Mishima String Quartet (String Quartet No.3) originally appeared as parts of the film score for Mishima by film maker Paul Schrader. The film follows a complex narrative structure which divides the life of thisfamous contemporary Janpaeses novelist into 3 parts - his childhood his mature years and the last day of his life. These subjects were intercut to produce a shifting kaleidoscopic vision of Mishima's life. The scenes of hischildhood were filmed in black and white and scored for String Quartet. An excellent contemporary string quartet by the innovative Philip Glass.

This work for Clarinet in A Violin Cello and Piano was premiered in May 2002 in the Fitzwilliam Museum Cambridge. The piece has a fast rhythmic opening in which the violin and cello answer short statements by the pianowith the clarinet mediating between them. The work is decorated by rhythmic and melodic flourishes on the clarinet violin and cello and development sees the piece pick up in tempo and activity. Score edition of PeterMaxwell Davies 'Economies Of Scale'. Parts available: SOS15774

String Quartet No.3 was written for and first performed by the Balanescu Quartet February 1990 at the Queen Elizabeth Hall London. Duration 16 minutes. A score is available on sale.. Quoting composer: In the summer of 1989 Icomposed a choral work Out of the Ruins for Agnieszka Piotrowska’s BBC2 documentary which dealt with the physical and emotional responses of some inhabitants of Leninakhan to the earthquake which devastated Armenia theprevious December. When he heard the recording of the work that I made with the Holy Echmiadzin Chorus under the fervent conducting of Khoren Meykhanejian Alex Balanescu suggested turning Out of the Ruins into a string quartet. There seemed no reason or opportunity to do this until I felt the need to add to the intensity of my experiences in Armenia the no less profound experience of witnessing the images of the Romanian revolution on television duringthe later part of December 1989. The compositional procedure was as follows: to take Out of the Ruins as a template on which the Romanian vocal or instrumental music would be superimposed quite often stretched into newintervallic shapes though the demands of the completely performed harmonic structure.

A New Beginning was commissioned by the New Millennium Experience Company and will be performed in the Millennium Dome London in the closing minutes of 1999 to herald the New Millennium. For solo treble children's chorus SATB chorus and small orchestra. This vocal score includes a piano reduction of the instrumental score. Duration c. 7 minutes.

The long-awaited collection of familiar Michael Nyman melodic creations in intermediate level arrangements for soprano saxophone and piano. The long-awaited collection of familiar Michael Nyman melodic creations in intermediate level arrangements for soprano saxophone and piano. Includes: If' from The Diary of Anne Frank Debbie' from Wonderland Taking It as Read' Here to There' from The Piano The Mistress' from The Libertine Tango' from Never Forever Franklyn' from Wonderland In C Interlude' Witness 1' The Fort the Port and thePoint' from On Landguard Point

This version for solo percussion and piano was made by the composer in 1997. It differs significantly from the original version in that the number of percussion instruments is smaller the composer has provided a shortenedversion of the Cadenza for performance with piano. The original orchestral version of the Concerto is available on hire from the publishers.

Kevin Volans has been described as one of the more inventive composers since Stravinsky. Songlines was composed in 1988 and revised in 1993. Dedicated to Bruce Chatwin and premiered by the Kronos Quartet. Parts available:CH61336

Work for Soprano and Violin. The piece has been written for Edna Michell's Compassion project. In the composition I follow the idea of a dialogue suggested by the text I have chosen. The intimate nature and fragilesound world of the duo mirror the fragility of our uncertain existence. © Kaija Saariaho

A Choral Suite in eight movements for SATB (multi divisi). The texts are taken from different sources including Chuang Tse an Acoman Indian and a poem written by a young Czech victim of Auschwitz. Scored for 4 Sopranos 3Altos 3 Tenors and 3 Basses (SSSSAAATTTBBB) a cappella.

At the grave of Beethoven was commissioned by the Brodsky Quartet on the occasion of the bicentenary anniversary of Beethoven's opus 18. The title suggests admiration and a tribute towards Beethoven and the first movementwas inspired by the first four bars of opus 18 no.3.

Scored for String Quartet and Live Electronics. Parts only.

