Post on 20-Feb-2021
SymphonicPops
Superb Original Music and Arrangem
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Revision 20080401
SYMPHONIC POPS
ADAM(1803-1856)Adolphe
AMP2'
arr./ed. by John GradySolo: SopranoSATB; 2222/4220/timp/hp/str
Christmas with Renata Scotto: 5. Christmas Song(Cantique de Noel)
ADAMS(b. 1947)John
AMP12'
Choreographed by Peter Martins for the New York City Ballet (1988).2(2pic)22(bcl)2/4.2Ctpt.21/timp.3perc/hp.pf/str
The Chairman Dances: Foxtrot for Orchestra(1985)
A joyously rhythmic and percussive showpiece for orchestra that delightsaudiences with extraordinarily expansive and uniquely colored uses ofminimalist techniques. A 'foxtrot' for Chairman Mao and his bride, Chiang Ch'ing(the fabled Madame Mao), Adams writes that in the surreal final scene of hisopera Nixon in China Madame Mao "interrupts the tired formalities of a statebanquet, disrupts the slow-moving protocol, and invites the Chairman, who ispresent only as a gigantic forty-foot portrait on the wall, to 'come down, old man,and dance.' " Themes, sometimes slinky and sentimental, at other timesbravura and bounding, ride above in bustling fabric of energized motives.
AMP25'
Choreographed by John McFall (1984) as “Components” for the National Balletof Canada.I. Shaking and TremblingII. Hymning SlewsIII. Loops and VersesIV. A Final Shaking
strShaker Loops (1978, rev. 1982)
Alternate: String Septet (3.0.1.2.1 players)
"Shaker Loops is a work that used what I found most appealing in the languageof Minimalism: a sure and fleet sense of pulsation, generously unfolding fieldsof harmony and timbre, and gradually evolving musical architectures," writesAdams. "The 'loops' are small melodic fragments whose 'tails,' so to speak, aretied to their 'heads,' creating loops of repeated melodies, a technique borrowedfrom tape music composition. 'Shaker' also hinted at the rituals of the earlyAmerican religious sect. As a boy...I would try to imagine what a Shakerceremony must have felt like--those normally stern souls suddenly sprung loosein a rapture of religious ecstasy as they shook in sympathetic vibration withtheir creator."
ADDINSELLRichard
NOV6'arr. by Philip Lane2+pic.2.2+bcl.2/2230/timp.2perc/hp.acn/str
The Admirable Crichton: Dances
NOV10'arr. by Philip Lane2+pic.2.2.2/4330/timp.2perc/hp.acn/str
The Black Rose: Suite
EMI10'2222/4231/timp.perc/2hp.pf[=cel]/strBlithe Spirit: Prelude & Waltz
NOV4'2121/2230/timp.perc/hp.pf[=cel]/strGaslight: Prelude
NOV10'reconstructed and orchestrated by Philip LaneSATB; 2222/4231/timp.perc/hp/str
Goodbye Mr. Chips: Suite
NOV4'reconstructed and orchestrated by Philip Lane2222/4231/timp.perc/hp/str
Goodbye Mr. Chips: Theme
EMI4'Solo: Piano2222/4230/timp.perc/hp/str
Invocation: “Journey to Romance” (1946)
NOV6'2222/4231/timp.perc/hp/strThe Isle of Apples
BER20'
2120/3110/perc/hp.gtr[=bjo]/str
Loss of Innocence (Suite: The GreengageSummer)
EMI4'2222/2330/timp.perc/strMarch of the United Nations
NOV3'2222/2230/timp.perc/hp/pf[=cel]/strMiniature Overture: Encore
NOV8'2222/4231/timp.perc/hp/strOverture: Tom Brown’s Schooldays
EMI3'2121/2230/timp.perc/hp.cel/strParisienne — 1885
EMI3'1121/2230/perc/hp/strPrologue: Sea Devils (1953)
NOV5'2222/4231/timp.perc/hp.pf/strSouthern Rhapsody (1958)
Heard by millions when played every morning at the start of England's SouthernTelevision Company broadcast day between 1958 and 1969, it evokes thewaves breaking ashore beneath a sky of gulls.
EMI3 '
Music from the Film "The Day Will Dawn"
Solo: Pianostr
Teatime Music (1942)
EMI9'Solo: Piano2132/4330/timp.perc/str
Warsaw Concerto
From the 1941 fiilm, "Dangerous Moonight."
EMI3 '2121/2330/timp.perc/strWRNS March (1942)
Dedicated to the Women’s Royal Navy Service
ADLER(b. 1928)Samuel
GS4'SATB; 1+pic.2.2.2/2221/timp.perc/hp/strThe Feast of Lights
AMP8'3333/4331/timp/pf/strJubilee: A Fanfare for Orchestra (1958)
GS5'SATB; 2222/0000/triangle/strJudah’s Song of Praise (1985)
GS4'SATB; 2(pic).2.2.2/2220/timp.perc/hp/strA Song of Hanukkah (1963)
AMP5'2222/2230/timp.perc/strSummer Stock: A Short Merry Overture (1955)
The prevailing mood of this joyous overture is indicated by the composer’smarking at the outset: “Lively and with good spirit.” Adler captures the ardententhusiasm of young actors pursuing their craft in summer stock with fanfares,solo brass passages, and vibrant rhythms throughout.
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SYMPHONIC POPS
ALFVÉN(1872-1960)Hugo
WH18'
3(2pic)2+ca.2(ssx ad lib)+bcl.2+cbn/4231/timp.perc/hp/str
Dalarapsodi — Swedish Rhapsody No. 3, Op. 47(1931)
WH12'
3(pic)3(ca)3(Ebcl:bcl)3/4231/timp.perc/2hp/str
Midsommarvaka — Swedish Rhapsody No. 1,Op. 19 (1903)
ALWYN(1905-1985)William
LEN16'2222/4330/timp.perc.xyl/cel.hp/strElizabethan Dances (1957)
ANDERSON(1908-1975)Leroy
EMI3'322.asx.2/4321/perc.bells/strBelle of the Ball (1951)
Anderson’s alluring waltz captures the charm and elegance of 3/4 time.
EMI3'322.asx+tsx.2/4331/timp.perc/strChicken Reel
Flutes, strings, and percussion have a “reel” good time in this Scottish inspireddance music that also manages to include a taste of Spanish tarantella and asurprise conribution from a phantom “rooster.”
EMI2 '3(pic)22.asx(ad lib)+tsx(ad lib)/4331/perc.4temple blocks.bells/strChina Doll
EMI4'2+pic.2+ca.22/4331/timp.perc/hp/[org]/strChristmas Festival
EMI2'222.asx+tsx.2/4330/bells/strForgotten Dreams
EMI3'322.2asx+tsx.2/4331/4perc/strHorse and Buggy
Four percussion players and three saxophonists help create a convincingdepiction of this early form of transportation. Fun for all ages.
EMI20'3222/4331/timp.4perc/hp.pf/strIrish Suite
EMI3'
3222/4331/timp.4perc/hp.pf/str
The Irish Washerwoman from “Irish Suite”(1938)
This catchy tune is always a hit and with Anderson at the helm it becomes anentertaining display piece for orchestra.
EMI3'322.3sx.2/4331/3perc/strSandpaper Ballet
Convincing proof for young audiences that even something as simple assandpaper can feature prominently in the musical structure of a piece.
EMI3'322.2asx+tsx.2/4331/3perc/strSarabande
EMI3'322.2asx+tsx.2/4331/6perc/strSerenata
EMI2'222.2asx(ad lib)+tsx(ad lib).2/4331/bells/strSummer Skies
ANDERSSONBenny and Ulvaes, Björn
CH13'arr. by Philip Lane2(pic).2.2(asx).2(2cbn)/4431/timp.perc.dms/pf.hp/str
ABBA Symfonica (1999)
ANTHEIL(1900-1959)George
GS5'1+pic.222/4331/timp.perc/acn[=hmn]/strAccordion Dance (1951)
GS10'
from Symphony No. 2. The complete symphony was withdrawn by thecomposer.
2(2pic).222/4321/4perc/hp.pf/strArchipelago “Rhumba” (1935)
GS5'2+pic.22+bcl.2/4231/timp.perc/hp.pf/strHot-Time Dance (1948)
GS2'orch. by Werner Herbers1(pic).110/0221/2 pf.bjo.hca/str (no va)
Jazz Sonata (for ensemble) (1923)
EWM12'
originally written for Paul Whiteman022.ssx+asx+tsx.0/0331/2perc/2bjo([gtr]).3pf(1st=solo)/strA Jazz Symphony (1925 version) (1925)
EWM6.5'1030/0330/perc/pf/strA Jazz Symphony (1955 version) (1955)
Quoting Joplin and Stravinsky and calling upon the trumpeter to employ “all thetricks of the trade,” Antheil creates a wholly original and inimitable musicalscore that once and for all marries jazz to the concert orchestra. Virtuosic pianosolos look ahead to the post-bebop “free” jazz of the 60s.
EWM12'arr. by Milton PhibbsSolo: Piano1(pic).1.1.ssx.1/1110/2perc/bjo/db
A Jazz Symphony (ensemble version) (arr. 1999)
GS4'strLithuanian Night (1919)
EWM7'3+pic.2+ca.2+bcl.2+cbn/4331/timp.perc/hp/strMcKonkey’s Ferry Overture (1948)
GS11'Solo: Narrator (opt)1(pic)111/1210/perc/pf/str
Music to a World’s Fair Film (1939)
GS7'
2+pic.2+ca.2+bcl.2+cbn/4331/timp.3perc/pf/str
Tom Sawyer Overture (California Overture)(1949)
An up-tempo romp through a few adventures with Tom—Antheil exploits theorchestra’s full forces to deliver a power-packed portrayal of a favorite childhoodcharacter.
GSstrWater Music for 4th of July Evening (1942-43)
ANTONINI(b. 1901)Alfredo
SHA3'acc.cel.gtr.hp.pf/strWhy Reach for the Moon?
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SYMPHONIC POPS
ARLEN(1905-1986)Harold
EMI8'
Text: E.Y. HarburgSolo: VoicesChorus; 1(pic).1(ca).3(fl,bcl,tsx,barsx).0/2210/4perc/pf(cel).hp/str
Munchkin Land, from “The Wizard of Oz” (RoyalShakespeare Company Version) (1939, arr.1987)
EMI5'
arr. by Mario LombardoText: E.Y. HarburgSolo: Piano2222/4230/timp.dmkit/str
Over the Rainbow, from “The Wizard of Oz,” forPiano and Orchestra (1939, arr. 1991)
EMI5'
B-flat major
Text: E.Y. HarburgSolo: Voice1.1.3(fl,bcl).0/2010/perc/pf(cel).hp/str
Over the Rainbow, from “The Wizard of Oz”(Royal Shakespeare Company Version) (1939,arr. 1987)
EMI5'
Text: E.Y. HarburgSolo: VoiceUnison chorus; 1(pic).1.3(fl,bcl).0/1210/3perc/pf.hp/str
Yellow Brick Road, from “The Wizard of Oz”(Royal Shakespeare Company Version) (1939,arr. 1987)
ARLENHarold; Harburg, E.Y.; Stothart, Herbert
EMI11'
arr. by Jeff Tyzik2+pic.22+bcl.2/4331/timp.3perc/hp.pf/str
Wizard of Oz Orchestral Suite (“Wizard of OzMedley”) (arr. 2001)
Over the Rainbow, If I Only Had a Brain, Ding-Dong the Witch is Dead, Jitterbug,Merry Old Land of Oz, We’re Off to See the Wizard, Miss Gulch
ARNAUD(1904-1991)Leo
SHA4'
0000/4431/timp.3[=4]perc
“Fanfare to the Olympic Games,” akaDivertissement for Brass and Percussion(Charge Suite)
The world-renowned anthem to the Olympic games that can’t help but inspireawe and admiration.
ARNOLD(b. 1921)Malcolm
NOV8'arr. by Christopher Palmer2(2pic).121/0211/4perc/pf(2players)/str(max8.6.4.4.2)
The Belles of St. Trinians: Comedy Suite (1991)
This is an excellent example of Malcolm Arnold's ability to present a veryBritish sense of humor in his music.
NOV24'arr. by Christopher Palmer3(3pic)34(2bcl)3/4331/timp.6perc/pf[+pf]hp[+hp]/str
The Bridge on the River Kwai (1991)
Malcolm Arnold won an Oscar for this, the third David Lean film that he scored.The Suite was commissioned by the BBC in honor of Arnold's 70th birthday, andwas first performed at Queen Elizabeth Hall in October 1991. The score iseasily one of Arnold's best, with soaring orchestral lines, dramatic climaxes,and the inclusion of the famous "Colonel Bogey" march, written by KennethAlford in 1914.
