Richard Reed Parry 'S Heart And Breath Sextet For Piano Six-Hands Violin Viola And Violoncello. Heart And Breath Sextet Was Commissioned By The 2011 Musicnow Festival For Ymusic. ' This Piece Is Based Around The Idea Of Using The Widely Varying Internal Rhythms Of The Performers’ Bodies As Performance Parameters. There Is No Actual Tempo Or Meter Built Into The Piece. The Breathing Rates Of The Players Are Used In Alternation With The Individualperformers’ Heart Rates To Determine The Pace At Which All Of The Musical Material Is Played. This Requires That The Performers Generally Play Quietly And Delicately So As To Be Able To Hear Their Heartbeats Adequately.This In Combination With The Natural Variance Between The Different Heart Rates Results In A Kind Of Delicate Musical “Pointillism”: Starts And Stops Which Are Somewhat Staggered Parts Which Repeatedly Line Up And Fall Out Of Synch With Each Other Different Individuals’ Pulses Rising And Falling. The Piece Is Never Performed Exactly The Same Way Twice. In This Piece The Pianists Wear Stethoscopes Positioned Over Their Hearts So That Each Can Follow His Or Her Own Heart Rate. Two Eighth Notes (Quavers) Correspond To The Two Sounds Of A Single Normal Heartbeat And Performers Should Match As Closely As Possible The Staccato And Irregular Rhythm They Hear. The Strings Are Instructed To ‘Play To Breath’; The Natural Cycle Of One Inhalation And One Exhalation Or Vice Versa Will Determine The Length Of The Bar (Two Quarter Notes/Crotchets) Without Any Attempt To Make It Metronomic. When One Instrument Is Designated The Leader Their Breath Will Determine The Starts Of Phrases And The Procession From One Bar To The Next Cuing Other Parts If Necessary. ' - Richard Reed Parry Richard Reed Parry 's Heart And Breath Sextet for Piano Six-hands Violin Viola and Violoncello. Heart And Breath Sextet was commissioned by the 2011 MusicNOW Festival foryMusic. ' This piece is based around the idea of using the widely varying internal rhythms of the performers’ bodies as performance parameters. There is no actual tempo or meter built into the piece. The breathing ratesof the players are used in alternation with the individualperformers’ heart rates to determine the pace at which all of the musical material is played. This requires that the performers generally play quietly and delicately so asto be able to hear their heartbeats adequately. This in combination with the natural variance between the different heart rates results in a kind of delicate musical “pointillism”: starts and stops which are somewhat staggered parts which repeatedly line up and fall out of synch with each other different individuals’ pulses rising and falling. The piece is never performed exactly the same way twice. In this piece the pianists wear stethoscopespositioned over their hearts so that each can follow his or her own heart rate. Two eigh

Three Intermezzi for Clarinet and Piano- Edited by Colin Bradbury. Two works for the clarinet by Charles Villiers Stanford (1852-1924) are well known; the concerto Op. 80 of 1902 and the sonata Op. 129 of 1918. By the time he wrote the first of thesethree Intermezzi Stanford was an established composer with over seventy works to his credit.

The choir (as narrator) tells the story of the downfall of a couple and their farm at the hands of the Poltergoose when they ignore advice and fell their wood. Scored for voices (unison or easy two-part) and instrumentalists with dialogue in rhyming couplets dance and drama. Easy piano part supports the vocal line. Instrument parts suitable for recorders violins guitars and pitched percussion. Score & Parts (15 x Voices and Instruments 5 xUnpitched Percussion)

For Soprano or Tenor and Piano. Text: AE Housman.

Motet for five voices (SSATB) for the feast of the Nativity of Our Lord.

John Tavener 's Preces And Responses for Double Choir were commissioned by Cathedral Commissions of Wells Cathedral and were first performed on Sunday 18th May 2014 during New Music Wells 74-14 by WellsCathedral Choir conducted by Matthew Owens.

Lennox Berkeley 's Sonata No. 1 for Violin and Piano. Written when Berkeley was studying with Nadia Boulanger this sonata was premiered by Yvonne Astruc and Madeleine Grovlez for the Société musicale indépendante at the Ecole normale de musique in Paris on 4 May 1932. The work is dedicated to Gladys Sophia Bryans an elderly admirerof Berkeley who died in 1951. She lived at Rudge House Painswick Gloucestershire and her house parties included Berkeley and Britten when they were working on their joint orchestral suite Mont Juic in 1937. The first recording of this Sonata along with No. 2 Berkeley ’s official Op. 1 was made in 2013 by Edwin Paling and ArabellaTeniswood-Harvey on Move MD3361. Their performing score has been consulted for this first publication which has had the support of the Lennox Berkeley Society. The source is a manuscript in a copyist’s hand now at the British Library. Lennox Berkeley 's Sonata No. 1 for Violin and Piano. Written when Berkeley was studying with Nadia Boulanger this sonata was premiered by Yvonne Astruc and Madeleine Grovlez for theSociété musicale indépendante at the Ecole normale de musique in Paris on 4 May 1932. The work is dedicated to Gladys Sophia Bryans an elderly admirerof Berkeley who died in 1951. She lived at Rudge House Painswick Gloucestershire and her house parties included Berkeley and Britten when they were working on their joint orchestral suite Mont Juic in 1937. The first recording of this Sonata along with No. 2 Berkeley ’sofficial Op. 1 was made in 2013 by Edwin Paling and Arabella Teniswood-Harvey on Move MD3361. Their performing score has been consulted for this first publication which has had the support of the Lennox Berkeley Society. The source is a manuscript in a copyist’s hand now at the British Library.

