The lively melodies of the traditional French carol Sing We Now Of Christmas play one with another in a brilliant Instrumental Pack that is perfect for school church and community choirs. Festive and filled with joy! The parts available in this collection are the full score Flutes 1 and 2 Oboe Bb Clarinets 1 and 2 Bassoon Percussion 1 2 and 3 Harp Violins 1 and 2 Viola Cello and Double Bass.

Composed and published 2014.Commissioned by Festival Internacional Cervantino 2014.First performance: Randall Scarlata (baritone) and Ensemble Redes Festival Internacional Cervantino 2014 13th October 2014.Duration: 12 minutes.Instrumentation: Flute(=Bass Flute) Bass Clarinet Percussion Guitar Violin Viola.[Percussion: Triangle Cymbal Large Tam-Tam Wood Block Tambourine Wooden Chimes Sleigh Bells Güiro Maracas Bongos 3 Tom-toms Felxatone Waterphone Vibraphone Marimba 29-inch Timpani].

For two Alto Flutes Bass Flute Violin Viola Cello. Composed and published 2015.Walled Garden for String and Flute trios is a set of three pieces designed to be interleaved with Mala punica a sequence of canons for eight-voiced vocal ensemble written in 2008-9.Commissioned by Spitalfields Music and first performed with Mala punica at Spitalfields Music Summer Festival on 3rd June 2015 by Daniel Pioro (Violin) Robert Ames (Viola) Oliver Coates (Cello) Jane Mitchell and Rebecca Larsen (Alto Flutes) and Helen Keen (Bass Flute).Duration: c. 24 minutes.

A. G. Villoldo's El Choclo - Tango Milonga for ensemble (Accordion Quartet Bass and Drums).

This extremely interesting original is based on a modified New Orleans-style street beat. A 'gritty' bass part really helps add to the style and there are plenty of opportunities for your pianist to add fills throughout. A tenor solo leads into some creative ensemble writing and a driving shout chorus. Very unique and destined to be one of the bestsellers this year!

For Violin solo Violin obligato two Electric Guitars Bass Guitar Hammond Organ and Drums. Composed in 1998 the concerto's Hammond Organ part (mvt II) and Violin obligato part (mvt III) may be played on a synthesizer.

W.C. Handy's immortal classic is reborn in this solid arrangement. It includes a piano and bass part completely written out for the young or developing player. Solos are also provided with optional changes above the written part. As usual Larry has provided helpful rehearsal suggestions for the director as well.

Great medium-tempo funk that entertains and is fun to play. It opens with a tongue-in-cheek bari sax and bass bone soli with everyone involved in five short measures.

Johanna Senfter a étudié la musique au Conservatoire de Francfort, puis en 1908/9 avec Max Reger au Conservatoire de Leipzig. Sa musique romantique fin tire son inspiration de la structure polyphonique de Reger et Bach, ainsi que de l'utilisation complexe des sons et des motifs dans la musique de j. Brahms, qui n'a pas quitté son dans une position facile dans le contexte du modernisme du XXe siècle. Intérêt croissant pour le travail des compositeurs femelles a également conduit à une redécouverte de j. Senfter ces dernières années. Son vaste travail comprend la musique pour piano, de oeuvres orchestrales et de musique de chambre, y compris la pièce pour flute, clarinette (en la), deux bassons et quatre cornes, la première fois à Karlsruhe en 1934. / 8 Instruments A Vent (Flûte Traversière, Clarinette En A, 4 Cors Et 2 Bassons)

Anthem with recorders oboe strings ATB soloists and mixed voice choir.Parts included:Recorder IRecorder IIOboeViolin IViolin IIViolaBassKeyboard

POD-Dans og Tegn i Luft for Ensemble was composed by Niels Rosing-Schow in 2015-16. Scored for Flute Clarinet Bassoon Harp Piano Violin Viola and Violoncello. Commissioned by The Danish Chamber Players for their 25-year Anniversary.Programme Note: A scenario from a park in Shanghai: a group of people dances to the crackling music from a ghetto blaster. Next to then a man is drawing Chinese characters on the street with a large brush dipped in water. The sound of the music comes and goes while the calligraphy soon evaporates in the warm air. Time hardly passes and makes itself present in analmost palpable way. The noise from the surrounding city threatens every now and then to destroy the poetic moment. At the appearance of a couple of guards the scene dissolves as from a magic touch as if nothing had happened. - Was this real at all? The music tries to reconstruct the memory of this imagery by putting together sound fragments of the scenario. But will the futile image appear? Or is it just the slight touch of melancholy from the memory which is left until it dissolves as signs in the air. Niels Rosing-Schow April 2016