Opera scored for Soprano Mezzo-Soprano Tenor and 2 Baritone Soli SSAATTBB Chorus and Orchestra. Text: from Popular Tales of the West Highlands . Judith Weir's The Vanishing Bridegroom . Opera scored for Soprano Mezzo-Soprano Tenor and 2 Baritone Soli SSAATTBB Chorus and Orchestra. Text: from Popular Tales of the West Highlands .

A work for mixed chorus and string trio (violin viola and cello) to be performed with restraint and majesty. Ikon Of Light was written for the Tallis Scholars. The first performance took place in July 1984 as part of the 1984 Cheltenham International Festival of Music given by the Tallis Scholars and the Leda Trio conducted by Peter Phillips. Instrument Parts. A work for mixed chorus and string trio (violin viola and cello) to be performed with restraint and majesty. Ikon Of Light was written for the Tallis Scholars. The first performance took place in July 1984 as part of the 1984 Cheltenham International Festival of Music given by the Tallis Scholars and the Leda Trio conducted by Peter Phillips. Instrument Parts.

Commissioned by the BBC and premiered by the Chilingirian String Quartet. Score available separately. Score and Parts available: CH60931 Commissioned by the BBC and premiered by the Chilingirian String Quartet. Score available separately. Score and Parts available: CH60931

Get It Together! brings Carol Barratt's original boogies rags and blues from her famous and much-loved Chester's Easiest Piano series together in one essential collection! The perfect book forbeginner pianists who want to explore the exciting musical styles of jazz and blues. Common jazz concepts such as syncopation changes of time signatures and 'blue' notes are introduced in easy-to-play styles making themaccessible for all beginners and an excellent introduction to the 'jazz' feel.

Into the faded air was commissioned by Britten Sinfonia for first performance at Filharmonic Hall Krakow Poland on Sunday 13th January 2008 with Jacqueline Shave (Violin) Miranda Dale (Violin) Clare Finnimore(Viola) Catherine Musker (Viola) Caroline Dearnley (Cello) and Banjamin Chappell (Cello). Scoring: String Sextet (2 Violins 2 Violas and 2 Cellos) Duration: 10 minutes Composer'sNotes 'Into The Faded Air is cast in four movements although the last three movements are played without a break. In the first movement the sextet is divided into twogroups. The first group consisting of violin viola and cello plays a sustained melody while the second group (also violin viola and cello) contributes more jagged and intricate material. The second movement is an extended duetfor two violas accompanied by the other instruments. As the movement progresses the accompanying instruments become more prominent. The third movement is the only fast movement in the piece with rapid semiquavers and much useof pizzicato throughout. This leads into a serene chorale where the three upper instruments (two violins and first viola) are set against the second viola and two cellos.' - HelenGrime

Britten's Te Deum In C is arranged for Treble (Soprano) solo SATB choir and Organ accompaniment. In preparing for publication the 1935 orchestral version of Britten's Te Deum in C it became clearthat there were a number of discrepancies between the manuscript and the original 193 vocal score. Some of these were minor: different articulation and dynamic markings something Britten was later very fussy about but perhapsleft unchanged on proof because of his relative inexperience at this stage of his career with the processes of music publishing. Others were more important: wrong pedal notes for example which Britten failed to notice on proof and which have been perpetuated in performances and recordings for nearly seventy years. These have been corrected in the new edition of the vocal score and in the orchestral score (Britten clearly used the published vocal scoreto prepare his orchestral version). The two versions have been made consistent in other details - rehearsal cues and bar numbers for example - since Britten intended choristers to use the vocal score to perform theorchestral version. This would have been an easy task for these is little discrepancy in essential details between versions (a rare departure occurs in bars 53 to 56 where the works 'Lord God of Sabaoth' are unaccompanied in theorchestral version but doubled by Organ in the original). Sustained Organ chords are often filled out with arpeggiated string writing while the spacing of chords is frequently much wider in the string version with melodiestransposed into different octaves. Although harmony in both versions is identical voice leading is sometimes altered in the latter to make it better suited to the idioms of the instruments concerned. So although inessence the two versions are the same the soundworld explored in each is quite distinct. Britten's orchestral version should neither be viewed as an occasional piece nor considered solely a liturgical work like many of his

Adapted by Walter Rummel from J.S.Bach's original. Mein glaübiges herze frohlocke sing scherze.

For unaccompanied SSAA. First performed on 4th February 2011 at Theatre du Chatelet Paris by Maitrise de Radio France conducted by Sofi Jeannin. Esa-Pekka Salonen - Dona Nobis Pacem by musicroom

Arrangement for Organ by Maurice Besly.

This work was written for Endymion's 'Sound Census' project in celebration of their 30th Birthday. The first performance was given by Endymion on 6th June 2009 at Kings Place London as part of their 'Sound Census' weekend.