LEN9'3222/4331/timp.perc/strComedy Overture: Beckus the Dandipratt (1943)
LEN8'3222/4331/timp.perc/hp/strEnglish Dances: Set I (1950)
LEN9'3222/4331/timp.perc/cel.hp/strEnglish Dances: Set II (1951)
PAT9'1+pic.222/4230/timp.1perc/hp/strFour Scottish Dances, Op. 59 (1957)
This suite consists of four different styles of Scottish dance orchestrated withArnold’s inimitable sense of color and sonic variety. The first dance is a slowstrathspey (a Scottish dance in common time), the second is a reel, the third isin the style of a Hebridean song, and the last is a lively fling.
PAT8'2(pic)222/4331/timp.2perc/hp.org/str+3 vacuum cleaners.1 floor polisher.4 riflesA Grand, Grand Overture, Op. 57 (1956)
NOV17'arr. by Christopher Palmer2(pic)222/4221/timp.3perc/pf[=cel]/hp/str
Hobson’s Choice (1992)
The Henry Hobson character (played by Charles Laughton in David Lean'sadaptation of the Harold Brighthouse play) was a boot-and-shoe manufacturer --as was Arnold's own father; but this was a less potent factor in attracting him tothe film than the many opportunities for low comedy and high romance.
NOV6'
arr. by Christopher Palmer3(pic)222/4331/timp.3perc/pf[cel]/2hp/str
The Holly and the Ivy: Fantasy on ChristmasCarols (1991)
This suite is derived from Malcolm Arnold's soundtrack for 'The Holly and theIvy' (the O'Ferrall feature film), 'Christmas Round-Up' (a BBC documentary), andvarious arrangements of carols which Arnold wrote for the Save the ChildrenFund in 1960. The suite is full of traditional favorites: 'The Holly and the Ivy,''Away in a Manger,' 'I Saw Three Ships,' and 'The First Noel.'
NOV14'arr. by Christopher Palmer3(1pic)23(1bcl)2/4331/timp.4perc/pf[cel].2hp/str
The Inn of the Sixth Happiness (1992)
Malcolm Arnold won the Ivor Novello award for this film. It is the real-life story ofan English servant-girl, Gladys Aylward (Ingrid Bergman), who on her owninitiative goes to China to become a missionary in a remote mountain town.
PAT8'2(pic)222/4331/timp.2perc/cel.hp/strSarabande and Polka from Solitaire (1956)
Alternate: 2121/2220/perc/cel.hp/str
PAT7'3222/4331/timp.2perc/cel.hp/strThe Sound Barrier Rhapsody, Op. 38 (1952)
This is Malcolm Arnold's first David Lean film, and his first important film score.It is the story of jet planes and their attempt to fly faster than sound. Here ismusic of the wide open spaces of the sky, of the ecstacy of flying (Lean calledthese sequences his 'Spitfire ballets').
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SYMPHONIC POPS
PAT8'2(pic)222/4331/timp.2perc/strTam O’Shanter: Overture, Op. 51 (1955)
With its skipping rhythms, irregular meters, and keen sense of revelry andmischief, Arnold’s incisive overture is perfect for talented young orchestras tostudy and perform. Perfect for Halloween programming and great for youngaudiences too.
NOV10'Solo: 12 toy instrumentspf/str
Toy Symphony, Op. 62 (1957)
NOV9'arr. by Christopher Palmer2(pic)120/2000/2perc/pf[=cel].hp.gtr/str(max8.6.4.4.2)
Whistle Down the Wind (1961)
This is chamber music, scored for an adroitly non-symphonic choice ofinstruments--a handful of woodwinds, string quartet, celesta, chimes, guitar, anda human whistle (performed on the soundtrack by the film's director, RichardAttenborough.
AUSTIN(1872-1952)Frederic
NOV3'2222/2230/timp.perc/strTwelve Days of Christmas
BACON(1898-1990)Ernst
GS20'
3333/4331/perc/str
From These States, Suite: Gathered AlongUnpaved Roads (1951)
A lively, colorful and charming suite describing a musical train ride acrossAmerica. The 11 short movements, beginning with "Laying the Rails" andending with "The Timberline Express," are mostly based on Americanfolksongs.
GS6'2222/4331/perc/strSmoky Mountain Scherzo (1937)
This charming and lively concert-opener is based on two Southernfolksongs:“On Top of Old Smoky” and “Sourwood Mountain.”
BAKER(b. 1931)David
AMP34'Solo: Soprano; Jazz Quartet - asx.tsx/dm/epf(pf)/edb(db)2+pic.2+ca.2+bcl.2+cbn/432+btbn.1/timp.perc/hp/str
Le Chat Qui Pêche (1974)
AMP13'3333/4331/timp.perc.xyl/pf/strKosbro (1973, rev. 1975)
AMP8'
1. Harlem Pipes2. Sangre Negro
Solo: Jazz combo: dm/pf/cb2+pic.2+ca.2+bcl.2+cbn/432+btbn.1/timp.snare dm/str
Two Improvisations (1974)
BALADA(b. 1933)Leonardo
GS8'2(pic).2.2(bcl).2/3[+].3[+].3.1/timp.3perc/hp.pf/strHomage to Sarasate (1975)
A setting of an energetic zapateado, a Spanish dance by the violinist andcomposer Pablo de Saradate.
BANTOCK(1868-1946)Granville
NOV20'2222/4200/timp/strOld English Suite
BARBER(1910-1981)Samuel
GS4'2+pic.2+ca.2+Ebcl+bcl.2+cbn/4331/timp.2perc/pf/strCommando March for Orchestra (1943)
GS16'
2+pic.2+ca.2+bcl.2/4331/timp.perc/hp/str
Dïe Natali — Chorale Preludes for Christmas,Op. 37 (1960)
GS8'
2+pic.2+ca.2+bcl.2/4331/timp.perc/cel.hp/str
Overture to “The School for Scandal” Op. 5(1931)
An engaging miniature tinged with Rossinian wit, masterful use of counterpoint,and vivid musical references to Sheridan’s 18th-century satire.
BARRYJohn
EMI3'
from the James Bond film 'From Russia with Love' [This film cue is not thepopular theme associated with James Bond.]
arr. by Nic Raine2222/4331/timp.3perc/hp/str
007 Theme (From Russia With Love)
EMI15'arr. by Jeff Tyzik
James Bond ThemeNobody Does It BetterLive and Let DieFor Your Eyes OnlyThe Look of Love007 ThemeThunderball
2(pic)2.2.2/4331/timp.2perc/syn.eb.dmkit.hp/str
Best of Bond (arr. 2005)
EMI3'
from the James Bond film 'From Russia with Love'
arr. by Nic Raine2222/4331/timp.2perc/hp.pf/str
Bond Takes the Lektor (1963)
EMI6'arr. by Nic Raine2222/4331/timp.perc/hp/str
Born Free / Lions at Play
EMI3'
from the James Bond film 'Diamonds Are Forever'
arr. by Nic Raine2222/4331/timp.3perc/cel.hp/str
Diamonds Are Forever (1971)
EMI6'
from the James Bond film 'On Her Majesty's Secret Service'
arr. by Nic Raine2(afl).2.2.2/4341/timp.2perc.xyl/gtr.bgtr.synth.pf/str
Escape from Piz Gloria / Ski Chase (1969)
EMI3'
from the James Bond film 'Goldfinger'
arr. by Nic Raine2222/4331/timp.3perc/str
Goldfinger (1964)
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SYMPHONIC POPS
EMI8'
from the James Bond film 'Goldfinger'
arr. by Nic Raine
Into Miami /Alpine Drive / Dawn Raid at Fort Knox
2(pic).2.2.asx.2/4341/timp.5perc/hp/str
Goldfinger: Suite (1964)
EMI5'
from the James Bond film 'The Living Daylights'
arr. by Nic Raine2222/4331/timp.3perc/hp.pf/str
The Living Daylights: Suite (1987)
EMI6'
from the James Bond films 'On Her Majesty's Secret Service' and 'A View to aKill'
arr. by Nic Raine2222/4331/timp.3perc/hp.pf/str
On Her Majesty’s Secret Service / A View to aKill (1985)
EMI2'arr. by Nic Raine2222/4331/hp.pf/str
The Persuaders: Theme
EMI3'
from the James Bond film 'Thunderball'
arr. by Nic Raine2222/4331/timp.3perc/hp/str
Thunderball (1965)
EMI4'
from the James Bond film 'On Her Majesty's Secret Service'
arr. by Nic Raine2222/4200/2perc/hp/str
We Have All the Time in the World (1969)
EMI3'
from the James Bond film 'You Only Live Twice'
arr. by Nic Raine2222/4331/timp.3perc/hp/str
You Only Live Twice (1967)
EMI10'
from the James Bond film 'You Only Live Twice'
arr. by Nic Raine2(afl,pic).2(ca).2.2/4341/timp.4perc.vib/hp.pf/koto[=syn]/str
You Only Live Twice: Suite (1967)
EMI6'arr. by Nic Raine2.2(ca).2(bcl).2/4341/timp.3perc/2hp.pf/str
Zulu: Suite
BEATLESThe
ATV20'3(pic)2+ca.2+bcl.3(cbn)/4331/timp.3perc/hp.pf(cel)/strAbbey Road Suite (1994)
ATV12'
arr. by Bruce Healey
Sgt. Pepper’s Lonely Hearts Club BandGood Day SunshineI Want to Hold Your HandGolden SlumberTicket to RideA Day in the LifeGet BackPenny LaneLet It BeGot to Get You Into My LifeA Hard Day’s NightAll My Lovin’Can’t Buy Me Love
3232/4331/timp.2perc/pf.cel.hp/e gtr.e bass/str
Beatles!!! A Medley of Lennon and McCartneyFavorites
ATV12'arr. by Jeff Tyzik
I Want to Hold Your HandShe Loves YouYesterdayEleanor RigbyHey, JudeGet BackYellow Submarine
2222/4331/timp.2perc/hp.pf/e bass/str
Beatles Hits Medley
ATV11'arr. by Peter Mansfield
The Long and Winding RoadHere, There and EverywhereAnd I Love HerWhen I'm 64I’ve Just Seen A FaceA Hard Day’s NightNorwegian WoodHey, Jude
3333/4331/timp.3perc/pf[cel]/str
Classic Beatles: A Medley
ATV18'
arr. by Andrew Jackman3(pic)2+ca.2+bcl.3(cbn)/4331/timp.3perc/hp.pf(cel)/str
The Great Beatles Singles Suite I — StrawberryFields Forever (1994)
ATV18'
arr. by Andrew Jackman3(pic)2+ca.2+bcl.3(cbn)/4331/timp.3perc/hp.pf(cel)/str
The Great Beatles Singles Suite II — All You NeedIs Love (1994)
ATV25'arr. by Eric Knight
Sgt. Pepper’s Lonely Hearts Club BandNorwegian WoodEleanor RigbyHere, There and EverywhereWhen I'm 64She’s Leaving HomeYellow SubmarineYesterdayCan’t Buy Me LoveThe Long and Winding Road
3333/4431/timp.4perc/pf/str
A Long and Winding Road
ATV18'
arr. by Francis Shaw3(pic)3(ca)3(bcl)3(cbn)/4331/timp.3perc/hp.pf/cel/str
Sergeant Pepper’s Lonely Hearts Club Band(1994)
ATV16'arr. by Andrew Jackman
Martha My DearOb-La-Di, Ob-La-DaYer BluesMother Nature’s SonBack in the USSR
3(pic)2+ca.3(bcl)2+cbn/4331/timp.3perc/hp.pf[cel]/str
Songs from the White Album (1994)
BENNETT(b. 1936)Richard Rodney
NOV5'2(pic)222/4331/timp.3perc/strCelebration (1991)
Perfect as a concert opener, this short work drives to its celebratory climaxabove a fleet rhythmic foundation. Another fine addition to the repertoire forstudent orchestras.
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SYMPHONIC POPS
NOV24'Solo: Tenor saxophonetimp/str(min 10.8.6.4.2)
Concerto for Stan Getz (1990)
NOV20'2(pic)222/2200/timp.2perc/pf/str(6.5.4.3.2)Diversions (1989)
EMI14'Solo: tenor2(pic)111/1110/perc[+]/hp/str(min 6.5.4.3.0)
London Pastoral
EMI0111/0100/perc/hp/dbMidnight Thief Overture
EMI12'1111/1000/hp/strNocturnes — for Chamber Orchestra
NOV17'2(pic)2(ca)22/2000/timp/hp/str(min 10.8.6.6.4)Partita (1995)
EMI7'2(pic).121/2110/timp.2perc.glock.xyl/hp/strSuite Française — for Small Orchestra (1961)
NOV5'2+pic.2+ca.2+Ebcl.2+cbn/4.3.2+btn.1/timp+3perc/hp.pf/strTroubadour Music (2006)
Commissioned by John Mauceri and the Hollywood Bowl Orchestra to celebrate16 seasons together.
