Orchestral parts for the Prelude to Act 2 of David and Saul by Carl Nielsen . Set includes strings 8.7.6.5.4. Orchestral parts for the Prelude to Act 2 of David and Saul by Carl Nielsen . Set includes strings 8.7.6.5.4.

Schumann was right in the middle of the preparations for the performance of his oratorio Das Paradies und die Peri when he wrote the sketches of Neujahrslied. How much vocal music meant to him is shown by the foundation the year before i.e. in 1848 of the society Verein für Chorgesang initiated by Schumann. Choir practice and choral composition were to have a stimulating influence on each other which shows in the reviews of Neujahrslied: 'This is truly expressive choral music being the product of a mind as sensitive as it is intelligent; both declamatory and melodic the thoughts are full of fortitude and touch the listener's heart.'Schumann's little known late work is arewarding addition to the repertoire for accomplished choirs.The score is based on volume IV/3/1 2 (RSA 1032-20) of the Schumann Complete Edition. Schumann was right in the middle of the preparations for the performance of his oratorio Das Paradies und die Peri when he wrote the sketches of Neujahrslied. How much vocal music meant to him is shown by the foundation the year before i.e. in 1848 of the society Verein fur Chorgesang initiated by Schumann. Choir practice and choral composition were to have a stimulating influence on each other which shows in the reviews of Neujahrslied: 'This is truly expressive choral music being the product of a mind as sensitive as it is intelligent; both declamatory and melodic the thoughts are full of fortitude and touch the listener's heart.' Schumann's little known latework is a rewarding addition to the repertoire for accomplished choirs. The score is based on volume IV/3/1 2 (RSA 1032-20) of the Schumann Complete Edition.

There are 4 versions: Flute and organ WH31848 Oboe and piano WH31849 Clarinet and piano WH31850 Oboe and organ KP00674 Niels Rosing-Schow's Twining dating from 1997 - Version For Clarinet and Piano. There are 4 versions: Flute and Organ WH31848 Oboe and Piano WH31849 Clarinet and Piano WH31850 Oboe and Organ KP00674

Set of parts for Nacht Und Trä ume by Per Nørgård (2005). Set of parts for Nacht Und Träume by Per Norgard (2005).

For choir and ensemble. For choir and ensemble.

Paperback- The Rhyme Of Taigu is a lively and powerful work for full Orchestra. The piece explores the energy and spirit behind Japanese Taiko or 'fat drum' (Taigu in Chinese). As a result the Percussion plays a key role providing an aggressive drive throughout the whole work and often in competition with the brass particularly in the thrilling climax.

Parts available = WH31374A Sunleif Rasmussen's Sunshine And Shadows (2000) for String Quartet. Parts available = WH31374A

from the opera The Midsummer Marriage-Tippett's decision to extract the four Ritual Dances from his opera 'The Midsummer Marriage' as a self-contained concert suite reflects the fact that the medium of dance was always present in his conception of the opera. From the start there was to be an interaction within the opera between the real world and the world of mythology partly Greek partly Celtic. This mythological element culminates in the finished opera in the 'Ritual Dances' of Acts 2 and 3. Tippett himself described his opera as a kind of elaborate 'L'après midi d'un faune' in which the 'Ritual Dances' display a powerful sexual energy though of a very different kind fromDebussy's voluptuous langour.Composition of The Midsummer Marriage occupied Tippett for six years from 1946 to 1952. The first performance of the Ritual Dances as a concert suite was given in Basel on 13 February 1953 by the Basel Kammerorchester conducted by Paul Sacher and preceded the premiere of the complete opera by two years. Today the Ritual Dances rival the Concerto for Double String Orchestra (ETP 1331) as Tippett's most widely-performed orchestral work. Tippett's decision to extract the four Ritual Dances from his opera 'The Midsummer Marriage' as a self-contained concert suite reflects the fact that the medium of dance was always present in his conception of the opera. From the start there was to be an interaction within the opera between the real world and the world of mythology partly Greek partly Celtic. This mythological element culminates in the finished opera in the 'Ritual Dances' of Acts 2 and 3. Tippett himself described his opera as a kind of elaborate 'L'après midi d'un faune; in which the 'Ritual Dances' display a powerful sexual energy though of a very different kind from Debussy's voluptuouslangour. Composition of The Midsummer Marriage occupied Tippett for six years from 1946 to 1952. The first performance of the Ritual Dances as a concert suite was given in Basel on 13 February 1953 by the Basel Kammerorchester conducted by Paul Sacher and preceded the premiere of the complete opera by two years. Today the Ritual Dances rival the Concerto for Double String Orchestra (ETP 1331) as Tippett's most widely-performed orchestral work.

