Programme note:Alloy II for Viola and Classical AccordionThe two instuments of this duo are very different in appearance and in the way of playing as well as toneproduction. At first glance this might call for a music which brings out these differences in the nature ofthe instruments distributing distinct even contrasting musical roles to the two players such as melodyversus accompaniment. But I refrain from this obvious ‘casting’ of the instruments since I have alwaysbeen fascinated by the less evident by transitions and gradual displacement by the intangible placesbetween one and the other. I search for this ‘terrain vague’ of fruitfull incertainty andpermanent genesis.To arrive here I have in this piece written a music which makes hidden relations and unexploredsonorous paths come forward between the sound worlds of the two instruments. Bringing together themusical substances I look for something deeper than just common sounds: a fresh musical place. And thelively and bright sound world that emerges form this instrumental and textural ’in-between’ I associate toalloys in particular the silvery amalgamations of mercury.The work was commisioned by Andreas Borregaard and composed with support from The Danish ArtsFoundation. It is dedicated to the duo Inviolata.Niels Rosing-Schow Alliage (Alloy) II (2008) for Viola and Classical Accordion. Player's score. Programme note: The two instuments of this duo are very different in appearance and in the way of playing as well as toneproduction. At first glance this might call for a music which brings out these differences in the nature ofthe instruments distributing distinct even contrasting musical roles to the two players such as melodyversus accompaniment. But I refrain from this obvious casting' of the instruments since I have alwaysbeen fascinated by the less evident by transitions and gradual displacement by the intangibleplacesbetween one and the other. I search for this terrain vague' of fruitfull incertainty and permanent genesis.To arrive here I have in this piece written a music which makes hidden relations and unexplored sonorous paths come forward between the sound worlds of the two instruments. Bringing together the musical substances I look for something deeper than just common sounds: a fresh musical place. And the lively and bright sound world that emerges form this instrumental and textural 'in-between' I associate toalloys in particular the silvery amalgamations of mercury. The work was commisioned by Andreas Borregaard and composed with support from The Danish Arts Foundation. It is dedicated to the duo Inviolata. Niels Rosing-Schow

The Mission is a contemporary and exciting composition from 2001-2 by celebrated Danish composer Anders Brødsgaard. It is scored for 8 instruments: Flute Oboe Clarinet Percussion Piano 2 Violins and Viola. The Mission is a contemporary and exciting composition from 2001-2 by celebrated Danish composer Anders Brødsgaard. It is scored for 8 instruments: Flute Oboe Clarinet Percussion Piano 2 Violins and Viola.

Oboe and Piano- ' The Sapphire ' is dedicated to Heath's daughter Naima Sapphire. On the day she was born in 2000 Heath was walking over the meadows in Edinburgh to see her and could hear bagpipes playing in the distance. That inspired him to write this piece. The melody and over-all style are influenced by Scottish traditional music however the harmonies come from modern jazz.

Quartetto Per Due Flauti Fagotto E Cembalo Op. 380 composed by Niels Viggo Bentzon .This is the perfect addition to the full score (WH32002). Quartetto Per Due Flauti Fagotto E Cembalo Op. 380 has been composed by Niels Viggo Bentzon .This is the perfect addition to the full score (WH32002).

Wilhelm Popp studied with the great Louis Drouet in the 1850s and wrote many charming works for the flute this among them. Susan Milan acclaimed soloist and teacher has edited this elegant edition. Susan Milan discovered the charming Popp Sonatinas Op. 388 while researching 19th century flute repertoire in the British Museum Library. These beautifully crafted works are all without exception a delight to play and suitable for a broad level of player. They are a lovely example of Classical style and detailed in a way that makes them a joy to perform and as they are less than 10 minutes long they are a perfect addition to a short recital programme. Wilhelm Popp studied with the great Louis Drouet in the 1850s and wrote many charming works for the flute thisamong them. Susan Milan acclaimed soloist and teacher has edited this elegant edition. Susan Milan writes: 'I discovered the charming Popp Sonatinas Op. 388 while researching 19th century flute repertoire in the British Museum Library. They were first published in Hamburg in 1888. These beautifully crafted works are all without exception a delight to play and suitable for a broad level of player. They are a lovely example of Classical style and detailed in a way that makes them a joy to perform and as they are less than 10 minutes long they are a perfect addition to a short recital programme. In editing the Sonatinas I have tidied some of the articulation making the flute part consistent. Discrepancies between markings in the flute and piano part have been corrected. I have occasionally added some slurs where I feel the lyrical nature of a section might be enhanced shown as 'dotted' slurs. Where staccati appear to be missing I have added them. I have not on the whole added expression marks. I have not changed or removed original markings.'

Eulenberg's celebrated and highly authoritative miniature score is the definitive reference source for study performance preparation or simply for those with a love of the great orchestral works.

For Beginner Flautists-Animal Flute is a series of themed compositions for the beginner. The pieces are all beautifully arranged with imaginative CD accompaniment capturing the character of the animals within the music. Each piece focuses on a different musical aspect such as slurring staccato rests ties dynamics triplets trills and grace notes. Each tune has a complete performance with the flute and accompaniment and then a version with accompaniment only. Pete Regan co-wrote some of the tunes in the book and thanks go to Eleanor Boalch for writing the melodies to 'The Elephant' and 'The Bird'. CD produced and engineered by PD Productions Keyboards: DianaSanders Electric and acoustic guitars: Pete Regan Bass Guitar: Pete Regan Flute: Diana Sanders.

