Sadie Harrison 's Sehnsucht for Violin and Piano. Score and part.

The Heritage of English Song series is a terrific collection that presents and preserves the long and glorious tradition of English song. Book 12 contains a stunning selection of Roger Quilter songs selected and introduced by Trevor Hold. Quilter was a modest songwriter who encapsulated his ideas with uncomplicated but effective music. Subtle generous and warm they are a delight to play and sing both for amateur or professional. The Twelve Songs in this volume represent the height of Quilter 's work from 1908 to 1935. All pieces are in wonderful settings for medium-high Voice and Piano.

Novello Choral Pops: James Bond is a brilliant collection of James Bond theme tunes all expertly arranged for SATB Choir and accompanying Piano. This superb collection includes theme songs from Bond films On Her Majesty's Secret Service Diamonds Are Forever The Spy Who Loved Me Licence To Kill and most recently released Skyfall . Watch and listen to Skyfall here:

Six Poetic Songs-Donald Swann is best known as one half of the comic duo Flanders and Swann who dominated the West End and Broadway stages in the late 1950s and 1960s. Though less recognised he was also a leading exponent of the lyric song having reinterpreted the English art-song tradition exemplified by Parry Quilter Warlock and others in his own distinctive and exotic way. This second volume of his songs for Medium Voice and Piano features a range of styles and moods that fit with the diversity of the poems he has set and demonstrate his sensitivity to the setting of texts to music. These Practical Versions of Swann’s ever evolving songs are a wonderful insight into thecomposer’s ability and justify his place in the canon of English song.

for SAATB and organ or strings Material for viols or modern strings is also available . An Anglican verse anthem by the talented chorister and composer Orlando Gibbons based on text from John Chapter 1 Verses 19-23. Composed For SAATB and organ accompaniment.

The SATB version from O'Regan's 'Triptych'.

His Winding-Sheet is a wonderful piece for SATB Choir a cappella with Soprano soli.

Uhtceare for Flute Percussion Violin and Cello. Composed 2014 published 2016. Score included in UYMP's Firewheel Anthology (ISMN M-57036-615-6) recorded by Dark Inventions. Duration: 8'30. Uhtceare is an Old English word meaning ‘anxiety before dawn’ – surely a familiar experience to many not just the Anglo-Saxons. I particularly associate it with the half-awake early-morning asthma attacks that I had as a child. The piece starts in a nocturnal dreamlike state with chords that pulse gently like the rise and fall of breaths. These swelling patterns become increasingly fraught while soloists sporadically emerge with a sense of urgency and culminate in a loud chaoticpassage where the percussionist moves from tuned Percussion to Drums. Following this the Flute plays agile looping figures that are soon mimicked by the Violin and then the Vibraphone. These figures are frenetic but harmonically static so that when all three instruments are playing them simultaneously there is a whirlwind of activity that paradoxically seems to remain stationary. I thought this was a fitting musical analogue for the fruitless but insistent circling of anxious early-morning thoughts. A dramatic Cello solo interrupts these imitative cycles and leads the ensemble in a cacophonous final crescendo. Commissioned by Dark Inventions and first performed by them on 8th May 2014 at The Engine House Manchester. Uhtceare for Flute Percussion Violin and Cello. Composed 2014 published 2016. Score included in UYMP's Firewheel Anthology (ISMN M-57036-615-6) recorded by Dark Inventions. Duration: 8'30'. Uhtceare is an Old English word meaning ‘anxiety before dawn’ – surely a familiar experience to many not just the Anglo-Saxons. I particularly associate it with the half-awake early-morning asthma attacks that I had as a child. The piece starts in a nocturnal dreamlike state with chords that pulse gently like the rise and fall of breaths. These swelling patterns become increasingly fraught while soloists sporadically emerge witha sense of urgency and culminate in a loud chaotic passage where the percussionist moves from tuned Percussion to Drums. Following this the Flute plays agile looping figures that are soon mimicked by the Violin and then the Vibraphone. These figures are frenetic but harmonically static so that when all three instruments are playing them simultaneously there is a whirlwind of activity that paradoxically seems to remain stationary. I thought this was a fitting musical analogue for the fruitless but insistent circling of anxious early-morning thoughts. A dramatic Cello solo interrupts these imitative cycles and leads the ensemble in a cacophonous final crescendo. Commissioned by Dark Inventions and first performed by them on 8th May 2014 at The Engine House Manchester.

