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The Wall : Germanicus Maximus - The Limes

The walls of Babylon, the Great Wall of China, the limes of the Roman Empire and the Berlin Wall are just a few examples of the walls mankind has built over past centuries. Today, building walls remains an issue, often under the pretext of ‘protection’ against intruders. This idea inspired Otto M. Schwarz to write a piece about the Roman limes between Germania and Rhaetia. From around 150 to 260 AD the wall faced numerous attacks. This programmatic work describes the events as they happened a long time ago, and addresses hope that these events belong to the past forever. The Wall is a work full of action in all-instrumental groups. This is an impressive piece with strongmusical images, perfect for a contest or as an apotheosis in your concert.

Poul Ruders: The Solar Triology (Score)

The full score of Ruders' Solar Triology for large orchestra.

Symphony No. 9, Op. 160 : for Large Wind Band

Premiered on September 21, 2018 in Lawrence, Kansas by the University of Kansas Wind Ensemble (Dr. Paul Popiel, conducting), James Barnes' Ninth Symphony was composed between January and late June of that same year. This large work was commissioned by a consortium of twenty-one college bands, community bands, professional bands and individuals to help mark the 70th birthday of the composer (b. 1949). It is an expansive forty-minute work in four movements, of which the composer writes, This is my last symphony... this work represents a compendium of all that I have learned during the fifty years of composing and scoring for this wonderful new medium: the modern wind band. The first movement, subtitled Elegy, is based around G minor. It is the longest movement of the symphony. Tragic and despondent in character, it is cast in sonata-allegro form. The second movement is entitled Scherzo. Barnes claims that I have always wanted to write a waltz, and that is how this movement is cast, in a modified rondo form in D minor. In contrast to the mood of the first movement, the scherzo is a delightful posy of expansive melody, splashy color, humor and rhythm. The third movement, which is in a modified tertiary form, is entitled Night Music. In contrast to the scherzo, this movement begins with a mysterious incantation, first displayed by solo Alto flute. The music becomes even darker and more mysterious, while overall the movement effectively expresses an otherworldly mood, ending with a solo soprano offstage which suddenly emerges, eerily singing a modified version of the opening incantation. Cast in sonata-allegro form, the fourth movement is most definitely a rousing Finale, beginning with a brilliant fanfare and undergoing several mood transformations before emerging into the final coda, ending the symphony with an energetic splash of color.

Variations for Wind Band : Great Band Transcriptions QMB 576

Scored for large wind ensemble by Donald Hunsberger. Originally composed for Brass Band (1957).

Poul Ruders: Symphony No.1 (Score)

The full score of Ruders' first Symphony, subtitled Himmelhoch jauchzend - zum Tode betrübt. Written for large orchestra.

Schütz Catalogue of Works : Large Edition

Glory Denied : Additional Large Version Score

Olivier Messiaen: La Transfiguration De Notre-Seigneur Jésus-Christ Vol..2

8.Récit evangélique; 9.Perfecte Conscius; 10.Adoptionem Filiorum; 11.Récit evangélique; 12.Terribilis est locus iste; 13.Tota Trinitas apparuit; 14.Choral de la Lumière de Gloire (for mixed chorus, 7 instrumental soloists and large orchestra)

Three Norwegian Sketches

Three Norwegian Sketches was commissioned by Åndalsnes Musikkforening, Norway, who are conducted by John Hudson. The three contrasting movements - TROLLVEGGEN (The Troll Wall), RAUMA ELV (River Rauma) and RAUMABANEN (The Rauma Line) - describe life and scenery around the town of Åndalsnes on the beautiful west coast of Norway. This is a challenging, imaginative and versatile new work, ideal for a concert or a contest.

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.

Belkis, Regina di Saba I : Belkis, Queen of Sheba-Suite for Wind Orchestra

In 1931 Ottorino Respighi began composing the music for his most ambitious theatre work: Belkis, regina di Saba. The ballet describes the journey of Belkis, the Queen of Sheba, to Solomon, the King of Israel, with whom she was in love. She travels with a large caravan including elephants, camels, slaves and many valuable treasures, through the desert. Kimura has arranged this colourful Oriental suite for wind band.

Belkis, Regina di Saba II : Belkis, Queen of Sheba-Suite for Wind Orchestra

In 1931 Ottorino Respighi began composing the music for his most ambitious theatre work: Belkis, regina di Saba. The ballet describes the journey of Belkis, the Queen of Sheba, to Solomon, the King of Israel, with whom she was in love. She travels with a large caravan including elephants, camels, slaves and many valuable treasures, through the desert. Kimura has arranged this colourful Oriental suite for wind band.