NOV15'2(pic)2(ca)22/4231/timp.2perc/pf[=cel]hp/strVariations on a Nursery Tune (1992)
Based on the early 18th-century nursery rhyme “Over the Hills and Far Away,”Bennett captures the essence of the tune with a nod toward Ravel and,according to Andrew Porter, “the finest, deftest touches.”
BENNETT(1894-1981)Robert Russell
EMI20'2+pic.2(ca).3(bcl).2/4331/4perc/strThe Four Freedoms (1943)
a symphony after the four paintings by Norman Rockwell based on a speech byFranklin D. Roosevelt: "Freedom from Want," "Freedom from Fear," "Freedomto Worship," and "Freedom of Speech."
BEREZOVSKY(1900-1953)Nicolai
AMP8'
3332/4431/perc/pf/str
Christmas Festival Overture (Ukrainian Noel) forOrchestra (1943)
BERKELEY(1903-1989)Lennox
CH17'2222/2210/timp/strDivertimento in B-flat, Op. 18 (1943)
CH1'
8tpt
Fanfare for the Royal Academy of MusicBanquet (1972)
CH7'2(pic)222/4231/timp.perc/hp/strPalm Court Music, Op. 81, No. 2 (1971)
BERNERS(1883-1950)Lord
CH5'
str
Adagio, Variations and Hornpipe from “TheTriumph of Neptune”
BEVERIDGE(b. 1938)Thomas
SHASolo: Soprano & NarratorSATB; 0000/430+btbn.1/2perc/org/db
Once (Tribute to Martin Luther King)
BINDER(1895-1966)Abraham W.
EMI3222/4431/timp.perc/strMarch, from “Poem of Freedom”
EMI6'3222/4431/timp.perc/strPoem of Freedom
BINGE(1910-79)Ronald
NOV3'210.2asx+2tsx+barsx.0/0400/strCornet Carillon (orchestra version)
BIZET(1838-1875)Georges
GS11'
compiled by François Borneedited by James GalwaySolo: Flute2222/2230/timp.2perc/hp/str
Fantaisie Brilliante on Themes from Bizet’s“Carmen”
BLISS(1891-1975)Arthur
NOV8'Solo: Pianoopt Men's Chorus; 2(pic)122/2230/timp.perc/str
Baraza (version for piano and orchestra) (1945)
Concert piece from the film 'Men of two Worlds'
NOV20'2(pic)2(ca)22/4230/timp.2perc/hp/strCheckmate: Five Dances Suite (1937)
NOV5'
excerpts from film music
arr. by Marcus Dodds2222(cbn)/4330/timp.2perc/hp/str
Christopher Columbus (1949)
NOV11'arr. by Denis Wright2(pic)121/2230/timp.perc/hp/str
Things to Come
NOV4'2(2pic)2(ca)22/4331/timp.3perc/hp/strThings to Come: March (1935)
NOV17'2(2pic)2(ca)22/4331/timp.2perc/hp/strThings to Come: Suite (1935)
- 6 -
SYMPHONIC POPS
BLYTON(b. 1932)Carey
NOV15'2(pic)2(ca)22/4231/timp.perc/pf/strCinque Port, Op. 28
BOUBLILAlain and Schoenberg, Claude-Michel
BOU5'
Solo: Voice1110/2310/perc.dms/2kbd.gtr/str
The ABC Café (C minor), from “Les Misérables”(1993)
BOU5'
Solo: Voice1110/2310/perc.dms/2kbd.gtr/str
At the End of the Day (A-flat major), from “LesMisérables” (1993)
BOU5'
Solo: Voice1110/2310/perc.dms/2kbd.gtr/str
Bring Him Home (F major), from “LesMisérables” (1993)
BOU5'
Solo: Voice1110/2310/perc.dms/2kbd.gtr/str
Do You Hear the People Sing? (The People’sSong) (F major), from “Les Misérables” (1993)
BOU5'
Solo: Voice1110/2310/perc.dms/2kbd.gtr/str
Empty Chairs at Empty Tables, from “LesMisérables” (1993)
BOU6'Solo: VoicesChorus; 2121/2230/timp.3perc/pf(cel)hp.gtr/str
Finale, from “Miss Saigon” (1993)
BOU5'
Solo: Voice1110/2310/perc.dms/2kbd.gtr/str
I Dreamed A Dream (E-flat major), from “LesMisérables” (1993)
BOU5'Solo: Voiceorchestra
I Still Believe This, from “Miss Saigon” (1993)
BOU5'
Solo: Voice211.asx.1/20.2flg.30/3perc/kbd.cel.hp.gtr/str
Last Night of the World, from “Miss Saigon”(1993)
BOU5'
Solo: Voice1110/2310/2perc/gtr.2kbd/str
Little Cosette (Castle on a Cloud) (A minor), from“Les Misérables” (1993)
BOU5'
Solo: Voice11(ca)10/2310/perc.dms/2kbd.gtr/str
Master of the House (C major), from “LesMisérables” (1993)
BOU30'2(pic)2(ca)2(bcl)2(cbn)/4421/timp.perc/2hp.pf/strLes Misérables. Symphonic Suite
BOU15'orch. by W.D. BroanSolo: Piano2+pic.2+ca.2+bcl.asx.2/4231/timp/hp.kbd(cel)[gtr]bgtr/str
Miss Saigon Rhapsody (1993)
BOU5'
Solo: Voice11(ca)10/2310/perc.dms/2kbd.gtr/str
On My Own (D major), from “Les Misérables”(1993)
BOU5'
Solo: Voice1110/2310/perc.dms/2kbd.gtr/str
One Day More (A major), from “Les Misérables”(1993)
BOU5'Solo: Voice1110/2310/perc.dms/2kbd.gtr/str
Stars (C major), from “Les Misérables” (1993)
BOU5'Solo: Voice212(bcl)1/2230/3perc/pf(cel)hp.gtr/str
Sun and Moon, from “Miss Saigon” (1993)
BOU5'SATB chorus; 1+pic.1.2.1/2230/timp.perc/2kbd(pf).gtr.bgtr.strThis is the Hour, from “Miss Saigon” (1993)
BOU5'Solo: Voice2121/20.2flg.3(tba)0/timp.3perc/pf(cel)hp.gtr/str
Why God Why, from “Miss Saigon” (1993)
BROUGHTONBruce
EMI5'2(pic)22(Ebcl)2(cbn)/4331/perc/hp.pf.cel/2gtr/strThemes from “Silverado” (1985)
Bruce Broughton's "SIlverado" score is music from that rarest of film genres: thecontemporary Hollywood Western. The pulse of Lawrence Kasdan'sentertaining 1985 film is doubled by Broughton's memorable contribution withmotifs that take modern twists on classic swashbuckling themes.
BRUBECK(b. 1920)Dave
MAL12'arr. by Howard BrubeckJazz combo; hn/str
Brandenburg Gate: Revisited (1961)
MAL4'Solo: Jazz Combo22+ca.22/4331/timp.2perc/str
Cathy’s Waltz (1961)
MAL45'Solo: SATBunison children's chorus & SATB chorus;2+pic.2+ca.2+bcl.2+cbn/4331/timp.2perc/hp.hpd.gtr/str
La Fiesta de la Posada (1975)
Alternate: 2000/0200/timp.2mba/hp
MAL10'2+pic.2+ca.2+bcl.2+cbn/4331/timp.3perc/strFugal Fanfare (Happy Anniversary) (1970)
MAL60'Solo: Tenor & BaritoneSSAATTBB chorus; 0000/4331/timp.2perc/db
The Gates of Justice (1969)
MAL5'Solo: Jazz Combostr
In Your Own Sweet Way (1961)
- 7 -
SYMPHONIC POPS
MAL75'Solo: BaritoneSSAATTBB chorus; 3(pic)2+ca.2+bcl.2+cbn/4331/perc/hpd.org/jazz combo/str
The Light in the Wilderness (1968)
MAL5'
Solo: Jazz Combo0+pic.2+ca.2+bcl.1+cbn/4331/2perc/str
Out of the Way of the People, from “The Gates ofJustice” (1970)
MAL5'Solo: Jazz Combo22+ca.2+bcl.1/4331/2perc/str
Summersong (1961)
AMP20'Chorus; 2+pic.2+ca.2+bcl.2+cbn/43[+]31/perc.timp/hp.org/strThey All Sang Yankee Doodle (1976)
Dedicated to the memory of Charles Ives, Brubeck's They All Sang YankeeDoodle takes the well-known Revolutionary War tune and weaves it through aseries of clever variations. Brubeck comments that "the piece, in a sense, is anautobiography, made up of memories and snatches of tunes imprinted from myearly childhood. Yankee Doodle is interwoven with other folk and nationalmelodies to stitch a tapestry, or more precisely, a patchwork, designed to depictAmerican history through combining fragments of popular tunes."
MAL52'Solo: SopranoSSAATTBB chorus; 2+pic.2+ca.2+bcl.2+cbn/4331/2perc/hpd.org/str;Jazzcombo: tbn/ebass.2egtr.hmn.epf
Truth is Fallen (1971)
BRUBECK(b. 1920)Howard
SHA25'22+ca.22/4331/timp.2perc/strDialogues
SHA7'22+ca.22/4331/timp.2perc/strG-Flat Theme
SHA5'22+ca.1+Ebcl.2/4331/timp.2perc/strTheme for June (from Dialogues)
BURGON(b. 1941)Geoffrey
CH18'1(pic).1(ca).01/1100/hp/strBrideshead Variations (1981)
The distinctive themes from the renowned BBC television series showcaseelegant brass melodies that communicate the feeling and flavor of Britisharistocracy.
CH12'1(pic)101/1100/perc/strChronicles of Narnia Suite (1991)
CH3'4hn.3tpt.3tbn.tbaFanfare on One Note (1985)
British composer Geoffrey Burgon combines a clarity of expression with wit andcharacter in all of his work. This fanfare is the perfect example—brief yetendlessly inventive and entertaining.
CH12'fl.cl.bn/hn.cnt(tpt)/[hp]/strSuite from Bleak House (1991)
CH24'1(pic)1(ca)1(bcl)1/1000/timp.perc/strSuite from Martin Chuzzlewit (1994)
CH10'[timp]/strSuite from Testament of Youth (1991)
BUSH(b. 1920)Geoffrey
NOV15'2(pic)222/4230/timp.perc.xylo/strConcerto for Light Orchestra (1958)
NOV2'Wind ensemble (min 2121/2230/timp.3perc)Fanfare and March “The Prince of Morocco”
NOV8'Solo: Pianostr
A Little Concerto (on themes by Arne)
NOV10'strThree Little Pieces for Strings
NOV8'2(pic)222/4230/timp.perc/strYorick. Overture
CAMILLERI(b. 1931)Charles
NOV17'2222/4231/timp.perc.xylo.glock/hp/strMaltese Dances (1956)
CARPENTER(1876-1951)John Alden
GS13'1(pic)12(ssx).1/2210/timp.perc/hp.pf/strKrazy Kat (revised version) (1921, rev. 1948)
A jazz ballet on the title character of the Hearst Newspapers comic strip byGeorge Herriman: Krazy Kat.
CARTER(b. 1908)Elliott
AMP10'3333/4331/timp.perc/pf/strHoliday Overture (1944/61)
A bright and festive concert opener that clearly illustrates the use of syncopatedrhythms in its thematic development.
CATÁN(b. 1949)Daniel
AMP28'
1. On the Pier2. Arcadio3. The Storm4. Sunrise5. Paula6. Florencia's Farewell
2(pic).2.2+bcl.2/3221/timp.2perc.mba/hp.pf/str
Florencia en el Amazonas (Orchestral Suite)(2003)
CHAPPELL(b. 1934)Herbert
CH22'Solo: Guitar2222/2200/3perc/str
Caribbean Concerto
- 8 -
SYMPHONIC POPS
CH18'Text: Michael BondSolo: Narrator2(pic)2(2ca)2(asx)2/2200/2perc/hp/str
Paddington Bear’s First Concert (1984)
From grand cinematic gestures to the exotic sounds of the Peruvian jungles,Spanish tarantella, and Hungarian “cafe society,” Chappell chroniclesPaddington Bear’s interactions with a host of different cultures and musicaltastes...and his first concert at the Barbican (or your concert hall)!
CHÁVEZ(1899-1978)Carlos
EMI7'
1. Marcha Provincinana2. Vals Nostalgico3. Cancion de Adelita
4+2pic.3.4(Ebcl, bcl).ssx+2asx.tsx.3/4331/timp.3[+]perc/str
Chapultepec (Three Famous Mexican Pieces) —for Orchestra or Band
GS11'2+2pic.32+ebcl+bcl.3/4220/timp.4perc/hp/strSinfonia India (Symphony No. 2) (1935)
Alternate: 2131/2210/4perc/hp/strA compelling blend of modernism and austere primitivism, Chávez’s symphonyreflects his partial Indian ancestry and entertains and instructs through exoticsonic landscapes.
