Veni Spiritus' was commissioned by the Royal Choral Society in memory of Linda Shirley Neuse. Written for soprano and baritone soloists chorus and orchestra this arrangement is for all vocal parts and a piano accompaniment.

This is the Full Score for Eleanor's Piece composed by Hugh Wood for two string quartets. This beautiful work lasts around 3 minutes. Born in Lancashire and enjoying a thoroughly musical upbringing Hugh Wood graduated from Oxford after studying History and decided that composition was his true calling. His works are characterised by divine expressionism and subtle lyricism with Eleanor's Wood being no exception. This is the Full Score for Eleanor's Piece composed by Hugh Wood for two string quartets. This beautiful work lasts around 3 minutes. Born in Lancashire and enjoying athoroughly musical upbringing Hugh Wood graduated from Oxford after studying History and decided that composition was his true calling. His works are characterised by divine expressionism and subtle lyricism with Eleanor's Wood being no exception.

POD-Pawe ukaszewski's Daylight Declines for SSATBB choir unaccompanied. This vocal work was commissioned by the Canatrix Choir the Netherlands and features a translation of an original text by Andrzej Trzecieski. Pawe ukaszewski 's Daylight Declines for SSATBB choir unaccompanied. Daylight Declines was commissioned by the Canatrix Choir the Netherlands and features a translation of anoriginal text by Andrzej Trzecieski. This vocal work was inspired by the motet on the same text by Waclaw z Szamotul (c.1533-68). Daylight declines the night advances we ask the Lord fordeliverance that He our Guardian remain protecting us from evil domain of spirits who always in the dark upon their treachery embark. (trans. MarekZebrowski) Duration: four minutes.

Equus is a work by Eric Whitacre for SATB Chorus and Orchestra. This Vocal Score features a Piano reducation by Stephen Jackson and a full performance lasts around 10 minutes. Equus is a work by Eric Whitacre for SATB Chorus and Orchestra. This Vocal Score features a Piano reducation by Stephen Jackson and a full performance lasts around 10 minutes.

Edited by Trevor Wye.

Written by Michael Nyman in 1971 and edited by Andy Keenan in 2012.

Like many composers who found themselves in exile during the war years Castelnuovo-Tedesco composed in a very neoclassical and neoromantic style reviving more traditional or antiquated ideas of melody tonality and texture. Hiscollection of Shakespeare Songs feature settings of verse from across the full range of the Bard's plays and have proved to be great critical successes still widely performed today. Suitable to be adapted by most voices.the songs are interwoven with complex and thrilling Piano accompaniments that bring colour and energy to the often liberally edited texts. Book eight contains three songs adapted from A Winter's Tale and Cymberline

Opera in One Act Three Scenes. For Solo Voices (2 Soprano Mezzo-Soprano Tenor and Bass) SATB Chorus and Chamber Orchestra. Libretto: Eric Crozier from the Old Testament.

Master of the Queen’s Music Judith Weir has been commissioned by St Paul’s Cathedral in London to write a piece for SATB choir and organ in celebration of HM The Queen’s 90th birthday in 2016. Master of the Queen's Music Judith Weir was commissioned by St Paul's Cathedral in London to write a piece for SATB choir and organ in celebration of HM The Queen's 90th birthday in 2016.The piece is now available from Chester Music so that choirs all over the world can join in with the festivities. Churches and other local organisations are planning events on Sunday 12th June and many may want to include thisapproachable setting of Robert Bridges' poem. Directed by Andrew Carwood the St Paul's Cathedral Choir performed I love all beauteous things as part of the National Service of Thanksgiving whichtook place on at 11am on 10 June 2016 in the presence of HM The Queen and HRH The Duke of Edinburgh. At the service the Archbishop of Canterbury gave the address and the Prime Minister read a lesson. Judith Weircomments: 'It is a particular honour to contribute new music for this great occasion and a pleasure to write a choral version of Robert Bridges' beautiful verse.' COMPOSER'S NOTE At the suggestion of Michael Hampel Precentor of St Paul's Cathedral I have set words by Robert Bridges who was Poet Laureate from 1913-1930. Bridges was an outstanding humanitarian and writer whose poetry hasinspired me before in The Voice of Desire a song-cycle for mezzo-soprano and piano. This short fast-tempo setting aims to emulate the swift fleet-footed rhyme and metre of the two-verse poem with its unobtrusive but tellingreference to man in his hasty days'. J.W. Commissioned by the Chapter of St Paul's Cathedral to mark the 90th birthday of HM The Queen generously supported by the Boltini Trust. Performed at theNational Service of Thanksgiving for HM The Queen's birthday at St Paul's Cathedral London on Friday 10th June 2016 in the presence of HM The Queen and HRH The Duke of Edinburgh. Music by Judith Weir Master of

