Chamber Orchestra - Level 3 - Digital Download SKU: A0.976713 Composed by Isaac Watts / Lowell Mason. Arranged by Robert Myers. Christian,Holiday,Love,Sacred. Score and parts. 49 pages. WheatMyer Music #4775721. Published by WheatMyer Music (A0.976713). When I Survey the Wondrous Cross, written by the Father of English Hymnody, Isaac Watts, in 1707 and later matched with Lowell Mason’s 1824 tune, HAMBURG, has long stood at the forefront of English hymnody.This arrangement, taken from my Passion Week cantata, Wounded, Bleeding, Still Proceeding, allows the full talent-spectrum of the Body of Christ to contemplate His sacrifice and offer their devotion.The first two stanzas feature an alto/soprano duet, set in a minor key with frequent diminished and augmented chords to reflect the despair and loss of a witness to the crucifixion. The entire third stanza, set for SATB chorus, never really moves off the F minor tonic until the end. That, and the relentless pounding of the bass line, ponders the witnesses' anguish and our vicarious experience of it through Scripture. So, sing these stanzas sadly – they are sad! When the choir enters, be sure to observe the swelling crescendos/diminuendos as the sorrow and love mingle together.The fourth stanza offers optional congregational participation and may be used to provide a responsorial to the Word of God or a preparation for the Table. The choir sings this stanza in four part harmony as the congregation joins on the melody. It stays in a major key and closely follows the traditional consonances used in Lowell Mason’s harmonization; thus, the choral parts will feel familiar and the congregational melody will flow naturally. Take the text literally (Love so amazing, so divine, demands my soul, my life, my all.) and sing it firmly, enthusiastically, passionately, but never triumphantly. Sing it as a song of personal devotion to commit all that you have, all that you are, and all that you will ever be, to the one who humbled Himself by becoming obedient to the point of death, even death on a cross (Phil 2:8b) so that we might become the righteousness of God in Him (2 Cor 5:21)The music is well within the grasp of any ensemble competent with traditional SATB anthems. The instrumental accompaniments are straightforward yet very colorful, suitable for high school or higher level players. When I Survey the Wondrous Cross is an unapologetic Christian worship anthem suitable for sacred services, yet it does not compromise on artistic expression.This is the orchestral accompaniment for the choral octavo version sold separately. This version includes full score and all instrumental parts.

Chamber Orchestra - Level 5 - Digital Download SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Musik Fabrik Music Publishing #3025409. Published by Musik Fabrik Music Publishing (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 theHarvard University Choir.The biblical books of Luke and Acts form a pair of documents from a single author and with a single audience (thelikely-metaphorical “Theophilus�), yet they are unusual for being composed in such contrasting genres. Luke’sgospel, using Mark as a primary source throughout, features a comparable literary style to that of the otherevangelists. Acts, by contrast, is a historical monograph that charts the birth of the Church with dramatic storiesabout—and speeches from—the apostles, painting a vivid, if not necessarily chronological, picture of their victoriesand 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 thefirst third of the book, prior to and including the conversion of Saul. In the Prologue, Christ’s ascension is narratedand—following an orchestral Sinfonia—the chorus sings words of Jesus from the Sermon on the Plain in Luke’sgospel 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 thestory of a Moabite woman who converted to the Israelite faith—a parallel to the expansion of the Christian messageto all nations by the gift of the Holy Spirit. The Prayer for Boldness, quoting Psalm 2, asks God for protection fromthe 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 wordsmirror those of Christ on the cross in Luke’s gospel—where Jesus forgives his executioners and prays “Father, intoyour hands I commend my spirit� (Luke 23:46); secondly, Saul is specifically mentioned as one who approved ofStephen’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—whilenot 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’sConversion is followed here by a Christological poem found in Paul’s letter to the Philippians, though it is likely aquotation 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 manyremained unconvinced by the Christian message. At the heart of both Luke’s gospel and Acts is the tension betweenthe uniquely important role of the Jewish traditions that Jesus himself practiced and the expansion of the gospel togentiles, of whom Luke himself is one. It is appropriate, therefore, to follow Paul’s message of salvation to thegentiles with the Magnificat: a canticle that emphasizes the promises of God to the people of Israel throughouthistory.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.

