A charming and very attractive new addition to the repertoire from the pen of Mike Cornick - well known for his jazz publications. A charming and very attractive new addition to the repertoire from the pen of Mike Cornick - well known for his jazz publications.

Philip Stone is an actor of long and wide experience. In cinema he has worked with distinguished directors such as Stanley Kubrick Lindsay Anderson and Stephen Spielburg. he has also been a familiar face on our televisions for the past thirty years as well. Down those years he's always had a quiet ability to compose songs-words and music. They were written en passant in various places: in a tubercular chalet on the shores of Morecambe Bay - in a back room in Brixton - in a bedroom in Leeds - in a friend's house in St John's Wood. Some of these songs feature in his one-man show Beginnings and Endings and these eight are a varied example of that ability.

Peter Warlock's Four Cod-Pieces arranged for Organ by Malcolm Rudland. Duration: 6 minutes Peter Warlock's Four Cod-Pieces arranged for Organ by Malcolm Rudland. Duration: 6 minutes

Written ATB choir.

for SATB and organ/chamber orchestra Taken from Rutter's edition of FaurACO's Requiem this famous movement features both the original French words and an optional English text. John Rutter's complete edition of FaurACO's Requiem (1893 version) is available from Oxford University Press with scores and parts available on sale and on hire.

Heritage of English Song first published in 1986. 1. This endris night -- 2. The pink frock -- 3. So sweet love seemed -- 4. Love on my heart -- 5. Daybreak -- 6. Cradle song -- 7. What pleasure have great princes -- 8. Pleasure it is -- 9. The colour -- 10. If it's ever spring again -- 11. Tolerance -- 12. Epitaph.

For SATB (or unison) voices and organ. For SATB (or unison) voices and organ.

Nico Muhly 's Let All The World In Every Corner Sing for SATB chorus Cello and Organ. Part for Cello. Let All The World In Every Corner Sing was commissioned by Graham Ross and the Choir of Clare College Cambridge and first performed on 27 May 2014 by them with Peter Harrison Organ and Benjamin Michaels Cello. Nico Muhly 's Let All The World In Every Corner Sing for SATB chorus Cello and Organ. Part for Cello. Let All The World In Every Corner Sing was commissioned by Graham Ross and the Choir of Clare College Cambridge and first performed on 27 May 2014 by them with Peter Harrison Organ and Benjamin Michaels Cello.

Traditional Spanish songs composed by this Catalan composer and theorist (1665 - 1747) for voice flute and piano.

for SSAA and organ or piano or strings & harp Faure's Cantique de Jean Racine has all the emotional appeal and refined elegance that one associates with its composer and has a cherished place in the repertory of both sacred and secular choirs. This arrangement for upper voices remains as faithful to the original as possible. Fauré's Cantique de Jean Racine has all the emotional appeal and refined elegance that one associates with its composer and has a cherished place in the repertory of both sacred and secular choirs. This arrangement for upper voices remains as faithful to the original as possible.

Anna R. Matthews writes: 'Frederick Niven's poem tells the story of Christmas in 1914. On Christmas Day a truce was spontaneously enacted by the two sides fighting in Flanders in World War One. This was five months into the war which until this point many in Britain had confidently believed would be over by that time. When the two sides lay down their weapons in the name of humanity and met in the middle of no-man's-land they would not have realised the bloodshed that was to come as the war dragged on for a further four years - a conflict so atrocious that it came to be known as 'the war to end all wars'. This carol conveys the unknowing innocence of thosemen and the joy of Christmas yet explores the sinister context in which they met and the future which was to come. Ultimately the events of the 1914 Christmas truce came to symbolise the universality of hope and peace at Christmas. This carol brings this message into the twenty-first century.' Anna R. Matthews is a composer living in Exeter England. Born in Devon Anna studied music at Durham University where she was awarded the Rosalind Dickinson Prize. She enjoys working with some of today's most talented and creative ensembles: from Psappha to EXAUDI and from cathedral choirs to youth ensembles. Her music has been broadcast on BBC Radio 3 and she has been a featured new music composer in Choir & Organ magazine. Anna was a finalist in the 2011 King James Bible Composition Awards and is a 2013/24 Arts Council England fellow on the Clore Leadership Programme. She is also a fellow of the Royal Society of Arts.