EMI36'mixed chorus; 4(pic)34(Ebl,bcl)3/4431/timp.3[+]perc/strEl Sol (The Sun) — A Mexican Ballad
COLE(b. 1917)Hugo
NOV12'2(pic)121/2210/timp.2perc/strBlack Lion Dances
COLERIDGE-TAYLOR(1875-1912)Samuel
GS6'
Solo: Tenor2222/4000/hp/str
Hiawatha’s Wedding Feast: On Away! AwakeBeloved
CONSTANTINESCU(1909-1963)Paul
SHA2+pic.222/4331/timp.perc/pf/strBraul (The Sash Dance)
SHA2+pic.222/40+2cnt.00/timp.perc.xyl.glock/dulcimer/strCiobanasul (The Shepherd Boy)
COOPER(1926-1996)Paul
GS8'Solo: Flute, Trumpet, Viola22+ca.2+bcl.2/4231/timp.3perc/hp.pf(cel)/str
A Shenandoah for Charles Ives’s Birthday (1974)
CORIGLIANO(b. 1938)John
GS3'
3+pic.3+ca.3+bcl.3+cbn/4431/timp.6perc/hp.pf/str
Campane di Ravello (A Celebration Piece for SirGeorg Solti) (1987)
GS16'2(pic)222/4331/timp.3perc/pf/strGazebo Dances for Orchestra (1974)
A collection of four miniatures that displays with wit and charm the use of dancerhythms as a unifying thread in the creation of a musical score.
GS5'2+pic.3.3.3/4.3(opt in D).3.1/timp.3perc/pf.hp/strMidsummer Fanfare (2004)
GS4'
2(pic)222/4331/timp.3perc/pf/str
Overture to the Imaginary Invalid (from “GazeboDances”) (1974)
GS8'2+pic.222/4[+2]431/timp.4perc/hp/strPromenade Overture (1981)
An homage to Haydn’s “Farewell” Symphony in which players walk on stage (asopposed to off) during the piece, enabling audiences to see as well as hear soloinstruments. The work’s theme is the end of the “Farewell” Symphony, playedbackwards.
GS15'
Solo: Violin3(2pic).2.2.2/4.2Ctpt[=Dtpt].2+btbn.1/timp.3perc/pf([cel]).hp/str
The Red Violin: Chaconne for Violin and Orchestra(1997)
John Corigliano's stunning new score for François Girard's 1999 film "The RedViolin" is a darkly romantic vision of a violin's journey through three continentsover three centuries. The Chaconne, based on the original musical materialsdeveloped for the film, contains some of Corigliano's most plaintive and lyricalwriting for the violin. Joshua Bell has recorded the work for Sony with thePhilharmonia Orchestra conducted by Esa-Pekka Salonen. Also available is aSuite from the film for solo violin, timpani, harp, percussion and strings.
GS1.25'24 kazoos minimum (SATB: 3 Female, 2 Male); 0000/4331/2percSalute (2006)
GS13'
Choreographed by Gail Kachadurian (1988) for the Joffrey Ballet.3(pic)33(Ebcl,bcl)3(cbn)/4331/2timp.5perc/hp.2pf.eorg/str(min 12.10.8.8.6)
Three Hallucinations (based on the film score to“Altered States”) (1981)
Corigliano's score to Ken Russell's science fiction thriller presents anunequivocally unique sound world with a variety of percussive effects, detunedkeyboards, the eerie timbre of the electric organ, and wildly inventive uses ofdouble reeds and brass. Melodies and themes cross each other in mid-streamcreating a kind of mosaic effect that intensifies the "hallucinatory" effect of themusic.
GS12'2+pic.2+ca.2+bcl.2+cbn/4231/timp.3perc/hp.pf/strTournaments (1965)
Conceived as a kind of rivalry “in which first-desk players and entire sectionsvie with each other in displaying their virtuosity,” Corigliano’s extended overtureis in three vibrant sections that colorfully illustrate canonic form, augmentationand diminution, and metric variation.
COWELL(1897-1965)Henry
AMP2'
violin and orchestra or string quartet
Solo: Violinstr
Flirtatious Jig (Fiddler’s Jig)
AMP12'2222/2211/perc/bjo/strOld American Country Set (1939)
AMP4'1121/2200/perc/strSaturday Night at the Firehouse (1948)
A festive concert-opener that evokes a social at the local firehouse. Winds andstrings play tag in amusing fashion, sending themes bounding throughout theorchestra.
- 9 -
SYMPHONIC POPS
COXMichael
SHA
orchestrated by Brant Adams11-instrument version adapted by J.R. KawarskyText: English; Pamela MartinChorus; 2(2pic).222/232+btbn.1/timp.3perc/hp.pf/str
Who Will Speak? — from “Sing for the Cure”(2000)
Alternate: 1111/0000/2perc/pf.hp/str(10011); 11-instrument version for sale
CRESTON(1906-1985)Paul
GS15'
VigorousCalmLively
Solo: Marimba2110/2000/timp/str
Concertino for Marimba, Op. 21 (1940)
Influenced by the virtuoso pyrotechnics of 1920s ragtime xylophone soloists,Creston’s Concertino makes ingenious use of hemiola and jazz harmonicprogressions to create both a high-spirited and impressionistic solo turn formarimba. Cast in three movements marked Vigorous (5'), Calm (5'), and Lively(5').
GS16'
also piano reduction
Solo: Saxophone322.asx.2/4231/timp/str
Concerto for Saxophone and Orchestra, Op. 26(1941)
Alternate: concert band (1944)
SHA12'32+ca.2+bcl.2+cbn/4331/timp.perc/strDance Overture
SHA3'3(pic).3(ca).3(bcl).2+cbn/4331/timp.2perc/strEvening in Texas
GS10'Solo: Trombone2222/4231/timp/str
Fantasy, Op. 42 (1947)
SHA4'211.2asx+tsx.1/2231/timp.perc/pf/strKangaroo Kaper
EMI4'3222/4331/timp.3perc.mrc/strRumba — Tarantella
GS5'1121/2210/strA Rumor, Op. 27 (1941)
SHA4'3(pic).3(ca).3(bcl).2+cbn/4331/timp.2perc/strSunrise in Puerto Rico
GS10'4343/4331/timp.perc/strToccata, Op. 68 (1957)
GS12'
Ballet. Choreographed as “Time Out of Mind.”1111/1000/timp.perc/pf/strTwo Choric Dances, Op. 17A (1938)
GS12'3222/4231/timp.perc/pf/strTwo Choric Dances, Op. 17B (1938)
DANIELPOUR(b. 1956)Richard
AMP9'3(pic).2+ca.3(bcl).3(cbn)/4331/timp.4perc/hp.pf(cel)/strToward the Splendid City (1992)
Danielpour’s piece engages with its brilliant scoring, ceaseless activity, andvibrant rhythmic undercurrent. Composed as a sonic postcard of New York City,Danielpour writes: "one passage, a sound-painting with string harmonics,celesta, harp, vibes, and bells, was inspired by my memory of floating aboveNew York at night on a plane and seeing the lights of the city in the mist."
AMP7'Text: En; George WashingtonSolo: Narrator2.2.2.2+cbn/4230/timp.2perc/str
Washington Speaks (2005)
During his public life, George Washington wrote letters of tolerance andreligious freedom to the Catholic community, the non-Catholic Christiancommunity, the Quakers and the Jewish communities of the young America.
DANKWORTH(b. 1927)John
CH33'Text: Benny Green, after Sir Arthur Conan DoyleSolo: Soprano, Alto, Tenor, BassSATB Chorus; 2(pic)222/4331/timp.perc/hp/str
The Diamond and the Goose (1981)
The first whodunnit oratorio in musical history! Dankworth’s piece is based on aConan Doyle story and features jazz, barbershop, hints of Ravel, and more.Light-hearted but serious in intent.
NOV17'Solo: Piano1(pic)202/2000/str
Piano Concerto
CH13'Solo: Mezzo-sopranoSATB Chorus; 101+bcl.0/1200/perc/str
Thy Kingdom Gone
DAWSON(1899-1990)William
SHA35'2+pic.2+ca.2+bcl.2+cbn/4231/timp.3perc/hp/strNegro Folk Symphony
DELLO JOIO(b. 1913)Norman
AMP26'
3333/4331/timp.perc/hp/str
Colonial Variants: Thirteen Profiles of the OriginalColonies (1976)
AMP16'22+ca.2+bcl.0/4331/2perc/strSouthern Echoes (1976)
DICKINSON(b. 1934)Peter
NOV11'3(2pic).3(ca).3.3.(cbn)/4431/4perc/strMerseyside Echoes (1988)
- 10 -
SYMPHONIC POPS
DIXWilliam
AMP2'
arr./ed. by John GradySolo: Sopranohp/str
Christmas with Renata Scotto: 8. What Child isThis?
DODGSON(b. 1924)Stephen
NOV6'2121/2210/timp.perc/strVillanelle
DRENNANPatti
SHA
orchestrated by Brant Adams11-instrument version adapted by J.R. KawarskyText: English; Pamela MartinChorus; 2(pic).222/232+btbn.1/timp.perc.dmkit/hp.jazz pf/str
Valse Caprice (Tumor Humor) — from “Sing forthe Cure” (2000)
Alternate: 1111/0000/2perc/pf.hp/str(10011); 11-instrument version for sale
DYSON(1883-1964)George
NOV20'strConcerto da Camera
NOV20'strConcerto Leggiero
NOV45'2222/4230/timp/strSymphony in G
EFFINGER(b. 1914)Cecil
GS5'
Chorus; 4hn.3tpt.tba.euph
An American Hymn (A Setting of “America theBeautiful”) (1967)
The combination of mixed chorus with brass choir makes this adaptation of theregal patriotic tune one of the most stirring and exciting versions available forchildren to sing.
GS14'3(pic)2+ca.2+bcl.2+cbn/4331/4timp.3perc/cel.hp/strCapriccio, Op. 91 (1975)
GS8'Chorus; 2+pic.03+bcl.2asx+tsx+barsx.2/4331+bar/timp.perc/strLet Your Mind Wander Over America (1968)
GS35'Text: Freely adapted from St. LukeSolo: Soprano, Tenor, BaritoneChorus; 0200/0200/timp/str
The St. Luke Christmas Story (1953)
ELFMAN(b. 1953)Danny
AMP42'
1. Pianos2. Blue Strings3. A Brass Thing4. Quadruped Patrol5. I Forget6. Bells and Whistles
small female chorus in mvt. 5;3(2pic,afl).3(2ca).3(Ebcl,2bcl,asx).3(2cbn)/6.3.3(btbn)+btbn(cbtbn).1(Cimbasso)/timp(perc).5perc/hp.2pf(syn).syn/str (14.10.8.8.6)
Serenada Schizophrana (2005)
ELGAR(1857-1934)Edward
NOV3'2222/2000/hp/strChanson de Matin, Op. 15
NOV4'2222/2000/hp/strChanson de Nuit, Op. 15
NOV12'2223/4230/timp.perc/hp/strFroissart Overture, Op. 19
NOV20'3(pic)333/4331/timp.2perc.glock/2hp/strIn the South: Concert Overture, Op. 50
NOV14'Solo: String Quartetstr
Introduction and Allegro, Op. 47
NOV5'2223/4331/timp/strNimrod from “Enigma Variations”
NOV24'2(pic)222/4231/timp.perc/hp/strNursery Suite
NOV44'arr. by Percy Youngstr2121/2100/1perc/hp[=pf]/str
The Spanish Lady (concert version)
NOV16'arr. by Percy Youngstr
Spanish Lady Suite
In five movements marked Country Dance (5'), Burlesco (2'), Adagio (3'),Sarabande (3'), and Bourrée (2'), Elgar’s suite of dance music to the unfinishedopera “The Spanish Lady” was inspired by the Jacobean play “The Devil is anAss” by Ben Johnson. The play, with its rich diversity of character, affordedElgar the opportunity to create this warm-hearted and evocative dramaticcomposition for strings.