Chamber Orchestra - Digital Download SKU: A0.1035224 Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Score and parts. 33 pages. James Strauss #5806027. Published by James Strauss (A0.1035224). Unless your name is Mozart, Mendelssohn or Korngold, the first compositional steps are always the hardest. Chopin was probably no older than 14 when he set to work on a set of variations for piano and flute. Already in love with opera, he decided on the happy- ending aria, Non più mesta (No longer sad) from Rossini’s opera Cinderella. As the curtain comes down, Cinderella gleefully warbles, No longer sad beside the fire shall I sit alone, singing; my long years of heartache were but a streak of lightning, a dream, a game. We are unsure what actually prompted Chopin to select this for his unique combination of flute and piano, but it was most likely written for the composer’s father who was a capable amateur flute player. In the end, the piece was probably dedicated to Józef Cichowski, a close friend of his fathers and an amateur flautist as well. We are indeed fortunate that this early piece of Chopin juvenilia has actually survived, as Jozef Nowakowski, one of the composer’s friends, kept the single manuscript copy as a memento. For one reason or another, the work did not appear in print until 1953. This charming and fluent set of variations presents the theme and four decorated versions of the original tune. Added triplet figuration enlivens the first variation, while the second relies on a florid bel canto style to embellish the theme. Rapid downward arpeggios propel variation three, and the concluding variant displays rapid staccato figuration. Stylistically, there is nothing in this composition to suggest Chopin’s hand. You certainly won’t hear Chopin’s fingerprint in the piano part, as all the interesting bits are given to the flute. In addition, it’s the only Chopin piano part that can comfortably be played by most amateurs. Clearly, the future poet of the piano had a long way to go! Here in a Flute and orchestra version.

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1135140 Composed by Charles Meineke (1844). Arranged by D. Jason Bishop. 19th Century,Christian,Praise & Worship,Sacred,Traditional. Score and Parts. 25 pages. Tully Road Music #735183. Published by Tully Road Music (A0.1135140). This is an orchestration by D. Jason Bishop of the 1844 Gloria Patri (Glory Be to the Father) by Charles Meineke, as printed in The United Methodist Hymnal (page 70) and in 174 other hymnals. Instrumentation is 2.2.2.2 - 2.3.3.0 - timp/perc - org - strings - choir. PDF includes full score and all parts.

Chamber Orchestra - Level 3 - Digital Download SKU: A0.836815 Composed by GILSON SANTOS. Concert,Contemporary,Graduation,Instructional,Standards. Score and parts. 17 pages. Gilson Santos #6360557. Published by Gilson Santos (A0.836815). Horn octet dedicated to Professor Philip Doyle, in honor of Professors Antonio Augusto and Daniel Havens. Antonio and Daniel were great musicians and teachers of tormpa in Brazil. They left an important legacy for the instrument.

Chamber Orchestra - Level 4 - Digital Download SKU: A0.866121 Composed by Gioachino Rossini, Frederic Chopin. Arranged by Yoon Jae Lee. Instructional,Opera,Romantic Period,Standards. Set of parts. 71 pages. Ondine Press #6230163. Published by Ondine Press (A0.866121). Instrumentation: 2(Il. ad lib) 2. 2. 2 – 2. 2. 1(ad lib). 0 – str This is a set of parts to Yoon Jae Lee’s arrangement, Variations on “Non più mesta� for flute and orchestra. The full score, as well as a version for flute and piano, are available separately. Rossini's aria from La Cenerentola Non più mesta has been a popular theme since it was first composed and is one of his most recognized tunes. Many paraphrases and variations were written on it in the 19th century for various instruments including one for violin and orchestra by Paganini. One set of variations for flute and piano is attributed to a young Chopin, who is said to have composed it for his father. For this arrangement, the variations have been expanded with an introduction and coda from the opera. A newly written orchestral accompaniment in the style of Chopin and Rossini was made along with interludes between the variations to allow the soloist to rest. The result is a new 10 minute showpiece for flute and orchestra in the same vein as Chopin's Variations on La ci da rem la mano and Rossini's variations for clarinet and orchestra. The flute part from the variations has not been altered so it is hoped that this new compilation will be a welcome addition to the solo flute repertoire. Perusal score: https://bit.ly/3hJgXxP.

