The Fashion Vs Music series celebrates the popular culture of eras gone by and the longstanding relationship between music and fashion. This Greeting Card features a design inspired by the classic Rock 'N' Roll style with sunglasses leather jackets and ripped fishnets.

This stylish bone china mug and lid set is decorated with vertical music staves and notes on the mug and a spiral keyboard on the lid. This mug is microwave safe. This stylish bone china mug and lid set is decorated with vertical music staves and notes on the mug and a spiral keyboard on the lid. This mug is microwave safe.

Music Stand-This Greeting Card with a musical vintage theme features a Music Stand design.

The perfect gift for a musician this white-gloss ceramic Mug features a quirky Drums design.

Designed by A. Giannelli and made from finest quality porcelain with a felt base this 5 inch miniature bust is sure to inspire and delight you.

A great practical gift for a Saxophone player or any music enthusiast this Saxophone Pencil Set from Vienna World contains six pencils with a Saxophone design.

black - white (6 pieces per packing unit)- Pack of 6 pencils featuring a Piano keys design.

Keyring featuring a letter of your choice set on a sheet music background.

Keyring featuring a letter of your choice set on a sheet music background.

Beyond The Romantic Spirit Book 2

In Bartók's career the period between 1910 and 1914 was devoted to intensive folk song collecting work. In those years his attention was focussed principally on Romanian folk music (in 1913 he published for example the Bihar collection and most of the Máramaros collection: in March 1913 in just two weeks he recorded 209 songs). The inspiration gained from his collecting journeys in Romania first appeared in the vocal folk song arrangements he composed in 1915 and in the smaller-scale moderately difficult piano series based on Romanian folk music material the Romanian Folk Dances Kolindák and the Sonatina. In the three movements of the Sonatina ('Pipers' 'Bears' Dance' and'Finale') Bartók used altogether five original Romanian melodies. In 1931 he made an orchestral arrangement of this exceptionally popular work and entitled it Transylvanian Dances. (Hungaroton HCD 31604)

Core Repertoire for Study and Performance

O Polichinello

Fantasie für Violine und Orchester

The Devil's Bridge

Andantino- English Dances Set I opus 27 is a light classic composition that was written for orchestra by the British composer Malcolm Arnold in 1950. The set contains four dances that continue without pause: the individual movements are indicated by the tempo markings. The work came about at the request of Bernard de Nevers at the time the head of publisher Alfred Lengnick & Co. who asked Arnold to write a suite of dances as an English counterpart to Dvo ák’s Slavonic Dances and Bartók’s Romanian Folk Dances. The première took place in the spring of 1951 played by the London Philharmonic Orchestra conducted by Sir Adrian Boult. Following the success of the first set DeNevers asked the composer to write a second one which Arnold completed the next year (Op. 33). The Andantino from the first set has been skilfully arranged and orchestrated for brass band by Ray Farr. English Dances Set I opus 27 is a light classic composition that was written for orchestra by the British composer Malcolm Arnold in 1950. The set contains four dances that continue without pause: the individual movements are indicated by the tempo markings. The work came about at the request of Bernard de Nevers at the time the head of publisher Alfred Lengnick & Co. who asked Arnold to write a suite of dances as an English counterpart to Dvo ák’s Slavonic Dances and Bartók’s Romanian Folk Dances. The première took place in the spring of 1951 played by the London Philharmonic Orchestra conducted by Sir Adrian Boult. Following the success of the first set DeNevers asked the composer to write a second one which Arnold completed the next year (Op. 33). The Andantino from the first set has been skilfully arranged and orchestrated for brass band by Ray Farr.

Szkhárosi Horvát András éneke egykorú dallama szerint

gyermek- n?i- vagy férfikarra zongorakíssérettel

The text comes from the pen of the seventeenth-century Welsh poet Henry Vaughan a leading metaphysical voice during the Commonwealth period (1649-1660) when the republican government of Oliver Cromwell banned the Anglican Church. Christ's Nativity was commissioned by the Cathedral Choral Society of Washington D.C. with support from the Richard Wayne Dirksen Memorial Endowment Fund. The selected lyrics by Welsh poet Henry Vaughan fascinated me immensely and therfore prompted me to think about a specific musical environment for the piece best suited for merging the music into this wonderful poetic landscape. This poetry brings about a strong mixture of the Evangelicalmystery of Christ's Nativity mystically evoked by Nature and at the same time reveals the optimism and drama of an ordinary individual that any human being can easily identify with.

When the BBC commissioned this work for the Last Night of the Proms 2018 I was given quite a detailed brief. First the work should be for the BBC Singers and BBC Symphony Chorus (with the BBC Symphony Orchestra) and the two choirs should be quite independent of each other. Secondly the words should acknowledge the centenary of the end of World War I but look optimistically to the future. For the centenary I chose In the Underworld by World War I poet Isaac Rosenberg written in 1914. Originally about unrequited love it can read if you do not know its context as a prophetic look at the next four years with the sense that the women left at home cannot begin tocomprehend the horrors their men face in the trenches. The BBC Singers represent Rosenberg and their music is based on a beautiful Ashkenazi-Jewish prayer mode – also known as the ‘Ukrainian Gypsy’ mode. While I was reading The Prophet by Kahlil Gibran (written in 1923) I came across these lines which seem to answer and assuage the fears expressed in Rosenberg’s poem. The BBC Symphony Chorus take on the role of Gibran singing in a beautiful melismatic Maronite Syriac chant into which faith Gibran was born in Lebanon. Later in his life he became very interested in Islam particularly Sufism; therefore the whole piece is in the form of a Sufi Zikr with Sufi devotional rhythms in the percussion starting quiet and low but slowly becoming higher faster and louder. The two choirs start separately but merge into a ‘conversation ’ sometimes overlapping and ending on a positive note: Rosenberg’s Creature of light and happiness over Gibran’s We shall build a tower in the sky. Quite by accident all three Abrahamic faiths are represented in this piece – but as Kahlil Gibran famously said: ‘You are my brother and I love you. I love you when you prostrate yourself in your mosque and kneel in your church and pray in your synagogue. You and I are sons of one faith – the Spirit.'