SKU: A0.1024969

Chamber orchestra score for a short film called Bike Bike Bike. The film and score (performed by a live orchestra) premiered at the 2016 MNKINO Film Score Fest in St. Paul, Minnesota.
Listen: https://simonsperl.com/

SKU: A0.1348108

Friend Like Me, from Aladdin, arranged for small orchestra by Greg Eaton. Scored for:
Flute
Clarinet
Horn
Trumpet
Trombone
Drum Kit
Violin 1
Violin 2
Viola
Celli
Bass

All the 'pizzazz' of the original recording, arranged for a smaller band but still rich with full and complete harmonies and all subtle nuances.

SKU: A0.742331

Javier Martínez (Pd The Liverpool Institute for Performing Arts, MA Berklee College of Music) is a recognized producer, arranger, composer and educator in Colombia and England, where he has taught advanced production, mixing, mastering and audio technology for over 20 years. An independent writer/producer and recording engineer, his credits include works and scores for Colombian TV Channels, Moscow Symphonic Orchestra, Iberoamerican Orchestra (based at Barcelona, Spain) and almost 200 albums and films. From his Ingeson Recording Studio, he’s completed film, video and multimedia original scores for clients like Nike, Honda, Chevrolet, Yoyo Music USA Inc, Mitsubishi, Mundo Arts, SAAB Miller and RCN Television. His international experience as arranger, engineer and producer includes workshops with sir Paul McCartney, Radio Head, Charlie Morgan (Elton John), and recordings at Scotland (Kim Edgar), Switzerland (Sebastian Portillo), Germany (Toby Freissler) and Spain (Iberoamerican Orchestra). Programmer and sound designer, he works with best seller music production tools, like Protools 12, Logic Pro X, Reason 6, Finale 2014, Musescore and uses top music samplers from brands like Sounds Online, Native Instruments and Vir2, among others. He has worked also with several companies as manager and director, with duties as budget organization, development of musical projects and head of producers and engineers at recording studios.

SKU: A0.533578

The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audience, and chamber orchestra (piano, organ, strings-suggested minimum of 3.3.3.2.1),
was commissioned by The Memorial Church at Harvard University. It is dedicated to Edward Elwyn Jones and the
Harvard University Choir.
The biblical books of Luke and Acts form a pair of documents from a single author and with a single audience (the
likely-metaphorical “Theophilus�), yet they are unusual for being composed in such contrasting genres. Luke’s
gospel, using Mark as a primary source throughout, features a comparable literary style to that of the other
evangelists. Acts, by contrast, is a historical monograph that charts the birth of the Church with dramatic stories
about—and speeches from—the apostles, painting a vivid, if not necessarily chronological, picture of their victories
and struggles. As such, it is a book that provides excellent source material for a dramatic choral libretto of this scale.
Although much of Acts is focused on the ministry of Saul/Paul, this oratorio draws most of its material from the
first third of the book, prior to and including the conversion of Saul. In the Prologue, Christ’s ascension is narrated
and—following an orchestral Sinfonia—the chorus sings words of Jesus from the Sermon on the Plain in Luke’s
gospel that foreshadow many of the trials the apostles go on to face. The astounding account of Pentecost follows:
here, words from the book of Ruth, customarily read on the feast of Shavuot (Pentecost), are included, telling the
story of a Moabite woman who converted to the Israelite faith—a parallel to the expansion of the Christian message
to all nations by the gift of the Holy Spirit. The Prayer for Boldness, quoting Psalm 2, asks God for protection from
the threats of persecution that the apostles will now face.
Stephen, regarded as the proto-martyr of the Christian Church, offers one of the most developed speeches in Acts,
only a small portion of which is presented here. Full of scriptural references, including the quotation from Isaiah
“Heaven is my throne…�, the end of the narrative is remarkable for two reasons: firstly, Stephen’s final words
mirror those of Christ on the cross in Luke’s gospel—where Jesus forgives his executioners and prays “Father, into
your hands I commend my spirit� (Luke 23:46); secondly, Saul is specifically mentioned as one who approved of
Stephen’s stoning, indicative of the redemptive possibilities of the Christian message.
The account of the baptism of the Ethiopian eunuch here in the oratorio ends with the First Song of Isaiah—while
not quoted in Acts, it seems a fitting conclusion to the scene as Philip and the eunuch were reading Isaiah together,
and the canticle has often been associated by Christians with the rite of baptism. Similarly, the story of Saul’s
Conversion is followed here by a Christological poem found in Paul’s letter to the Philippians, though it is likely a
quotation from an earlier source. It is often regarded as the earliest extant Christian hymn.
The Acts of the Apostles concludes with Luke’s realistic assessment that in spite of Paul’s energetic evangelism many
remained unconvinced by the Christian message. At the heart of both Luke’s gospel and Acts is the tension between
the uniquely important role of the Jewish traditions that Jesus himself practiced and the expansion of the gospel to
gentiles, of whom Luke himself is one. It is appropriate, therefore, to follow Paul’s message of salvation to the
gentiles with the Magnificat: a canticle that emphasizes the promises of God to the people of Israel throughout
history.
Three traditional hymn texts are found in the oratorio, each set congregationally to a pre-existing tune. The first,
“Spirit of mercy, truth, and love� is an eighteenth century poem that e.

