Sinfonische Fantasie- The tone poem Pohjola's Daughter Op.49 - a Symphonic Fantasy for Large Orchestra' - was written by Finnish composer Jean Sibelius in 1906. The story is a variation of Orpheus in the Underworld depicting a hero (Väinämoinen) who spotted the beautiful daughter of the North' (Pohjola) seated on a rainbow. The hero asked her to join him but she agreed with the condition that he should be able to perform a number of difficult tasks - most notably building a boat from fragments of her distaff. However the hero's attempt was in vain as he was thwarted by evil spirits and injured himself withan axe. He gave up the challenge and continued his journey alone. A full score for Prokofiev's popular Kalevala -inspired symphonic poem Pohjola's Daughter Op.49 .

10 Fugues For String Quartet Vol. 2- The idea for these arrangements came to me whilst listening to the Hagen Quartet's beautiful recording of the fugues that form part of Haydn's 'Sun Quartets' Op. 20. The spirit and influence of J.S. Bach in particular his Well Tempered Clavier Book II courses through these three miraculous Haydn fugues. Like the viol consort the string quartet suits this kind of composition (the fugue) with all four instruments sufficiently similar in character to each other to match the extraordinary unity and economy of the counterpoint. A string quartet playing Bach fugues is a good example of a harmonious relationship between form andcontent: just as there is a unifying principle behind the construction of the four string instruments so there is (usually) a single theme or subject that unifies the construction of a four-part fugue. Thus the form enacts the content telling you something about the text and message within. Apart from Haydn's and a handful of other composers' wondrous creations there's little fugal writing for string quartet at least in comparison with the abundance of other forms. This was another reason to make these arrangements. The quartet offers a melodic independence impossible to achieve on a single instrument. And I believe the technical and interpretative challenges posed by this repertoire - lightness of sound and rhythmic fluidity for example - will be very valuable to quartets seeking the holy grail: a unified sound. Perhaps the simplest and most compelling reason for this work is that I just love this music more than I can say. These dazzling pieces mostly fast bright and in major keys show Bach at his most playful funny and mischievous composing for an instrument rarely associated with these qualities. And so I'm very happy to offer string quartets these little know fugues written by my favourite composer - a violinist and violist himself but above all a master

The island of Gozo in the Mediterranean has been a place of happiness for me since my first visit many years ago. This suite of pieces hopefully reflects my love of the place and its people.

The most famous melodies- This product includes pieces featured in our Musicals Finder. Click on the links to view the full listings for each song and arrangement.

Arranged specially for Karen Geoghegan the woodwind finalist in the BBC's Classical Music artists competition 2008. This arrangement is imaginative and sumptuously romantic. A great encore! Two Bassoon parts are included - 1) Treble Clef/Tenor/Bass clef 2) Tenor/Bass Clef only (for non-treble clef readers). The pitches are the same in each version so be prepared for some high notes whichever version you use....

Near Still Distant Still - Version 2 for Flute Viola and Harp was composed by Pelle Gudmundsen-Holmgreen in 2005. The orginal version is for Violin Horn and Piano (WH30680). Danish title: Stadig nær stadig fjern. Near Still Distant Still - Version 2 for Flute Viola and Harp was composed by Pelle Gudmundsen-Holmgreen in 2005. The orginal version is for Violin Horn and Piano (WH30680). Danish title: Stadig naer stadig fjern.

Piano Solo-Berceuse No. 2 for Piano solo was composed by Bent Sørensen in 2007. For Peter Asmussen on his 50th Birthday. Berceuse No. 2 for Piano solo was composed by Bent Sørensen in 2007. For Peter Asmussen on his 50th Birthday.

This movement from the Énigma Variations' contains some of the most moving and passionate music that Elgar wrote. This is a fantastic arrangement for piano.

This selection of well-known and loved folk melodies is aimed particularly at teaching ensemble playing to beginners either in class or in smaller groups.

Music by Povl Hamburger with lyrics by Halfdan Rasmussen; arranged by Michael Bojesen.

