Tenor Saxophone and Piano reduction.

This work was commissioned by the Nash Ensemble with funds provided by Wigmore Hall and PRS for Music Foundation. It was first performed by the Nash Ensemble at Wigmore Hall London on 23rd March 2011.

Single sheet music arranged for soprano alto tenor and bass with piano accompaniment.

For SSA Choir A Cappella. For SSA Choir A Cappella.

Music For Recorder-Antonio Vivaldi's 'Stockholm' Sonata arranged for Treble Recorder and Continuo from the Flute original.

Kevin Volans ' String Quartet No 11 Was Commissioned By The Callino Quartet With Funds From The Arts Council Of Ireland And First Performed At The National Concert Hall In Dublin In 2012. Kevin Volans ' String Quartet No 11 was commissioned by the Callino Quartet with funds from The Arts Council of Ireland and first performed at the National Concert Hall in Dublin in 2012.

For A Cappella SATB Choir.

It was during the 1950s that popular music first began to reflect the influence of rock ‘n’ roll. From Fats Domino's rolling New Orleans Piano pieces to Buddy Holly's staccato Texas rock and the Everly Brothers' countryharmonies this was the period that first recognised the new teenage market. It was also during the 1950s that legendary musicians such as Ray Charles and Elvis Presley first rose to fame. From heartfelt ballads to pop the Big Book Of 50s Songs includes 33 of the very best songs from this unforgettable era arranged for Piano Voice and Guitar.

In preparing for publication the 1935 orchestral version of Britten's Te Deum in C it became clear that there were a number of discrepancies between the manuscript and the original 193 vocal score. Some of these were minor:different articulation and dynamic markings something Britten was later very fussy about but perhaps left unchanged on proof because of his relative inexperience at this stage of his career with the processes of musicpublishing. Others were more important: wrong pedal notes for example which Britten failed to notice on proof and which have been perpetuated in performances and recordings for nearly seventy years. These have been corrected inthe new edition of the vocal score and in the orchestral score (Britten clearly used the published vocal score to prepare his orchestral version). The two versions have been made consistent in other details - rehearsal cues andbar numbers for example - since Britten intended choristers to use the vocal score to perform the orchestral version. This would have been an easy task for these is little discrepancy in essential details between versions (arare departure occurs in bars 53 to 56 where the works 'Lord God of Sabaoth' are unaccompanied in the orchestral version but doubled by Organ in the original). Sustained Organ chords are often filled out with arpeggiated stringwriting while the spacing of chords is frequently much wider in the string version with melodies transposed into different octaves. Although harmony in both versions is identical voice leading is sometimes altered in the latterto make it better suited to the idioms of the instruments concerned. So although in essence the two versions are the same the soundworld explored in each is quite distinct. Britten's orchestral version should neither beviewed as an occasional piece nor considered solely a liturgical work like many of his choral pieces from the 1930s and 1940s it is equally at home in church and concert hall.

Arranged for Bb or Eb Saxophone and Piano by James Rae.

This work is based on the composer's three-part motet John written in 1963 to a poem of Thomas Blackburn. The ten sections (the last a repeat of the first) are variations on themes and rhythms of the choral piece.

Additional books to complement the tutor for adults and young people Play the Piano! Levels 1 & 2 are now available providing specially arranged favourite pieces in keeping with the technical level attained by the end of each course book. Whilst still under Mike's guiding hand here is the chance for players to explore and enjoy more beautiful music in a variety of styles confident that the technical levels are within their capabilities. Includes popular classics by Purcell Handel Bach Mozart Grieg Humperdinck Schumann Chopin Rimsky-Korsakov Brahms Elgar and more. Also included are traditional folksong favourites along with selections of Jazzy Latin and Ragtimepieces by Scott Joplin Mike Cornick and Duke Ellington.

Edition Le Fleming

With Descant by Albert Howe. Tonic Sol-fa alternative provided.