Seven Poetic Songs-Volume 1 - Seven Poetic Songs for medium voice and piano.

Johannes Brahms ' Drei Intermezzos Op.117 .

Charles Woods Full Fathom Five for SATB choir unaccompanied. This work is a setting of text from The Tempest Act 1 Scene 2 by William Shakespeare.Duration: 2 minutes.A Piano accompaniment is included for rehearsal purposes only. Charles Wood' s Full Fathom Five for SATB choir unaccompanied. This work is a setting of text from The Tempest Act 1 Scene 2 by William Shakespeare . Duration: 2 minutes. A Piano accompaniment is included for rehearsal purposes only.

Octet in F major D 803-The model for this composition was Beethoven’s Septet op. 20 whose Divertimento character and six-part layout were adopted by Schubert although he merely expanded the instrumentation by adding a second violin. In a letter he numbered hisoctet amongst the chamber music works with which he desired to blaze a “path to the great symphony”. It can no longer be ascertained whether the composition was commissioned by Count Ferdinand Troyer who had a musical salon in Vienna and played theclarinet. We only know that Schubert composed the work at the beginning of 1824 taking only a few weeks to do so and that it was shortly performed at Troyer’s afterwards. Today it is one of the most popular larger chamber music works. Franz Schubert 's Octet In F major D 803 for Clarinet (B flat/C) Bassoon Horn (F/C) 2 Violins Viola Violoncello and Double Bass. This composition was modelled on Beethoven’s Septet op. 20 whose Divertimento character and six-part layout were adopted by Schubert although he merely expanded the instrumentation by adding a second Violin. In a letter he numbered his octet amongst the chamber music workswith which he desired to blaze a “path to the great symphony”. It can no longer be ascertained whether the composition was commissioned by Count Ferdinand Troyer who had a musical salon in Vienna and played the Clarinet. We onlyknow that Schubert composed the work at the beginning of 1824 taking only a few weeks to do so and that it was performed at Troyer’s shortly afterwards. Today it is one of the most popular larger chamber music works.

Among the piano sonatas by Joseph Haydn the Sonata in E flat Hob. XVI:49 is probably the piece we know most about in terms of genesis. It is one of the few sonatas that have survived in Haydn's own handwriting and the correspondence between Haydn and his 18 years younger admirer Marianne von Genzinger refers to the work several times. That alone was reason enough for Christa Landon the renowned editor of Haydn's piano sonatas in the Wiener Urtext Edition to present an edition of this work with a facsimile of Haydn's autograph many years ago. The new edition now publishes the facsimile with the musical text newly revised by Ulrich Leisinger. Among the Piano sonatas by Joseph Haydn the Sonata in E flat Hob. XVI:49 is probably the piece we know most about in terms of genesis. It is one of the few sonatas that have survived in Haydn 's own handwriting and the correspondence between Haydn and his 18 years younger admirer Marianne von Genzinger refers to the work several times. That alone was reason enough for Christa Landon the renowned editor of Haydn 's Piano sonatas in the Wiener Urtext Edition to present an edition of this work with a facsimile of Haydn's autograph many years ago. The new edition now publishes the facsimile with the musicaltext newly revised by Ulrich Leisinger.

From the songwriting team who brought us Dear Evan Hansen and La La Land the movie musical The Greatest Showman is based on the true story of P. T. Barnum with Hugh Jackman in the title role. This arrangement of the powerful anthem from the film is a dynamic showcase for the concert stage.

Franz Schubert's Sonata in A minor D. 821 was originally written for piano and arpeggione an instrument of the 1820s combining features of the guitar and the cello. This instrument was in use for just a short period of time so that the composition has now become standard repertoire for cello and piano and this is the version presented here. A handwritten violin part in the hand of Anton Diabelli kept by the Bibliothèque Nationale in Paris however shows that the sonata's arpeggione part was initially arranged for violin long before the first print in 1871 introduced the well-known version for cello and piano. WienerUrtext also publishes Diabelli's arrangement for violin and piano in a separate edition. Both editions are essentially based on Schubert's autograph the cello part in principle relies on the first printed edition of 1871 the violin part is based on Diabelli's arrangement.

The edition is part of the Trinity syllabus 2007 (grade 8) The edition is part of the Trinity syllabus 2007 (grade 8)

For 12 voices SATB. For 12 voices SATB.