The edition is part of the ABRSM syllabus (grade 1 2)

All In One for 3 String Quartets was composed by Pelle Gudmundsen-Holmgreen in 2013 (String Quartet No.12 13 and 14 played simultaneously). Gudmundsen-Holmgreen has written a collection of three new string quartets: String Quartet no. 12 Each in Each'; String Quartet no. 13 Mutual Ordering' and String Quartet no. 14 Well-Tuned Sounds'. Each quartet can be played on its own; they can also played simultaneously in any combination. When all three quartets are played together as they are tonight the combined work is titled All in One. About this collection Gudmundsen-Holmgreenwrites: 'Some years ago Kronos and the vocal group Theatre of Voices performed three new pieces which I had written for the two groups: one for Theatre of Voices (Green) and two for Kronos (New Ground and No Ground). They were played and sung by each group independently - but also both groups together concurrently on top of each other as a final gesture. The combined pieces were called New Ground Green and No Ground Green. 'David liked the idea (and the result) of pairs of quartets that could be played both independently and simultaneously and asked me if the vocal quartet could be transformed into a string quartet. It could not. He then asked me to repeat the whole set-up with a new pair of quartets adding also some percussion instruments as was the case with Green for Theatre of Voices. Of course this was tempting. Furthermore David asked me to make one of the two new quartets a little easier to play. 'I began to work. The Kronos part of the pair of quartets turned out to be tough to play as David puts it. Unfortunately the easier' one was tough to play also! So I had to write one more which was then a little easier still (but still not easy). 'The three new works can be played separately and on top of each other in many different combinations resulting in different kinds of

Schott Piano Classics-Fast tempo is a fascinating phenomenon people are not immune to. The childish joy of fast movement of testing one's limits and possibilities as well as of playing with time nurtures our pleasure in fast tempos. In her most recent anthology in the Piano Classics series the successful piano educationalist Monika Twelsiek examines the phenomenon of fast tempo presenting 40 fast and wild rousing and virtuoso turbulent and bold dynamic and risky brilliant and splendid pieces through all epochs – from the Baroque to the modern era. The pieces not only hone the pianistic skills rather each piece is an individual work of art with high artistic demand. Challenging the tempo-lovingpianist the large number of etudes scherzos variations and very lively character pieces are a treasure trove for piano lessons.

Holiday Snapshots - 35 Miniatures For Piano Solo-Feriedage (Holiday Snapshots) - 35 Miniatures For Piano Solo by Matti Borg. Feriedage (Holiday Snapshots) - 35 Miniatures For Piano Solo by Matti Borg.

Set on the ABRSM Piano 2011 & 2012 Grade 7.

Work dating from 2000 for Accordion Solo. Work dating from 2000 for Accordion Solo.

Cello Harp. Yun I

Alverden God Nat is strong but beautiful opera composed by Peter Bruun . Alverden God Nat (2013) - An Opera by Peter Bruun. Commissioned by the FIGURA Ensemble.

With these new editions all six recorder concertos of John Baston are now available each with score piano score and parts. The thor-oughly edited scores follow essentially the first edition printed by John Walsh in London in 1729. Baston was regarded as an excellent recorder and flute player who worked with London opera orchestras in the early 18th century. His easy concertos anticipating the elegant melody of the early classical period enjoy great popularity representing a rewarding task for music school orchestras and advanced recorder players.

Hans-Martin Linde (b. 1930) is not only one of the best-known recorder players of the twentieth Century but has enriched the contemporary recorder repertoire with significant works for concert performance and tuition purposes. The composition Reminiscences for Quartet for the unusual and delightful-sounding combination A[treble]/T/T/B uses musical themes from the 15th to 17th Centuries: from a “Prélude à l’imitation” by Froberger a melody by Claudio Saraceni “Da te parto” themes from keyboard sonatas by Domenico Scarlatti the Chanson “Adieu mes très belles” by Binchois and a ground bass from Purcell’s harpsichord collection “Musik’s Handmaid”. The composer writes: “Inmany of my compositions a meeting takes place between old and new. In this Suite too present events unfold against the background of the past. Models from early music are mirrored in the present.” Hans-Martin Linde (b. 1930) is not only one of the best-known recorder players of the twentieth Century but has enriched the contemporary recorder repertoire with significant works for concert performance and tuition purposes. The composition Reminiscences for Quartet for the unusual and delightful-sounding combination A[treble]/T/T/B uses musical themes from the 15th to 17th Centuries: from a “Prélude à l’imitation” by Froberger a melody by Claudio Saraceni “Da te parto” themes from keyboard sonatas by Domenico Scarlatti the Chanson “Adieu mes très belles” by Binchois and a ground bass from Purcell’s harpsichord collection “Musik’s Handmaid”. The composer writes: “Inmany of my compositions a meeting takes place between old and new. In this Suite too present events unfold against the background of the past. Models from early music are mirrored in the present.”