Sheet music for English Horn

Power Rangers Dino Charge (Theme) (V2)

7 parts13 pages00:572 years ago3,235 views
Soprano Saxophone, Tenor Saxophone, Strings, English Horn, Guitar, Percussion
This is my second version of the Power Rangers Dino Charge theme.

EDIT: Added Tuba for a bit extra bass, and adjusted the dynamics.

Harry's Wondrous World - John Williams

22 parts32 pages05:012 years ago5,214 views
Flute(2), Oboe, English Horn, Clarinet(2), Bassoon(2), French Horn, Trumpet, Trombone, Tuba, Timpani, Percussion(2), Piano, Harp, Strings(5)
Full Orchestral Score. Music by John WILLIAMS
It's the concert version from the Suite for Orchestra inspired by the movie "Harry Potter and the Sorcerer's Stone".
3 Flutes (3rd to combine with Piccolo)
3 Oboes (3rd to combine with English Horn)
3 Bb Clarinets (3rd to combine with Eb Clarinet)
3 Bassoons (3rd to combine with Contra bassoon)
4 F Horns
3 Bb Trumpets
3 Trombones
1 Tuba
Percussions 1 [ Triangle (small), suspended Cymbals (small & medium), Tambourine, Gran cassa, Piatti, Side drum ]
Percussions 2 [ Glockenspiel, Vibraphone ]
1 Piano
1 Harp

The Definitive Star Wars Suite: Teaser #1 - Binary Sunset

34 parts2 pages00:372 years ago1,031 views
Piccolo, Flute, Oboe, English Horn, Clarinet(3), Bassoon, Alto Saxophone, Trumpet(2), French Horn(2), Trombone(2), Tuba, Violin(2), Viola, Cello, Contrabass, Timpani, Percussion(6), Piano, Harp, Voice(4)
A sneak peak of my next arranging project. Collaboration between me, That Dominican Tuba Guy, and a new arranger whom you've not met yet. Enjoy!

Farther&Wilder:SONGSTOMARCH/I asked the gods/Boy/suckit/HiddenSexualityofFlowers/Suasion/IGetWet/SugarVirgins/Phobis9whiteNESS/SalixCOPREC/Pistol(inmymouth)GaySaints(ahistoryofreligion/ElectricChair-howmanyblackmen/white-estsoulblueest eye/potable/whatif

64 parts59 pages20:313 years ago1,989 views
Piccolo, Flute(3), Recorder, Oboe, English Horn, Clarinet(3), Bassoon(2), Alto Saxophone, Tenor Saxophone, Baritone Saxophone, French Horn, Trumpet(2), Trombone(2), Tuba, Timpani, Percussion(20), Guitar, Piano, Harp(2), Strings(5), Contrabass
.I don't need inspiration -every time my foot touches soil-dirt(great book by William Bryant Logan!DIRT) I see he remarkable still,trembling,inert or swiftly seeming to change world .Earth is great its the people that sometimes don't measure up! Never ever forget that and depression will not stay.Just take a walk utside and see all the beautiful friendly living life that exudes JOY! Trumpet trills. tuba solo? MAGIENOIRE . tHIS IS GOING TO BE A LONG STUDY . trumpet flutters.tuba flutters! Orchestration is not th same as writing music it is melody + ! C O L O R !!!

The Planets Suite. Mvt IV. Jupiter, the Bringer of Jollity

31 parts30 pages07:325 months ago658 views
Piccolo, Flute, Oboe, English Horn, Clarinet(2), Bassoon(2), French Horn(4), Trumpet(2), Trombone(2), Tuba, Timpani(2), Percussion(5), Harp(2), Strings(5)
Jupiter recreated for Musescore. The full score can be found here:

Some elements are changed for the best possible playback, such as dynamics for balance, tenor tuba octaves, and articulations are added.

The Planets Suite. Mvt I. Mars, the Bringer of War

31 parts21 pages07:036 months ago562 views
Piccolo, Flute, Oboe(2), English Horn, Clarinet(2), Bassoon(2), French Horn(3), Trumpet(2), Trombone(2), Tuba, Timpani(2), Percussion(4), Harp(2), Organ, Violin(2), Viola, Strings(2)
Mars recreated for Musescore. The full score can be found here:

Some elements are changed for the best possible playback, such as timpani dynamics, tenor tuba octaves, and articulations are added.

