Also available for Alto (SP827). Songs for Claire is intended to portray a life journey with all the joys and trials that may be encountered. From a personal point of view it was written in memory of my childhood best friend Claire who sadly died of cancer aged 10. I think most people will be able to relate to the moods of the three movements and draw from their own life experiences in order to create the expression desired. Living Life begins with a pure and innocent piano introduction where life twinkles into being. The performers should aim for a sweetness and pure innocence. At this stage there have been no challenges and trials. Try to see this through theeyes of a child. At bar 71 we should be able to soar with the sheer exuberance and joy of life. The mood begins to take a downward turn via the piano there after bar 91. This is where situations begin to take a turn for the worse with much more agitation and a darker emotion takes over. Troubled Times now takes us onto a road that we would prefer not to be on everything should be quite agitated and restless. I had a strong feeling in this movement that it should show a battle of wills within; trying to stay positive (the sweeter timbral trills) and trying to fight the ever nagging negative thoughts. Performers should feel able to release fully where the score is marked 'desperately' because these are the cries of one who is struggling to keep fighting. At letter E the pianist should play almost with anger with strong stress to accented notes. At letter H the timbral trills stop abruptly and this indicates that the struggle is over if you imagine a heart monitoring machine that suddenly gives out is length monotone indicating the end of life. The rest of the movement relaxes into the peace of the final movement. Flying Free is similar in feel to Living Life. You will see that the initial theme is reversed. In the first movement we see the theme very introverted probably as we often look inwards in life. In

Gabriel Og Maria af John Hoybye . Juleoratorium for blandet kor (SATB) recitator soli flojte orgel klaver og bas (trommer/percussion ad lib.). Stemmesaet: WH31081A Korpartitur: WH31081B Tekster af Britt G. Hallqvist. Programnote: I 1985 udkom Gabriel og Maria - 7 sange til jul for kor og rytmegruppe. Det var nyt pa den tid at skrive kormusik - oven i kobet til kirkelige tekster - der skulle akkompagneres af jazz/rock-musikere og hvor korsangerne skulle udfolde sig i stilarter som bossa samba og jazzvals. Men sangene blev hurtigt populaere og allerede i de forste ar efter udgivelsen blev de en fast del af mange kors julerepertoire bade herhjemme og i Skandinavien (i en svensk-sproget udgave) - ja helt til USA kom de (i en engelsk-sproget udgave). Taet pa 25 ars jubilaeet er det nu tid til en revideret ny-udgivelse. Selve sangene er der ikke lavet om pa - men storformen er aendret saledes at vaerket nu fremstar som et lille juleoratorium med recitationer og orgel-mellemspil. En enkel ny sats er kommet til: Lovsangen Stjerner og vinde og skyer og de instrumentale mellemspil (soli for flojte/sax piano eller bas) er udbygget pa forskellig made. Normalt er det instrumenterne der akkompagnerer koret. Men i de instrumentale mellemspil er rollerne byttet om. Nu er det koret der med riffs scatsang og forskellige akkordbaserede figurer 'akkompagnerer' de improviserende solister. Flojten vil - med passende oktaveringer - kunne erstattes af saxofon (sopran og/eller alt). Det forudsaetter dog at saxofonisten er i stand til - ogsa - at spille med smuk 'klassisk' klang. Recitationsteksterne er taget fra Cecil Bodkers bog: Marias barn (Gyldendal). Orgelsatserne

Three arrangements including Ave Verum Corpus and the Lacrimosa from the Requiem. During the year 1771 when Mozart was 15 years old he and his father Leopold were touring Italy which was at that time the most formidable citadel of the music world. In the following four years the young Mozart was received at the homes and villas of Italy's aristocracy. He met the most famous musicians of the time including Niccolo Piccinni operatic rival to Gluck and Padre Martini from whom he was to benefit from studies in counterpoint. He also met many noted male soprano singers and for one the celebrated Venanzio Rauzzini he wrote in 1773 the motet Exsultate Jubilate from whichcomes the well known Alleluia. At the end of his life only 19 years later in Vienna 1791 Mozart was very ill and working on a number of massive works such as the operas The Magic Flute and Titus also the Requiem. Titus was completed in 18 nerve-shattering days as it had to be performed in Prague in September 1791. At its premiere it was a complete flop. This affected the now overworked almost penniless composer's spirit and he returned to Vienna suffering from mental and physical exhaustion. Rest was denied him. The Magic Flute had to be finished for its premier on September 30th 1791. The task of the Requiem still faced him. In this weakened state Mozart thought that he was in fact writing his own requiem reading evil omens into the commissioning of the work. He thought someone had calculated the precise time of his death and was thus troubled with sombre thoughts. He completed the first two of the twelve parts. The next six parts were in an unfinished state and his manuscript ceased at the Lacrimosa. Süssmayer who was working closely with Mozart at the time was given the task of finishing the Requiem. Ave Verum Corpus is also one of his final works. It is a setting of an anonymous hymn written as a motet for Anton Stoll the choirmaster at Baden in June 1791. Mozart was a composer of great genius who

