Elevhaefte- Skatteøen (Treasure) is a popular musical based around the 1883 novel Treasure Island by Robert Louis Stevenson. Composed by the Danish musician Sebastian (b.1949) it was first performed in 1986 and has since been released as an album starring many Danish pop singers. This student edition (Elevhæfte) contains all the lyrics from the musical and is designed to be used alongside the teacher’s edition (Lærerhæfte) with contains all the music.

Work for mixed chorus a cappella. Work for mixed chorus a cappella.

Richard Strauss' Songs Album 1 for Low Voice with Piano accompaniment with English words by John Bernhoff.

Also suitable for flute oboe or violin

Rivolta - Piano Trio No.1 for Violin Cello and Piano was composed by Anders Koppel in 1992 and revised in 1994. Rivolta - Piano Trio No.1 for Violin Cello and Piano was composed by Anders Koppel in 1992 and revised in 1994.

Flexible String Ensemble-The Fiddle Fiesta became an important annual event for Bedfordshire Music Service at least thirty years ago and was the brainchild of a highly individual lady called Barbara Cann. The main purpose of this was to give less experienced string players an opportunity to play in a large ensemble; these young players were helped on such occasions by more senior students who were already experienced in ensemble playing perhaps in one of the youth orchestras. What began as an isolated event soon spread to many schools and nowadays 'Fiddle Fiestas' take place in numerous venues across the county every year usually during the summer term. This suite of shortmovements borrows its title from these annual events and is aimed at being performed under similar circumstances. Each of the five parts (violins 1 & 2 violas and/or violin 3 cellos and basses) exists as part 'a' and part 'b' part 'b' being a simplified version of part 'a' such that the piece can be played by virtually any combination of available players albeit with some loss of detail when played predominantly with parts 'b'. Additional string parts are available independently quickly and at little cost. Please do NOT photocopy this music! Individual parts for all Spartan Press ensembles are available separately quickly and inexpensively. DO NOT PHOTOCOPY.

Study score including the first and final versions of Leoš Janácek's Glagolitic Mass.

A terrific publication containing fifteen fabulous tunes for accordion in simple and straightforward arrangements. It follows the already successful Easy Blues Tunes for clarinet saxophone and trumpet collections and expands the range. The diverse styles included within range from quick and dynamic jazzy-blues to slow and ponderous traditional blues. Yvonne Warmelink is a respected and succesful accordion player based in Holland and her arrangemets of Cathrine's tunes are perfect for beginners. Grade: Easy

Kantate til Jul af Soren Birch (2008). For sopran solo lige stemmer (SSA) blandet kor (SATB) og orgel. Korpartitur: WH31076A

Ole Buck's Fairies for Soprano and Orchestra (1972). The text is a cut-up by the composer after Cicely Mary Barker's Flower Fairies Book. Parts are available on hire: hire@ewh.dk

Guitar. Kubo Guitar. Kubo

Grieg composed this Concerto for Piano and Orchestra in 1868 for himself to play however Edmund Neupert played the first public performance in Copenhagen on April 3 1869. The music is rife with Scandinavian influences including traits of Schumann and Mendelssohn and Norwegian folk dance elements and rhythms. It is a dramatic and dynamic work that is never flat using constant development flourishes and crescendo from the first movement to the last. 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.

It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists. Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the Dead Sea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbledmiraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across perfectly well to today's instruments. For this to be possible we need to take the time to look beyond peculiarities in translation which to a significant extent comes down to issues resulting from burgeoning notational practices. It also becomes necessary to re-imagine the music in light of what is possible as well as what is desirable. Problems with accessing the sound-world of pre-Baroque keyboard music can be overcome quite easily just as it is possible to become better in resonance with avant garde musical styles given appropriate immersion. Since the writing of the performance notes to The Fitzwilliam Virginal Book more than a century ago (by J.A. Fuller Maitland and W. Barclay Squire) the momentum generated by the Early Music Revival has brought about immeasurable insights into the intentions of Renaissance and Baroque composers. Performances on period instruments continue to reacquaint us with a bygone age and stimulate a healthy fascination for the practices that were once fundamental to the craft. On balance however the potential for a major It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists. Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the Dead Sea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbledmiraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across perfectl

für Oboe und Streichquartett-The complete set of parts for Crusell's fabulous Divertimento in C for Oboe and String Quartet.