These arrangements of three lilting folk songs ( Billy Boy Blow the Wind Southerly The Keel Row ) are lovely to play and to listen to. They are straightforward technically and so accessible for beginner to intermediate standard players (Grade 4-6).

String Quartet No.1 - 'Quartetto Breve' (1952) by Per Nørgård. Programme note: The spectrum of sound the gesticulation - in short the very nature of the strings - has always had a central place in my output demonstrated by the numbers of string quartets concertos with string soloist chamber and solo works. The interest dates back to my school years when I was fortunate to be able to compose for a cello-playing schoolmate and to accompany him on the piano. I discovered then the innumerable nuances of sound and playing varieties offered by just one bow four strings and five fingers.. My first string quartet - Quartetto Breve - has a firm root in the Nordictradition and is strongly inspired by Jean Sibelius (1865-1957) and my teacher Vagn Holmboe (1909-96). Per Nørgård (1998) String Quartet No.1 - 'Quartetto Breve' (1952) by Per Norgard. Programme note: The spectrum of sound the gesticulation - in short the very nature of the strings - has always had a central place in my output demonstrated by the numbers of string quartets concertos with string soloist chamber and solo works. The interest dates back to my school years when I was fortunate to be able to compose for a cello-playing schoolmate and to accompany him on the piano. I discovered then the innumerable nuances of sound and playing varieties offered by just one bow four strings andfive fingers.. My first string quartet - Quartetto Breve - has a firm root in the Nordic tradition and is strongly inspired by Jean Sibelius (1865-1957) and my teacher Vagn Holmboe (1909-96). Per Norgard (1998)

Der Song Wenn Du dich traust von Annett Louisan gesungen zusammen mit Laith Al-Deen aus dem Album Das optimale Leben - Tour Edition in einer Bearbeitung fur gemischten Chor von Clemens Schäfer. SATB und Klavier.

Voice Instrument. Emig R

A jazzy satirical piece arranged for tenor saxophone and piano by popular request. Grade: 8

Fragtment af Mariahymne fra det 13. århundrede Tekst: Anonym på dansk ved ole Sarvig Fragtment af Mariahymne fra det 13. århundrede Tekst: Anonym på dansk ved ole Sarvig

For Recorder ensemble of Soprano Tenor Alto and Bass recorders. For Recorder ensemble of Soprano Tenor Alto and Bass recorders.

O Haupt voll Blut und Wunden Jesu Meine Freude and Sollt'ich Meinem Gott Nicht Singen - A selection of Bach's most interesting harmonisations with equal opportunities for each of the four players. Fairly easy to play ideal for group teaching.

This musical by Peter Rose and Anne Conlon was specially commissioned by the World Wildlife Fund for Nature to mark the organisation's 50th anniversary. Synopsis: The oak tree the panda the polar bear and the tiger remind us of the great wonders and beauties of the earth and the intricate threads of life linking every living thing. The children of the world tell us about the amazing web of trade and communication which has produced our exciting modern world with its global transport systems and its ever-changing technology. But as the musical unfolds the characters become more and more worried by changes beyond their control. The children ofthe world wonder how they can help to protect this wonderful life we all know.

A large collection of stylish Jazz Pop and Rock style numbers written by experienced Horn player and educator from Manchester Andrew Wilson. These pieces are progressivly graded so there is material to suit any intermediate standard player and upwards. The book includes a free full length backing CD contianing the accompaniment for every tune for practicing without a Piano. Also included: TWO Horn parts to satisfy both F and Eb exponents. Grade: 4 - 8

Dedicated with affection to Amalie Malling and Michael Schønwandt. I Doctor Gradus ad Parnassum II Jimbo’s Lullaby III Serenade of the Doll IV The Snow is Dancing V The little Shepherd VI Golliwogg’s Cake Walk The orchestration by Hans Abrahamsen of Children’s Corner by Claude Debussy was commissioned by Radio KamerFilharmonie to celebrate Debusy at 150 in 2012. Arranged in 2011 it was then premiered by the Radio KamerFilharmonie conducted by Michael Schønwandt in Utrecht in February 2012. Debussy’s six movement work for piano has been cherished the world over for its whimsical charm and the way in which they are evocative of childhood. Abrahamsen expands on these traits inhis orchestration of the six little masterpieces be it the mystical heaviness of Jimbo’s Lullaby the icy pirouettes in The Snow is Dancing or the buoyant ending: Golliwogg’s Cakewalk Claude Debussy Children's Corner orchestrated by Hans Abrahamsen (2011). Dedicated with affection to Amalie Malling and Michael Schonwandt. I Doctor Gradus ad Parnassum II Jimbo's Lullaby III Serenade of the Doll IV The Snow is Dancing V The little Shepherd VI Golliwogg's Cake Walk The orchestration by Hans Abrahamsen of Children's Corner by Claude Debussy was commissioned by Radio KamerFilharmonie to celebrate Debusy at 150 in 2012. Arranged in 2011 it was then premiered by the Radio KamerFilharmonie conducted by Michael Schonwandt in Utrecht in February2012. Debussy's six movement work for piano has been cherished the world over for its whimsical charm and the way in which they are evocative of childhood. Abrahamsen expands on these traits in his orchestration of the six little masterpieces; be it the mystical heaviness of Jimbo's Lullaby the icy pirouettes in The Snow is Dancing or the buoyant ending: Golliwogg's Cakewalk

Vocal Score for Hary Janos Op.15 by Zoltán Kodály.

To Guitarstykker / Two Pieces For Guitar by Anders Nordentoft (2010). Manuscript copy.