Salmer Og Aandelige Sange ias a collection of Sacred Songs And Hymns by early 20th Century Danish composer Carl Nielsen who is one of the most important and free-spirited of the generation of composers who straddle the 19th and 20th centuries. If Nielsen's chamber and orchestral music epitomizes the exploratory growth-orientated side of his nature his songs contain the essence of his search for the ‘simple original’. Arranged for Piano Vocal and Guitar.

Or Organ. Par ROESGEN-CHAMPION MARGUERITE. Born in Geneva of a jeweller father (and excellent flautist) and singer mother, Marguerite Roesgen-Champion (1894-1976) was one of those rare women who reconciled family life (in 1926, she settled in Paris with her husband, a philately merchant) with a professional activity devoted to music. Her abundant output graced all genres, with a predilection for sacred pieces, the art song, the piano and chamber music. Published respectively in 1950 and 1953, the two Nocturnes for oboe and piano (or organ) have their place in the glorious tradition of French music from the between-the-wars period. The first Nocturne, subtitled 'Noël', is dedicated to Pierre Bajeux (1899-1961), who taught the oboe class at the Paris Conservatoire as of 1941. Of classic ABA construction, this piece, as simple as it is expressive, is in the form of a pastorale: here, the gentle opening recitative unfolds its dreamy, melancholic volutes, of which the modal character would have appealed to Charles Koechlin. The second Nocturne presents subtle modulations that give it a refined elegance. In both cases, this tastefully polished music invites us to stroll in an Arcadian landscape, bathed in azure: 'There, all is order and beauty, / Luxury, calm and voluptuousness'./ Répertoire / Hautbois et Piano ou Orgue

Battles was written for the restoration of the epic 1927 silent film The Battles of Coronel and Falkland Islands and was commissioned by the British Film Institute (BFI) in 2013. The work presents eight contrasting scenes as a continuous sequence: War Introduction of Admiral von Spee German Banquet Building Steam/Preparing Islanders Call to Arms Great Battle at Sea and Victory. The original score was written for a small chamber orchestra symphonic brass and a substantial batterie of tuned and untuned percussion. Battles has been edited for symphonic wind orchestra with percussion and harp.Composer Simon Dobson says of hiscolourful score ?I wanted to keep things simple and clear so there is a British theme a fanfare march idea often heard on trumpet and a German naval theme which is a more angular motif.?

This book contains 65 pieces from a broad range of classical literature which has been adapted and arranged for the flute. This collection presents not only music originally written for solo flute but also melodies from symphonicor chamber music from the Classical Romantic and Modern periods. The author has made special effort to provide simple melodies which the beginning player will find both easy and enjoyable. He has carefully chosen the best keysfor flute and made other slight adaptations. Piano accompaniment is included with a pull-out part for the soloist.

Par BARTOK BELA. To make myself clear: This is not 'programme music', it does not require an explanation attached to it; it speaks for itself. What it wishes to say it does by means of pure music. But it does say something, more in fact than the simple music-making we have become accustomed to since the decline of chamber music.' (Zoltán Kodály)/ Répertoire / Quatuor à Cordes

In memory of Christopher Rowland. Originally a concerto for Cello and chamber orchestra now for Cello with a Piano reduction of the orchestral part.The concerto is in four movements which are played without a break: Meditation Intermezzo Toccata-Scherzo and Song. The work lasts for some 18 minutes and was scored for two oboes two horns timpani (doubling tubular bells) and strings(found here in a Cello/Piano form). It is organised in one large arch-shaped structure with two fast inner movements flanked by two outer slow ones. The solo cello opens the work reflectively and introduces core melodic material which is continuously developed throughout theconcerto. Gradually the strings enter then wind and timpani and build a pyramid twelve-note chord at the peak of which there is a dramatic climax. The music then subsides (solo cello again) but links to the two faster middle movements. The second movement Intermezzo has an ABA structure and in its middle section quotes the opening of Shostakovich's Third String Quartet (written in the same year as Christopher Rowland was born!). Indeed the ghost of Shostakovich looms large throughout the concerto in more ways than one. The Toccata-Scherzo is energetic and rhythmically-charged again using an ABA structure. Here the writing for solo cello is quite virtuosic but not I hope in a shallow sense. The music builds inexorably towards a powerful climax underpinned by the opening twelve-note chord's re-appearance together with a violent outburst from the timpani at which point a tonal resolution (on G) arrives through a pianissimo held chord on strings which leads directly to the final movement - Song. And so the music arrives at its emotional heart through a simple melody (present in other forms throughout the work) announced by solo cello at the very top of its register against a quiet backdrop of horns and strings. A solo oboe enters with cello in canonic reply and all the time the music builds in texture and

