Concerto For Viola And Orchestra by Anders Koppel . This work was commissioned by South Jutland Symphony Orchestra and was first performed February 10th 2011. Concerto For Viola And Orchestra by Anders Koppel . This work was commissioned by South Jutland Symphony Orchestra and was first performed February 10th 2011.

1999-For mezzo clarinet harp percussion and cello. Text by William Heinesen Sunleif Rasmussen's Arktis (1999) for Mezzo-Soprano Clarinet Harp Percussion and Cello. Text by William Heinesen. Parts are available: WH31383A Manuscript copy.

Nr. 4a Ah! spietato-Low Voice Piano (Italian German). Haendel Gf

The Sally Gardens (Irish trad.) expertly arranged for Mixed Choir SATB by Vagn Norgaard. Text by W.B. Yeats.

Grade 8+-It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists. Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the Dead Sea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbledmiraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across perfectly well to today's instruments. For this to be possible we need to take the time to look beyond peculiarities in translation which to a significant extent comes down to issues resulting from burgeoning notational practices. It also becomes necessary to re-imagine the music in light of what is possible as well as what is desirable. Problems with accessing the sound-world of pre-Baroque keyboard music can be overcome quite easily just as it is possible to become better in resonance with avant garde musical styles given appropriate immersion. Since the writing of the performance notes to The Fitzwilliam Virginal Book more than a century ago (by J.A. Fuller Maitland and W. Barclay Squire) the momentum generated by the Early Music Revival has brought about immeasurable insights into the intentions of Renaissance and Baroque composers. Performances on period instruments continue to reacquaint us with a bygone age and stimulate a healthy fascination for the practices that were once fundamental to the craft. On balance however the potential for a major It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists. Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the Dead Sea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbledmiraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across

Per Nørgård's Unfolding for Piano Solo. Composed for Katrine Gislinge 2012. Per Norgard's Unfolding for Piano Solo. Composed for Katrine Gislinge 2012. Manuscript copy.

Mit über 1.200 Titeln aus Orchester- und Chorliteratur Kammermusik und Musiktheater ist die Edition Eulenburg die größte Partiturreihe der Welt. Sie deckt einen große Teil der Musikgeschichte vom Barock bis zur klassischen Moderne ab und blickt auf eine lange Tradition zurück.

Tre Folkesange by the Danish composer Peter Bruun version for Voice and Ensemble. This piece incorporates text by Ursula Andkjær Olsen. Tre Folkesange by the Danish composer Peter Bruun version for Voice and Ensemble. This piece incorporates text by Ursula Andkjaer Olsen. Version for Voice and Piano: WH31513

Scenarier - 7 Shortcuts For Blæserkvintet (Scenarios - 7 Shortcuts For Wind Quintet) was composed by Svend Hvidtfelt Nielsen in 2002. Set of parts available: KP01268 Scenarier - 7 Shortcuts For Blaeserkvintet (Scenarios - 7 Shortcuts For Wind Quintet) was composed by Svend Hvidtfelt Nielsen in 2002. Set of parts available: KP01268

The fourth book in the Listen To The World series contains an exciting selection of Piano pieces covering all grades written in response to Mark Tanner 's frequent trips abroad as a concert pianist and ABRSM examiner. ' Intriguing sounds emanate from all around us - the noises of the elements animals and people going about their everyday business. There are exotic evocations and some ancient symbolism in the mix too alongside a little humour here and there to lighten the mood. ' - Mark Tanner

Karsten Fundal 's Entropia for Large Orchestra Soprano and Baritone soli Large Choir and Chamber Choir (SATB) and prerecorded sound (1997-2001). Commissioned by the Danish National Symphony Orchestra and Choir / DR. Parts are available on hire: hire@ewh.dk About Entropia : This orchestral work is chiefly an attempt to make a musical investigation into the complex question of the nature of time. The viewpoint taken on a philosophical level is chiefly inspired by the brilliant thinker and philosopher of time J.F. Fraser. The main conclusion of his investigation of the subject is in very short that the onlyadequate view to take of time as a phenomenon with all the knowledge that we have today is that time must be seen as a conflict or at least an interference between many different temporal levels (...) Karsten Fundal

Three well written and entertaining movements for 2 trumpets and trombone ending with a Calypso from this acclaimed composer known for his global travels!

Setting of text from St Lukes Gospel for SATB Choir with Piano or Organ accompaniment.

Transcripted for Recorder- J.S. Bach's Cello Suites I-III for Treble Recorder.

This Sonata is a totally non-esoteric work but like so much of the composer's music it is fun and approachable.

A collection of works for Organ by the early italian Organ masters entitled Liber Organi .

Organisazione Populare Nr.3 Op. 351 was composed by Niels Viggo Bentzon . Organisazione Populare Nr.3 Op. 351 for Organ solo was composed by Niels Viggo Bentzon. Manuscript copy

Behind A Backyard was composed by Bent Sørensen in 2013. Sørensen 's musical language is undeniably of the present day both aesthetically and technically. The music does however appear to be pervaded with memories wisdom of experience and old dreams of the inevitability of transitoriness and parting. Behind A Backyard for Soprano and Ten Instruments was composed by Bent Sorensen in 2013. Text by Tomas Espedal. Instr: 1 Flute 1 Clarinet in Bb 1 Alto Saxophone in Eb 1 Trombone 1 Percussion (1 player) Glsp. Vibr. Brake Dr. Cymb. (on table) Marim. Sand Pap. Bl. Table (wood) 1 Guitar 1 Piano Soprano 1 Violin 1 Viola 1 Cello Sorensen 's musical language is undeniably of the present day both aesthetically and technically. The music does however appear to be pervaded with memories wisdom ofexperience and old dreams of the inevitability of transitoriness and parting.

Piano. Chopin F

Ideal for a popular school or informal concert. Programme note by Rodney Slatford 2008: Jack Snow Hester was born on 2 March 1907 in Chorlton Lancashire and joined the music profession as a double bass player when he was seventeen. His father Arthur Darrell Hester appears on his birth certificate as 'Manufacturer (chemicals)'; his mother was Minnie Frances Hester formerly Stamp and the family lived in South Manchester. During the 1930s as Norman Hester he worked at Daly's Theatre the Piccadilly Theatre the Palace Theatre and other London variety houses in West End productions. He married Isabella Dawson Davidson on 1 July 1940 in Worcester and shedied in 1973. He died in 2001 after a long period of ill health. During the 1960s Norman was an active freelance player working as an extra bass player with the London symphony orchestras including the BBC. Quite when The Bull Steps Out was written isn't certain but Norman sent me a copy to consider for republishing - it is assumed that the original publication appeared sometime during or just after the war. It was a 'one off' that he probably played for light music evenings in the theatres. The piece has been very popular and has been used for examinations on various syllabuses around Grade 7 level. An unpublished manuscript copy of a double bass 'method' is on file that Norman Hester wrote when he retired but it is mainly a compilation of various scales and exercises similar to many that were published in the early 20th century. A photograph of him as a young man is held at the Royal Society of Musicians in London which he joined in 1930 and of which he was a loyal supporter until he died.