Gates is the second section from the ballet MAA scored for Chamber group tape and live electronics. Written in 1991 commissioned by the Finnish National Opera this work beautifully demonstrates the poeticism of Saariaho's music with a sensuous calm that permeates throughout. MAA translates from Finnish into world earth or country. It is a complimentary title as the ballet does not have a plot as such rather it is built around thematic archetypes such as doors gates stepping into new worlds journeys and the crossing of waters. Gates can be played either as an acoustic or often preferably an amplified version. The acousticversion is suitable for small and resonant halls or in a context of e.g. an early music program in which case the piece can also be played on original instruments. This is the Full set of parts for one of Kaija Saariaho's most major works to date. Score is avilable: KP00326.

This delightful String Trio is straightforward technically and will be fun to play for student and amateur alike. This arrangement follows the facsimile faithfully simply writing out the first Violin and Cello parts of the trio sonata with the second Violin part transposed down an octave in places to suit the Viola. This edition follows Purcell's original text without the dynamics and bowing that later editors added.

These arrangements were written for string ensembles in primary and secondary schools music centres prep schools and for various ensembles at Charterhouse. They grew out of a need for playable yet musically challenging arrangements where maximum 'effect' is obtained by using naturally resonant keys and idiomatic bowings - and have been used and honed over many years. They also recognise the fact that in many schools Viola players are scarce; most of the easier arrangements are therefore in three parts with optional Viola (doubling second Violin) and optional Double Bass (Viola still optional) which can be played if necessary by a Cellist (special part provided). Thearrangements ensure that all departments have the tune or thematic material at some stage - not just the first Violins!

Orchestration. This gospel-flavored musical reflects on the promise of peace delivered by the angels on the night of Jesus' birth. The iconic ballad, "Let There Be Peace on Earth" is used as musical bookends: its theme is briefly stated in the second movement and then returns in full-blown gospel style at the end to provide an emotion-filled climax. In between, the Christmas story is told through scriptural narration and six beloved carols set in a variety of styles ranging from jazz, to gospel, to calypso. Accompaniment can be provided by piano, full orchestra, or a smaller set of rhythm parts, arranged by Ed Hogan. Performance time is 35 minutes.

In this composition William Vean takes you on a journey through the fascinating and exciting world of animals. Apart from it being a composition filled with 'special effects' Animal Kingdom contains many educational elements such as playing inswing (triplets feeling) chromatics flutter tonguing gypsy tuning varying keys and of course dynamics and articulation. The melodic lines occur in all four voices as well as in all percussion parts providing each musician with theopportunity to play a solo or to accompany. Highly recommended for your youth band! William Vean is an educational composer. He knows how to musically shape the special elements from our daily lives. His music is therefore veryexpressive containing creative solutions to possible problems. Special ways of playing make his music particularly interesting for the winds but the percussion section is also featured in his special effects. The world of the animalsalways plays on ones imagination. In Animal Kingdom William Vean has portrayed a number of animals in a special manner: Kevin Kangaroo - The jumping character of this animal can be heard in different voices. The swing style alsoemphasizes the characteristic movements of the kangaroo. Playing in swing style can be practised by using scales. Eddy Elephant - For some of his smaller fellow fauna friends this can be quite an ordeal but for Eduard (Eddy for friendsand intimates) it is his daily walk. Baldrick Bat - Baldrick the Bat is a mysterious character. This can be heard in the fast moving valves and keys accompanied by special effects in the percussion section. Curtis Camel - Curtisthe Camel trudges across the desert feeling bored. The idea that the horizon will never change does not affect him anymore. He has accepted his fate. The distinctive tones from the gypsy scale provide the suitable oriental sounds. BettyButterfly - Butterfly Betty elegantly and without worries flutters from flower to flower in the garden. Her motto: Carpe Diem (Seize the Day). Betty is a one-day butterfly. Marvin Monkey - A 'swing' monkey stirs up the feelings. Evenmembers of the orchestra will look like real monkeys. How about your audience? Each part has its own difficulties and challenges. Important in the first part is playing 'in swing' (triplets feeling). This can be practised usingscales. In the second part ensemble playing and balance are important. In Baldrick additional information on the effects that have to be played might be useful. 'New' sounds are of course welcome. Curtis the Camel introduces thegypsy scale. Additional explanation of the use of the scale might be useful. Key changes are interesting in this part. A slight accent on the first beat of the bar will add to the charm of this part. Marvin the Monkey brings back the swingrhythm that was introduced in the first part altern