Henry Purcell (1659-1695) held numerous appointments at the Royal Court and Westminster Abbey and is considered by many to be the greatest ever English-born composer. His prolific work covered all fields: orchestral ecclesiastical operatic theatrical incidental and chamber music were all enriched by his output. Written in 1683 Welcome To All The Pleasure (Z339) is the first of the three Odes that Purcell wrote for St Cecilia's Day. It was commissioned by the London Music Society for their first festival and sets a poem by Christopher Fishburn. It is scored for SATB Chorus; Alto Tenor and Bass soloists; and Strings.

Sadie Harrison's Coretta for Clarinet Cello and Piano. Coretta was commissioned by New Music in the South West with generous support from Arts Council England. It received its premiere on 4 February 2018 at the Victoria Rooms Bristol performed by Andy Keenan Alison Holford Michelle Ezigbo and Tomaš Klement. The work is dedicated to NMSW's founder and director Julian Leeks. Duration: c. 9 minutes

(Dimorphism) by Evis Sammoutis was written in memoriam Giacinto Scelsi (1905-1988) and was commissioned by the Athens Concert Hall. First performance: 6 March 2004 at Athens Concert Hall (Athens Greece) by Members of the Camerata Friends of Music Orchestra 13'; for two violins

Vagn Holmboe Vagn Holmboe's Omnia Flumina Op.54c from Liber Canticorum Vol.I - for Mixed Choir SSATBB.

Bass Clarinet In Bb Version-Moj e Bukura Moré (My Beautiful Morea) has its origin in Southern Italy in Calabria where an Albanian community has lived for more than 500 years and so has the song! The tenderness of the melodic lines expresses the natural beauty of the distant homeland which according to legend can be seen from the Calabrian mountain-tops. As in most folk songs this tune is remarkably short; the melody itself has not been altered but has been extended enriched in texture and presented in different ways. The melodic lines serve as a point of departure for the proliferation of a distinct harmonic vocabulary. - Thomas Simaku' Moj e Bukura Moré (My Beautiful Morea) has its origin in Southern Italy in Calabria where an Albanian community has lived for more than 500 years and so has the song! The tenderness of the melodic lines expresses the natural beauty of the distant homeland which according to legend can be seen from the Calabrian mountain-tops. As in most folk songs this tune is remarkably short; the melody itself has not been altered but has been extended enriched in texture and presented in different ways. The melodic lines serve as a point of departure for the proliferation of a distinct harmonic vocabulary. ' - Thomas Simaku

No. 3 or Three American Lyrics-for SATB & piano John Rutter 's The Terrible Tale Of Tom Gilligan for SATB choir and Piano.

For SATB Choir and Organ. For SATB Choir and Organ.

This extremely effective and witty composition is now presented with extended instrumentation for a modern symphonic wind orchestra. Stravinsky’s deliberately smaller original arrangement remains recognisable however and can still be played using this new version.

We are is a dynamic and vibrant setting of 'The human family' a powerful poem by American poet Maya Angelou. The poet's message that 'we are more alike than we are unalike' is carried through the piece by a compelling rhythmic figure and the a cappella textures and interplay between voices creates an infectious energy. The rich texture of the double choir scoring allows the two groups of singers to work together to create the sense of unity and common purpose the poem speaks to. We are was commissioned by The King's Singers for their 50th anniversary celebrations and features on their album 'GOLD' (Signum SIGCD500). The piece was originally presented with the first choir scoring as AATBarBarB but has since been rescored for SATTBB with the option for the second choir to be SA or SATB remaining unchanged. Bob Chilcott's We Are for SATB. We are is a dynamic and vibrant setting of 'The human family' a powerful poem by American poet Maya Angelou. The poet's message that 'we are more alike than we are unalike' is carried through the piece by a compelling rhythmic figure and the a cappella textures and interplay between voices creates an infectious energy. The rich texture of the double choir scoring allows the two groups of singers to work together to create the sense of unity and common purpose the poem speaks to. We are was commissioned by The King's Singers for their 50th anniversary celebrations and features ontheir album 'GOLD' (Signum SIGCD500). The piece was originally presented with the first choir scoring as AATBarBarB but has since been rescored for SATTBB with the option for the second choir to be SA or SATB remaining unchanged.