Rhapsody for Clarinet and Orchestra

29 parts43 pages07:202 years ago764 views
Flute, Oboe, English Horn, Clarinet(2), Bassoon, French Horn, Trumpet, Trombone, Tuba, Timpani, Percussion(6), Harp(2), Guitar, Violin, Strings(5), Viola, Cello, Contrabass
Woodwinds: Solo Clarinet in B-flat, 3 Flutes, 2 Oboes, 2 English Horns, 2 Clarinets in B-flat, 3 Bassoons
Brass: 4 Horns in F, 3 Trumpets in B-flat, 3 Trombones, Tuba
Percussion: Timpani, Snare Drum, Tambourine, Triangle, Cymbal, Tam-tam, Bass Drum
Strings: Violins 1 and 2, Violas, Violoncellos, Contrabasses, 2 Harps, 1 Guitar

Song Of Sacrifice

4 parts4 pages01:042 years ago117 views
Harmonica, Tuba, Trumpet, English Horn
For Harmonica, trumpet in C, tuba and English Horn (Cor 'Anglais).

For use with credit to the user @JAlli123

This is where he posts the scores.

Court and Jester

22 parts47 pages12:177 months ago58 views
Piano, Piccolo, Flute, Oboe, English Horn, Clarinet(2), Bassoon(2), French Horn(2), Trumpet(2), Trombone(2), Tuba, Percussion(4), Timpani, Harp
Piano Concerto for standard orchestral winds (winds in three, 4 Fr. Horns, 3 Trumpets, 2 Trombones, Bass Trombone, Tuba, Percussion, Timpani, Harp but no Strings.

Princess Leia's Theme for Full Orchestra

30 parts13 pages04:296 months ago192 views
Flute(2), Piccolo, Oboe, English Horn, Clarinet(3), Bassoon(2), French Horn(4), Trumpet(2), Trombone(3), Tuba, Timpani, Percussion(2), Harp, Strings(5), Contrabass
1 Picc
1 Flute 1
1 Flute 2
1 Oboe
1 English Horn
1 Clarinet 1
1 Clarinet 2
1 Bass Clarinet
1 Bassoon 1
1 Bassoon 2
1 Horn 1
1 Horn 2
1 Horn 3
1 Horn 4
1 Trumpet 1
1 Trumpet 2
1 Trombone 1
1 Trombone 2
1 Bass Trombone
1 Tuba
1 Timpani
2 Percussion
1 Harp
10 Violin 1
10 Violin 2
10 Viola
4 Vioncello 1
4 Vioncello 2
6 Bass

PLAY NOW1 (for Sergiu Celibedache)

50 parts115 pages16:3911 months ago121 views
Piccolo(2), Flute(3), Oboe(2), English Horn, Clarinet(4), Bassoon(3), French Horn, Trumpet(2), Trombone(2), Tuba, Timpani, Percussion(12), Piano(2), Harp(2), Guitar, Violin(2), Strings(7), Viola, Contrabass
Orchestral Music . The beginning has to be arranged carefully now it is just an experiment and unorchestrated realistically version for listening .I know what oboes, harps etc can and cannot do ! Wish we had sme more timpani and tam-tam and trombone and tuba effects here ! String avec la bois tapping wood sound would be good to o.I will have to use some percussion for this light beating sound !

Off Road

26 parts10 pages01:18a month ago16 views
Flute(3), Oboe, English Horn, Clarinet(2), Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Trumpet, French Horn, Trombone, Bassoon, Tuba(2), Violin, Viola, Cello, Contrabass, Timpani, Percussion(5)
This song was made by me. Sorry about the sizing
4-5 Flute
2 Bass Flute
6-9 Oboe
2 English Horn
4-7 Clarinet
1-3 Bass Clarinet
8 Alto Saxophone
5 Tenor Saxophone
2-3 Baritone Saxophone
6 Trumpet
10 French Horn
6-9 Trombone
3 Basson
2 Euphonium
4-6 Tuba
1 Contrabass Flute
5-7 Violin
3-9 Viola
6 Violoncello (Cello)
2 Contrabass (Double Bass)
4 Timpani
3 Marimba
3 Percussion = Vibraphone & Glockenspiel

I. Prologue - The Hornet's Nest (Read the second paragraph in description)

42 parts112 pages05:503 years ago693 views
Piccolo, Flute(2), Oboe, English Horn, Bassoon(2), Clarinet(6), Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Trumpet(2), French Horn(2), Trombone(2), Tuba(2), Contrabass, Timpani, Percussion(14), Harp, Piano
I. Prologue - The Hornet's Nest from James Barne's composition Seventh Symphony (Symphonic Requiem) Op. 135. You can download the sheet music from if you want to study it. I take no credit for this score, I simply put it on MuseScore as best I could. Hope you enjoy it. I will maybe be uploading the other three movements once I finish them if someone asks me in the comments. Also, I didn't edit it and add rubatos, ritardandos, accelerandos, drum rolls, I just kept all the tempos and things like are originally, mostly because I was lazy.
This composition was written for the US. Army Band about the American Civil War.

