Bridge’s early works – those written before the first World War – were more late Romantic in style warmly expansive than his mature works. The Adagio is a four-Voice fugue of poetic expressiveness that makes full use of the instrument’s tonal resources.British composer Frank Bridge was active in the early decades of the 20th century and was a highly respected conductor violist and teacher – his sole composition student having been Benjamin Britten. Britten honoured his former teacher in his work Variations on a Theme of Frank Bridge based on a theme from one of Bridge’s pieces for String quartet.

Composition for Organ dating from 1916.

Three Characteristic Pieces arranged for Organ.

Prelude and Finale for solo Organ was published posthumously in 1943 making it the last of Hollins' considerable oeuvre to become available to the public. Like most of his music it is relatively simple in structure but joyful and highly entertaining. Alfred Hollins (1865-1942) was an inspirational British organist composer and teacher. Blind from birth he travelled all over the UK the United States and the British Empire giving concerts and designing Organs. He eventually settled in Scotland where he was an organist in Edinburgh for over forty years.

Edouard Silas' Fantasia For Organ No.143

Written for unaccompanied SATB choir.

Organ Work published in 1915.

Alec Rowley (1892-1958) was an English composer organist and teacher. As well as his frequent Piano recitals and broadcasts he gained renown through his large-scale works performed at the Promenade Concerts but most of his compositions are miniatures and small-scale works appropriate for amateur forces. Having studied at the Royal Academy of Music he later taught at Trinity College London for nearly forty years. The Symphony in B Minor for solo Organ was one of Rowley’s more ambitious works suitable for recital or performance. It was one of his last works to be published and the maturity which his compositional style had reached isself-evident.

The Three Sets of Eight Interludes were published between 1946 and 1952 and display Thiman’s early 20th century tunefulness and grace. Eric Thiman was a 20th century composer teacher and Organist who was also an advocate of amateur music-making. He was a prolific composer of church music and Piano and Organ works and his craftsmanship and gift for melody were much admired. He was director of music at the City Temple in London. As an educator he was a professor at the Royal Academy of Music and he wrote many books on harmony counterpoint and musical form.

Anthem for SATB Choir.

Written for the soprano Laura Wright this is an arrangement of the traditional folk song The Ash Grove . The Ash Grove by Patrick Hawes is from the album The Last Rose which went to No. 1 in the classical charts. Written for the soprano Laura Wright this is an arrangement of the traditional folk song The Ash Grove . The Ash Grove by Patrick Hawes is from the album The Last Rose which went to No. 1 in the classical charts.

Guitar Concerto Opus 67 was commissioned by Julian Bream who gave the first performance in Aldeburgh with the Melos Ensemble. It is an overt tribute to Jazz and especially to Django Reinhardt. This is particularly evident in the long slow movement which someone once described as a script for a Hitchcock thriller. The most remarkable feature of Arnold’s Guitar Concerto is that the composer cleverly eschewed all clichés in his guitar writing be they Spanish or Jazz and that he approached his task in his own inimitable way. The scoring for small forces is a miracle of economy clarity and efficiency. Malcolm Arnold at his best and at his most inventive thiswonderfully crafted piece has become a favourite.

Handel 's setting of the text I Know That My Redeemer Liveth is from his great Oratorio Messiah arranged as a solo song for Soprano voice.

Scored for SATB with piano or organ accompaniment.

For Children's Choir SATB and Piano. This is a lively setting of the Czech folk tune incorporating Maclom Sargeant's text.

A unison song by C. Armstrong Gibbs using words from Shakespeare.

Richard Allain's Night for SATB and Cello. Night Was commissioned by Commotio and recieved its premiere in Merton College Oxford in June 2007 conducted by Matthew Berry and is available on the Herald label (HAVP340). Composer's Note: Given the long phrase lengths of Night it is suggested that choirs Stagger breathing where necessary. The last page of the score requires some explanation. The singers should split into three separate groups: two equal SATB choirs and an SATB solo quartet. Each group sings their own music - each repetition being separated by a long pause - independent of the other groups. Thus Choir I will begin and as they finish Choir II willcommence etc. The music should continue for about two minutes getting gradually quieter with each repetition. Though a common pulse should be kept the groups begin each repetition as they wish: the music should overlap and blur. Against this the solo Cello plays its fragments of melody. The choirs at the conductor's discretion should end in the order they began leaving the cello to play its last notes as the echoes fade. Duration: 20 minutes Richard Allain's Night for SATB and Cello. Night Was commissioned by Commotio and recieved its premiere in Merton College Oxford in June 2007 conducted by Matthew Berry and is available on the Herald label (HAVP340). Composer's Note: Given the long phrase lengths of Night it is suggested that choirs Stagger breathing where necessary. The last page of the score requires some explanation. The singers should split into three separate groups: two equal SATB choirs and an SATB solo quartet. Each group sings their own music - each repetition being separated by a long pause - independent of the othergroups. Thus Choir I will begin and as they finish Choir II will commence etc. The music should continue for about two minutes getting gradually quieter with each repetition. Though a common pulse should be kept the groups begin each repetition as they wish: the music should overlap and blur. Against this the solo Cello plays its fragments of melody. The choirs at the conductor's discretion should end in the order they began leaving the cello to play its last notes as the echoes fade. Duration: 20 minutes

Hear The Voice Of The Bard was commissioned by King’s College Cambridge and first performed on Christmas Eve 2013 at A Festival of Nine Lessons and Carols by the Choir of King’s College Cambridge conducted by Stephen Cleobury. Expertly composed by Thea Musgrave Hear The Voice Of The Bard is a setting of the William Blake poem Hear the voice of the Bard (1794). Hear The Voice Of The Bard was commissioned by King’s College Cambridge and first performed on Christmas Eve 2013 at A Festival of Nine Lessons and Carols by the Choir of King’s College Cambridge conducted by Stephen Cleobury. Expertly composed by Thea Musgrave Hear The Voice Of The Bard is a setting of the William Blake poem Hear the voice of the Bard (1794).

Part-song for SATB with divisions (unaccompanied). Words by Ben Jonson.

Arranged for unaccompanied SATB words by John Skelton. Commissioned for Cork International Choral and Folk Dance Festival 1983. Duration about 7 minutes.