Work first published in 1966.

SCTB (or SSTB or SMzTB) chorus

Violin Piano. Spinner L

This work was commissioned for Michala Petri by the Carnegie Hall Corporation in honour of Carnegie Hall's Centennial Season. The world premiere was given in Carnegie Hall's Weill Recital Hall New York City on Friday 15 March 1991.

Twenty Studies for Timpani by Jacques Delécluse (born 1933) is a set of twenty studies written for 2-5 Timpani and inspired by symphonic repertoire. Written for intermediate-level they require some technical knowledge. Twenty Studies for Timpani features some meter and multiple pitch changes and the studies are written with increasing difficulty. This set will definitely help to master a good technique on Timpani The author Jacques Delécluse is a soloist at the Paris Orchestra and a professor at the Conservatoire National de Musique de Paris. He has conceived a keyboard-percussioninstruments that held his name and is also the author of a series of seven books à la manière de for Drums and Piano.

Concerto no. 8 (Rode)- Pierre Rode's Premiers Solos Concertos Classiques No. 8 for Violin and Piano.

For choir (SSATB) and Organ. Published 2004. Commissioned by St Catharine's College Cambridge for the 300th anniversary of the consecration of the chapel. First performance: Dr Edward Wickham Max Pappenheinz (organ scholar) and the St Catharine's Chapel Choir 25th November 2004. Conducting and organ score. For choir (SSATB) and Organ. Published 2004. Commissioned by St Catharine's College Cambridge for the 300th anniversary of the consecration of the chapel. First performance: Dr Edward Wickham Max Pappenheinz(organ scholar) and the St Catharine's Chapel Choir 25th November 2004. Conducting and organ score.

This work was commissioned by the Gewandhaus zu Leipzig. First performance on 22nd August 2009 at the Leipzig Gewandhaus given by Daniel Hope (violin) and the Gewandhausorchester Leipzig conducted by Sir Peter Maxwell Davies.

The life of Oglala Sioux holy man Black Elk (1863-1950) spanned the tragic decades of the battle with Custer at the Little Big Horn the ghost dance and the massacre at Wounded Knee. In 1930 Nebraska poet John G. Neihardt went to the Pine Ridge Reservation to try to find some original sources to interview about the great spiritual traditions of the Sioux. He found Black Elk and proceeded to interview him over the course of the next two years. The words of The Sacred Hoop are taken from Neihardt's classic volume Black Elk Speaks.SS/A . Kesselmann L

For Orchestra (triple winds). Published 1967. First performance: BBC Training Orchestra conducted by Walter Susskind 16th February 1969. For Orchestra (triple winds). Published 1967. First performance: BBC Training Orchestra conducted by Walter Susskind 16th February 1969.

A collection of twenty-three popular tunes specially arranged as short pieces for clarinettists of Grades 2 to 3 with simple Piano accompaniments. This book is a perfect opportunity to build a repertoire of favouriteswhilst still in the early stages of learning the instrument.

1.Prélude marin; 2.Rondo brillant

From the Suite in B minor arranged for Alto Saxophone and Piano.

We approached our composers to contribute music that was jolly fun and straightforward. The result is a really useful collection of easily learned pieces that will raise the hearts of both choir and congregation in joyfulpraise.

Try this hymn concertato during Advent or as a part of your festival of lessons and carols. Handbells are optional but provide a nice addition.