Par DVORAK ANTONIN. Dvorák's Opus 29 choruses are infused with all the nationalistic style and spirit of his more famous orchestral and chamber works. Presented in the original Czech with a simple pronunciation guide plus English singing translations. A most rewarding sing./ Répertoire / SATB

Mozart wrote the five Divertimenti for Wind Sextet between the years 1775 and 1777 when he was living in Salzburg. The Italian title is reminiscent of simple 'light? music, but the pieces' melodic ingenuity and colourful writing for winds show it to be chamber music of the highest quality. Our edition is based on the autograph and brings together all five authentic sextets in one practical edition. An ensemble with the standard instrumentation (two oboes, two horns and two bassoons) will discover a true musical treasure. The two horn parts are provided both in the original transpositions (F/Bb/Eb) and also for horn in F. / 2 Hautbois, 2 Cors Et 2 Bassons

Stephen Chatman's Sunset for SSAA chorus is an arrangement from his original set Due West for SATB chorus commissioned by the Vancouver Chamber Choir in 1997. The charming text by Tara Wohlberg rings specifically to a western theme. Chatman uses simple but exquisite harmonies and sustained arching melodic lines. Duration: 1:40.

This vibrant work opens with a brilliant fanfare highlighted by woodwind embellishments followed by an exciting and spirited dancelike movement. In the tradition of festival-winner Summer Dances this composition evolves from a simple theme and develops throughout. A slow lyrical section provides opportunities for chamber ensemble work before the opening fanfare is reintroduced in a new and refreshing form.

Theme from The Weeping Tree-Uses: Holy Week Scripture: Mark 15:30 I Corinthians 1:18 I Peter 2:24 The main theme from the best-selling cantata The Weeping Tree is now available as a standalone anthem. With a heart-affirming portrait of the crucifixion and a gentle celebration of grace the simple folk-like melody carries the weighty message of redemption in the sensitive arms of expressive music. A chamber orchestration option offers directors a way to incorporate this piece into a concert or passion pageant. Profoundly moving! Score and Parts (fl ob cl bn hn perc pno vn 1-2 va vc db) available as a digital download.

Full Score-Nico Muhly's Sentences for Countertenor and Chamber Orchestra. Composed: 2014 Duration: 30 minutes Composers Note: Sentences is a thirty-minute meditation in collaboration with Adam Gopnik on several episodes drawn from the life and work of Alan Turing. Turing lived in a sense many different lives but at the heart of his work was I think a very musical set of anxieties. Even the idea of code-breaking is inherently musical; the French for score-reading is déchiffrage: deciphering. His wartime work on the Enigma code translated later in life to a more nuanced relationship to code in the form ofa primitive but emotionally (and philosophically) complicated artificial intelligence. The piece uses a single voice not to speak necessarily as Turing but as a guide through these various episodes. I’ve always felt that the question of sentient computers is wildly emotional: we anthropomorphise the Mars Rover imagining its solitude on that dusty planet. Any act of communication in which the second person is unseen can be a one-way conversation. An email sent can never be returned — did it arrive or did it not? — or a text message can be delivered but never read. The thrill of a fast response is immediately tempered with the harsh but empty rudeness of an out-of-office reply. Anybody who has made a condolence phone call only to hear the voice of the deceased on the outgoing answering machine message knows the complexities of what could be a simple binary communication. 

This innovative piece was completed in 1934 as part of the music for the film Night of St. Petersburg and features lyrical almost folk-like violin melodies. Dmitri Kabalevsky was one of the most important of 20th Century Russian composers and his skill demonstrated by the simple folk-like melodies and traditional musical forms at work here. Improvisation Op.21 No.1 is a stunning chamber work for Violin and Piano that will become a popular and exciting part of your repertoire.