NOV18'2(pic)222/4231/timp.2perc/hp/strWand of Youth Suite No. 1, Op. 1a
NOV15'2(pic)222/4231/timp.2perc/hp/strWand of Youth Suite No. 2, Op. 1b
- 11 -
SYMPHONIC POPS
ELLINGTON(1899-1974)Edward K. (Duke)
GS-TP110'
1. In the Beginning God2. Will You Be There?3. Ain’t But the One4. Tell Me It’s the Truth5. Heaven6. Something ’Bout Believing7. Praise God8. Father Forgive9. The Lord’s Prayer10. The Shepherd11. David Danced12. Almighty God13. Come Sunday14. My Love15. Freedom16. Meditation17. Praise God and Dance18. Praise God and Dance (encore)
Solo: Soprano, Alto, Mezzo-soprano, Baritone, Bass; Narrator; tap dancer anddancersSATB Choir; 000.2sax(2cl)+2tsx(cl)+barsx.0/0430/perc/pf/db
The Best of the Sacred Concerts
GS18'orch. by Maurice Peress2+pic(afl).2+ca.2+bcl.asx.barsx.2+cbn/4431/timp.2perc.dmkit/hp/str
Black, Brown and Beige (1943)
GS35'adapted by Jeff Tyzik2(pic).1+ca.2+bcl.asx.2/4331/timp.perc.dmkit/hp.pf/jazz bass/str
Black, Brown and Beige (1943)
GS3.5'arr. by Morton Gould1.1.1.1.reed1(fl,cl)+reed2(cl,bcl)+reed3(fl,cl)+reed4(ca)/2330/timp.vib.mba.2conga/pf.hp.gtr/str
Caravan
GS4'
Solo: Alto or Bass002+bcl.0/0030/dms/pf/db
Come Sunday, from “The Best of the SacredConcerts”
EMI16'arr. and orch. by Jeff Tyzik
CaravanSophisticated LadyRockin' in RhythmMood IndigoThe "C" Jam BluesPrelude to a KissIt Don't Mean a Thing (If It Ain't Got That Swing)
2+pic.1+ca.2+bcl.asx.2/4331/timp.2perc.dmkit/hp.pf/jazz bass/str
Ellington Portrait (1998)
GS15'
IntroductionStanza IStanza IIStanza IIICoda
3(pic)3(ca)3(bcl)3(cbn)/4441/timp.perc.dms/hp/strThe Golden Broom and the Green Apple
GS8'arr. by Luther Hendersoned. by Maurice PeressSolo: Piano, Clarinet, Trumpet22(ca)2(bcl).2asx+2tsx[+bar].2/4431/timp.2perc.vib.dms/hp/str
Grand Slam Jam
GS18'arr. by Maurice Peress2(pic)22(bcl).2asx+2tsx[+barsx].2/4331/timp.2perc/hp/str
Harlem (1950)
GS18'arr. by Luther Hendersoned. by John Mauceri3(pic)2+ca.2+bcl.2asx(cl)+2tsx(cl)+barsx(bcl).2/4531/timp.2[+]perc/hp.kbd(db)/str
Harlem (1950)
GS22'arr. by Dave BergerSolo: Bass00.2asx.2tsx.barsx.0/0530/timp.vib.drum/gtr.pf/vn.db
Liberian Suite (1954)
EMI5'arr. by Morton Gould1.ca.1.asx(fl)+asx+2tsx(2fl).1/0320/dmkit/pf.gtr.hp/str
Mood Indigo (five-brass setting)
EMI5'arr. by Morton Gould11(ca).1.asx(cl)+asx(bcl)+tsx(cl)+barsx(ob,cl).1/0330/dmkit/pf.gtr.hp/str
Mood Indigo (six-brass setting)
GS10'arr. by Maurice PeressSolo: Piano2(pic)22+bcl.2/4431/timp.perc/hp/str [+ dance band]
New World A-Comin’ (1945)
Ellington’s landmark jazz score, in which the great composer and pianistvisualized a world without war, greed, and categorization, swings with a virtuososolo piano part and lush orchestral scoring.
GS10'arranged by Luther Hendersonedited by Jeff Tyzik; Ellington piano transcription by John Nyerges22+ca.3+bcl.2/4431/timp.2perc.pf.jazz bass/str (vn div a 3)
New World A-Comin’ (1945)
GS17'arr. by David Berger222(bcl).2asx.2tsx[+barsx].2/4431/timp.2perc/hp/str
Night Creature (1956)
GS17'
arr. by Gunther SchullerSolo: 2asx.2tsx.barsx/4tpt.3tbn/pf/drums/db323+bcl.2/4431/timp.2perc/hp/str
Night Creature for Jazz Band and Orchestra(1956)
Among one of the Duke’s most ambitious “tone parallels” (a series of large-scaleworks written to portray the history of African-Americans through their music),Night Creature makes use of jazz band, solo piano, and orchestra to effectivelydemonstrate the musical ingenuity of marrying symphonic structures with jazzidioms.
TPO6'
Available outside USA only
orch. by Calvin JacksonSolo: Jazz band: 2asx.tsx(cl).barsx/4tpt.3tbn/pf3+pic.2+ca.3+bcl.3+cbn/6441/str
Non-Violent Integration, for Jazz Band andOrchestra
TPO30'
Ballet. Choreographed by Alvin Ailey.
orch. by Ron Collier2(pic)2(ca)2(bcl)2/4331/timp.2perc/hp.pf/str
The River (1970)
TPO3'
Available outside USA only
arr. by Calvin Jackson2222/4430/vib/pf/str
Satin Doll (instrumental version) (1953)
Duke Ellington’s classic tune is a swinging addition to any young people’sprogram. In addition to this instrumental version, a vocal version is available aswell.
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SYMPHONIC POPS
TPO3'arr. by Chuck IsraelsText: English; Billy Strayhorn and Johnny MercerSolo: Voice2222/4331/timp.2perc/hp/str
Satin Doll (vocal version) (1953)
EMI3'arr. by Morton Gouldhp.cel/str
Solitude
GS15'arr, by Luther Henderson2+pic.2+ca.2+bcl.2+cbn/4441/timp.perc/gtr.hp.pf/str
Three Black Kings, Ballet for Orchestra (1943)
GS19'
arr. by Luther HendersonSolo: Jazz Band: 5 reeds.4tpt.4tbn.2perc.egtr.pf.bass2+pic.2+ca.2+bcl.3(cbn)/443+btbn.1/timp.perc/hp.pf/str
Three Black Kings, Concerto Grosso version(1943)
Propulsive dance rhythms accompany this musical depiction of Balthazaar,King of the Magi, King Solomon, and Martin Luther King—a rousing Gospelstyle treatment wraps up the work.
GS19'
ed. by Maurice PeressSolo: Eb, Bb or C instrument3(pic)2+ca.2+bcl.2+cbn/4431/timp.perc.trap set/hp.pf/str+jazz bass
Three Black Kings for Soloist and Orchestra(1943)
ELLINGTONEdward K. (Duke) and Strayhorn, Billy
GS12'
arr. by Jeff Tyzik
Come Sunday (Introduction)Take the A TrainLush LifeSatin DollPerdidoCome SundayThings Ain’t What They Used to Be
2222/4331/timp.3perc.eb/pf.hp/str
The Essential Ellington: Music of Ellington andStrayhorn (1995)
A beautifully orchestrated and seamless compilation of sevenEllington/Strayhorn masterpieces including “Come Sunday,” “Take the A Train,”“Lush Life,” “Satin Doll,” “Perdido,” and “Things Ain’t What They Used To Be.”
TPO4'arr. by Chuck Israels2222/4331/timp.2perc/str
Happy Go Lucky Local, from “Deep South Suite”
Another exciting orchestral jazz chart from Ellington, this time with Strayhorncontributing his formidable talent to the mix.
ELLINGTON(1919-1996)Mercer
TPO10'arr. by Calvin Jackson1+pic.2.3+bcl.2+cbn/5431/vib.dmkit/[pf]/str
Things Ain’t What They Used To Be (1942-43)
ESPLÁ(1886-1976)Oscar
UME3+pic.3(ca)3(bcl)3(cbn)/4331/timp.perc/hp/strFiesta: Suite De Danzas (1931)
FALLA(1876-1946)Manuel de
CH23'Solo: Medium Voice2(pic)121/2200/timp.bells/pf/str
El Amor brujo (1924)
Falla’s complete ballet, written for a famous Flamenco dancer, is a star vehiclefor the orchestra giving each section ample opportunity to delight in the telling ofthis tale of love, bewitchment, and loss. (The story: Candelass, a beautifulyoung woman, is prevented from returning the passionate love of Carmelo, ahandsome, gallant man, by the ghost of a faithless wicked gypsy whom sheonce loved. Carmelo persuades Lucia, a friend of Candelas, to act as decoy anddistract the ghost while he convinces Candelas of his true love and theyexchange the kiss that breaks the evil spell.)
CH3'Text: Martinez SierraSolo: Medium Voice1020/2000/pf/str
El Amor brujo: Chanson du feu follet
CH34'Solo: Medium Voice1(pic)100/1100/bells/pf/str(2.2.2.2.1)
El Amor brujo (first version) (1915)
CH43'1(pic)111/1100/pf/str/MzEl Corregidor y la Molinera (1916-17)
CH45'arr. by Antoni Ros Marba2(pic)1(ca)22/2230/timp.perc/pf 4hnd.hp/str
Fuego fatuo (1918-19)
CH18'3(pic)3(ca)3(bcl)2+cbn/4330/timp.perc/cel.hp/strHomenajes (1939)
CH23'Solo: Piano2+pic.2+ca.22/4231/timp.perc/cel.hp/str
Nights in the Gardens of Spain (1909-15)
Alternate: 2(pic)2+ca.22/2200/timp.perc/hp/str
CH8'Solo: Mezzo-soprano1+pic.121/2200/timp/pf/str
Récit du pécheur and Pantomime
CH5'1+pic.121/2200/timp/pf/strRitual Fire Dance, from “El Amor brujo”
Buzzing strings and a solo oboe create an enticing atmosphere of ritual andexpectation—a vivid example of the power of orchestration to alter mood andfeeling.
CH12'orch. by HalffterText: TraditionalSolo: Medium Voice (Soprano or Mezzo-soprano)22(ca)2(bcl)2/2000/timp.perc/hp/str
Seven Popular Spanish Songs
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SYMPHONIC POPS
CH35'
Ballet in two parts, three scenes. Story taken from Alarcon.
Solo: [Mz]2+pic.2+ca.22/4331/timp.perc/pf.cel.hp/str
El Sombrero de Tres Picos (The Three-CorneredHat) (1917-19)
Another fanciful musical creation from Falla that is more overtly playful in style,employing high winds and strings to capture the feeling of music for apantomime—Falla’s original intention for this score. Spanish dances includingthe fandango, seguidillas, and jota figure prominently. (The story: An honestmiller is happily married to a good wife. The elderly local governor, who wears athree-cornered hat, uses his power falsely to arrest the miller and keep him awayfrom home, so that he himself can pursue the miller's wife. The governor fallsinto the stream and the wife recognizes him, realizing why her husband has notreturned. She goes to fetch him, unaware that he has escaped and is alreadymaking his way back. Finding the governor in bed, the miller contemplatesmurder, but decides on a neater revenge. He dons the rival's clothes and visitsthe governor's wife. The governor, now in the miller's clothes, is re-arrested. Acrowd gathers, the miller reappears and is reconciled with his wife, and thegovernor is mocked.)
CH14'
1(pic)2(ca)22/2200/timp.perc/pf.hp/str
The Three-Cornered Hat: Scenes and Dancesfrom Part I (Suite 1)
CH13'
2(pic)2+ca.22/4331/timp.5perc/cel(pf).hp/str
The Three-Cornered Hat: Three Dances fromPart II (Suite 2)
CH6'2+pic.2+ca.2+bcl.2/4231/timp.perc/cel.2hp/strLa Vida Breve: Interlude and Spanish Dance
Castanets, trilling winds and strings, and triple meter—all distinctively evokingthe flavor of a Spanish dance.
