The world premiere of Hans Werner Henze’s Olly on the Shore took place on 1 July 2001 in La Leprara Marino Italy given by Martin Zehn piano as part of a birthday tribute concert for the composer’s seventiethbirthday. Duration: c.2 minutes A recording of Olly on the Shore performed by Rolf Hind is available on the London Sinfonietta Label Catalogue Number: SINFCD12004

Dance Preludes for Clarinet and Piano is an impressive chamber work by Witold Lutoslawski. The five movements which form this work are based on folk songs from North Poland providing a variety of contrasts. This is the original version of the work composed in 1954 for Clarinet and Piano. This piece was later revised for chamber ensemble and again for orchestra. The solo clarinet part is also included on a separateinsert.

The Lost Lamb is the fourth movement of Czech composer Antonin Dvorak 's cycle ‘Five Choruses For Male Voice’. The cycle of five choruses is set toLithuanian folk texts translated by Frantisek Ladislav Celakovsky and is written for unaccompanied male choir (TTBB Voices). The title page of the autograph score bears the note: “Composed on the journey from Prague to Vienna 12thof December 1878”. The individual parts of the cycle present a vibrant palette of moods from the balladic ‘Dwellers by the Sea’ to the final light-hearted ‘The Sparrow’s Feast’. The songs’ melodies echothe spirit of folk songs and the composer used simple but colourful harmonies and chose a strophic form.

For four voices with piano accompaniment for rehearsal purposes. Edited and arranged for modern use by Nigel Davison.

For Mezzo-Soprano (or Baritone) and Piano. Text: Walter de la Mare. Premiered by Janet Baker and Geoffrey Pratley in Chichester Cathedral July 1977.

Palestrina 'Sitivit Anima Mea' (Second Part Of Sicut Cervus) arranged for mixed voice choir SATB.

POD-The Love Duet From Krishna is a work by John Tavener for Soprano Tenor and Orchestra. Commissioned by Manchester International Festival the work was first performed on 7th July 2013 at Bridgewater Hall. Setting text from traditional sources a full performance lasts around 17 minutes. This is the Vocal Score. The Love Duet From Krishna is a work by John Tavener for Soprano Tenor and Orchestra. Commissioned by Manchester International Festival the work was first performed on 7th July 2013 atBridgewater Hall. Setting text from traditional sources a full performance lasts around 17 minutes. This is the Vocal Score .

Arranged for Easy Piano Arranged for Easy Piano

for Trumpet Percussion Turntables and Orchestra-Gabriel Prokofievs Concerto For Trumpet Percussion Turntables And Orchestra. This work was commissioned by Orchestre de Pau Pays de Béarn 2014.Duration: approx. 20 minutes. Gabriel Prokofiev 's Concerto For Trumpet Percussion Turntables And Orchestra . This work was commissioned by Orchestre de Pau Pays de Béarn 2014. Duration: approx. 20 minutes.

The work was designed as a companion piece to Bach's incomparable setting and uses the same vocal and instrumental resources. It is also constructed in such a way that the Latin Magnificat can be performed by itself without theadditional English interpolations.

The variants of this piece chart the experience of the composer's musical journey from childhood as well as citing influences from other composers including Brahms the piece also draws connections between the composer andhis previous influences. This composition has 10 variations on the opening theme the introduction of the piece sees a 3 part unit with quiet brass notes holding together flowing sequences of chords there is a prominentdescending bass in luminous whole-tone colours giving the piece great depth.

Written for the International Contemporary Ensemble and for Tenor Peter Tantsits. The work was created through ICE's First Page Commissioning Program thanks to the lead support of Frances Kazan. The first performance was given on 3 August 2016 in Hearst Plaza at Lincoln Center New York City U.S.A. Performance notes: As a composer I have a tendency to write music in rather low dynamics. The dynamics indicate an atmosphere and the urge to approach the music with a sense of calm rather than merely indicating the dynamic level. I do not intend for the music tobe too quiet - but rather projecting a sense of serenity. I would kindly ask that the dynamics be tunedto the location of the performance and subtly dramatized as appropriate with regards to the performance space and/or concert venue. To the accompaniment of everyday life' indicates an atmospheric approach to the music that suggests fragility and loneliness. The work was commissioned to be premiered outside so the music was inspired by the notion of hearing the environment accompanying the music. - Anna Thorvaldsdottir. Written for the International Contemporary Ensemble and for Tenor Peter Tantsits. The work was created through ICE's First Page Commissioning Program thanks to the lead support of Frances Kazan. The first performance wasgiven on 3 August 2016 in Hearst Plaza at Lincoln Center New York City U.S.A. Performance notes: 'As a composer I have a tendency to write music in rather low dynamics. The dynamics indicate an atmosphere and theurge to approach the music with a sense of calm rather than merely indicating the dynamic level. I do not intend for the music tobe too quiet - but rather projecting a sense of serenity. I would kindly ask that thedynamics be tuned to the location of the performance and subtly dramatized as appropriate with regards to the performance space and/or concert venue. To the accompaniment of everyday life' indicates an atmosphericapproach to the music that suggests fragility and loneliness. The work was commissioned to be premiered outside so the music was inspired by the notion of hearing the environment accompanying the music.' - AnnaThorvaldsdottir.

