The engaging theme from this piano classic is instantly recognizable and your students will love its dark forboding quality. Chromatic triads against a prominent bass line are trademarks of Rachmaninoff and his distinctive late Romantic style. Dur: 4:00

These fifteen well-known pieces have been imaginatively arranged by the ever-popular Chris Tambling for guitarists of grade 1 to 2 standard. Features easy Guitar solos with Guitar accompaniment.ChristopherTambling (b.1964) studied the Organ with Malcolm McKelvey at Christ's Hospital Horsham Sussex. He went on to gain Organ scholarships to Cantebury Cathedral and St Peter's College Oxford where he studied with GeoffreyWebber and David Sanger and was Organist of Pusey House. He started his teaching career at Sedbergh School in Cumbria where he was Organist from 1986 to 1989: he then became Director of Music at Glenalmond College near Perth inScotland also taking on roles of Perth City Organist and Conductor of Perth City Orchestra.Tunes You Know - Book 1 (Guitar) includes Amazing grace Ave Maria Can Can from 'Orpheus inUnderworld' Cockles and Mussels Early One Morning Hallelu! Hornpipe form 'Water Music' Jupiter from 'The Planets' Largo from 'New World' Symphony MarcheMilitaire Waly Waly Prelude form 'Te Deum' Spring from 'The Four Seasons' The Entertainer and When the Saints Go Marching In.

Work for High Voice Alto Flute Horn Harp and Viola. Text: TS Eliot.Quoting Wood: 'I had for many years wanted to set Marina and the opportunity came to start work on it in mid August 1988. About a year later havingcompleted in the meantime the Horn Trio Opus 29 and the Cantata Opus 30 I turned back to the drafts of Marina and completed it on 10 September 1989. It is dedicated to the memory of my daughter who was murdered in Bavaria on 10September 1988.Marina is the heroine of Shakespeare’s Pericles a play remarkable for one of the most moving of all Shakespeare’s recognition scenes a dramatic situation which never failed to draw out his deepest expressionof feeling. This is the re-meeting of an ageing father with his long-lost daughter born at sea during the storm in which her mother is thought to have died and long believed to be dead herself. Eliot transforms the twocharacter’s mutual recognition into a transfigured mediation and surrounds it with a wealth of mainly marine imagery. In the words of Helen Gardener these images are: The prelude to a moment of ecstatic recognition. The voyagein Marina discovers in the ocean anisland and sees again a beloved face. Its theme is not the immortality of the soul but resurrection.

Scored for chorus, children's choir, organ and chamber orchestra, St Luke Passion adopts a pared-back focus on choral voices over its 75-minute span. Seeking a more spiritual, inward approach to match Luke's text, the composer eschews settings of interpolated texts as arias and the customary Evangelist and Christ soli: everything is sung by choral forces. A children's choir grants a measure of innocence to Christ as the sacrificial lamb, emphasising aspects of otherness, sanctity and mystery. The Passion narrative is framed by a Prelude exploring the Annunciation and a Postlude taking us beyond the Crucifixion to the Resurrection and Ascension. These incorporate Gospel texts where Luke explains the Kingdom of God. / Choeur Mixte (SATB), Orchestre Et Piano

Symphony No. 4 - an Organ Symphony (2008) by Poul Ruders. Organ part & reduced score: WH31186C Orch. parts are available on hire: hire@ewh.dk Preface / Programme Note When introducing a large-scale symphonic work not only as a symphony but as an organ symphony it would be impossible not to think of and perhaps compare it with Camille Saint-Saëns’s famous SYMPHONY NO. 3 popularly known as the Organ Symphony. Well that is a risk I am prepared to take – and live with the consequences.Saint-Saëns however listed his work as a symphony avec/with organ. Theorgan only appears in two out of the four sections of thepiece. In my symphony the instrument plays a far more significant part and is featured in all four movements. But it is not a concerto for organ and orchestra rather a symphony with organo obligato - a symphony with an organ part of a soloistic nature. So an Organ Symphony it is. The first movement PRELUDE is exactly that: a foreplay to what is in store for the rest of the symphony. It is slow (very slow!) and predominantly hushed: the organ and the orchestra wake up side-by-side getting to know one another.The second movement CORTÈGE is a slowly moving processional and it evokes extreme solemnity and austerity. Later on the music takes flight and the atmosphere lightens considerably a far more playful music emerging.This leads to the third movement ETUDE an exercise in instrumental virtuosity and technical challenge.The fourth and last movement is called CHACONNE but I could just as well have named it passacaglia (the definition of those two terms seems to blur even among the learned). Bearing in mind the last movement of Johannes Brahms´s SYMPHONY NO.4 which is universally agreed on as being a passacaglia I chose to avoid the Wrath of the Gods and opted for