This is the full/performing score for John Tavener 's To A Child Dancing In The Wind for Soprano Flute/Alto Flute Viola and Harp. The entire work lasts around 30 minutes and sets a number of poems by W.B. Yeats considered by Tavener as one of the greatest poets of the 20th century. To A Child Dancing In The Wind was commissioned by the Little Missenden Festival and first performed on 16th October 1983 at Little Missenden Parish Church. John Tavener is well-known for his extensive catalogue of religious music but occasionally he was drawn to less overtly sacred sources. The “frailty tenderness and spiritual transparency of Yeats’ poetry” inspired this song-cyclefrom 1983 for Soprano Flute Harp and Viola. Tavener held Yeats in high regard and was to return to his poems in later works such as Mini Song-Cycle for Gina (1984) A Nativity (1985) and Supernatural Songs (2003). To A Child Dancing In The Wind is dedicated to Tavener’s first wife Victoria Maragopoulou. This is the full/performing score for John Tavener 's To A Child Dancing In The Wind for Soprano Flute/Alto Flute Viola and Harp. The entire work lasts around 30 minutes and sets a number of poems byW.B. Yeats considered by Tavener as one of the greatest poets of the 20th century. To A Child Dancing In The Wind was commissioned by the Little Missenden Festival and firstperformed on 16th October 1983 at Little Missenden Parish Church. John Tavener is well-known for his extensive catalogue of religious music but occasionally he was drawn to less overtlysacred sources. The “frailty tenderness and spiritual transparency of Yeats’ poetry” inspired this song-cycle from 1983 for Soprano Flute Harp and Viola. Tavener held Yeats in high regard and was to return to hispoems in later works such as Mini Song-Cycle for Gina (1984) A Nativity (1985) and Supernatural Songs (2003). To A Child Dancing In The Wind is dedicated to Tavener’s first wife VictoriaMaragopoulou.

This aria is taken from the D major Magnificat and was scored for alto voice with organ continuo and two flutes accompanying. A gracious Gavotte this time without a chorale needing no commentary. Esurientes implevit bonis.

For SATB chorus and Organ. Geoffrey Burgon - Conditor Alme Siderum by musicroom

A new setting of the text of the Latin Grace from Sidney Sussex College at Cambridge University with a beautiful undulating soprano solo. Ideal for the concert hall or for use in a liturgical setting.

The CD edition of The Easy Piano Collection: Handel Gold features a fine selection of the most famous masterpieces by George Frideric Handel. Every piece has been composed for or arranged for easy Piano and allaccompanied by high quality demonstration performances on a specially commissioned music CD. Learning to play these classic compositions has never been easier to do. These books use the same notation as CarolBarratt’s Classic Piano Course and are presented in a brand new easy-to-read style complete with fingerings and detailed composer biographies. Suitable for pianists between Grade 1-3 standard.

Songbook 2 - Pupil's Book- Ukulele From The Beginning - Songbook 2 is a great collection of favourite songs chosen specially for primary school-age children starting to learn the instrument. The songs are very simple using only chords taught in Ukulele from the Beginning Book 2 and each song is displayed with the chord diagrams and suggestions for appropriate strumming or fingerpicking patterns at the top making this the perfect songbook for the youngest ukuleleplayer. Let's start strumming start singing and have some fun!

This anthem The Peace That Surpasseth Understanding by John Tavener was commissioned jointly by the Dean and Chapter of Westminster and the Ministry of Defence. It was first performed at a Service in Honourof the Passing of the World War One Generation in Westminster Abbey on Wednesday 11th November 2009 in the presence of Her Majesty The Queen and His Royal Highness The Duke of Edinburgh by the Choir of Westminster Abbeyconducted by James O'Donnell. COMPOSER'S NOTE In this setting of Saint Paul's great statement I have tried in a simple and primordial manner to suggest majesty solemnity and a radiance of peace andbliss. I have also given the music a ceremonial nature by inserting Allelouias' sounding from Heaven' (semi-chorus) gradually rising in pitch until they are answered by Allelouias' fromThe World' (main choir). The music forms a gradual crescendo reflecting the meaning of the words. At the musical and spiritual climax the full organ sounds four chords which represent The Four Angels beforethe Throne of God. The final chord then transforms into the sacred monosyllable OM which hums around the building representing the Peace and Beatitude of God's Presence. Duration: c. 4 minutes

Helen Grime's Clarinet Concerto was commissioned by the Tanglewood Music Center through the generous support of the Mervyn Geffen M.D. and Norman Solomon M.D. New Commissions Fund. First performance byBrent Besner clarinet and Fellows of the Tanglewood Music Center August 2010.

For Soprano Saxophone and Organ accompaniment. 'Peter Abelard was a medieval philosopher poet and musician born in France in 1079. He taught at Notre Dame Cathedral in Paris lodging with Canon Fulbert whoadmired hiswork. In time he also became tutor to Fulbert's beautiful seventeen-yearoldniece Heloïse. Abelard and Heloïse began a passionate love affair (Dance of Peter and Heloïse) which resulted in a son Astrolabe. For thesake of Abelard's position they married secretly and Canon Fulbert waspresent at their marriage. But Fulbert later reacted furiously to news that Abelard hadsent Heloïse to a convent believing that he had abandoned her infavour of his owncareer. In revenge he had Abelard castrated (Revenge of Canon Fulbert). After his mutilation Abelard became a monk and he and Heloïse remained constantcorrespondents for the remainder of his life. Hecomposed a hymnbook for Heloïse who by then was Abbess of the convent of the Paraclete. Among the hymns was avisionary poem of the New Jerusalem set to a beautiful melody in the Dorian mode O Quanta Qualia. On his death in1142 his remains were taken to the Paraclete at Heloïse's request andher body was later laid to rest in the same tomb. Finally their remains were taken toParis and in 1817 they were buried together in one sepulchre (InParadisum). Peter Abelard documented much of his own story in a number of writings includingthe Historia Calamitatum Mearum (The story of mytroubles).' - James Whitbourn

Original pieces as well as new arrangements for upper voices of some of the most popular titles from John Tavener's outstandingly varied and extensive list of works for choir. Over the years we can trace a line from theexquisite simplicity of his setting of Blake's The Lamb to the monumental Veil Of The Temple . The arrangements are all for soprano and alto singers with a varying number of parts up to four sopranos and fouraltos (in Ikon Of Saint Hilda ). An Organ or Piano accompaniment part is provided as applicable with an additional optional Cello solo in Song For Athene .