For SATB Choir and Organ. For SATB Choir and Organ.

Contents: Alkan: Fantasy in A b Op. 76 No. 1 C.P.E. Bach: Klavierstuck Solfeggietto J.S. Bach: Gavotte in E Bartok: Etude for the Left Hand Berens: 9 Etudes (from The Training of theLeft Hand Op. 89) Berger: Etude for the Left Hand Op. 12 No. 9 Blumenfeld: Etude Op. 36 Bonimici: Etude No. 3 Op. 273 Chopin: Etude in E b Minor Op. 10 No. 6 Czerny: Etude forOne Hand Ganz: Capriccio in E b Op. 26 No. 2 Godowsky: Elegy Meditation Greulich: Etude for Left Hand (from Etudes de Salon Op. 19) Kalkbrenner: Four-Voiced Fugue Kohler:Exercise in Arpeggio Melody from Weber's Freischutz Rhythmic Studies Three Folk Songs for the Left Hand Liszt: Hungary's God Marzsen: La Ricordanza Moskowski: Etude Op. 92 No. 4 Reger: FourSpecial Studies Reinecke: Finale (from Sonata for the Left Hand Op. 179) Saint-Saëns: Moto Perpetuo Op. 135 No. 3 Scriabin: Nocturne Op. 9 No. 2; Prelude Op. 9 No. 1 Tappert: 2Exercises (Nos. 22 and 45 from 48 Exercises for the Left Hand ) Zichy: Viennese Pranks.Music for Piano for Left Hand compiled by Raymond Lewenthal - either for students who have temporarily or permanently lost the use of one hand or for pianists of all levels (above approx Grade 5-6) who believe their left-hand playing is not as accomplished as their right (which may well include every pianist!). These pieces vary in difficulty. Some are technical studies can be considered part of a programme of study yet they are not just exercises; many of these pieces are extremely interesting and well-written and eminantly suitable for recital. The book includes some very useful notes about the history of left-hand music and practice techniques.

Ludwig Van Beethoven's Piano Sonata in C-sharp minor Op.27 No.2 most famously known as the Moonlight Sonata is one of his most popular and well known solo piano works. This single sheet contains the opening movement Adagio sostenuto which is a very beautiful and gentle movement with an underlying intensity. This edition is a wonderful piece to add to the repertoire of any accomplished pianist. Edited by Christopher Griffin.

Three Pieces for Organ solo by Fank Bridge. Three Pieces for Organ solo by Fank Bridge.

Bach 'Bouree in C minor' for viola and piano transcribed by Alan Arnold. Bach 'Bouree in C minor' for viola and piano transcribed by Alan Arnold.

The Paganini Variations occupy a special place in Brahmss piano oeuvre. They are true to their main title a work for study but at the same time (in contrast to for instance the 51 exercises) also suited for concert performances. Both aspects were important to Brahms himself too. When he planned the variations in 1862/63 he was still working on a loose collection of individual exercises Brahms used as finger practice when the pianist prepared for concerts. He eventually reworked this collection of exercises into a work in its own right in 1865 repeatedly playing it in concert and publishing it in 1866. The Paganini Variations are also interesting in theirdouble function for contemporary pianists. Anyone studying them is able to marvellously develop his or her piano technique while at the same time working on a very effective piece for concert events. For the first time all the sources known to us could be used for this new edition even two early manuscripts that were thought to be lost after 1945 and were rediscovered in St. Petersburg just a few years ago. The Paganini Variations occupy a special place in Brahms ' Piano oeuvre. They are true to their main title a work for study but at the same time (in contrast to for instance the 51 exercises) also suited for concert performances. Both aspects were important to Brahms himself too. When he planned the variations in 1862/63 he was still working on a loose collection of individual exercises which he used as finger practice when preparing for concerts. He eventually reworked this collection of exercises into a 'work' in its own right in 1865 repeatedly playing it in concert and publishing it in 1866. The Paganini Variations are also interesting in their double function for contemporary pianists. Anyone studying them is able to marvellously develop his or her Piano technique while at the same time working on a very effective piece for concert events. For the first time all the sources known to us could be used for this new edition even two early manuscripts that were thought to be lost after 1945 and were rediscovered in St. Petersburg just a few years ago.

for SATB and organ or orchestra Words from Psalm 100 Orchestral material is available on hire John Rutter: O Be Joyful In The Lord for SATB and organ or orchestra. Words from Psalm 100 Orchestral material is available on hire.

Work for Organ dating from 1887.

The composer writes: 'Imagine a mighty chieftain approaching a camp - he is strong proud and rules over many people. Try and portray this feeling in your playing!' The Mighty Chieftain Comes is aimed at the beginner bassist and remains in 1st position throughout employing both arco and pizzicato. Crotchets (quarter-notes) and minims (half-notes) are used with short rests for the young player and a lively and exciting piano accompaniment should appeal to students and teachers alike. The Mighty Chieftain Comes was premiered on 22 December 2011 by 6-year old bassist Maximilian Haas and pianist Oxam Berchein at the Bosendorfer Saal in Eggenfelden Germany.

