The Composer writes: 'In February 1987 I saw in the Tate Gallery in London a painting by the Victorian English painter John William Waterhouse. The painting kept haunting my memory and as I at the same time planned to write a piece for solo Viola my ideas for the music and the memory of the painting fused more and more. I decided then to let my piece borrow the title of Waterhouse’s painting: The Lady Of Shalott . The picture of a mad-like pale and perhaps singing woman alone in a boat without sculls which calmly slips out from the rush growth of the river is an illustration for the ending of Alfred Tennyson’s poem by the same title which again plaits into the oldEnglish legends about King Arthur. My piece tries to meander - like the river at Camelot - among these sources.' As suggested above the piece was originally written for Viola solo. This version for String Quartet is from 1993. The Composer writes: 'In February 1987 I saw in the Tate Gallery in London a painting by the Victorian English painter John William Waterhouse. The painting kept haunting my memory and as I at the same time planned to write a piece for solo Viola my ideas for the music and the memory of the painting fused more and more. I decided then to let my piece borrow the title of Waterhouse’s painting: The Lady Of Shalott . The picture of a mad-like pale and perhaps singing woman alone in a boat without sculls which calmly slips out from the rush growth of the river is an illustration for the ending of Alfred Tennyson’s poem by the same title which again plaits into theold English legends about King Arthur. My piece tries to meander - like the river at Camelot - among these sources.' As suggested above the piece was originally written for Viola solo. This version for String Quartet is from 1993.

12 Easy Trios for Flutes-This varied selection features simplified arrangements of famous compositions through the ages starting with a cheerful 16th century piece by Henry VIII.

The poetry of the sound of the horn evokes dreamlike images of the grand blue southern seas…. The composer Pascal Proust has many years’ experience as a musician and music teacher. His output includes several hundred compositions for the most diverse instrumentations. He wrote Moorea for horn players at the level of approximately one year’s study and paid special attention to an easy-to-follow attractive musical style. As a result Moorea is an ideal performance or competition work for young musicians.

The Golden Pass is a rail line in the Swiss Alps that connects Montreux located by Lake Geneva to Lucerne in central Switzerland. This composition echoes the thoughts and feelings of a passenger who watches the changing landscapes he observes on this journey: green meadows full of grazing cows and traditional chalets beautiful mountain lakes waterfalls and mountain tops including the scenic Brüning Pass. Is this real or just a dream? We may never know!

A bright and colorful closer THE MONUMENT MARCH gives each section of the band an important role to play. The 6/8 meter serves as a nice contrast if your concert is primarily duple-meter based. Nearly every imaginable 6/8 rhythm (without using 16th notes) is included somewhere in this piece so bands that have had a LOT of experience at playing in 6/8 will enjoy rehearsals as they reinforce those important 6/8 reading skills.A skill-builder for advancing groups!

ACTIONS INTERPOLATIONS AND ANALYSES symphonies for bass-clarinet and large ensemble (1987-90) is what is commonly termed a work in progress. So far Schaathun has completed three of five parts. The is the composer's first large-scale attempt to investigate possible connections between ostensibly unrelated material. Explained in simple terms it involves taking two of Schaathun's own type of texture (composed by means of different techniques) and letting them rotate around a familiar musical object (in this case a short excerpt from Stravinskij's Symphonies of Wind instruments in which he employs the famous frozen chords). In the course of the piece the elements takes over various characteristics from one another and the form progresses from fairly clear-cut textures to a situation where the various textures are superimposed creating a dramatic flow. On a more advanced level the piece is about trying to mediate between different musical textures as metaphors for the different levels of the sound itself. One of the main questions in this context is: What is size in music? Is it possible to take a small chord(i.e. narrow register few instruments simple tone colours) and then blow it up (wide register many instruments advanced mixtures) in such a way that the listener still perceives it as the same chord? You have simply moved closer to the sound. At any rate when Schaathun composed the piece he himself travellig into the sound as if were viewing a texture from a distance. He then recomposed the same situation and drew closer and then recompose it a third time and simply get close enough to discover the world of sounds that thus emerged. A world of sounds capable of travelling at a tremendous speed... However like all concertos the piece is of course about the individual and his relationship to his surroundings (society). Schaathun has often pondered on the reason for this preoccupation wih solo concertos. The answer derives from his firm conviction that nothing would ever happen if it weren't for the initiative the Action of the individual.ACTIONS INTERPOLATIONS AND ANALYSES symphonies for bass-clarinet and large ensemble (1987-90) is what is commonly termed a work in progress. So far Schaathun has completed three of five parts. The is the composer's first large-scale attempt to investigate possible connections between ostensibly unrelated material. Explained in simple terms it involves taking two of Schaathun's 'own' type of texture (composed by means of different techniques) and letting them 'rotate' around a familiar musical object (in this case a short excerpt from Stravinskij's Symphonies of Wind instruments in which he employs the famous 'frozen' chords). In the course of thepiece the elements takes over various characteristics from one another and the form progresses from fairly clear-cut textures to a situation where the various textures are superimposed creating a dramatic flow.