New edition with completion by Christian Alexander of the young composer's first extended work- only the instrumental prelude was performed during Finzi's lifetime. The other three movements are settings of poems by John Masefield, Thomas Hardy and Wilfrid Wilson Gibson.Scored for baritone solo, small chorus (or SATB soli) and chamber orchestra, the wellspring of the Requiem's composition was the death, during active service in 1918, of Finzi's composition teacher, Ernest Farrar. The work may also be viewed as a metaphor - the permanence of the land, and a centuries-old pattern of rural life following the rhythm of the turning seasons, contrasted with the violent havoc and destructive dislocation wrought by war. A reflective and poignant work particularly suitable for performances commemorating the tragedy of World War I. / Baryton, Choeur Mixte Et Orchestre

Easy arrangements for recorder-These fifteen well-known pieces have been imaginatively arranged by the ever-popular Chris Tambling for recorder players of Grade 1 to 2 standard with Piano accompaniment.Christopher Tambling (b.1964)studied the Organ with Malcolm McKelvey at Christ's Hospital Horsham Sussex. He went on to gain Organ scholarships to Cantebury Cathedral and St Peter's College Oxford where he studied with Geoffrey Webber and David Sanger andwas Organist of Pusey House. He started his teaching career at Sedbergh School in Cumbria where he was Organist from 1986 to 1989: he then became Director of Music at Glenalmond College near Perth in Scotland also taking onroles of Perth City Organist and Conductor of Perth City Orchestra.Tunes You Know - Book 1 (Recorder) includes Amazing grace Ave Maria Can Can from ???Orpheus in Underworld??? Cockles and Mussels Early One Morning Hallelu! Hornpipe from ???Water Music??? Jupiter from ???The Planets??? Largo from ???New World??? Symphony Marche Militaire Waly Waly Prelude from ???Te Deum??? Spring from ???The Four Seasons??? The Entertainer and When The Saints Go Marching In.

Ce troisième volume de La Méthode de piano classique est destiné aux étudiants qui ont terminé Method Book 2, ou pour ceux qui ont déjà une base solide dans le piano et sont de retour à l'instrument. Clairement énoncée et progresser par petites étapes gérables le livre comporte répertoire intéressant, varié et bien connu de l'époque baroque, classique et romantique époques Comprend un enregistrement sur CD de toutes les pièces offrant des performances de modèle pour vous aider à apprendre. Peut être complété par un répertoire supplémentaire, Duo et livres de fitness doigts. / Piano

Bach?s Harpsichord concerti extremely popular among pianists are presumably reworkings of pieces originally written for the Violin. Bach however succeeded in transferring the diverse idiosyncrasies of Violin technique to the keyboard with such ingenuity that most of today?s pianists also include these concerti in their standard repertoire. The first concerto in d minor is perhaps the most popular not least because of its jaunty outer movements and the eminently forceful solo part. Now as a prelude to a series of all of Bach?s Harpsichord concerti G. Henle Publishers presents a Piano reduction and study edition (score) of the d-minorconcerto. None other than András Schiff the outstanding Bach expert has provided fingering suggestions.

Scholarly critical edition with many corrections in the score and orchestral parts.Clear presentation of orchestral parts in an enlarged format 25.5 cm x 32.5 cm.?Prélude A L?Aprés-Midi D?Un Faune? often referred to as the first composition of the ?modern? era is one of Debussy?s most popular and frequently performed orchestral works. The piece comes down to us in an array of sources and several important ones are drawn upon for the first time in Bärenreiter?s scholarly-critical edition.Most of the currently available editions are based on the first edition from 1895 which however contains many engraver errors.When the corresponding orchestral parts are also taken into consideration countless discrepancies are revealed.Bärenreiter?s Urtext edition incorporates readings of a printed copy of the score from c. 1908 which shows corrections and emendations by the composer. These important changes found in no other source include metronome markings different pitches and additional notes as well as added tempo and articulation markings which all subtly enhance Debussy?s finely sculpted work. There is even a breath mark added to the famous solo Flute passage which opens the work.

