Firstly performed in 1985 by Whitney Houston who is inarguably one of the of the biggest female pop stars of all time. This song was written by Linda Creed and composed by Michael Masser.

Brahms composed his “ Violin Sonata In D Minor ” during the summer of 1886. The work quickly became part of the standard repertoire and has remained so until today. It is presented here in a fine Bärenreiter Urtext edition and comes with an unmarked Urtext part as well as a second part marked with fingering and bowing by Clive Brown which are based on the practices of Brahms ‘ contemporaries. An important part of this edition is the extensive preface. Firstly it informs about the works‘ origins its compositional process pre-publication performances its publication history as well as early reception. Truly remarkable is theunique Performance Practice Commentary. Here the editors take the premise that already a few decades after Brahms ‘ death a widening gulf developed between the composer’s expectations and the performance practices of the early 20th century. In a very concrete and practical way the editors summarize some of the key issues in understanding Brahms ‘ notation with regard to rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding Piano arpeggiation and dislocation string instrument fingering string instrument harmonics and vibrato. In this way the edition offers an exciting and often surprising insight in Romantic musical interpretation. A pioneering Urtext edition. With an unmarked Urtext part. With a second part including fingering and bowing based on the practices of Joseph Joachim and other contemporaries of Brahms. With an extensive Performance Practice Commentary. For further information on Romantic performance practice we recommend: “Performance Practices in Johannes Brahms‘ Chamber Music” text booklet BA 9600.

Pachelbel J. - Choral sur 'Loué sois-tu Jésus Christ'; Dandrieu P. - Or nous dites Marie; Daquin L. - Noël etranger (extract); Franck C. - Vieux Noël; Langlais J. - Noël avec Variations (extract) - for 3 and 4 recorders (SSAT)

10 original pieces that reflect the jazz idiom. From the mournful blues sound in Don't Wanna Leave You Blues to the driving syncopated rhythm in A Neat Beat students will love the challenge of playing in the jazz style. Designed for the late elementary to early intermediate pianist.

Works by Fischer Rembt Werner Bodenschatz and Rinck.

In writing this piece Gino Bergamini was inspired by the figure of Davy Crockett hunter and pioneer in the colonisation of the western part of North America. The piece is built entirely on the smooth succession of intriguing themes and characterised by sharp rhythms. The themes after a short elaboration with an expressive and meaningful style return in a finale with rich sonority to recreate the fascinating atmosphere of that mythical hero Davy Crockett.

Le passage à la monnaie unique aura été l’un des événements majeurs du début du XXIe siècle en Europe. Les pays qui y ont participé ont investi une énergie considérable dans la création de cette monnaie ; l’Euro est en effet le fruit de leur grande détermination et d’un remarquable travail commun. Sine Labore Nihil (“Rien ne s’accomplit sans travail”) André Waignein avait cette idée à l’esprit lorsqu’il a composé Euro Celebration (“Célébrons l’Euro(pe)”).

Nocturne-The Full Score for Gerald Finzi's Nocturne (New Year Music) Op.7 .

Liber Canticorum Vol. III-Vagn Holmboe's Vanitas Vanitatum Op. 60b from the third volume of his very popular choral collection Liber Canticorum. For mixed choir SSAATTBB. Vagn Holmboe's Vanitas Vanitatum Op. 60b from the third volume of his very popular choral collection Liber Canticorum. For mixed choir SSAATTBB.

Johannes Traeg friend and publisher of Mozart quickly reacted at the beginning of the 19th century to the increasing demand on adapting Mozarts oeuvre for playing music at home. His adaptions of the duos for violin and viola KV 423-42

Sixteenth Century German Chorale-Based on a 16th century German chorale this work is an excellent tool for teaching expressive singing and musical phrasing. May be programmed for any concert with the theme of music. Unison. Bertaux B

A Musical for 2-Part Voices-Who or what is that shadowy figure playing the piano in the school music room after dark? Several students and Deputy Barney set out to solve this musical mystery with surprising results. Phantom of the Music Room features six songs with clever texts set to musical classics by Chopin Dvorák Sousa and others. For grades 3 and up. App. 30 minutes. Who or what is that shadowy figure playing the piano in the school music room after dark? Several students and Deputy Barney set out to solve this musical mystery with surprising results. Phantom of the Music Room features six songs with clever texts set to musical classics by Chopin Dvorak Sousa and others. For grades three and up

for Bassoon (or Baritone Saxophone) and Concert Band- Wind in the Reeds was commissioned by Deena Draycott in memory of John Watson an army bandsman teacher and bassoonist. Wind in the Reeds is both a tribute and lasting memorial to John. The piece is largely pastoral in nature evoking images conjured up by the ‘play on words’ in the title but includes a faster central section which exploits other aspects of the character of the bassoon. Transitions between the various sections of the piece are achieved through a series of accompanied cadenzas for the soloist.

Hawkes Pocket Scores HPS 1203-Study Score - Hawkes Pocket Score 1203. Davies Pm

Mozart's short (46 bar) motet celebrating the feast of Corpus Christi was composed in 1791 while in the middle of writing his opera Die Zauberflöte. Scored for SATB chorus strings and organ lasting only about 3 minutes its serene simplicity makes it universally popular and it is considered to be one of the most beautiful pieces of music ever written.

Georg Frederick Handel: 12 Minuets from Operas and Oratorios arranged for Descant Recorder and Keyboard.

August lebe lebe König from Cantata 207a-A Festive Tribute is an arrangement of a splendid chorus whichBach first used in the secular Cantata 207 of 1726 but is perhapsbetter known in its later version which appears in Cantata 207a thedescriptively titled Auf schmetternde Töne der muntern Trompeten which cannot be adequately translated but means something alongthe lines of ‘let the trumpets sound’. While the lyrics are perhaps alittle obsequious much of the music for this cantata is celebratoryand lushly scored for a large orchestra including trumpets oboesd’amore and flutes making it an ideal piece for a concert bandarrangement.

Authoritative Urtext edition of Johann Sebastien Bach 's Brandenburg Concerto No.4 In G BWV 1049 . The six Brandenburg Concertos BWV 1046-1051 prized jewels of the world's musical heritage were written in 1721 during Bach ’s appointment in Cöthen. Of the six works Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also at times different tones different rhythms instrumentation and of course form. These Urtext publications [BA 5201-BA 5206] taken from the New Bach Edition now give performers the possibility to play these earlier versionsperhaps even along side the version known today.

As with his march Fresena Jacob de Haan assimilated a well-known folksong from his province of birth (Friesland) into this swinging composition. Both works originate from a festival suite that he once wrote by order of this province.

Song of Peace is an intimate and thoughtful song arranged for two-part voices and Piano with additional words and music by Mary Donnelly. This piece has been arranged by George L.O. Strid .