In Flanders Fields was composed by Paul Mealor and first performed at the Festival of Remembrance 2014 at the Royal Albert Hall. This sheet music is the Vocal score for SATB Chorus. At its first performance the orchestra featured musicians from various Armed Forces divisions lending an emotional air of pathos to this already saddening song. Based on the incredible poem by John McCrae Paul Mealor has crafted a hauntingly beautiful piece of music that manages to enhances the tragedy of McCrae's lyrics. A solemn yet inspiring composition this is one of Mealor 's best and is a joy to hear and perform. In Flanders Fields was composed by Paul Mealor and first performed at the Festival of Remembrance 2014 at the Royal Albert Hall. This sheet music is the Vocal score for SATB Chorus. At its first performance the orchestra featured musicians from various Armed Forces divisions lending an emotional air of pathos to this already saddening song. Based on the incredible poem by John McCrae Paul Mealor has crafted a hauntingly beautiful piece of music that manages to enhances the tragedy of McCrae's lyrics. A solemn yet inspiring composition this is one of Mealor 's best and is a joy to hear andperform.

for SATB double choir unaccompanied Giovanni Da Palestrina 's Stabat Mater for SATB double choir unaccompanied.

Voice Instrument. Marx K

Piano quintet with small string orchestra or string quintet.

for SATB unaccompanied This is a simple attractive folk-song setting of Shakespeare's 'O mistress mine' from Twelfth Night. Each of the two verses begins with double counterpoint between tenor and bass and soprano and alto and builds chromatically to a resounding cadence. The optional humorous ending provides a fitting conclusion to this delightful paean to love. This is a simple attractive folk-song setting of Shakespeare's 'O mistress mine' from Twelfth Night. Each of the two verses begins with double counterpoint between tenor and bass and soprano and alto and builds chromatically to a resounding cadence. The optional humorous ending provides a fitting conclusion to this delightful paean to love.

The Storm Hound is a fantastic musical fable for Narrator Upper Voices Percussion and Piano. With the libretto by Marian Lines and Music by Betty Roe this is another fabulous musical experience by this influential and productive partnership. This Vocal Score contains all the narrated parts and the Vocal and accompaniment scores with full lyrics.

for unison voices (with optional second part) and piano or orchestra Words and music by John Rutter. Orchestral material is available on hire. With words and music by John Rutter this gentle and moving carol features simple melodic lines and a delightful nursery-style Christmas text. For unison voices with an optional second part and full Piano accompaniment.

The Banks of Green Willow begins in pastorale mode with the title tune established in the Strings with solo clarinet. The work builds to quite a passionate climax before re-establishing the pastorale mood of the opening. The song on which the story is based has a tragic death at its centre which is reflected in the score.English composer and folksong collector George Butterworth who lived at the turn of the last century and lost his life in the First World War is known for his settings of selections of A E Housman’s A Shropshire Lad and for an Orchestral rhapsody he composed on the same theme. As a Recorder of folksongs he was successful in noting more than threehundred mainly from Sussex. One of them The Banks of Green Willow is the basis for the idyll for Orchestra that has been adapted here for Piano.

Volume 3-The third volume of Ernest John Moeran's Choral Music is for male voices. This centenary edition has been edited by John Talbot. The first half of the album is unaccompanied though a rehearsal accompaniment is included.

Transcribed for viola and piano by Alan Arnold. Includes separate viola part. Transcribed for viola and piano by Alan Arnold. Includes separate viola part.

Morag Galloway 's Dream of You for three voices (SSA). Duration: 2 minutes Composed: 2004 Also published as part of UYMP's Songspin Songbook ISMN M 57036 603 3. Dream of You sets Morag 's own poem and was commissioned by Juice for performance in a late night concert 'the witching hour' in York Spring Festival May 2004. The poem describes a dream in which a single night with someone is remembered. The compositional aim was to set the words as they came without repetition and not to repeat any musical material either. This was to try to recreate the strange familiarity of this dream and attempt to let it unfold in ‘real time’; to be as fleeting as the original night itself. Morag Galloway 's Dream of You for three voices (SSA). Duration: 2 minutes Composed: 2004 Also published as part of UYMP's Songspin Songbook ISMN M 57036 603 3. Dream of You sets Morag 's own poem and was commissioned by Juice for performance in a late night concert 'the witching hour' in York Spring Festival May 2004. The poem describes a dream in which a single night with someone is remembered. The compositional aim was to set the words as they came without repetition and not to repeat any musical material either. This was to try to recreate the strange familiarity of this dream and attemptto let it unfold in ‘real time’; to be as fleeting as the original night itself.