One last thing, I would recommend downloading the score, opening it in MuseScore 2, and using the original TimGM6 soundfont from MuseScore 1. Also, make some edits to the mixer; make Bassoons a tad louder, make Bass/Contrabass Clarinets a tad louder, make all Saxophones softer, make Cornets/Trumpets louder, make the Trombones all the way louder, make the Euphonium, Tuba, and Double Bass a little louder as well, then make Timpani almost all the way loud, The regular Cymbal a little louder, Crash Cymbal, Anvil, Bass Drum, and Tam-tam all the way louder, make Bongos and Tom Toms a little louder,turn Glockenspiel Harp below half way, and turn Piano all the way loud. I know it's a lot but you don't get the full experience of this piece without these slight edits.

Cantina Band-Orchestra Version (Force Theme)

46 parts15 pages05:502 years ago7,852 views
Piccolo, Flute(2), Oboe(2), English Horn, Clarinet(3), Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Bassoon(3), French Horn(4), Trumpet(4), Trombone(6), Tuba(2), Brass Ensemble, Timpani, Percussion(4), Bass, Harp, Piano, Strings(3), Cello, Contrabass
I orchestrated Cantina Band.
It's finished, but I guess I have to keep updating this......

(actually there are a lots of rests on many instruments, but I think my computer will explode if I fill that

-Change logs-

+added English horn, bass clarinet, and euphonium. And I also added brass section solo before drum solo.

+added piano solo

+removed the arpegio parts in the french horns, (Because it's too fast) and I changed some parts of english horn and clarinet (also because that triplet arpegios are too fast for the english horns.)

+added more instruments at violin solo

+removed piano solo

+added alto trombone and solo double bass

+removed brass section solo and added double bass solo

+added trombone solo

+added more things on all the parts (because there where too much restes....)

+added more information on the cover page

+added more things on the Force Theme

+the Force Theme is now a duet with english horn and french horn, not a violin solo.

+added more things on the trombone section

+added more things on high strings

+added sousaphone

+added instrumentation guide picture

+improved some parts on the euphonium
(because it was too low)

+also some improvements on euphonium parts and tuba parts

+ improvements on double bass parts and solo double bass parts

+chaged the trombone solo part to euphnium solo
(because I think it's too high for the trombone, and I think the timbre of the euphonium is more effective for that melody......)

+added more things at woodwind section and brass section

+improvements for the double basses

+more extended techniques on the solo double bass
(because I think there isn't much differences between the solo double bass and the normal double basses...)

+minor update for all parts

For Orchestra (work for large orchestra)

21 parts39 pages07:062 years ago1,025 views
Flute(2), Oboe, English Horn, Clarinet(2), Bassoon, French Horn(2), Trumpet, Trombone(2), Tuba, Timpani, Percussion, Piano, Strings(4), Viola
For Orchestra - a work for large orchestra.

This was my first attempt at orchestral composition. I started the score when I was 15 and had most of the work sketched out by the time I finished high school at 18. Then I kept working at it in my early twenties until I finally put the manuscript with all my other old compositions in a drawer somewhere. Then a few months back I was like, what the hell, might as well write it out using Musescore and see what it sounds like!

The work and especially the orchestration is heavily influenced by the style of the early 20th century greats (Mahler and Stravinsky) because that's mostly what I was listening to at the time. I wasn't really well versed in popular culture at the time and my musical diet mostly consisted of philharmonic music. I could tell you that Tupac was black and Eminem white, but that's it.

Anyway, the heavy use of trombones and tuba, the high trumpet and clarinet parts and the pointillistic use of percussion, polytonality and unconventional dynamic markings are mostly indicative of my compositional style at the time, so it's an interesting window on my former compositional style.