Programme note:Alloy II for Viola and Classical AccordionThe two instuments of this duo are very different in appearance and in the way of playing as well as toneproduction. At first glance this might call for a music which brings out these differences in the nature ofthe instruments distributing distinct even contrasting musical roles to the two players such as melodyversus accompaniment. But I refrain from this obvious ‘casting’ of the instruments since I have alwaysbeen fascinated by the less evident by transitions and gradual displacement by the intangible placesbetween one and the other. I search for this ‘terrain vague’ of fruitfull incertainty andpermanent genesis.To arrive here I have in this piece written a music which makes hidden relations and unexploredsonorous paths come forward between the sound worlds of the two instruments. Bringing together themusical substances I look for something deeper than just common sounds: a fresh musical place. And thelively and bright sound world that emerges form this instrumental and textural ’in-between’ I associate toalloys in particular the silvery amalgamations of mercury.The work was commisioned by Andreas Borregaard and composed with support from The Danish ArtsFoundation. It is dedicated to the duo Inviolata.Niels Rosing-Schow Alliage (Alloy) II (2008) for Viola and Classical Accordion. Player's score. Programme note: The two instuments of this duo are very different in appearance and in the way of playing as well as toneproduction. At first glance this might call for a music which brings out these differences in the nature ofthe instruments distributing distinct even contrasting musical roles to the two players such as melodyversus accompaniment. But I refrain from this obvious casting' of the instruments since I have alwaysbeen fascinated by the less evident by transitions and gradual displacement by the intangibleplacesbetween one and the other. I search for this terrain vague' of fruitfull incertainty and permanent genesis.To arrive here I have in this piece written a music which makes hidden relations and unexplored sonorous paths come forward between the sound worlds of the two instruments. Bringing together the musical substances I look for something deeper than just common sounds: a fresh musical place. And the lively and bright sound world that emerges form this instrumental and textural 'in-between' I associate toalloys in particular the silvery amalgamations of mercury. The work was commisioned by Andreas Borregaard and composed with support from The Danish Arts Foundation. It is dedicated to the duo Inviolata. Niels Rosing-Schow

The Mission is a contemporary and exciting composition from 2001-2 by celebrated Danish composer Anders Brødsgaard. It is scored for 8 instruments: Flute Oboe Clarinet Percussion Piano 2 Violins and Viola. The Mission is a contemporary and exciting composition from 2001-2 by celebrated Danish composer Anders Brødsgaard. It is scored for 8 instruments: Flute Oboe Clarinet Percussion Piano 2 Violins and Viola.

Oboe and Piano- ' The Sapphire ' is dedicated to Heath's daughter Naima Sapphire. On the day she was born in 2000 Heath was walking over the meadows in Edinburgh to see her and could hear bagpipes playing in the distance. That inspired him to write this piece. The melody and over-all style are influenced by Scottish traditional music however the harmonies come from modern jazz.

Quartetto Per Due Flauti Fagotto E Cembalo Op. 380 composed by Niels Viggo Bentzon .This is the perfect addition to the full score (WH32002). Quartetto Per Due Flauti Fagotto E Cembalo Op. 380 has been composed by Niels Viggo Bentzon .This is the perfect addition to the full score (WH32002).

Wilhelm Popp studied with the great Louis Drouet in the 1850s and wrote many charming works for the flute this among them. Susan Milan acclaimed soloist and teacher has edited this elegant edition. Susan Milan discovered the charming Popp Sonatinas Op. 388 while researching 19th century flute repertoire in the British Museum Library. These beautifully crafted works are all without exception a delight to play and suitable for a broad level of player. They are a lovely example of Classical style and detailed in a way that makes them a joy to perform and as they are less than 10 minutes long they are a perfect addition to a short recital programme. Wilhelm Popp studied with the great Louis Drouet in the 1850s and wrote many charming works for the flute thisamong them. Susan Milan acclaimed soloist and teacher has edited this elegant edition. Susan Milan writes: 'I discovered the charming Popp Sonatinas Op. 388 while researching 19th century flute repertoire in the British Museum Library. They were first published in Hamburg in 1888. These beautifully crafted works are all without exception a delight to play and suitable for a broad level of player. They are a lovely example of Classical style and detailed in a way that makes them a joy to perform and as they are less than 10 minutes long they are a perfect addition to a short recital programme. In editing the Sonatinas I have tidied some of the articulation making the flute part consistent. Discrepancies between markings in the flute and piano part have been corrected. I have occasionally added some slurs where I feel the lyrical nature of a section might be enhanced shown as 'dotted' slurs. Where staccati appear to be missing I have added them. I have not on the whole added expression marks. I have not changed or removed original markings.'