CH4'arr. by S. Chapelier1+pic.121/2220/timp.perc/str
La Vida Breve: Spanish Dance No. 1
FELLERSherm
SHAarr. by SimeoneSATB Chorus; 2+pic.222/4331/timp.perc/hp/str
Snow, Snow, Beautiful Snow
FLETCHER(b. 1913)H. Grant
EMI6'3222/4231/timp/strAn American Overture
FRACKENPOHL(b. 1924)Arthur
GS8'Solo: Hornstr
Largo and Allegro (1962)
SHA5'2+pic.22+bcl.2+cbn/4331/timp.perc/strRondo Marziale
GS9'Solo: Trumpetstr
Suite Concertino (1970)
FRANK(b. 1972)Gabriela Lena
GS20'
1. Jungle Jaunt2. Highland Harawi3. Mestizo Waltz
3(pic).2+ca.2+bcl.3/4330/timp.4perc/pf.hp/str
Three Latin-American Dances for Orchestra(2003)
FREYHAN(b. 1940)Michael
NOV7'2020/0200/perc.toys/strToy Symphony
FRIEDMANDavid
SHA
orchestrated by Brant Adams11-instrument version adapted by J.R. KawarskyText: English; Pamela MartinChorus; 2(pic).222/232+btbn.1/timp.2perc/hp/str
Who Will Curl My Daughter's Hair? — from “Singfor the Cure” (2000)
Alternate: 1111/0000/2perc/pf.hp/str(10011); 11-instrument version for sale
FRIML(1879-1972)Rudolf
GS7'
Allah’s HolidayThe BubbleGiannina MiaIn Sapphire SeasRackety CooSomething Seems Tingle-inglingSympathyWhen a Maid Comes Knocking at Your Heart
2(pic)2(ca)2.2asx+2tsx.2/4331/perc/hp/strMedley from “The Firefly” (1956)
FUCIK(1872-1916)Julius
GS5'
ed., arr., and adapted by Jerome Cohen2+pic.22+bcl.2/4331/timp.3perc/str
Under the Admiral’s Flag, Op. 82 (Unter derAdmiralsflagge)
GALLINAJill
SHA
orchestrated by Brant Adams11-instrument version adapted by J.R. KawarskyText: English; Pamela MartinWomen's chorus; 22(ca).22/232+btbn.1/2perc/hp/str
Come to Me Mother — from “Sing for the Cure”(2000)
Alternate: 1111/0000/2perc/pf.hp/str(10011); 11-instrument version for sale
GARDNER(b. 1917)John
NOV4'2131/2210/timp.perc/strOverture Half-Holiday
- 14 -
SYMPHONIC POPS
GEEHL(1881-1961)Henry
ASH2(pic)222/4310/timp.perc/hp/strA Comedy Overture
ASH7'2122/2230/timp.perc/strFolk Dance Suite
ASH2222/4230/timp.perc/hp.cel/strOverture Française
NOV18'2(2pic)222/2230/timp.perc/strSuite Espagnole
GERMAN(1862-1936)Edward
NOV5'2222/4431/timp.perc/org.hp/strCoronation March and Hymn
NOV15'2222/4230/timp.perc/hp/strGypsy Suite
NOV8'2(pic)222/2230/timp.perc/strHenry VIII: Three Dances
NOV9'2222/2230/timp.perc/strRichard III Overture
NOV9'3222/4231/timp.perc/hp/strValse Gracieuse
GLASS(b. 1937)Philip
DVG7'2ssx[=2fl]/str (min 1.1.1.1.1)Façades (1981)
DVG40'
1. Opening2. Floe3. Islands4. Rubric5. Façades6. Closing
2fl, 2ssx(cl), 2tsx(bcl), 2hn, pf(syn,org), va, vcGlassworks (1981)
GLIERE(1875-1956)Reinhold
GSR23'
3(pic)333/4331/timp.perc/glock.xyl.cel.2hp/str
The Red Poppy, Suite No. 1 from the ballet,Op. 70a (1926-27)
GSR4'
3(pic)333/4331/timp.perc/str
Russian Sailor’s Dance (“Yablochko”) from theballet, “The Red Poppy” (1926-27)
This rousing Russian dance from Gliere's landmark ballet is a guaranteed crowdpleaser—sure to impress young audiences with its driving rhythms and richorchestration.
GOLDMartyarr.
EMI2222/2221/3perc/pf/str“Jeopardy” Theme
GOLDSTEINWilliam
EMI3'SATB (opt); 3(opt pic)123/2230/timp.3perc/pf.gtr.eb.hp/strA.M. America Overture
GOMEZAlice
SHA
orchestrated by Brant Adams11-instrument version adapted by J.R. KawarskyText: English; Pamela MartinChorus; 222(bcl).ssx.2/232+btbn.1/timp.2perc/str
Borrowed Time — from “Sing for the Cure”(2000)
Alternate: 1111/0000/2perc/pf.hp/str(10011); 11-instrument version for sale
GOOSSENS(1893-1962)Eugene
CH4'4tpt.4tbn/timp.percFanfare for the Artists
CH8'3(pic)3(ca)3(bcl)2+cbn/4331/timp.perc/2hp/strFlamenco: Ballet
CH3'2121/10+2cnt.10/perc/[hp]/strThe Hurdy-Gurdy Man
CH17'2(pic)111/2100/timp.perc/cel(pf).hp/strIncidental Music from “East of Suez”
CH5'3(pic)2+ca.2+bcl.2+cbn/4331/timp.perc/cel.2hp/strIntermezzo from “Don Juan de Manara”
CH14'2(pic)2(ca)22/2210/timp.perc/cel.hp/strKaleidoscope
CH9'1111/2100/timp.perc/hp/strPrelude to “Philip II”
CH5'3(pic)2+ca.2+bcl.2+cbn/4331/timp.perc/hp/strScherzo and Folk Tune
CH4'3(pic)2+ca.32+cbn/4331/timp.perc/pf.hp/strTam O’Shanter: Scherzo
CH7'
1. By the Tarn 2. Jack O’Lantern
[cl]/strTwo Sketches
GOTTSCHALK(1829-1869)Louis Moreau
MG19'
in the original instrumentation for orchestra, band, and drum ensemble
ed. by Gunther Schuller
1. La Nuit des Tropiques2. Une Fête sous les Tropiques
223+Ebcl.2/3.4Ebtpt+pictpt+4cnt.4+4bar.1+ophicleide/timp.4[=5]perc/str; banddoubles winds and brass at conductor's discretion
Symphonie Romantique (Night in the Tropics)(1860)
GS8'
arr. by Samuel AdlerSolo: Piano2222/2221/timp.perc/str
L' Union: Paraphrase de Concert sur les AirsNationaux (orchestra version)
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SYMPHONIC POPS
GOULD(1913-1996)Morton
GS4'2222/4231/perc/strAdeste fidelis
GS7'
3(pic)2(ca)3(Ebcl,bcl)2(cbn)/4331/timp.2-3perc/hp/str
Amber Waves — on “America the Beautiful”from “American Ballads” (1976)
GS33'
3(pic).2(ca).3(Ebcl,bcl).2(cbn)/4331/timp.2[+]perc/hp/str
American Ballads, Settings of American Tunesfor Orchestra (1976)
Few composers can match Morton Gould's talent at dressing familiar patriotictunes in the orchestral finery such as that heard here. A BicentennialCommission, American Ballads reconsiders such tunes as the NationalAnthem, America the Beautiful, We Shall Overcome, and Taps among othersand places them within lushly orchestrated, lyrical settings that sound freshwhile never losing track of the original.
EMI5 '222.4sax.2/2320/timp.3perc/cel.pf.gtr.hp/strAmerican Caprice
EMI5'3333/4331/timp.2perc/strAmerican Salute (1943)
GS16'Solo: Soprano, Mezzo-soprano, Tenor, Bass3(pic)333(cbn)/4331/timp.perc/hp/str
American Sing: Settings of Folk Songs (1984)
GS4'2222/4231/timp.3perc/hp/strBattle Hymn of the Republic
G&C5'1(pic)1(ca)21/4321/timp.perc/hp.pf/strBig City Blues (1950)
Gould’s bluesy orchestral essay demonstrates how comfortable the standardorchestra can be in a jazz-inspired setting. Muted instruments help developyoung people’s understanding of instrumental timbre.
EMI2'Solo: Piano314(bcl)2/4331/timp.perc/str
Boogie Woogie Etude (1943)
G&C2'John Cacavasreeds:cl+asx.fl+pic+asx.tsx.barsx/0210/2perc/gtr.hp.pf/str (44021)
Café Rio (1957)
G&C3'3(3pic)02+bcl.1/0300/2perc/hp/strCalypso Souvenir (1964)
GS3'3(pic)232/43[+]3[+]1/timp.3[+]perc/hp/strCelebration Strut for Orchestra (1981)
Gould’s orchestral miniature is a classic combination of dance rhythms andAmericana, making it an ideal entertainment for young audiences.
GS5'3(pic)3(ca)33(cbn)/4431/timp.3perc/[org]/strCheers! — A Celebration March (1979)
What better way to open a young people’s concert than with this bright andfestive march from one of the true masters of 20th-century American music.
G&C3'2(pic)121/222[1]/2perc/cel.hp/strCinerama Holiday: Skier’s Waltz (1955)
GS15'2(pic)1(ca)21/222[1]/timp.2perc/cel(pf).hp/strCinerama Holiday: Suite (1955)
GS14'
2(2pic)222/4220/timp.2[+]perc/hp/str
Classical Variations on Colonial Themes(1984-85)
G&C13'3(pic)2+ca.4(Ebcl,bcl)3/4331/timp.3perc/hp/strColumbia: Broadsides for Orchestra (1967)
EMI3(pic).3[(ca)].3[(bcl)].3([cbn])/4[+2].331/timp.4[+]perc/[gtr].hp/strCowboy Rhapsody
G&C30'Text: The Declaration of IndependenceSolo: 1-2 SpeakersSpeaking Male Chorus (13+); 3(pic)2(ca)22(cbn)/4331/timp.2-3perc/hp.pf/str
Declaration (1956)
G&C19'3(pic)2(ca)22(cbn)/4331/timp.2perc/hp/strDeclaration: Suite (1956)
G&C17'
Solo: Clarinet2asx+tsx+sx[=ww]/0330/2perc/pf/db
Derivations for Solo Clarinet and Dance Band(1955)
G&C3'
2(pic)121/2221/timp.perc/hp.pf(cel)/str
Dramatic Fanfares from CBS-TV documentary“World War I” (1964-65)
G&C15'2(pic)2(ca)22/4331/timp.2perc/pf/strFamily Album: Suite (1951)
A popular suite of nostalgic reflections—the family photo album comes to lifewith the help of a dizzying array of percussion instruments.
G&C1'
parts on rental only3332/4321/timp.4percFanfare for Freedom for Wind Ensemble (1943)
Gould’s striking fanfare, premiered by the Cincinnati Symphony in 1943,remains an ideal concert opener for young bands and wind ensembles. Itstriumphant spirit and shimmering timbres are sure to inspire young players andaudiences.
GS2'2tpt.2tbn.tba/timp.percFestive Fanfare (1991)
G&C11'Solo: Offstage Trumpet3(pic)232/4331/timp.3perc/hp/str
Festive Music (1964)
GS4'2222/4231/perc/hp/strFirst Noel
GS3'2(2pic)222/42[+]2[+][1]/timp.2[+]perc/strFlares and Declamations (1987)
GS4'2+pic.333/4331/timp.2perc/hp/strFlourishes and Galop (1983)
A delightful evocation of horses and a good old American horserace à la theKentucky Derby. Expert use of crescendo and ascending thematic linescreates sense of movement and expectation.
EMI11'
OvertureBluesJig
222.asx+tsx.2/4220/timp.perc.sandpaper.bells.xyl.vib/[pf].[hp]/strFolk Suite (1941)
Alternate: 1121/2210/timp.perc/str
GS30'3(pic).3(ca).3(bcl).2[+]+cbn/4[++].3[+].31/timp.3perc/bjo.hp/strFoster Gallery (1939)
GS18'3(pic)3(ca)3(bcl)2+cbn/4331/timp.perc/[bjo].hp/strFoster Gallery: Suite (1939)
EMIarr. by Morton Gouldhp.cel/str (min 5.0.2.2.1)
Go Down Moses
- 16 -
SYMPHONIC POPS
GS3'2(2pic)1+ca.1+bcl.1/2220/2perc/hp/strGood King Wenceslas
EMI4'
2(pic).22.3sx.2/4220/perc.opt gtr/str
Guaracha (3rd Movement of “Latin AmericanSymphonette”) (1941)
GS2'2tpt.2[+]tbn.tba/timp.percHail to a First Lady (1991)
G&C12'vib/hp/strHarvest (1945)
G&C16'
HalloweenFirst ThanksgivingHome for ChristmasEaster MorningFourth of July
2(pic)2(ca)22/4331/timp.3perc/hp.pf(cel)/strHoliday Music (1947)
G&C6'3(pic)23(bcl)2/4331/timp.2perc/bjo.hp/strA Homespun Overture (1939)
G&C13'Solo: Hoofer (Tap Dancer)1(pic)121/222[1]/perc/str
Hoofer Suite (1956)
GS18'Text: English; Morton GouldSolo: Narrator3(pic)232/4331/timp.3perc/str; opt hoses, fire tools, cutouts, projections
Hosedown: A Firefighter Fable (1995)
In seven movements, this musical fable brings to life the excitement and dangerof the firefighter’s job, evoking vividly the sound of alarms, the heat and crackleof fire, and the joy of a good old-fashioned “Hosedown.”
GS7'
3(pic)2(ca)3(Ebcl,bcl)2(cbn)/4331/timp.2-3perc/hp/str
Hymnal — on “We Shall Overcome” from“American Ballads” (1976)
GS35'
Ballet. Choreographed by Jerome Robbins.3(pic)33(bcl)3/4331/timp.2perc/hp.pf/strI’m Old Fashioned, Astaire Variations (1983)
GS3'strIt Came Upon a Midnight Clear
GS4'2222/4331/3perc/hp/strJingle Bells
GS22'
Please note that this work is sometimes performed in a context which is fullystaged and other times in concert form. Please contact G. Schirmer about thenature of your performances of this work to determine proper licensing.
Text: English; the composerSolo: Narrator(rapper)2(pic)121/2221/2perc/str/opt dancers, mimes, puppeteers
The Jogger and the Dinosaur (1992)
An unlikely meeting between a jogger and a dinosaur prompts dancing and otherantics all to the strains of a contemporary rap narration and Gould’s masterfulorchestration.
