The popular and lively traditional air arranged for Unison voices with descant and Piano accompaniment by Thomas Dunhill.

For Solo Cello And 40 Part Choir. For Solo Cello And 40 Part Choir.

The words of this anthem have been used to tell of the psalmist's delight in singing Jehovah's praises. The music needs to be sung with great conviction and exultation in what could be called a quasi-fanfare style.

The Sonatina Folkloristica for Clarinet Solo explores both native music forms – Tarantella and Cantilena – and the ‘atomisation of the beat’ in the untimed beginning of the Cantilena. This short three-movement work is demanding with playful moments.Charles Camilleri was one of the very few Maltese composers to gain international recognition. He was largely self-taught and was fascinated with the traditional music of his own country. Years spend in Australia and London led him to a successful career in light music and he later created a celebrated music programme for the Canadian Broadcasting System. Later in life he studied music of Africa and Asia and developed a systemhe termed ‘atomisation of the beat’ to accommodate the shifting rhythms and accents of more folkloric music.

Dawn’s Dove for solo recorder was composed in 1994. It was first performed by John Turner who commissioned it at a concert in honour of the sixtieth birthday of the composer Anthony Gilbert to whom the piece is dedicated. It is not a literal birdsong but I hope it captures the spirit of jubilant dawn chorus - as well as the softer sounds of a dove which does not get up as early as other birds! I wrote it while I was writing my opera 'The Wildman' and the epilogue of that opera is introduced by a piccolo solo which is very like Dawn's Dove - they share material. In the opera it signifies early morning. Part way through Dawn’s Dove the tempo becomes steadier and Iquote from a beautiful work of Anthony Gilbert his 'Towards Asavari’ for piano and ensemble. At the end of that work there is a trumpet solo which outlines the Indian raga on which the piece is based. My quote alludes to that. The unfolding melodic line of Dawn’s Dove is sometimes inflected by microtones; the piece lasts between two and three minutes.

This song was published in 1907 the word are written by Lady Nairn and the music is composed by C H H Parry.

1990 work by the Dutch composer commissioned for the Amsterdam Loeki Stardust Quartet and written for 4 Recorders. 1990 work by the Dutch composer commissioned for the Amsterdam Loeki Stardust Quartet and written for 4 Recorders.

Arranged for Oboe (or Soprano Saxophone) and Piano.

Novello Voices Show Singles (From The Phantom Of The Opera.) Arranged by Barrie Carson Turner. Fabulous SATB arrangements of popular modern songs from West End shows and the worlds of jazz and pop music.

The Gloria is an excerpt from the Dorchester Canticles where it closes the Deus Misereatur movement and the work as a whole. Dorchester Canticles was commissioned by the Bournemouth Sinfonietta Choir with funds from Arts Council England and received its première in St Mary’s Church Dorchester in a performance on 22nd May 2004 conducted by David Gostick.

Raymond Walker (music) and William Beaumont (dialogue). An opera for schools in three acts based on Rossini’s “La Cenerentola”.

A Memory Of Sky was commissioned by the Fine Arts Brass Ensemble with funds provided by Southern Arts and the Newbury Festival. It was first performed by them at St Lawrence's Church Hungerford on May 16th 1989.

A heartwearming Christmas carol for SSA and piano with words by Peter Westmore.

Ancient 15th Century Carol set by C. Hubert H Parry.

Handel’s opera Scipio was produced in 1726 and remains one of his less frequently performed works. The original production was beset by the problems of the withdrawal of a solo singer and an extremely short time span for composition. Handel made changes in later productions but the most famous element of the opera remains this stirring March.The March was arranged for Organ by William Thomas Best a masterful Organist of the 19th century whose recitals covered the whole field of Organ music. He was solo Organist for all the Handel festivals held at the Crystal Palace for which one may reasonably assume that this arrangement was composed.Handel’s opera Scipio was produced in 1726 and remains one of his less frequently performed works. The original production was beset by the problems of the withdrawal of a solo singer and an extremely short time span for composition. Handel made changes in later productions but the most famous element of the opera remains this stirring March.The March was arranged for Organ by William Thomas Best a masterful Organist of the 19th century whose recitals covered the whole field of Organ music. He was solo Organist for all the Handel festivals held at the Crystal Palace for which one may reasonably assume that this arrangement was composed.

Work for Flute Clarinet Piano Violin and Cello.

For Unison Voices and Piano accompaniment. Music adapted from an old English melody by Thomas Dunhill. Text: Rose Fyleman. For Unison Voices and Piano accompaniment. Music adapted from an old English melody by Thomas Dunhill. Text: Rose Fyleman.

Three Odes For St. Cecilia's Day (Full Score)-Full Score. Purcell Society Volume 10. Edited under the supervision of the Purcell Society by Bruce Wood. Vocal scores and instrumental parts of each of the three works in this volume are available on hire from the publishers. Full Score. Purcell Society Volume 10. Edited under the supervision of the Purcell Society by Bruce Wood. Vocal scores and instrumental parts of each of the three works in this volume are available on hire from the publishers.

POD-The Lamb is a work by Julian Marshall for Unaccompanied SATB Choir. A setting of a William Blake poem from 'Songs of Innocence' this work lasts around 3 minutes. The Lamb is a work by Julian Marshall for Unaccompanied SATB Choir. A setting of a William Blake poem from 'Songs of Innocence' this work lasts around 3 minutes.

Four short movements for two Bassoons. Composer's Note. Take Two Bassoons is planned as one of a series of light-hearted works for pairs of instruments written with advice from performers who are also experienced teachers. Many of these pieces explore some specific opportunities and challenges inherent in the technique of each instrument. There are four short movements: Jaunty Tenderly Angry and Running Wild. Note from Marc Goldberg. Thea Musgrave asked to meet with me in New York to discuss a set of duets she was writing and we got together over coffee near Carnegie Hall for an indepth discussionabout the bassoon. I confess to having had momentary misgivings when asked to list things that were difficult to do on the instrument envisioning for a moment an etude of unforgiving notes difficult dynamics uncomfortable articulations clumsy cross-fingerings and the like arranged back-to-back in an endurance test to challenge the best players on their best day. What she has in fact created is delightful – a charming set of pieces full of character wit colour and yes challenge perfectly suited for student and teacher alike and wonderful recital works to boot. I couldn’t be more pleased to have had some part however small in their roots and am looking forward to calling these pieces – and Thea Musgrave - lifelong friends. Four short movements for two Bassoons. Composer's Note. Take Two Bassoons is planned as one of a series of light-hearted works for pairs of instruments written with advice from performers who are also experienced teachers. Many of these pieces explore some specific opportunities and challenges inherent in the technique of each instrument. There are four short movements: Jaunty Tenderly Angry and Running Wild. Note from Marc Goldberg. Thea Musgrave asked to meet with me in New York to discuss a set of duets she was writing and we got together over coffee near Carnegie Hall for an indepth discussionabout the bassoon. I confess to having had momentary misgivings when asked to list things that were difficult to do on the instrument envisioning for a moment an etude of unforgiving notes difficult dynamics uncomfortable articulations clumsy cross-fingerings and the like arranged back-to-back in an endurance test to challenge the best players on their best day. What she has in fact created is delightful – a charming set of pieces full of character wit colour and yes challenge perfectly suited for student and teacher alike and wonderful recital works to boot. I couldn’t be more pleased to have had some part however small in their roots and am looking forward to calling these pieces – and Thea Musgrave - lifelong friends.