The Evergreen Philharmonic Orchestra website has moved.Please visit one of the following for current information: Evergreen Philharmonic main websiteStudent/Parent Information website |
The Evergreen Philharmonic has been active since 1988 and has been an audition-only orchestra since
1991. It has performed in diverse places such as
the Washington State Ferries, the University of Washington, the University of British Columbia,
Disneyland, the University of Southern California,
Boston, Carnegie Hall,
Paris, and London and Peterborough (England).
The Evergreen Philharmonic is open by audition to any string, wind, or percussion player in the Issaquah School District
in grades 9 through 12.
It is easy to underestimate the expenses involved with a successful high-school orchestra. Besides
the obvious outlays for instrument repair and studio recording, the orchestra also incurs costs for venue rental, instrument
transport, music acquisition, and scholarships. In addition, incidental charges such as telephone and printing contribute
to overall expenditures.
It is necessary to raise money to offset these expenses. Charging admission to the concerts constitutes the
major source of fund-raising for the year. We have found this to be a particularly successful approach, because it avoids
consuming the musicians' time with activities such as candy sales and car washes.
Notes:
A ticket for the Winter Concerts is good for both evenings.
Admission to Swingin' in Vienna includes coffee, punch, and dessert.
All tickets, including season passes, can be purchased at the door on the night of a concert. However,
advance reservations are strongly recommended for Swingin' in Vienna, a semi-formal event featuring dancing to the live
music of the Evergreen Philharmonic and the Issaquah High Jazz Ensemble.
CD Recordings. The Evergreen Philharmonic produces a set of CDs at the end of each school year. These
CDs can be ordered through your orchestra director, or from the ticket sellers at most concerts during the year. Also, see the
CD Order form under Forms.
Please contact your orchestra director for more information, reservations, and ticket and CD purchases.
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Events in {braces} are optional
Mon 9 — Wind rehearsal (3:15-4:30) Fri 13 — Full rehearsal Sat 14 — Swingin' in Vienna, Issaquah HS Fri 27 — Full rehearsal { Sat 28 — Eastshore Solo/Ensemble Contest, TBD }
Fri 10 — Full rehearsal |
Wed 7 — Full rehearsal Thu 8 — Eastshore Orchestra I Festival, Mercer Island HS Fri 16 — Full rehearsal Mon 19 — Wind rehearsal (3:15-4:30) Fri 23 — Full rehearsal Fri 30 — Full rehearsal
Thu 5 — Full rehearsal with Masterworks chorus (3:15-5:15) Fri 6 — Spring deadline for receipt of auditions (3:30) Mon 16 — Full rehearsal with Masterworks chorus (3:15-5:15) Fri 20 — Full rehearsal, Instrumental Room { Fri 27 — State Ensemble Contest, CWU, Ellensburg (all day) } { Sat 28 — State Solo Contest, CWU, Ellensburg (all day) } Mon 30 — Full rehearsal (3:15-5:15)
Fri 4 — Masterworks recording session, Issaquah HS (3:00-9:00) Sat 5 — Masterworks Concert, Issaquah HS (7:30) Mon 7 — Wind rehearsal (3:15-4:30) Fri 11 — Full rehearsal Fri 18 — Full rehearsal Mon 21 — Wind rehearsal (3:15-4:30) Wed 23 — Full rehearsal Wed 30 — Full rehearsal
Sat 2 — Concerto Concert, Issaquah HS Fri 8 — Full rehearsal Sat 9 — Season Finale, Issaquah HS Wed 13 — CD recording (FINAL EXAM), Issaquah HS (3:15-9:00) Thu 14 — CD recording (FINAL EXAM), Issaquah HS (3:15-9:00) |
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Selected chamber performances: { Sat 4 Feb — "Kegger" [root beer floats], Issaquah HS Black Box Theatre, 7:30 PM } |
There is a different philosophy at work in the orchestra at the high-school level. It is not the same
kind of class as it was in middle school. In middle school, it was possible to be successful and even get an "A" if you were
always in the right place at the right time. Attendance counted for a great deal, and orchestra was a class where all levels
of musicianship were welcomed, as long as standards of attendance, attitude, and effort were maintained. Those standards
are still expected, but added is the very important standard of musical expertise or accomplishment. The following are
examples of things that are different in the high school orchestra classes, as opposed to middle school orchestra.
