Tu Ne Sais Pas is a work by John Tavener for Medium Voice Timpani and Strings. The work sets words by the French poet and philosopher Jean Biès and from Islamic and Hindu sources. This is the Full Score and lasts around 19 minutes. Commissioned by Maestro Ignat Solzhenitsyn for The Chamber Orchestra of Philadelphia it was first performed on 20th March 2009 at the Perelman Theater The Kimmel Center for the Performing Arts Philadelphia by Katherine Pracht (mezzo-soprano) and The Chamber Orchestra of Philadelphia conducted by Ignat Solzhenitsyn. Two poems by the contemporary French poet Jean Biès form the basis of the work. Two traditional Islamic and Hindu textshave been inserted into the second poem creating a powerful composition that is subtitled 'A Metaphysical Paradox'. Tu Ne Sais Pas is a work by John Tavener for Medium Voice Timpani and Strings. The work sets words by the French poet and philosopher Jean Biès and from Islamic and Hindu sources. This is the Full Score and lasts around 19 minutes. Commissioned by Maestro Ignat Solzhenitsyn for The Chamber Orchestra of Philadelphia it was first performed on 20th March 2009 at the Perelman Theater The KimmelCenter for the Performing Arts Philadelphia by Katherine Pracht (mezzo-soprano) and The Chamber Orchestra of Philadelphia conducted by Ignat Solzhenitsyn. Two poems by the contemporary French poet Jean Biès form thebasis of the work. Two traditional Islamic and Hindu texts have been inserted into the second poem creating a powerful composition that is subtitled 'A Metaphysical Paradox'.

This work was written to celebrate the Diamond Wedding of Her Majesty the Queen and HRH the Duke of Edinburgh.

Seven Epigrams for Violin and Cello by Haflidi Hallgrimsson .

For SATB chorus with optional congregation Brass Timpani and Organ.

Commissioned by the West Cork Chamber Music Festival with support from the Arts Council of Ireland.

Score and parts.

The first performance took place on 28th August 2009 at the Berlin Philharmonie given by the Berlin Philharmonic Orchestra conducted by Sir Simon Rattle. Orchestral parts are available on hire from thepublisher. The score is transposed. Crotales sound two octaves higher than written.

This work was commissioned by the Strover family for the Maggini Quartet on the occasion of Rosalind Strover’s 100th birthday. It was first performed by the MagginiQuartet on 5th November 2004 at Stoke-by-Nayland Country Club Essex.

Commissioned by Theatre Cryptic for Optical Identity a presentation co-commissioned by Theatre Cryptic and Singapore Arts Festival. First performance given by the T'ang Quartet on 31 May 2007 in Singapore.

The parts consist of Piano accompaniment melody in C melody in Eb and melody in Bb.

This work was commissioned by the Naxos Recording Company and is the fifth in a series of ten quartets. It was first performed on 20th October 2004 at the Wigmore Hall London by the Maggini Quartet.

Performing score of the three Violin lines only.

The text for this piece is taken from five poems by W.H. Auden and one by Louis MacNiece.

Meet Me In The Green Glen was composed by Brian Elias for Solo Voice as part of the cycle of songs written to poems by John Clare.

Composed in 2003 this is a complex undulating piece for solo Guitar by Joby Talbot with overlapping rolling textures that create the illusion of stasis whilst the music progresses.

This work was commissioned by Music in the Round for the Cropper/Welsh/Roscoe Trio with funds from Arts Council England. First performance on 29th September 2005 at the Maidment Hall Shrewsbury as part of the Around theCountry tour .

Cantus Mysticus was commissioned by The Foundation for the Cuenca Religious Music Week. First performance on 22nd March 2005 as part of the XLIV Cuenca Religious Music Week by Joan Enric Lluna (clarinet) Patricia Rozario(soprano) and the Madrid Community Orchestra conducted by the composer. The composer writes: Cantus Mysticus sets a text by Goethe concerned with the Eternal Feminine: Das ewig Weibliche sichuns hinan (TheEternal Woman draws us upwards). Many of my recent works have been concerned with meditation on the Creative Feminine which according to esoteric metaphysics reveals the 'child of the soul' and thus God. The slow contemplativeand very intense opening of Cantus Mysticus leads gradually towards a 'still centre' with much use of 'silence'. This is followed by an ecstatic celebration of the Divine Feminine –the Virgine Madre of Dante and Christianity theMaha Maya of Hinduism and Maha Prajavati of Buddhism. The Jazz-style passages for clarinet express Lîla or Divine Play. Cantus Mysticus is scored for B flat clarinet soprano and strings (violins and cellos only).

A selection of original music from the 'Three Colours' movie trilogy arranged for Solo Piano.

Oboe Part-John Tavener 's Kaleidoscopes is a tribute to Mozart for Solo Oboe Percussion and four String Quartets lasting approximately 30 minutes. The work was commissioned by the Britten Sinfonia and first performed by them with soloist Nicholas Daniel on 6th November 2006 at the Queen Elizabeth Hall London. This is the Solo Oboe part. In the composer's note Tavener explains his high regard for Mozart and how in Kaleidoscopes he attempts to take Mozart's music and meditate upon it in four main cycles. He states that all the music has its source in Mozart whether it be rhythmic harmonic or contrapuntal. John Tavener 's Kaleidoscopes is a tribute to Mozart for Solo Oboe Percussion and four String Quartets lasting approximately 30 minutes. The work was commissioned by the Britten Sinfonia and firstperformed by them with soloist Nicholas Daniel on 6th November 2006 at the Queen Elizabeth Hall London. This is the Solo Oboe part. In the composer's note Tavener explains his high regard forMozart and how in Kaleidoscopes he attempts to take Mozart's music and meditate upon it in four main cycles. He states that all the music has its source in Mozart whether it be rhythmic harmonic orcontrapuntal.

The Alleluia Jubilate was written for the Choir Schools' Association Conference and is therefore a creation for well-trained young musicians. The opening phrases in which the conductor separates the syllables with restsis particularly effective in cathedrals and spaces with long reverberation time.Contemporary British composer and conductor James Whitbourn an award-winning creator of Choral music film and television scores and works for theconcert hall may be best known for his largest composition the oratorio Annalies which sets words from The Diary of Anne Frank.