Sinfonia Cattiva Prima (Symphony No. 1)

32 parts69 pages23:493 months ago145 views
Flute(3), Oboe(2), English Horn, Clarinet(3), Bassoon(3), French Horn(2), Trumpet(2), Trombone(3), Tuba(2), Timpani, Percussion(4), Harp, Violin(2), Viola, Cello, Contrabass
I have been working on this massive project for quite a while. In addition, I recently lost it, and wouldn't have found it if it weren't for the musescore forums. Anyway, since this is my first orchestration, I would appreciate any given critique.

Notes: I would have made the fifth movement longer, but the program kept crashing. All parts (except percussion) with split chords are meant to be played divisi.

What I think about the score: I don't like my first movement all that much. Please don't base your view of this piece on only that movement. I like my second and third movements quite a bit, because they worked out just how I wanted them to. The fourth didn't come out correctly, but the fifth movement is pretty good in my opinion.

I. Intrada: 0:00
II. Marche Pesante: 1:54
III: Scherzo Rimbalzante: 10:12
IV: Bel e Dolce: 13:52
V: Allegro Finale: 20:06

2 Flutes
1 Alto Flute in G
2 Oboes
1 English horn in F
2 Bb Clarninets
1 Bb Bass Clarinet
2 Bassoons
1 Contrabassoon
6 F Horns
4 Bb Trumpets
4 Tenor Trombones (IV doubling Contrabass Trombone)
1 Bass Trombone
1 Euphonium
1 Contrabass Tuba
4 Timpani
Tubular Bells
Bass Drum
1 Harp
16 Violins I
12 Violins II
12 Violas
10 Cellos
8 Contrabasses

I don't really have much else to say.

Die Walküre- Leb' wohl!

42 parts65 pages12:162 years ago1,436 views
Piccolo(2), Flute(2), Oboe(2), English Horn, Clarinet(4), Bassoon(2), French Horn(6), Trumpet(3), Trombone(4), Tuba, Percussion(2), Harp(2), Timpani, Strings(9), Cello
Also known as Wotan's Farewell and Magic Fire Music, this is the finale of Act III and the conclusion of the opera.
All horns changed from E to F, all E trumpets changed to D, bass trumpet changed to bass clef, no other changes to instruments (clarinets left in A except for one part for D clarinet).
Other than the bass trumpet, no unusual instruments (such as Wagner tuba) were called for in the source document.
Some notes are outside the range of contemporary instruments. Except for some ludicrously low horn notes (that might be typos in the source document) that have been moved up an octave, all such have been left as is.
Corrected typos & poor engraving practice in the source document, such as using both hairpins & dim./cresc. markings.
Wotans voice is sounded by horn & trombone.
Recordings by George London, Thomas Stewart, James Morris, and Bryn Terfel singing the role of Wotan were studied and revealed a wide range of tempos and performance practice deviations from the written score. A middle-of-the-road approach was taken in this endeavor.
The piece opens with Brünnhilde’s last words, which are voiced in D Trumpet III.
Stage directions are included near Wotan’s staff, or at the top of the score near the very end, and are repeated here (numbers are the measure number in this score):
• Previously- As punishment for disobeying Wotan (the chief of the gods), his daughter the Valkyrie Brünnhilde (yes, that Brünnhilde) is to be stripped of her divinity, and as a mortal woman lie asleep on the ground where she will belong to the first man who comes across her. She pleads for a lesser punishment, and Wotan consents that as she sleeps she will be surrounded with a magic fire (courtesy of Loge) so that only a brave man, a true hero who is not afraid to cross the flames, shall possess her.
• Brünnhilde’s last words: At your command let fire blaze up, let it burn around the rock, let its tongues flicker and its teeth devour any coward who dares to approach the fearsome rock!
• 4- Wotan, overwhelmed with emotion (he truly loves his daughter, but her crime must be punished) raises her from where she lays kneeling, and looks in her eyes with his one eye.
• 73- She lays her head against his breast, he holds her in a long embrace.
• 82- Her head falls back and, understanding, solemnly looks him in the eye.
• 125- He holds her head in both hands.
• 132- He kisses her long on both eyes.
• 134- She falls back asleep, with eyes closed, in his arms. He gently carries her to a low mossy rock, under the branches of a fragrant fir tree.
• 145- He considers, and closes her helmet. His eye dwells on her sleeping, and he covers her with her shield.
• 155- Slowly he turns away; with a painful look he turns around again.
• 161- He solemnly proceeds to center stage, and sets his spear against a large stone.
• 182-- He strikes his spear three times against the stone:
• 183- First
• 184- Second
• 185- Third
• 185-- A flame comes from the stone, swelling brighter.
• 189- The bright flickering fire breaks out of the rock.
• 199- The wild flickering fire surrounds Wotan. He points with his spear, parting the sea of fire.
• 201- The fire flows beyond the rock, into the background.
• 203- The fire continues blazing into the mountainous landscape.
• 208-215- Wotan’s final words: “Who fears the tip of my spear, shall never pass through the fire”.
• 215- He extends the spear, to complete the spell.
• 223- He looks painfully back to Brünnhilde.
• 229- He turns slowly to leave.
• 236- He turns again and looks back.
• 240- He disappears through the fire.
• 244- The curtain falls.
November 3 2016- Corrected missing slur on melisma at measure 214.
March 5 2017- Corrected typo in measure 45; "liebe" replaces "liebte".

