Octet in F major D 803-The model for this composition was Beethoven’s Septet op. 20 whose Divertimento character and six-part layout were adopted by Schubert although he merely expanded the instrumentation by adding a second violin. In a letter he numbered hisoctet amongst the chamber music works with which he desired to blaze a “path to the great symphony”. It can no longer be ascertained whether the composition was commissioned by Count Ferdinand Troyer who had a musical salon in Vienna and played theclarinet. We only know that Schubert composed the work at the beginning of 1824 taking only a few weeks to do so and that it was shortly performed at Troyer’s afterwards. Today it is one of the most popular larger chamber music works. Franz Schubert 's Octet In F major D 803 for Clarinet (B flat/C) Bassoon Horn (F/C) 2 Violins Viola Violoncello and Double Bass. This composition was modelled on Beethoven’s Septet op. 20 whose Divertimento character and six-part layout were adopted by Schubert although he merely expanded the instrumentation by adding a second Violin. In a letter he numbered his octet amongst the chamber music workswith which he desired to blaze a “path to the great symphony”. It can no longer be ascertained whether the composition was commissioned by Count Ferdinand Troyer who had a musical salon in Vienna and played the Clarinet. We onlyknow that Schubert composed the work at the beginning of 1824 taking only a few weeks to do so and that it was performed at Troyer’s shortly afterwards. Today it is one of the most popular larger chamber music works.

Charles Woods Full Fathom Five for SATB choir unaccompanied. This work is a setting of text from The Tempest Act 1 Scene 2 by William Shakespeare.Duration: 2 minutes.A Piano accompaniment is included for rehearsal purposes only. Charles Wood' s Full Fathom Five for SATB choir unaccompanied. This work is a setting of text from The Tempest Act 1 Scene 2 by William Shakespeare . Duration: 2 minutes. A Piano accompaniment is included for rehearsal purposes only.

Johannes Brahms ' Drei Intermezzos Op.117 .

Seven Poetic Songs-Volume 1 - Seven Poetic Songs for medium voice and piano.

Anna R. Matthews writes: 'Frederick Niven's poem tells the story of Christmas in 1914. On Christmas Day a truce was spontaneously enacted by the two sides fighting in Flanders in World War One. This was five months into the war which until this point many in Britain had confidently believed would be over by that time. When the two sides lay down their weapons in the name of humanity and met in the middle of no-man's-land they would not have realised the bloodshed that was to come as the war dragged on for a further four years - a conflict so atrocious that it came to be known as 'the war to end all wars'. This carol conveys the unknowing innocence of thosemen and the joy of Christmas yet explores the sinister context in which they met and the future which was to come. Ultimately the events of the 1914 Christmas truce came to symbolise the universality of hope and peace at Christmas. This carol brings this message into the twenty-first century.' Anna R. Matthews is a composer living in Exeter England. Born in Devon Anna studied music at Durham University where she was awarded the Rosalind Dickinson Prize. She enjoys working with some of today's most talented and creative ensembles: from Psappha to EXAUDI and from cathedral choirs to youth ensembles. Her music has been broadcast on BBC Radio 3 and she has been a featured new music composer in Choir & Organ magazine. Anna was a finalist in the 2011 King James Bible Composition Awards and is a 2013/24 Arts Council England fellow on the Clore Leadership Programme. She is also a fellow of the Royal Society of Arts.

for SSAA and organ or piano or strings & harp Faure's Cantique de Jean Racine has all the emotional appeal and refined elegance that one associates with its composer and has a cherished place in the repertory of both sacred and secular choirs. This arrangement for upper voices remains as faithful to the original as possible. Fauré's Cantique de Jean Racine has all the emotional appeal and refined elegance that one associates with its composer and has a cherished place in the repertory of both sacred and secular choirs. This arrangement for upper voices remains as faithful to the original as possible.

Traditional Spanish songs composed by this Catalan composer and theorist (1665 - 1747) for voice flute and piano.

For SATB (or unison) voices and organ. For SATB (or unison) voices and organ.

Nico Muhly 's Let All The World In Every Corner Sing for SATB chorus Cello and Organ. Part for Cello. Let All The World In Every Corner Sing was commissioned by Graham Ross and the Choir of Clare College Cambridge and first performed on 27 May 2014 by them with Peter Harrison Organ and Benjamin Michaels Cello. Nico Muhly 's Let All The World In Every Corner Sing for SATB chorus Cello and Organ. Part for Cello. Let All The World In Every Corner Sing was commissioned by Graham Ross and the Choir of Clare College Cambridge and first performed on 27 May 2014 by them with Peter Harrison Organ and Benjamin Michaels Cello.

Heritage of English Song first published in 1986. 1. This endris night -- 2. The pink frock -- 3. So sweet love seemed -- 4. Love on my heart -- 5. Daybreak -- 6. Cradle song -- 7. What pleasure have great princes -- 8. Pleasure it is -- 9. The colour -- 10. If it's ever spring again -- 11. Tolerance -- 12. Epitaph.

for SATB and organ/chamber orchestra Taken from Rutter's edition of FaurACO's Requiem this famous movement features both the original French words and an optional English text. John Rutter's complete edition of FaurACO's Requiem (1893 version) is available from Oxford University Press with scores and parts available on sale and on hire.