Eulenberg'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.

These arrangements of three lilting folk songs ( Billy Boy Blow the Wind Southerly The Keel Row ) are lovely to play and to listen to. They are straightforward technically and so accessible for beginner to intermediate standard players (Grade 4-6).

For Beginner Flautists-Animal Flute is a series of themed compositions for the beginner. The pieces are all beautifully arranged with imaginative CD accompaniment capturing the character of the animals within the music. Each piece focuses on a different musical aspect such as slurring staccato rests ties dynamics triplets trills and grace notes. Each tune has a complete performance with the flute and accompaniment and then a version with accompaniment only. Pete Regan co-wrote some of the tunes in the book and thanks go to Eleanor Boalch for writing the melodies to 'The Elephant' and 'The Bird'. CD produced and engineered by PD Productions Keyboards: DianaSanders Electric and acoustic guitars: Pete Regan Bass Guitar: Pete Regan Flute: Diana Sanders.

String Quartet No.1 - 'Quartetto Breve' (1952) by Per Nørgård. Programme note: The spectrum of sound the gesticulation - in short the very nature of the strings - has always had a central place in my output demonstrated by the numbers of string quartets concertos with string soloist chamber and solo works. The interest dates back to my school years when I was fortunate to be able to compose for a cello-playing schoolmate and to accompany him on the piano. I discovered then the innumerable nuances of sound and playing varieties offered by just one bow four strings and five fingers.. My first string quartet - Quartetto Breve - has a firm root in the Nordictradition and is strongly inspired by Jean Sibelius (1865-1957) and my teacher Vagn Holmboe (1909-96). Per Nørgård (1998) String Quartet No.1 - 'Quartetto Breve' (1952) by Per Norgard. Programme note: The spectrum of sound the gesticulation - in short the very nature of the strings - has always had a central place in my output demonstrated by the numbers of string quartets concertos with string soloist chamber and solo works. The interest dates back to my school years when I was fortunate to be able to compose for a cello-playing schoolmate and to accompany him on the piano. I discovered then the innumerable nuances of sound and playing varieties offered by just one bow four strings andfive fingers.. My first string quartet - Quartetto Breve - has a firm root in the Nordic tradition and is strongly inspired by Jean Sibelius (1865-1957) and my teacher Vagn Holmboe (1909-96). Per Norgard (1998)

Voice Instrument. Emig R

Der Song Wenn Du dich traust von Annett Louisan gesungen zusammen mit Laith Al-Deen aus dem Album Das optimale Leben - Tour Edition in einer Bearbeitung fur gemischten Chor von Clemens Schäfer. SATB und Klavier.

A jazzy satirical piece arranged for tenor saxophone and piano by popular request. Grade: 8

Fragtment af Mariahymne fra det 13. århundrede Tekst: Anonym på dansk ved ole Sarvig Fragtment af Mariahymne fra det 13. århundrede Tekst: Anonym på dansk ved ole Sarvig

O Haupt voll Blut und Wunden Jesu Meine Freude and Sollt'ich Meinem Gott Nicht Singen - A selection of Bach's most interesting harmonisations with equal opportunities for each of the four players. Fairly easy to play ideal for group teaching.

For Recorder ensemble of Soprano Tenor Alto and Bass recorders. For Recorder ensemble of Soprano Tenor Alto and Bass recorders.

This musical by Peter Rose and Anne Conlon was specially commissioned by the World Wildlife Fund for Nature to mark the organisation's 50th anniversary. Synopsis: The oak tree the panda the polar bear and the tiger remind us of the great wonders and beauties of the earth and the intricate threads of life linking every living thing. The children of the world tell us about the amazing web of trade and communication which has produced our exciting modern world with its global transport systems and its ever-changing technology. But as the musical unfolds the characters become more and more worried by changes beyond their control. The children ofthe world wonder how they can help to protect this wonderful life we all know.

A large collection of stylish Jazz Pop and Rock style numbers written by experienced Horn player and educator from Manchester Andrew Wilson. These pieces are progressivly graded so there is material to suit any intermediate standard player and upwards. The book includes a free full length backing CD contianing the accompaniment for every tune for practicing without a Piano. Also included: TWO Horn parts to satisfy both F and Eb exponents. Grade: 4 - 8