Chorale: "O Gott, du frommer Gott" (BWV 24 No 6) for Winds & Strings

11 parts6 pages01:402 years ago297 views
Trumpet, Flute, Oboe, Clarinet, English Horn, French Horn, Tuba, Violin(2), Viola, Cello
Ein ungefärbt Gemüte (An open mind) (literally: An undyed mind), BWV 24,[a] is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the fourth Sunday after Trinity and first performed it on 20 June 1723. It is the third new cantata of his first annual cycle. The title has been translated more freely, for example as "An unstained mind", "An unblemished conscience", "An undisguised intention", and "An unsophisticated mind".

Bach composed the cantata for the fourth Sunday after Trinity and first performed it on 20 June 1723, three weeks after he took up the position as Thomaskantor in Leipzig with Die Elenden sollen essen, BWV 75. Bach had begun to compose one cantata for almost every Sunday and holiday of the liturgical year, a project described by Christoph Wolff as "an artistic undertaking on the largest scale".

It seems likely that Bach performed in the same service also the earlier cantata Barmherziges Herze der ewigen Liebe, BWV 185, composed for the same occasion in Weimar in 1715. He had presented cantatas in two parts on the preceding three Sundays, the new works Die Elenden sollen essen, and Die Himmel erzählen die Ehre Gottes, BWV 76, and the earlier Ich hatte viel Bekümmernis, BWV 21. On the fourth Sunday he likely performed one cantata before and the other after the sermon. According to Christoph Wolff, he probably performed the new work first.

In his composition, Bach stresses the weight of the central biblical quotation by giving it to the choir, and by scoring the framing recitatives and arias with reduced accompaniment. The obbligato part in the first aria is played by the violins and viola in unison and resembles the vocal part. According to John Eliot Gardiner, Bach thus evokes an "unstained mind". Julian Mincham notes the "sombre and shaded tone quality" of the unison strings. The following recitative, termed an "exemplary mini-sermon in its own right", is secco and ends in an arioso. Here as in the first work for the same occasion, BWV 185, Bach shows the mirror effect of the words, "Mach aus dir selbst ein solches Bild, wie du den Nächsten haben willt!" (Make yourself into such an image, as you would have your neighbour be!) by imitation of voice and continuo. This phrase is rendered three times.

The central choral movement, "a powerful chorus which forms the core of the cantata", is in two sections: the complete text is once rendered in a free form, then again as a fugue, comparable to the concept prelude and fugue. Two oboes double the strings, a clarino plays an independent part. The prelude is in three symmetric sections. The fugue, a double fugue marked "vivace allegro", begins with the first vocal entrance only accompanied by the continuo, the first vocal entries are sung by the concertisten, the choir joins later. The music reaches a climax when the clarino plays the theme as a fifth part to the four vocal parts. The movement ends in free sequences. Mincham describes the "ceaseless activity through constant musical movement" of the music, the "fragmented rhythm" of the countersubject and the "breathless urgency" of the coda.

The following recitative is similar to the first in structure, but accompanied by the strings adding emphasis, mostly on strong beats. The final arioso, without the strings, stresses the prayer "Der liebe Gott behüte mich dafür!" (May dear God spare me from it!). The last aria is accompanied by two oboi d'amore; they play a long "doleful" introduction that is repeated as a postlude. The voice picks up their beginning motif. The tenor voice sings an unusual coloratura line when the text ends on "Macht uns Gott und Engeln gleich" (makes us like God and the angels), possibly representing the multitude of the Heavenly host.

