Indian Summer

This setting of an Emily Dickinson text explores the bittersweet quality of those few summer-like days in what should be fall, comparing them to the bread and wine of the communion service. The music explores the full palette of choral expression, with dramatic contrasts in dynamic range and vocal textures.

Come live with me

Written as a wedding present for two of the composer’s friends, Come live with me sets Christopher Marlowe’s archetype of the late renaissance ‘Pastoral Style’, The Passionate Shepherd to His Love. As a nod to the greattraditions of Elizabethan and Victorian partsong writing, this setting is predominantly homophonic. Taking an A-B-A-coda structure, the sweeping melody of the opening section (rising and falling like “craggy mountains”) is laterreprieved in a more luscious harmonization, and continues to form the basis of the soprano and tenor duet during the coda. In the B section (“There will I make thee beds of roses”) the texture elaborates to more contrapuntallinesof dialogue between upper and lower voices, with the passion reaching a understated zenith in the soprano 1 and tenor 1 rhapsodic rising duet, under which the parts twine themselves around each other like “leave ofmyrtle”.An imaginative setting, closely allied with the text, Come live with me is an exciting addition to the contemporary repertoire of choral music on the theme of love.

Twisted Blues with Twisted Ballad

“Twisted Blues with Twisted Ballad” is Turnage’s second string quartet. Because of the ‘intimidating repertoire’ of the string quartet, he decided to approach the medium from a different angle. Like two other works from the same period (“Grazioso!” and “Out of Black Dust”), this piece reflects the influence of the British rock band Led Zeppelin. The first movement, “Twisted Blues”, is a continuous fantasia on some of the component parts of an early Led Zeppelin song, “Dazed and Confused”, with consistently loud dynamics, heavy attacks, percussive pizzicatos and moments of distortion.The second movement, “Funeral Blues”, is a contrasting interlude unrelated to the music of LedZeppelin, though consistent with its surroundings in its rich bluesy harmonies and an improvisatory quality of melodic writing.The final movement, “Twisted Ballad”, is based on one of Led Zeppelin’s most well-known numbers, “Stairway to Heaven”. Following the structure of the original, the movement begins quietly and simply, and gradually gains in tempo and excitement towards a vehemently aggressive climax.

Twisted Blues with Twisted Ballad

“Twisted Blues with Twisted Ballad” is Turnage’s second string quartet. Because of the ‘intimidating repertoire’ of the string quartet, he decided to approach the medium from a different angle. Like two other works from the same period (“Grazioso!” and “Out of Black Dust”), this piece reflects the influence of the British rock band Led Zeppelin. The first movement, “Twisted Blues”, is a continuous fantasia on some of the component parts of an early Led Zeppelin song, “Dazed and Confused”, with consistently loud dynamics, heavy attacks, percussive pizzicatos and moments of distortion.The second movement, “Funeral Blues”, is a contrasting interlude unrelated to the music of LedZeppelin, though consistent with its surroundings in its rich bluesy harmonies and an improvisatory quality of melodic writing.The final movement, “Twisted Ballad”, is based on one of Led Zeppelin’s most well-known numbers, “Stairway to Heaven”. Following the structure of the original, the movement begins quietly and simply, and gradually gains in tempo and excitement towards a vehemently aggressive climax.

West Side Story - Piano/Vocal Selections : Piano/Vocal Selections with Piano Recording

Sing along with the music from West Side Story! Complete vocal selections with extensive notes, photos, and a CD of piano recordings for the songs. The CD is enhanced for use with Macs or PCs and includes tempoand pitch adjustment software.

Stay With Me, Lord : (Tenebrae version)

Stay with me, Lord was originally commissioned by the Genesis Foundation as one of three commissioned settings of Padre Pio’s Prayer after Communion, and first performed in June 2008 at Westminster Cathedral, London by TheSixteen, conducted by Harry Christophers. This version was arranged for the 2012 album The Call of Wisdom, an album of a selection of Will Todd’s choral music performed by Tenebrae and The English Chamber Orchestra, conducted byNigel Short. It alters much of the way the work is accompanied both by the piano, but also by adding an alternative strings and harp scoring (full score and parts available on download). Todd’s stirring harmonies, which makefulluse of the mixed-voice choir with only the very occasional need for divisi, and ability to write the most beautiful melodies has resulted in this work proving very popular with choirs of a range of abilities.

