A collection of easy pieces by classical composers.

A series of short volumes each devoted to a single composer or appropriate group of composers thoroughly exploring the unlimited resources of Renaissance sacred polyphony.

Duration 7 minutes. Orchestral accompaniment available on hire. English version by Steuart Allin.

Arranged by Hytner

Five Old French Dances for Viola Violin or Cello with piano accompaniment by Marin Marais arranged by M.E. Aldis and L.T. Rowe.

Ragtime is a piece that grew directly out of the 'Ragtime' section of A Soilder's Tale . It is scored for a small chamber orchestra of eleven instruments: flute clarinet two horns trombone big drum snare drum side drum cymbals cimbalom first and second violin viola and double bass. The cimbalom assumes a prominent almost soloistic role as Stravinsky only became aware of it in 1915 and sought to use it whenever possible thereafter.

Bats Cats And Broomsticks (Huws Jones)-Easy music for string groups. Playstrings provides an enjoyable and varied repertoire for young string orchestras carefully structured in two levels. The ‘Easy’ level does not normally exceed Grade 2 in difficulty with most partsplayable in first position while the ‘Moderately Easy’ level includes some parts of around Grade 3 standard. At easy level alternative parts are provided so that the absence of viola or a double bass does not prevent the piecefrom being performed. Available in score or sets of instrumental parts. There are over 30 titles covering a wide range of styles including classical pieces folk tunes and Christmas collections. Playstrings is an idealintroduction to orchestral playing for young string players. Set of 21 parts contains: 4 x Violin 1 4 x Violin 2 4 x Violin 3 2 x Viola 1 2 x Viola 2 2 x Cello 1 2 x Cello 2 1 x Double Bass.

The Last Sleep of the Virgin was written for string quartet and handbells in 1991. It enacts the story of the falling asleep and burial by the Apostles of the Mother of Jesus. This work was commissioned for theChilingirian Quartet by the Cheltenham Festival The first performance was given by the Chilingirian Quartet with Kim Sargeant as part of the 1992 Cheltenham Festival.

Orchestral work commissioned by the BBC and premiered by the BBC Symphony Orchestra under the direction of Andrew Davis The Barbican Hall November 1992. Quoting Lindberg: 'After having written a Piano Concerto in 1991preceded by three works for different orchestral effectives (Kinetics Marea and Joy) I felt that I had come to an end with a certain musical expression and also compositional technique. All these works were based upon anextended chaconne principle with chord chains cycling around undergoing constant transformation and being articulated in a very gestural way. The musical paradox and evidently also the challenge was the discrepancy between abrick-like method expressed in a world of gestures (with all difficulties involved in conceiving music out of phrases) aiming at a continuity in terms of progression and development. After the Piano Concerto in the autumn of1991 I strongly felt that I couldn't continue in that direction anymore. I started to work on a project called Corrente for 16 players as a study for the full orchestra version entitled Corrente II. In order to bring theharmonic and rhythmic world closer to each other I abandoned the chaconne principle and based the harmony on different scale aggregates. By combining these scales and by filtering or by enhancing them with additional pitchesbased on more acoustically oriented views of the scales by considering them as partials of virtual fundamentals I was able to work in a rich harmonic world without actually having to do harmonic transformations and progressions.The rhythmic material was based on pattern figures with a rather kaleidoscopic approach of repetition and variation. By combining these pattern figures and scales aggregates I wanted to give the musical expression a 'narrative'sense of streams and directions moving around in different orchestral constellations. Corrente II for symphony orchestra is based on the same material as the piece for chamber orchestra. As the timbral palette and the mass

A Chamber Work commissioned by BBC Radio 3 as part of the Year of Music 1995 for Oboe Clarinet Horn and String Trio. A Chamber Work commissioned by BBC Radio 3 as part of the Year of Music 1995 for Oboe Clarinet Horn and String Trio.

Kaleidoscope will save you time! Do you spend hours arranging music for odd assortments of instruments? Kaleidoscope is specially arranged to suit almost any instrumental combination and these varied ensembles are easy andenjoyable too. So much scope for virtually any combination of instruments! The series is successful with recorders guitars percussion and keyboard as well as with orchestral groupings. Whether there are five or fiftyplayers every Kaleidoscope title will work! Just make sure that melody and keyboard parts are included - all other parts are optional. Kaleidoscope is superb value for money - each set contains a score plus around 50 parts eachone carefully written to suit the needs of each instrument. For example easy string parts are in first position only whilst easy clarinet parts take care to avoid the break. There are more demanding parts too for experiencedplayers. To help you choose the right pieces for your players we have given the key of each Kaleidoscope in brackets. The complete performance option! These super-flexible arrangements of well-known titles are a must forevery school. Why not choose a theme for your concert and perform a selection of Kaleidoscope show titles and film themes or have an evening of classical favourites? In G and D minor. Edited by Nicholas Hare.

Grade One (Saxophone)-Another collection of popular pieces. The solo part increases progressively to Grade 1 standard. With separate piano accompaniment.

Gigue was the first major Piano work composed by William Busch in 1923. Gigue showed incredible skill and virtuosity for a composer who at the time was on 22 years old. Gigue was the first major Piano work composed by William Busch in 1923. Gigue showed incredible skill and virtuosity for a composer who at the time was on 22 years old.

Work commissioned by the London Symphony Orchestra.

Amers is the title of a book of poems by Saint-John Perse dedicated to the sea. It is also the title chosen by Kaija Saariaho born in Finland in 1952 for a work completed in the studios of IRCAM in Paris. Amers is the Frenchword for 'navigation beacons' strategically spaced along the coast for sailors. One of the earliest ideas about the piece was the effect of a solo cello 'as a sailor charting a course through a sea of sounds' but his journey scattered with phrases defined by the existing sound material is hampered by the surroundings. To a certain extent Amers is a concerto even though the composer has tried to avoid the usual duel between orchestra and soloist. Instead the piece divides naturally on three levels - each with a certain independence. The cello juxtaposed with the instrumental ensemble and with computer generated sounds cannot reach its scheduled ports of call directlyand is often pulled off course.

A God And Yet A Man was written for the Chester Music Carol Book in 1984. It is a setting of a 15th century poem by an anonymous author scored for SSAATTBB split voice choir. It includes a Pianoreduction for rehearsal purposes. Geoffrey Burgon (1941-2010) was a British composer best known for his film and television scores such as Tinker Tailor Soldier Spy Brideshead Revisited and MontyPython’s Life of Brian. He studied Trumpet and Composition at the Guildhall and spent the early part of his career as a successful Jazz musician.

A collection of fourteen pieces for Cello and Piano introducing some lesser-known pieces. Suitable for intermediate-advanced players (grade 5-8).

This Homage a Chopin was premiered in Paris in 1949. This Homage a Chopin was premiered in Paris in 1949.

For Voice and Piano For Voice and Piano

Unusually for him Davies starts his Bassoon Concerto not with slow music but with speed and brilliance: the opening is a Presto initiated by the strings and only at the entry of the soloist does the tempo relax to thatof a real introduction. Out of this grow a big dancing Allegro. The slow movement begins and ends with a simple song around fantastical ornamentation from the soloist. The finale is again a recitative and dance with a slow coda.The whole work is an immense show of stamina poetry and athleticism for the bassoon set against an orchestra coloured by low wind (alto flute clarinet in A bass clarinet contrabassoon horns).