for Piano-Between the composition of the second and third piano sonatas (1912-1917) Prokofieff wrote a variety of works for a great diversity of instruments. Besides 'Visions Fugitives' these include the ballets 'Chout' and 'The Gambler' the Classical Symphony the first Violin Concerto the second Piano Concerto and various songs. This was an immensely productive period during which his obsession with percussive sounds coloured by polytonality was at its height (although the Classical Symphony is an obvious exception). 'Visions Fugitives' is generally less diatonically based than any of the piano sonatas although the style is perhaps closet to the harmonic quirkiness of the Fifth Sonata(1923). Prokofieff's compositional process habitually involved the jotting down of musical ideas as they occured to him to be combined later. The composer's form of spontaneous inspiration seems to have enabled him to produce in 'Visions Fugitives' a set of self-contained miniatures perfectly shaped and coherent yet comprising a logical sequence when played as a whole. The simplicity and transparency of the writing gives us an insight into the interpretation of Prokofieff's music generally. The study of his shorter works enables us to understand the importance of clarity and rhythmic discipline in the performance of the later ones. The necessity for these qualities is immediately apparent in 'Visions Fugitives'. Prokofiev's compositional process habitually involved the jotting down of musical ideas as they occured to him to be combined later. The composer's form of spontaneous inspiration seems to have enabled him to produce in Visions Fugitives a set of self-contained miniatures perfectly shaped and coherent yet comprising a logical sequence when played as a whole. The simplicity and transparency of the writing gives us an insight into the interpretation of Prokofiev's music generally. The study of his shorter works enables us to understand the importance of clarity and rhythmic discipline in the performance of the later ones. The necessity for thesequalities is immediately apparent in Visions Fugitives .

This collection is sixth in a series of musical settings of lyrics to songs in Shakespeare's plays. This grouping opens with When Daisies Pied in a colorful madrigalian style followed by the more ominous Fear No More andconcluding with the sprightly Where the Bee Sucks There Suck I. Duration: ca. 7:30.This collection is sixth in a series of musical settings of lyrics to songs in Shakespeare 's plays. This grouping opens with “ When Daisies Pied ” in a colorful madrigalian style followed by the more ominous“ Fear No More ” and concluding with the sprightly “ Where the Bee Sucks There Suck I .” Duration: ca. 7:30.

Walmisley’s Magnificat and Nunc Dimittis in D minor are well known and frequently performed in the Anglican church. This complex work is his much lesser-known Magnificat And Nunc Dimittis In B Flat for Double Choir. It is a worthwhile and intriguing piece by a respected composer of nearly two centuries ago.T A Walmisley was a well-known Organist and composer in the early 19th century. During his time as Organist at Trinity College Cambridge he composed many anthems and other church music.

Jameson Marvin Choral Series-Continuing the proud history of the Harvard Glee Club this male voice setting of a Welsh folksong will showcase your singers at their best offering many opportunities to develop phrasing intonation and blend. Duration: ca. 2:45. Continuing the proud history of the Harvard Glee Club this male voice setting of a Welsh folksong will showcase your singers at their best offering many opportunities to develop phrasing intonation and blend. Duration: ca.2:45.

Das neugeborne Kindelein (The newborn babe the heavenly child) (BuxWV 13) for Mixed choir (SATB) Strings Basso continuo Dietrich Buxtehude (1637-1707) was Organist of the St Marien church in Lubeck from 1668 until his death. He wrote many works for specific secular occasions feasts and celebrations etc. and although his positon did not require him to compose vocal music he left over 120 vocal works in a wide range of scorings style and length. Almost all texts are sacred and scorings vary from a single voice with instrument to nine voices with several instruments and continuo. Dietrich Buxtehude's Cantata forfour part chorus is suited remarkably well for the Christmas services as well as the general religious services which choruses take part in every year. This opulent-sounding work possesses its every own special Christmas magic. It is a piece which can claim a place in the repertoire of many choruses. - Score with parts (BA717) separate parts (BA717) and choral score (BA717-91) available for sale

Commissioned by Marty F. Myers for John Scott and the choir of St Thomas' Church New York. First performance on 23rd December 2006 at the 4pm Festival of Nine Lessons and Carols given by the choir of St Thomas' Church conductedby John Scott.

4 Violins. Violins In

Alfredo Piatti's Souvenir De La Sonnambula Op.5 for Cello and Piano accompaniment edited Geoffrey Rutkowski.

Written for low (soprano) voice and string quartet.

The techniques history and lore of a unique musical instrumentWith more enthusiasts than ever since its heyday the Harp is an instrument which has successfully demonstrated its staying power and its important role both in music and beyond! John Marson’s Book of the Harp is a uniqueand definitive work distilled from a wealth of experience: a lifetime's study and research and an outstanding professional career. He traces the development of the harp from its earliest origins thousands of years B.C. to theinvention of the pedal harp in the eighteenth century and the harps of the twenty first century. He examines the writings of many forgotten exponents of the harp including inventors players and composers and provides a fullycomprehensive view of every model make and modification to the present day! The Book of the Harp is a rich source of information entertainment and anecdote on everything from strings tuning principles offingering and tone production historical influences designs techniques and methods to the harp's literary associations and those with the theatre and cinema its Celtic and religious symbolism virtuoso players and itsappearance in the poetry of Milton and novels of Jane Austen. Both historical and practical The Book of the Harp is an authoritative source of entertainment and a fascinating study for student professionalmusician and interested reader alike. John Marson has enjoyed a glittering career during which he has been principal harpist of the London Symphony Orchestra the BBC Symphony Orchestra Professor of Harp at the Royal College ofMusic and soloist and freelance.

