SATB chorus

The idea behind this work was to create an opening piece something to start a concert in an unusual way. The title is a portmanteau word derived from madrigal. The work indeed begins in Renaissance mood however gradually tries to shake of its modal start and by contrasting different instrumental families the work changes into modern clothes.Why not add a little Renaissance splendor to any concert with this unique new work?

für Flöte oder Violine und Klavier- Composer Petr Eben (1929–2007) always promoted home music-making and he wrote a number of pieces for amateur musicians. His appealing and uncomplicated Sonatina Semplice was written for the Flute or Violin with Piano accompaniment. The edition was revised by Bohuslav Purger (Cello) and Vaclav Zilka (Flute).

J.S. Bach's French Suite No. 6 (BWV 817) arranged for 2 Guitars.

Eleanor Rigby- Music Kit is designed to cover all the likely instrumental combinations found in schools. Each set comprises of two of each of the following parts: 1st C Melody 2nd C Melody B Flat Melody C Harmony B Flat Harmony E Flat And F Instruments Easy B Flat Easy Violin/Viola Piano/Conductor Guitar Bass Percussion 1 & 3 Percussion 2 & 4 Music Kit can be played by any number of instruments in any combinations on the principle that one melody part and the Piano part are essential and all others optional.

Bella Italia is a medley of three Neapolitan songs that were made famous and popular by the tenor Mario Lanza. The work opens with the graceful waltz Santa Lucia which is followed by a Latin-style version of O Sole Mio a melody that became even more well known when used by Elvis Presley as the basis of the song It’s Now or Never. The cheerful Funiculì Funiculà ends the medley in 6/8 time. This arrangement for concert band by Roland Kernen will appeal to a broad audience and will leave both the band and the audience in a high-spirited mood.

MASQUERADE was commissioned by Stadtmusik Willisau from Switzerland (Reto Güdel conductor) to celebrate their 175th anniversary in 2003 and first performed by them in November that year. 1. OvertureThe first movement opens with a fanfare-like figure featuring the brass before the main them is introduced over staccato chords. After a short syncopated interlude a legato theme is introduced in the tenor register and material is developed until the music slows temporarily. The opening theme returns and the ‘tenor’ tune is taken up by the whole band until the opening fanfare returns to close the movement. 2. ElegyThe slow movement opens intensely with a bare two-part theme whichleads to a passionate chorale-style melody. A second theme is introduced and leads to a climax a return of the chorale theme and a pianissimo repeat which again leads to a full-band climax. The two-part theme returns quietly to create a peaceful close. 3 InterludeA short movement which changes the mood to introduce:- 4 FinaleThree violent chords preface a lively syncopated opening theme. The trumpets introduce a second idea which is treated fugally and this in turn leads to the main melodic idea of the movement over staccato chords. A contrasting subject is then introduced in the middle of the band followed by echoes of the first movement fanfare. The opening theme returns and material is revisited until the opening fanfare returns in full to end the work triumphantly.

Unlike MacMillan's congregational Galloway Mass and St Anne's Mass this work is on a grander liturgical scale befitting its commission by Westminster Cathedral for the Millennium. The drama of the liturgy is strongly conveyed in musiccombining atmosphere and mystery enhanced by virtuosic organ writing. The Mass includes Kyrie Gloria Sanctus Benedictus and Agnus Dei. In addition there are settings only for liturgical use of the Alleluia Sursum Corda Preface and theEucharistic Prayer right through to the Great Amen. The congregation may join in with the Memorial Acclamations and part of the Great Amen. In its devotional spirit this Mass reflects MacMillan's own faith and his conviction comes strongly offthe pages of this effective and original work. MacMillan likes to create atmosphere in his music and knows how the mystical can interact with the music to make a powerful impression on the listener especially in the context of a great religiousbuilding. His organ parts are often repeated filigree' figures which create a background wash' of sound as in the Kyrie here (and A New Song). The contrapuntal writing in the Kyrie is wonderful and creates a true sense offorward motion. The power of the chordal passages which come later is then put in proper relief. The final Kyrie is more difficult than the earlier sections with angular intervals for the trebles/sopranos to negotiate. The Gloria begins with astrong statement for upper voices including a top B (MacMillan likes to use extreme range in the outer voices of his music generally). This movement makes much use of melismas which feel as if they grow out of plainsong melodies having a similarfeel of rhythmic freedom. There is a wonderful ATB section (We give you thanks…) which really needs singers who can sustain lyrical lines. The Sanctus is a real tour de force being a very extended crescendo which starts very low (F sharps)with basses pianissimo and builds up to a simply massive climax. The Hosanna needs an agile organist and includes more of MacMillan's vocal ornamentation referred to above. The Benedictus follows segue and is slow moving eventually building toanother huge Hosanna which subsides again into the dark abyss from which the Sanctus began. The Agnus Dei is more difficult than the other movements and in finding its way to a kind of resolution in its grant us peace' MacMillanacknowledges that the music reflects the doubts and fears which characterize our time'. The final repetitions of the word peace' are punctuated by low clusters on the organ which sound like distant explosions. It iswonderfully effective music.(Choral Score). Macmillan J

Sven Van Calster had the idea to dedicate a three-movement suite to his three favourite pets. So he created a fun informative and original composition. The work begins with Freddy the Frog splashing merrily in his pond. Ish the Fish is a cool customer who’s always hungry. And Kate the Cat is a vain and charming cat who naturally always gets her own way.