Practice. Everyone is expected to practice. We learn music at a much faster pace than in middle
school. It is not acceptable to use only rehearsal time to learn the music.
Lessons. Private lessons, while not required, are highly recommended. Our time in orchestra includes
some instruction on the techniques of playing, but orchestra is not a group lesson class. Most of the time is spent working
on the music that we perform. The demands of this music, and the level of playing required, mean that every student needs
the technical help that is only available through private lessons.
Uniform. Participation in the orchestra requires a performing uniform. You must acquire a tuxedo
or a black dress for the school year. The tuxedo purchase may or may not include a dress shirt, black tie, and cummerbund,
which you must provide if not included. You must also purchase black dress shoes (closed toes) and black socks or panty hose.
See the Tuxedo Order form or the Women's Dress Code under
Forms. If the cost of the uniform items causes financial hardship, there are resources available for
such a situation; please see your director privately.
Transport. Students are required to make their own arrangements for transporting instruments and
music to and from all local rehearsals and concerts. The director cannot take anybody's instrument or other items. When we
travel together, we make arrangements for transporting instruments, but each student must still assume the primary
responsibility for their own instrument and music folder.
Equipment. In addition to instrument supplies and a music stand, every student needs access to a
metronome and a recording device. These are necessary for the playing tests.
Tests. The grading scale reflects a heavy emphasis on playing tests. The level of a student's
individual musicianship, and how much time they spend practicing, is the most important aspect of their grade.
Attendance at all rehearsals and concerts is mandatory. The points you receive for participating are
part of your grade. If there is an emergency situation and you have received permission to miss a rehearsal or concert,
you will have an opportunity to make up some of the points lost. Please realize that it is impossible to duplicate the
experience of a rehearsal or concert, so only 80% of the points lost can be made up.
You will be allowed to make up points only if your director has prior knowledge that you cannot be
there, and the reason is either personal illness or a family emergency. If you become ill prior to a concert, have a
parent call so that adjustments can be made. This is important to your stand partner, your section, and the entire orchestra.
You will certainly be missed, but if we can plan ahead, we can minimize the impact on everyone else. In the event of illness
or emergency, please call your director right away. See the Faculty listing for phone numbers.
If you have a prior commitment (family vacation, award ceremony, athletic contest, etc.), you must
give 10 days notice of your intended absence. At that time a decision will be made as to whether any of the points
can be made up. Do not ask to make up points that are lost due to poor planning or inattention to the calendar.
Obviously, situations will arise that cannot be anticipated by any attendance policy. We are all busy,
involved people, and that is good. If a situation comes up that needs further discussion or consideration, please make
arrangements with your director to talk about the problem in advance. Concerts are more successful if there is as much
consistency as we can manage between rehearsals and performances. However, we are human, and while trying to adhere to a
consistent and fair attendance policy, there must be a way to accommodate unusual or emergency situations. These can be
dealt with if we communicate fully as far in advance as possible.
The possible reductions in your grade for a single rehearsal are as follows. "Late" is relative to the moment
when tuning begins. At that time you should be in your seat, with your instrument and music, and ready to tune.
The grading scale is a demanding one. Standards are high in this elective course, and both reliable
attendance and consistent improvement are necessary to achieve a high grade.
Notes:
Extra credit is accepted only if all assignments are turned in. It is not a substitute for assigned work.
Grading is by semester. The quarter grade reflects progress only to that point in the grading period.
The grading scale and weighting can be different for the other high-school orchestras. See their individual pages.
For a successful orchestra program, there must be a high level of commitment from the director, from the
parents, and from the student.
