With Descant by Albert Howe. Tonic Sol-fa alternative provided.

Throughout his lifetime Josef Rheinberger (1839-1901) enjoyed a reputation as a virtuoso pianist organist teacher of composition and active composer. To this day he has nearly 200 published compositions. This publication collects his Sonatas 1-3 For Organ .

Scored for unison voices and organ or piano. Psalm 98 paraphrased by David Walser. Music by Arthur Wills.

Everyone Sang Was Composed By Scottish Composer Helen Grime In 2010. It Was Commissioned By Bbc Radio 3 For The 75Th Anniversary Of The Bbc Scottish Symphony Orchestra. It Was First Performed At City Hall Candleriggs Glasgow In December 2010 And Is Arranged For Orchestra. When Composing This Piece Grime States That She Imagined The Orchestra As Many Individual Voices That Were Capable Of Producing A Unified Melody But Also Breaking Off Into Separate Strands Of Song. Since It Was Composed As A Commemoration For The Bbc Scottish Symphony Orchestra Grime Wished To Emphasise The Orchestra As A Grand Unified Whole As Well As Their Individual Sections AndSounds. The Piece Unifies The Orchestra With A Sense Of Celebration And Elation As Well As A Sense Of Melancholy Making It Apt That The Piece Is Named After A Poem By Siegfried Sassoon. Everyone Sang was composed by Scottish composer Helen Grime in 2010. It was commissioned by BBC Radio 3 for the 75th anniversary of the BBC Scottish Symphony Orchestra. It was first performed at CityHall Candleriggs Glasgow in December 2010 and is arranged for Orchestra. When composing this piece Grime states that she imagined the Orchestra as many individual voices that were capableof producing a unified melody but also breaking off into separate strands of song. Since it was composed as a commemoration for the BBC Scottish Symphony Orchestra Grime wished to emphasise the Orchestra as a grand unified whole as well as their individual sections and sounds. The piece unifies the orchestra with a sense of celebration and elation as well as a sense of melancholy making it apt that the pieceis named after a poem by Siegfried Sassoon.

Anthem for SATB Choir and Organ.

Gounod's restful melody soars over Bach's famous prelude. Arranged here fopr Descant or Tenor Recorder with Piano accompaniment by Duncan Reid. Grade: 2-3 Gounod's restful melody soars over Bach's famous prelude. Arranged here fopr Descant or Tenor Recorder with Piano accompaniment by Duncan Reid. Grade: 2-3

Britten was so remarkably prolific as a young composer that many of the works from his teens were put aside to await revision or completion as he rushed on to the next piece. This was particularly the case around the time of hisOpus 1 Sinfonietta composed in the summer of 1932 his second year as a student at the Royal College Of Music. The Sinfonietta was written (in less than three weeks) very soon after Britten had completed thefirst draft of the Double Concerto; but after finishing the Sinfonietta he went back to revise the Concerto's second movement. He started work on his Op.2 Phantasy for Oboe and String Trio a few weekslater. Although the Concerto follows the same three-movement pattern as the Sinfonietta it is more ambitious in scale; and since the sketch is unusually for Britten complete in practically every detail it ispuzzling that he never made a full score of the work after finishing the composition and seems to have made no attempt to get it performed. It is not clear if he had particular performers in mind (he was of course a Violaplayer although he is not likely to have intended the part for himself). He showed the work to his composition teacher at the college John Ireland who as Britten recorded in his diary was 'pretty pleased' with it; but it isdistinctly possible that his experience in rehearsing the Sinfonietta with a student orchestra in 1932 ('I have never heard such an appalling row!' reads another diary entry) discouraged him from going on to complete theDouble Concerto in score. He was not to hear any of his orchestral works until the first performance of Our Hunting Fathers in 1936. In the absence of Britten's full score it was necessary for me to prepare the workfrom the sketch. But the instrumentation is so carefully indicated in the draft that the resulting score is not far from being 100% Britten - only between bars 70 and 74 of the slow movement did there seem to be any need to add

Selected pieces from the 19th century- German Romanticism includes selected works from some of the most important composers of the style to whom—in terms of musical history—the Austrian Franz Schubert also belongs. Besides Carl Maria von Weber he represents the Early Romanticperiod while Felix Mendelssohn Bartholdy and Robert Schumann belong to the High Romantic era. Richard Wagner Carl Reinecke and Johannes Brahms represent the later 19th century. The enclosed CD provides a demonstration of each piece followed by the piano accompaniment with which to play along.

For SATB divisi chorus and tubular bells.

(Full score). Dean B (Full score). Dean B

Imminent Danger-It can be neither seen nor heard but it is forever present and can make us ill or even kill us: the reality of atomic radiation. The most devastating recent nuclear catastrophes have doubtless been those in Chernobyl (1986) and Fukushima (2011). The composer expresses through a musical message that putting faith in the safety of nuclear energy may be mankind’s most fatal error.

Written for Counter-Tenor Cello and Harpsichord. Words by Swinburne with sentences from the Latin Requiem.

Piano Violin Cello. Schroeter H

George Dyson 's I Loved A Lass for TTBB choir with words by George Wither . A Piano accompaniment is included here for rehearsal purposes only.

Hakon Borresen's élégie Op. 17 No. 1 (from 'Deux Pieces Pour Violoncelle et Piano') for Cello and Piano.

Trio for flute oboe and piano Blaz Pucihar 's Trio for Flute Oboe and Piano dedicated to Dr. Nicole Molumby.

Piano. Schaeuble H

Ross Winters Recorder Pac-S.S.A.T.

(Full score). Zender H

Spec Unica for Childrens's Choir and Symphony Orchestra was composed by John Høybye in 1994. Texts by Lisbeth Smedegaard Andersen and Steen Kaalø. Latin version and compilation by Poul Pedersen.