Concerto for Clarinet : with ossias from the 1948 manuscript edition

Aaron Copland – with the 25th anniversary of his death coming up in 2015 – was commissioned by Benny Goodman to write this clarinet concerto. This new edition of the score impresses with a new music notation and detailed information on the piece.

Orkney Saga V : Westerly Gale in Biscay, Salt in the Bread Broken

Part of the Hawkes Pocket Scores Series

Stepping Stones - with Piano Accompaniment : 26 Pieces For Violin Players

Waggon Wheels and Stepping Stones have long been the repertoire choice of string teachers. The violin books from this classic series arenow being issued with accompanying CD backings at a new great value price!  

Shady Grove (with The Cuckoo) : Traditional Folksongs

This utterly charming and accessible three-part arrangement for treble choir progresses from unison to 2- and 3-part counterpoint. The upbeat and gently syncopated third verse of Shady Grove is cleverly juxtaposed with the folk song The Cuckoo, whose call can be heard in the flute part throughout. Choirs will enjoy the opportunity to develop a sense of phrasing, while singing musically and expressively.

Micromusicals - The Little Mermaid : with Audio CD and Downloadable Extras

Raising the curtain on Christopher Norton’s Micromusicals – exciting and accessible musicals for schools based on popular classroom teaching topics from the creator of the internationally-acclaimed Microjazz series. Designed for children aged 5 - 8, each production lasts around 30 minutes and can be learned, rehearsed and performed in as little as 2 days.Stage a real class act with this comprehensive and flexible resource:* Succinct casting and direction suggestions * Optional props list with a wealth of additional downloadable resources * Straightforward and catchy songs, with complete demonstration and backing tracks on an accompanying CD * Voice and piano scoreswith guitar chords * A wide range of flexible easy band and orchestral parts available to download which can be played in conjunction with the backing tracks or as part of an independent live orchestral or band * Photocopiable lyric sheets (also available as downloads for printing or projection) * Wide-ranging cross-curricular teaching and classroom activity suggestions * A customisable poster to publicise performances The Little Mermaid is a classic fairy tale written by Hans Christian Anderson that was published in 1837. In this captivating new interpretation by Christopher Norton, the ocean-based story of hope, love, tragedy and redemption is told simply and effectively through brilliant and accessible songs, dialogue and movement.

Nightfall

The composer states:“Nightfall is an incantatory piece inspired by how light changes at the end of a day: the adding and subtracting of colours and shadow; the slowly building and diminishing dynamics; the shifting texture as the sun intensifies and then disappears over the horizon.Nightfall should be sung without vibrato so that the vocal colours and their translucent quality remain pure and clear. Recalling Baroque passacaglia procedure, the bass line underpins the entire work.Nightfall requires a chorus of no less than 26 voices with at least two basses. It’s important to keep the parts balanced as the texture thickens so that all the lines are always clearly heard.”

Micromusicals - Romeo And Juliet : Complete Performance Resource with Audio CD and Downloadable Extras