Scholarly critical edition with many corrections in the score and orchestral parts.Clear presentation of orchestral parts in an enlarged format 25.5 cm x 32.5 cm.?Prélude A L?Aprés-Midi D?Un Faune? often referred to as the first composition of the ?modern? era is one of Debussy?s most popular and frequently performed orchestral works. The piece comes down to us in an array of sources and several important ones are drawn upon for the first time in Bärenreiter?s scholarly-critical edition.Most of the currently available editions are based on the first edition from 1895 which however contains many engraver errors.When the corresponding orchestral parts are also taken into consideration countless discrepancies are revealed.Bärenreiter?s Urtext edition incorporates readings of a printed copy of the score from c. 1908 which shows corrections and emendations by the composer. These important changes found in no other source include metronome markings different pitches and additional notes as well as added tempo and articulation markings which all subtly enhance Debussy?s finely sculpted work. There is even a breath mark added to the famous solo Flute passage which opens the work.

Parts for Hans Abrahamsen's Flowersongs (2012 version) for Flute Oboe and Clarinet. 'I wrote Flowersongs for three Flutes in the spring of 1973 when I was 20 years old. Looking back now 40 years begins to feel like a really long time and sometimes I think that it is as if someone in 1973 is talking about a piece from 1933! But in spite of this long time this is still a very important piece for me. In Flowersongs along with works like '10 Preludes' for String Quartet and 'Stratifications' for Orchestra I feel that I was on my way to finding my own voice in the middle of the music of the great CentralEuropean modernist tradition from the 50s and the reaction from the 60s of the new simplicity minimalism and the possibility of poly-stilisme. The English title Flowersongs links to the flower power movement and the hippie culture of the 60s and the early 70s and the work is trying to find the power inherent in this imaginary world. Many of my later works have titles in German for example 'Winternacht' (1976/78) 'Nacht und Trumpeten' (1981) and much later 'Schnee' (2006-08). If we think of Flowersongs in German it must be Blumenlieder and to me it now sounds suddenly very different more romantic and into the world of Schumann. Perhaps it is also a way in which to hear the piece? Another thing is that the correct English title is Flower Songs (as two words) and not as one word like in German or Danish. This is perhaps the German connection as I incorrectly wrote the title as one word; but perhaps it is also a kind of naivety which is also part of the work. I cannot help but carry with me to this day the ideas from my early works. For example there are clear links in this work from the 8th Prelude from '10 Preludes' and to Canon 2a from 'Schnee' from 2008. This work is written for the wonderful ensemble recherche and it was meeting them that made me consider making a version of

Hans Abrahamsen's Flowersongs (1973) for three Flutes. Parts. 'I wrote Flowersongs for three Flutes in the spring of 1973 when I was 20 years old. Looking back now 40 years begins to feel like a really long time and sometimes I think that it is as if someone in 1973 is talking about a piece from 1933! But in spite of this long time this is still a very important piece for me. In Flowersongs along with works like '10 Preludes' for String Quartet and 'Stratifications' for Orchestra I feel that I was on my way to finding my own voice in the middle of the music of the great Central Europeanmodernist tradition from the 50s and the reaction from the 60s of the new simplicity minimalism and the possibility of poly-stilisme. The English title Flowersongs links to the flower power movement and the hippie culture of the 60s and the early 70s and the work is trying to find the power inherent in this imaginary world. Many of my later works have titles in German for example 'Winternacht' (1976/78) 'Nacht und Trumpeten' (1981) and much later 'Schnee' (2006-08). If we think of Flowersongs in German it must be Blumenlieder and to me it now sounds suddenly very different more romantic and into the world of Schumann. Perhaps it is also a way in which to hear the piece? Another thing is that the correct English title is Flower Songs (as two words) and not as one word like in German or Danish. This is perhaps the German connection as I incorrectly wrote the title as one word; but perhaps it is also a kind of naivety which is also part of the work. I cannot help but carry with me to this day the ideas from my early works. For example there are clear links in this work from the 8th Prelude from '10 Preludes' and to Canon 2a from 'Schnee' from 2008. This work is written for the wonderful ensemble recherche and it was meeting them that made me consider making a version of