Practice your favorite hymns with an accompanist at home or in your studio! Hymns for Flute and Piano Made Easy is a collection of fifteen traditional hymns arranged for flute solo with piano accompaniment: A Mighty Fortress is Our God: All Glory Laud and Honor: Amazing Grace: Christ the Lord is Risen Today: Come Ye Thankful People and more. The flute score includes both the hymn tune and an easy descant part that will add variety to the performance setting. The online recording contains two accompaniment tracks for each hymn: the first is played on piano and the second on pipe organ. The collection is perfect for the flutist who wishes to play familiar hymns in the churchsetting. The book contains the flute solo part and the piano accompaniment. The piano accompaniment is also available as an online download. With this collection of easy-to-play hymns for the Flute you can practice your favourite hymns with an accompanist at home at a service or in the studio. Hymns For Flute And Piano Made Easy is acollection of fifteen traditional hymns arranged for solo Flute with Piano accompaniment. This collection includes the hymns: A Mighty Fortress is Our God All Glory Laud and Honor Amazing Grace Christ the Lord is RisenToday and more. The Flute score includes both the hymn tune and an easy descant part that will add variety to the performance setting. The online recording contains two accompaniment tracks for each hymn; the first isplayed on Piano and the second on Pipe Organ. The collection is perfect for the flutist who wishes to play familiar hymns in the church setting.

Classically trained jazz guitarist Diego Barber presents five well-developed themes and a 3-movement solo sonata transcribed from his outstanding commercial CD recordings: Calima One Minute Later Tales and The Choice. Two of the tracks 'Elvira Maria” and the 3-movement Sonata 'Banc d'Arguin” are strictly guitar solos while 'Richi” is a solo accompanied by light percussion. 'Kilian's Mountain” is a reduced score of an extended duet with a pianist and 'Desierto” and 'Virgianna” include expert sidemen on saxophone bass and drums. The music ventures from complex melody-chord textures to hard-swinging grooves all played with spontaneity and aheightened awareness of time dynamics color technique and tone. Even seasoned guitarists will find these pieces rhythmically and technically challenging but they provide a roadmap to the recordings and rare insight to the workings of a unique musical mind. Diego Barber's Compositions for Classical Guitar are written in standard notation only with online access to stellar solo and ensemble recordings. About Sonata 'Banc d'Arguin” … Diego Barber is a native of Lanzarote in the Canary Islands just off the northeast coast of Africa: in writing Sonata 'Banc d'Arguin ” the main solo piece in this collection he was inspired by the major cities Nouadhibou and Nouakchott the Banc d'Arguin National Park and the desert of the West African country of Mauritania. Classically trained jazz guitarist Diego Barber presents five well-developed themes and a 3-movement solo sonata transcribed from his outstanding commercial CD recordings: Calima One Minute Later Tales and The Choice . Two of the tracks Elvira Maria and the 3-movement Sonata Banc d'Arguin are strictly guitar solos while Richi is a solo accompaniedby light percussion. Kilian's Mountain is a reduced score of an extended duet with a pianist and Desierto and Virgianna include expert sidemen on saxophone bass and drums. The music ventures from complex melody-chord textures to hard-swinging grooves all played with spontaneity and a heightened awareness of time dynamics color technique and tone. Even seasoned guitarists will find thesepieces rhythmically and technically challenging but they provide a roadmap to the recordings and rare insight to the workings of a unique musical mind. Diego Barber's Compositions for ClassicalGuitar are written in standard notation only with online access to stellar solo and ensemble recordings. About Sonata Banc d'Arguin … Diego Barber is a native ofLanzarote in the Canary Islands just off the northeast coast of Africa; in writing Sonata Banc d'Arguin the main solo piece in this collection he was inspired by t

For Cor Anglais and five instruments (Clarinet Piano Violin Viola and Cello). Published in 2001. Commissioned by the Britten Sinfonia. First performed by the Britten Sinfonia St Edmund's Theatre Caterbury November 2001 and conducted by Nicholas Cleobury. Score and Parts. For Cor Anglais and five instruments (Clarinet Piano Violin Viola and Cello). Published in 2001. Commissioned by the Britten Sinfonia. First performed by the Britten Sinfonia St Edmund's Theatre Caterbury November 2001 and conducted by Nicholas Cleobury. Score and Parts.