Greek Interlude For Flute And Piano Was Composed In July This Year. The Music Which Was Written With Young Players In Mind Is Based On Ancient Byzantine Modes And Greek Folk Music Originating From Different Greek Islands. The Piece May Be Thought Of As A Musical Voyage Starting In Bulgaria Travelling To Greek Islands And Then Returning Through Bulgaria. Commissioned By The Little Missenden Festival 1979. This Is A Special Item Which Is Made To Order. Please E-Mail Our Mail Order Department For Further Information. Greek Interlude for flute and piano was composed in July this year. The music which was written with young players in mind is based on ancient Byzantine modes and Greek folk music originating from different Greek islands. The piece may be thought of as a musical voyage starting in Bulgaria travelling to Greek islands and then returning through Bulgaria. Commissioned by the Little Missenden festival 1979. This is a special item which is made to order. Please e-mail our Mail Order Department for further information.

Work for Piano. Work for Piano.

A setting of a selection from the Panikhida Service (Service For Those Fallen Away). For unaccompanied SATB choir. Large (A3) score. This is a special item which is made to order. Please e-mail our Mail Order Department for further information. A setting of a selection from the Panikhida Service (Service For Those Fallen Away). For unaccompanied SATB choir. Large (A3) score. This is a special item which is made to order. Please e-mail our Mail Order Department for further information.

This Piano Sonata commissioned by the Dartington International Summer School and the first performance was given on the 12th August 1986 at Dartington by its dedicatee Julian Jacobson. The Piano Sonata has an unusual shape: the opening Adagio prefaces a pair of toccata-like quick movements; the second of these dissolves into a long slow ornately inflected melody over a pedal bass before a coda brings back earlier ideas to round off the work. Chapple displays his skill in devising virtuoso figuration in unconventional but effective patterns.This Piano Sonata commissioned by the Dartington International Summer School and the first performance was given on the 12th August 1986 at Dartington by its dedicatee Julian Jacobson. The Piano Sonata has an unusual shape: the opening Adagio prefaces a pair of toccata-like quick movements; the second of these dissolves into a long slow ornately inflected melody over a pedal bass before a coda brings back earlier ideas to round off the work. Chapple displays his skill in devising virtuoso figuration in unconventional but effective patterns.

Work for Harpsichord composed in 1982 revised in 1988 and premiered in Iceland in 1998. Work for Harpsichord composed in 1982 revised in 1988 and premiered in Iceland in 1998.

A Mediterranean erotic postlude to a time when Davies had been much occupied with setting the Orkney poetry of George Mackay Brown. The voice though is the same. The mezzo part is wide-ranging and melismatic and the ensemble plays music that is at once luminous and questioning memorialized and urgently communicative. Five short songs are woven together with instrumental commentaries into a single movement. A Mediterranean erotic postlude to a time when Davies had been much occupied with setting the Orkney poetry of George Mackay Brown. The voice though is the same. The mezzo part is wide-ranging and melismatic and the ensemble plays music that is at once luminous and questioning memorialized and urgently communicative. Five short songs are woven together with instrumental commentaries into a single movement.

A short piece for solo guitar by John Tavener. Duration c. 8mins.

Work for Recorder and CD. Work for Recorder and CD.

For SATB Chorus. Premiered by the John Alldis Choir in the Wigmore Hall 1966. For SATB Chorus. Premiered by the John Alldis Choir in the Wigmore Hall 1966.