Edited by James Brown. Includes music by Telemann Vanderhagen Brod and Haydn-Dietter.

This is the full score and parts for Chromattic by Michael Nyman scored for Soprano Saxophone Alto Saxophone Accordion Marimba and Double Bass. The work was composed by the Chroma Ensemble and lasts around 13 minutes. This is the full score and parts for Chromattic by Michael Nyman scored for Soprano Saxophone Alto Saxophone Accordion Marimba and Double Bass. The work was composed by the Chroma Ensemble and lastsaround 13 minutes.

John Tavener 's Coplas composed in 1970 for SATB Choir. Score and performance CD. ' Coplas is a short anthem for voices and tape. It belongs to a much larger work called 'Last Rites' which I have been thinking about for about a year. It is based on the mystical idea of St. John of the Cross which obsesses me - the more I live the more I must die. Hence the deliberately static nature of Coplas. In once sense Coplas is a prolonged decoration of the 'et sepultus est' cadence from the Crucifixus in Bach's Mass in B minor. In another sense I think of it not so much as my music but a way of listening to Bach's music. ' - John Tavener John Tavener 's Coplas composed in 1970 for SATB Choir. Score and performance CD. ' Coplas is a short anthem for voices and tape. It belongs to a much larger work called 'Last Rites' which Ihave been thinking about for about a year. It is based on the mystical idea of St. John of the Cross which obsesses me - 'the more I live the more I must die.' Hence the deliberately static nature of Coplas. In once senseCoplas is a prolonged decoration of the 'et sepultus est' cadence from the Crucifixus in Bach's Mass in B minor. In another sense I think of it not so much as my music but a way of listening to Bach's music. ' - JohnTavener

Davies discovers aspects of himself in examining one of his most troubled predecessors. That discovery can take place either on his home ground (in the mezzo-soprano version writen for The Fires of London) or with chorus singingGesualdo's O Vos Omnes and repeatedly falling silent so that the musical argument may continue on a different plane that of Davies's four meditations for sextet murmuring darkly about Gesualdo's ideas. The viola doublesthe violin and the glockenspiel doubles the marimba. The harpsichord is doubled by the celeste chamber organ or harmonium. Duration c. 20mins.

Helen Grime wrote this Christmas carol for the Hallé Youth Choir to sing at the close of 2013. The words are from an anonymous medieval cradle song. Grime said of the piece: “I haven’t written much choral music before so it’s really exciting for me. And I know they’re an absolutely fabulous choir. I wanted to write something quite simple in structure and clear in meaning.” Helen Grime wrote this Christmas carol for the Hallé Youth Choir to sing at the close of 2013. The words are from an anonymous medieval cradle song. Grime said of the piece: “I haven’t written muchchoral music before so it’s really exciting for me. And I know they’re an absolutely fabulous choir. I wanted to write something quite simple in structure and clear in meaning.”

A collection of classical works for Flute and Piano edited by Trevor Wye. These tunes have been taken almost entirely from the flute repertoire. Suitable for flautists with limited experience. (Grades 2-3). Volume One includesmusic by Blavet Vivaldi Franck Mozart Lichtenthal.

Anna Thorvaldsdottir's Fields for Ensemble and Electronics. Year composed: 2016 Anna Thorvaldsdottir's Fields for Ensemble and Electronics. Year composed: 2016 Duration: 6 minutes

This work for soprano solo and SATB choir written in 1976 was commissioned by Cantores in Ecclesia. The first performance was given in April 1977 by the Rye Spring Music. This is a special item which is made to order. Pleasee-mail our Mail Order Department for further information.

A collection of classical works for Flute and Piano edited by Trevor Wye. Volume Three includes music by Loeillet Sibelius Eichner Blavet Telemann. These pieces have been carefully selected for their melodic interest. Suitable for players grade 4-5.

Just Brass No. 27-Edited by Philip Jones & Elgar Howarth. The Just Brass series is regarded by brass players worldwide as the most important brass ensemble series available. There are more than 100 titles subdivided into Just Brass (mainstream) Junior Just Brass Just Brass Lollipops and Giant Just Brass. Supplied as score and parts together.

Mixed Bag No. 18-For Woodwind Ensemble.

Genus Quartet (For String Quartet) By Joby Talbot Was Commissioned By The Barbican London. Was First Performed On May 12Th 2013 At Lso St. Luke’S London By The Calder Quartet. Duration C. 10 Minutes. Genus Quartet (For String Quartet) by Joby Talbot was commissioned by the Barbican London. was first performed on May 12th 2013 at LSO St. Luke’s London by the CalderQuartet. Duration c. 10 minutes.

William Byrd (c. 1540-1623) was an English renaissance composer who wrote several well-known works in both the Catholic and Anglican traditions many of which are still highly popular today. He studied under ThomasTallis at the Chapel Royal before becoming Organist and Master of the Choristers at Lincoln. He later returned to the Chapel Royal as Gentleman and Organist. O Sacrum Convivium was inspired by the Antiphonto the Magnificat at the 2nd Vespers of Corpus Christi. It makes a perfect anthem for any Eucharist service or Mass. It is scored for SATB choir with Piano reduction for rehearsal purposes.