Throughout his lifetime Josef Rheinberger (1839-1901) enjoyed a reputation as a virtuoso pianist organist teacher of composition and active composer. To this day he has nearly 200 published compositions. This publication collects his Sonatas 1-3 For Organ .

Scored for unison voices and organ or piano. Psalm 98 paraphrased by David Walser. Music by Arthur Wills.

Everyone Sang Was Composed By Scottish Composer Helen Grime In 2010. It Was Commissioned By Bbc Radio 3 For The 75Th Anniversary Of The Bbc Scottish Symphony Orchestra. It Was First Performed At City Hall Candleriggs Glasgow In December 2010 And Is Arranged For Orchestra. When Composing This Piece Grime States That She Imagined The Orchestra As Many Individual Voices That Were Capable Of Producing A Unified Melody But Also Breaking Off Into Separate Strands Of Song. Since It Was Composed As A Commemoration For The Bbc Scottish Symphony Orchestra Grime Wished To Emphasise The Orchestra As A Grand Unified Whole As Well As Their Individual Sections AndSounds. The Piece Unifies The Orchestra With A Sense Of Celebration And Elation As Well As A Sense Of Melancholy Making It Apt That The Piece Is Named After A Poem By Siegfried Sassoon. Everyone Sang was composed by Scottish composer Helen Grime in 2010. It was commissioned by BBC Radio 3 for the 75th anniversary of the BBC Scottish Symphony Orchestra. It was first performed at CityHall Candleriggs Glasgow in December 2010 and is arranged for Orchestra. When composing this piece Grime states that she imagined the Orchestra as many individual voices that were capableof producing a unified melody but also breaking off into separate strands of song. Since it was composed as a commemoration for the BBC Scottish Symphony Orchestra Grime wished to emphasise the Orchestra as a grand unified whole as well as their individual sections and sounds. The piece unifies the orchestra with a sense of celebration and elation as well as a sense of melancholy making it apt that the pieceis named after a poem by Siegfried Sassoon.

Anthem for SATB Choir and Organ.

Gounod's restful melody soars over Bach's famous prelude. Arranged here fopr Descant or Tenor Recorder with Piano accompaniment by Duncan Reid. Grade: 2-3 Gounod's restful melody soars over Bach's famous prelude. Arranged here fopr Descant or Tenor Recorder with Piano accompaniment by Duncan Reid. Grade: 2-3

Britten was so remarkably prolific as a young composer that many of the works from his teens were put aside to await revision or completion as he rushed on to the next piece. This was particularly the case around the time of hisOpus 1 Sinfonietta composed in the summer of 1932 his second year as a student at the Royal College Of Music. The Sinfonietta was written (in less than three weeks) very soon after Britten had completed thefirst draft of the Double Concerto; but after finishing the Sinfonietta he went back to revise the Concerto's second movement. He started work on his Op.2 Phantasy for Oboe and String Trio a few weekslater. Although the Concerto follows the same three-movement pattern as the Sinfonietta it is more ambitious in scale; and since the sketch is unusually for Britten complete in practically every detail it ispuzzling that he never made a full score of the work after finishing the composition and seems to have made no attempt to get it performed. It is not clear if he had particular performers in mind (he was of course a Violaplayer although he is not likely to have intended the part for himself). He showed the work to his composition teacher at the college John Ireland who as Britten recorded in his diary was 'pretty pleased' with it; but it isdistinctly possible that his experience in rehearsing the Sinfonietta with a student orchestra in 1932 ('I have never heard such an appalling row!' reads another diary entry) discouraged him from going on to complete theDouble Concerto in score. He was not to hear any of his orchestral works until the first performance of Our Hunting Fathers in 1936. In the absence of Britten's full score it was necessary for me to prepare the workfrom the sketch. But the instrumentation is so carefully indicated in the draft that the resulting score is not far from being 100% Britten - only between bars 70 and 74 of the slow movement did there seem to be any need to add