Grades 6-7-Beautifully presented and thoroughly readable 'modern' editions of the best of these pre-Baroque masterpieces. Carefully graded. 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 DeadSea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbled miraculously 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

Organ In Concert Series - Number 4. A famous extract from Bach's popular Orchestral Suite set here for Organ solo by Willi Nagel.

Tears for Accordion solo by Bent Lorentzen. Dedicated to Geir Draugsvoll. Edited by Mogens Ellegaard and Geir Draugsvoll.

Four bassoons with pseudo big band sounds! Grade: 4 - 6 Four bassoons with pseudo big band sounds! Grade: 4 - 6

Several Italian Masters.

Piano. Chopin F

Aubade Beninoise Op. 86b - Ouverture for Small Orchestra by Jouni Kaipainen (2008-09). Reduced version: WH31092

Cinq Pièces Enfantines-Ravel's Ma Mère L’Oye carries its listeners into the mysterious realm of fairy tales. Enchanting soundscapes unfold and open the door to another world in which Sleeping Beauty or Beauty and the Beast can be found among other enchanting tales. Ravel originally composed the piece for piano duet but later scored it for orchestra and extended it to a ballet.Ma Mère L’Oye is now published as an urtext edition in the easy-to-read format 19x26.. Ravel's Ma Mère L'Oye carries its listeners into the mysterious realm of fairy tales. Enchanting soundscapes unfold and open the door to another world in which Sleeping Beauty or Beauty and the Beast can be found among other enchanting tales. Ravel originally composed the piece for Piano duet but later scored it for orchestra and extended it to a ballet.

An acessible and enjoyable Sonatina by Philip White for Trumpet with Piano accompaniment. 'Philip White's Sonatina is a welcome addition to the Trumpet repertoire. Challenging yet not over-demanding this is an ideal work for the enterprising trumpeter who wants to display a range of skills. Stylistically accessible this is a piece for all audiences. I encourage all my students to play it.' - Professor James Watson

Work for Guitar Solo. Work for Guitar Solo.

Eight pieces for Piano inspired by poems by Tristan Klingsor for Mesdemoiselles Jacqueline and Lucienne Rouché. Transcribed from the original work for Piano solo (1911). 1. Les Marionnettes A marionette is a string-operated puppet. Popular from as far back as Ancient Greece and increasingly the focus of entertainment during the Middle Ages and Renaissance period it has been proposed that the art of puppetry was the logical precursor to the appearance of live actors in the theatre. Stravinsky's ground-breaking ballet Petrushka which was completed in 1911 (the same year as Grovlez's L'Almanach incidentally) undoubtedly remains thebest-known evocation of a puppet. 2. Berceuse de la Poupée 'Lullaby for a doll' though a seemingly improbable starting point for a musical work functions beautifully next to the marionettes in Grovlez's magical image-rich world though I detect something faintly subversive bubbling under the surface of this sublime melody. 3. La Sarabande The 'Sarabande' is a stately dance in triple-time with a characteristic gentle emphasis on the second beat and was apparently first referenced in print in Central America during the 16th century (zarabanda). It rapidly grew in popularity over successive centuries especially within the Spanish colonies - and of course in Spain itself - where its reputation as having being 'invented in hell' (according to Cervantes) assured it a place in dance suites from Bach's time onwards. 4. Chanson du Chasseur 'Hunter's Song' is a rollicking rum-tee-tum piece of great insouciance and swagger. The 6/8 rhythms and horn-like proclamations ride delightfully roughshod throughout the music. 5. Les Ânes 'The Donkeys'. I presume Eee-orrr has the same connotation in French! - moreover the comical spirit of the music is not so far removed from Ibert's famous Le Petit Âne Blanc (Avec une tranquille