England-Voice Guitar.

Introductory Course- Recorder Quartets by various composers for beginning to intermediate players. Complied and edited by Fumio Kitamika. Contents: - D. Ortiz: Air Italiens - H.L. Hassler: O Mensch bewein den Sunde gross - Vater unser im Himmelreich - Vom Himmel hoch - Nun freut euch - M. Praetorius: Es ist ein Ros entsprungen - Erstanden ist der heilig Christ - Kommt uns lasst uns Christum ehren - Anon.: Macht hoch die Tur - M. Praetorius: Christum wir sollen loben schon - M. Teschner: Schatz uber alle Schätze - G. Neumark: Wer nur den lieben Gott lässt walten - S. Gastorius: Was Gott tut das ist wohlgetan - Anon:: Von Gott will ich nicht lassen - M. Vulpius: Jesu Leiden Pein und Tod - J. Schop: Sollt ich meinem Gott nicht singen - Anon.: Lobe den Herrn den mächtigen Konig - Nun komm der Heiden Heiland - Singen wir aus Herzensgrund - In dulci jubilo - N. Decius: Allein Gott in der Hohe - F.J. Haydn: Die Himmel erzählen - Sizilian: O du frohliche - J. Neander: Gott ist gegenwärtig - J.S. Bach: Wer hat dich so geschlagen - Ach grosser Konig - In meines Herzens Grude - Chor (aus Kantate 146) - Wo soll ich fliehen hin - Du Friedensfurst - Fur deinen Thron - Gott lebet noch - Jesu der du meine Seele - O Gott du frommer Gott - O Haupt voll Blute und Wunden - H.L. Hassler: O Haupt voll Blute und

Who likes to play for himself alone? It is not always easy for young pianists to do otherwise. This book however is ideal for anyone who not only wants to play solo but also wants to enjoy making music with others. With these easy arrangements for piano solo and also for ensemble with simple piano accompaniment the pupil is introduced at an early stage to aspects of piano playing other than those experienced when playing alone. The enclosed CD is both stimulating and helpful when practising at home

Guitar. Blumenthaler V Guitar. Blumenthaler V

For mixed choir (SATB) and Recorder. Texts by Gerard Manley Hopkins. Commissioned by the Danish National Vocal Ensemble. Two Scenes With Skylark for mixed choir (SATB) and Recorder (2011). Texts by Gerard Manley Hopkins. Commissioned by the Danish National Vocal Ensemble.

for Beginners- Recorder Quartets by beginner players by various composers. Compiled and edited by Fumio Kitamika. Contents: - Anon.: Pavane - T. Morley: Nancie - H.L. Hassler: Von dey Geburt Christi - J.H. Schmelzer: Pastorella - Anon.: A Toy - G. Farnaby: The Old Spagnoletta - Anon.: Pavana - H. Isaac: Carmen - H.L. Hassler: All Lust und Freud - J. Dowland Can she excuse - Wath if I never speed - J.J. Fux: Menuet - G. Mainerio:Ungarscha & Saltarello - La Parma & Saltarello - Ballo Anglese & Saltarello - J. des Prés: Mille regretz - C. Jannequin: Il estoit une fillette - E. Widmann: Mutterlein mein uie soll ich thon? - M. Praetorius: Ein feste Burg ist unser Gott - J.S. Bach: Choral (Matthäus Passion/Kantate 147/Motette 'Jesu meine Freude'/Kantate 140) - Anon.: Amarilli mijn schone - J.del Encina: Cucú Cucú - P. Pernandez: Cucú Cucú - Anon.: Dindirin dindirin - P. Phalèse: Gaillarde francoise - J. Schultz: Intrada - S. Scheidt: Courant Dolorosa - J.H. Schein: Allemanden und Triplas - E. Widmann: Däntze und Galliarden - M. Praetorius: Bransle & Courante