Raising the curtain on Christopher Norton’s Micromusicals – exciting and accessible musicals for schools based on popular classroom teaching topics from the creator of the internationally-acclaimed Microjazz series. Designed for children aged 7-11,each production lasts around 30 minutes and can be learned, rehearsed and performed in as little as 2 days. Stage a class act with this comprehensive and flexible resource:* Straightforward and catchy songs, with complete demonstration and backingtracks on an accompanying CD * Voice and piano scores with guitar chords * Photocopiable lyric sheets * Cast list (with number on lines per role) plus succinct costume and direction suggestions * Comprehensive props checklist *Wide-ranging cross-curricular teaching and classroom activity ideasDownloadable extra resources include:* a wide range of flexible easy band and orchestral parts which can be played in conjunction with the backing tracks or as part of an independentlive orchestral or band * flexible prop designs, illustrations and banners * PDF lyric sheets and scripts * Powerpoint files containing full script and song lyrics * sound effect audio files * a customisable poster to publiciseperformances Performance licences available online.Romeo & Juliet - Shakespeare’s tragedy about two ‘star-crossed lovers’ - is an English literary masterpiece studied at Key Stage 2 and 3 as part of the National Curriculum in England, as well as atschools and colleges elsewhere in the UK and around the world. In this new Micromusical adaption, the abridged story is told through poetry and song.TestimonialsThe micro-musicals have enriched our curriculum and have enabled the topics taught inclass to come alive. Through the micro-musicals, the children have gained a deeper and broader understanding of the curriculum and have developed a bank of rich language, which has supported their writing outcomes. The micro-musicals have providedan excellent opportunity to teach music through all areas of the curriculum and we have been able to use music as a platform to learn history, science, geography and literature. They have been a good value for money and a valuable resource.-BronwenChalmers, Head Teacher, Davies Lane Primary School.

Micromusicals - The Vikings : Complete Performance Resource with Audio CD and Downlooadable Extras

Raising the curtain on Christopher Norton’s Micromusicals – exciting and accessible musicals for schools based on popular classroom teaching topics from the creator of the internationally-acclaimed Microjazz series. Designed for children aged 6-12, each production lasts around 30 minutes and can be learned, rehearsed and performed in as little as 2 days. Stage a real class act with this comprehensive and flexible resource:* Succinct casting and direction suggestions * Optional props list with a wealth of additional downloadable resources * Straightforward and catchy songs, with complete demonstration and backing tracks on an accompanying CD * Voice and piano scoreswith guitar chords * A wide range of flexible easy band and orchestral parts available to download which can be played in conjunction with the backing tracks or as part of an independent live orchestral or band * Photocopiable lyric sheets (also available as downloads for printing or projection) * Wide-ranging cross-curricular teaching and classroom activity suggestions * A customisable poster to publicise performances The Vikings are covered in Key Stage 2 History in England, and are popular in school teaching elsewhere in the UK and further afield. This Micromusical includes topics including:* the Viking invasions of the British Isles * King Alfred * Norse Mythology (Valhalla, Asgard, Odin, Thor, Frey, Freya, Tyr, the children of Loki, Fenrir) * the present-day effect of the Vikings on British culture TestimonialsThe micro-musicals have enriched our curriculum and have enabled the topics taught in class to come alive. Through the micro-musicals, the children have gained a deeper and broader understanding of the curriculum and have developed a bank of rich language, which has supported their writing outcomes. The micro-musicals have provided an excellent opportunity to teach music through all areas of the curriculum and we have been able to use music as a platform to learn history, science, geography and literature.

Air With Variations

Abide With Me

Facilita : Air with Variations

For St Cecilia op. 30 : Ceremonial Ode

Following the publication of Francis Jackson’s organ reduction of Finzi’s Requiem da Camera in 2014, Robert Gower, chairman of the Finzi Trust, recitalist and organist of Nottingham Cathedral, has created reductions of the full orchestra accompaniments to two more of Finzi’s choral works. These reductions broaden the reach of these works to choirs which do not wish to present the works with orchestra, as with other standards from the sacred repertoire such the Requiems of Fauré and Duruflé. The reductions sympathetically recreate the orchestra scoring for a three-manual organ. Ingeniously, the manual couplings (II to III, II and III to I) are unaltered throughout, with pedalcoupled to manuals as appropriate. Detailed registrations are not indicated as these are best left to the performer, taking into account the unique circumstances of the particular instrument, size of choir and acoustic setting at each performance. The scores are user-friendly, in landscape format and with at least one principal vocal line cued throughout, and a cappella choral passages are reproduced in full. The reductions are fully compatible with the published piano vocal scores of the respective works which the singers will use. For St Cecilia, Ceremonial Ode for tenor solo, chorus & orchestra; words by Edmund Blunden. The original work was commissioned by the St Cecilia’s Day Festival Committee for the 1947 celebration of music’s patron saint. The ceremonial mood is established with fanfares, and the sonorous sweep of the choral writing reflects Finzi’s admiration for Parry and Elgar. The ‘catalogue’ of saints, shared between the soloist and chorus, are deftly delineated: St Valentine, St George, St Dunstan, St Swithin and St Cecilia herself. In rapt stillness, the English composers of the past – Merbecke, Byrd, Dowland and Purcell – are summoned. To close, Finzi creates a festal summation with exultant counterpoint and the saint’s name pealing around the chorus.

