Escapades (from CATCH ME IF YOU CAN)

Steven Spielberg's 2002 film Catch Me If You Can was set in the 1960s, and John Williams created a marvelous film score evoking the style of the progressive jazz movement popular during that time. Soloists on altosaxophone, vibraphone and string bass are featured in this suite of three contrasting movements. “Closing In” relates to the often humorous sleuthing ever present in the story. This is followed by“Reflections” portraying the fragile family relationships, and finally “Joy Ride” representing the main character's wild flights of fantasy. Dur: 13:00

Essential Elements Broadway Favorites - Value Pak : 37 Part Books with Conductor Score and CD

A collection of Broadway songs arranged to be played by either full band or by individual soloists with optional accompaniment CD or tape. Each arrangement is correlated with a specific page in the Essential Elements Band Method Books. Includes: Beauty and the Beast, Cabaret, Circle of Life, Don't Cry for Me Argentina, Edelweiss, Get Me to the Church on Time, Go Go Go Joseph, I Dreamed a Dream, Memory, The Phantom of the Opera and Seventy Six Trombones.

Please Please Me Sixties British Pop, Inside Out

God Bless America

This spectacular setting for soloist, choir and orchestra of the Irving Berlin patriotic classic features an optional narration of the beautiful and inspiring Give me your tired, your poor... text by Emma Lazarus. This powerfulwork is ideal for festival occasions of all types.

God Bless America : with optional narrator

This spectacular setting for choir and orchestra of the Irving Berlin patriotic classic features an optional narration of the beautiful and inspiring Give me your tired, your poor... text by Emma Lazarus. This powerful work is ideal for festival occasions of all types.

The Adventures of Mutt : (Swashbuckler)

In the latest installment of Indiana Jones blockbuster movies, John Williams has created yet another memorable soundtrack. In speaking about the experience of composing for these exciting films, he says “it hasconsistently offered me a wild and joyous ride.” This accurately describes The Adventures of Mutt with its relentless energy and spirit of fun.

You Raise Me Up : for Male Solo Vocal and Orchestra, with opt. Chorus

Full set includes score, parts, vocal solo and 40 SATB octavos. Dur: 4:30

The Wild Rumpus

Score and Parts. Grade 5 Winner of the prestigious 1999 Schirmer competition for young composers, this significant work with expanded instrumentation brings Stephen Beck to the forefront of contemporary literture for bands. The Wild Rumpus was inspired by the childrens book, Where The Wild Things Are, by Maurice Sendak. Near the middle of the story, the hero, a young boy named Max, discovers the world of the Wild Things, and is crowned king of the Wild Things. At that point, Max shouts Let the wild rumpus start! Composed in two movements - I. Howling, Swinging and II. Marching.

Far From Here : Song Cycle for Chorus and Orchestra

Written for the Greenwich High School choir and orchestra, Emmy award-winning and Grammy-nominated musician, and GHS parent, Rob Mathes, wrote a song cycle entitled Far From Here as a tribute to the GHS students' and their upcoming graduation. The three movements include: Yesterday/My Home, Where Shall I Go?, You'll Find Me Singing, to create an impressive showcase for high school musicians.

Essential Elements Broadway Favorites for Strings : includes 24 student books plus Conductor w/ CD

A collection of popular Broadway songs which can be played by the entire string group or by individual soloists with optional CD accompaniment. Each song is correlated with a specific level in the Essential Elements Method Books. Includes: Beauty and the Beast - Cabaret - Circle of Life - Edelweiss - Get Me To the Church on Time - Go Go Go Joseph - I Dreamed a Dream - Memory - The Phantom of the Opera - Seventy Six Trombones - Sun and Moon.

La Ville Blanche et Bleue

This piece is a kind of flashback on my experiences of my time as an amateur musician in my hometown of Gjøvik (often called “The White City”). It was at a time when the expressionas had to be created by myself and the music performed by the band (“The Liverflower”) was a kind of a voyage of discovery for a young boy. A lot of the music I played at that time has shaped me as composer and musician. I remember the beautiful melodies and the rhythmic passages with a nostalgic smile. Maybe this music can make an impression on new generations of band musicians.

Mosaici Bizantini

Three Byzantine mosaics, to be seen in churches in Venice and Palermo inspired Franco Cesarini to compose this work. He took the musical motives from Gregorian chants. The mosaics concerned deptic the following extracts from "The Gospel According to St. Matthew". I. The NativityThe Magi from the East: "Where is the newborn King of the Jews? For we have seen his star in far-off eastern lands and we have come to worship Him." II. The Temple of JerusalemAnd look! The curtain secluding the Holiest Place in the Temple was split apart from top to bottom: and the earth shook and rocks broke, and tombs opened and many godly men and women who had died, come back to life again. III. Angelof the ResurrectionAn angel of the Lord come down from heaven drew near, rolled away the stone and sat upon it. His countenance was lightning and his attire white as snow.

