Bring Him Home (from Les Miserables)

For male vocal solo and orchestra. Key: A Range: e-a1

Road Home : Trumpet and Concert Band - Set

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.

The Planetarium

The Planetarium was commissioned by CMV Advendo Franeker to celebrate their 100th Anniversary in 2022. The inspiration for the work is the world-famous Royal Eise Eisinga Planetarium in the orchestra’s home town of Franeker in the Netherlands. In this continuous seven-movement work, the composer pictures the sun as well as the planets Mercury, Venus, Earth, Mars, Jupiter and Saturn. Also featured throughout the work is a brief quotation from the chorale ‘Psalm 150’. A work that rises above the mundane!

Explorers on the Moon

Composed by Paul Raphael, Explorers on the Moon, the sequel to his 2017 work Destination Moon, was composed in 2019 to commemorate the 50th anniversary of the 1969 Moon Landings. It is inspired by the Belgian author Hergé and his most famous creation, Tintin. The music uses Hergé’s story from 1950 – almost twenty years prior to the first ever moon landing - following Tintin and his fellow adventurers as they become the first humans on the Moon. This fantastic piece is split into three parts, titled ‘Space’, ‘Nightmare Land’ and ‘The Journey Home’ and is one of the most spectacular contest pieces in recent years.Composed by Paul Raphael, Explorers on the Moon, the sequel to his 2017 work Destination Moon, was composed in 2019 to commemorate the 50th anniversary of the 1969 Moon Landings. It is inspired by the Belgian author Hergé and his most famous creation, Tintin. The music uses Hergé’s story from 1950 – almost twenty years prior to the first ever moon landing - following Tintin and his fellow adventurers as they become the first humans on the Moon. This fantastic piece is split into three parts, titled ‘Space’, ‘Nightmare Land’ and ‘The Journey Home’ and is one of the most spectacular contest pieces in recent years.

Paradise Cave : Symphonic Poem

The 31 kilometer (19 miles) long beautiful Thien Duong Cave or Paradise Cave lies in one of Vietnam’s national parks and was not discovered until 2005. Composer Jan de Haan visited this unearthly looking place. The grandnessand astounding splendour of this natural wonder made such an impression that it inspired him to write this composition. He experienced Paradise Cave as art, albeit formed by nature across millions of years. Back home, he renderedthe imposing experience in music. This resulted in a colourful and spectacular concert work for fanfare band. Paradise Cave is dedicated to the World Music Contest (WMC).

Missa Katharina

Missa Katharina is a mass - comprising of the standard movementsKyrie, Gloria, Credo, Sanctus, Benedictus and Agnus Dei. In additionto this the composer has added additional instrumental movements- Prelude, Offertory, Postludium and the massmovements Alleluiaand Amen. Missa Katharina was primarily written for choir, sopranosolo and concert band but can also be performed with a choir,accompanied by an organ or piano only. If there is no good solosoprano voice available, the sopranos canalso sing the sopranopart tutti, standing before the choir. A truly flexible work that willbe equally at home performed in the church or in the concert hall.Choral parts available separately.

Equestrian Symphonette : (2nd Symphonette for Symphonic Band), Op. 52

Equestrian Symphonette was written for the Orchestre d’Harmonie de Laval, France. Laval is the capital town of the department of Mayenne, and the surrounding countryside is home to many thoroughbred race horse stables. The composition incorporates the principal gaits of the horse (walk, trot, canter and gallop) as the musical cornerstones of this work and incorporates into the composition colourful depictions of the natural environment and surroundings as well as the characteristics of each stride. Interesting rhythmical patterns, together with rich melodies, are interwoven throughout this original piece which makes it an excellent choice for a contest or as anenterprising part of your concert.