Complete score and full set of parts for Philip Sparke's Suite From Hymn To The Highlands for Brass Band. This work draws three expressive musical pictures of the Scottish highlands. The first movement Ardross Castle contains solo passages for horn and baritone and features a fascinating bagpipe melody. The second movement Alladale is a trio for tenor horn flugel horn and baritone with an accompaniment featuring the percussion section. The final movement Dundonnell features two highly contrasting melodies a wild presto and the bagpipe melody first heard in the first movement.

String Quartet No.2 was written in 1951 and dedicated to Percy and Ella Grainger. It is recognised as one of his least extravagant creations but is nevertheless a solid work which is continually underappreciated. This is the set of parts.Cyril Scott (1879-1970) was a British composer pianist and poet. His most popular works which he is largely remembered by today were written in the years preceding the Second World War however he continued to compose prolifically in the face of indifference from the outside world right up until his death at the age of 91. His music is predominantly in the Romantic style and serves as atasteful reminder of a bygone age.

Programme Note ABENDLIED & MÄRCHENFARBEN for accordion ensemble incl. choir and percussion ad lib. (1980).MÄRCHENFARBEN is a virtuoso piece for accordion ensemble based on Nørgård´s ?infinity series? and a special multi-layered rhythm also heard in the composers well known choral work ?Wie ein Kind? (second movement) from the same year 1980.This rhythm with the onomatopoeic nickname ´pischop´ has a swaying and breathing quality which seems well suited for an ensemble of accordions. Two percussion parts to be added ad lib. - are composed into the tone music of the accordions in ?Märchenfarben?.The piece was composed in 1980 for the very talented Det DanskeHarmonika Ensemble and its leader Jeanette Dyremose an ensemble that enlarged the instrumental piece with an introduction (as suggested by the composer) singing and playing Nørgård´s choral song ?Abendlied? (1980) to a sunset idyllic poem by Adolf Wölfli (1864-1930) including here the word ´märchenfarben´ the title of the shimmering and colorful instrumental music to follow with Märchenfarben. The duration of Abendlied & Märchenfarben is around 15-17 minutes (5-6´ + 10-11´).Per Nørgård

Composed by Pierre-Max Dubois  Quartuor is a really energetic and melodious piece for four Bb Clarinets. Lasting approximately 10 minutes it is divided into four distinct parts: 1. Allegretto 2. Allegro 3. Pastorale and 4. Musette. During the whole piece the Clarinets complete each other’s part on this fast work. The first part has a repetitive theme with some variations while the second one seems to be playing more on the aspects of the low and high ranges. The “Pastorale” section is slower and slightly less cheerful. The piece ends on the “Musette” which brings back some energybefore the end. This piece would be perfect to play during a concert or a recital. Pierre Max Dubois (1930-1995) was a French composer who was awarded the Prix de Rome in 1955. Mainly composing classical music his works are mainly for woodwinds. He is one of the founder of the Les Six and which included his professor Darius Milhaud.

transcribed for Viola and Piano-Originally for Violin and Piano Spartan Press are proud to release the second of Courtney Grant's skilful transcriptions of Amy Beach's beautiful music for Viola and Piano. Includes edited and unedited Viola parts.

The organ part and reduced score Symphony No. 4 - An Organ Symphony (2008) by Poul Ruders. Full score: WH31186 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/withorgan. The organ 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

This study score of 'La clemenza di Tito' is based on both Franz Giegling's edition from 1970 which was published as part of the 'New Mozart Edition' and the critical commentary from 1994.The autograph manuscripts of numbers 2 11 and 12 of Mozart?s opera were considered lost after the end of World War II. In 1979/80 these manuscript parts were made available again and are kept in the Biblioteka Jagiellonska Kraków. The evaluation of this source was published in the critical commentary from 1994 and was included in the second printing of the respective New Mozart Edition volume (1997). The Bärenreiter study score is based on this revised edition of 'La clemenza diTito' as published in the 'New Mozart Edition'.Based on the Urtext of the 'New Mozart Edition' reflecting current musicological scholarship.With an informative foreword (Eng/Ger)