The Bristol Collection - Volume 2 presents a second smashing collection of contemporary Hymn Tune Preludes for Organ. Edited by Lee Hastings Bristol Junior this volume includes nine preludes by composers from both sides of the Atlantic. These are perennial favourites with the average organist that reflect many moods and lend themselves to wide variety of styles.

A dynamic and exciting work for String trio composed by Max Reger (1973-1916). String Trio In A Minor Op.77b will provide an enjoyable challenge for your chamber ensemble providing a superb piece for recital and concert performance. Available here is a Eulenburg miniature score edition which is ideal for study and perusal use.

A flexible teaching resource for one or more Keyboards. Winter by Vivaldi Brahm's Lullaby and Faure's Pavane are among this collection of ten pieces. Grade: 2 - 4 A flexible teaching resource for one or more Keyboards. Winter by Vivaldi Brahm's Lullaby and Faure's Pavane are among this collection of ten pieces. Grade: 2 - 4

Vocal score for Carl Nielsen 's incidental music for Hans Hartvig Seedorff Pedersens Homage to Holberg / Hyldest til Holberg dating from 1922. For Soli Choir and Orchestra. Text in Danish. Vocal score for Carl Nielsen 's incidental music for Hans Hartvig Seedorff Pedersens Homage to Holberg / Hyldest til Holberg dating from 1922. For Soli Choir and Orchestra. Text in Danish. Full score: WH30983

Piano. Chopin F

New Chamber Music for Guitar There has recently been an unprecedented demand for difficult works for guitar with various accompanying instruments. To make up for the unfortunately very limited repertoire this arrangement of Mozart's ‚'duo for violin and viola' has been launched which replaces the viola by the guitar. It is striking that the guitar character of the viola part is already evident in the original and thus the latter could almost exclusively be directly transferred into the guitar part. A 'new' repertoire piece for chamber music with guitar which is just as good as the original!

Helen Madden 's 20 Crucial Clarinet Studies are now included in the 2014 London College of Music examination syllabus grade 5.

Together Apart/Apart Together for Saxophone Accordion and Double Bass was composed by Karsten Fundal in 2004. Written for and commissioned by Poing. Programme note: This piece is the 3rd in a row of pieces which concentrates on a rhythmical relationship that continues to puzzle me. It is actually two relationships embedded. The 1st is a pattern that is very inspired by the composer Per Nørgård who in the beginning of the 90's got very preoccupied with the idea that you can have rhythms that never meet. This happens if you start a rhythm like a quintuplet on the beat and one like a triplet off beat. This can with different rhythms give very intricate interwoven patterns that gives the illusion that they are not cyclic. In my case I use the two ratio five to seven in the described way. This rythms have the strange property that if you take each 5th note of the seven and each 7 note of the five you get a ratio almost identical: 49:50. This is very intriguing as you can use the possibility of letting them be equal or the possibility of letting them interfere. In the first case you get an interlocking rhythm which is “smooth”: an equal rhythmic pattern. In the second case you get a similar situation but where one of them is one short after 50 of the other ones which results in a disturbing almost equality but not quite. Therefore the title: because when I use the unequal rhythm I put the two layers in a similar tone register or a similar way of playing and when I use the equal one I put them a part tone wise speaking. This is a very technical description but it is very hard to put it in more wide terms but you might compare it with driving in a train and looking at two fence rows behind each other: if the poles are placed exactly halfway between each other you will experience an illusion of a fast jump if there is enough distance between them as a result of the perspective. If they are placed in a way that there are almost the same numbers of poles like 49:50 you will experience a very complex pattern which seems unpredictable. But of course when using it in music the whole thing is somewhat different but even then it gives an idea of my preoccupation. What also intrigues me is that the relations are very hard to use in a musical way and that is also quire a challenge.´ Finally I have to say that I enjoyed very much writing for Poing as these crazy guys are capable of doing almost anything you want in an nearly literal sense. - Karsten Fundal summer 2004. Together Apart/Apart Together for Saxophone Accordion and Double Bass was composed by Karsten Fundal in 2004. Written for and commissioned by Poing. Programme note: This piece is the 3rd in a row of pieces which concentrates on a rhythmical relationship that continues to puzzle me. It is actually two relationships embedded. The 1st is a pattern that is very inspired by the composer Per Nørgård who in the beginning of the 90

Niels Viggo Bentzon: 4 Happenings (Player's score)1965 Niels Viggo Bentzon 's 4 Happenings from 1965 - for performer assistant and electronics.

A traditional gospel song Goin' To The Holy City is arranged for Soprano Alto Tenor and Bass. Words by J. Paul Williams music by Joseph M. Martin.

For SAB voices. Poem by Julia Ward Howe tune by William Steffe arranged by Roy Ringwald. For SAB voices. Poem by Julia Ward Howe tune by William Steffe arranged by Roy Ringwald.

Piano. Kaneko H

An upgraded edition of this exciting work for 10 piece brass ensemble that has enjoyed consistent success since its composition in 1981. Scored for 4 trp (1 dbl picc.trp/2 & 4 dbl flugal) hn in F 3 tenor tbns bass tbn tba. Challenging contemporary music. Duration: 15 mins. Printed facsimile of the original manuscript of score and parts.

The edition is part of the Trinity syllabus 2007 (grade 7)

Born in the village of Brand in the Upper Palatinate Max Reger (1873 1916) was taught by the renowned music theoretician Hugo Riemann. After finishing his studies and working as a freelance performer and composer in Wiesbaden he moved to Weiden beset by personal crises and eventually to Munich. To make himself better known in the musical scene he had some of his smaller works inserted in the magazine Neue Musikzeitung. This is how his Romanze G-Dur for violin and piano was published in November 1901 a beautiful occasional work ideal for music lessons or as a tranquil encore after a concert also in an arrangement for viola and piano.

Moroccan Fantasy was originally two pieces I wrote in the 1980s Shiraz and Gentle Dreams. Then in 1999 'star pupil' saxophonist Simon Haram wanted a new piece so I wrote Moroccan Fantasy based on the earlier pieces extending the harmonies of Gentle Dreams and giving Shiraz more of a Reggae feel. Young Scottish saxophonist Rowan Hawitt then heard Simon's recording and wanted me to make piano and sax reduction so here is Moroccan Fantasy in various arrangements for solo wind instrument and piano. All the pedal dynamic and tempo markings are suggestions only. All my music can be played in many different ways-the main thing is to make it your own and express yourself. DaveHeath ' Moroccan Fantasy was originally two pieces I wrote in the 1980s Shiraz and Gentle Dreams. Then in 1999 'star pupil' saxophonist Simon Haram wanted a new piece so I wrote Moroccan Fantasy based on the earlier pieces extending the harmonies of Gentle Dreams and giving Shiraz more of a Reggae feel. Young Scottish saxophonist Rowan Hawitt then heard Simon's recording and wanted me to make a Piano and Sax reduction so here is Moroccan Fantasy in various arrangements for solo wind instrument and Piano. All the pedal dynamic and tempo markings are suggestions only. All my music can be played inmany different ways-the main thing is to make it your own and express yourself. ' - David Heath

Mit über 1.200 Titeln aus Orchester- und Chorliteratur Kammermusik und Musiktheater ist die Edition Eulenburg die größte Partiturreihe der Welt. Sie deckt einen große Teil der Musikgeschichte vom Barock bis zur klassischen Moderne ab und blickt auf eine lange Tradition zurück.

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