Arrangement and English Version by Hans Gal

The vocal score for Eric Thiman's Listening for the upper voices with Piano accompaniment.

Version for Unison Voices and Piano. Text: Irene Glass

These Two Folk Songs from Italy - Marianina and The Blue Grotto - are lively and spirited and have been arranged for 2-Part Choir (SS) with Piano Accompaniment by Percy Fletcher. The words are by FlorenceHoare.

Unison or solo song for boy's voices

Bantock has arranged Where the Bee Sucks for unaccompanied Voice SSA. He scores a single statement of the first quatrain and devotes the remainder of the piece to expressing the ‘under the blossom that hangs on the bow’theme.Thomas Arne English composer Violinist and Keyboard player was a major figure in 18th century English theatre music and the composer of Rule Britannia among many other songs. The song Where The Bee Sucks was writtenin 1740 for the Drury Lane production of The Tempest and it has never gone out of the repertoire since that time. Composer conductor and educator Granville Bantock’s (1868 – 1946) oeuvre is reaching new audiences throughrenewed interest in the performance of his works. He was an energetic and creative personality who was key in founding the City of Birmingham Symphony Orchestra and championing the music of Jean Sibelius in his day.

Martin Shaw 's The Greater Light for SATB chorus with Organ accompaniment. The words for this work come from the T.S. Eliot's poem 'The Rock'.

For flute oboe violin viola and cello.

Written in 1927.

String Quartet In G Minor 1909 revised 1921. Study Score. Set of parts available for sale.

An arrangement of one of the most famous Vaughan Williams works two Pianos by Maurice Jacobson.

New Edition Score-In its sublime beauty and inspired writing for strings Fantasia On A Theme By Thomas Tallis remains one of Ralph Vaughan Williams' greatest works and his first indisputable masterpiece. This newedition contains practical revisions and editorial corrections using the composer's autograph manuscript and the first published edition as sources.

For soprano and chamber orchestra.

Female voices.

For flute oboe violin viola and cello.

In the brilliant demanding Double Concerto two sides of Holst’s character find expression the mystical and reticent balancing the physical and audacious. Audiences gave the piece a mixed reception on its premiere in 1930 butlisteners of today would find in the bitonality and contrapuntal textures a musical language with which they are conversant. The three-movement piece – I Scherzo II Lament II Variations on a Ground – is arranged here for twoViolins with rehearsal Piano with comments by the composer’s daughter.

Anthem for SATB Choir and Organ.

Resting

Come Come My Voice

The Dioclesian Masque