for trumpet in C and piano

Kevin Volans ' A Short Walk In The Gardens Of Solitude For Solo Cello (2007). Kevin Volans ' A Short Walk In The Gardens Of Solitude for solo Cello (2007).

from 'Les Paginettes' 3 very easy Pieces without Octaves Op.133

El Bosque Mágico (La forêt magique) a été donné en création mondiale le 17 février 2002 au Palais de la Musique de Valence en Espagne par l’Orchestre d’Harmonie Municipal de Valence (Dir. : Pablo Sánchez Torella) et Jesús Fuster hautbois solo. / 1. Los Elfos (Les trolls) : issus des légendes scandinaves ces lutins mal intentionnés aiment jouer de mauvais tours à l’instar des trolls irlandais. Gardiens du trésor caché ces nains sont parfois représentés comme les assistants des magiciens et même du père Noël. / 2. Las Hadas (Les elfes) sont des figures mythiques des légendes et ballades scandinaves. Très petites par leur taille ces créatures ailéessont dotées de pouvoirs magiques. Les elfes bienfaiteurs sont des créatures protectrices proches des anges gardiens. Ce second mouvement s’inspire d’un film dans lequel une créature mécanique réussit à susciter des émotions et des sentiments puissants ; phénomène comparable à l’enchantement que les elfes communiquent aux humains : l’éveil de l’amour pour la vie. / 3. Los Gnomos (Les gnomes) : petits par leur taille (de 10 à 50 centimètres bien qu’il soit possible qu’il en existe de plus grands) les gnomes vivent vraisemblablement dans les bois où les lieux boisés. Ils possèdent des pouvoirs magiques parce que leur vision du monde n’est pas soumise à une rationalité stricte contrairement à celle des humains. Les gnomes maintiennent des traditions vieilles de plusieurs millions d’années et leur but ultime est d’accéder à la maturité spirituelle.

With its sumptuous layered harmonies this beautiful choral arrangement of White Christmas is the ideal piece for choruses seeking an impressive centrepiece for their festive programme. Arranged for SAB choir with piano accompaniment by Christopher Hussey you can add some luxurious jazz inspired splendour to your seasonal repertoire this Christmas!

First publication of the Purcell manuscript discovered in 1993 and now held in The British Library London. This publication has been edited by leading British harpsichordist Davitt Moroney and includes his fascinating preface illustrating the collection's background and importance five facsimile pages and a recording of all the pieces on CD. First publication of the Purcell manuscript discovered in 1993 and now held in The British Library London. This publication has been edited by leading British harpsichordist Davitt Moroney and includes his fascinating preface illustrating the collection's background and importance five facsimile pages and a recording of all the pieces on CD.

Dale Warland Choral Series-With homage to Bruckner and Messiaen the gentle phrases and rich harmonies of this contemporary Latin setting will resonate throughout your performance space. Sleep Jesus. Thy mother smiles when she sees such gentle slumber. Sleep Jesus gently. Duration: ca. 4:40. With homage to Bruckner and Messiaen the gentle phrases and rich harmonies of this contemporary Latin setting will resonate throughout your performance space. 'Sleep Jesus. Thy mother smiles when she sees such gentle slumber.Sleep Jesus gently.' Duration: ca. 4:40.

This album for mixed choir and piano contains a selection of richly varied choruses from Italian French German English and Russian operas from the 17th to 19th centuries illuminating the great diversity of the genre.Included are opera choruses from the following works:· Claudio Monteverdi: L’Orfeo· George Frideric Handel: Acis and Galatea HWV 49b· Christoph Willibald Gluck: Alceste (Vienna Version 1767)· Wolfgang Amadeus Mozart: Idomeneo K 366· Franz Schubert: Fierabras D 796· Vincenzo Bellini: Norma· Camille Saint-Saens: Samson et Dalila· Georges Bizet: Carmen· Pyotr Ilyich Tchaikovsky: Eugen Onegin (Cyrillic script with transliteration) This album for mixed choir and piano contains a selection of richly varied choruses from Italian French German English and Russian operas from the 17th to 19th centuries illuminating the great diversity of the genre. Foreword (Ger/Eng) which places the choruses in their dramatic context and includes suggestions for study and interpretation Notes on pronounciation of the Russian song text In a large format (23 x 30 cm)

Chorale partita on the Weihnachtsgeschichte Christmas Story- Es ist ein Ros entsprungen Op.10 Chorale partita on the Weihnachtsgeschichte (Christmas Story) for Mixed choir (SATB) Hugo Distler born on the 24th June 1908 in Nuremberg and died on the 1st November 1942 in Berlin was a German organist choral conductor teacher and composer. He studied at the Leipzig Conservatory moving to Berlin in 1940 where he became Director of the Berlin National and Cathedral Choir.

Kaija Saariaho ’s La Passion De Simone was commissioned jointly by the Vienna Festival Los Angeles Philharmonic the Barbican London and Lincoln Center New York.