From the director: You should expect your director to be dedicated to making the orchestra program
(grades 5 through 12) and the high-school orchestras the finest that we can make them. We all want the program to continue to
be regarded as one of the best in the five-state northwest area, providing a top-quality orchestral experience for students
of all talent levels. For the high-school orchestras, this means the directors will constantly be pushing themselves and the
students to higher and higher levels of musical achievement.
From the parents: It is important to realize what is being asked of your children. The director
cannot be effective as a teacher if your child regards this as a frivolous activity. This does not mean that a student
cannot have other commitments. We all have other interests and obligations, and they are all important. What you are being
asked is that for for the hours that belong to orchestra, you will support your student's efforts in practice, rehearsal,
performance, and when applicable, travel obligations. If any of these commitments are a problem, especially the performance
and travel time, please talk to your director as soon as possible.
For everyone to meet their commitments, we must have a whole team. If financial restraints are a problem,
please talk to your director privately. We have a method of handling these matters in a confidential manner.
From the student: The student's commitment is twofold. First, the hours that belong to orchestra
in practice, rehearsal, performance, and travel are extrememly important, and students must come prepared to make them as
productive as possible. Practice time is scheduled by each individual and cannot be neglected. Students need to fit practice
time into their schedule so it is consistent and productive.
The second part of the student's commitment regards communication. There will be conflicts that arise in
regard to rehearsal times, especially after school. It is imperative that you communicate these problems to your director
far in advance, preferably both verbally and in writing. Please look over the Schedule of All
Events carefully, and make arrangements to talk about any problems right away.
Since the orchestra program is district wide, there are some differences in how student achievement is
honored at the end of the year. Some awards are unique to the orchestra program, while some are unique to each high
school.
Orchestra awards: In each orchestra class, there is a Director's Award, a Most Achieved
Award, and a Most Inspirational Award for each high school. In addition, it is possible to earn an activity letter
for orchestra in each high school.
Issaquah High School awards: There is a Fine Arts Dessert in June to honor all those students in
the fine arts department who were involved in co-curricular music activities. This involves letter recipients and
participation awards for those students involved with the school musical. In addition, the orchestra program is involved
with departmental awards, such as the Arion Medallion and the NSOA, and these are presented at the Senior Honors and Awards
ceremony and at the Spring Concert.
Liberty High School awards: In addition to its own awards, the orchestra program is involved with
the departmental awards, including the Medallion Award and the Distinguished Scholar Awards. These are presented at the
Senior Awards ceremony.
Skyline High School awards: The Performing Arts department presents certificates and Medallion
awards to selected seniors. The Skyline Symphony has a Senior Conductor award that is voted on by the orchestra members.
There are some performance goals that can only be achieved by taking the orchestra to perform in another
city, state, or country. These performances are just as important a part of the orchestra experience as concerts that are
given at school, and it is expected that all orchestra members will take part. These activities are also part of the grade
that each student receives. If a student cannot participate due to an unavoidable conflict, an alternate assignment will be
made, typically a research paper. Please understand that such an assignment is not meant to be punitive, but since the
performances missed would have been a significant part of the grade, then the alternative assignment must be as well.
Arrangements for alternate assignments must be made well in advance.
It should be understood that orchestra membership does involve some travel and some expense.
For the 2011–2012 school year, there is currently no travel planned, so there is no estimated cost at this time.
Our orchestra program has come to be regarded by adjudicators as one of the top five programs in the
state of Washington. You are joining a prestigious organization that strives hard to always improve and achieve even more
each year.
In order to maintain the excellent reputation that we enjoy, we would not want to travel and perform
unless we could do our best, and that involves having everybody there. It is like an athletic team in the sense that the
whole orchestra must rely on each musician to play their part, and that requires everyone's participation. All local
performances during the year are required. By law, field trips cannot be mandatory, but obviously the success of the
organization depends upon participation.
Signing the Parent Signature Form indicates that you are aware of these expectations and will support
your child's participation in these activities.
