Includes versions for High Medium or Low Voice (G F or E flat) with Piano accompaniment. Performance note by Gordon Stewart. Preface: The words for Panis Angelicus are from a longer hymn text Sacris Solemnis written by St Thomas Aquinas in the thirteenth century for the newly established Feast of Corpus Christi and would originally have been sung to a plainchant. César Franck set this verse of seven lines in 1872. His deep religious feelings fashioned a memorable melody one which is within the scope of all singers - its range is only a seventh and if you follow the word patterns the breathing sits comfortably. It is in its way simple and direct but with the chance to use the voice to its full. The Latin words are not hard to sing but if you prefer to perform it in English the translation conveys the essential meaning. Franck originally wrote Panis Angelicus for Tenor Cello Harp Organ and Double Bass but it slips easily into the Keyboard arrangement. The colours of the original scoring are evident – the Organ's sustained chords the semi-staccato notes for the Harp and the Cello's countermelody beginning in bar 38 (which could be transferred to another melodic instrument if that suits the occasion). Some discreet repetition of the long tied notes and doubling of the bass at the octave can give the Piano more resonance. The accompaniment probably works best with a minimum pedalling and an Organist's style of fingering. The dynamics ask for a triumphant final statement of the words 'pauper servus' in bar 53. It makes complete musical sense to make a diminuendo for the word 'humilis' in bar 56 leading to a thoughtful postlude.

Georg Philipp Telemann 's 12 Fantasias For Violin Without Bass .

Luigi Cherubini's Requiem In D Minor composed for men's voices TTBB.

Klangbeispiele wichtiger Passagen aus der Opern- und Konzertliteratur-Bassooncontrabassoon

J.S. Bach's Violin Concerto in A minor BWV 1041 arranged for Violin and Piano with accompanying CD.

John Cage's 4'33 tacet any instrument or combination of instruments.

for Viola and Orchestra- J. C. Bach's Concerto in C minor for Viola and Piano.

Jahrhunderts - of the 17th and 18th century - zum gottesdienstlichen Gebrauch- 80 Chorale Preludes by German Masters of the 17th and 18th Centuries edited by Hermann Keller. Most do not require use of the Pedals. 'This selection of shorter and easier chorale preludes is designed to supplement Karl Straube's '45 Chorale Preludes of the Old Masters' (EP3048) especially for use in church. We therefore selected only those pieces which can be used today - transposed where necessary to more suitable keys. In the case of important chorales several treatments were included sometimes in more than one key. Musical value was the primary factor of selection but where possible preferance was given to compositions not generally availableelsewhere. Of the 80 pieces 24 require the pedals; 33 do not use them; in 23 they are optional. Thus the collection offers rich material for organists at all stages of development.' (Hermann Keller Stuttgart September 1937).

Wolfgang Amadeus Mozart 's Flute Concerto No. 2 In D With Cadenzas K.314 . Piano score and part(s) - Flute Orchestra.

Twelve Fantasy-Pieces after the Zodiac for Amplified Piano- George Crumb's Makrokosmos - Volume 1 includes twelve Fantasy-Pieces after the Zodiac for Amplified Piano.

Dotzauer's Violoncello Tutor - Volume 2

Mendelssohn's Elijah is an oratorio for SATB soli SATB chorus Orchestra and Organ with the text derived from the Lutheran Bible by Julius Schubring.

The Kikapust Choral Series offers choirs an extensive choice of close-harmony a cappella arrangements. All of our arrangers / composers – Jonathan Rathbone Ben Parry & Mark Williams – were long-standing members ofthe Swingle Singers.

The Kikapust Choral Series offers choirs an extensive choice of close-harmony a cappella arrangements. All of our arrangers / composers – Jonathan Rathbone Ben Parry & Mark Williams – were long-standing members ofthe Swingle Singers.

19th and 20th Century Repertoire-Fifteen arias from the Russian operatic canon that span the breadth of the 19th and 20th centuries selected and edited by David Fanning for Soprano and Piano. Each aria is complete with translations in English German and French as well as a pronunciation guide. You'll find a full synopsis of each featured opera explaining fully the context in which each aria is presented. Includes works by Glinka Shostokavich and Tchaikovsky.

