Richard Allain's Night for SATB and Cello. Night Was commissioned by Commotio and recieved its premiere in Merton College Oxford in June 2007 conducted by Matthew Berry and is available on the Herald label (HAVP340). Composer's Note: Given the long phrase lengths of Night it is suggested that choirs Stagger breathing where necessary. The last page of the score requires some explanation. The singers should split into three separate groups: two equal SATB choirs and an SATB solo quartet. Each group sings their own music - each repetition being separated by a long pause - independent of the other groups. Thus Choir I will begin and as they finish Choir II willcommence etc. The music should continue for about two minutes getting gradually quieter with each repetition. Though a common pulse should be kept the groups begin each repetition as they wish: the music should overlap and blur. Against this the solo Cello plays its fragments of melody. The choirs at the conductor's discretion should end in the order they began leaving the cello to play its last notes as the echoes fade. Duration: 20 minutes Richard Allain's Night for SATB and Cello. Night Was commissioned by Commotio and recieved its premiere in Merton College Oxford in June 2007 conducted by Matthew Berry and is available on the Herald label (HAVP340). Composer's Note: Given the long phrase lengths of Night it is suggested that choirs Stagger breathing where necessary. The last page of the score requires some explanation. The singers should split into three separate groups: two equal SATB choirs and an SATB solo quartet. Each group sings their own music - each repetition being separated by a long pause - independent of the othergroups. Thus Choir I will begin and as they finish Choir II will commence etc. The music should continue for about two minutes getting gradually quieter with each repetition. Though a common pulse should be kept the groups begin each repetition as they wish: the music should overlap and blur. Against this the solo Cello plays its fragments of melody. The choirs at the conductor's discretion should end in the order they began leaving the cello to play its last notes as the echoes fade. Duration: 20 minutes

Star of the East by Gordon Thornett for SATB (with divisions) and Piano or Orchestra. Thornett 's setting of this Epiphany text also known as 'Brightest and best' makes effective use of arching melodies and a variety of choral textures. The piece builds to a dramatic final verse with a Soprano/Tenor descant before a gentle ending. The accompaniment features bell effects and quotations of Gruber's famous 'Silent night' melody. For choirs who are low on male numbers there are options for omitting Tenor and Bass divisi parts.

The words of this old carol tell of the scene around the manger in Bethlehem an assembly of gentle creatures and many children of all backgrounds. A gentle arrangement with sincerity and warmth.

From the BBC TV series. From the BBC TV series.

The New Imperial Edition of Solo Songs has been designed as a chronological anthology of song from the Lutenists down to the present day. As other albums will be devoted exclusively to operatic and oratorio arias these are generally omitted from the present volumes.Manifestly the selection must be indicative rather than comprehensive or merely exclusive and is essentially practical not personal. Each song is briefly annotated and except where indicated appears in the original key or is set for the voice which it is normally associated.Apart from obvious restrictions the choice has been largely determined by certain positive needs. To provide the singing teacher andstudent alike with a working catalogue as a basis for more specialized research into the varied treasure of the literature of song; to give the festival committees and examination bodies a ready way of governing without unduly restricting the dangerous freedom of choice classes; to present the would-be accompanist with a convenient means of studying the many-sided aspects of the exacting technique; and lastly to offer to all singers whether amateur or professional a practical and logical conspectus of the diversities of lyrical song over a period of some three hundred years. If in addition these books will do something to combat the present-day weakness for vocal exhibitionism or narrow eclecticism the labour of their preparation will be doubly justified.The edition is part of the ABRSM syllabus (grade 8) Contains 30 songs for mezzo-soprano and piano including: When Daisies Pied (Arne) Know'st Thou The Land (Beethoven) The Undiscovered Country (Berlioz) The Blacksmith (Brahms) Angels Ever Bright And Fair (Handel) Now The Dancing Sunbeams Play (Ha ydn) Girls Song (Howells) Nymphs And Shepherds (Purcell) The Violet (Mozart) Dream Valley (Quilter) Slumber Song (Wagner ) Cradle Song (Schubert) Somebody (Schumann) To The Children (Rachmaninoff) Orpheus With His Lute (Sullivan) and more.

Zarzuela in one act.

Revised edition of HN 169-All piano students are familiar with Bach’s two-part Inventions – but virtuosos of the keyboard also keep coming back to these timelessly beautiful but by no means easy works. It is hard to believe what Bach was able to express using only two parts! In his famous preface the composer himself calls the work an “Instruction” which teaches students and keyboard lovers to “treat correctly” several parts to “achieve a singing style in playing” and to “acquire a strong foretaste of composition”. We are now presenting a new edition of this classic collection which draws upon all known sources. All Piano students are familiar with Bach 's Two Part Inventions - but virtuosos of the Keyboard also keep coming back to these timelessly beautiful but by no means easy works. It ishard to believe what Bach was able to express using only two parts! In his famous preface the composer himself calls the work an Instruction which teaches students and Keyboard lovers to treatcorrectly several parts to achieve a singing style in playing and to acquire a strong foretaste of composition. This edition draws upon all known sources.