Ruders writes: There's a solid tradition in the history of Western music of turning the theme of Nicolo Paganini's 24th Caprice for soloviolin into a set of variations endemic to the time and style of each individual composer Liszt Brahms Rachmaninov and Lutoslawsky being the most prominent names. When asked by David Starobin to write a concerto for him I though well why not have a go at it? - bearing in mind that not only is Paganini the most celebrated violin-wizard of all times but he was also a more than accomplished guitarist. There are 22 variations in all numbers 1 to 16 all adhering strictly to the 16-bar pattern laid down by Paganini himself. From variation17 though the writing becomes more symphonic and the rigid 16-bar regime is being lossendes up a bit. However the last variation 'Finale Prestisimo' is a 6 x 16 bars white-knuckle ride in which the hitherto soloistic role of the guitar gives way to that of 'primus interpares' i.e. 'first among equals'. As with another set of variations of mine 'Concerto on Pieces' (based on a tune by Purcell) the nature and shape of the 'Pagannini-Variations' may be compared to a stroll through a hall of mirrors: the portrait - the theme is gradually being distorted out of all recognition - but it's still the same original walking by. Ruders writes: There's a solid tradition in the history of Western music of turning the theme of Nicolo Paganini's '24th Caprice' for soloviolin into a set of variations endemic to the time and style of each individual composer; Liszt Brahms Rachmaninov and Lutoslawsky being the most prominent names. When asked by David Starobin to write a concerto for him I though 'well why not have a go at it?' - bearing in mind that not only is Paganini the most celebrated violin-wizard of all times but he was also a more than accomplished guitarist. There are 22 variations in all numbers 1 to 16 all adhering strictly to the 16-bar pattern laid down by Paganini himself. From variation17 though the writing becomes more symphonic and the rigid 16-bar regime is being lossendes up a bit. However the last variation 'Finale Prestisimo' is a 6 x 16 bars 'white-knuckle ride' in which the hitherto soloistic role of the guitar gives way to that of 'primus interpares' i.e. 'first among equals'. As with another set of variations of mine 'Concerto on Pieces' (based on a tune by Purcell) the nature and shape of the 'Pagannini-Variations' may be compared to a stroll through a hall of mirrors: the 'portrait' - the theme is gradually being distorted out of all recognition - but it's still the same 'original' walking by.

Haeftet indeholder 10 kendte filmmelodier i becifrede klaverarrangementer og henvender sig til dem der har spillet klaver et stykke tid. Du far bl.a. To be or not to be Er du dus med himlens fugle Lad os flyve til en stjerne Den allersidste dans Lille Froken Himmelbla og Hvorfor er lykken sa lunefuld .

Barrios Mangore's Music Album For Guitar Vol.4 .

Stemmesaet til Gabriel Og Maria af John Hoybye . Juleoratorium for blandet kor (SATB) recitator soli flojte orgel klaver og bas (trommer/percussion ad lib.). Partitur: WH31081 Korpartitur: WH31081B Tekster af Britt G. Hallqvist.

Sue Otty's arrangement for Violin and Piano of Romance from Dmitri Shostakovich's suite The Gadfly .

Music invoking a variety of styles emanating from the U.S.A. - The Banjo Mexican Dance Hoe Down Rondo Tropical Dance Summer Sea Caught in the Rain Pogo Stick Blues Circus Ragtime Waving Goodbye and Private Eye. Grade: 3 - 4

Kantate Til Jul - Christmas Cantata for Soprano SATB Choir and Organ by Søren Birch (2008). Full score available: WH31565 Version for SOP/SSA/SATB/ORG: WH31076 Kantate Til Jul - Christmas Cantata for Soprano SATB Choir and Organ by Soren Birch (2008). Full score available: WH31565. Version for SOP/SSA/SATB/ORG: WH31076

New Edition New Edition

String Quartet No. 13 'Mutual Ordering' was composed by Pelle Gudmundsen-Holmgreen in 2013.Commissioned by the Kronos Quartet. String Quartet No. 13 'Mutual Ordering' was composed by Pelle Gudmundsen-Holmgreen in 2013.Commissioned by the Kronos Quartet.