Written for soprano saxophone but can be played by any other saxophone.

Vagn Holmboe's Domine Non Superbit Op.61c is part of his fourth collection of Liber Canticorum . The text is taken from the Old Testament and the music is scored for unaccompanied SSATBB Choir . Dedicated to Nadia Boulanger.

The performance score for Lefanu's Song For Peter for Soprano Clarinet and Cello. Please Note both this score and the separate part (Catalogue no. NOV951368-01) must be ordered for a full performance.

Spiritual for SSAA and piano Steal Away is a wonderful spiritual for SSA a cappella arranged by Brian Trant.

Domenico Scarlatti is today considered as one of music history’s great piano composers and the first-ever piano virtuoso. The present collection contains 24 sonatas from various creative periods offering a survey of the rich and varied output of this Italian who worked at the Spanish court. Scarlatti triumphed over the heavy Baroque style with his characterful themes natural cantabile melodies and dance-like movements. The performance-technical moment is a formally constitutive element within his one-movement sonatas. For the first time in the history of piano music the interpreter must cross the hands and master wide leaps. Renowned pianist Bengt Johnsson provides informationon Scarlatti’s life and career as well as on the various sources on which this edition is based in his preface. A few sonatas appear in print here for the first time. An additional “bon-bon” is the reprint of a preface to the edition of 30 of Scarlatti’s piano sonatas published in 1738. Absorbing reading for all who wish to acquire a deeper understanding of Scarlatti’s piano music.

Nico Muhly 's Slow is a work for Viol Consort (2 Treble Viols a Tenor Viol and 2 Bass Viols) that was commissioned by Fretwork and first performed by them on 5th February 2015 at King's Place London. The work lasts around 8 minutes. This is the score and parts. Nico Muhly 's Slow is a work for Viol Consort (2 Treble Viols a Tenor Viol and 2 Bass Viols) that was commissioned by Fretwork and first performed by them on 5th February 2015 at King's Place London. The work lasts around 8 minutes. This is the score and parts.

Uhtceare for Flute Percussion Violin and Cello. Composed 2014 published 2016. Score included in UYMP's Firewheel Anthology (ISMN M-57036-615-6) recorded by Dark Inventions. Duration: 8'30. Uhtceare is an Old English word meaning ‘anxiety before dawn’ – surely a familiar experience to many not just the Anglo-Saxons. I particularly associate it with the half-awake early-morning asthma attacks that I had as a child. The piece starts in a nocturnal dreamlike state with chords that pulse gently like the rise and fall of breaths. These swelling patterns become increasingly fraught while soloists sporadically emerge with a sense of urgency and culminate in a loud chaoticpassage where the percussionist moves from tuned Percussion to Drums. Following this the Flute plays agile looping figures that are soon mimicked by the Violin and then the Vibraphone. These figures are frenetic but harmonically static so that when all three instruments are playing them simultaneously there is a whirlwind of activity that paradoxically seems to remain stationary. I thought this was a fitting musical analogue for the fruitless but insistent circling of anxious early-morning thoughts. A dramatic Cello solo interrupts these imitative cycles and leads the ensemble in a cacophonous final crescendo. Commissioned by Dark Inventions and first performed by them on 8th May 2014 at The Engine House Manchester. Uhtceare for Flute Percussion Violin and Cello. Composed 2014 published 2016. Score included in UYMP's Firewheel Anthology (ISMN M-57036-615-6) recorded by Dark Inventions. Duration: 8'30'. Uhtceare is an Old English word meaning ‘anxiety before dawn’ – surely a familiar experience to many not just the Anglo-Saxons. I particularly associate it with the half-awake early-morning asthma attacks that I had as a child. The piece starts in a nocturnal dreamlike state with chords that pulse gently like the rise and fall of breaths. These swelling patterns become increasingly fraught while soloists sporadically emerge witha sense of urgency and culminate in a loud chaotic passage where the percussionist moves from tuned Percussion to Drums. Following this the Flute plays agile looping figures that are soon mimicked by the Violin and then the Vibraphone. These figures are frenetic but harmonically static so that when all three instruments are playing them simultaneously there is a whirlwind of activity that paradoxically seems to remain stationary. I thought this was a fitting musical analogue for the fruitless but insistent circling of anxious early-morning thoughts. A dramatic Cello solo interrupts these imitative cycles and leads the ensemble in a cacophonous final crescendo. Commissioned by Dark Inventions and first performed by them on 8th May 2014 at The Engine House Manchester.