Please see your orchestra director for names of private teachers of your instrument. Any name you are
given does not constitute certification or recommendation by either the Issaquah School District or the orchestra program.
For music vendors that sell and rent sheet music, instruments, and other music supplies, please consult
the Useful Web sites at the end of this Web page. We have had experience with the stores listed there,
and with how they relate to students and parents. If a store does not appear on the list, it is because it is too far away
for the services it offers, we have had numerous complaints about its service, or it is new and we have not heard about it.
Nonetheless, the inclusion of a store in the list is not to be taken as a recommendation of any kind, either by the
Issaquah School District or by the orchestra program.
The attached list of individual(s)/agencies is being provided as an informational item for your convenience. The Issaquah School District does not recommend or endorse any of these individual(s)/agencies provided on the attached and will not be held liable or responsible for any services provided by them. As such, the Issaquah School District highly recommends that you conduct your own research and investigation and exercise due diligence before selecting any of these individual(s)/agencies for services. |
The following policy is coordinated with the music departments of the high schools, and is in accordance
with the policy that comes to us from the district administration.
Field trips of over 10 miles or more than two hours duration:
Field trips within 10 miles and of two hours duration or less:
The foregoing information applies generally to the Greenwood Symphony, Patriot Philharmonic, and Skyline
Symphony
. Potential areas of difference are the schedule, grading,
uniforms, and travel.
Below are links to information specific to these orchestras.
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The following forms are required for your participation in the orchestra program. They must be
filled out completely and readably, and turned in personally to your director no later than the
Deadline for Receipt of Forms: Wednesday 8 September 2011, 3:30 PM
Click a form name to display that form. If you can print the form from your browser, you can fill out that
copy and turn it in. If you are unable to print a form, you can obtain a printed copy from your orchestra director.
You can submit the Registration form electronically. If you have trouble doing this, you can
fill it out by hand and turn it in with your other forms.
You might use the Trip Permission form several times during a school year. When you bring it up,
select a field trip and supply your personal information, then click the button to generate the combined permission forms
automatically. Please print the combined forms, sign them, and turn them in to your director. If you have trouble with the
automatic form generation, you can request the traditional forms from your director and fill them out by hand.
Filling out, signing, and returning all these forms constitutes part of your grade. Please
be sure that every entry has been completed and is clearly readable.
Form Blocking. Since the Registration and Permission forms are
automated, your browser might offer to block them "from showing active content that could access your computer". These
forms do not access your computer and do not threaten your security. Click the bar just above the form and choose "Allow
Blocked Content...", then answer "Yes" to the security warning. As always, if you have any problems loading or completing
these forms, you can obtain them from your director, fill them out by hand, and turn them in with your other forms.
The following forms are optional depending on your circumstances. Please fill out the ones
that apply to you and turn them in to your director.
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Membership in the Evergreen Philharmonic is by audition only. All returning members are required to
re-audition every year. Auditions are normally open twice a year, as follows:
Note that these deadlines are subject to modification, so always check the current deadline notice below.
Starting with the 2011-2012 school year, ALL auditions must be submitted via the external Web site at
EVERGREEN Philharmonic.
Video auditions are greatly preferred. While audio-only submissions are still being accepted, they are at a disadvantage.
In auditions for a section with limited seats, if two or more submissions are very close, priority will go to the video auditions.
The next audition deadline is Friday
2 December 2011
at 3:30 PM.
The Washington Music Educators Association (WMEA) publishes audition
information for the annual All-State
Orchestra and the biennial All-Northwest Orchestra. This information includes a specification of the audition materials — the book to use (when appropriate), the
passages to play, and the tempi at which to play them. The Evergreen Philharmonic uses the same materials for its auditions.
This means you need to prepare only one set of materials for multiple submissions.
Note that these materials can change from year to year, so you should check them every time you are planning
to audition. However, for Evergreen Philharmonic auditions, either the current year's or the previous year's materials are
acceptable.
