Adapted from Bach's original by Walter Rummel. Ertodt' uns durch dein güte!

Composer's Note 'The words of this piece are taken from the poem They are all gone into the world of light by Henry Vaughan. The music came to me after attending the beautiful and moving funeral of MarianneYacoub wife of the eminent heart surgeon Sir Magdi Yacoub who has been such a great support to me over many years.' - JohnTavener They Are All Gone Into The World Of Light They are all gone into the world of light! And I alone sit ling’ring here; I see them walking in an air of glory Whoselight doth trample on my days: My days which are at best but dull and hoary Mere glimmering and decays. Dear beauteous Death! the jewel of the just Shining nowhere but in the dark; Could man outlookthat mark! And into glory peep. Either disperse these mists which blot and fill My perspective still as they pass: Or else remove me hence unto that hill Where I shall need noglass. - Henry Vaughan

For SATB chorus and Organ commissioned for the Choir Schools’ Association conference 2008 originally for upper voices. 'With Latin words from Psalm 66 (the translation is at the top of the score!) the lively andrhythmic setting of Jubilate Deo by James Whitbourn for SATB would thrill any choir – especially a school choir and indeed this is an adaptation of the setting the composer made in 2008 for upper voices written for the ChoirSchools’ Association. Rhythmic yet with straightforward harmonies and a lively organ accompaniment there is enough challenge to keep the interest of singers and a nimble fingered organist under a competent conductor. Thisexciting piece will thrill the singers and audience!' - Sunday by Sunday (RSCM)

Chorus Part For Gisela! Hans Werner Henze. With Piano Reduction. Chorus Part for Gisela! Hans Werner Henze. With Piano reduction.

From Three Pieces (Offrandes Musicales) Op.18 for Organ.

Moussorgsky was on a recital tour of southern Russia when he was inspired to write the Song of the Flea. It became popular immediately with audiences and remains so today. The correct title is The Song of Mephistopheles inAuerbach’s Cellar from Goethe’s Faust. The staccato Piano and laughing refrain wonderfully evoke the jumping flea and the absurdity of the lyric.Modest Moussorgsky was a Russian composer of the 19th century who alone and as amember of The Five worked to produce truly Russian art music rather than imitating European traditions. Moussorgsky is internationally known for works like the opera Boris Godunov Orchestral work Night on Bald Mountain and thePiano suite Pictures at an Exhibition.

Tales from Vienna Woods and The Blue Danube.

This berceuse – or cradle song – certainly manifests musically ‘rocking’ elements but in a style both Romantic and modern that is Bowen’s own creation. York Bowen was a British composer whose fifty-year career musical careerspanned much of the 20th century. Bowen was not only a prolific composer he was also a pianist conductor Organist Violinist and Horn player. He premiered many important works and his own music was featured many times at theProms among other concert series. Sir Henry J Wood believed Bowen had never received proper recognition and Camille Saint-Saens regarded him as the ‘finest of English composers’ early in his career.

Dedicated to Arthur Rubenstein.

Premiered by Simon Preston at the 1968 Cheltenham Festival.

Like many composers who found themselves in exile during the war years Castelnuovo-Tedesco composed in a very neoclassical and neoromantic style reviving more traditional or antiquated ideas of melody tonality and texture. Hiscollection of Shakespeare Songs feature settings of verse from across the full range of the Bard's plays and have proved to be great critical successes still widely performed today. Suitable to be adapted by most voices.the songs are interwoven with complex and thrilling Piano accompaniments that bring colour and energy to the often liberally edited texts. Book eleven contains four songs adapted from The Tempest

This work was commissioned by the Nash Ensemble with funds provided by Wigmore Hall and PRS for Music Foundation. It was first performed by the Nash Ensemble at Wigmore Hall London on 23rd March 2011.

Kevin Volans ' String Quartet No 11 Was Commissioned By The Callino Quartet With Funds From The Arts Council Of Ireland And First Performed At The National Concert Hall In Dublin In 2012. Kevin Volans ' String Quartet No 11 was commissioned by the Callino Quartet with funds from The Arts Council of Ireland and first performed at the National Concert Hall in Dublin in 2012.