In terra pax op. 39 : Christmas Scene

Following the publication of Francis Jackson’s organ reduction of Finzi’s Requiem da Camera in 2014, Robert Gower, chairman of the Finzi Trust, recitalist and organist of Nottingham Cathedral, has created reductions of the full orchestra accompaniments to two more of Finzi’s choral works. These reductions broaden the reach of these works to choirs which do not wish to present the works with orchestra, as with other standards from the sacred repertoire such the Requiems of Fauré and Duruflé. The reductions sympathetically recreate the orchestra scoring for a three-manual organ. Ingeniously, the manual couplings (II to III, II and III to I) are unaltered throughout, with pedalcoupled to manuals as appropriate. Detailed registrations are not indicated as these are best left to the performer, taking into account the unique circumstances of the particular instrument, size of choir and acoustic setting at each performance. The scores are user-friendly, in landscape format and with at least one principal vocal line cued throughout, and a cappella choral passages are reproduced in full. The reductions are fully compatible with the published piano vocal scores of the respective works which the singers will use. In terra pax, Christmas Scene for soprano & baritone soli, chorus & orchestra (1954/6). The text conflates Robert Bridges’s poem Noel: Christmas Eve (1913) and Luke 2: 8-14. Finzi suggested that the Nativity ‘becomes a vision seen by a wanderer on a dark and frosty Christmas Eve, in our own familiar landscape’.In terra pax is a masterpiece in miniature, Finzi’s pacifism at its heart, and his belief that men and women of goodwill should live harmoniously. Weaving through the music are three ideas: the pealing of the bells with their joyous message, a phrase from the carol The First Nowell, and the alleluia refrain from the hymn Lasst uns erfreuen.

Ballade with Christine de Pisan

This is a highly emotional and powerful piece for women's choir. Composer Boerger asks the chorus to produce the sound of bereavement when it first strikes. A total commitment to the emotions as masterfully created by the poet and the composer will result in a tour de force for the mature women's choir.

Dance With Me To My Heart

This is a piece about discovering the power of our own voices, and letting them dance – setting ourselves free, exploring and learning to let go of preconceived notions of how we “should” be or“should” think.

From Hungary with Love : Cecilia Vajda

Dance with Shadows : for Brass Quintet

Flute Concerto : piano reduction with solo part

It is (not only) due to its six movements that the flute concerto by the American composer and Pulitzer Prize winner Ned Rorem, who was once chosen by Time Magazine as the 'world's best art song composer', goes beyond the traditional concert form.

A Mosaic In Ten Pieces (With Dedication)

New edition of this charming suite by the British composer Richard Walthew (1872-1951), originally published in 1900. The work was frequently performed by Lionel Tertis over his long career; his fingerings and bowings are of great interest tostudents and scholars, so these are included for reference in the viola cue stave in the piano score; the viola part itself is left ‘clean’ for performers to make their own decisions.In 1943 Tertis premiered A Mosaic in Ten Pieces in the version for viola and orchestra in a concert broadcast by the BBC. The performance was reviewed in the Musical Times: “It is the work of a happy craftsman, genial, jesting (so few composers jokenow). In a slow movement Walthew is at his serene best. Brahms would have enjoyed the Valsette, and Elgar beamed upon other parts. Tertis’s phrasing is the best lesson I can imagine for any young musician …”.