Symphony No.3 In C Minor Op.78 - Organ

“In this work I gave everything I had to give. […] What I did here I will never do again”. Camille Saint-Saëns was justifiably proud of his Symphony No.3 in C minor Op.78,dedicated to the memory of Franz Liszt. Like Beethoven’s Ninth, this so-called “Organ Symphony” was commissioned by the Philharmonic Society in London, where it received its premiere on 19 May 1886. Inthis first scholarly-critical edition of the symphony, a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No.3marksthe launch of a large-scale project: the publication of Camille Saint-Saëns - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series. First scholarly-critical edition of this famous symphony based on Camille Saint-Saëns – Complete Edition of the Instrumental Works Now with separate parts for all winds Orchestral parts ina large format (25.5 cm x 32.5 cm)

Symphony No.3 In C Minor Op.78

“In this work I gave everything I had to give. […] What I did here I will never do again”. Camille Saint-Saëns was justifiably proud of his Symphony No.3 in C minor Op.78,dedicated to the memory of Franz Liszt. Like Beethoven’s Ninth, this so-called “Organ Symphony” was commissioned by the Philharmonic Society in London, where it received its premiere on 19 May 1886. Inthis first scholarly-critical edition of the symphony, a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No.3marksthe launch of a large-scale project: the publication of Camille Saint-Saëns - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series. First scholarly-critical edition of this famous symphony based on Camille Saint-Saëns – Complete Edition of the Instrumental Works Now with separate parts for all winds Orchestral parts ina large format (25.5 cm x 32.5 cm)

Messe de Requiem : Op. 48

The “Messe de Requiem” is probably the internationally best-known and most frequently performed work by Gabriel Fauré. The composer’s first version was limited to just five movements and small-scaleforces with low Strings, Harp and Organ. The work was then expanded several times culminating in the version for large orchestra of 1900. This orchestral version forms the basis of this edition.Despite its comparativelylong period of gestation, the Requiem forms a stylistic unity. Unlike other requiem settings, the composer foregoes any theatrical gestures in this work. A restrained dynamic range together with gracefulmelodicwriting for both soloists and Choir give the work a gentle and optimistic character.The Vocal score is based on the volume of the “ Complete Works of Gabriel Fauré ” (BA 9461) published in 2010. It isimportant to note that this vocal score is also compatible with the first small-scale version as well as the second chamber orchestra version.High-quality Urtext edition based on the “ Complete works of Gabriel Fauré”First systematic evaluation of all sourcesBased on the large orchestral version of 1900Informative Foreword (Ger/Eng)Vocal score suitable for all versions of theRequiem

Reger-Werkausgabe, Bd. I/5: Orgelstücke I

The fifth volume in the series of organ works includes, in chronological order, the organ pieces Max Reger composed in autumn 1892 in Weiden and Wiesbaden, and those composed between January 1900 and April 1902 in Weiden and Munich. The works presented in Vols. I/5-7 are, except for the works without opus numbers, collections of character pieces, not composed as cycles, but nevertheless arranged systematically. They mainly combine Reger’s compositions of medium difficulty, written both as a response to his large-scale works, but also with an eye to the market for printed music.

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.

Manhattan Pictures

In this colourful composition, Jan van der Roost recreates the energetic and multi-racial city life in Manhattan, using four contrasting movements. The opening movement is rather short and rhytmical. In the second “Picture”, a variety of musical entities accumulate into a coloured “sound curtain”, on top of which the brass section presents a broad theme. In contrast to the two previous movements, the third movement is exremely quiet, featuring the first flute, clarinet an oboe in broad melodies. Again, the orchestration plays an essential role. Following on a majestic “tutti” (almost “movie-like....) the serenity of the very beginning reappears. Finally, the nervousness anddynamic style of the two first movements come back in an exciting apotheosis with rich and sometimes surprising instrumentation which explores the multiple possibilities of the large symphonic wind band to the full.

Manhattan Pictures

In this colourful composition, Jan van der Roost recreates the energetic and multi-racial city life in Manhattan, using four contrasting movements. The opening movement is rather short and rhytmical. In the second “Picture”, a variety of musical entities accumulate into a coloured “sound curtain”, on top of which the brass section presents a broad theme. In contrast to the two previous movements, the third movement is exremely quiet, featuring the first flute, clarinet an oboe in broad melodies. Again, the orchestration plays an essential role. Following on a majestic “tutti” (almost “movie-like....) the serenity of the very beginning reappears. Finally, the nervousness anddynamic style of the two first movements come back in an exciting apotheosis with rich and sometimes surprising instrumentation which explores the multiple possibilities of the large symphonic wind band to the full.

