Piano solo.

Sinofinia dall'opera- The Barber of Seville is based on the first of Beaumarchais‘ (1732- 1799) two sequential plays The Marriage of Figaro being the second although unusually the overture does not contain any themes from the ensuing opera. The music however is sparkling and tuneful encompassing the ‘spirit‘ of the story that is about to unfold. The overture follows the form of the classic Italian style with a slow introduction followed by a brilliant Allegro. Of course the famous crescendo so typical of Rossini’s works is also present.

New Signature allows us to introduce Dominiek van Nuffelen to you. The piece starts slow and deliberate then flows into a faster movement in which rhythmic precision and accurate combined playing are required. Influences from light music together with elements from rock music have been interwoven in the piece.

Charles Williams' The Dream Of Olwyn for solo Piano.

For SATB and Organ.

Arranged and adapted by Andrea Cappellari. Easy duets. Each book included complet scores and solo part.

Coronation Anthem 1- Zadok The Priest is a Coronation Anthem for King George II and has subsequently been heard at every coronation of the British Crown during the sovereign's anointing. The opening choral entry of Zadok The Priest is one of the most striking moments in the choral repertory and typical of Handel's grand rousing works.

for bugle (or trumpet) and piano

Arranged by William Stickles

A well-crafted choral work incorporating Bach's famous 'Air' from orchestral Suite in D the best loved carol 'Still Still Still ' and just a touch of 'O Holy Night.' A simple adaptation of Bach's keyboard harmonies is used throughout as the piano accompaniment. Sensitive and enchating. New text by the arranger. Could become a holiday classic!

Includes original version of the Sinfonia BWV 1046a. Authoritative Urtext edition of Johann Sebastian Bach's Brandenburg Concerto No.1 in F major BWV 1046. The six Brandenburg Concertos BWV 1046-1051 prized jewels of the world's musical heritage were written in 1721 during Bach's appointment in Cothen. Of the six works Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also at times different tones different rhythms instrumentation and of course form. These Urtext publications [BA 5201-BA 5206] taken from the New Bach Editionnow give performers the possibility to play these earlier versions perhaps even along side the version known today. In the earlier version of Concerto No.1 (BWV 1046a) which according to the editor of the edition Heinrich Besseler seems to have been Bach's favorite among the six there is no violino piccolo part to be found and the violin concerto-like 3rd movement as well as the Polonaise movement are also absent. In nearly every bar the articulation in one instrument or another differs from the later version; for example the 16th-note slurs in bars 1 and 2 of the horns are missing in the later score the oboe slurs and trills in m.12 are also not to be found. The later version has the cello seperated from the continuo which means that the 16ths in m.7 are not to be played by the Violone grosso.

Between 1996 and 2000 Bärenreiter published scholarly-critical editions of Beethoven 's Nine Symphonies edited by the first class musicologist Jonathan Del Mar. The editorial process was a huge undertaking because of the complex source situation regarding Beethoven 's Symphonies culminating in the Choral Symphony (No.9) which came down to the publisher in nearly 20 different sources. So it was not surprising that Bärenreiter's new Urtext edition caused a considerable stir in the music world. Since publication Del Mar's edition enjoys the unabashed praise of conductors performers and critics alike and has become the most widely used publication ofthe Beethoven Symphonies which can be heard not only every day in concert halls but also on CD recordings by John Eliot Gardiner David Zinman Jos van Immerseel and Claudio Abbado. Full scores study scores and complete performance material to Beethoven ’s Nine Symphonies are available for sale.

Copland 2000 separate part - clarinet (piano accompaniment available separately = BHI102644)-Clarinet. Copland A

Enjoy the Future was composed for the Politie Orkest Noord-Nederland (Police Band of the Northern Netherlands) to mark its 75th anniversary. This composition dedicated to manager and assistant conductor Reinder C. Klei is a dazzling musical number suitable for performance at any festive occasion.

12 short pieces for manuals only. Grade: 4-5

I Furuskogen-Wilhelm Peterson-Berger 's I Fyrreskoven (I Furuskogen) for SATB. Wilhelm Peterson-Berger 's I Fyrreskoven (I Furuskogen) for SATB.

French Romantic Pieces for Flute and Piano-This collection contains works from the so-called “Belle Époque” the time period right around the turn of the 20th century which have been arranged for flute and piano by Franco Cesarini. It includes pieces by Dukas and Massenet two early works by Ravel that are on the cusp of the impressionistic period and compositions by Bizet and Saint-Saëns which represent the late-romantic period. The book comes with a CD which contains a demo of each piece followed by the piano accompaniment which you can play along with.

En Yndig Og Frydefuld a Danish folk song by Jörgen Jersild. For Soprano solo and SATB choir. En Yndig Og Frydefuld a Danish folk song by Jörgen Jersild. For Soprano solo and SATB choir.

Messengers of Light (“Les messagers de lumière”) est une œuvre de commande pour l’Orchestre d’Harmonie Swarovski de Wattens en Autriche (Tyrol). Le nom de Swarovski est célèbre dans le monde entier pour ses cristaux au design unique. Cette matière si pure et si étincelante n’est à l’origine que sable eau et feu. Mais lorsque l’alchimie entre ces trois composantes est parfaite la pierre révèle la poésie de la précision à travers un facettage une forme de taille et des couleurs spectaculaires. Ce n’est donc pas une coïncidence si l’empire Swarovski a puisé dans la mythologie grecque pour associer ses cristaux de lumière aux trois Grâces - Aglaé Euphrosyne et Thalie -symboles de splendeur de joie et d’abondance. Du mythe à la musique il n’y avait qu’un pas à franchir.La légende a fait des Grâces les filles de Zeus et de l'Océanide Eurynomé. Elles personnifient la beauté épanouie l’harmonie et le charme. Inséparables elles sont au nombre de trois nombre divin que l’on associe à la Trinité ou encore aux anges Gabriel Raphaël et Michel présents dans la religion chrétienne et dans l’islam et symbolisés musicalement dans le développement de cette œuvre par le chant médiéval Es sangen drei Engel (“Trois anges chantaient”). La ligne mélodique du chant sert de fil conducteur. Elle jalonne et unifie la structure de l’œuvre.

Short Symphony- Full score