Eugène Goossens (1893-1962) was an English composer whose work was initially held in the same high esteem as contemporaries such as Walton but who has since faded into obscurity. He worked across the UK US andAustralia and helped lobby for the Sydney Opera House to be built. He was knighted in 1955. His music helped incorporate French impressionism into English Romantic music. His Four Sketches (Op.5) werewritten in 1913 scored for Flute Violin and Piano or 2 Violins and Piano. There are all simple and delicate but lively and enjoyable perfect for any recital. Book 2 contains the last two sketches: Romance and Humoreske .

Singing And Dancing-The Chester Books Of Madrigals offer an exciting collection of secular European madrigals partsongs and rounds from the 16th and early 17th centuries newly edited from early sources by Anthony G. Patti who contributescopious historical notes to each volume. The majority of the settings are for SATB and simplified keyboard reductions. Texts are in the original languages with an English translation (for non-English texts) provided at thehead of each piece.

Easy Piano No.37-Arranged for Easy Piano

This was commissioned by the New london Ensemble with funds provided by the Arts Council of Great Britain. The New London Ensemble conducted by Richard Bradshaw gave the first performance on 8 January 1975 at the Queen ElizabethHall.

The Wounds was expertly composed by British composer James Whitbourn for SATB chorus Speaker Violin Cello and Organ. This product include the full score. James international reputation as a composer began very early on as a programme maker at the BBC. “The Wounds is intended as a devotional work and is best heard in the context of a liturgical event in - or close to - Passiontide. Each section continues from the previous one without pause to create a seamless whole.” James Whitbourn The Wounds was expertly composed by British composer James Whitbourn for SATB chorus Speaker Violin Cello and Organ. This product include the full score. James international reputation as a composer began very early on as a programme maker at the BBC. The Wounds is intended as a devotional work and is best heard in the context of a liturgical event in - or close to -Passiontide. Each section continues from the previous one without pause to create a seamless whole. James Whitbourn

Ciel D’Hiver By The Finnish Composer Kaija Saariaho Scored For The Orchestra. The Ten Minute Piece Ciel D’Hiver Is An Arrangement Of The Second Movement Of Kaija Saariaho 'S 2002 Orchestral Piece Orion. The Piece Was Commissioned By Musique Nouvelle En Liberté And The World Premiere Took Place On 7 April 2014 At The Théâtre Du Châtelet Paris Given By Orchestre Lamoureux Conducted By Fayçal Karoui. Ciel D’Hiver by the Finnish composer Kaija Saariaho scored for the Orchestra. The ten minute piece Ciel D’Hiver is an arrangement of the second movement of KaijaSaariaho 's 2002 Orchestral piece Orion. The piece was commissioned by Musique Nouvelle En Liberté and the world premiere took place on 7 April 2014 at the Théâtre du Châtelet Paris given by Orchestre Lamoureux conducted by Fayçal Karoui.

Motet for SSATTB Choir.

Bass Clef Version-Richard Reed Parry 'S Duet For Heart And Breath Bass Clef Version For Cello (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 Bass Clef version for Cello (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 staggered p

For voice and string quartet. Score and Parts.

Edition Collins

Work for Soprano or Tenor and Guitar. Commissioned by and dedicated to Peter Pears. Premiered by Pears and Julian Bream. Text: Walter de la Mare