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.

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 ...

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 ...

1834 : Machera Impressions

The twofold title of this concert work is directly connected with the band who commissioned it. The ‘Harmonie Municipale Grevenmacher’ from the town of the same name, by the river Moselle in the Grand Duchy of Luxembourg was founded in the year1834. The name Machera is derived from the word machara, which in turn originated from maceries (old wall). Later, Machera evolved into Machern, Grafenmachern, and finally Grevenmacher.In 2009, this music society the third oldest still in existence in the country celebrated its 175th anniversary. And after all these years the society still flourishes! The dynamic committee, led by Georges May, fully supports and inspires themusical leader of the band, Claude Weiland, as well as his 60-strong ensemble. This well-functioning team took the initiative to ask Jan Van der Roost to write an anniversary composition, inspired, on the one hand, by the rural character ofGrevenmacher and its surroundings (where the famous Moselle wine growing dominates the countryside), and on the other hand, by the dynamics, creativity and joie de vivre the band exudes. All of this resulted in a twofold work with alternating peaceand excitement, virtuous and melodic features, orchestral splendour and soberly orchestrated passages. The première, on 10 January 2010, was conducted by the composer himself at a successful gala concert which brought a fine year full of musicalfestivities to a close. The ‘Harmonie Municipale Grevenmacher’ faces the future with confidence, and will now prepare for its next milestone: the 200th anniversary!

Kleine Geistliche Konzerte II 1639 : Small Sacred Concertos II

The "Kleine geistliche Konzerte" (Small Sacred Concertos), published in two parts in 1636 and1639, are among the best-known and well-loved compositions of Heinrich Schütz. Both parts constitute a collection of vocal pieces in abroad range of styles written for only a few voices with basso continuo. Most of the texts are in German, but some are also in Latin. The first volume presents a broad spectrum of vocal scoring, musical forms and texts: there aresolo concertos in the Italian style, traditional four-part motets, well-known Psalm texts set to music, hymns as well as mystically contemplative meditative literature. The concertos' monodic qualities and high level of virtuosity- especially in the compositions with German text - made Schütz a household name shortly after the "Kleine geistliche Konzerte" were published in print. As the works required no large ensembles, they could be performed fordifferent occasions and in various locations: particularly during the Thirty Years' War they could be heard at court, in cities or in villages but also in schools or at home.Unlike the 1963 edition of the "Kleine geistlicheKonzerte" (BA 3664, BA 3665, BA 3666) as part of the New Schütz Edition, this new volume presents the works for the first time in their original form and order. A historic-critical evaluation of all relevant sources yields newinformation regarding the composer's intentions, the printing process and the works' reception. Furthermore, the edition includes a reconstruction of an earlier version that has not been published until now. This edition is gearedtowards musicologists, as well as professional musicians and amateurs with a keen interest in early music.

Cantica de Sancto Benedicto : Saint Benedict Cantata

Cantica de Sancto Benedicto is a three-movement work for mixed choir, soprano solo, concert band and organ ad libitum - on Latin lyrics that relate to the life of Saint Benedict. It was commissioned by the city of Norcia in Italy, whereBenedict was born. The holy Benedict (480-547) is considered the founder of monastic life within the Roman Catholic Church. His enormous influence is especially owing to his monastic rule, the Regula Benedicti.Jacob de Haan has named the movements ofCantica de Sancto Benedicto after the Holy Trinity: the Father (Gloria Patri), the Son (Gloria Filio) and the Holy Spirit (Gloria Spiritui Sancto). The lyrics of thehymn Gemma Caelestis, (which, like the othertexts, were originally used in Gregorian chant) are voiced by the choir. To this purpose, Jacob de Haan composed new, choral-like, homophone music. The sequence Laeta Quies is rendered by the soprano; the verses (divided over the threemovements) are alternated with those of Gemma Caelestis. The work closes with an impressive grand finale, in which texts are used from the proprium of the mass in honor of the saint’s day of the holy Benedict (11 July). Notes to the conductor:For this cantata, there are various possibilities for the performance. The first involves a performance in which the choir and soprano parts are only accompanied by organ. Such a performance has several advantages: since the band never soundstogether with the choir and the soprano, no balance problems occur, and even a performance with a large concert band and a small cantata choir is conceivable. A special layout is also possible - with which you can set up a three-dimensionalperformance in a church. For example, the choir can sing in the chancel, accompanied by the choir organ; the soprano can stand on the gallery, accompanied by the main organ; and the band can be seated in another part of the church. The choir couldalso sing from a gallery. With layouts like this, working with two conductors is advisable. Choral parts available separately.