Hear The Voice Of The Bard was commissioned by King’s College Cambridge and first performed on Christmas Eve 2013 at A Festival of Nine Lessons and Carols by the Choir of King’s College Cambridge conducted by Stephen Cleobury. Expertly composed by Thea Musgrave Hear The Voice Of The Bard is a setting of the William Blake poem Hear the voice of the Bard (1794). Hear The Voice Of The Bard was commissioned by King’s College Cambridge and first performed on Christmas Eve 2013 at A Festival of Nine Lessons and Carols by the Choir of King’s College Cambridge conducted by Stephen Cleobury. Expertly composed by Thea Musgrave Hear The Voice Of The Bard is a setting of the William Blake poem Hear the voice of the Bard (1794).

Dvo ák had previously written solo music for Hanus Wihan later the dedicatee of his cello concerto. When he was planning a trio concert tour for 1892 with Wihan and violinist Ferdinand Lachner and needed further works for cello and piano he reworked “Silent Woods” for cello and piano during the Christmas holidays of 1891. Originally a four-hand piano piece from his cycle “From the Bohemian Forest” the cantabile character piece became a popular recital item owing to its sonorous cello sound. Dvo ák later arranged it as an effective concert piece for violoncello and orchestra. The first edition of 1894 is the basis for editor and Dvo ák specialist Milan Pospíšil’s Urtext editionfor violoncello and piano.

Ten sacred and secular songs for soprano and piano Sing Solo Soprano is a collection of varied pieces edited with the younger singer in mind. The book contains two oratorio arias two operatic arias two Lieder or songs in foreign language and English songs; this is a fabulous volume that covers a wide variety of periods. Where possible each piece has been taken from the most authoriative and accurate sources from Urtext to First Manuscripts - though simple Piano reductions substitute the original continuo versions of the early pieces. For Soprano Solo with Piano accompaniment.

Riduzione per fagotto e pianoforte- Ermanno Wolf-Ferrari's Suite-concertino In F Op.16 for Bassoon with a Piano reduction of the original orchestral material by Ugo Solazzi.

Part-song for SATB with divisions (unaccompanied). Words by Ben Jonson.

Contents: Canzona in D Minor Christ Lag in Todesbanden Doric Toccata & Fugue Herzlich Thut Mich Verlang In Dulci Jubilo Jesu Meine Freude (My Joy) Liebster Jesu Wir Sind Hier Passacaglia & Fugat C Minor Pastorale Prelude & Fugue in A Minor Prelude & Fugue in C Prelude & Fugue in E Flat Prelude & Fugue in E Minor Prelude & Fugue in G Minor Prelude & Fuguein G Minor Sleepers Awake (Wachet Auf) Sonata II Toccata & Fugue in D Minor.A compilation of J.S. Bach's most famous works for Organ edited by Eduoard Nies-Berger Charles-Marie Widor and Albert Schweitzer.

The fact that the three so-called “Hallenser” Sonatas do not all date from Handel’s youth in Halle does not adversely affect their popularity. Since only very little is known about them and because certain stylistic characteristics suggest an early composition date the sonatas were formerly assigned to Handel’s Halle years. However we now know that at least the e minor Sonata was written in London. We include a combined part for Flute/Basso in this Urtext edition so that both players – flautist and accompanist – can play from this musical text. We are also offering in addition to the thoroughbass figuring a historically-appropriate thoroughbass realization withinthe score.

George Nicholson 's Madrigals In Memoriam Henri Pousseur for Trumpet (doubling Flugelhorn) Trombone and Piano. Score only. This work in nine movements was composed and published 2016. The duration is 24 minutes. George Nicholson 's Madrigals In Memoriam Henri Pousseur for Trumpet (doubling Flugelhorn) Trombone and Piano. Score only. This work in nine movements was composed and published 2016. The duration is 24 minutes.

Guiseppe Tartini's Sonata Angelique arranged for Viola and Piano by Alan H. Arnold. Guiseppe Tartini's Sonata Angelique arranged for Viola and Piano by Alan H. Arnold.

Arranged for unaccompanied SATB words by John Skelton. Commissioned for Cork International Choral and Folk Dance Festival 1983. Duration about 7 minutes.

This book contains 59 of the finest examples of the secular choral repertoire ranging from the late 15th to the 20th century and spanning all the major European countries. All the pre-twentieth-century pieces are in completely new editions going back to the earliest and most reliable sources. Includes English translations and playable keyboard reductions. Some items from this volume are available separately in the Oxford Choral Classics Octavo series. This volume includes 59 of the finest examples of the secular choral repertoire from the 15th to the 20th century. Edited by Clifford Bartlett.

This Ode was written by Purcell to welcome King Charles II back home to Windsor in 1680. It is arranged for soprano alto tenor and bass vocal parts.

When Love Speaks Is A Piece Composed By Owain Park For His Cycle 'Shakespeare Love Songs' Commissioned By The Maesbury Singers. This Work Is Arranged For Unaccompanied Satb Choir. The Cycle 'Shakespeare Love Songs' Is A Series Of Four Compositions That Set Shakespeare'S Words To Music. When Love Speaks Is A Setting Of Shakespeare'S Sonnet 116. Park'S Composition Certainly Does Justice To The Beauty And Universal Theme Of This Sonnet. When Love Speaks is a piece composed by Owain Park for his cycle 'Shakespeare Love Songs' commissioned by The Maesbury Singers. This work is arranged for Unaccompanied SATB Choir. The cycle 'Shakespeare Love Songs' is a series of four compositions that set Shakespeare's words to music. When Love Speaks is a setting of Shakespeare's Sonnet 116. Park's composition certainly does justice to the beauty and universal theme of this sonnet.