestral arranging and film composition. In 2002, while working as an assistant to Academy Award-winning film composer Howard Shore, Chris Rinaman was the head score consultant for the world premiere of The Fellowship of the Ring for Symphony Orchestra and Chorus at the Hollywood Bowl. He has created orchestral and big band arrangements for many talented vocalists, including Deana Martin, Micheal Castaldo, William Michals, and Allan Harris.  His string arrangements can be heard on the 2016 PBS special, Giada Valenti:  From Venice With Love.

SKU: A0.1023992

Commissioned by the Fort Smith Symphony - John Jeter, Conductor John Trumbull (June 6, 1756 - November 10, 1843) is perhaps the most overlooked of the Founding Fathers of The United States. Born and raised in Connecticut, John Trumbull was the son of Jonathan Trumbull (October 12, 1710 - August 17, 1785), Governor of Connecticut from 1769 to 1784, the only Royal Governor to side with the Americans during the Revolutionary War. Trumbull fought in the revolution, witnessing Bunker Hill and using his artistic abilities to sketch the British Works at Boston. Later, he was appointed second personal aide to General Washington, and in June 1776 he served as deputy adjutant-general to General Horatio Gates. Trumbull resigned from the army in 1777 over a dispute about the dating of his commission. In 1780 Trumbull traveled to London to study under Benjamin West: It was West who urged Trumbull to paint small pictures of the War of Independence, the works which would make him famous (he painted around 250 during his lifetime). In September of 1780, Continental troops captured British agent Major John Andre, after news of this reached Great Britain, Trumbull was arrested in retaliation. He was imprisoned for seven months. After the War, Trumbull again traveled to London, and then to Paris. It was here that Trumbull began work on two of the works depicted in this piece. He made sketches for the Surrender of Lord Cornwallis and, with the help of Thomas Jefferson, the US minister to France, he began working on The Declaration of Independence. In addition to paintings depicting the revolution, Trumbull painted numerous portraits, including those of George Washington, George Clinton (Governor of New York), Alexander Hamilton (the source of the $10 bill), and John Adams. I was tasked with composing a piece which would be educational for the students in attendance. I ended up writing a piece that would have educational material both in its musical construction and its subject matter. Trumbull's use of color, especially darker hues, and the structure of his paintings informed the construction of the piece. Three specific paintings influenced the work: The Capture of the Hessisans at the Battle of Trenton, The Declaration of Independence, and The Surrender of Lord Cornwallis. A recurring theme in the work of Trumbull is how the central act is always depicted at the center, with opposing groups on either side. The piece derives its form from this trait, casting the two large battle sections on the outsides, with the central act of the Revolutionary War in the center (The Declaration of Independence). The only percussion in the piece are drums, lending a certain militaristic feeling to the work, and evoking images of marching armies. Extended techniques are used repeatedly, casting a shade of uncertainty around the military campaigns (Washington's famous crossing of the Delaware and the seige at Yorktown), while The Declaration of Independence is scored in strict time and with more traditional harmonies, solidifying the event as the central moment of American history.

SKU: A0.1277133

Missa Solemnis in B major, op. 27 (conductor's score).
Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque� (which would still fit the rhythm of the repeated „qui ex Patre�, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nations�, more appropriate in the concert hall. 

The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis� and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis� gesture at „Gloria in excelsis Deo�, „et ascendit in caelis�, „in remissionem peccatorum� and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus est�, a cross-shaped texture at „crucifixus�, and some word-painting (hushed sonorities at „et invisibilium�, anticipations between orchestra and chorus at „et exspecto� etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). 

„Kyrie� is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria� begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo� has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange lingua�, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria� and „Credo� end with extended, powerful and elaborate fugues („in gloria Dei Patris� and „et vitam venturi saeculi�, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei� end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctus�). „Judicare� quotes the beginning of the well-known „Dies irae� plainchant tune, and the Consecration between the „Sanctus� and „Benedictus� sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Dei�, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi� and „dona nobis pacem�). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison� theme is briefly remembered, then it ends softly and peacefully. 

Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.

SKU: A0.1326423

Verdi's popular overture is arranged here in a shortened version for solo clarinet in A and orchestra. As performed by Emma Johnson on her album 'Voyages' this makes an attractive concert item lasting about 4 minutes.  A useful encore item for a clarinet soloist in your concert programme.  Score and Parts are included  1111. 2230. Harp and Strings. (The trombones are optional).

SKU: A0.994836

An original large Orchestral work bursting with different colours and characters.  A politically motivated descriptive piece taking the listener and performer through a journey. ** Mp3 recording attached of original synthesised version **
Written for Piccolo flute, flute, Alto flute in G, Oboes, Cor anglais, Clarinets in Bb, Bassoons, contrabassoon, French horns, Piccolo trumpet, Trumpets in Bb, Tenor trombones, Tuba, Orchestral harp, Piano, Celeste, Timpani, Percussion (Snare, Bass drum, Clash cymbals) Violins, Violas, Cellos, Double Basses.
 

SKU: A0.1098583

Whilst not as well-known as some of his other work, this delicate little Christmas song is distinctly Elgar. Composed for the Choir of Hereford Cathedral it evokes love, friendship and the English countryside at Christmas. Originally scored for two soprano voices, accompanied by two violins and piano, this delightful work has been thoughtfully re-scored for orchestra (including percussion) by Kara Williams, and is aimed at intermediate level ensembles. The passionately pastoral introduction section leads into a joyful 6/8 section featuring the two trumpets and a cheeky quote from Handel’s ‘Messiah’. This work is a lovely addition to any program, and not just for Christmas time! Scoring: Picc; Fl1&2; Ob1&2; Cl1&2; Bsn1&2 (Bsn2 sub Bcl); FHn1&2; Tbn (sub FHn3); Tba; Timp, Perc1&2; Vln I; Vln2; Vla; VC; CB.

SKU: A0.1452133

Work Title Horn Concertino
Alternative Title Concertino pour le Cor avec Accompagnement de deux Violons, Alto, Violoncelle et Basse, Flûte, deux Clarinettes, deux Bassons, deux Cors, deux Trompettes et Timbales
Composer Lindpaintner, Peter Joseph von
Opus/Catalogue Number Op.43
Key E major (with an introduction in B major)
Movements/Sections 3 movements

1. Adagio ma non troppo — Allegretto
2. Andantino
3. Allegro

SKU: A0.1398097

Work Title Clarinet Concertino
Composer Lindpaintner, Peter Joseph von
Opus/Catalogue Number Op.41
Key E flat major
Movements/Sections 1 movement, 3 sections:

1. Adagio â?? Allegro giusto
2. Andantino
3. Allegro

SKU: A0.1411498

Concertino is a composition for solo trumpet and symphony orchestra with instrumentation from the Haydn time, making it a perfect extension to such programming.

The composition is written as one movement consisting of a powerful beginning, a dreamy middle section and a spectacular final where the solo trumpet player can express his virtuosity. 

The Score & Parts (PDF) consists of:

Score
Flute 1 & 2
Oboe 1 & 2
Clarinet 1 & 2
Bassoon 1 & 2
Horn 1 & 2
Trumpet 1 & 2
Solo Trumpet
Timpani
Strings.

SKU: A0.819594

Movements/Sections 4 movements:

1. Adagio – Allegro (D major, 118 bars)
2. Adagio – Andante – Adagio (G major, 112 bars)
3. Minuet (D major) - Trio (D minor, 64 bars)
4. Finale. Allegro (D major, 135 bars)

SKU: A0.1317461

Work Title Bassoon Concertino in C major
Alternative Title Rondo; Rondo Concertin
Composer Cramer, Franz Seraph
Key C major
Composed in 1813
Composer Time Period Classical
Piece Style Classical
Instrumentation bassoon, orchestra
(Flute, 2 Clarinets, Bassoon, 2 Horns, 2 Trumpets, Timpani, Strings).