GS3'
3(pic)2(ca)3(Ebcl,bcl)2(cbn)/4331/timp.2-3perc/hp/str
Jubilo — on “Year of the Jubilo” from“American Ballads” (1976)
GS18'2(pic)2(ca)32/4331/timp.2perc/hp/strLincoln Legend (1942)
GS6'
3(pic)2(ca)3(Ebcl,bcl)2(cbn)/4331/timp.2-3perc/hp/str
Memorials — on “Taps” from “AmericanBallads” (1976)
G&C8'2(pic)222+cbn/4331/timp.3perc/hp/strMinstrel Show (1946)
EMI3'3222/4331/timp.perc.vib.xyl/pf.hp/strNew China March
G&C9'2(pic)22(bcl)2(cbn)/4331/timp.3perc/hp.pf/strPhilharmonic Waltzes (1948)
EMI5'111.4sax.1/2331/timp.3[+]perc/pf.hp.gtr/strPop’s Serenade
GS3'
3(pic)2(ca)3(Ebcl,bcl)2(cbn)/4331/timp.2-3perc/hp/str
Saratoga Quickstep — on “The Girl I LeftBehind” from “American Ballads” (1976)
EMI10'Solo: NarratorSATB Chorus; 3232/4331/timp.5perc/gtr.hp/str
A Song of Freedom (1941)
GS5'
3(pic).2(ca).3(Ebcl,bcl).2(cbn)/4331/timp.2[+]perc/hp/str
Star-Spangled Overture on “The Star-SpangledBanner” from “American Ballads” (1976)
GS4'1121/2210/perc/strSwanee River in the Style of Bach (1978)
Gould adopts the Stephen Foster classic “Old Folks at Home” (aka “SwaneeRiver”) to the styles of a handful of the world’s greatest composers.
GS4'1121/2200/perc/pf/strSwanee River in the Style of Beethoven (1978)
GS4'1131/2210/perc/pf/strSwanee River in the Style of Brahms (1978)
GS4'1130/2210/perc/pf/strSwanee River in the Style of Debussy (1978)
GS4'cl.asx.bn/2hn.2tpt.tbn/perc/hp.pf/dbSwanee River in the Style of Ellington (1978)
GS4'111.3asx.0/2210/perc/gtr.pf/strSwanee River in the Style of Gershwin (1978)
GS4'2121/2331/perc/pf/strSwanee River in the Style of Liszt (1978)
GS4'1121/2200/strSwanee River in the Style of Mozart (1978)
GS4'
2121/2331/perc/pf/str
Swanee River in the Style of Rimsky-Korsakov(1978)
GS4'
2221/2211/perc/pf/str
Swanee River in the Style of Strauss (Johann)(1978)
GS4'111.3asx.1/2321/perc/pf/strSwanee River in the Style of Tchaikovsky (1978)
GS4'113+bcl.asx.1/2321/perc/pf/strSwanee River in the Style of Wagner (1978)
EMI9'
2222/4330/perc/hp/str
Symphonette No. 2 (Second AmericanSymphonette) (1938)
EMI
222.2asx+tsx+barsx.2/2330/perc/hp.pf.gtr/str
Symphonette No. 3 (Third AmericanSymphonette)
- 17 -
SYMPHONIC POPS
EMI18'
324.2asx+tsx+barsx.2/4331/timp.4perc/hp/str
Symphonette No. 4 (Latin AmericanSymphonette) (1941)
G&C16'
Created by Danny Daniels (1952).
Solo: Tap dancer2(pic)222/4220/timp/str
Tap Dance Concerto (1952)
G&C24'Solo: Four Guitars2(pic)2(ca)22/2220/2perc/str
Troubadour Music (1969)
G&C3'2222/4331/timp.2perc/cel.hp/strWindjammer: Main Theme, The Ship (1958)
G&C3'21(ca)21/2000/perc/hp/strWindjammer: Night Watch (1958)
EMI3'3(pic)22.2asx+tsx+barsx.2/4321/timp.2[+]perc/pf.gtr.hp/strYankee Doodle
Here’s the favorite anthem done up in full orchestral regalia with saxophones,guitar, and harp adding to the mix. Youngsters will revel in Gould’s richtreatment of the theme.
GRADYJohnarr.
AMP2'
arr./ed. by John GradySolo: SopranoSATB; 3hn, 2tpt, 2tbn
Christmas with Renata Scotto: 2. Angels We HaveHeard on High
AMP2'
arr./ed. by John GradySolo: SopranoMixed Chorus; 3hn, 2tpt, 2tbn
Christmas with Renata Scotto: 3. Adeste Fidelis(trad.)
GRAINGER(1882-1961)Percy
GS3'
Available in USA and Canada only222.[asx.tsx].2/4231/timp.perc/hp/strCountry Gardens
GS4'
Available in USA and Canada only
Solo: Pipe Organ[213]+bcl.[2]+cbn/4[1]31/str
County Derry Air for Pipe Organ and SymphonyOrchestra
GS9'
Available in USA and Canada only1[+pic].12[(ssx)][2asx]2[(barsx)]/21[+]00/timp.perc/hmn[(org)].pf/strGreen Bushes (1921)
GS14'
Available in USA and Canada only2+pic.222/4330/timp/hp.pf/strIn a Nutshell, Suite (1916)
GS5'
Available in USA and Canada only
122.asx+tsx.1/2210/timp/strIrish Tune from County Derry (ca. 1913)
Alternate: [hn]/str
An old Irish tune collected by Miss J. Ross and given to Percy Grainger in1902, this memorable setting is virtually required listening for all youngaudiences.
GS5'
Available in USA and Canada only
arr. by Adolf SchmidSolo: Violin112.2asx.1/2210/timp/str
Irish Tune from County Derry: Londonderry Air
GS
Available in USA and Canada onlyChorus; 222+bcl.2+cbn/4331.euph/timp.perc/2hp.org/str
Marching Song of Democracy for Chorus andOrchestra (1917)
GS3'
Available in USA and Canada only
Solo: Violin2121/20+2cnt.10/perc/hmn.pf/str
Mock Morris (1914)
GS2'
Available in USA and Canada only2+pic.222/4331/timp.perc.xyl/2hp.pf/strShepherd’s Hey (1913)
GS10'
Available in USA and Canada only
Solo: 5 Soloists; PianoSATB Chorus; 3222/4231/timp.perc/hmn/str/musical glasses
Tribute to Foster (1931)
GRANADOS(1867-1916)Enrique
UME20'orch. by Rafael FerrerText: SpanishSolo: Soprano11+ca.1+bcl.1+cbn/timp.hp/str
Tonadillas (10) (1914)
UME14'arr. by J. Lamote de Grignon1+pic.1+ca.1+bcl.1/2021/timp.3perc/hp/str
Tres Danzas españolas (1892-1900)
GREER, IIIW. T.
SHA
orchestrated by Brant Adams11-instrument version adapted by J.R. KawarskyText: English; Pamela MartinSolo: 1 Female, 1 MaleChorus; 22(ca).2.asx+tsx.2/232+btbn.1/timp.2perc.dmkit/jazz pf/str
Groundless Ground — from “Sing for the Cure”(2000)
Alternate: 1111/0000/2perc/pf.hp/str(10011); 11-instrument version for sale
GRIEG(1843-1907)Edvard
GS3'arr. by Morton Gould2222/4331/timp/hp/str
Ich Liebe Dich
GS4'arr. by Morton Gould2222/4331/timp.perc/cel.hp/str
To Spring
GS5'arr. by Morton Gould2222/4331/timp.perc/cel.hp/str
Wedding Day at Troldhaugen
- 18 -
SYMPHONIC POPS
GRIFFES(1884-1920)Charles T.
GS9'Solo: Flute2hn/perc/hp/str
Poem (1918)
Alternate: 003+acl+bcl+[cbcl]0/20+3cor.00/4perc/hp/db
GS5'1111/1000/pf/strThree Tone Pictures (1915)
GS6'2222/2220/timp.perc/cel.2hp/strThe White Peacock (1919)
Inspired by William Sharp’s poem of the same title, Griffes wrote that this piece“pictures a wonderful garden filled with gorgeous color, where a white peacockmoves about slowly as the soul and breadth of all this beauty.” The music isintensely chromatic and marked by an impassioned Debussyan Impressionism.
GROFÉ(1892-1972)Ferde
EMI18'
Funeral Mountains1849 Emigrant TrainDesert Water HoleSand Storm
3(pic)3(ca)3(bcl)3(cbn)/4331/timp.3perc/cel/hp/strDeath Valley Suite (1957)
EMI36'
SunrisePainted DesertOn the TrailSunsetCloudburst
3(pic)3(ca)3(bcl)3/4331/timp.3perc/cel.hp/strGrand Canyon Suite (1931)
With dramatic depictions of sunrise, sunset, the painted desert, and the trail tothe canyon floor, Grofé spurs the imagination and brings a land of wonder to lifethrough music.
EMI25'
On the Set — SweepersThe Stand-inCarpenters and ElectriciansPreviewProduction NumberDirector — Star — Ensemble
3(2pic)3(ca)2+bcl.2asx(cl)+2tsx.2+cbn/4331/timp.2perc/2hp.cel/ strHollywood Suite (1938)
EMI19'
"New York!" movement has jazz trio -- cl, tpt, tbn -- cued into orchestra partsThe RiverHendrik HudsonRip Van WinkleAlbany Night BoatNew York!
3(pic)3(ca)3(bcl)3(cbn)/4331/timp.3perc/pf/cel/hp/strHudson River Suite (1955)
EMI13'
Father of WatersHuckleberry FinnOld Creole DaysMardi Gras
3(pic)3(ca)3(bcl)3(cbn)/4331/timp.2perc/cel/hp/strMississippi (A Tone Journey) (1926)
EMI20'
Thunder of the WatersDevil’s Hole MassacreHoneymoonersPower of the Niagara
3(pic)2+ca.2+bcl.2+cbn/4331/timp.3perc/pf(cel).hp/strNiagara Falls Suite (1961)
EMI15'3(pic)2(ca)2+bcl.2asx+tsx+barsx.2/4331/timp.perc/hp.2pf/strSymphony in Steel (1935)
EMI20'
Run of the NewsSob SisterComic StripsGoing to Press
3(2pic)2(ca)3(bcl).asx(bcl,barsx)+asx(cl,barsx)+tsx(fl[=pic],cl).2/4331/timp.2perc/bjo.2pf(cel)/str
Tabloid (1933)
EMI34'orch. by Albert Glasser
UnisphereInternationalFun at the FairPavilion of IndustryNational
2+pic.2+ca.2+bcl.2+cbn/4331/timp.3perc/hp.pf/ str
World’s Fair Suite (1964)
GRUBERF. X.
AMP2'arr./ed. by John GradySolo: SopranoMixed Chorus; bells/str
Christmas with Renata Scotto: 1. Silent Night
AMP4'arr. by Jeff TyzikSolo: solo horn21+ca.22/4301/timp.drumset.perc/hp.pf/str+jazz bass
Silent Night (1993)
GRUENBERG(1884-1964)Louis
GM18'
1. Foxtrot tempo (allegretto ben ritmico)2. Boston waltz tempo (valse lente e languido)3. Blues temp, slow drag (moderato ma non troppo, sempre molto ritmico)4. One-step tempo (allegro assai)
2+pic.2+ca.2+bcl.2+cbn/4331/timp.4perc/cel.hp/strJazz Suite, Op. 28 (1927)
A joyful and jazzy romp. Gruenberg shows off various orchestral sections andsoloists throughout this four movement suite by making classic use of call andresponse jazz structures. A delightful addition to pops programming and idealfor youth concerts as well.
GUARNIERI(1907-1993)Camargo (Mozart)
AMP3'3222/4231/timp.perc/strDansa Brasileira (1941)
GUION(1892-1981)David
GS7'arr. by A. Schmid2(pic)22.asx+tsx.2/4231/timp.perc/hp/str
Arkansas Traveller
GSSolo: Voice1111/1110/timp.pf/str
Cowboy’s Meditation for Voice and Orchestra
- 19 -
SYMPHONIC POPS
GS4'arr. by Adolf Schmidopt voice; 1121/2210/timp.vib[=bells]/hp.pf/str
Home on the Range, for Orchestra (1930)
Nearly every child will recognize this classic American folk song and be able toclearly follow the tune as it travels through the different instrumental families ofthe orchestra.
