This Sonata For Flute and Piano is a virtuosic Flute solo by renowned influential French composer Francis Poulenc. Written in 1956-57 this is an elegant dreamy chamber work and he has demonstrated his obviouscompositional skill also highlighting the French affinity with the sweet sounds of the Flute. This 1994 New Edition has been carefully edited by Carl Schmidt and is an authoritative edition that contains a detailedhistory and comprehensive commentary of the editorial process in English French and German.

Alexander Scriabin (1872-1915) was a Russian composer and pianist. He was one of the most famous musicians within the Russian Empire during his lifetime but remained virtually unheard-of in the West and was quicklyforgotten after his death. His best known works are his 5 symphonies but he also wrote hundreds of Preludes and Etudes. Etude in C Sharp Minor was one of Scriabin’s earliest published works beingthe first of the Trois Morceaux (Three Morsels) that formed his second opus. It is a delicate work which modulates through several connected keys and at a similar level to the Etudes of Chopin. A perfect recital item forany pianist who wants to master a piece by an under-performed composer.

Hebrew Melody arranged for Cello and Piano or Harp. Includes score and part.

Pibroch which literally means ‘piping’ in Scots Gaelic has been traditionally played on the bagpipes for several centuries. But there is an earlier tradition of pibroch having been performed on the wire-strung Celtic harp andit is this earlier practice that Bantock recalls with the arpeggiated accompaniment of the harp or Piano in his Pibroch. The throaty Cello tones carry the sadness of the lament.Composer conductor and educator Granville Bantock’sScottish parentage certainly influences much of his music oeuvre which is reaching new audiences through renewed interest in the performance of his works including at the last night of the Proms. He was an energetic andcreative personality who was key in founding the City of Birmingham Symphony Orchestra and championing the music of Jean Sibelius in his day. Edward Elgar dedicated the second of his Pomp and Circumstance Marches to Bantock.

Selim Palmgren (1878-1951) was a Finnish composer pianist and conductor whose talents often led to him being compared to Chopin. He studied in Helsinki and Berlin before touring successfully as a concert pianistacross Scandinavia and the United States. He later held posts as a Professor of Composition on both sides of the Atlantic. He was one of the last members of the Romantic movement but struggled to find his own individual stylefrom behind the domination of Sibelius. En Route (Op. 9) was written in 1901 as a concert study for solo Piano. It is a great example of Palmgren’s miniature style creating maximum effect from minimaleffort through still requiring great technical dexterity.

Clarinet parts in A Bb and Eb.

Written for SATB choir organ and optional solo trumpet. Words by John Donne.

This work was commissioned by Riga Youth Choir who gavethe first performance in Riga on 3rd July 2008. Based on a poem by Frithjof Schuon. The composer writes Frithjof Schuon's poem The Eternal Sun speaks of our earthlysun as a reflection of the Divine Sun which no earthly eye can see and the music reflects this in its mirror images. The opening music for the main choir should glow with magnificence and splendour representing theunattainability of the Heavenly Sun but the later passages especially the music for the distant semi-chorus should be more nostalgic and haunting.

The antiphon 'O Sapientia' (with a text from the Old Testament Book of Wisdom) bears testimony to Pawel Lukaszewski's genuine artistry and to his fascinating very individual musical imagination as an academic composer (hestudied composition at the Music Academy in Warsaw where he is a lecturer at present) as well as to his vast knowledge and profound understanding of the immense wealth of choral church music tradition. He is a man deeplyinvolved in the development of new liturgical music the organiser of an association a competition and a festival of sacred music as well as founder of a choir in one of Warsaw's two cathedrals. 'O Sapientia' is neither eclecticnor experimental - it is rather a mature continuation of the tradition on the highest artistic level. For unaccompanied SATB chorus (with divisions) with a Piano accompaniment for rehearsal purposes.

For solo Piano two Harps and Strings (full score).

Commissioned by Sisu with the assistance of the Arts Council of Ireland and the Fond for lyd og bilde Oslo. Written for Sisu. Each player has 8 drums played with sticks (one high set and one lower set) chosen for theirnon-ethnic sound quality and 1 bass drum played with a footpedal. The drums should be tuned in equal steps of roughly a tone apart each set of drums (starting with the highest set of player 1) being roughly a tone lower than theone above so that all the drums notated on the second lowest line of the stave (for example) should have the same pitch. The drums should be tuned in a scale of equal steps each slightly smaller than a whole tone. There shouldbe no minor thirds if possible. The higher set of 4 drums are notated in the spaces and should be roughly equivalent to rototoms or bongos the lower set is notated on the lines of the stave and should be roughly equivalent totom-toms or congas. The bass drum is notated at the bottom of the stave with stems facing downwards.