SATB chorus

Schwingt Freudig Euch Empor BWV 36 (final version) Cantata for the First of Advent - Urtext of the New Bach Edition - Performance material (BA10036) vocal score (BA10036-90) and study score (TP1036) available for sale Bärenreiter's editions of Bach Cantatas offer the authoritative text of the New Bach Edition meeting Bärenreiter Urtext standards. No group of works in Johann Sebastian Bach ’s output is as wide-ranging as the cantatas. This is hardly surprising considering that for over five years Bach was required to compose a work or at least re-work an existing one for every Sunday and festival of thechurch year as well as for numerous secular occasions such as council inaugurations school and university celebrations and royal birthdays. Unfortunately not all cantatas have survived. However over 200 sacred and secular works exist and form a corpus of works suitable for all possible occasions. This rich musical heritage is still as relevant today as it was then.

MacMillan's popular congregational mass setting updated with the text of the new English translation released in 2010. A major addition is the inclusion of a newly composed setting of the Gloria. Suitable for congregational use with or without choir. All ability levels

Cantata for Whitsunday- Erschallet ihr Lieder BWV 172 Cantata for Whitsunday (C major version) Erschallet ihr Lieder (BWV 172) is one of those early Bach cantatas which were often revived at Leipzig. The first performance of this work was given in Weimar 1714. Although only a few instrumental parts from this performance are extant it may be assumed that at that time the cantata already had the form familiar to us from its first Leipzig revival. It was given in C major (church pitch corresponding to D major in chamber pitch) and the first number was intended to be repeated at the end of the work. - Urtext of the New Bach Edition -Performance material (BA10172) vocal score (BA10172-90) and study score format 22.5 x 16.5cm (TP1172) available for sale

1.Prélude; 2.Les Moulins; 3.Les Galères; 4.L'Age d'Or; 5.Les Comédiens (ballet with chorus and orchestra)

Flute Violin and Continuo.

Cantata- Dietrich Buxtehude (1637-1707) was organist of the St Marien church in Lübeck from 1668 until his death. He wrote many works for specific secular occasions feasts and celebrations etc. and although his positon did not require him to compose vocal music he left over 120 vocal works in a wide range of scorings style and length. Almost all texts are sacred and scorings vary from a single voice with instrument to nine voices with several instruments and continuo. This cantata uses the text of Psalm 118: 6-7 and is scored for mixed chorus (SATB) strings and continuo. Score with parts (BA3198) separate parts (BA3198) and choral score (BA3198-91) available forsale

This beautiful chorale for Brass Band illustrates the winter solstice the longest night of the year. Describing the end of nature’s cycle it has a rather melancholic character until the final chord which symbolises the new beginning. This contemplative work is ideal for creating a moment of tranquillity during a concert and is also suitable as a warm-up piece. This beautiful chorale for Brass Band illustrates the winter solstice the longest night of the year. Describing the end of nature's cycle it has a rather melancholic character until the final chord which symbolises the new beginning. This contemplative work is ideal for creating a moment of tranquillity during a concert and is also suitable as a warm-up piece.

The Bells of Vestervig was originally commissioned for Carillon and Organ. It was first performed by Peter Langberg and Ivar Mæland in connection with there-inauguration of the Organ in Vestervig Church in Denmark February 27th 2011. The version for Carillon solo is based upon the original piece and was performed bythe Carillonist Peter Langberg August 9th 2014 from the tower of Our Saviour's Church Copenhagen. Each movement may be used independently liturgically or in concert. The Bells of Vestervig is also published for Organ solo by Edition Wilhelm Hansen: WH31496. The Bells of Vestervig was originally commissioned for Carillon and Organ. It was first performed by Peter Langberg and Ivar Mæland in connection with there-inauguration of the Organ in Vestervig Church in Denmark February 27th 2011. The version for Carillon solo is based upon the original piece and was performed bythe Carillonist Peter Langberg August 9th 2014 from the tower of Our Saviour's Church Copenhagen. Each movement may be used independently liturgically or in concert. The Bells of Vestervig is also published for Organ solo by Edition Wilhelm Hansen: WH31496.

Segelnde Stadt for Orchestra was composed by Britta Byström in 2014. Segelnde Stadt for Orchestra was composed by Britta Byström in 2014.

SATB (Vocal Score) (German). Spinner L