This prayer is the foundation of Orthodox faith in the Holy Trinity. Says Tavener: 'In setting it to music I have tried to capture something of the deep conjunction and repentance which lie at the heart ofOrthodoxy '. This work for unaccompanied SATB choir and SSAAA semichorus was commissioned by the Cambridge Tavener Choir. It was first performed in April 1996 at Jesus College Chapel Cambridge by the Cambridge TavenerChoir conducted by Owen Rees.

This dreamlike and evocative piece from Peter Maxwell Davies was originally composed for Flute and orchesta. Here it is presented as Flute with Piano reduction and still captures the wonder and sanctuary of the composer's home surrounded by seabirds and seals that fire the imagination in childlike ways evoking images of mermaids and angels. The Flute solo is both tranquil and highly virtuosic and is well supported by the Piano accompaniment. The piecewas first performed in May 1999 at the Royal Concert Hall Dublin.

The fifth feature film that Peter Greenaway and Michael Nyman produced in 1991 Prospero's Books is a reworking of The Tempest. The score was written for the Michael Nyman Band and made into a suite for chamber orchestra in 1994.The first performance was given by the Scottish Chamber Orchestra conducted by Ivor Bolton in January 1995.

2 Piano Version-This item includes two copies of the arrangement for two pianos; the orchestral reduction is played by the second piano. November 2012: now includes a previously-unpublished cadenza and revisions by the composer.

This is the first section of the five-part Tempest Songbook. Ariel’s Lament is a luminous and beguiling rendering of the air sprite Ariel’s greeting to his master Prospero with deft instrumentation in the Flute part andvirtuosic requirements of the Soprano all suffusing the space with the magical use of Harp. As Ariel sings ‘I charmed their ears.’ Kaija Saariaho is a contemporary Finnish composer living and working in Paris and muchinfluenced by the electronic experimentation of IRCAM although Ariel’s Lament is entirely acoustic in its instrumentation. She gained international renown for her first opera l’Amour du Loin and continues a prolific compositionallife with a wide range of international performances.

Solo Part.

A Tchaikovsky Collection-This collection presents melodies from across the range and includes passages which clarinettists will find in Tchaikovsky's own orchestral clarinet parts. The pieces should be treated as duets for Clarinet and Piano with theplayers listening carefully to one another. Arranged by Thea King and Alan Frank. Includes score and part.

Pythikos Nomos is scored for alto saxophone (or clarinet in A) and piano. It was at the request of John- Edward Kelly that Brian Elias first decide to write a work for saxophone and piano. ‘Pythikos Nomos’ (Pyhton’s Law)is an ancient Greek musical form invented by Sakadas in 586 BC for the Pythian games to describe the battle between Apollo and the monster on the slopes of Parnassus. It is reputedly the first known genre of programmemusic. Brian Elias decided that the characteristic sounds of the saxophone would be well suited to ancient Greek rhythms and was interested in the implications of this form as an early sonata shape. According to legend Apollofought and defeated the monster on the site which came to be called Delphi. He returned to Delphi in triumph after a period of purification escorted by priests singing hymns of praise. Several versions of the instrumental formexist following the general storyline. Brian chose to base his piece around six sections: (i) Peira (introduction) (ii) Kataleusmos (Apollo incites the monster to battle) (iii) Imabikon (the battle) (iv) Spondeion (hymn ofvictory) (v) Katachoreusis (victory dance) (vi) Syrinxes (the last breaths of the dying monster). The central hymn of victory incorporates a quote from the first Delphic Hym a surviving fragment of ancient Greek music. Thiswork was written for John-Edward Kelly and Bob J.W.Versteegh who gave the first performance on 1st July 1988 at the Wigmore Hall London. Duration c.10 minutes. The score is in C.

Oboe quartet in which the Norwegian composer used fractal mathematics as part of his compositional technique.

Kites is scored for wind quintet and string quintet and came about through Holt's interest in Japanese things. The kite that features is preceded by an introduction of fragile slow and serene scene-setting music. Like Kites Holt's musical ideas are objects defined by the forces within them; intervals dynamic intensities and tensions between different instruments and registers. Many of these featurethroughout the piece which has a graceful ending likened to a Light breeze blowing shoreward form the ocean.