SKU: A0.889300

This price includes the score and all parts. When you listen to the recording you will catch the optimistic spirit as only the horn can exude. You might find it humorous that the horn soloist, and other wind players, have such phenomenal breath control -- a by-product of the synthesized, digitized recording. :) It still gives you an idea of what this is like and is sure to inspire performers and audience alike. The picture on the title page is a scene of mountain ranges from the Blue Ridge Parkway. You can almost imagine an alphorn player around the echoes of your mind.

SKU: A0.980599

Límites (1979) for mezzo-soprano and Chamber Orchestra   Borges’ poem greatly impressed me with its dreamlike images and its rich reflections on the limitations that we face in our lives. The poem mirrors Borges’ own acceptance of his impending blindness. I sought to capture musically the vivid revelations found in each of the stanzas of the poem. The music centers around the note A 440 which tries dramatically to rise to B-flat but is unsuccessful until the very end of the work, underscoring the lines space, time, and Borges now are leaving me. (Espacio y tiempo y Borges ya me dejan.)  Rental of orchestra parts: https://www.thecomposerstudio.com/vocal/#tab-16335   More info email:  thecomposerstudio@gmail.com    Composer bio:  williamneil.net.

SKU: A0.896452

A Nocturne in a Romantic style, but unlike most Romantic concertos, the lighter scoring of the chamber orchestra makes for far fewer balance issues between the solo cello and the rest of the ensemble.  .

SKU: A0.533630

Piano Concerto (2005) for solo piano and strings was commissioned by Nathaniel Blume and
Symphonic Underground. The work was written in celebration of the Mozart Year 2006.
Unlike most recent piano concerti, this work is a concerto designed for small performing
forces. It sits between typical chamber music and the typical piano concerto.
The work was inspired by the various Mozart concerti (such as K. 449) which are often
performed with very small string sections. Thus, this concerto may be performed with as few
as single strings on each part, or a larger full string orchestra
The work is cast in one movement, containing two large sections (sub-movements).
Structurally, the piece is a highly condensed version of Classical period symphonic form.
The first section of the work is an exposition-development/sonata allegro combined with a
slow movement. The second section is a combination of a triple-meter scherzo and a rondo
finale.
The musical material throughout derives tonally from the three notes of a D-major triad (D,
F#, and A). Those three pitches serve as transformation centers for the work's material and
also plot the tonal areas of each section. The musical material of the work thus ranges from
highly Classical melodies (although all original) and textures to more Romantic and
modernist elements that transform out of the initial material.

SKU: A0.533631

Piano Concerto (2005) for solo piano and strings was commissioned by Nathaniel Blume and
Symphonic Underground. The work was written in celebration of the Mozart Year 2006.
Unlike most recent piano concerti, this work is a concerto designed for small performing
forces. It sits between typical chamber music and the typical piano concerto.
The work was inspired by the various Mozart concerti (such as K. 449) which are often
performed with very small string sections. Thus, this concerto may be performed with as few
as single strings on each part, or a larger full string orchestra
The work is cast in one movement, containing two large sections (sub-movements).
Structurally, the piece is a highly condensed version of Classical period symphonic form.
The first section of the work is an exposition-development/sonata allegro combined with a
slow movement. The second section is a combination of a triple-meter scherzo and a rondo
finale.
The musical material throughout derives tonally from the three notes of a D-major triad (D,
F#, and A). Those three pitches serve as transformation centers for the work's material and
also plot the tonal areas of each section. The musical material of the work thus ranges from
highly Classical melodies (although all original) and textures to more Romantic and
modernist elements that transform out of the initial material.

SKU: A0.1027496

Submitted for 2015 Areon Flutes International Chamber Music Composition Competition, ‘Press Play’ was composed for internationally renowned bassoonist Scott Pool. When I was growing up in the 1980s, I had a rather large cassette tape collection with many different types of music; my friends and I spent much of our time browsing through each other’s sets and listening to diverse rock albums. ‘Press Play’ is designed to represent the format of an EP album, though the music contained is a mix of styles. Track 1 is a chorale-style introductory movement that features the bassoon in brief solo passages between the chordal string sections. Hit Single is basically a pop song for bassoon and strings. In Deep Cut, the instruments explore a slow contrapuntal texture; the title refers to an obscure type of track on an album that radio stations are less likely to air, except perhaps on late night shows. Deep Cut accelerates in the second half, and moves almost directly into Hidden Track, named for a type of song that some albums hide after all the popular songs are over. Hidden Track also features an acceleration from beginning to end, and has a style and format similar to process music.