Note also that the published information only specifies the music selections, but does not provide them.
You must have access to the appropriate book so you can play the passages. But before purchasing it, ask your orchestra or
band director if a copy is available.
To download a PDF file of the audition information, click the link that applies to your instrument (you need
Adobe Acrobat Reader 5.0 or later to view it):
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The following links provide some of the music selections for the current year. See the preceding
Note if you have trouble accessing them.
Oboe (2012) Clarinet (2012) Bassoon (2012) Horn (2012) Trumpet (2012) Trombone (2012) Tuba (2012) |
Harp (2012) Violin (2012) Viola (2012) 'Cello (2012) Bass (2012) |
In the spring of odd-numbered years, both the
All-State and
All-Northwest honor groups meet. For such
years, the Washington Music Educators Association (WMEA) uses the audition information specified
by the Music Educators National Conference (MENC). You can audition for both groups, and for the
Evergreen Philharmonic, using the same materials, although you must make a separate submission for each audition.
In the spring of even-numbered years, only the All-State honor groups meet, and WMEA itself specifies the
audition information for these years. Again, you can use the same materials for your Evergreen Philharmonic audition. Note that,
although you can record your own Evergreen Philharmonic audition, your All-State and All-Northwest auditions must be recorded
by your music teacher.
See the instructions at
EVERGREEN Philharmonic
for the acceptable file formats and the required personal information.
The following points and suggestions might be helpful:
Anonymity. In many cases, the Evergreen Philharmonic director doesn't know you and has never
seen or heard you play. Your audition will be the only input available for deciding whether you can be accepted. You owe it to
yourself to make your submission a showcase of your very best playing.
Legibility. If the information you provide on the label cannot be clearly read or deciphered, there
is no way to identify you, or to contact you with the results of your audition. This produces the same outcome as if you had
never submitted an audition. Take the time to be sure all your information is legible — without a magnifying glass.
Retakes. Listen carefully to each selection after you have recorded it, and make sure it is up to your
highest standards. Don't hesitate to re-record one or more selections if you think you can improve them. Of course, submit
only the best take of each selection.
Medium. Sometimes a qualified student is rejected because poor quality of the medium or the recording
renders the audition unacceptable. While you don't need to engage a recording studio, or meet professional standards, you should
choose a new medium of high quality, and the recording should be clean enough that it doesn't obscure the good aspects of your
playing. If you're not confident of your equipment or your ability to operate it to your advantage, by all means get someone
to help you record.
Mechanics. Before recording your selections in earnest, do some short test takes to determine the best
physical setup for recording. In general, a larger room (such as a living room) is preferable to a smaller one, and some
sound-deadening surfaces (carpet, curtains, cushions) are helpful in reducing echo. Position the microphone five feet or
so from your instrument, and set the bass and treble controls to normal (medium) levels. If available, use manual settings
(volume, treble, bass) in preference to automatic settings. Stereo recording is recommended but not required. When you listen
to the test takes, make sure the recording volume level is reasonable and there is no distortion of your sound.
Qualities. The major considerations for acceptance are:
Instructions. Sometimes there are a large number of auditions for a section with few open positions
(for example flute or violin). Such auditions can be quite competitive, and there might be "close calls" requiring a choice
between submissions of essentially equal caliber. In such cases, preference must be given to submissions that most carefully
follow the instructions. Your attention to detail is a valuable indicator of your future success.
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Music is a science.
It is exact and specific, and it demands precision.
Music is mathematical.
It is based on subdivisions and fractions which must be worked out instantaneously, not on paper.
Music is a foreign language.
Most of the terms are in Italian, German, and French, and musical notation is a semantically complete non-English system of
symbols.
Music is history.
It reflects the time and environment of its creation, often the country and the social or political feeling.
Music is physical education.
It is strenuous, and it requires coordination of fingers, hands, arms, lips, diaphragm, and back muscles, which must respond
instantly to the ear and the mind.
Most of all, music is art.