A Little Stress Music : Satire in Four Parts

A Little Stress Music was commissioned by the Lenzing Werkskapelle from Austria and comprises of four sections. ‘Rush Hour’ depicts a Friday evening during which everyone wants to get home after work. Unfortunately, traffic jams and gridlock stand in the way! In ‘Promenade Waltz’ you can picture an evening walk along the beautiful lakeside, then a glass of wine loosens you up leading to the third movement: ‘Romance’, which starts with a promising conversation…The funny finale ‘Monday Morning’ brings you back to reality and the score provides the option of the band applauding itself for a job well done! A humorous and joyful new piece by Thomas Doss!

Monastery Tales

Within the old monastery walls that today are home to the school that commissioned this work, a school orchestra is rehearsing: young people who stay together and make music; a teacher, who does what he can to bring the students, the music and the orchestra together. The concerts begin and the first successes soon follow. Then comes a tragic death that brings the project to its knees. The mood is forlorn. No one expects to continue with it. But ‘now more than ever!’ rings out. The message of this musical story is that when a teacher has ideals and commitment to his students, anything is possible.

Niels Marthinsen: Snehvides Spejl / Snow White's Mirror (Score)

Snow White's Mirror is a full scale two act dramatic opera written for the Danish National Opera. The opera is a modern re-telling for grown-ups of the brothers Grimm's fairy tale: Snow White is a self-centered teenage narcissist and the villain of the opera; she ends up loosing everyone but herself, either because she kills them, or because they decide they can't stand being around her anymore. But apparently she's o.k. with that... The music is intended for a large audience: it's basically pop music done with all the craftmanship of a classical composer who's equally at home with large scale symphonic form, avantgarde technique, opera singing - and modern pop.

De Ruigewaard : Introductie en variaties over het Dies Irae

De Ruigewaard is a large polder (reclaimed land protected by dykes) in the Dutch province of Groningen. Shortly after the land was reclaimed around 1500, a settlement was established at the location of the current village of Grijpskerk. This was the source of inspiration for this concert work, together with a 13th-century Gregorian theme - the Dies Irae - which is used as a leitmotiv.After the introduction follow five variations, in randon order - however, each one of them carries us back to a striking moment in the history of Grijpskerk, home of the Excelsior Christian Music Association (CMV), who commissioned this work on the occasion of its participation in theWMC in Kerkrade (the Netherlands) in 2013.

