For SATB Chorus and Organ.

The solo percussion part orchestral score available separately. Note for Performance. In table top the unpitched solo percussion part in the 9th movement the scoringwas initially left open. The present score showsa suggested instrumentation whichwas devised by Colin Currie in conjunction with the composer. Soloists shouldattempt to match the timbres used but should not feel constrained by the exactchoice of instruments.

Kevin Volans ' Passi Leggieri for solo Violin.

For SATB Chorus and Trombone. Commissioned to celebrate the 800th Anniversary of the Unversity of Cambridge and first performed on St Cecilia's Day 2009 by The Choir of Gonville & Caius College with Matthew Knight (Trombone).

Originally for Clarinet and Orchestra this edition is for Clarinet with a Piano reduction of the orchestral score reconstructed by Simon Milton.

Written for string quartet.

The string orchestra and organ version of this piece was composed for the East London Chorus and their conductor Murray Stewart and first performed by them with the London Pro Arte Orchestra on 7th July 2007 at St. James’sChurch Piccadilly London.

Full Score for Henze's 2010 setting of Franz Werfel's surrealist verse drama 'Sacrifice' for voices orchestra and concertante piano.

Set of parts for the ninth Naxos Quartet by Peter Maxwell Davies.

This work for viola chorus and percussion was commissioned by the London Symphony Chorus and was first performed in October 1994 at the Barbican Hall London by Yuri Bashmet and the London Symphony Chorus conducted by StephenWestrop. The remarkable text of the Troparion written by the great Byzantine poetess-nun Cassiana was the inspiration of The Myrrh-Bearer . The text informed the architecture of the music. The viola solo represents MaryMagdalen as the cello solo represented the Mother of God on The Protecting Veil. This is where the resemblance between the two pieces ends. In The Myrrh-Bearer the Chorus symbolises ‘us’ the ‘sins of the world’ from‘stylized dictatorships’ to ‘the frivolous inane escapist vanities of the world ’ the to cries of ‘help’ after the cosmic catastrophe and finally reaching an apocalyptic climax in the words ‘We have no king by Caesar;’ adownright condemnation of God in the Earthly power. In a surreal way the Magdalen’s ‘sin’ shines through in the viola music because she recognises the Godhead and the endless ‘Kyrie eleison’ chanted by the semi-chorusrepresents her repentance and whatever is left of a ‘repentant’ world. The Myrrh-Bearer explores the whole range of the viola climbing from the depths up to the highest notes and then falling again at the end after theMagdalen’s recognition of the Risen Christ – ‘Rabboni.’ The last stroke of the gong in the viola’s final bottom C gives a deliberately ominous end to the piece. This is a special item which is made to order. Please e-mail ourMail Order Department for further information.

Commissioned by The Bath Festival. 'If the idea behind the piece comes from anywhere the 'Disparates' (Follies) of Goya were certainly at the back of my mind when writing. The Goya images are nightmarish and the meaning ofmany is obscure. They are essentially sardonic and include allusions to witchcraft and to bizarre carnival festivities.' Simon Holt.

A sumptuous selection of the very best Keyboard music of the late Romantic era by composers ranging from Tchaikovsky to Faure and beyond all presented in one superb volume for the solo Piano. The music of the Romantic erais characterised by progressive innovations in both tonal and formal expression both in the compositions of the salons and concert halls and of the church. The works of Debussy Tchaikovsky and Faure have become essentialrepertoire for any serious Piano student forever pushing the boundaries of diatonic harmony timing and texture into evermore complex worlds of emotion. Elsewhere you'll even find the very first hints of Jazz in theAfrican/American sounds of Joplin's Ragtime classics. Every piece in this anthology is rich in heritage and familiar to the ears of music lovers the world over. Take this opportunity to transform your repertoire - themusic has been expertly adapted to appeal to the intermediate soloist whilst retaining all the beauty and character of the original works. There's simply no better way to discover the music of the masters.