It allows a human being to take these dry techniques and use them to create emotion.
Music develops insight and demands research.
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Teaching — School and Private Composition and Arranging Music Therapy Technical — Recording and Broadcasting Business — Producing and Promotion |
Middle school and high school students who participated in instrumental music scored significantly higher than
their non-band peers in standardized tests.
— University of Sarasota/East Texas State University
Young children with developed rhythm skills perform better academically in early school years. Findings of a
recent study showed that there was a significant difference in the academic achievement of students classified according to
rhythmic competency.
— University of Central Florida
The world's top academic countries place a high value on music education. Hungary, the Netherlands, and Japan
stand atop worldwide science achievement and have strong commitment to music education.
— International Association for the Evaluation of Educational Achievement (1988)
Music partipants received more academic honors and awards than non-music students. Also, the percentage of music
participants receiving AS, AS/BS, and BS degrees was higher than the percentage of non-music participants receiving those
degrees.
— National Educational Longitudinal Study (1988)
Music training helps under-achievers. Half of the classes became "test arts" groups, receiving ongoing music and
visual arts training. In kindergarten, this group had lagged behind in scholastic performance. After seven months, the students
were given a standardized test.
— Nature (1996)
The nation's top business executives agree that arts education programs can help repair weaknesses in American
education and better prepare workers for the 21st century.
— Business Week (1996)
Piano students are better equipped to comprehend mathematical and scientific concepts.
— Neurological Research (1997)
A ten-year study, tracking more than 25,000 students, shows that music-making improves test scores. Regardless of
socioeconomic background, music-making students get higher marks in standardized tests than those who had no music
involvement.
— UCLA (1997)
Pattern recognition and mental representation scores improved significantly for students given piano instruction
over a three-year period. Also, self-esteem and musical skills measures improved for the students given piano instruction.
— McGill University (1998)
College-age musicians are emotionally healthier than their non-musician counterparts. They were given three tests,
measuring performance anxiety, emotional concerns, and alcohol related problems.
— Houston Chronicle (1998)
Students who were exposed to the music-based lessons scored a full 100 percent higher on fractions tests than
those who learned in the conventional manner.
— Neurological Research (1999)
Music study can help kids understand advanced math concepts. A grasp of proportional math and fractions is a
prerequisite to math at high levels, and children who do not master these areas cannot understand more advanced math critical to
high-tech fields.
— Neurological Research (1999)
High school students score higher on SATs in both verbal and math than their peers. In 2001, SAT takers with
coursework/experience in music performance scored 57 points higher on the verbal portion of the test and 41 points higher on
the math portion than students with no coursework/experience in the arts.
— Music Educators National Conference (2001)
Top | Bulletins |
Tickets | Schedule |
Information | Forms |
Auditions | Playing Tests |
Solo/Ensemble |
Benefits | History |
Repertoire | Faculty |
Terms |
Sites | District
Top | Bulletins |
Tickets | Schedule |
Information | Forms |
Auditions | Playing Tests |
Solo/Ensemble |
Benefits | History |
Repertoire | Faculty |
Terms |
Sites | District
"Happy Waltz in A" — 2000 Waltz of the Root Beer and Piano — 2002 |
