Flexible 4-Part Concert Pieces-Arranged for beginners these well-known and original pieces will successfully launch instrumentalists into the exciting and rewarding world of ensemble playing. The parts are of equal importance and are written within comfortable ranges for each instrument. An optional supporting piano part is provided to reinforce the ensemble if necessary.Instrumentation is flexible and any number of players can join each part.FREE BRASS ENSEMBLE OPTION These pieces in Vol. 2 are also suitable for brass ensemble and further parts for trumpet trombone and tuba are FREELY AVAILABLE from the Universal Edition website.PART 1 in C Bb or Eb: Flute Oboe Violin Clarinet or AltoSaxophone; PART 2 in C Bb or Eb: Flute Oboe Violin Clarinet or Alto Saxophone; PART 3 in C Bb or F: Violin Viola Clarinet Tenor Sax. or French Horn; PART 4 in C Bb: Cello Double BassTraditional: O du lieber AugustinVerdi Giuseppe: The force of Destiny (theme)Traditional: Loch LomondRae James: Premiership Blues

Soundless Coast-Costa Muda (Soundless Coast) was commissioned by the Casa da Música Foundation. First performed on the 26th February 2013 at the Sala Suggia/CdM by the Matosinhos Jazz Orchestra conducted by Pedro Guedes to accompany the projection of the film ?O Naufrágio do Veronese? (Invicta Filme Portugal January 1913.5'30'; for ensemble2 Alto Sax (1st = Soprano Sax; 2nd = Flute) 2 Tenor Saxophones (1st = Bass Clar) 1 Baritone Sax (= Bass Clar)4 Trumpets in Bb (1st = Flugelhorn) 3 Trombones 1 Bass Trombone Guitar Piano Double Bass Drums

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