Work for String Quintet (2 Violin 2 Viola Cello) composed in 1960. Parts available: WH48105 Work for String Quintet (2 Violin 2 Viola Cello) composed in 1960. Parts available: WH48105

Willard A. Palmer 's faithful setting is for the intermediate pianist. Tasteful use of arpeggios rolled chords and dynamics brings out a rich sonorous sound that evokes the original String arrangement.

SATB chorus (Noël provençal)

Snow Valley Sleigh Ride takes you on an imaginary night-time journey from a mountain top ski village into the dark surrounding forests. To the delightful sound of sleigh bells and trotting horses the sleigh leaves the lights of the village behind before heading deep into the neighbouring forest and back down to the village again. Let the minds of your audience escape to this magical winter wonderland.

Three Pieces For Withycombe by Philip Moore for Organ.

Cello Piano. Suk J

Jazz Play-Along Vol.39-All Levels. 8 time-tested standards span over 75 years of American popular music and all are favorites with every prominent big band and combo from the 20s to the 40s. Artists as diverse as Eubie Blake and Coltrane have enjoyed and performed these classics in their own style; proof of their unending flexibility and popularity. Music and lyrics to 8 essential repertoire standards.

Ad Cor for Double Choir and Orchestra was composed by Pelle Gudmundsen-Holmgreen in 2015.Text: Ursula Andkjær Olsen (spoken text) and the Old Testament (sung text). This work was commissioned by The Crossing Chamber Choir and Donald Nally conductor with major support from The Pew Center for Arts & Heritage. First performance: Philadelphia Episcopal Cathedral (as part of Seven Responses) on April 24 2016. Instr.: 2x SSSAAATTTBBB chorus; 1.0+ca.1.1/1000/perc/hp.pf/str Ad Cor for Double Choir and Orchestra was composed by Pelle Gudmundsen-Holmgreen in 2015. Text by Ursula Andkjaer Olsen (spoken text) and the Old Testament (sung text). This work was commissioned by The Crossing Chamber Choir and Donald Nally conductor with major support from The Pew Center for Arts & Heritage. First performance: Philadelphia Episcopal Cathedral (as part of 'Seven Responses') on April 24 2016. Instr.: 2x SSSAAATTTBBB chorus; 1.0+ca.1.1/1000/perc/hp.pf/str

Dvorák’s Symphony No. 7 was commissioned by the “Royal Philharmonic Society” in August 1883 and received its premiere on 22 April 1885 in London conducted by the composer himself. The following June the second movement was shortened by some 40 bars and the work was published in this form in 1885 by Simrock.The editor of this new scholarly-critical edition is Jonathan Del Mar who has gained an international reputation for his edition of Dvorák’s cello concerto in B minor (BA 9045) not to mention his editions of works by Beethoven and Elgar. Del Mar has drawn on all the available sources including letters. The original version of the second movement appears in theappendix as well as in the performing material.This new Bärenreiter edition sets the highest scholarly standards whilst also taking the needs of modern performers into account. First Urtext edition of this important workContains the original London version of the second movementIncludes a foreword (Cz/Eng/Ger) and a critical commentary (Eng)

Coronae- Philipp Maintz Werk fur die neue Orgel in der Jesuitenkirche St. Michael in Munchen bezieht sich auf Bachs wunderschones Choralvorspiel zu O Mensch bewein dein Sunde groB aus dem Orgelbuchlein: „Ich wollte eine Musik schreiben die in ihm wurzelt ihr Material aus ihm bezieht und sich durchaus seinem Gestus verpflichtet fuhlt und ihm nachspurt - eben wie die Sonnenkorona die Sonne umgibt und in alle Richtungen strahlt.' - Anspruchsvolles Werk fur eine symphonisch disponierte moderne Konzertorgel - Anregende Literatur fur Orgel-Orchestrationskunstler -Fortfuhrung der geistig-religiosen klanglichen Welt von Skrjabin Tournemire Messiaen und Jean-Louis Florentz