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Wachet auf (Awake; Cantata #140) — 2001 "Brandenburg" Concerto #5 in D — 2007 "Brandenburg" Concerto #6 in B flat — 1999, 2002 Chorale Prelude from Wachet auf (Awake; Cantata #140) — 1992, 1993 "Double" Concerto in D minor for 2 Violins — 1994 "Little" Fugue in G minor — 1990 Suite #3 in D for Orchestra — 1999 Violin Concerto in A minor — 1998, 2009 Violin Concerto in E — 1993 |
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Piano Concerto #5 in E flat ("Emperor") — 2006 Overture to Egmont — 1999 Symphony #1 in C — 1988 Symphony #5 in C minor — 1997 Symphony #6 in F ("Pastoral") — 2004 Violin Concerto in D — 2006 |
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L'amour est un oiseau rebelle (Habañera) from Carmen — 2002, 2006 Les toréadors from Carmen — 2005, 2006 Votre toast, je peux vous le rendre (Toreador Song) from Carmen — 2007 Suite #1 from Carmen — 1994, 1995, 1997 Suite #1 from L'Arlésienne — 2001 Suite #2 from L'Arlésienne — 1996 |
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V sryednyei Azii (In [the Steppes of] Central Asia) — 2004 Symphony #2 in B minor — 2008, 2009 |
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Une bouche aimée for Voice, Contrabass, and Pianoforte — 2005 Contrabass Concerto in F sharp minor — 2003 |
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Ungarische Tanz (Hungarian Dance) #5 in F# minor — 2006, 2010 Tragische Ouvertüre (Tragic Overture) — 2006 "Double" Concerto in A minor for Violin and 'Cello — 2009 Symphony #1 in C minor — 1992, 2003, 2004, 2005 Symphony #2 in D — 2006 Symphony #3 in F — 2000 |
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Evergreen Waltz — 1993, 2002, 2003, 2007, 2009 Grande Valse Viennoise — 2008–2011 Invocation on Psalm 148 — 1999, 2007 Memorial — 2001 Salish Polka — 2011 |
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Violin Concerto in G minor — 1995, 2004, 2008 |
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Hoe-Down from Rodeo — 2006 |
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Concerto grosso #8 in G minor — 1996 |
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Legenda (Legend) #6 in C sharp minor — 2002 Měsíčku na nebi hlubokém (Song to the Moon) from Rusalka — 2002, 2005 Polednice (Noon Witch) — 2008 Slovanský tanec (Slavonic Dance) #2 (Set 1) in E minor (Dumka) — 2000 Slovanský tanec (Slavonic Dance) #4 (Set 1) in F (Sousedska) — 1992 'Cello Concerto in B minor — 2002, 2008 Serenade in E for Strings — 2007 Symphony #5 (#9) in E minor ("From the New World") — 2007 |
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'Cello Concerto in E minor — 2001, 2006 "Pomp and Circumstance Military Marches" #1 in D — 2009 Serenade in E minor for String Orchestra — 1999 Three Bavarian Dances — 1996 |
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Pavane — 1992–1994 Requiem — 1992, 1997, 2001, 2005, 2010 Elegy for 'Cello and Orchestra — 1994 Sicilienne from Pelléas et Mélisande — 1996, 1998 Suite from Pelléas et Mélisande — 1995 |
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Repentir (O Divine Redeemer) — 2010 |
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Piano Concerto in A minor — 1999 |
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Hallelujah from Messiah — 1991–2003 Messiah — 1994 Ombra mai fu from Serse (Xerxes) — 1999, 2004 Concerto grosso #5 in D — 1990 Harp Concerto in B flat — 2005 Viola Concerto in B minor (Henri Casadesus?) — 2005 |
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'Cello Concerto #1 in C — 1995 Trumpet Concerto in E flat — 1997, 2008 |
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Trauermusik (Music of Mourning) — 2007 |
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Violin Concerto in D major — 2009 |
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Liebesleid (Love's Sorrow) — 1989 Præludium and Allegro (in the Style of Pugnani) — 1993 |
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'Cello Concerto in D minor — 2004, 2006 |
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Konzertstück #1 in F minor for Basset Horn and Clarinet — 2008 Symphony #2 in B flat ("Lobgesang [Song of Praise]") — 1999 Symphony #3 in A minor ("Scottish") — 2005 Violin Concerto in E minor — 2004 |
