orchestra

orch

Moraine

Composer: 
Lansing McLoskey
Scoring: 
2222/2220/1 perc/ piano

Ensemble Type

Instruments

First Prize, Kenneth Davenport National Competition for Orchestral Works;
Co-winner, Charles Ives Center Orchestral Composition Competition;

List Price: 
$19 study score reduced size; $69 conductor's full score; Performance materials on rental

IN PLAY

Composer: 
Erik Lundborg
Scoring: 
orch: 2/pic-2/eh-2/bcl-2; 4-2-3-1; hp; str

Ensemble Type

BLOWOUT

Composer: 
Erik Lundborg
Scoring: 
orch: 2/pic-2/eh-2/bcl-2; 4-3-3-1; perc; str

Ensemble Type

PIANO CONCERTO

Composer: 
Erik Lundborg
Scoring: 
pf, orch: 2-2-2-2; 4-2-3-1; timp, perc, mrmba/vib; hp, str

Ensemble Type

FANFARE

Composer: 
Raymond Luedeke
Scoring: 
org & orch:pic-2-2-2-ehn-Ebcl- 2 bcl-2-cbsn,6-12-3-1, timp,perc(3),pf,hp,str,

Ensemble Type

WEEKEND PRELUDE

Composer: 
Normand Lockwood
Scoring: 
orch: 3/pic-2-eh-2-bcl-2-cbsn; 4-3-3-1; timp; perc; hp; str

Ensemble Type

Evocation

Scoring: 
orch: 2/pic-2-2-2; 4-2-0-0; timp; perc; str(divisi)

Ensemble Type

CONCERTO FOR FLUTE, CLARINET, BASSOON & STRINGS (aka Concerto for Winds and Strings)

Composer: 
John Lessard
Scoring: 
fl,cl,bsn, 4 solo str parts(vln1,vln2,vla,vcl) & str:2-1-1-1

AKA Concerto for flute, clarinet, bassoon, string quartet, and string orchestra. Neoclassic work for solo winds and strings. Commissioned by Little Orchestra Society. 3 Mvts: I. Allegretto noderato II. Andante con moto III. Presto

SNEGGLISH DANCES

Composer: 
Lawrence Dillon
Scoring: 
orch: pic/3-eh/3-Ebcl/3-cbsn/3; 4-3-3-1; 3perc, pf; str

Ensemble Type

REVENANT - Concerto for Horn and Orchestra (2004)

Composer: 
Lawrence Dillon
Scoring: 
solo hn, orch: pic/2-1-2-1-cbbsn; 2-0-0-0; perc; str

Instruments

TROIS OEUVRES DE RAMEAU for Orchestra

Composer: 
Matthew Davidson
Scoring: 
2222; 2200; harp; perc (1 player); strings

Ensemble Type

Orchestrations of three harpsichord works by J P Rameau

SYMPHONY NO. 2

Composer: 
Hubert Howe

Ensemble Type

COLLOQUY

Composer: 
Vladimir Ussachevsky
Scoring: 
Orchestra, speakers from the orchestra, tape playback
The composer's own voice is memorialized on the playback tape, which features a speaker (electronically processed voice) having a "conversation" with the orchestra about electronic music and the various sounds that can be synthesized (a la mid-1970s), as a friendly jousting back and forth between the tape and the instrumentalists in the orchestra. Requires a tape operator to stop and start a CD or computer audio files at precise moments in the score.  

SYNTHECISMS NO. 4

Composer: 
Brian Bevelander
Scoring: 
2/pic-1-2-1; 3-2-2-1; piano (4-hand); perc; timp; str; tape
Instrumentation freestyle: 
Piano 4-hands, orchestra, and tape

Premiered by the Aarhus Symphony and the British pianists Philip Mead and Stephen Gutman. Much of the source material for the tape part was recorded on a Bosendorfer Imperial Grand, and subsequently digitally edited and collaged into the pre-recorded material. The sequence of pitches, E-flat, B-flat, A, E, appears in the tape part at the beginning, and serves as the basis of organization for the entire work. The tape part was realized during a residency at the Danish Institute of Elecroacoustic Music (DEIM) in May 1993. The solo piano parts were written in a concerto-like virtuosic style. The recording (Capstone, SCI), was made in cooperation with the Danish Broadcasting Corporation.

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