Written for medium voice and piano.

Commissioned by the Primrose Piano Quartet with funding from the Scottish Arts Council Mr and Mrs J. A.Pye's Charitable Settlement the Royal Scottish Academy of Music and Drama and the Hope-Scott Trust. Firstperformance by the Primrose Piano Quartet on 13th July 2008 at the Pump Room Cheltenham as partof the Cheltenham International Festival of Music.

An arrangement of one of the songs from The Little Prince a fabulous moving and melodic opera by Rachel Portman with luxurious counter melodies and placid harmonies. This opera is based on French philosopher andaviator Antoine de Saint-Exupery's novella Le Petit Prince an international classic penned in 1943. It was composed by Rachel Portman the first woman to win an Oscar for a film score (Emma-1996) with text by NicholasWright. While Saint-Exupery's moving parable of self-discovery is the foundation of the opera's appeal it is Portman's music that gives the work its dramatic impact. The characters are brought to life and portrayed with adelicate combination of humour and poignancy. This SSA and Piano arrangement of The Birds by Richard Allain.

Chorus score of Stravinsky's remarkable and original work that combines ballet with vocalists.

POD- Released in 2005 the album Once Around The Sun is the outcome of Joby Talbot 's residency with Classic FM. During his year in residence Talbot composed a new piece of music each month scoredfor up to five instruments. The resulting twelve compositions were then premiered on Classic FM and were recorded on CD. February - The Arctic Circle was the second piece to be composed and is scored herefor Ensemble (Violin Cello Vibraphone and Piano).

Popular Christmas mass based on carol melodies. Mass text in Latin with introit in English. Original scoring for Mixed Voices Organ Piccolo Brass Percussion and optional congregation. Congregation parts available: CH70961.Vocal Score available CH70950

Thirteen of the very best songs from Katherine Jenkins’ four number one albums Premiere Second Nature Living A Dream and Serenade. All the songs in this outstanding collection have been arranged for piano and voice with guitarchords and together they represent the best from the chart-topping Welsh mezzo-soprano. Includes photographs.

Three Scherzi for violin and piano follow closely the Minuet and Trio form used so often for lighter movements in eighteenth and early nineteenth century sonatas and symphonies. In each piece the Minuet is divided into two sections and each section is repeated; similarly the Trio section is also divided into two repeated sections in which the music is generally more gently paced. After the Trio the minuet is played again immediately this time without repeats. In these Scherzi I have chosen to use variants of the original of each section in most instances rather than make exact repetitions. The first Scherzo lasts approximately 3 minutes the second 6 minutes and thethird 2 minutes. Part of my interest and purpose in writing these pieces was to use an identical but highly elastic form for three pieces of different durations. I was also intrigued by the form’s historical development and evolution into the Scherzo and I hope this explains the atmosphere and style of the music. The material for each of the three pieces is different although the harmonic and rhythmic worlds of each one are similar and as a result they do form a complete work in three movements. However each of the three Scherzi may be played separately. These three pieces were written between September 2004 and August 2007. Brian Elias ' Three Scherzi for violin and piano follow closely the Minuet and Trio form used so often for lighter movements in eighteenth and early nineteenth century sonatas and symphonies. In each piece the Minuet isdivided into two sections and each section is repeated; similarly the Trio section is also divided into two repeated sections in which the music is generally more gently paced. After the Trio the minuet is played againimmediately this time without repeats. In these Scherzi I have chosen to use variants of the original of each section in most instances rather than make exact repetitions. The first Scherzo lasts approximately 3 minutes thesecond 6 minutes and the third 2 minutes. Part of my interest and purpose in writing these pieces was to use an identical but highly elastic form for three pieces of different durations. I was also intrigued by the form’shistorical development and evolution into the Scherzo and I hope this explains the atmosphere and style of the music. The material for each of the three pieces is different although the harmonic and rhythmic worlds ofeach one are similar and as a result they do form a complete work in three movements. However each of the three Scherzi may be played separately. These three pieces were written between September 2004 and August2007.' Brian Elias

The congregation part for the full scoring of James Whitbourn' s Missa Carolae . Full Score available: CH71621.