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Il mio tesoro intanto from Don Giovanni — 2006 Durch Zärtlichkeit und Schmeicheln from Die Entführung aus dem Serail — 2008 Là ci darem la mano from Don Giovanni — 2009 Prendero quel brunettino from Cosi fan tutte — 1999, 2001 Regina coeli (Queen of Heaven) — 2003 Requiem in D minor — 1995, 1998, 2002, 2006 Andante in C for Flute and Orchestra — 2005 Clarinet Concerto in A — 2005 Flute Concerto #1 in G — 1992, 2003 Piano Concerto #20 in D minor — 1996 Sinfonia concertante in E flat for Violin and Viola — 1992, 2000 Symphony #29 in A — 1992 |
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Tragedy, Life of a Fantasy Lord — 1996 |
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Belle nuit, ô nuit d'amour (Barcarolle) from Les contes d'Hoffmann — 2010 |
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Violin Concerto #1 in D — 2010 |
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Piano Concerto #2 in C minor — 1992, 2004 Piano Concerto #3 in D minor — 2010 |
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Scheherazade — 2004, 2005 Svetliy prazdnik (Bright Holiday) [Russian Easter Overture] — 2006 Concerto in B flat major for Trombone and Military Band — 2007 Flight of the Bumblebee from Tale of Tsar Saltan — 2009 Piano Concerto in C sharp minor — 2007 |
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Danse macabre (Poème symphonique) — 1993, 2009 Havanaise for Violin and Orchestra — 2002 'Cello Concerto #1 in A minor — 1996, 2000 Symphony #3 in C ("Organ") — 2001 Violin Concerto #3 in B minor — 2002, 2006, 2008 |
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Mass #2 in G — 2004, 2007 Symphony #5 in B flat — 2002 Symphony #8 in B minor ("Unfinished") — 1992, 2001 |
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Violin Concerto in D minor — 2007 |
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Viola Concerto #1 in D — 1996, 2004 |
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Frühlingsstimmen (Voices of Spring) — 1999–2011 Kaiserwalzer (Emperor Waltzes) — 1999, 2000, 2002–2011 Künstlerleben (Artist's Life) — 1999–2005, 2008–2011 Mein Herr Marquis ("Laughing Song") from Die Fledermaus — 2007 Rosen aus dem Süden (Roses from the South) — 1999–2011 Tritsch-Tratsch (Chit-Chat) Polka — 2006–2010 Unter Donner und Blitz (Thunder and Lightning) Polka — 2010–2011 |
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Le lac des cygnes (Swan Lake) — 2003–2005 Marche slave (Slavonic March) — 2007 Pas de deux from Casse-noisette (Nutcracker) — 2009 Pezzo in forma di sonatina from Serenade in C for String Orchestra — 1998 Waltz of the Flowers from Casse-noisette (Nutcracker) — 2001–2011 Introduction and March — 1989 Piano Concerto #1 in B flat minor — 2008 Suite #1 from Casse-noisette (Nutcracker) — 2009 Symphony #6 in B minor ("Pathétique") — 2009 Variations on a Rococo Theme for 'Cello and Orchestra — 2007 Violin Concerto in D — 2005 Waltz from Eugene Onegin — 1994, 2006, 2007, 2009, 2010 Waltz from La belle au bois dormant (Sleeping Beauty) — 1995, 1999, 2000, 2002–2011 |
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Viola Concerto in G — 2001 |
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Fantasia on a Theme of Thomas Tallis — 2001, 2008 Fantasia on "Greensleeves" from Sir John in Love — 1991, 2000 |
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Overture to Nabucco (Nebuchadnezzar) — 1988 |
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Gloria in excelsis — 1999 L'inverno (Winter) from Le quattro stagioni (The Four Seasons) — 2005 Concerto in G minor for 2 'Celli — 1994 Concerto in C for 2 Trumpets — 1995 Concerto for 2 Violins — 1990 Concerto in A minor for 2 Violins — 2000 Concerto in D minor for 2 Violins — 2001 Concerto in D minor for 2 Violins and 'Cello — 1997 Concerto in E minor for 4 Violins — 1992 |
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Walkürenritt (Ride of the Valkyries) from Die Walküre — 2007 |
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Clarinet Concerto #1 in F minor — 2002 Overture to Oberon — 2000 |
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