Those interested in French music have often had reason to be grateful to Roger Nichols; his writings on Debussy Ravel Messiaen and Poulenc are indispensable to the music lover. Nichols now turns his attentions to the mélodie where it is his mission to encourage singers to explore beyond the well-trodden paths of French song. In these two anthologies he does not ignore masterpieces by composers of the stature of Fauré and Duparc but sets them alongside music - almost impossible to find elsewhere in print - by such under-estimated figures as Reber Viardot Massé and Paladilhe. Even the more celebrated songs are often not easilyfound in practical editions which makes this selection an ideal starting point for wider exploration. In each of these volumes the songs appear in the chronological order of their composer's birth but Nichols somehow contrives a line-up of music which seems delightfully arbitrary at the same time as carefully designed to enrich everyone's understanding of the mélodie. The books also contain a remarkable amount of scholarship lightly worn and pithily expressed. As well as complete translations of the songs there is a useful and concise introduction on singing in French together with an illuminating historical note and critical commentary; and Nichols gives full due to the poets who were of crucial importance in the development of the mélodie tradition. Complete with translations and guidance on pronunciation Niedermeyer Le Lac (Meditation poétique) Berlioz Absence Gounod Ô ma belle Rebelle Viardot Fleur desséchée Franck S'il est un charmant gazon Massé Consolation Lalo Ballade à la lune Saint-Saëns La sérénité Delibes Chanson espagnole Bizet

An anthology of 62 songs from Franz Schuberts's celebrated compositions many of which are widely regarded as the finest ever written. Essential repertoire for the accomplished singer.

'Gounod wrote the first version of this famous song in 1852 and it was published in December of that year by Mayaud as 'Premier prélude de J.S. Bach'. The words were by Lamartine - 'Vers sur un album' from his Recueillments poétiques of 1839. Exactly when these words were supplanted by those of the 'Ave Maria' is not clear but it seems to have happened within the first few years of the song's life. After a century and a half the piece is still sung played and loved the world over and this is surely its own guarantee of musical value as it is of its composer's more general gift as a songwriter. In the view of Maurice Ravel that sharp critic of everything shoddy or meretricious 'the true founder of the mélodie in France was Charles Gounod.' ' (Roger Nichols)

Madison for Cello and Piano is taken from Ola Gjeilo's album of Piano and instrumental music Stone Rose . This favourite piece from the album is now available in sheet music complete with pull-out Cello part and Piano score.

Music runs through the story of Arion which begins with a singing competition in Sicily. Arion wins the prize and this puts his life in danger: his newfound wealth excites the greed of the sailors who are supposed to be bringing him back to Corinth and they threaten to kill him. They allow Arion to sing one last song and the power of his singing attracts dolphins to the ship. At the end of his song he jumps overboard and one of the dolphins carries him to safety. So Arion's musical gift gets him into trouble but it is also his salvation. The idea of being rescued by a music-loving dolphin is very appealing. In Robert Graves'account of the myth the dolphin could not bear to be parted from Arion and accompanied him back to court where it soon succumbed to a life of luxury. However Herodotus says that after his rescue and return to Corinth Arion failed to return the dolphin to the sea and it died there. Apollo placed the dolphin among the stars and next to it Arion's lyre in recognition of his musical skill. This is one of the mythical explanations of the origins of the constellations Delphinus and Lyra. It seems natural to sing a story that has singing at its heart. When I was asked by the Nicholas Berwin Charitable Trust to write a choral work for Making Music something that would be within reach of many choirs and involve children this story struck me as ideal: the men of the chorus could be the bloodthirsty sailors and the women could create an atmosphere of mystery for the arrival of the dolphins represented by children's voices. There would be one solo voice: Arion the marvellous singer. Andrew Fardell the conductor who was advisor to this commission had suggested that I might use the same instrumentation as a popular arrangement of Orff's Carmina Burana a work that as well as using children's chorus features a solo countertenor. I thought the magical otherworldly quality of this