The eight lines of the closing chorale in homophonic four-part vocal setting are richly framed by orchestral interludes and accompanied by the instruments. Bach found the style of chorale treatment in works by his predecessor in Leipzig, Johann Kuhnau. The last prayer asks for "ein unverletzte Seel" (an unsullied soul) "und rein Gewissen" (and a clear conscience).

The cantata in six movements is scored for three vocal soloists (alto, tenor and bass), a four-part choir, clarino, two oboes, two oboes d'amore, two violins, viola and basso continuo.

Source: Wikipedia (,_BWV_24).

I created this arrangement of the closing Chorale: "O Gott, du frommer Gott" (O God, You righteous God) for Winds (Bb Trumpet, Flute, Oboe, Bb Clarinet, English Horn, French Horn & Tuba) & Strings (Violin, Viola & Cello).

J. S. Bach: Wo soll ich fliehen hin, BWV 646

3 parts4 pages01:492 years ago444 views
English Horn, Other Woodwinds, Tuba
“Wo soll ich fliehen hin” ("Whither shall I flee?") is an organ chorale prelude by Johann Sebastian Bach, arranged here by me for English horn, pan flute and tuba. It is the second of the “Schübler” Chorales, a name usually given to the “Sechs Chorale von verschiedener Art” (“Six Chorales of Various Kinds”) for organ (BWV 645–650), a collection of six chorale preludes issued around 1748. The title derives from the engraver and publisher Johann Georg Schübler, who is named on the title page. All six of the preludes are for an organ with two manuals and pedal, and at least five of them were transcribed by Bach from movements in his cantatas. This prelude is the exception. Since no source has been found for BWV 646, most scholars assume that the source cantata is one of the 100 or so believed to have been lost.

The fact that Bach had gone to the trouble and expense of securing the services of a master engraver to produce a collection of note-for-note transcriptions of this kind indicates that he did not regard the Schübler Chorales as a minor piece of work, but as a significant public statement. These six chorales provide an approachable version of the music of the cantatas through the more marketable medium of keyboard transcriptions. Virtually all Bach's cantatas were unpublished in his lifetime.

(edited from Wikipedia)

Nutcracker Suite, Dance of the Reed Pipes

26 parts10 pages02:34a year ago5,682 views
Flute(3), Oboe(2), English Horn, Clarinet(3), Bassoon(2), French Horn(4), Trumpet, Trombone(2), Tuba, Timpani, Percussion, Strings(5)
"Dance of the Reed Pipes," also known as "Dance of the Mi/erlitons," "Dance of the Flutes" or "Marzipan," is a dramatic musical selection from "The Nutcracker" -- one of the most celebrated ballets of all time. "The Nutcracker" was originally performed on Dec. 5, 1892 in St. Petersburg, Russia. The beautifully infectious and vibrant piece was also featured in the 1940 Disney Classic, "Fantasia." "Dance of the Reed Pipes" is the highlight of the second act of "The Nutcracker" ballet.
Wind instruments provide the primary instrumentation for "Dance of the Reed Pipes." Wind instruments include the oboe, clarinet, bass clarinet, bassoon, French horn, trumpet, trombone, tuba and timpani. Cymbals give the piece dramatic climax throughout. The string section includes the bass, cello and viola. "Dance of the Reed Pipes" begins with a gentle plucking of the strings, followed by the flute's main melody, the gradual accompaniment and solo of the English horn, a joining of the trumpets and percussion, then ends with a final flute solo.
"The Nutcracker" was written as a two-act ballet from a popular Christmas tale by the 18th century German writer E.T.A. Hoffman. The exquisite musical flavor of the story is delivered through such illustrious pieces as "Miniature Overture," "March," "Dance of the Sugar Plum Fairy," "Trepak, Russian Dance," "Arabian Dance," "Dance of the Reed Pipes" and "Waltz of the Flowers." "The Nutcracker" story begins with the children opening their much anticipated presents. One of the gifts, a charming doll, breaks during the brother's attempt to crack a nut in its mouth. The girl becomes terribly upset and the family drawing room becomes invaded by an army of mice. The doll miraculously transforms into a handsome soldier prince and leads the battle against the evil mice. When victory comes and peace is restored, the girl and the prince embark upon a journey to the enchanted Kingdom of Sweets governed by the Sugar Plum Fairy.