The world's most popular classical melodies arranged for easy instrumental solo with piano accompaniment. Includes the music of Bach Brahms and Saint-Saens.

Anthem for SATB Choir and Organ.

opus 48-Gabriel Faure’s unconventional composition Requiem has become a firm favourite in the repertoire and available here is the vocal score for Soloists and SATB Choir with Piano Accompaniment as edited by Desmond Ratcliffe. Gabriel Faure 's unconventional composition Requiem has become a firm favourite in the repertoire and available here is the vocal score for Soloists and SATB Choir with Piano Accompaniment as edited by Desmond Ratcliffe. Requiem is probably the most famous of Gabriel Faure 's long works taking him around 20 years to compose. The entire piece consists of seven movements with a total playing time of around 35 minutes. Although Faure 's mother and father both passed away in the early stages of composition these tragic events were not the motivation for him to create the piece.Equally interestingly this Requiem is not set to the standard liturgical text with the wrathful 'Dies Irae' and 'Tuba Mirum' being omitted and a lyrical 'Pie Jesu' and transcendent 'Paradisum' being added. The omissions were ordinarily opportunities for composers to showcase the dramatic possibilities of a chorus and orchestra to symbolise damnation and so their deliberate exclusion by Faure creates a relatively calm and peaceful atmosphere with sublime vocal harmonies and heavenly melodies. The work begins softly before dynamic volume and tempo changes are made throughout the piece enhancing the solemn beauty of the voices. Stunning interplay between the Sopranos and Baritones gives way to some excellent opportunities for soloists that are perfectly married with the uplifting unison climaxes. Faure himself spoke eloquently about the Requiem stating that his work was accurately called a 'lullaby of death' and that this speaks to his view that death is a positive transition rather than a painful experience. It is this sentiment that informs the music being melancholy but not depressing heart-wrenching but not heart-breaking. For singers and listeners alike Gabriel Faure 's Requiem is one of the most famous

Version for Flute and Piano.

Anthem for SATB Choir and Organ incorporating the well-known 17th Century French Carol Picardy. Composed for the Cheltenham Bach Choir.

The Lark with words by Talhaiarn (John Jones) translated from the Welsh by Oliphant. Music by Walter Emery.

For SATB Choir Percussion Piano and Strings. For SATB Choir Percussion Piano and Strings.

This work for men's voices can be performed by either ATTB or ATBB choir. Duration: 6 minutes.

Verdis Requiem in an updated edition by Michael Pilkington. Scored for soprano mezzo-soprano tenor and bass soli SATB chorus and orchestra.Vocal score with piano accompaniment. Introduction in English French German and Italian. Latin text only. Verdi's Requiem in an updated edition by Michael Pilkington. Scored for soprano mezzo-soprano tenor and bass soli SATB chorus and orchestra. Vocal score with piano accompaniment. Introduction in English French German and Italian. Latin text only. Verdi's only masterpiece which was not intended for the stage.

Hurd 'Music's Praise' arranged for mixed voice choir SATB and strings. Hurd 'Music's Praise' arranged for mixed voice choir SATB and strings.

David Lang the prolific enthusiastic and complicated composer embodies the restless spirit of invention. Musically adventurous yet deeply versed in the classical tradition Lang is determined to make a music that resists categorization. He is constantly in search of new musical forms. Many of his pieces resemble each other only in the fierce intelligence and clarity of vision that inform their structures.

Edited by Trevor Wye. Piano arrangement by Robert Scott.

Seven Elizabethan poems set for unaccompanied SATB chorus.

Upon The High Midnight contains three nativity carols for unaccompanied SATB Soli and Chorus. An optional organ accompaniment is provided for No.3 Duration c. 7 minutes. A piano part is included for rehearsal purpose only.

The Seven Words Of Our Saviour On The Cross-Haydn's setting of the Passion of Christ in full vocal score. The work was originally written in 1786 as a program of instrumental music to accompany the Seven Words Of Jesus On The Cross for a service at Cadiz. Haydn then embellished the work into a full Oratorio for Lent services at the Cathedral of Cadiz. This final version is presented here for SATB chorus and a Piano reduction of the orchestral material. Haydn's setting of the Passion of Christ in full vocal score. The work was originally written in 1786 as a program of instrumental music to accompany the Seven Words Of Jesus On The Cross for a service at Cadiz. Haydn then embellished the work into a full Oratorio for Lent services at the Cathedral of Cadiz. This final version is presented here for SATB chorus and a Piano reduction of the orchestral material.

Commissioned by Diana Woolley for first performance by Gloucester Cathedral Choir conducted by Adrian Partington Director of Music. Texts from the Psalms of David.

Richard Rodney Bennett's New Year Carol set for SATB chorus unaccompanied.

This is the slow movement of the Violin Sonata Op.82. This is the slow movement of the Violin Sonata Op.82.

Op.77 No.4. For SATB chorus with harp accompaniment.

' This music grew out of necessity. A large number of guitarists with a wide range of technical ability were brought together as an ensemble to be trained in as musical a way as possible By writing parts from the 4th to the 1st progressively more demanding the idea of ensemble playing has proved not only successful musically but also technically accommodating; therefore this material should be ideally suited for class tuition . The absence of fingering is intentional; on closer acquaintance with the music players should experiment with various fingerings. Dynamics noted in the score are only suggestions which can be altered according to individualtaste . The possibilities for interesting and exciting colours and sonorities are almost inexhaustible and should be one of the more appealing aspects of such music-making . If this music succeeds in bringing more guitarists out of isolation and under the same roof as it has done in the experience of the composer then it can be considered as a decisive step forward in the development of the Guitar as a 'musical' instrument '. - Gilbert E. Biberian