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1317400 Composed by Juan Guerra González. 21st Century,Classical. 96 pages. Juan Carlos Guerra Gonzalez #906062. Published by Juan Carlos Guerra Gonzalez (A0.1317400). DREAMS (for Symphony Orchestra)SCORE ONLY Please visit www.juancarlosguerra.com/dreams to buy or rent the parts. Scored for1 Flute1 Oboe1 Clarinet in Bb1 Basoon2 Percussion Players: 1 TimpaniViolin IViolin IIViolaVioloncelloDouble BassAn easy-to-read to read and fascinating piece for a symphony orchestra with a reduced number of winds and no brass. It can be suited ideally in any setting.Program Note“Dreams� is a suite for symphony orchestra in three movements. The work was kindly commissioned by Dr. Luis Víquez, conductor of the University of Rhode Island’s Symphony Orchestra and to whom this work is being dedicated alongside with his wife Melissa. The titles of the movements come from either an specific dream, or other topics about dreaming that I discovered in the process of writing the work. I. Cherry trees in the morningNature has always inspired me. Every year during spring my family has the tradition to visit the Brooklyn Botanic Garden to experience the cherry blossoms. I usually do not remember many of my dreams but in this particular dream I was in Japan under an esplanade of cherry trees. I remember how amazed I feel and is for sure one of my most memorable dreams. II. DreamcatcherWhile I was writing the initial ideas of for the work I came across a Journal that explored how the use of a particular chord helped reduce nightmares in patients suffering from nightmare disorders. In the study, patients were exposed to the chord C69 (A C Major with the added 6th and 9th) during therapeutic sessions. This chord is used at the beginning of the movement as it moves to explore different sonorities. In this movement you might be able to hear a representation of the “heartbeat� played by the bass drum and timpani, then a more “stressful� section will come to represent a nightmare followed again by another repetition of the C69 chord. If you feel relaxed during the performance, it is on purpose! III. A Dance in the desertDreams, in my case, are usually a mix of different non-related things. For the final movement, I decided to use that idea. I started this dance with a “oriental� style and them throughout the middle of the movement I moved it to a waltz that was influenced by my grandfather. He used to have a small orchestra and he used to play waltzes during events and private parties.I hope the music takes you through a journey of musical emotions.Juan Guerra González

Chamber Orchestra - Digital Download SKU: A0.952949 Composed by John Eaton. Contemporary. Score and parts. 72 pages. American Composers Alliance Inc. #4631953. Published by American Composers Alliance Inc. (A0.952949). Seven songs for soprano with flute (doubling piccolo, alto flute, and bass flute), clarinet, percussion, harp, piano, and strings, sectioned as a pierrot+ ensemble, string quartet, soprano, and harp. Includes: Holy Sonnet V (John Donne), Leaving the Party (Karen Swenson), Holy Sonnet III (John Donne), Styx Pier (Karen Swenson), Circumambulating Mount Kailash (Karen Swenson), Father Death (Frederick Borsch), Excerpt from Paradiso (Dante).PDF download includes score - contact sales@composers.com for any inquiries into part sales or rental.

Chamber Orchestra - Digital Download SKU: A0.944028 Composed by Music by Ofer Ben-Amots, Story by Eugene Ionesco. Contemporary. Score and parts. 92 pages. The Composer's Own Press #4605319. Published by The Composer's Own Press (A0.944028). COMPOSER’S NOTE: Story Nr. 2 for chamber ensemble and a narrator, was written as a commission for the 1983 Children's Music Festival in St. Omer, France. Since its inception, the work has been widely performed in French, German and English. The narrative of Story Nr. 2 is a little known children's story by the great French author and playwright Eugene Ionesco (1912 – 1994). The story is about play on words. Little Josette has a conversation with her father who teaches her the new meaning of words: A Telephone is called Cheese, a Cheese is a Music Box, the Music Box is called a Rug and so on. The meanings become funnier and stranger ad absurdum. Then Josette and her father combine the words into sentences and practice the new mismatched names and objects. The characters participating in the story beside of Josette and her father are Josette's pretty mother and the maid  Jacqueline. Each of the characters has its own musical theme and color represented by distinguished instrumentation: Jossette's theme is played by the flute, the father is represented by the trumpet and trombone, the pretty mother by the oboe and Jacqueline by the xylophone and piano. The new orchestral version which includes the string section was written in 1990.  Performance material by rental only! For demo recording, questions, or any additional information please e-mail Ofer Ben-Amots at: thecomposerspress@gmail.com 