GSarr. by Crawford2+pic.2(ca).22/4231/timp.perc/hp/str
De Laud’s Baptizin’
GSSolo: Voice212.asx,tsx.1/0000/str
Mam’selle Marie
GS9'1121/1110/strMinuet
GSarr. by Agnolucci112.4asx.1/2320/perc/gtr[=bjo]/str
My Cowboy Love Song
GS7'1121/2110/perc/hp.pf/strPastorale (Three Little Brown Bulls)
GSarr. by Adolf Schmid112.asx+tsx.1/2210/timp.perc/hmn.hp/str
Pickaninny Dance
GS14'2(pic)222/2230/timp.perc/hp.pf/strPrairie Suite
GSSolo: Cornet114+Ebcl+bcl.ssx+asx+tsx+barsx.1/4331+bar/timp.3perc
Sail Away for the Rio Grande
GS3'112.asx+tsx.1/2210/timp.perc/hmn.hp/strSheep and Goat
GS4'arr. by M. Baron1(pic)121/2210/timp.perc/hmn/str
Turkey in the Straw (1922)
This familiar little piece of classic Americana comes alive in composer DavidGuion’s spirited arrangement. The catchy tune is one children will learn quicklyand probably never forget!
HAGEMAN(1882-1966)Richard
GS2221/2000/timp.perc/hp/strAt the Well
HALVORSEN(1864-1935)Johan
WH5'Solo: Violin2(pic)222/2hn/timp.perc/str
Norwegian Air
WH11'2(pic)222/4210/timp.perc/hp/strNorwegian Fairy Pictures
WH9'2222/4230/timp.perc/strNorwegian Festival Overture, Op. 16
WH10'2(2pic)222/4231/timp.perc/strNorwegian Rhapsody No. 1 in A
WH11'2+pic.222/4231/timp.perc/strNorwegian Rhapsody No. 2 in G
WH3'Solo: Violinstr
Norwegian Song, Op. 31
HÄNDEL(1685-1759)Georg Friedrich
AMP2'
arr./ed. by John GradySolo: SopranoMixed Chorus; 3hn.2tpt.2tbn
Christmas with Renata Scotto: 4. Joy to the World
CH19'arr. by Elgar HowarthBrass: 33Ctpt(Bbptpt[=Aptpt])+Bbfgl(Bbcnt).31+Ceuph[=Bbeuph]/timp
Music for the Royal Fireworks
CH9'arr. by Elgar Howarth4hn.Bbptpt+Ebtpt+2Ctpt(Bbflg).Ebcnt(Bbcnt)+Bbcnt.3tbn.tba.euph/timp
Water Music
HARBISON(b. 1938)John
AMP2'4hn.4tpt.3tbn.tba/timp.percFanfare for Foley’s (1986)
AMP7'
reduced orchestration by John Moody3(pic)3(ca)3(bcl,ssx)2+cbn/432+btbn.1/timp.perc.trap set/pf/str
Remembering Gatsby (Foxtrot for Orchestra)(1985, 1990)
Alternate: 2(pic)2(ca)2(ssx)2/2221/timp.perc/pf/strAn entertaining concert opener that channels the beloved Fitzgeraldnovel—effectively pitting Gatsby’s inner pathos against the carefree “flapper”atmosphere that permeates his world. A vivid example of the power of music toamplify character and narrative.
HARRIS(1898-1979)Roy
AMP18'4343/6442/timp.4perc/strAmerican Creed
AMP4'334(ebcl:bcl)3/4331/timp.perc/strConcert Overture — March in Time of War
AMP14'Solo: Piano215(sx)1/1331/timp.3perc/str
Concerto in One Movement (Jamboree) (1944)
AMP10'2+pic.2+ca.2+bcl.3/4[+2]331/timp.3perc/strEpilogue to Profiles in Courage: JFK (1964)
Commissioned by BMI for the International Festival of Los Angeles County in1964 and conducted at its premiere by Franz Waxman, Harris's Epilogue is abrief tone poem in honor of the life and legacy of the 35th President of the UnitedStates. Pastoral, open intervals in strings contrasted with the punctuatedmarch-like contributions from brass and percussion evoke a classic "American"sound. The piece traces an inexorable path to its climax before gentlyretreating and fading into a distant, seemingly endless landscape.
AMP38'3343/4331/timp.perc/pf/strFolksong Symphony: Two Interludes (1940)
AMP3'Mixed Chorus; 1221/2210/timp.perc/pf.hp/strFreedom’s Land
- 20 -
SYMPHONIC POPS
AMP10'Solo: Trumpet2+pic.2+ca.2+bcl.3/4331+bar/timp.perc/str
Horn of Plenty (1964)
AMP8'
4333/4331.euph/timp.perc/str
When Johnny Comes Marching Home, Overture(1935)
The familiar Civil War tune is here transformed and expanded in an endlesslyinventive symphonic essay that tosses the famous melody around the orchestrawith joyful aplomb. Harris's Overture was first performed by Eugene Ormandyconducting the Minneapolis Symphony in 1935. From the giddy, strangelyforeboding highs of its opening to the more melancholy interpretations by hornsand double reeds, Harris incorporates the familiar melody into music thatexplores a variety of moods and orchestral textures.
HAYMANRichard
EMI6'33[+ca]3[+bcl]3[+cbn]/4431/perc(xyl)/hp[+].pf.hca[+]/str“Pops” Hoe-Down
HEATH(b. 1956)Dave
CH30'
Solo: Violin2(pic+2afl).2.2(bcl).2/4.3(flugel).3.1/timp.2perc/str/opt elec gtr
Alone at the Frontier: Concerto for ImprovisedInstrument and Orchestra (1993)
CH15'strThe Frontier (1992)
CH6'Solo: Saxophone2(2pic)22(2bcl)2/4000/str
Out of the Cool (1989)
HEIDRICH(b. 1935)Peter
SIK7'3222/4230/timp.perc/gtr.hp/strVariations on “Happy Birthday” (1994)
HELY-HUTCHINSON(1901-1947)Victor
NOV24'3(pic)2(ca)3(bcl)3(cbn)/4331/timp.perc/hp/strCarol Symphony
Alternate: 2(pic)1(ca)21/2200/timp.perc/pf/str
HERBERT(1859-1924)Victor
GS3'
arr. by CohenText: EnglishSolo: Voice1+pic.222/4220/perc.hp/str
Art Is Calling for Me (I Want to Be a PrimaDonna) from “The Enchantress”
GS14'3222/4231/timp.perc/hp/strIrish Rhapsody (1892)
GS3(2pic)2+ca.2+bcl.2+cbn/4331/timp.perc/hp/strNatoma: Grand Fantasia (1911)
GS4'2+pic.2+ca.2+bcl.2+cbn/4331/timp.perc/hp/strNatoma: Prelude to Act III
HERRMANN(1911-1975)Bernard
NOV8'3232/4000/timp.2hp/strA Portrait of Hitch (1968)
“Everyone must be aware that Alfred Hitchcock appears in all his films, if onlymomentarily, and his caricature of himself is well known. With this in mind, Iwas inspired to compose a musical portrait of Hitchcock. The music I wrote for‘The Trouble with Harry’ furnished the ideal motifs and tunes for this piece. Thefilm is in many ways the most personal and the most humorous of Hitchcock’sentire output. It is gay, funny, macabre, tender and with an abundance of hissardonic wit. I hope that my interpretation of these moods will in turn betransformed into a portrait of ‘Hitch’.”— Bernard Hermann
HEUBERGER(1850-1914)Richard
SIK15'arr. by Fritz Schlenkermann2222/4330/timp.perc/hp.cel/str
Melodies of Richard Heuberger (1957)
HEWITT(1770-1827)James
MG14'arr. by Gunther SchullerSolo: opt. Narrator2(pic).222/2220/perc/hpd/str
The Battle of Trenton (1792)
This descriptive piece about the Revolutionary War serves well as an Americanalternative to Beethoven's "Wellington's Victory." A narrator (or the conductor)announces the titles of each section to help the audience better appreciatewhat's being depicted musically: "the fight renewed," "general confusion," and"the Hessians surrender," for example.
HØFFDING(b. 1899)Finn
WH11'2+pic.222/4231/timp/pf(cel)/strCelebrations of May-Day (1945)
HOFFMANJoel
SHA0000/4231Music from Chartres
HOLMBOE(1909-1996)Vagn
WH5'2+pic.32+bcl.0/4431/timp.perc/strFanfare (1977)
HOLST(1874-1934)Gustav
NOV6'revision by Imogen Holststr
Fantasia on Hampshire Folk Songs
NOV6'3333/4331/timp.perc.glock/strA Fugal Overture, Op. 40 No. 1
- 21 -
SYMPHONIC POPS
NOV11'
2+pic.2+ca.2+bcl.2+cbn/4431/timp.2perc/xyl.cel.hp/str
The Perfect Fool Ballet Music, Op. 39(1920-1922)
CUR55'6-part Women's Chorus (last movement only);4444/6432/2timp.3perc/cel.2hp.org/str (movements available separately)
The Planets, Op. 32 (1916)
Alternate: 3332/4331/2timp.3perc/cel.2hp/str (movements available separately)The majesty and sheer drama of this timeless creation never fails to enthrallaudiences of all ages. The powerful “Mars” (7'), “Jupiter” (8'), “Mercury” (4'), and“Uranus” (6') movements have become 20th-century classics. Perfect for aclassroom exercise in which children write about what they hear in the music.
HOROVITZ(b. 1926)Joseph
NOV14'Solo: Harpsichordperc/str
Jazz Harpsichord Concerto (1965)
NOV11'2121/2230/timp.perc/strSinfonietta for Light Orchestra (1971)
NOV14'Solo: Trumpet2(pic)222/4230/timp.perc.xylo/str
Trumpet Concerto (1963)
HOVEYSerge
SHA2+pic.222/422+btbn.1/timp.perc.cga/hp.pf/strAfrican Ballet
HOVHANESS(1911-2000)Alan
AMP17'
Andante con motoDouble Fugue (Moderato maestoso, allegro vivo)Andante espressivo
3333/5331/timp/cel.hp/str
Mysterious Mountain (Symphony No. 2), Op. 132(1955)
Hovhaness sets out to climb the highest peaks and arrives, in the elegiac lastmovement, at a musical apex that reveals all the splendor and exhilaration ofsuch an experience. A fantastic example of tone painting as well as the strongstrain of mysticism that runs through the music of this American composer. Inthree movements, each about 51/2 minutes in length.
AMP5'
Solo: Soprano2ob[=tpt=cl]/2hn[=tbn]/cel.hp[=pf]/str
Triptych: 1b. As on the Night, Op. 100, No. 1b(Christmas Ode) (1952)
HOWARDJames Newton
EMIarr. by Brad Dechter3(pic).2(ca).22/4331/timp.3perc/pf.hp/str
Prince of Tides
HUDEC(b. 1923)Jiri
SIK10'2121/2210/timp.perc/pf/strDrei Stilisierte Polkas im Volkston (1969)
SIK3'0010/0000/perc/cel.gtr/strRicochet-Polka. Lustige Polka (1969)
SIK3'Solo: Timpani0+pic.00.sx.0/0001/perc.glock.xyl/hpd.gtr/str
Ein Verliebter Timpanist. Polka-Groteske
IVES(1874-1954)Charles
AMP7'
ed. by Wayne D. Shirley2+pic[=2pic].2.2[=3].2+cbn/4.3+cnt.3.1/timp.perc.bells.xyl/pf/str [2 or 3 optionalfifes]
Fourth of July, 3rd Movement from theSymphony Holidays (1913)
A parade of Americana with thematic nods to such popular tunes as “Columbiathe Gem of the Ocean,” “Battle Hymn of the Republic,” “Battle Cry of Freedom,”and “Yankee Doodle.” Probably the most complex and fascinating of the fourmovements of the "Holidays" Symphony, Ives's Fourth of July takes metricaland motivic play to its outer limits. Commenting in his Memos, Ives wrote, "Idid what I wanted to, quite sure that the thing would never be played, althoughthe uneven measures that look so complicated in the score are mostly causedby missing a beat, which was often done in parades. In the parts taking offexplosions, I worked out combinations of tones and rhythms very carefully bykind of prescriptions, in the way a chemical compound which makes explosionswould be made." When programming for patriotic themes, also consider Ives'sWashington's Birthday (from the "Holidays" Symphony), Duration: 8';2fl/2hn/perc/Jew's hp/str; and Symphony No. 3, "The Camp Meeting," Duration:23'; 1111/2010/bells/str.
AMP5'realized by Gunther Schuller3+pic.3+ca.3.barsx.4/4431/timp.perc/pf/str
The Gen’l Slocum (1904)
AMP3'ed. by Gunther Schullercl/hn[=tbn=bar=tsax]cnt/perc/pf (5 players)
The See’r from Set No. 2 (1908)
AMP8'
ed. by James B. Sinclair1(pic).000/1000/bells/Jew's hp[=2cl]/str
Washington’s Birthday, 1st Movement from theSymphony Holidays (1909)
A winter holiday complete with the festivities of a village barndance and thecontrasting grey bleakness of a February night. Musical quotes from familiartunes once again trigger vivid images.
AMP5'
Choreographed by Lar Lubovitch in “American Gestures” (29 Jan 1992) forPacific Northwest Ballet in Kennedy Center, Washington, DC.
ed. by Gunther Schuller4(pic)4(ca)3[=3(barsx)].barsx.4/4431/timp.perc/pf/str
Yale-Princeto