Buxtehude's organ music already fascinated J. S. Bach – and generations of organists ever since. Schott's urtext edition of his complete organ oeuvre in the renowned series 'Masters of the North German Organ School' is based on the sources taking the latest findings of the Buxtehude research into account. Unlike all previous Buxtehude editions this new edition by Claudia Schumacher follows the rhythm notation of the original i.e. the tablature thus providing for the first time the authentic version which enables the player to interpret the works in a differentiated manner. Volumes 3 and 4 contain a total of 48 chorale arrangements in alphabeticalorder of the initials of the chorales: Vol. 3 contains 26 pieces (A-L) Vol. 4 22 arrangements (M-W).

The Trio for Two Oboes and English Horn was composed at a time when Beethoven's music still divulged the influence of Mozart and Haydn. This work carries a higher opus number than others from the time of its composition because it was not published until 1806. Here it is arranged for three Violas by Lionel Tertis.

10 Strauss favourites arranged for solo cello with backing track CD-10 favourites from the Strauss dynasty arranged for instrumental solo with fully orchestrated backing tracks Play along with your favourite Viennese classics. With fully orchestrated backing tracks on the accompanying CD you can take your moment in the orchestral spotlight! 10 favourites from the Strauss dynasty arranged for instrumental solo with fully orchestrated backing tracks. Play along with your favourite Viennese classics and take your moment in the orchestral spotlight!

31 Duets That Can Be Played By Any Combination Of Wind Instruments-These invaluable collections contain 31 duets in a variety of styles (classical folk music new original pieces) that can be played with any combination of two wind instruments. Students can develop their chamber ensemble skills while playing with their friends no matter what instruments they play. Ranging from grade levels 2-3 Compatible Duets for Winds is perfect for band directors to buy for use in the classroom and its flexibility makes it a must-have for any wind player. If you have a friend that plays another instrument and you want to play a duet with them for fun or in a performance then this is the book for you! This collection contains 31 duets in a variety of styles from classical to folk music to original pieces that will be fun to play with any combination of two wind instruments. Duets are a great way to learn how to play in a chamber music setting and this unique collection gives you the opportunity to do it with anyone else that plays a wind instrument making the combinations of instruments that can be used almost limitless. This collection is ideally suited for use in schools for students who areespecially eager to play music with their friends. The flexibility of these duets makes them a must-have for any wind player. Editions available for: Alto/Baritone Saxophone (CFWF95) Clarinet/Trumpet/T.C. Euphonium/Tenor Saxophone (CFWF94) Flute/Oboe (CFWF93) Trombone/B.C. Euphonium/Bassoon (CFWF96) Horn In F (CFWF97) Tuba (CFWF98)

Set on the ABRSM Cello syllabus.

partly based on the chorale Schmücke dich o liebe Seele-Adornia is a word invented by the composer with a similar meaning as ‘to adorn’ which means 'to embellish'. The thematic cornerstones are DORN after the commissioning band CMV Juliana in Doornspijk Netherlands. It also contains the chorale ‘Schmücke dich du liebe Seele’ used several times in different variations. Adornia contains beautiful melodies broad dynamic passages and has a spectacular conclusion.

Play with a real band!-This exciting book with CD accompaniment featuring real musicians covering many styles of light music including swing country rumba slow rock disco mambo cha-cha and rock. This book can be used together with a keyboard or piano (book available separately) for a concert performance or as a short audition item. Swing and Pop tunes for Trombone or Euphonium with a CD of backing tracks.

Concert March-In Greek mythology Hermes was the messenger of the gods and the god of merchants. The piece starts with a powerful four-measure introduction followed by the solemn 1st theme and the heroic 2nd theme. After the gentle trio section the music increases in tension with several key changes and a dynamic grand finale concludes the piece. This is a spirited concert march with positive musical energy throughout the piece.

Unaccompanied. Unaccompanied.

for 2 trumpets and organ

Anthem for Double SATB Chorus-This anthem for double SATB choir uses the poem of the same title by Avraham Ben Yitzakh (1883-1950) English version by Robert Mezey. It was commissioned by The Golden Bridge Suzi Digby music director.

Solos for Beginning through Early Intermediate lev-The 1st Recital Series presents high quality solo/recital literature appropriate for performers from beginner to early intermediate standard. A professionally recorded CD is included with each book providing a demonstration of each piece followed by an accompaniment track which can be used for performance or rehearsal. A separate piano accompaniment book is also available.

Original composition by renowned Chilean composer Juan Orrego-Salas. Original composition by renowned Chilean composer Juan Orrego-Salas.

Soprano/Tenor with Chamber Ensemble-Soprano/tenor clarinet bass clarinet and viola.