A collection of songs for Voice and Piano by John Eccles edited by Michael Pilkington. A collection of songs for Voice and Piano by John Eccles edited by Michael Pilkington.

Ten Songs For High Voice by John Blow edited by Michael Pilkington.

Standard: Elementary Set for the Guildhall School examinations.

Set for the Trinity College Licentiate and Fellowship Diploma.

Eleven songs by John Ireland.

For Harp with Violin and Cello.

SATB unaccompanied For supply to USA please contact ECS Publishing.

Frederick Delius' Double Concerto for Violin Cello and Orchestra with orchestral Piano reduction by Philip Heseltine. Frederick Delius' Double Concerto for Violin Cello and Orchestra with orchestral Piano reduction by Philip Heseltine.

Matching skilfully contrived music with topical and often scabrous texts Purcell’s Catches offer vivid glimpses of 17th-century life which also appeal to a more modern sense of humour. Reissued to celebrate the tercentenary of the composer’s death this complete collection is edited by Michael Nyman who provides an extensive preface that tells the history of the genre. For 3-part and 4-part mixed voices.

Benedetto Marcell's Sonata In E Minor for Cello and Piano.

Recently discovered among the composer's papers these three short pieces extend the idioms of the major works into the intimate world of the keyboard. The first piece is a study in sarabande rhythm; the second Molto lento a frosty evocation of Winter. A rousing Pezzo ostinato - a favourite form completes the collection. Performers of intermediate grade and beyond will relish the chance to play music by arguably our greatest composer who wrote sparingly yet discerningly for the piano.

Johannes Brahms' Sonata Movement (Sonatensatz 1853) arranged for Cello and Piano by Watson Forbes.

Score and Parts.

Unison piano or organ From Five Mystical Songs.

SSAAAATTBB and Organ Edited by Craig Monson

Lewis Carroll from 'Alice in Wonderland' and inspiration for this lively and fun piece of light organ music. ' . . . suddenly a White Rabbit with pink eyes ran close by her. There was nothing so very remarkable in that; nor did Alice think it so very much out of the way to hear the Rabbit say to itself 'Oh dear! Oh dear! I shall be too late!' (when she thought it over afterwards it occurred to her that she ought to have wondered at this but at the time it seemed quite natural); but when the Rabbit actually took a watch out of its waistcoat pocket and looked at it and then hurried on Alice started to her feet for it flashed across her mind that she had never beforeseen a rabbit with either a waistcoat pocket or a watch to take out of it and burning with curiosity she ran across the field after it and was just in time to see it pop down a large rabbit-hole under the hedge.' Lewis Carroll from 'Alice in Wonderland' and inspiration for this lively and fun piece of light organ music. ' . . . suddenly a White Rabbit with pink eyes ran close by her. There was nothing so very remarkable in that; nor did Alice think it so very much out of the way to hear the Rabbit say to itself 'Oh dear! Oh dear! I shall be too late!' (when she thought it over afterwards it occurred to her that she ought to have wondered at this but at the time it seemed quite natural); but when the Rabbit actually took a watch out of its waistcoat pocket and looked at it and then hurried on Alice started to her feet for it flashed across her mind that she had never beforeseen a rabbit with either a waistcoat pocket or a watch to take out of it and burning with curiosity she ran across the field after it and was just in time to see it pop down a large rabbit-hole under the hedge.'

Written in 1899 for the Cambridge Degree of Doctor of Music and prepared by Alan Tongue from the composer's manuscript A Cambridge Mass is the largest work written by Ralph Vaughan Williams before A Sea Symphony of 1909 and amongst his most ambitious. The opening Credo is set for SATB soloists double chorus and orchestra on the broadest and most dramatic scale. The Offertorium that follows is for orchestra only in lyrical sonata form. These two contrasting movements are balanced by a third part: a solemn Sanctus for double Chorus Brass Timpani and Organ and a choral-orchestral Hosanna which returns da capo after a serene Benedictus for soloists wind and strings to crown the work with a jubilant fugal conclusion.

There is a dearth of short romantic trumpet pieces of intermediate grade that challenge and inspire players who already feel secure both in their technique and powers of interpretation. The reissue of Legend by R. Orlando Morgan (1865–1956)will therefore be greatly welcomed as music enriched by the passionate harmonies of Tchaikovsky and even of Wagner in an idiom that is graceful and sure. Though largely forgotten the composer was one of many whose artful command of classicalstyles earned them respect in their lifetimes neglect thereafter on account of changing fashions and now with yet another swing of the pendulum of taste the chance for re-evaluation today.There is a dearth of short romantic Trumpet pieces of intermediate grade that challenge and inspire players who already feel secure both in their technique and powers of interpretation. The reissue of Legend by R. Orlando Morgan (1865–1956) will therefore be greatly welcomed as music enriched by the passionate harmonies of Tchaikovsky and even of Wagner in an idiom that is graceful and sure. Though largely forgotten the composer was one of many whose artful command of classical styles earned them respect in their lifetimes neglect thereafter on account of changing fashions and now with yet another swing of the pendulum of taste the chance forre-evaluation today.

Cello part and Piano part The seven pieces for cello in this collection are of a slightly more challenging level of difficulty than those of Fiddler's Nursery which like Fiddle Fancies have been transposed and edited for young cellists by noted teacher Wendy Max. As ever Carse fits the solo and accompaniment together to make a complete musical picture testing both the player's technical skills and imaginative gifts. The seven pieces encompass a variety of moods and styles ranging from the tranquillity of Sweet Sorrow Bluebell Chimes and Sadness to the exuberance of Swinging Hopping Dance WaltzSteps and the ever-popular Frog Dance .

Written by Peter Lawson this book covers the ground for the Grade 2 level: everything likely to be found in the sight-reading section of the solo Piano examinations held by the Associated Board and similar examining bodies.