Caliban's Dream was written as a 50th birthday tribute to Brian Ferneyhough in 1993. Arranged for baritone voice clarinet mandolin guitar harp and double bass. This edition includes the parts only. A separate scoreincluding the vocal score is also available on sale.

Geoffrey Burgon's Six Studies were originally composed for solo cello. This transcription authorised by the composer has involved some changes in register and notes due to the different timbres and response of the viola and theconsiderable difference in physical size of the two instruments. This work was commissioned by the Portsmouth Festival with funds provided by Southen Arts. The first performance was given by Julian Lloyd Webber at theCathedral Church of Old Portsmouth in June 1980.

This album provides new repertoire for saxophonists (soprano alto or tenor) in a wide selection of pieces. Suitable for competent players. Includes score and part.

A prominent composer of the 20th Century this work was written for large mixed choir a cappella. The composer notes that the chorus should consist of at least 120 singers. Miserere Op.44 was first performed in 1987 inWloclawek. Duration 35 Minutes.

Work for Solo Soprano and Chamber Orchestra commissioned by Carnegie Hall. Text: Maya Angelou Toni Morrison and Clarissa Pinkola Estés. The piece was first performed by Jessye Norman and the Orchestra of St.Luke's conducted byDavid Robertson in Carnegie Hall New York on March 22 2000

Mass for Treble Voices and Organ. This work was first performed on 18th March 2003 during a celebration of Mass at Westminster Cathedral by the boys of Westminster Cathedral Choir.

For solo violin with piano accompaniment. Commissioned by the PLG Young Artists Concerts New Year Series 1994. Premiere 10 January 1994 Purcell Room London.

Revisiting The Don Is A Piece Of Music Composed By Michael Nyman For The Album 'Mozart 252' A Celebration Of The 250Th Anniversary Of Mozart'S Birth. Revisiting The Don Is One Of The Two Newly-Composed Works On This Album And Is Arranged Here As A Full Score For String Quintet. Nyman Himself States That As The Title Suggests I Revisit The Same Harmonic Material That Makes 'In Re Don Giovanni' So Powerful And Come Up With More Lyrical 'Solutions'. The Result Is A Wonderful Piece Beginning With A Smooth Staccato That Lays The Foundations For Wonderful Lilting Melodies. The Piece Gradually Progresses To Widen Out The Warm Strings Making This Piece A Real Joy To Play. Revisiting The Don is a piece of music composed by Michael Nyman for the album 'Mozart 252' a celebration of the 250th anniversary of Mozart's birth. Revisiting The Don is one of the twonewly-composed works on this album and is arranged here as a full score for String Quintet. Nyman himself states that 'as the title suggests I revisit the same harmonicmaterial that makes 'In Re Don Giovanni' so powerful and come up with more lyrical 'solutions'.' The result is a wonderful piece beginning with a smooth staccato that lays the foundations for wonderful lilting melodies. Thepiece gradually progresses to widen out the warm strings making this piece a real joy to play.

Two works for the organ that are both composed around plainsong textures and melodies together as a unified pair of performance pieces. Reliqui Domum Meum was first performed in Orkney 1996 by Heather Rendell and wascomposed for the memorial service of organist Richard Hughes of Kirkwall Orkney. Veni Creator Spiritus was first performed at Rochester Cathedral in 2002. The overall mood of this sensitive commemorative piece first performed in April 1996 at Kirkwall East Church on the Orkney mainland by Heather Rendall is quite sombre - if anything even more simple and restrained than that of Veni Creator Spiritus . The hushed carol-like central section - sounding as if the adapted chorale were being heard like some distant memory or from afar - is of touching simplicity

Conceived as a connecting link for orchestra alone between Lutoslawski's Partita and Chain 2 both for orchestra and solo violin. It can however be played independently. First performed as part of a sequence ofmovements in Munich in January 1990 by Anne-Sophie Mutter with the Berlin Philharmonic Orchestra conducted by the composer. Commissioned by and dedicated to Paul Sacher.