IRig: iLoud: Micro Monitor Speakers - svart

Package includes 2 x iLoud Micro Monitor speakers Power supply unit Power supply cable 4-pin speakers connection cable (1.5m/59.1") TRS 1/8" stereo to 2 x RCA cable (1.5m/59.1")   High-end sound without the high-end price Linear frequency response. Zero coloration. Transparency. Headroom. To hear the truth, you need reference speakers that offer up. And if you work in a home or small studio you have even greater challenges, from the lack of space on your desk to the “less than ideal” position of your audio workstation, typically placed against a wall. Now, with iLoud Micro Monitor, you can hear the truth in your music anytime and everywhere. The smallest active studio reference monitoring system in the world, iLoud Micro Monitor provides you with ultra-accurate true linear frequency response with no coloration, and does so in every listening environment, especially in home and project studios. Sound too good to be true? Read on… iLoud Micro Monitor is two extremely portable, high-performance bi-amped speakers that delivers a combined 50W RMS of power for solid bass, plenty of headroom and a stunningly defined stereo image. Whether you’re recording, editing, mixing or mastering audio, editing video, sound designing or gaming, iLoud Micro Monitor ensures your production will translate well to the huge variety of consumer devices — headphones, home stereo systems, gaming consoles, car audio systems, TVs, and other listening systems.   High power, smallest footprint When the original iLoud speaker was released, it set a new standard for portable power and sonic accuracy in an ultra-small, portable form factor. iLoud Micro Monitor is a natural evolution of that design concept, and just like popular predecessor, offer a completely new and unmatched sonic experience. iLoud Micro Monitors are specifically designed for small makeshift working spaces — bedroom studios, small project studios, on the tour bus or in a hotel room, and they are perfect as an additional reference monitor system for super nearfield listening. Each tweeter and woofer is powered by ultra-efficient class D power amplifiers that push a total of 50W RMS with amazing low-end response down to 55Hz (-3dB) — the best bass response in its category. Each monitor sports a 3/4” silk dome tweeter, a 3” high-rigidity custom composite material woofer and a large-flaring front-firing bass reflex port. Thanks to these features, it’s able to deliver smooth and extended high frequencies, an exceptionally open, focused midrange and a solid, controlled low end. Simply put, iLoud Micro Monitor's sound is so good that it’s nearly inconceivable for a speaker system of this size and at this price point. iLoud Micro Monitor sounds amazing and real. But why? Well, a part of that is due to its internal 56-bit digital signal processor (DSP). This DSP is responsible for things like taking care of the frequency and phase response of the monitors as well as also controlling the dynamic range so that the drivers are always under control and operating efficiently. It also acts as a digital crossover that allows for invisibly smooth transitions between the drivers themselves.   Ideal for small studios Most home studios offer less than ideal space when working on audio and often resemble just a desk with a computer and speakers beside it placed against a wall. Most speakers are not designed for these small environments and sound boomy and undefined, but iLoud Micro Monitors have been designed to be the best possible reference monitor in these challenging “small room” situations. iLoud Micro Monitor’s small footprint saves space on your desktop and ensures closer placement to your ears thus minimizing room reflections. Plus, its internal DSP offers various EQ settings for optimizing bass and treble response as well as position compensation — this lets you switch between a “free field” and “desktop” setup effortlessly. You can also position iLoud Micro Monitor at two angles of inclination thanks to the integrated isolation base that guarantees further mechanical de-coupling and purer sound. With these features you can optimize your listening experience to suit the characteristics of the room you’re working in, therefore always ensuring that you’re working in the audio the sweet spot.   Free-field positioning iLoud Micro Monitors also feature an integrated mic stand thread (UNC 3/8”-16) so you can easily place them on any regular pair of mic stands giving you the best possible monitoring conditions in the smallest places without adding expensive accessories.   Hi-end features without the high-end price When it comes to small monitors, you’re traditionally limited to two choices — cheap, “budget” monitors that can be better described as a couple of “wooden” boxes with “some kind of” speakers usually costing in the $100-$200 (per pair) range, or high ...

