Judith Weir: My Piano Quartet (2000) is part of an extended series of works for piano and strings which I have written over the last twenty years - although I didn¹t know it was going to be a series when I wrote the first of these works Music for 247 Strings in 1980. During this period it has been far more usual for composers to write for mixed wind and string ensembles. But I continued (and still continue) to be fascinated by the potential of strings and piano; particularly the chance to write for the instruments as soloists or as a group and often to use both these options simultaneously. String Parts. Premiered July 2000 at the Cheltenham Festival by the SchubertEnsemble. Piano Score available: CH61794 Judith Weir: My Piano Quartet (2000) is part of an extended series of works for piano and strings which I have written over the last twenty years - although I didn¹t know it was going to be a series when I wrote the first of these works Music for 247 Strings in 1980. During this period it has been far more usual for composers to write for mixed wind and string ensembles. But I continued (and still continue) to be fascinated by the potential of strings and piano; particularly the chance to write for the instruments as soloists or as a group and often to use both these options simultaneously. String Parts. Premiered July 2000 at the Cheltenham Festival by the SchubertEnsemble. Piano Score available: CH61794

The Spiders' Revenge is a short music-theatre work (duration about 25 minutes) designed for performance by primary school children. The work was written for Evie Primary School a small rural school in Orkney of about 60 pupils between the ages of five and eleven and was specially devised to enhance an environmental studies project on 'mini-beasts'. All the pupils in the school took part in the first performance. Two children playing in a garden delight in tormenting ladybirds snails spiders and other living creatures who they claim 'have no right to be'. The spiders teach the children a salutary lesson during the course of which they learn a great deal about the waysof these creatures finally recognizing the wonder of the insect world and acknowledging that all 'have their place on the earth'. The songs include simple recorder and percussion parts and guitar chords. Descant recorder part. This is a special item which is made to order. Please e-mail our Mail Order Department for further information. The Spiders' Revenge is a short music-theatre work (duration about 25 minutes) designed for performance by primary school children. The work was written for Evie Primary School a small rural school in Orkney of about 60 pupils between the ages of five and eleven and was specially devised to enhance an environmental studies project on 'mini-beasts'. All the pupils in the school took part in the first performance. Two children playing in a garden delight in tormenting ladybirds snails spiders and other living creatures who they claim 'have no right to be'. The spiders teach the children a salutary lesson during the course of which they learn a great deal aboutthe ways of these creatures finally recognizing the wonder of the insect world and acknowledging that all 'have their place on the earth'. The songs include simple recorder and percussion parts and guitar chords. Descant recorder part. This is a special item which is made to order. Please e-mail our Mail Order Department for further information.

Work for Two Pianos. Work for Two Pianos.

A Selkie Tale is a short music-theatre work (duration about 25 minutes) designed for performance by seven- to eleven-year-olds year olds. Four solo roles and several separate chorus groups give scope for the participation of a large number of children of all ability levels. The story is a humorous version of the Orkney folk-tale of an islander kidnapping a Selkie wife - a creature who is a seal in the sea and a woman on the land. Things go hilariously wrong with the Selkie wife escaping to rejoin her companions in the sea and Mansie the islander facing a most uncongenial alliance with his cousin and housekeeper Miss Trowie-Tattibogle. Glockenspiel and chime bars part. Thisis a special item which is made to order. Please e-mail our Mail Order Department for further information. A Selkie Tale is a short music-theatre work (duration about 25 minutes) designed for performance by seven- to eleven-year-olds year olds. Four solo roles and several separate chorus groups give scope for the participation of a large number of children of all ability levels. The story is a humorous version of the Orkney folk-tale of an islander kidnapping a Selkie wife - a creature who is a seal in the sea and a woman on the land. Things go hilariously wrong with the Selkie wife escaping to rejoin her companions in the sea and Mansie the islander facing a most uncongenial alliance with his cousin and housekeeper Miss Trowie-Tattibogle. Glockenspiel and chimebars part. This is a special item which is made to order. Please e-mail our Mail Order Department for further information.

Work for SSAATTBB Chorus 2 Pianos and 8 Dancers. Text: The composer after The Sandman by E.T.A Hoffman. Judith Weir 's Heaven Ablaze In His Breast for SSAATTBB Chorus 2 Pianos and 8 Dancers. Text: The composer after The Sandman by E.T.A Hoffman.

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.

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

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

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.

Solo Part available: SOS00627 Solo Part available: SOS00627

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

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.

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

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.

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

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 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.

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

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

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.