Written ATB choir.

Peter Warlock's Four Cod-Pieces arranged for Organ by Malcolm Rudland. Duration: 6 minutes Peter Warlock's Four Cod-Pieces arranged for Organ by Malcolm Rudland. Duration: 6 minutes

Philip Stone is an actor of long and wide experience. In cinema he has worked with distinguished directors such as Stanley Kubrick Lindsay Anderson and Stephen Spielburg. he has also been a familiar face on our televisions for the past thirty years as well. Down those years he's always had a quiet ability to compose songs-words and music. They were written en passant in various places: in a tubercular chalet on the shores of Morecambe Bay - in a back room in Brixton - in a bedroom in Leeds - in a friend's house in St John's Wood. Some of these songs feature in his one-man show Beginnings and Endings and these eight are a varied example of that ability.

A charming and very attractive new addition to the repertoire from the pen of Mike Cornick - well known for his jazz publications. A charming and very attractive new addition to the repertoire from the pen of Mike Cornick - well known for his jazz publications.

Composed in France over a century ago these three short pieces are ideal for the intermediate bassist. The style is lyrical tonal and approachable offering interesting study or concert repertoire with lively supportive and effective accompaniments. Parade is lively and rhythmic remaining in bass clef throughout; Cantabile is melodic and dramatic offering cantabile and musical challenges in equal measure and Menuet Varie has lyrical and rhythmic contrasts and is the most challenging of the three. Ratez was a fairly prolific composer and these pieces were dedicated to M. Charpentier Professor of Double Bass at the Paris Conservatoire. These piecesare popular with students and teachers alike.

Carl Philipp Emanuel Bach's Sonata For Viola and Obligato Harpsichord In G Minor Wq 88 edited by Hugo Ruf.

for unison voices This publication makes available some of the most renowned and beautiful chants of the Gregorian repertory. All eleven chants have modern notation with editorial performance suggestions. The Gregorian chant has been a source of inspiration to the world for over a thousand years. Its pure unaccompanied melodic lines which have so long adorned the worship of the Christian church have never been surpassed for beauty to their texts. Here a collection of 11 Gregorian chants have been gathered together for a selection of mixed voices. Edited by the brilliant John Rutter.

Kerry Andrew 's Luna-cy for three voices (SSA). Duration: 5 minutes Composed: 2001 Also published as part of UYMP's Songspin Songbook ISMN M 57036 603 3. A cuckoo called: I looked towards the sound but only the moon of the dawn was there. Fujiwara Sanesada. Translation by Geoffrey Bownas and Anthony Thwaite from ‘The Penguin Book of Japanese Verse’ (Penguin Books 1964 Revised edition 1998 2009). Reproduced by permission of Penguin Books Ltd. I had an animalistic expression of madness in mind for this piece. The Japanese tanka above seemed to encapsulate the idea of madness associated with the moon ('lunar'= 'lunacy') and with cuckoos. Kerry Andrew 's Luna-cy for three voices (SSA). Duration: 5 minutes Composed: 2001 Also published as part of UYMP's Songspin Songbook ISMN M 57036 603 3. A cuckoo called: I looked towards the sound but only the moon of the dawn was there. Fujiwara Sanesada. Translation by Geoffrey Bownas and Anthony Thwaite from ‘The Penguin Book of Japanese Verse’ (Penguin Books 1964 Revised edition 1998 2009). Reproduced by permission of Penguin Books Ltd. I had an animalistic expression of madness in mind for this piece. The Japanese tanka above seemed to encapsulate the idea of madness associated with themoon ('lunar'= 'lunacy') and with cuckoos.

Research has shown that many printed editions from the 18th Century provide more reliable guidance as to the composer’s intentions than Mozart’s own autograph manuscript; the composer himself prepared many of his works for printing marking them with precise performance instructions for dynamics and articulation. He devoted particular care to the slow movements which are often richly ornamented in the printed editions. This knowledge together with regained access to source materials in the libraries of Eastern Europe gives us sufficient grounds to publish a new Wiener Urtext edition of Mozart’s Sonatas. Advice on performance from the renowned Mozart connoisseur Robert D.Levin provides fresh stimulus for revising rather tired standard interpretations of Mozart. Research has shown that many printed editions from the 18th Century provide more reliable guidance as to the composer’s intentions than Mozart ’s own autograph manuscript; the composer himself prepared many of his works for printing marking them with precise performance instructions for dynamics and articulation. He devoted particular care to the slow movements which are often richly ornamented in the printed editions. This knowledge together with regained access to source materials in the libraries of Eastern Europe gives us sufficient grounds to publish a new Wiener Urtext edition of Mozart ’s Sonatas. Advice on performance from the renowned Mozart connoisseur Robert D. Levin provides fresh stimulus for revising rather tired standard interpretations of Mozart .