Composer's Notes : When I was asked to write a piece to celebrate the restoration of Michelangelo’s Mosè I returned to the paper written by Sigmund Freud on the sculpture which I had discovered by chance many years ago.Freud’s fascination with the Mosè began in 1901 when he visited San Pietro in Vincoli for the first time. A series of subsequent visits culminated in the publication of the Moses of Michaelangelo in 1914 from which I have usedtwo extracts to ‘frame’ the main body of my text which consists of selections from Michelangelo’s own letters. In 1505 Michelangelo was summoned to Rome by Pope Julis II and was commissioned to build a tomb which would reflectthe magnificence of the Pontiff’s reign. Forty years and four Popes later the tomb modified and scaled down due to a variety of financial and political changes of circumstance was completed. The letters give the impression ofan idealist at work: Michelangelo personally selected each piece of marble and supervised its transportation to Rome by his more worldly and capricious paymasters. His creative and artistic frustrations are mirrored by problems ofa more a practical nature; payment for both his services and the materials is erratic. At one point his is accused of embezzling funds. The complete text tells the story of an artists struggle and eventual triumph againstexternal circumstances. The Mosè by virtue of its very nature combines the elements of the physical and the spiritual with which Michelangelo challenged and eventually triumphed over the restraints of the context in which he hadto work. The lovingly selected and cared for marble in the hands of the unpaid exploited artist is transformed into something more substantial and eternal. Michael Nyman

Crystalline III was commissioned by Encounters in Canada. It was first performed by Eve Egoyan at the Glenn Gould Studio at the CBC on 9th May 2000. Karen Tanaka: 'From the composition of Crystalline for solopiano in 1988 I have desired to project the image of crystals in sounds and space. Hommage en cristal (1991) Metallic Crystal (1994-95) and Crystalline II (1995-96) are linked to this earlier piece in whicha glassy solid yet transparent sound suggests cold crystal sound sculptures. This idea has been extended and developed in Crystalline III but it has become more joyful and more rapidly fluttering in space.

Modern Norwegian composer Rolf Wallin's Drei Gedichte 'arranged for the mezzo soprano voice and piano. These three poems were written between 1900 and 1908 and they are very different in terms of form subject matter and atmosphere. Liebes-Lied is about a strong but painful love Buddha in der Glorie a description of religious ecstasy quite unusual in the works of Rilke and Sluss-stück about death which existsin the midst of us in the middle of life.

Strathclyde Concerto No. 6 (Flute Part)-The solo flute here is kept in high profile by the absence from the orchestra not only of other flutes but also of violins and oboes; in addition the trumpets are used sparingly (they do not for instance play in the slowmovement) so that for much of the time the flute is playing against a mellow ensemble of clarinets horns bassoons and low strings. If this is nevertheless one of Davies's most open-spirited pieces that comes partly from theready flights of the soloist partly from its glockenspiel accompaniments in the outer movements (replaced by ticking claves in the Adagio) partly from the dancing character of so much of the music and partly from the harmonicclarity in a light region not far from C minor. Flute part with piano reduction of the orchestral score.

The six short movements of this quartet can be described as follows but are not necessarily played in this order:1) A fast scherzo-like mechanism of terraced accelerandos 2) Quiet heterophony - col legno vertical spiccato 3)Alla chitarra 4) Al tamburo 5) Static harmony with microtonal inflexions 6) A second scherzo with changing metre. Benedict Mason's close association with the Arditti Quartet stems from the 1989 Huddersfield Festival whenthey gave the premiere of his first quartet. They subsequently recorded this work for Bridge Records. Duration 20'

A moving work written by Tavener in loving memory of his father. For solo tenor (or baritone) and unaccompanied choir SATB with optional strings.

Judith Weir: My Piano Quartet (2000) is part of an extended series of works for piano and strings which I have written over the last twenty years - although I didn't know it was going to be a series when I wrote the first of theseworks Music for 247 Strings in 1980. During this period it has been far more usual for composers to write for mixed wind and string ensembles. But I continued (and still continue) to be fascinated by the potential of stringsand piano; particularly the chance to write for the instruments as soloists or as a group and often to use both these options simultaneously. Piano Score. Premiered July 2000 at the Cheltenham Festival by the SchubertEnsemble. Parts available: SOS03075

Delta (Solo Percussion)-Work for Solo Percussion and Electronics. As the title suggests Trois rivières is divided into three separate sections. The first part introduces all the instrumental colours used in the piece. The rhythmic aspect ishere nearly eliminated giving room for the timbral scales colours resonances attacks and textures to come to the fore. The instruments come from all members of the percussion family but unpitched instruments are given aprimary role.

This collection of 21 popular tunes has been carefully arranged and graded to provide attractive teaching repertoire for young alto saxophonists. The familiarity of the material will stimulate pupils' enthusiasm and encouragetheir practice. The technical demands of the solo part increase progressively up to the standard of Associated Board Grade I. The piano accompaniments are simple yet effective and should be within the range of most pianists. Jerry Lanning is a graduate of the Guildhall School of Music and Drama. He is a widely experienced arranger in both popular and classical fields with many published arrangements to his credit. He also teaches(mainly the piano) at Wycombe Abbey School and Bradfield College.