iLoud: Micro Monitor Speakers - white

Package includes 2 x iLoud Micro Monitor speakers Power supply unit Power supply cable 4-pin speakers connection cable (1.5m/59.1") TRS 1/8" stereo to 2 x RCA cable (1.5m/59.1")   High-end sound without the high-end price Linear frequency response. Zero coloration. Transparency. Headroom. To hear the truth, you need reference speakers that offer up. And if you work in a home or small studio you have even greater challenges, from the lack of space on your desk to the “less than ideal” position of your audio workstation, typically placed against a wall. Now, with iLoud Micro Monitor, you can hear the truth in your music anytime and everywhere. The smallest active studio reference monitoring system in the world, iLoud Micro Monitor provides you with ultra-accurate true linear frequency response with no coloration, and does so in every listening environment, especially in home and project studios. Sound too good to be true? Read on… iLoud Micro Monitor is two extremely portable, high-performance bi-amped speakers that delivers a combined 50W RMS of power for solid bass, plenty of headroom and a stunningly defined stereo image. Whether you’re recording, editing, mixing or mastering audio, editing video, sound designing or gaming, iLoud Micro Monitor ensures your production will translate well to the huge variety of consumer devices — headphones, home stereo systems, gaming consoles, car audio systems, TVs, and other listening systems.   High power, smallest footprint When the original iLoud speaker was released, it set a new standard for portable power and sonic accuracy in an ultra-small, portable form factor. iLoud Micro Monitor is a natural evolution of that design concept, and just like popular predecessor, offer a completely new and unmatched sonic experience. iLoud Micro Monitors are specifically designed for small makeshift working spaces — bedroom studios, small project studios, on the tour bus or in a hotel room, and they are perfect as an additional reference monitor system for super nearfield listening. Each tweeter and woofer is powered by ultra-efficient class D power amplifiers that push a total of 50W RMS with amazing low-end response down to 55Hz (-3dB) — the best bass response in its category. Each monitor sports a 3/4” silk dome tweeter, a 3” high-rigidity custom composite material woofer and a large-flaring front-firing bass reflex port. Thanks to these features, it’s able to deliver smooth and extended high frequencies, an exceptionally open, focused midrange and a solid, controlled low end. Simply put, iLoud Micro Monitor's sound is so good that it’s nearly inconceivable for a speaker system of this size and at this price point. iLoud Micro Monitor sounds amazing and real. But why? Well, a part of that is due to its internal 56-bit digital signal processor (DSP). This DSP is responsible for things like taking care of the frequency and phase response of the monitors as well as also controlling the dynamic range so that the drivers are always under control and operating efficiently. It also acts as a digital crossover that allows for invisibly smooth transitions between the drivers themselves.   Ideal for small studios Most home studios offer less than ideal space when working on audio and often resemble just a desk with a computer and speakers beside it placed against a wall. Most speakers are not designed for these small environments and sound boomy and undefined, but iLoud Micro Monitors have been designed to be the best possible reference monitor in these challenging “small room” situations. iLoud Micro Monitor’s small footprint saves space on your desktop and ensures closer placement to your ears thus minimizing room reflections. Plus, its internal DSP offers various EQ settings for optimizing bass and treble response as well as position compensation — this lets you switch between a “free field” and “desktop” setup effortlessly. You can also position iLoud Micro Monitor at two angles of inclination thanks to the integrated isolation base that guarantees further mechanical de-coupling and purer sound. With these features you can optimize your listening experience to suit the characteristics of the room you’re working in, therefore always ensuring that you’re working in the audio the sweet spot.   Free-field positioning iLoud Micro Monitors also feature an integrated mic stand thread (UNC 3/8”-16) so you can easily place them on any regular pair of mic stands giving you the best possible monitoring conditions in the smallest places without adding expensive accessories.   Hi-end features without the high-end price When it comes to small monitors, you’re traditionally limited to two choices — cheap, “budget” monitors that can be better described as a couple of “wooden” boxes with “some kind of” speakers usually costing in the $100-$200 (per pair) range, or high ...

Panoptikum : Scenes from Lake Constance

Armin Schaer commissioned this work in his search for a new piece for the tuba. More specifically, he wanted a work that showed off the versatility of this splendid instrument, written in a musical style that is both fresh and modern, while not banishing the orchestra to a simple supporting role. Taking all these specifications into account, Thomas Doss created a work that allows stylistic leaps and is fun, exciting, romantic, and virtuosic, but does not lose sight of the thread that connects the opening measures to the very last.Armin Schaer describes his Panoptikum as follows:Panoptikum is a show of appreciation for my beautiful home and community at LakeConstance, an eventful life, the people that have enriched this life, and a fascinating instrument: the tuba. This work musically embodies the many different moods found around theBodensee - cheerfulness and melancholy, departures and longing, calm and agitation. The roles of the soloist and the orchestra were consciously crafted in a way that does not follow the usual conventions of the genre. The work should spark emotions, address broad segments of listeners, and persuade them of the tuba’s ability to be a solo instrument as well as the richness symphonic wind ensembles have to offer. I hope this work enriches the lives of all the soloists and orchestras that cross its path, as well as everyone in the audience who gets to partake!

