Over The Hills And Far Away is a characteristically refreshing look at some very well-known tunes. The upper part of the duet might be played by younger pianists with an advanced player taking the lower part and as such are ideal for teaching and concert performance. This volume is approximately Grades II-III Primo part and Grade V Secondo.

Herbert Howells (1892-1983) was an English composer and teacher who is perhaps best known for his choral music in the Anglican tradition. A Near Minuet however was written for Clarinet and Piano and is one of Howells’ most charming small-scale works. It was composed in 1946 while Howells was Director of Music at St Paul’s Girls’ School for one of his pupils there.

Henry Purcell's only Opera proper Dido and Aeneas is a magnificent example of English Baroque music with lively dances and passionate aria sections that demonstrate Purcell's masterful compositional and choral writing skill. Based on a libretto by Nahum Tate it was first performed in 1689 comprises three acts and lasts about an hour. Filled with dramatic lyricism with a wide range of musical and emotional content it is a monumental Baroque composition considered to be one of England's foremost operatic works. Dido and Aeneas contains all the elements for a successful opera including a shipwreck sorcery love and lost love anddeath. This is the Vocal and Full Operatic Score edited by Margaret Laurie and Thurston Dart. With its interesting and imaginative realization and authentic editorial process this is an excellent edition that features some performing choices and variants and also includes the reconstructed prologue.

This is a Cello/Piano reduction of the work for Cello and Orchestra.

Parts available (NOV120161-01). This work was written during the spring of 1964 and was commissioned by the artist Maurice de Sausmarez in memory of his mother Jessie Rose de Sausmarez. The first performance took place in London during the same year. The work is a kind of epitaph or memorial and each movement tries to express a different aspect of grief culminating in a more extended elegiac fugue. All seven variations are based on a single series of notes and the series is used both thematically and as a structural basis. There is therefore no 'theme' in the traditional sense and in this respect the work follows the practice of many modern essays in variationform.

The Keyboard compositions of John Lugge are being published here as a complete work for the first time. They consist of what appears to be a collection of Organ pieces at Christ Church Oxford (Ch. Ch. MS 49) and three pieces for the virginal - two of them in Paris at the Bibliotheque du Conservatoire de Musique (Bibliotheque Nationale MS Reserve 1186) and one at Christ Church Oxford (Ch. Ch. MS 431 f.5). We published the Volun­taries separately in 1956 (Novello & Company Limited) but in halved note-values as required at that time. The virginal pieces were published in 1957 (Schott & Company Limited) in the original note values.

Arranged by Sutton

Parts for Gordon Jacobs's Quintet For Clarinet And Strings. A separate score is also available on sale.

An oratorio for SATB soli SATB chorus and orchestra. Includes piano accompaniment.

A 'catch' is a musical epigram a neat and witty contrivance from which in performance some point of humour or hidden meaning emerges. This extensive collection of catches offers 224 fine examples from a catch club's repertory a selection founded on the actual performance and enjoymant of the catches concerned. Many are rarities and are published here for the first time. Major composers - Purcell Blow Wise Hilton and others - are well represented by a choice selection of their best catches. Includes full introduction composer biographies notes on the catches and appedices.A 'catch' is a musical epigram a neat and witty contrivance from which in performance some point of humour or hidden meaning emerges. This extensive collection of catches offers 224 fine examples from a catch club's repertory a selection founded on the actual performance and enjoymant of the catches concerned. Many are rarities and are published here for the first time. Major composers - Purcell Blow Wise Hilton and others - are well represented by a choice selection of their best catches. Includes full introduction composer biographies notes on the catches and appedices.

Ireland's organ music belongs largely to the early years of his composing career (1902-1911). The 'Meditation' on John Keble's Rogationtide Hymn however was written in 1958 and was his very last composition. Edited by Robert Gower.

For double SATB and Piano/Organ. This energetic and rhythmic setting of the Jubilate was commissioned for the 2010 Gloucester Three Choirs Festival. While the musical language is tonal the harmony is often coloured by 4ths recalling the harmonic language of the same composer’s well-known Torches and O Lord the Maker of al thing. The setting is perfectly suited to big choral events but is not the kind of piece that most choirs will be able to manage on their own since it includes divisions within the two four-part choirs and there is a demanding treble solo in the middle of the piece. The accompaniment requires a highly accomplished player and is better suited to thepiano than to the organ. Worth performing if you have the requisite skills and resources. - Sunday by Sunday (RSCM) John Joubert - Psalm 100 by musicroom For double SATB and Piano/Organ. This energetic and rhythmic setting of the Jubilate was commissioned for the 2010 Gloucester Three Choirs Festival. While the musical language is tonal the harmony is often coloured by 4ths recalling the harmonic language of the same composer’s well-known Torches and O Lord the Maker of al thing. The setting is perfectly suited to big choral events but is not the kind of piece that most choirs will be able to manage on their own since it includes divisions within the two four-part choirs and there is a demanding treble solo in the middle of the piece. The accompaniment requires a highly accomplished player and is better suited to thepiano than to the organ. Worth performing if you have the requisite skills and resources. - Sunday by Sunday (RSCM) John Joubert - Psalm 100 by musicroom

The Concerto Repertoire 1740-1815-An anthology from four centuries in ten volumes. Edited by Robin Langley.

Libretto-After Sophocles' Trachiniae & Ovid's Metamorphoses Book IX set to music by George Frideric Handel.

Nunc Natus Est Altissimus is scored for three upper voices and piano (or harp) set to words by James Ryman. The words set in the first three movements of this work are reproduced from Medieval English Lyrics edited by R.T.Davies. Duration c. 20 minutes.

Version for ATTB Choir A Cappella. Piano reduction provided for rehearsal purposes.

Cantata No. 40. Wachet Auf Ruft Uns Die Stimme . On of the finest of Bach's 190 church cantatas written for the 27th Sunday after Trinity. The cantata is scored for strings oboes and organ. This English version edited by E. Prout is arranged for SATB chorus TB soli and piano accompaniment.

Time For Leisure consists of six holiday sketches for Piano by Joan Last. These enjoyable miniatures were completed in 1983 and are suitable for students working at grade four standard.

Horovitz composed this work during February and March 1969 as a tribute to E. H. Gombrich on his 60th birthday. In this one-movement quartet the opening thematic material is deliberately based on the decadent chromatic gestures prevalent in early twentieth century Viennese music. Healthier diatonic discords tear into these themes during a long development section and in a way finally cleanse them. The melodies of the first section are entirely based on the intervals of the third and sixth but with garish appendages of extra chromaticism (produced by means of bi-tonality between the upper and lower instruments). After the conflict these intervals emerge in their trueand elemental role as essential pillars of a major key. Horovitz composed this work during February and March 1969 as a tribute to E. H. Gombrich on his 60th birthday. In this one-movement quartet the opening thematic material is deliberately based on the decadent chromatic gestures prevalent in early twentieth century Viennese music. Healthier diatonic discords tear into these themes during a long development section and in a way finally cleanse them. The melodies of the first section are entirely based on the intervals of the third and sixth but with garish appendages of extra chromaticism (produced by means of bi-tonality between the upper and lower instruments). After the conflict these intervals emerge in their trueand elemental role as essential pillars of a major key.

From Rococo To Romanticism 2-An anthology from four centuries in ten volumes. Edited by Robin Langley.