This is the sacred comedy among Manwell Davies' pieces of music-theatre. Brought on by a children's wind band in a 7/8 march the juggler presents himself at an abbey and is accepted by the abbot the only singing character.The other monks are the clarinettist percussionist and flautist all of whom play 'duets' with the juggler as he is put to mundane tasks; sweeping preparing food washing clothes all done with much horseplay. The same threemonks then present their offerings to the Virgin in the form of flamboyant instrumental arias. Left alone the juggler offers his own skills to the accompaniments of Renaissance dances for piano with cello (who also providesupport and commentary throughout). The other members of the community return and are appalled but the image of the Virgin suddenly springs to life as a violinist who plays her own solo acceptance. The abbot acknowledges herjudgement and the juggler is escorted boisterously out by the band.

Easy music for string groups. Playstrings provides an enjoyable and varied repertoire for young string orchestras carefully structured in two levels. The ‘Easy’ level does not normally exceed Grade 2 in difficulty with most partsplayable in first position while the ‘Moderately Easy’ level includes some parts of around Grade 3 standard. At easy level alternative parts are provided so that the absence of viola or a double bass does not prevent the piecefrom being performed. Available in score or sets of instrumental parts. There are over 30 titles covering a wide range of styles including classical pieces folk tunes and Christmas collections. Playstrings is an idealintroduction to orchestral playing for young string players. Set of 21 parts contains: 4 x Violin 1 4 x Violin 2 4 x Violin 3 2 x Viola 1 2 x Viola 2 2 x Cello 1 2 x Cello 2 1 x Double Bass.

Treble Clef Version-Richard Reed Parry 'S Duet For Heart And Breath Treble Clef Version For Viola (Or Other Instrument Of Suitable Range) And Piano (Or Other Polyphonic Instrument). The Performers 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 Normal Heartbeat And Performers Should Match As Closely As Possible The Staccato And Irregular Rhythm They Hear. When 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. ' This Piece IsBased 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 Individual Performers’ 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 With Little Or No Vibrato So As To Be Able To Hear Their Heartbeats Adequately. This In Combination With Thenatural 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. ' - Richard Reed Parry . Richard Reed Parry 's Duet For Heart And Breath Treble Clef version for Viola (or other instrument of suitable range) and Piano (or other polyphonic instrument). The performers wear stethoscopespositioned 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 normal heartbeat and performers should match as closely as possible the staccato andirregular rhythm they hear. When 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 makeit metronomic. ' 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 breathingrates of the players are used in alternation with the individual performers’ heart rates to determine the pace at which all of the musical material is played. This requires that the performers generally play quietly anddelicately with little or no vibrato so as to be able to hear their heartbeats adequately. This in combination with thenatural variance between the different heart rates results in a kind of delicate musical “pointillism”:starts and stops which are somewhat stagge

Transcribed by Peter Warlock and edited by Andre Mangeot.

Arranged for Easy Piano

John Tavener 's Pluies is a work for Solo Mezzo-Soprano SATB Chorus and String Quartet. The piece was first performed on 31st January 2015 and lasts around 5 minutes. This is the vocal score. The words for Pluies come from a poem of the same name by Saint-John Perse. The lyrics are in the original French. John Tavener 's Pluies is a work for Solo Mezzo-Soprano SATB Chorus and String Quartet. The piece was first performed on 31st January 2015 and lasts around 5 minutes. This is the vocalscore. The words for Pluies come from a poem of the same name by Saint-John Perse. The lyrics are in the original French.

Giant Just Brass No. 1-The full score of Modest Mussorgsky 's Pictures At An Exhibition arranged for Brass Band by Elgar Howarth. Please note that this is the full score and does not include the parts. Theseare however available to hire from the Music Sales Hire Library.

For Solo Cello-Gordon Wright was the friend of a lifetime. For thirty years Gordon and I shared our two greatest passions: music and Alaska. Gordon was my musical collaborator my next-door neighbor my fellow environmentalist and my camping buddy. These miniatures are musical sketches of three moments and places in our friendship. Like Alaska Gordon was larger than life. He always lived his own way. And he died just as he would have wanted. We found him lying on the deck of his cabin in the Chugach Mountains curled up against his favorite birch tree looking across the waters of Turnagain Arm toward the Resurrection Valley and the tiny settlement of Hope. - John Luther Adams This musiccontains no normal stopped tones. All the sounds are produced as natural harmonics or on open strings. There are no harmonics higher than the sixth. So these sounds should be clear and resonant. Even so balancing the harmonics with the open strings requires careful attention. The durations of the individual pieces are given at the end of each. The total duration of the set is about ten minutes. 'Gordon Wright was the friend of a lifetime. For thirty years Gordon and I shared our two greatest passions: music and Alaska. Gordon was my musical collaborator my next-door neighbor my fellow environmentalistand my camping buddy. These miniatures are musical sketches of three moments and places in our friendship. Like Alaska Gordon was larger than life. He always lived his own way. And he died just as he would havewanted. We found him lying on the deck of his cabin in the Chugach Mountains curled up against his favorite birch tree looking across the waters of Turnagain Arm toward the Resurrection Valley and the tiny settlementof Hope.' - John Luther Adams This music contains no normal stopped tones. All the sounds are produced as natural harmonics or on open strings. There are no harmonics higher than the sixth. So thesesounds should be clear and resonant. Even so balancing the harmonics with the open strings requires careful attention. The durations of the individual pieces are given at the end of each. The totalduration of the set is about ten minutes.