Arrangements For Guitar Solo And Duet. Includes music from The Three Cornered Hat and Love And The Magician.

In this piece for unaccompanied SATB choir fervent dance-like music appears side by side with fear and awe producing a dramatic contrast. The work was commissioned jointly by the Dean and Chapter of Winchester Cathedral andby Mrs Ruth Daniel on behalf of St. John's College Cambridge for performances during Advent 1997. There were simultaneous first performances on 29th November 1997 given by the Choir of Winchester Cathedral conducted by DavidHill and the choir of St. John's College conducted by Christopher Robinson in Cambridge.

Complementary to the original series More Making The Grade 1 provides an additional 16 popular pieces as arranged by Lynda Frith for easy piano including Asylan's Theme Close Every Door and Nellie TheElephant .

This version of the work composed for Children's Voices Piano and Percussion was commissioned by the Young People's Chorus of New York City. Conductor's Score and Percussion Parts are available from the Publishers. Text:Peter Porter

The Study score of Henryk Gorecki's Three Pieces In Old Style for String Orchestra.

String Quartet No.4 was written for the Camilli Quartet who gave the first performance at the Queen Elizabeth Hall London April 1995. It is dedicated to the memory of Nyman's composition teacher Alan Bush. Duration 40 minutes.A score is available for sale.

Revised edition 1999-The Trois Novelettes are typical of their composers charm-with-a-twist and illustrate his accessible yet multi-layered piano writing. Edited by Millan Sachania with introduction by Caroline Potter. Revised edition 1999. The Trois Novelettes are typical of their composer's charm-with-a-twist and illustrate his accessible yet multi-layered piano writing. Edited by Millan Sachania with introduction by Caroline Potter. Revisededition 1999.

Judith Weir's We Are Shadows for SATB choir and Orchestra. Vocal score.

Work for Solo Cello and Orchestral Cello Section. Premiered by Yo Yo Ma. Quoting Tavener: It was while pondering these traditional dicta that I began to write the opening solo melody for the cello. It is in fact a palindromebecause waking and dying are like two sides of a piece of paper. If you wake up spiritually then you will die to all that is not of God. In the middle section which is also a palindrome the orchestral cellos join in theparadoxical meditation providing a platform as it were while the cello line takes on a much more melismatic and decorative character. In fact the whole work is a series of intellectual contradictions realised by thesimplest of musical metaphysics. Dying life life dying waking up in order to die the solo cello always represents the individual mind dying and the individual mind waking up. Then of a sudden just before the end thesolo chant begins again only to be cut off by a distant sentimental memory the memory of 'the blues' reminding us of ordinary human emotion and of our fallen state. The very end suggests a waking up into a kind of peace (notsoul slumber since after death the soul becomes more intensely alive); but we know nothing of that so the music fades beyond our ears.

Written by Robert Saxton in 1988 for piano left hand only. 'The Chacony was commissioned by the Aldeburgh Festival and first performed there in 1988 by the American pianist Leon Fleisher. In rising to the challenge ofwriting for left hand alone Saxton has reduced the basic material (the underlying ground bass theme) to the simplest element: a whole tone scale. Thus the opening section gradually reveals via a clear indication that D major isthe central tonality of the work the scale through a series of hesitant gestures the main body of the piece bursting out of the tensions created in the intervals of the scale especially the tritone (which plays an importantpart in the melodic version throughout). As with say the finest variation sets or grounds of a composer like Byrd the considerable virtuosity of the keyboard writing always stems from the musical or intellectual stimulus andis never mere empty show. This is a virtuosic response to the challenge of the imposed limitations beautifully written for piano and culminating in a final section in which D is once more resoundingly affirmed as the centre ofthe work though with equal resonance the tritone has the last word. Duration c. 6mins.

For Clarinet and Piano. Quoting Karen Tanaka: Always in My Heart was commissioned by the Japanese clarinetist Yuji Murai. He told me he liked my piece for harpsichord Jardin des herbes . In that piece I tried tocreate the fragrance of aromatic herbs with sound. Murai asked me to write something sweet and similar to Jardin des herbes for his clarinet. Always in My Heart comprises of three pieces: Letter to you Tears in therain and Always in my heart. It was first performed in Tokyo on 26 October 26 1999.

In this small-scale song cycle Taverner coloured his melodic Soprano lines with Eastern European and Slavic flavour. At some points the composer interplayed the Piano line with the sung melody and at other times used the Pianoas drone and allows the Vocal line to soar above. The ‘love’ of the title is according to the composer ‘the notion of Eros raised to the divine ’ and the texts are written mostly by monks.John Tavener was that rare creature acomposer of serious music and serious religious music who has also achieved commercial success. He burst into the popular consciousness with the performance of his Song for Athene at the funeral of Princess Diana but had been ahighly respected and frequently-performed composer since the premiere of his dramatic cantata The Whale in 1968.

Arranged for organ. Duration 10 minutes. Commissioned by Symphony Hall Birmingham 2001.

Two pieces for piano commissioned by Hungarian Radio on the occasion of the Bela Bartok celebration.

Over 30 classic songs ranging from folk and pop to showtunes and movie hits. Whatever your taste in music you'll love singing these all-time favourites.

This selection of eleven great Christmas tunes has been especially graded arranged and transposed into suitable keys for the alto saxophone and will increase the enjoyment of playing from and early stage of learning. The pianoaccompaniments are suitable for intermediate players and there are superb demonstration and play-along backing tracks on the CD included. Includes Deck The Hall We Wish You A Merry Christmas When Santa GotStuck Up The Chimney and more.

This work is a free transcription of the aria Wer Bist Du? Frage Dein Gewissen from J.S.Bach's Cantata No 132 Bereitet die Wege bereitet die Bahn . First performed by Nicholas Hodges at the British MusicInformation Centre London on 1st October 1992. Duration: c.3 minutes.

The solo group consists of a sextet of the woodwind instruments which are normally doubled with more regular members of the orchestra: these six strangers now brought to the fore are piccolo and alto flute cor anglais Eb andbass clarinets and contrabassoon. They make a motley group diverse in colour as in register and one of the tasks of the piece sets itself is to have them blend and cohere both together as an ensemble and in partnership with thestring orchestra (which itself is used with unusual variety and subtlety). Another evident task of the work is to provide fine solos for each member of the woodwind sextet: bright dances for the piccolo recitatives for thealto flute a stoical song from the contrabassoon in the extreme bass. The work is cast as a single movement which begins in the composer's first-movement style of rapid regeneration. This is interrupted by slow interventions including one for divided strings which gives rise to a sextuple cadenza for the soloists. Out of this comes a slow movement or sequence of short slow movements followed by a dancing finale with its own slow episodes. Altogetherthis is music of songs and dances heavily tinged with Scottish rhythms and tonalities: one might think of a magic bagpipe having six chanters and a drone of variegated string texture. This work for woodwind instruments andstring orchestra was commissioned by the Strathclyde Regional Council and the Scottish Chamber Orchestra. It is the ninth of ten concerti to be written for principal players of the Scottish Chamber Orchestra. The first performancewas given in February 1995 by the Scottish Chamber Orchestra conducted by the composer.

This piece was written as a tribute to the people of Fair Isle a remote community that lies between Orkney and Shetland which is also the home of the composer. The work was composed for the Grieg Trio of Norway and reflect theensemble's virtuosity with striking cadenzas that showcase the performers. The music is rugged ever-changing and full of the energy of this unique landscape.

A calm and quietly ecstatic work for solo soprano solo violin and string group (composed of violin I violin II viola cello and double bass).