Odysseia : based on Homer-s Odyssey

Washed up on the Phaeacian shore after a shipwreck, Odysseus is introduced to King Alcinous. As he sits in the palace, he tells the Phaeacians of his wanderings since leaving Troy. Odysseus and his men fi rst landed on the island of the Cicones wherethey sacked the city of Ismarus. From there, great storms swept them to the land of the hospitable Lotus Eaters. Then they sailed to the land of the Cyclopes. Odysseus and twelve of his men entered the cave of Polyphemus. After the single-eyed giantmade handfuls of his men into meals, Odysseus fi nally defeated him. He got him drunk and once he had fallen asleep, he and his men stabbed a glowing spike into the Cyclop’s single eye, completely blinding him. They escaped by clinging to the belliesof some sheep. Once aboard, Odysseus taunted the Cyclop by revealing him his true identity. Enraged, Polyphemus hurled rocks at the ship, trying to sink it. After leaving the Cyclopes’ island, they arrived at the home of Aeolus, ruler of the winds.Aeolus off ered Odysseus a bag trapping all the strong winds within except one - the one which would take him straight back to Ithaca. As the ship came within sight of Ithaca, the crewmen, curious about the bag, decided to open it. The winds escapedand stirred up a storm. Odysseus and his crew came to the land of the cannibalistic Laestrygonians, who sank all but one of the ships. The survivors went next to Aeaea, the island of the witch-goddess Circe. Odysseus sent out a scouting party butCirce turned them into pigs. With the help of an antidote the god Hermes had given him, Odysseus managed to overpower the goddess and forced her to change his men back to human form. When it was time for Odysseus to leave, Circe told him to sail tothe realm of the dead to speak with the spirit of the seer Tiresias. One day’s sailing took them to the land of the Cimmerians. There, he performed sacrifi ces to attract the souls of the dead. Tiresias told him what would happen to him next. He thengot to talk with his mother, Anticleia, and met the spirits of Agamemnon, Achilles, Patroclus, Antilochus, Ajax and others. He then saw the souls of the damned Tityos, Tantalus, and Sisyphus. Odysseus soon found himself mobbed by souls. He becamefrightened, ran back to his ship, and sailed away. While back at Aeaea, Circe told him about the dangers he would have to face on his way back home. She advised him to avoid hearing the song of the Sirens; but if he really felt he had to hear, thenhe should be tied to the mast of the ship, which he did. Odysseus then successfully steered his crew past Charybdis (a violent whirlpool) and Scylla (a multiple-headed monster), but Scylla managed to devour six of his men. Finally, Odysseus and hissurviving crew approached the island where the Sun god kept sacred cattle. Odysseus wanted to sail past, but the crewmen persuaded him to let them rest there. Odysseus passed Circe’s counsel on to his men. Once he had fallen asleep, his men impiouslykilled and ate some of the cattle. When the Sun god found out, he asked Zeus to punish them. Shortly after they set sail from the island, Zeus destroyed the ship and all the men died except for Odysseus. After ten days, Odysseus was washed up on theisland of the nymph Calypso.

Ostinati

It may be surprising to see a fanfare piece commissioned by a Japanese ensemble, since fanfare orchestras are typically found in Belgium, Holland and Luxembourg, and also France and Switzerland. Senzoku Gakuen is one of the largest and mostprestigious music universities in Japan, and home to a wide variety of ensembles and orchestras. Since 2006 they have had a fanfare orchestra, which was started by Sotaru Fukaishi, a euphonium teacher who felt further performance opportunity wasneeded for saxhorn instruments. Fukaishi had loved the sound of fanfare orchestras ever since visiting the World Music Contest in Kerkrade (Holland) several years earlier. Jan Van der Roost was involved with this new initiative from the beginning,and they were also joined by Manu Mellaerts for certain projects. The Dean of the music department, Professor Kazuo Tomioka, fully supports the ensemble and commissioned Ostinati. The première took place on June 11th at Maeda Hall inMizonokuchi (Kawasaki) where Senzoku Gakuen is based. The piece opens with an impressive timpani solo, followed by brass and saxophone. The rhythmical pulse remains constant and the music is fiery and assertive in character. A pentatonic melodygradually emerges and the music loses its vehemency and softens. The initial percussion ostinati subsequently recurs and the first section of the piece concludes in a similar mood to the opening. The second movement is sweet and melodic, opening witha long passage for the saxophone family in a minor key. The same theme then appears in the major and is developed upon; the music builds to a majestic orchestral forte, reminiscent of a pipe organ in its sonority. The theme returns in the originalminor key with a change in instrumentation leading the movement to a quiet and peaceful end on a soft E minor chord. The finale starts with percussion: a four-bar pattern is repeated several times over which the movement’s melodic themes areintroduced. These melodic elements are varied and used in different versions and the ostinato idea, which characterizes the entire piece, is highlighted. The theme travels through the orchestra, appearing on various instruments and in variousregisters. It captures the listener’s attention and displays the full range of sound and colour within the fanfare orchestra.