Mitt hjerte alltid vanker - Fantasi : Fantasy on My Heart remains in Wonder

This arrangement was commissioned by B3 (The Bergen Woodwind Ensemble). B3 is a large woodwind ensemble located in Bergen with a mix of professional and amateur players. My Heart Remains in Wonder is a well-known Christmas hymn in Scandinavia. I wanted my version to be different to the traditional hymn tune style in which it is normally performed. One day I was outside walking and this idea came to me: an ostinato-like, mechanical skeleton of arpeggio semiquavers on which I could 'hang' the melody. However, I also wanted to do the melody line a bit different. The inspiration for this comes from folk music and the way fiddlers hardly ever lift their bow off the strings when they play. Because of this, it is important that the melody is played in a very sostenuto style in this arrangement. The harmonies lie somewhere between jazz and folk music with a little nod towards Grieg (himself heavily influenced by folk music) in the slow middle section.

Essential Elements Disney Favorites : Value Pack (37 Books + Conductor Edition)

Value Pack includes one conductor's edition with full band recordings and the following student editions: 6 flute, 1 oboe, 1 bassoon, 6 clarinet, 1 bass clar., 4 alto sax, 1 tenor sax, 1 bari sax, 6 trumpet, 2 F horn, 2 trombone, 1 bari BC, a bari TC, 1 tuba, 2 perc, 1 keybd perc. There's no better way to motivate your band than with some popular Disney music! This new collection from Essential Elements works with all ensembles, regardless of what method you're using, and features great songs your band members are sure to know. The arrangements work for the whole ensemble to play together, but also as solo works for each instrumentalist! The songs are carefully correlated to correspond with instruction in the Essential Elements method books 1 and 2 so you'll know exactly when your group is ready to take on another song. A handy chart is provided in the table of contents so you can see the progress requirements. Songs include: Beauty and the Beast · Colors of the Wind · He's a Pirate · Let It Go · Remember Me (Ernesto de la Cruz) · Under the Sea · We Don't Talk About Bruno · We're All in This Together · and more! Each student book includes parts for the full band arrangement as well as separate pages for solo use.

Lucia di Lammermoor : Edizione critica a cura di Gabriele Dotto e Roger Parker (Vol. 1: XLIV, Vol. 2: VIII)

Gaetano Donizettis Lucia di Lammermoor, written to a libretto by Salvadore Cammarano, was first performed at the Teatro di San Carlo in Naples on 26 September 1835. It has remained in the repertory without interruption as one of Donizettis most popular operas throughout its nearly 200-year history. The edition proposes as the principal text a version of the opera that, for the most part, is as near as possible to that given at the premiere in Naples. However, one of the important new features of the edition is that it includes several fully orchestrated passages that, for unknown reasons, were cancelled very close to the time of the first performance. It also features in the third-act mad scene an obbligato part for the glass harmonica, an instrument that Donizetti had chosen for this extraordinary scene, and drafted in his autograph score, but was then constrained to substitute with a solo flute when the glass harmonica player got into contractual difficulties with the theatre. While the glass harmonica part was considered a mere musicological curiosity some decades ago, the critical edition now convincingly argues for its legitimate restoration as part of the composers preferred concept. The Sources section of the edition includes a detailed examination of all contemporary sources for the opera. The composers autograph score is of course the most important of these, but also of great value is the first printed vocal score of the opera, which in some numbers has a piano reduction prepared by the composer and contains many vocal variants (all reported in the score) that will be a great value to performers. There are also a number of early manuscript copies of the full score, several of which are valuable in outlining the first interpretations of Donizettis music. The critical edition restores the original keys, thus maintaining Donizettis overall harmonic design, but discusses transpositions that later entered the performing and editorial tradition of the opera. Three transposed pieces which may have had Donizettis approval will be made available available in the material for hire to theatres.

La fille du régiment : Edizione critica a cura di Claudio Toscani (testi in italiano e inglese)

La fille du régiment, always one of Donizetti’s most popular stage works, was first performed at the Thé tre de l’Opéra-Comique in Paris on 11 February 1840. It was composed by Donizetti, to a libretto by Saint-Georges and Bayard, in 1839, for the French debut of soprano Juliette Bourgeois. Later on, Donizetti prepared an Italian version as well, using a libretto adaptation by Calisto Bassi, and making several alterations to the French version of the score (the premiere of the new version, entitled La figlia del reggimento, took place at La Scala Theatre in Milano on 3 October 1840). The opera enjoyed tremendous success at the Opéra-Comique alone, more than one thousandperformances were given between 1840 and 1917 , and was widely staged in the major European and American opera houses. Owing to the lack of available autograph music sources only a few score sketches and fragments survive, kept at the Bibliothèque Nationale de France , the principal source for this edition is the printed score prepared by the Parisian publisher Georges Schonenberger during the spring of 1840. Together with the full score, Schonenberger also engraved and printed the orchestral parts. Previously, the publishing house had printed the piano vocal score of several selected numbers from La fille du régiment, as well as the complete score reduction of the work. The Schonenberger edition constitutes, however, a problematical source. The engravers had to work under great pressure - the score was assembled in less than a month -, and the final product turned out to be of mediocre quality, abounding in imperfections, errors, and inconsistencies affecting both the literary and the musical texts. This critical edition has therefore been realized, first of all, through a careful reconstruction process: the text handed down by tradition was compared with a number of sources (including the manuscript scores of the Italian version) that have enabled the editor to address the multiple problems posed by the principal source. The spoken dialogues, missing in the printed music sources, are derived from the libretto used for the première. The critical edition of La fille du régiment reinstates Tonio’s romance «Pour me rapprocher de Marie» from Act Two, included