Neuf méditations pour orgue-Written in four volumes The Nativity of the Lord by Olivier Messiaen was written in 1935 and depicts his Roman Catholic faith. Written for Organ this piece is considered “one of the great Organ works of all time” and as a real masterpiece as said by R. F. Goldman the American composer. Divided into nine movements each of which portrays a concept related to the birth of Jesus: 1. La vierge et l'enfant (The Virgin and Child) 2. Les bergers (The Shepherds) 3. Desseins éternels (Eternal designs) 4. Le verbe (The Word) 5. Les enfants de Dieu (The Children of God) 6. Les anges (The Angels) 7. Jésus accepte la souffrance (Jesus accepts suffering) 8. Les mages (The Magi) 9. Dieu parmi nous (God Among Us). This fourth volume features the meditations 8 and 9. La Nativité Du Seigneur is essential to all advanced organists seeking to expand and vary their repertoire. Olivier Messiaen (1908-1992) was a French organist and composer passionate about Ornithology and one of the most important composers of his century. Inspired by Japanese music he had a very special way of composing and his work can be identified by its complexity its diatonic aspect its harmony with limited transposition its colour and its additive rhythms. He composed many works related to ornithology and birdsong including the 'Bird Catalogue' in 7 volumes and the 'Treatise on rhythm colour and ornithology' in 7 volumes. Olivier Messiaen (1908-1992) is known for his unique composition style. Incorporating complex rhythms harmony and melodies La Nativité Du Seigneur is no exception to the composer's popular distinctive style. Volume 4 published in 1935 with the three preceding volumes comprises the 9th meditation God among us . The entire work by Messiaen La Nativité Du Seigneur is a testament to the composer's Christian faith. The work was one of the first to feature the composer's own modes of limited transposition and influences of birdsong. This edition of thepopular Messiaen work includes notes by the composer on how to perform certain features. La Nativité Du Seigneur is essential to all advanced organists seeking to expand and vary their repertoire.

Sonata Brève by French composer Pierre-Max Dubois .

1.Prélude; 2.Allant et délicat; 3.Salut et Estampie

Arthur Bliss’s first orchestral compositions his studies for Full Orchestra are believed to have been composed in 1920. The first performance in 1921 was conducted by Arthur Bliss. Orchestration: 2 Flutes Oboe Cor Anglais 2 Clarinets in Bflat Bass Clarinet in Bflat 2 Bassoons Contrabassoon 4 Horns in F 2 Trumpets in C 3 Trombones Tuba Timpani Percussion Harp Celesta Strings. Full score and orchestral parts are available on hire from the publishers. Duration: c. 12 minutes.

Jeremy Dale Roberts ' Spoken To A Bronze Head (2009) for Mezzo Soprano and Piano. This is a setting for text by Ursula Vaughan Williams . ' In all the long years that I knew her – and it was a matter of regret between us – I never set a word of Ursula’s poetry. It was only after her death when I was asked to contribute a setting of one of her poems to a celebratory concert held at the Royal College of Music that I ‘jumped’: I knew immediately which one I wanted to do – lines ‘Spoken to a Bronze Head’. This was the portrait bust of RVW made by David McFall: not the Jacob Epstein which neither of them liked very much. It stood always in her sitting room a benign presence a‘virtual’ companion in her long widowhood. My setting is in an ‘arioso’ style quite simple and austere – maybe to match the rather ‘Augustan’ style of the verse. It is of course a memorial also a salute: and I wanted to enshrine in it the two of them Ralph and Ursula. So at the heart of it is a clangourous bronze-like chord lifted from the last movement of VW’s 6th Symphony from which I quote a passage just before the conclusion . - Jeremy Dale Roberts Jeremy Dale Roberts ' Spoken To A Bronze Head (2009) for Mezzo Soprano and Piano. This is a setting for text by Ursula Vaughan Williams . ' In all the long years that I knew her – andit was a matter of regret between us – I never set a word of Ursula’s poetry. It was only after her death when I was asked to contribute a setting of one of her poems to a celebratory concert held at the Royal College of Musicthat I ‘jumped’: I knew immediately which one I wanted to do – lines ‘Spoken to a Bronze Head’. This was the portrait bust of RVW made by David McFall: not the Jacob Epstein which neither of them liked very much. It stood alwaysin her sitting room a benign presence a ‘virtual’ companion in her long widowhood. My setting is in an ‘arioso’ style quite simple and austere – maybe to match the rather ‘Augustan’ style of the verse. It is of course amemorial also a salute: and I wanted to enshrine in it the two of them Ralph and Ursula. So at the heart of it is a clangourous bronze-like chord lifted from the last movement of VW’s 6th Symphony from which I quote a passagejust before the conclusion . - Jeremy Dale Roberts