Poul Ruders: The Thirteenth Child - A Fairytale Opera In Two Acts (Score)

The Thirteenth Child - A Fairytale Opera In Two Acts by Poul Ruders (2014-15). Libretto by Becky Starobin and David Starobin. Scenario by Becky Starobin. Suggested by 'The Twelve Brothers' by the Brothers Grimm. SYNOPSIS Act 1, Scene 1 The neighboring Kingdoms of Frohagord and Hauven are in crisis. Following a warning by his embittered cousin Drokan, Regent of Hauven, King Hjarne of Frohagord is convinced that his twelve sons are plotting to overthrow him. The twelve princes, oblivious to their father's paranoia, play in the courtyard. The enraged King threatens the safety of his sons, telling his pregnant wife, Queen Gertrude, that she must provide him with a female heir, as "only she shall wear the crown".  Gertrude calms Hjarne and they sing of the Lilies of Frohagord, magical flowers that protect the kingdom.  When Benjamin, the youngest prince, innocently plucks a lily from the garden, Hjarne flies into a mad rage and strikes Gertrude.  Drokan, observing the encounter, admits his love for Gertrude and feels "the trembling of the earth". Act 1, Scene 2 Eighteen years have passed and King Hjarne has just died. At Hjarne's funeral Frederic, Drokan, and the mourners tell of the mysterious disappearance of the King's thirteen children and the shadows that haunt the kingdom. Queen Gertrude, now mortally ill, and her daughter, Princess Lyra, enter the Royal Chapel. Gertrude is repelled by the sight of Drokan, while Frederic is drawn to Lyra. Drokan plots to usurp the Kingdom of Frohagord and Frederic dreams of the day when Lyra will be his. Act 1, Scene 3 Queen Gertrude is on her deathbed, attended by Princess Lyra.  Lyra asks her mother why she was sent away.  Gertrude has Lyra open a secret drawer where Lyra finds twelve shirts embroidered with the red Lilies of Frohagord. Gertrude reveals that the shirts belong to her missing brothers, who were sent to the forest, taking the lily bulbs with them.  Before dying, Gertrude begs Lyra to find her brothers and heal the family's wounds.  Lyra vows to find the twelve Princes.   Act 2, Scene 1 Lyra wanders through an enchanted forest, coming upon a cottage with twelve lilies in bloom. She encounters Benjamin, whom she learns is the youngest of her brothers. In the distance the older brothers are heard as they return home from a hunt.  Benjamin, who fears that his brothers will seek revenge against Lyra, hides her. After his brothers assure him that they will do no harm, Benjamin reveals Lyra, much to the joy of all. Preparing for a celebratory feast, Lyra cuts the red lilies, unintentionally casting a spell that transforms her brothers into ravens. She is devastated by her tragic mistake. Act 2, Scene 2 Queen Gertrude appears as an apparition and tells Lyra that in order for her brothers to return to human form, she must remain mute for seven years. Act 2, Scene 3 Almost seven years have passed, and Frederic's search for Lyra is rewarded. A great wedding celebration is planned by the people of Hauven. Drokan jealously plots to destroy the couple and gain the throne of