The Final Destiny of the Gods-In Nordic mythology Ragnarök is the downfall of the gods and of the world which takes place as a kind of battle between giants and gods. Under the flaming sword of the god of fire everything is laid waste - but only to make way for a new world and a new order. Bert Appermont took inspiration from this old saga for a magical majestic concert band work that can also optionally be performed with choir.

Voix grave- Jacques Ibert (1890-1962) studied at the Paris Conservatoire before embarking upon a successful composing career. The film Don Quichotte increased his popularity when he composed the musical score in 1933. Controversially the producers of Don Quichotte asked five composers separately to compose songs for the film. Each composer thought only he had been approached and when Ibert 's music was eventually chosen for the film it caused him some embarrassment as Maurice Ravel who had also been approached was a close friend of his. Song of Departure comes toward the beginning of the film sung by thethe main character Don Quichotte. Addressing a variety of musical aspects and techniques Ibert 's Song of Departure is a challenging yet evocative addition to the Bass repertoire.

Sunleif Rasmussen 's Nordisk Messe for Orchestra and SATB. Full score. Sunleif Rasmussen 's Nordisk Messe for Orchestra and SATB. Full score.

For clarinet bassoon trumpet trombone perussion violin + double bass. Sports Et Divertissement by Erik Satie expertly arranged for Ensemble by Karl Aage Rasmussen (1984). Instr.: Clarinet Bassoon Trumpet Trombone Percussion Violin and Double Bass. Parts are available on hire: hire@ewh.dk

An anthem for the Easter season set for 2-part chorus with the organ accompaniment calling upon the chant melody Dextera Domini.

Piotta is a lively 6/8 march from well-known concert band composer Franco Cesarini. This exciting and musically witty piece is as impressive rhythmically as it is melodically and will make for an elegant opening to any concert.

1.Thrène dramatique; 2.Ballade des Torches

A collection of 26 carefully graded diverse and appealing new compositions and arrangements for descant recorder and piano by Doris da Costa and Sally Adams. Comes with a CD which includes both a performance and play-a-long track.

These works impressively document the last phase of the Baroque era. This edition is based on an early copy which belonged to Johann Philipp Kirnberger. It bears the title 'Sechs Sonaten fur 2 fleutten von Friedemann Bach'. The Duets Nos. 5 and 6 were added by another copyist.

Cantata for the First Sunday of Advent- Nun komm der Heiden Heiland BWV 62 Cantata for the First Sunday of Advent Bach began two of his cantatas (BWV 61 and 62) - belonging to the Weimar and Leipzig periods respectively - with Martin Luther`s Advent hymn 'Nun komm der Heiden Heiland' a German version of the early church hymn 'Veni redemptor gentium'. The cantata can be described as a Choral Cantata typical of Bach's late creative period incorporating the older technical processes of polyphonic chorale settings as well as more modern solo movements. Urtext of the New Bach Edition Performance material (BA10062) Vocal score (BA10062-90) & study scoreformat 22.5 x 16cm (TP1062) available for sale

British Band Classics QMB 336-Symphonic Band (score & parts). Vaughan William

Fanfare-Polonaise. Piano Duet. BVN125 Fanfare-Polonaise. Piano Duet. BVN125

A Masterwork Method for the Developing Pianist-Bachus Nancy Exploring Piano Classics Technique Level 3 Book

Clarinet 2 Violins Viola Cello (Study Score). Gal H

Somerset Folk Song-This is a beautiful Somerset folk song which have been arrnaged for SSA a cappella by Christopher le Fleming. A Piano accompaniment is provided for rehearsal purposes.

I'm still standing is another way of saying You haven't beaten me yet and is an ode to stamina. This world famous song by Elton John has been arranged by newcomer Sven Van Calster. The stirring rhythm and the infectious famous melody enable this piece to be played at any concert irrespective of the level of your orchestra. Always a topper!

Impressionist composer Claude Debussy wrote his set of Préludes for the piano between 1909 and 1913. In their entirety his Préludes total 24 individual pieces in two volumes. It is from these that Karel Deseure has selected fivepreludes for his Cinq Préludes. La fille aux cheveux de lin is probably the most well-known of the five (and Debussy’s 24).Deseure approached each prelude as being musically independent of the others. Consequently they do not have to be played in a specific order or even as a complete set. It is worth noting that in Debussy’s original edition the titles wereprinted at the end each prelude almost like a footnote so the performer could look at themusic without being influenced by Debussy’s descriptive titles. The Préludes also demonstrate Debussy’s superb orchestration skills. Deseure took great care orchestrating these five preludes so he could capture and convey their original character and mood as accurately as possible. The original key signatures were kept and only very minute changes were made to the pitchesthemselves such as occasional octave doublings to fill out the ensemble.

Chabrier was heralded by the young generation of composers in France particularly by Debussy Ravel and Poulenc as the founder of the French Modern. He achieved resounding success with his orchestra rhapsody “España” upon returning from his trip to Spain. Riding on this success he composed the Habanera in 1885 which was met with equal enthusiasm. The piece was soon circulated in various arrangements. Chabrier himself transcribed the piece for orchestra in 1889. Bärenreiter is publishing the original version for piano for the first time in an Urtext edition. This striking piece is ideal for teaching purposes and includes fingering by Tamara Stefanovich as well asa well-presented layout with optimum page turns. First scholarly-critical Urtext edition Ideal for teaching Informative foreword (Eng/Ger) and critical commentary (Eng) With fingering and optimum page turns Tamara Stefanovich studied at the University of Belgrade at the Curtis Institute of Music and at the “Hochschule für Musik und Tanz” in Cologne. Working alongside conductors such as Esa-Pekka Salonen Pierre Boulez and Vladimir Jurowski she has performed with the Cleveland Orchestra Chicago Symphony Orchestra and London Philharmonic Orchestra. For Bärenreiter she has already prepared fingering for the Urtext edition of Claude Debussy’s “Images” (“1re série”: BA 10821 “2e série”: BA 10822).

Piano score for mixed choir solo voice and piano. Soli: SATB - Choir: SATB

Now The Green Blade Riseth arranged by Simon Lindley for SATB.