The 'Romanian Folk Dances' undoubtedly rank amongst Bartok's most popular compositions. The earliest version is scored for piano (1915) and was published by Universal Edition in 1918. The composer himself orchestrated this version in 1917. Several other chamber music arrangements (for example Zoltan Székely's version for violin and piano) were not by Bartok although he authorised them. The musical material derives from Bartok's collections of folk music which date right back to 1904 when he wrote down a melody sung by a Hungarian peasant girl. In the course of extensive travels throughout Eastern Europe Bartokcompiled an enormous collection of folk tunes (by 1918 his collection comprised no fewer than 2700 Hungarian 3500 Romanian and 3000 Slovak dances and songs) which would in all probability have been lost had Bartok not written them down. As it was some of them found their way into his compositions. In 1908 Bartok jotted down dance tunes in Transsylvania. They are the source of the 'Romanian Folk Dances'.

The music of George Gershwin is a vital component in the American music idiom both pop and concert hall. This is typified by his Concerto in F for Piano and Orchestra which is a subtle and graceful yet distinctive work full of charm and sweeping themes. It was this 1925 composition that proved he had made the transition between popular music and large-scale instrumental composition. Eulenburg's celebrated and highly authoritative miniature score is the definitive reference source for study performance preparation or simply for those with a love of the great orchestral works.

Michael Bojesen's Te Deum (2010). For Mixed Voices SATB Children's Chorus Soprano solo and Wind Quintet. Parts: WH31141A Piano score: WH31141B Chorus score (SATB+SA): WH31141C Children's chorus: WH31141D

Entertainer / Bethena- Two contrasting piano rags arranged for viola and piano: The Entertainer and Bethena . Grade: 5 - 6.

Grades 1 - 4-As I sit myself down to write this brief foreword I ask myself can there be music more stirring than these old Cornish folk melodies? Though not Cornish myself (I confess to being born a little further up the road in Bristol) I feel I have spent sufficient time in these 'ere parts to resonate with the sturdy brass band tradition that continues to permeate this incomparably beautiful rugged county. One can almost detect a French 'accent' when listening to the piano music of Debussy and likewise speaking as a lapsed brass player there is undoubtedly something of the Cornish twang about Trelawny when played on a cornet or euphonium. Then again one gets a different yetentirely convincing effect upon hearing these melodies rendered on woodwind instruments; hence with a little gamesmanship on my part I am pleased to see my collection of these fifteen delectable ditties come to fruition in the form of arrangements for treble clef brass instruments (in B flat and E flat) trombone and tuba (bass clef) horn in F flute clarinet and bassoon. While many will find themselves humming the likes of Going up Camborne Hill Lamorna or The Helston Furry Dance even before they have turned to the first page - for these are indelibly intertwined with Cornish culture – I wonder if I might draw your attention to The Cornish Squire The Pool of Pilate and Cold Blows the Wind Today Sweetheart which are quite simply sublime melodies perhaps needing that extra bit of help in bringing them to mind nowadays. In the best tradition of musical hand-me-downs Cornish folk music works equally ideally sung and played and only by doing so on a regular basis can such traditions hope to continue forward with vigour and authority. A legitimate way of achieving this is to revitalise the harmonic scheme of these ancient tunes and bring them up to date for a modern audience; after all it was such an approach that fuelled the imagination of Benjamin Britten and Ralph Vaughan Williams in decades past while skilfully paying homage to the

Robert SchumannPIANO SONATA NO. 4(completed by Karl Aage Rasmussen)has been recorded on CD byAmalie Malling pianoon the CD entitledSCHUMANN PIANO WORKSon the label Classico CDK 1072 Robert Schumann's Sonata No. 4 For Piano . Completed from the unfinished sketch by Karl Aage Rasmussen .

Pelle Gudmundsen-Holmgreen's Mirror Pieces for Clarinet Violoncello and Piano. Danish title: Spejlstykker Pelle Gudmundsen-Holmgreen's Mirror Pieces for Clarinet Violoncello and Piano. Danish title: Spejlstykker

solo saxophone edition- 20 hot studies for Saxophone compiled and edited by Nigel Wood. Set as part of the ABRSM examinations grade 6 7 and 8 for Alto or Tenor Saxophone.