Lennox Berkeley 's I Carry Your Heart With Me for medium Voice and Piano. ' Sometime in 1970 I gave Lennox Berkeley a volume of poems by the American poet E. E. Cummings (1894-1962) since my sister Meriel Dickinson and I were commissioning him towrite a song-cycle for a whole programme of settings of Cummings. At the time he became involved with Chinese poetry and we were delighted with the Chinese Songs Op. 78. However a year or so later in July 1972 Berkeley did set a poem by Cummings. This was ‘i carry your heart with me’ from 95 Poems (1958) and he dedicated the song to the countertenorTay Cheng Jim. The manuscript leaves few questions. Obviously the pedal sustainsthe sextuplet and triplet groups at the start and finish. It is possible that all the As in bar 32 of the left hand piano part should be flat although there are clashes like this elsewhere. A few phrase-marks have been added on existing patterns. ' - Peter Dickinson Lennox Berkeley 's I Carry Your Heart With Me for medium Voice and Piano. ' Sometime in 1970 I gave Lennox Berkeley a volume of poems by the American poet E. E. Cummings (1894-1962) since mysister Meriel Dickinson and I were commissioning him towrite a song-cycle for a whole programme of settings of Cummings. At the time he became involved with Chinese poetry and we were delighted with the Chinese Songs Op. 78.However a year or so later in July 1972 Berkeley did set a poem by Cummings. This was ‘i carry your heart with me’ from 95 Poems (1958) and he dedicated the song to the countertenorTay Cheng Jim. The manuscript leavesfew questions. Obviously the pedal sustains the sextuplet and triplet groups at the start and finish. It is possible that all the As in bar 32 of the left hand piano part should be flat although there are clashes like thiselsewhere. A few phrase-marks have been added on existing patterns. ' - Peter Dickinson

This is the Study Score for Mary Of Egypt by John Tavener for Solo Voices SATB Chorus and Orchestra. Please note that this is the Chamber Version with lyrics in English. A full performance of this work lasts around 1 hour 40 minutes. Mary Of Egypt was originally commissioned by the Contemporary Opera Studio of English National Opera and the Aldeburgh Foundation and first performed on 19th June 1992. This is the Study Score for Mary Of Egypt by John Tavener for Solo Voices SATB Chorus and Orchestra. Please note that this is the Chamber Version with lyrics in English. A fullperformance of this work lasts around 1 hour 40 minutes. Mary Of Egypt was originally commissioned by the Contemporary Opera Studio of English National Opera and the Aldeburgh Foundation andfirst performed on 19th June 1992.

Written for SATB chorus soloists TB semichorus and organ.

Set of parts for five string lines.

The Birds was commissioned by the Lydia Michael Trust to be about the birds of Beauly and is dedicatedto the University of Edinburgh. First performance by Jane Irwin (mezzo-soprano) and students from theRoyal ScottishAcademy of Music and Drama at the Royal Scottish Academy of Music and Drama on26th June 2007.

The English versatile composer arranger and performer Harvey Brough was trained at Coventry Cathedral Choir the Royal Academy of Music and then at Clare College Cambridge. After leaving college he formed Harvey andthe Wallbangers and toured Britain and Europe for six years in venues as diverse as the Royal Albert Hall Sadlers Wells the Town and Country Club and Berlin Tempodrom.

Commissioned by the Primrose Piano Quartet with funding from the Scottish Arts Council Mr and Mrs J. A. Pye’s Charitable Settlement the Royal Scottish Academy of Music and Drama and the Hope-Scott Trust. Firstperformance by the Primrose Piano Quartet on 13th July 2008 at the Pump Room Cheltenham as part of the Cheltenham International Festival of Music.

Twenty-four pieces from classic films including including Amelie Crouching Tiger Hidden Dragon Murder on the Orient Express and Titanic . These versions for Piano are well within the grasp of those of Grade 5-6standard.