Szymanski Was Born In Warsaw On 28Th March 1954. He Graduated With Honours From The National Higher School Of Music In Warsaw Where He Studied Composition With Wlodzimierz Kotonski (1974-78) And Tadeusz Baird (1978). In The Meantime In 1976 He Took Part In The International Summer Academy Of Ancient Music At Innsbruck And In 1978 1980 And 1982 Participated In The International Summer Courses Of New Music At Darmstadt Working Also With The Experimental Studio Of The Polish Radio In 1979-81 The Independent Studio Of Electroacoustic Music In 1982-84 And The Electronic Music Studio Of The Cracow Academy Of Music In 1983. As A Herder Scholar Szymanski Continued HisStudies With Roman Haubenstock-Ramati In Vienna In 1984-85 And As A Holder Of The Deutscher Akademischer Austauschdienst Grant In 1987-89 Worked At The Electronic Studio Of The Technische Universitaet. The Two Studies For Solo Piano Written In 1992 Peck And Impact In Slow Progression - Again Sounding Both Familiar In The Style Of Bach Yet Dissected In An Unhurried And Surprisingly Avant-Garde Exhibition. The Second Study Moves To Slough Off The First At About 6.03. The Second Glitters In Mozartian Gemwork. Szymanski was born in Warsaw on 28th March 1954. He graduated with honours from the National Higher School of Music in Warsaw where he studied composition with Wlodzimierz Kotonski (1974-78) and Tadeusz Baird (1978). In the meantime in 1976 he took part in the INTERNATIONAL SUMMER ACADEMY OF ANCIENT MUSIC at Innsbruck and in 1978 1980 and 1982 participated in the INTERNATIONAL SUMMER COURSES OF NEW MUSIC at Darmstadt working also with the Experimental Studio of the Polish Radio in 1979-81 the Independent Studio of Electroacoustic Music in 1982-84 and the Electronic Music Studio of the Cracow Academy of Music in 1983. As a Herder scholar Szymanski continued hisstudies with Roman Haubenstock-Ramati in Vienna in 1984-85 and as a holder of the Deutscher Akademischer Austauschdienst grant in 1987-89 worked at the Electronic Studio of the Technische Universitaet. The Two Studies for solo piano written in 1992 peck and impact in slow progression - again sounding both familiar in the style of Bach yet dissected in an unhurried and surprisingly avant-garde exhibition. The second study moves to slough off the first at about 6.03. The second glitters in Mozartian gemwork.

For Clarinet Solo and Optional Dancer. For Clarinet Solo and Optional Dancer.

Settings Of Five Poems Of Robert Herrick For Tenor And Harp. Premiered At Snape Maltings In 1974 By Peter Pears. Settings of five poems of Robert Herrick for Tenor and Harp. Premiered at Snape Maltings in 1974 by Peter Pears.

Brian Chapple 's Five Shakespeare Songs for six Male Voices. Brian Chapple 's Five Shakespeare Songs for six Male Voices.

The pieces come from the volume of motets in five voices which Gesualdo published in 1603. Davies's transcriptions are straight except for the addition of dynamic markings and bring out both the disquieting harmonic plangency and the grandeur of Gesualdo's thought Arranged for brass quintet. This is a special item which is made to order. Please e-mail our Mail Order Department for further information. The pieces come from the volume of motets in five voices which Gesualdo published in 1603. Davies's transcriptions are straight except for the addition of dynamic markings and bring out both the disquieting harmonic plangency and the grandeur of Gesualdo's thought Arranged for brass quintet. This is a special item which is made to order. Please e-mail our Mail Order Department for further information.

Premiered by the Dartington String Quartet. Parts available: SOS01899 Premiered by the Dartington String Quartet. Parts available: SOS01899

Solo Part available: SOS00627 Solo Part available: SOS00627

First performed at the Aldeburgh Festival in June 1965 by Peter Pears with the Philharmonia of London conducted by the composer. Duration c.16 mins. First performed at the Aldeburgh Festival in June 1965 by Peter Pears with the Philharmonia of London conducted by the composer. Duration c.16 mins.

A work for countertenor guitar and handbells in a Byzantine style. Score. A work for countertenor guitar and handbells in a Byzantine style. Score.

Work for Violin Flute (Piccolo) Oboe (Cor Anglais) Flugelhorn Strings. Work for Violin Flute (Piccolo) Oboe (Cor Anglais) Flugelhorn Strings.

On Buying A Horse is a work for Medium Voice and Piano by Judith Weir . This piece received its first performance on 18th February 1992 in the Queen's Hall Edinburgh by the Edinburgh Contemporary Arts Trust. A performance lasts around 2 minutes. Please note that this version for Medium Voice and Piano cannot be used as a Vocal Score for the version found in 'Horse D'Oeuvres' which differs in rhythm and metre and is scored for Voice and Ensemble. On Buying A Horse is a work for Medium Voice and Piano by Judith Weir . This piece received its first performance on 18th February 1992 in the Queen's Hall Edinburgh by the Edinburgh Contemporary Arts Trust. A performance lasts around 2 minutes. Please note that this version for Medium Voice and Piano cannot be used as a Vocal Score for the version found in 'Horse D'Oeuvres' which differs in rhythm and metre and is scored for Voice and Ensemble.