Cello Piano. Gal H

Cantata for the 4th Sunday after Easter- Wo gehest du hin? BWV 166 Cantata for the 4th Sunday after Easter The cantata Wo gehest du hin? which dates from the first year of Bach's appointment in Leipzig and was given for the first time on 7 May 1724 takes as its starting point a phrase from the gospel for the fourth Sunday after Easter (St. John xvi 5-15). Bach's setting of this text is simple and concise. The scoring is light - apart from Strings and continuo it calls only for an Oboist and three Vocal soloists and a Chorus in the closing chorale. Urtext of the New Bach Edition Performance material (BA10166) and Vocalscore (BA10166-90) available for sale

Repertoire for Brass Ensemble and Organ. Suitable for amateur ensembles and non-professional church musicians. A variety of instrumental parts allow many performance options. The Organ plus Brass series presents original works and arrangements for Organ and Brass choir specially tailored to meet the needs of amateur ensembles and non-professional organists. The pieces may be played by any constellation of Brass Ensemble. Volume IV contains arrangements of church music by Charles Villiers Stanford both chorale-based and freely composed. The original works for Choir and Organ can be appropriately transferred to the festive scoring for Brass ensembleand Organ. Stanford (1852 - 1924) was an Irish born composer teacher and conductor. Following studies at the University of Cambridge he studied music in Leipzig and Berlin before returning to England where he was one of the founding professors of the Royal College of Music in London. He taught composition there until the end of his life.

Quarter Military Band QMB 179-Symphonic Band (score & parts). Grundman C

Gabriel Fauré ’s four Valses-Caprices (1882/83–1894) demonstrate various forms of his treatment of the waltz in combination with the free form of the caprice. The composer drew his inspiration for his Valses-Caprices in the first place from works such as Liszt’s Valse-Impromptu and his Valse à capriccio and the famous Valse-Caprice by Anton Rubinstein. These important works are now made available in scholarly-critical Urtext editions based on the Œuvres complètes de Gabriel Fauré and reflect the latest state of research. Detailed forewords offer information on the genesis and significance ofthe compositions as well as valuable suggestions on historical interpretation. All the available manuscript and printed sources as well as piano rolls containing recordings by the composer have been taken into consideration leading to new discoveries particularly regarding the Valses-Caprices. Based on the Œuvres complètes de Gabriel Fauré Based on the latest research findings and extensive source studies Informative forewords with advice on performance practice (Fr/Eng/Ger) Christophe Grabowski is a French pianist and doctor of musicology and studied in Warsaw and Paris. He has edited a volume of the Œuvres complètes de Gabriel Fauré and is Series Editor of the Complete Chopin: A New Critical Edition as well as two volumes of the Édition Complète des Œuvres de Claude Debussy. Together with John Rink he published the Annotated Catalogue of Chopin’s First Editions in 2010.

Elegy for Band-The initial idea was for a millennium piece which it is but rather than add to the many celebratory pieces that have understandably been written to salute the 3rd millennium Philip Sparke thought it would perhaps be appropriate to think about the aspects of life that are constantly with us (such as faith and philosophy) rather than the exciting changes that the year 2000 has undeniably wrought. This calm meditative work will bring a moment of serenity and reflection to any concert.

für Altblockflöte oder Querflöte (Oboe Violine) und Basso continuo-The playing score and parts for Jacques Hotterre's Suite In E Minor Op. No.2 for Treble Recorder (or Flute Violin or Oboe) and Basso Continuo edited by Hugo Ruf. Edition no.: HM 198.

Per Nørgård 's Songline For Tine . Dedicated to Tine Rehling 2014. Per Nørgård 's Songline For Tine . Dedicated to Tine Rehling 2014.

Lyrics by Bo Bergman Pan (1924) by Ture Rangstrom. For Voice and Orchestra with lyrics by Bo Bergman.

Morning Song features the horn quartet mostly in a soloistic role - indeed there is an accompanied cadenza towards the end of the piece - but there are moments where the horns assume their conventional concert band role as harmonic support or playing the counter melody. This expressive composition shows all the versatility of the horn quartet and gives them the chance to be in the spotlight.