Work for Chamber Ensemble (Flute Clarinet Violin Cello Percussion Piano and Guitar) composed in 1982. Work for Chamber Ensemble (Flute Clarinet Violin Cello Percussion Piano and Guitar) composed in 1982.

Beautiful classical melodies arranged for either Eb Tenor Horn or F French Horn. Both parts are included in the publication

Pelle Gudmundsen-Holmgreen: Green (SATB) For four voices Pelle Gudmundsen-Holmgreen's Green for 4 Voices (SATB). Programme note: New Ground - No Ground - Green In 1986 I wrote Ground for the Kronos Quartet. I used the principle of the baroque ground and created a series of chords - going up and going down symmetrically. The material formed the basis for the quartet. In my next collaboration with Kronos I wrote the darker Last Ground - at the time supposed to be my last composition of the kind. After some years this seemed a bit pathetic and I decided to write a new - lighter ground - New Ground . To disappoint mylisteners as much as possible I based this piece on a very old and very well-known ground: Pachelbel's Canon. The piece is tonal and that suggested another -atonal - composition - No Ground (based on another string quartet - no. 7 Parted from 1984 first performed by Kronos). I am very fond of the elaborated constructivism of the medieval or early renaissance music so in my view the two new quartets needed to be connected and combined. The two quartets can be performed in combination with the four-part vocal piece Green. The text is from medieval England. The pieces are written for the Kronos Quartet and Theatre of Voices.

Six Sonatas Op.2 for two Treble recorders by Georg Philipp Telemann. This volume contains Nos. 5 and 6 edited by Nikolaus Delius.

Capriccio nach Goya-Guitar. Behrend S Guitar. Behrend S

Grasps and holds the attention firmly'. The Times London. Well worth exploring. Grade: 8 'Grasps and holds the attention firmly'. The Times London. Well worth exploring. Grade: 8

3 Favourite Hymn Tunes-Thirty popular hymn tunes arranged for solo Bb clarinet in the low 'Chalumeau' register with chord symbols for optional guitar and/or keyboard accompaniment.

One of the most popular works by the Estonian minimalist Spiegel Im Spiegel is based upon extremely simple progressions assembled as repeating fragments that combine to create a breathtaking and stirring whole. The piece was featured in the 2003 Gus van Sant drama Gerry .

Klaverudtog-Kniven (The Knife ) - A Chamber Opera in 1 Act (1959) by Vagn Holmobe . Danish version. Libretto by the composer. Piano Reduction - English version : WH30944C Full Score: WH30944 Kniven (The Knife ) - A Chamber Opera in 1 Act (1959) by Vagn Holmobe . Danish version. Libretto by the composer. Piano Reduction - English version : WH30944C Full Score: WH30944

The edition is part of the ABRSM syllabus (grade 5)

This Concert music for String orchestra and brass instruments op. 50 was commissioned for the 50th anniversary of the Boston Symphony Orchestra in 1930. It stands in a series with the Concert music for solo viola and large chamber orchestra Op. 48 and the Concert music for piano brass instruments and two harps Op. 49. All three works show Hindemith endeavouring to explore new possibilities in concert repertoire with the aim of revitalising the vary nature of concert-going – an aim which is still relevant today. The printed music in the study edition of the score is based on the complete edition of Paul Hindemith’s works. This Concert music for string orchestra and brass instruments op. 50 was commissioned for the 50th anniversary of the Boston Symphony Orchestra in 1930. It stands in a series with the Concert music for solo viola and large chamber orchestra Op. 48 and the Concert music for piano brass instruments and two harps Op. 49. All three works show Hindemith endeavouring to explore new possibilities in concert repertoire with the aim of revitalising the vary nature of concert-going - an aim which is still relevant today. The printed music in the study edition of the score is based on the complete edition of Paul Hindemith's works.

Réduction pour piano & chant-Francis Poulenc's 6 movement Gloria for Soprano and Mixed Choir with a Piano reduction of the original orchestral material. Francis Poulenc's 6 movement Gloria for Soprano and Mixed Choir with a Piano reduction of the original orchestral material.