Rosette Op.41 - '3 vekselsange' for Soprano Tenor and Piano by Vagn Holmboe composed 1946 / rev. 1980. Text: Frederic Mistral (trans. by Johannes Jorgensen).

Time Is A River Without Banks (Chagall says...) - Passage for violin mirror and electroacoustical equipment (1970).

Half a dozen short pieces representing different animals: from Monkeys to Kangaroos. Front cover: John Newberry's 'Spider Monkeys 2011'. Half a dozen short pieces representing different animals: from Monkeys to Kangaroos. Front cover: John Newberry's 'Spider Monkeys 2011'.

5 Songs of Ariel for mixed a-cappella choir was composed in 1950. In it Frank Martin used lyrics from Shakespeare's The Tempest to set them to music. The characteristic idiom of his music is the product of an emphatic endeavor constructively to extend the scope of conventional tonality by his judicious exploration of elements of twelve-tone technique. One feature of Martin's oeuvre then is his passionate dedication to the reconciliation of opposing extremes. This goes hand in hand with his extremely discerning eye for the elaboration of artistic subjects. His sensual clarity and elegance and the subtly shaded formal diversity whichare pervading features of his musical idiom invest his work with enduring worth.

Written for SATB and organ. Text from Psalm 121.

Two Irish Songs for Voice and Piano by Ludwig van Beethoven.

Eleven famous tunes arranged for Violin (or Accordion) and piano. The accompanying CD can take the place of a pianist and contains backing tracks for each tune with and without the solo line. Grade: 4 - 6

Nurturing Musical Expression and Understanding-Orff Schulwerk Today is addressed to all music teachers who want to develop clarity of purpose in a child-centred educational environment.It presents a fresh synthesis of doing and understanding that encourages students to express themselves in – and realize themselves through – music. The expertise of seven master Orff Schulwerk teachers is included to encourage skill development and understanding while materials from the Orff/Keetman volumes and American supplements address music and movement objectives. Over one hundred lessons are presented to highlight musical elements and encourage self-expression. A CD of listening examples from a variety of historical periods and culturalcontexts enhances the book.A former Fulbright teaching scholar in Austria Jane Frazee is the author of several collections of material for children's voices and instruments as well as the first textbook for applied Orff Schulwerk in American classrooms Discovering Orff. She received the highest honor from the international Orff-Schulwerk Foundation: the Pro Merito award.

A version for bassoon with piano reduction.

Simple yet effective arrangement of the wonderful tune. Grade: 3

2015-2016 Grade 8- Teachers’ Choice Selected Piano Repertory & Studies for grade 8 is compiled to provide teachers and students with good options for the 2015 & 2016 ABRSM Piano examinations. - This collection of interesting and appealing Piano pieces contains editorial suggestions for pedagogical purposes. Most teachers will find the performance points helpful in developing stylistic awareness in the students. -Examination requirements aside details on articulation dynamics fingering pedal marks and tempo serve to provide a directed approach for students to strive towards achieving musical excellence and perfection. -Effective technicalstudies suited to each level have been carefully selected forming in themselves supplementary materials to enhance technical competence. -Most important of all enjoy the high standards of music typography – such clear professionally laid scores supported by modern publishing technology and musical semiotics. The digital print on quality cream-coloured paper ensures comfort in the reading of musical scores.

Cello. Golovin