Chamber Orchestra - Level 3 - Digital Download SKU: A0.828700 Composed by Karl Friedrich Abel. Arranged by Guido Menestrina. Classical. Score and parts. 16 pages. Guido Menestrina #122893. Published by Guido Menestrina (A0.828700). Karl Friedrich Abel - Sinfonia Op. 7 n. 1 - Secondo Movimento - Adagio Edited by Guido Menestrina - Full score and single parts for 2 oboe, 2 F Horns (originally cor de chasse, tacet on 2nd movement), 2 violins, viola and cello (originally basse de violon). Abel was born in Köthen, a small German city, where his father, Christian Ferdinand Abel, had worked for years as the principal viola da gamba and cello player in the court orchestra. In 1723 Abel senior became director of the orchestra, when the previous director, Johann Sebastian Bach moved to Leipzig. The young Abel later boarded at Leipzig's Thomasschule, where he was taught by Bach. On Bach's recommendation in 1743 he was able to join Johann Adolph Hasse's court orchestra at Dresden where he remained for fifteen years.[3][5] In 1759 (or 1758 according to Chambers),[1] he went to England and became chamber-musician to Queen Charlotte, in 1764.[3][5] He gave a concert of his own compositions in London, performing on various instruments, one of which was a five-string cello known as a pentachord, which had been recently invented by John Joseph Merlin.[6] In 1762, Johann Christian Bach, the eleventh son of J.S. Bach, joined him in London, and the friendship between him and Abel led, in 1764 or 1765, to the establishment of the famous Bach-Abel concerts, England's first subscription concerts. In those concerts, many celebrated guest artists appeared, and many works of Haydn received their first English performance. For ten years the concerts were organized by Mrs. Theresa Cornelys, a retired Venetian opera singer who owned a concert hall at Carlisle House in Soho Square, then the height of fashionable events. In 1775 the concerts became independent of her, to be continued by Abel and Bach until Bach's death in 1782. Abel still remained in great demand as a player on various instruments new and old. He traveled to Germany and France between 1782 and 1785, and upon his return to London, became a leading member of the Grand Professional Concerts at the Hanover Square Rooms in Soho. Throughout his life he had enjoyed excessive living, and his drinking probably hastened his death, which occurred in London on 20 June 1787. One of Abel's works became famous due to a misattribution: in the 19th century, a manuscript symphony in the hand of Wolfgang Amadeus Mozart, was catalogued as his Symphony no. 3 in E flat, K. 18, and was published as such in the first complete edition of Mozart's works by Breitkopf & Härtel. Later, it was discovered that this symphony was actually the work of Abel, copied by the boy Mozart-evidently for study purposes-while he was visiting London in 1764. That symphony was originally published as the concluding work in Abel's Six Symphonies, Op. 7. Follow the score on youtube: https://www.youtube.com/watch?v=_urGVpH7Pls.

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1471118 Composed by Robert A. Howard. 20th Century,Classical,Contemporary,Religious,Spiritual. 17 pages. Robert A. Howard #1048771. Published by Robert A. Howard (A0.1471118). In Memoriam, for chamber orchestra, is a short but powerful work. It was specifically composed in memory of the composer's father, but the work can be used to the reflect any loss, or similar sentiment. The point of departure is the pounding repeated tones (the note D, for Death) at the start of the Lacrymosa of Benjamin Britten's Sinfonia da Requiem; a work which mourned the death of both its composer's parents. Throughout my In Memoriam, the repeated pedal note D is literally ever-present and obsessive, like the looming of death itself, and the percussion take a somewhat military role. The main melodic idea is a twelve-note theme stated at the beginning, though the music is not strictly serial. This theme undergoes various transformations and orchestrations, depicting the many facets of a character who essentially remains themself. More optimistic interludes feature woodwind solos, but the note D always remains. A passage of stark two-part counterpoint is followed by the disintegration of the main theme before a varied return of previous material. Then follows the inevitable dominance of the note D, in crescendo, before the work abruptly ends, frozen still. The work is highly accessible for both performers and audience. The attached document is the score only, with audio for reference. Note that the 3rd & 4th horn parts are optional, or they could be played on 2 trombones.Duration: 5 minutes 30 seconds.Registered with PRS (Performing Rights Society, UK).Composer's website: www.roberthowardmusic.co.uk

Chamber Orchestra - Level 4 - Digital Download SKU: A0.1013047 Composed by Christine Southworth. 20th Century,Contemporary,World. Score and parts. 73 pages. Airplane Ears Music #5802055. Published by Airplane Ears Music (A0.1013047). La Fee Verte (2013, 12 minutes) for chamber orchestra and Galician gaitasI first became obsessed with bagpipes when my grandfather, Boston Police Lieutenant David Moran, passed away. I was 14 years old, and at his funeral police pipers played, just before the rifles were fired. I was overwhelmed by the power of the instrument, of course compounded by my own sadness and emotion. Years later, a good friend died and another friend wrote him a requiem performed by 12 bagpipes, and after being in denial about his death the power of the sound again made be burst in to tears. Then I was out a Tanglewood at a Silk Road retreat and Osvaldo Golijov had brought a friend, Cristina Pato, to demonstrate her instrument, the Galician Gaita. I was blown away, for the first time the power of the instrument hit me with pure joy, I had never heard bagpipe played like this and by a woman, it was just spectacular! I immediately found a bagpipe teacher in Boston, and started learning Highland pipes, and a few years later, in 2010, went to Galicia and began studying the Gaita. This piece is dedicated to two great gaita players, Cristina Pato and my teacher Anton DaVila. La Fée Verte was commissioned by The Silk Road Project.About the ComposerChristine Southworth (b. 1978) is a composer and video artist based in Lexington, Massachusetts, dedicated to creating music born from a cross-pollination of sonic ideas. Inspired by intersections of technology and art, nature and machines, and musics from cultures around the world, her music employs sounds from man and nature, from Van de Graaff Generators to honeybees, Balinese gamelan to seismic data from volcanoes.  Website: www.kotekan.com

