10 Arias from 7 Operas-10 arias: Amelia al ballo: Vola intanto l'ora insonne The Consul: The Foreign Woman's Aria To this we've come The Labyrinth: The Bride's Song The Medium: The Black Swan;Monica's Waltz The Old Maid and the Thief: Steal me sweet thief The Saint of Bleecker Street: Oh sweet Jesus; Be good to her The Telephone: Hello! Oh Margaret it's you.10 arias: Amelia al ballo: Vola intanto l'ora insonne The Consul: The Foreign Woman's Aria To this we've come The Labyrinth: The Bride's Song The Medium: The Black Swan;Monica's Waltz The Old Maid and the Thief: Steal me sweet thief The Saint of Bleecker Street: Oh sweet Jesus; Be good to her The Telephone: Hello! Oh Margaret it's you.

Four Carols for Dark Times- The set of ‘Four Carols for Dark Times’ was written between 2003–5 and commissioned at the rate of one piece per year for the Birmingham Bach Choir to perform at their Christmas concerts. The third carol entitled Carol was inserted later to provide a ‘scherzo’ movement to provide balance to the set. The poems are all by that extraordinary Welsh priest-poet R S Thomas (1913–2000) whose poetry speaks to the composer “with a directness unmatched by any other 20th century poet”. Thomas’s writing is rich with the imagery of human frailty in relation to religion. The final poem Festival is as good an example as any of his approach: the trappings of Christmas –gold holly mistletoe – are used to contrast the cheapness of our self-centred celebration with the commitment required to nurture real faith. Beautifully constructed with intricate but accessible harmony and varied textures and moods this intriguing set of carols will bring an original and thought-provoking perspective to Christmas concerts and services.

6 Pièces (SA recorders and piano)

For 2 trumpets horn (or trombone) trombone (or horn) and trombone.

for 4 trombones piano bass and percussion

Légende dramatique en quatre parties- In 1828 Berlioz wrote the 'Huit scènes de Faust'. The work was soon withdrawn but almost twenty years later each of the eight scenes found a place in the Légende dramatique 'La damnation de Faust' dedicated to Franz Liszt. The first part of the 'Damnation' exposes the figure of Faust and has an introductory nature. From the second part onwards the course of action is largely based on Goethe’s drama. Contrasting characters and dramatic effect are of central importance in understanding Berlioz’s musical thought and his compositional process. Magic and fairy tale incantations and ghosts have been the ever-recurring themes ofopera since the Baroque. It is precisely this fantasy in Berlioz's Faust the “Opéra de Concert en Quatre acts” which comes very close to the spirit of Goethe's presentation. Reliable Piano reduction based on the Urtext of the New Berlioz Edition Straight-forward Piano reduction in the Vocal score Clear user-friendly layout French original text with German translation Full score (BA5448) and Vocal score (BA5448-90) available for sale performance material (BA5448-72) available for hire

60 popular themes from the movies in arrangements for solo Alto Saxophone (level 2-3). The books in Alfred's Ultimate Movie Instrumental Solos series feature 60 film favourites in solo arrangements for Flute Clarinet Alto Saxophone Tenor Saxophone Trumpet Horn in F Trombone Violin Viola and Cello with optional Piano accompaniment. All wind instrument arrangements are fully compatible and can be successfully performed as ensembles or solos by students who have completed the first book of any standard band method. A fully orchestrated accompaniment MP3 CD is provided featuring each song as a live performance demo track followed by a play-along track. The CDalso contains a PDF of the Piano Accompaniment and Alfred's Tempo Changer Software. Please note: Due to level considerations regarding keys and instrument ranges the wind instrument arrangements are not compatible with the string instrument arrangements in this series.

John Loeillet 's Trio Sonata In C Minor For Treble Recorder Oboe And Continuo Op 2/6 . Also suitable for Flute and Violin.

For soprano solo or chorus (or cornet or horn) 4 cornets 2 trombones 2 baritones and tubas.

Steve Prosser’s Intervallic Ear Training for Musicians is the product of 35 years studying and teaching interval awareness in music. The text provides a step-by-step method for assimilation of as well as graded exercises for each interval. Each Chapter concludes with Mastery Exercises and Etudes. After adequate study of the text the student will be able to hear recognize read and write music through the use of musical intervals. This skill is particularly helpful in dealing with music that is extremely chromatic tonally ambiguous or rapidly modulating.

A delightful new story for Christmas with six original songs. Script available in student book. You will require a license to perform this work at your school/youth theatre; please click here for more information and our application form. Professionally recorded demonstration and backing tracks are available to purchase and download here .

This programmatic piece of music is one of the best-selling works from Otto M. Schwarz. There was a very high demand for a lower grade version to enable young and small bands to perform this epic piece. On September 19th 1991 a mummified corpse of a man was found at the Similaun glacier in the Ötztäler Alps. The glacier unveiled an early man after 5300 years with all of his personal belongings. His clothes and weapons were fairly well preserved and provide us today with a deeper insight into that period. Austrian nature filmmaker Kurt Mündel reconstructed the life of this man and made a film which Otto M. Schwarz used as an opportunity to write a work for symphonic windband and musically resurrect the “Man in the Ice- Ötzi”.

Musikalisches Monodram- Lélio (The Return to Life) Hol.55: A Lyric Monodrama Lélio was composed during Berlioz 's stay in Italy in 1831. He conceived the idea of a semi-theatrical work that combined music and monologues to express the idea of returning to life after a profound traumatic experience. Originally entitled Le Retour a la Vie' it consists of six separate compositions interspersed with dramatic monologues. The monologues are to be recited by an actor in front of a curtain which conceals the Orchestra and they reflect Berlioz 's most passionate concerns in 1831 especially friendship love Shakespeare and thehealing power of music. ' The work is to be played immediately after the 'Symphonie fantastique' to which it forms the conclusion and the complement. The orchestra chorus and soloists should be out of sight on the stage behind the curtain. The actor speaks and acts by himself on the forestage. After the last monologue he exits and the curtain rises to reveal all the performers for the finale thus a platform must be built over the orchestral pit. The part of Lélio demands a skilful non-singing actor. In addition a Tenor is required for the Ballad another Tenor for the Song of Bliss and a strong Baritone for the brigand-chief ' - Hector Berlioz Urtext of the New Berlioz Edition Full score (BA5447) and vocal score (BA5447-90) on sale Performance material available (BA5447-72) available for hire

The piano part has been thoroughly re-worked for this new vocal score of Schubert’s Mass in A-flat major (D 678). Andreas Köhs' piano reduction reliably reflects Schubert’s orchestral score and is at the same time idiomatic piano writing. Bärenreiter’s new revised vocal score is compatible with the old vocal score as well as with the orchestral parts and the full score already available.

With Double Bass ad lib.

The Piano Masters Series Outstanding Editions of Essential Piano Repertoire. Each book features: The most frequently performed and favourite teaching pieces from larger collections Careful editing for the correct performance with fingerings and written-out ornaments A complete composer biography Beautiful cover art

No.3 from 'Du Fleuve à l'Arctique'

For trumpet horn and trombone.

For alto (or tenor) saxophone and piano.

Harpe - Collection Rougeron- For solo Harp.