D - Parts-Short Cuts was commissioned by the Apollo Saxophone Quartet in 2003/4 and was originally scored for two sopranos one tenor and one baritone. This new version however asks for a different scoring of three Bb Clarinets one bass Clarinet and one Percussionist (Vibraphone and Marimba). The work's main purpose is to play with two possible meanings for Short Cuts . That is both with the idea of sharp and cutting musical gestures and the idea of taking a different shorter path to reach a specific destination. But most of all it was written thinking of the wonderful sonority and the rare qualities of the ASQ to whom the work was dedicated. Short Cuts was commissioned by the Apollo Saxophone Quartet in 2003/4 and was originally scored for two sopranos one tenor and one baritone. This new version however asks for a different scoring of three Bb Clarinets one bass Clarinet and one Percussionist (Vibraphone and Marimba). The work's main purpose is to play with two possible meanings for ' Short Cuts '. That is both with the idea of sharp and cutting musical gestures and the idea of taking a different shorter path to reach a specific destination. But most of all it was written thinking of the wonderful sonority and the rare qualities of the ASQ to whom the work was dedicated.

A modern concert piece using exciting and effective rhythms. Duration: 4 mins. Grade: 7 - 8

Erato is the sixth movement from Las Musas de Andalucia Op.93 for Voice and String Quartet by Joaquin Turina. The string quartet parts are also included on separate inserts. Erato is the sixth movement from Las Musas de Andalucia Op.93 for Voice and String Quartet by Joaquin Turina. The string quartet parts are also included on separate inserts.

Michael Berkeley's We Wait For Thy Loving Kindness O God for SATB and organ.

for 3 groups of strings-String Orchestra (Score). Beyer Fm

(Trias) by Evis Sammoutis was first performed 29 June 2003 at Tanglewood Festival USA by Tanglewood Music Centre Fellows & Laura Jackson conductor 10'; for clarinet (doubling bass clarinet) horn percussion and cello.

Ballet Music-Mit über 1.200 Titeln aus Orchester- und Chorliteratur Kammermusik und Musiktheater ist die Edition Eulenburg die größte Partiturreihe der Welt. Sie deckt einen große Teil der Musikgeschichte vom Barock bis zur klassischen Moderne ab und blickt auf eine lange Tradition zurück.

Three Works for Organ by German composer Tilo Medek. These were written between 1971 and 1978. Duration approx. 13 minutes. Three Works for Organ by German composer Tilo Medek. These were written between 1971 and 1978. Duration approx. 13 minutes.

Robert Saxton 's Hortus Musicae Book 1 was commissioned by Ian Richie for the 2013 City of London Festival with funds provided by the John S. Cohen Foundation. The first performance was given by Clare Hammond on June 24th 2013 at the church of St Mary Le Bow. The title less 'literal' in Latin than in the vernacular refers to the idea of an allegorical/metaphysical garden (reference to a 'real' or existing garden might be implied by Hortus Musicus) with various facets. The titles of the individual pieces/movements with their respective garden image are as follows: 1) Hortus Somniorum: a fleeting vision of a 'magical' garden 2) Hortus Temporis: a reflection of/on the floralclock described by Andrew Marvell (1621-1678) in his [metaphysical] poem The Garden: How well the skilful gardener drew Of flowers and herbs this dial new Where from above the milder sun Does through a fragrant zodiac run; And as it works the industrious bee Computes its time as well as we. How could such sweet and wholesome hours Be reckoned but with herbs and flowers! 3) Hortus Cantus: A garden in which nature 'sings' (praises) in the manner of a 'chorale prelude' and ending with the cantus firmus transformed into bells. 4) Hortus Infinitatis: A meditative/formal garden representing Time suspended in the form of a palindromic prolation canon combined with a harmonic ground (chaconne). 5) Saltatio Hortensis: A (summer) garden of dancing celebratory nature. Its essence (and that of the entire cycle both metaphorically and structurally/formally) is summed up in words spoken by Miranda in WH Auden's 1944 Tempest [Shakespeare]-inspired poem The Sea And The Mirror; So to remember our changing garden we Are linked as children in a circle dancing. Duration: 15 minutes. Robert Saxton 's Hortus Musicae Book 1 was commissioned by Ian Richie for the 2013 City of London Festival with funds provided by the John S. Cohen Foundation. The first performance was given by Clare Hammond on June 24th 2013 at the church of St Mary Le Bow. The title less 'literal' in Latin than in the vernacular refers to the idea of an allegorical/metaphysical garden (reference to a 'real' or existing garden might be implied by Hortus Musicus) with various facets. The titles of the individual pieces/movements with their respective garden image are as follows: 1) Hortus Somniorum: afleeting vision of a 'magical' garden 2) Hortus Temporis: a reflection of/on the floral clock described by Andrew Marvell (1621-1678) in his [metaphysical] poem The Garden: How well the skilful gardener drew Of flowers and herbs this dial new Where from above the milder sun Does through a fragrant zodiac run; And as it works the industrious bee Computes its time as well as we. How could such sweet and wholesome hours