In preparing for publication the 1935 orchestral version of Britten's Te Deum in C it became clear that 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 perhaps left unchanged on proof because of his relative inexperience at this stage of his career with the processes of musicpublishing. 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 inthe new edition of the vocal score and in the orchestral score (Britten clearly used the published vocal score to prepare his orchestral version). The two versions have been made consistent in other details - rehearsal cues andbar numbers for example - since Britten intended choristers to use the vocal score to perform the orchestral version. This would have been an easy task for these is little discrepancy in essential details between versions (arare departure occurs in bars 53 to 56 where the works 'Lord God of Sabaoth' are unaccompanied in the orchestral version but doubled by Organ in the original). Sustained Organ chords are often filled out with arpeggiated stringwriting while the spacing of chords is frequently much wider in the string version with melodies transposed into different octaves. Although harmony in both versions is identical voice leading is sometimes altered in the latterto make it better suited to the idioms of the instruments concerned. So although in essence the two versions are the same the soundworld explored in each is quite distinct. Britten's orchestral version should neither beviewed as an occasional piece nor considered solely a liturgical work like many of his choral pieces from the 1930s and 1940s it is equally at home in church and concert hall.

Edition Le Fleming

Everyone Sang Was Composed By Scottish Composer Helen Grime In 2010. It Was Commissioned By Bbc Radio 3 For The 75Th Anniversary Of The Bbc Scottish Symphony Orchestra. It Was First Performed At City Hall Candleriggs Glasgow In December 2010 And Is Arranged For Orchestra. When Composing This Piece Grime States That She Imagined The Orchestra As Many Individual Voices That Were Capable Of Producing A Unified Melody But Also Breaking Off Into Separate Strands Of Song. Since It Was Composed As A Commemoration For The Bbc Scottish Symphony Orchestra Grime Wished To Emphasise The Orchestra As A Grand Unified Whole As Well As Their Individual Sections AndSounds. The Piece Unifies The Orchestra With A Sense Of Celebration And Elation As Well As A Sense Of Melancholy Making It Apt That The Piece Is Named After A Poem By Siegfried Sassoon. Everyone Sang was composed by Scottish composer Helen Grime in 2010. It was commissioned by BBC Radio 3 for the 75th anniversary of the BBC Scottish Symphony Orchestra. It was first performed at CityHall Candleriggs Glasgow in December 2010 and is arranged for Orchestra. When composing this piece Grime states that she imagined the Orchestra as many individual voices that were capableof producing a unified melody but also breaking off into separate strands of song. Since it was composed as a commemoration for the BBC Scottish Symphony Orchestra Grime wished to emphasise the Orchestra as a grand unified whole as well as their individual sections and sounds. The piece unifies the orchestra with a sense of celebration and elation as well as a sense of melancholy making it apt that the pieceis named after a poem by Siegfried Sassoon.

Britten was so remarkably prolific as a young composer that many of the works from his teens were put aside to await revision or completion as he rushed on to the next piece. This was particularly the case around the time of hisOpus 1 Sinfonietta composed in the summer of 1932 his second year as a student at the Royal College Of Music. The Sinfonietta was written (in less than three weeks) very soon after Britten had completed thefirst draft of the Double Concerto; but after finishing the Sinfonietta he went back to revise the Concerto's second movement. He started work on his Op.2 Phantasy for Oboe and String Trio a few weekslater. Although the Concerto follows the same three-movement pattern as the Sinfonietta it is more ambitious in scale; and since the sketch is unusually for Britten complete in practically every detail it ispuzzling that he never made a full score of the work after finishing the composition and seems to have made no attempt to get it performed. It is not clear if he had particular performers in mind (he was of course a Violaplayer although he is not likely to have intended the part for himself). He showed the work to his composition teacher at the college John Ireland who as Britten recorded in his diary was 'pretty pleased' with it; but it isdistinctly possible that his experience in rehearsing the Sinfonietta with a student orchestra in 1932 ('I have never heard such an appalling row!' reads another diary entry) discouraged him from going on to complete theDouble Concerto in score. He was not to hear any of his orchestral works until the first performance of Our Hunting Fathers in 1936. In the absence of Britten's full score it was necessary for me to prepare the workfrom the sketch. But the instrumentation is so carefully indicated in the draft that the resulting score is not far from being 100% Britten - only between bars 70 and 74 of the slow movement did there seem to be any need to add

Song for Medium Voice and Piano (or Orchestra). Written in 1884.

Five Miniature Preludes and Fugues by Alec Rowley for piano.

Raymond Briggs' charming Christmas story about the adventures of a boy and the snowman that comes to life is a modern children's classic. The tales popularity has been further enhanced by frequent television broadcasts of theaward-winning cartoon film The Snowman . Here the classic 'Walking In The Air' made popular by Aled Jones is arranged for Voice and Piano. Music and lyrics by Howard Blake.