Lyndon Jones and Mick Loftus. Full length musical version of Mark Twain’s story featuring Henry VIII and a host of other historical characters. Twenty-five musical numbers with accompaniment scored for piano. Guitar chords are tobe found in the script/melody part. Drums and optional melody instruments fit in well.

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. His collection 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 two contains three songs adapted from As You Like ItLike 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 two contains three songs adapted from As You Like It

Davies's feeling for the potency and bravura of the clarinet goes back to works of the 1960s; his concerto for the instrument is predictably a big ranging piece in two linked movements. The first fast with a brief slowintroduction has the soloist in propulsive melodic flights slipping over into florid runs but it is a virtuoso piece for the orchestra especially for the marimba and pair of horns. The Adagio that follows is in the spare cold birdcall-riven style of other recent Davies slow movements exploiting first the clarinet's low register and then at its climax the instrument's high extremes. A cadenza leads to the coda where Davies introduces a Scots tune previously hinted at with which he brings the work to an end in F sharp major. Clarinet part with piano reduction of the orchestral score.

Solo cello part.

The two existing manuscripts (1915 and 1926) of these extracts 'arranged' by Falla himself correspond to the very beginning and end of a long period during which El Amor Brujo can be seen in a series of different states.They demonstrate the care which the composer generally brought to the task of instrumentation and more particularly the aptness and validity of this piece in his own eyes as chamber music. It is clear that Falla's art oforchestration (and notably his feeling for instrumental idiom) gives his score a profound sense of balance. Score. Piano player reads from full score string parts available separately.

This concerto is one continuous movement that is clearly divided into 3 main sections. The first movement is moderately fast and rhapsodic in charachter followed by a second section with an accompanied cadenza in the middle the final movement is a fast-paced energetic crescendo that leads to the climax of the work at the end. The solo part is a long and endlessly varied narrative that embraces the whole technical vocabulary of the cello available to both composer and soloist with the harmonic aura being established by the orchestra from the beginning. The orchestra provides a platform of chords based on major and minor thirds which are the building blocks for the entireconcerto both for soloist and orchestra. The harmonic scenery created by the orchestra is very much at the service of the soloist always seeking to support and highlight the poetic and dramatic content of the solo part as well as providing a transparent and clear harmonic framework. The accompaniment for the piece is dense at times polyphonic and sometimes multi-layered but only towards the very end is the orchestra allowed to dominate in the final climax of the work. Commissioned by William Conway. First performed with the Scottish Chamber Orchestra in 1995. This concerto is one continuous movement that is clearly divided into 3 main sections. The first movement is moderately fast and rhapsodic in charachter followed by a second section with an accompanied cadenza in the middle thefinal movement is a fast-paced energetic crescendo that leads to the climax of the work at the end. The solo part is a long and endlessly varied narrative that embraces the whole technical vocabulary of the cello available toboth composer and soloist with the harmonic aura being established by the orchestra from the beginning. The orchestra provides a platform of chords based on major and minor thirds which are the building blocks for the entireconcerto both for soloist and orchestra. The harmonic scenery created by the orchestra is very much at the service of the soloist always seeking to support and highlight the poetic and dramatic content of the solo part as wellas providing a transparent and clear harmonic framework. The accompaniment for the piece is dense at times polyphonic and sometimes multi-layered but only towards the very end is the orchestra allowed to dominate in the finalclimax of the work. Commissioned by William Conway. First performed with the Scottish Chamber Orchestra in 1995.

Conductor composer and pianist André Previn continues to redefine the possibilities in his extraordinary career already one of the most distinguished musicians of our time. This work with original text by Toni Morrison wascommissioned for Kathleen Battle by the Carnegie Hall Corporation and first performed in 1992.

Poulenc's 'Elegie' arranged for E Flat Horn and Piano. In memory of Denis Brain duration 8 minutes. Includes Score and Part.

Constant Lambert was greatly influenced by the music of the great Duke Ellington and in particular by Florence Mills star of the interracial revue From Dover Street to Dixie and of her own all-black revue Blackbird. Upon her untimely early death in 1927 Lambert was moved to write this Elegiac Blues For Piano in her memory.Constant Lambert composer and conductor was a child prodigy who began composing Orchestral works at a tender age and established himself quickly as a major talent of British music just after the First World War. Over time he became involved in the world of ballet conducting at Sadler’s Wells becoming Music Director of the Vic-Wells Ballet and as apopular Orchestral conductor on BBC Third Programme. Constant Lambert was greatly influenced by the music of the great Duke Ellington and in particular by Florence Mills star of the interracial revue From Dover Street to Dixie and of her own all-black revue Blackbird. Upon heruntimely early death in 1927 Lambert was moved to write this Elegiac Blues For Piano in her memory.Constant Lambert composer and conductor was a child prodigy who began composing Orchestral works at a tender age and establishedhimself quickly as a major talent of British music just after the First World War. Over time he became involved in the world of ballet conducting at Sadler’s Wells becoming Music Director of the Vic-Wells Ballet and as apopular Orchestral conductor on BBC Third Programme.

Some of the most memorable themes from the best-loved TV dramas have been written by Geoffrey Burgon. This book contains arrangements for piano of the best-known of Burgon's themes including Theme From Bleak House and Aslan's Theme from The Chronicles of Narnia.

Gorecki's 2 Sacred Songs Op.33 for two voices.

Music From The Acclaimed Organist And Composer Guy Weitz. Music from the acclaimed organist and composer Guy Weitz.

Commissioned by Fine Arts Brass Ensemble. Premiered at Harrogate International Festival 1993.

Commissioned by the BBC in 1992. Parts available on order no. SOS05260

A transcription of a work for small orchestra (the score for Peter Greenaway's film A Zed & Two Noughts) scored for solo violin. Composed and first performed in Paris in 1986. Edited by Alexander Balanescu.

Libretto for Caritas an Opera in Two Acts. Caritas’ is in two acts the first consisting of 12 short scenes the second being a continuous scena. The overall form of the opera retains the architecture of Wesker’s stageplay but alters the proportions in order to create a musically dynamic form. While each scene of the first act is centred around a specific pitch the second act is a Passacaglia whose ‘ground’ is a Cantus Firmus eachrepetition of which begins on a different note from those of its previous statements. These large-scale architectural features are both reflected in and derived from the musical material itself.

For SSSAATTBB Choir and Organ.

A short work for unaccompanied SSAATBB choir using a poem based on Serefis' Eonia (The Jasmin). The text uses both English and Greek. This work was commissioned for the 27th Seminar on Contemporary Choral Music University College Cork Ireland May 1990.

Two dances for flute and harp from Peter Maxwell Davies' ballet Caroline Mathilde . A new instrumentation restores this linked pair of dances from Davies's second full-length ballet Caroline Mathilde based on the story ofthe eighteenth-century British princess sent in marriage to Denmark to the eighteenth-century milieu of the work's setting and musical world. The period manners - a gavotte in the first dance a gigue at the start of the second -are typically overlaid with the composer's Scottishness. In general the harp has an accompanying role but it comes forward alone in the second movement which ends with bravura from both instruments. These two dances were firstperformed in September 1993 at the Northlands Festival by David Nicholson and Eluned Pierce. Score and flute part. Duration c. 5mins. Harp part edited by Elune Pierce.

Guy Weitz (1883-1970). Grand Choeur - Voluntary On A Fifth Mode Gregorian Theme Composed In 1959. Guy Weitz (1883-1970). Grand Choeur - Voluntary on a fifth mode Gregorian theme composed in 1959.