Chamber Orchestra - Level 4 - Digital Download SKU: A0.1394923 Composed by Jose Mauricio Nunes Garcia. Arranged by Steven Nunes. 19th Century,Classical. 60 pages. Nagamon Publications #978408. Published by Nagamon Publications (A0.1394923). José Maurício Nunes Garcia (September 20, 1767 – April 18, 1830) was a Brazilian classical composer, one of the greatest exponents of Classicism in the Americas.Born in Rio de Janeiro, son of two bi-racial parents, Nunes Garcia lost his father at an early age. His mother perceived that her son had an inclination for becoming a musician and, for this reason, improved her work to allow him to continue his musical studies.Nunes Garcia became a priest and, when King John VI of Portugal came to Rio de Janeiro with his 15,000 people, Nunes Garcia was appointed Master of the Royal Chapel. He sang and played the harpsichord, performing his compositions as well as those of other composers such as Domenico Cimarosa and Wolfgang Amadeus Mozart. He was a very prestigious musician in the royal court of John VI.His musical style was strongly influenced by Viennese composers of the period, such as Mozart and Haydn. This edition has been prepared from the composer's manuscript, and the PDF contains the Full Score and a full set of parts.  Please note that the string parts have been formatted for larger paper.

Chamber Orchestra - Level 4 - Digital Download SKU: A0.742476 Composed by Benedetto Marcello. Arranged by Arte Nova Music Lab. Baroque,Concert,Easter,Standards,World. Score and parts. 43 pages. Arte Nova Music Lab #4602679. Published by Arte Nova Music Lab (A0.742476). Benedetto Giacomo Marcello (Italian: [beneˈdetto marˈtʃɛllo]; (31 July or 1 August 1686 – 24 July 1739) was an Italian composer, writer, advocate, magistrate, and teacher. Born in Venice, Benedetto Marcello was a member of a noble family and his compositions are frequently referred to as Patrizio Veneto. Although he was a music student of Antonio Lotti and Francesco Gasparini, his father wanted Benedetto to devote himself to law. Benedetto managed to combine a life in law and public service with one in music. In 1711 he was appointed a member of the Council of Forty (in Venice's central government), and in 1730 he went to Pola as Provveditore (district governor). Due to his health having been impaired by the climate of Istria, Marcello retired after eight years in the capacity of Camerlengo to Brescia where he died of tuberculosis in 1739. Benedetto Marcello was the brother of Alessandro Marcello, also a notable composer. On 20 May 1728 Benedetto Marcello married his singing student Rosanna Scalfi in a secret ceremony. However, as a nobleman his marriage to a commoner was unlawful and after Marcello's death the marriage was declared null by the state. Rosanna was unable to inherit his estate, and filed suit in 1742 against Benedetto's brother Alessandro Marcello, seeking financial support. Taken from https://en.wikipedia.org/wiki/Benedetto_Marcello Cover Image by https://commons.wikimedia.org/w/index.php?curid=11552469

Chamber Orchestra - Level 4 - Digital Download SKU: A0.958398 Composed by Joseph Dillon Ford. 20th Century,Contemporary. Score and parts. 21 pages. David Warin Solomons2 #3680711. Published by David Warin Solomons2 (A0.958398). The life of Fitch was so remarkable and has so much to teach us about the illusory America in which so many of us believe that it would make for a riveting motion picture if the novel could be turned into a film script. It would be lovely if the music could be used in such a motion picture project, but I doubt it will ever come to that. I rather think I'll end up pretty much like my Uncle John (Fitch really was my fifth great grandmother's brother) - broken and impecunious after a life of trying passionately to accomplish something worthwhile. The bitter irony is that Fitch's talent did lie in an eminently practical field, as steam-powered transportation and technology was cutting edge by the early nineteenth century when people like Robert Fulton profited handsomely from Uncle John's ideas. But Fitch was a visionary whose work far exceeded the narrow perceptions and self-interest of his countrymen - including such founding fathers as Franklin and Jefferson! Sadly, John Fitch intentionally -or perhaps accidentally -committed suicide by overdosing on an opium-based pain medication which, in combination with his drinking, proved to be fatal.