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Distant Thunder

Perfect Through Suffering

Sextet - The Tigers Mind

So Long As The Mind Keeps Silent

The VOCES8 Method : Start the school day with a musical wake-up for voice, body and mind

The VOCES8 Method is an innovative new system which enhances neurological development, helping to deliver improved academic results. Based on research by the Institute of Education, it contains groupactivities based on rhythm and melody which are designed to develop key learning skills and improve students’ academic learning processes for all subjects. • Suitable for small groups or whole-schoolparticipation.• Requires no musical expertise or expensive equipment.• Supported by free online training videos.• Backed up by CPD training sessions led by members of VOCES8.•Aninteractive app enables students to explore the activities for themselves.

Music for an Imaginary Film

A virtuoso, eight-minute piece for solo organ, Music for an Imaginary Film, is featured on Cameron Carpenter's forthcoming CD If You Could Read My Mind (Sony Classical). Although conceived for Carpenter's new International Touring Organ (built for him by Marshall & Ogletree), the work has been edited to make it playable on any reasonably flexible three-manual organ.

Scales for Viola : Scales and scale studies for the viola

This is a scale book of unprecedented scope. Simon Fischer has developed an entirely new method in which, using the traditional ways of practising scales only as a point of departure, he focuses on numerous often-neglected aspects of the violist’stechnique. For every element he has designed exercises that sensitize the ear, stimulate the mind and build the playing apparatus of the violist.

Chorale

Chorale, by Ola Gjeilo, was recorded in one take, with no preparation or preconceived thoughts other than an idea to improvise a piece that was a pure expression of what Gjeilo felt in thatparticular moment which turned out to be something very slow, warm and introspective.Chorale is from Gjeilo's album Piano Improvisations which is the follow-up to Ola Gjeilo’s 2007 debut, StoneRose.Chorale is a quiet meditation that gently soothes as it allows the mind to wander.

Silence! Singers at Work : A singer's sketchbook

Silence! Singers at Work is a wry collection of drawings about the everyday experiences of singers. Anyone who sings, or has sung, whether on the world’s greatest opera stages or in the local choir, will instantly relate to the illustrations. Internationally-acclaimed opera singer and recitalist Joyce DiDonato has collaborated with the author on the drawings and has written a preface to the book. Silence! Singers at Work makes a perfect gift for anyone who is, or who knows, a singer.

Hands Across the Darkness

This work was commissioned by the Hanover Girls’ Choir in 2014, a year marking not only the centenary of the Great War (1914–1918) but also the 300th anniversary of the Hanoverian Succession to the throne of Englandupon the death of Queen Anne in 1714. While the latter circumstance prompted a desire for a work reflecting upon friendship and unity, faint but abiding resonances of the former suggested that the theme might be viewed in moreuniversal terms, especially since the music was commissioned with a view to collaborative harmony between distinguished German and English performers. It was with this in mind that Charles Bennett provided his libretto whichgoingyet further afield, listens to the still, small voice of peace and humanity as it insistently reaches us from the oppressed of any time and place.

Solfeggio (Solfeggietto) Wq 117/2 / H220 : c-Moll, C minor, ut mineur

C.P.E. Bach’s Solfeggio (also commonly known as Solfeggietto) provides a thrilling sprint for the fingers around the keyboard in 60 seconds of pure musical energy. The title, referring to the solfège exercises commonly given to singers, indicates a piece that is designed to develop technique. But the panache with which Bach flies through the scales and arpeggios of this piece make it both a satisfying and highly-effective practice piece as well as a reliable concert showstopper for pianists moving past the first stages of learning. This new Urtext edition has been produced by the internationally renowned C.P.E. Bach expert Wolfram Enßlin and brings together the highest level of musicology with a beautifully prepared and practical edition. Contains a preface and critical commentary in German, English and French. • New Urtext edition of C.P.E Bach’s famous and popular Solfeggio • Edited by international C.P.E. Bach scholar Wolfram Enßlin • Contains Preface and Critical Commentary in German, English and French • Medium difficulty makes this a perfect study piece for advancing students

Jubilate Deo

This setting was commissioned early in 2023 for the Choir of the Chapels Royal, H.M. Tower of London, as part of a service celebrating the Coronation of H.M. King Charles III. It was first performed by the Choir of the Chapels Royal conducted by its Director of Music, Colm Carey, with Christian Wilson, organist. On the day following the Coronation, the filmed service was broadcast online throughout the Commonwealth. My brief was to create something which, while outgoing and energetic, could be prepared by a professional choir in relatively short rehearsal time, therefore lending itself to regular subsequent performance at Matins services. The music offsets its simple 3/4 time signature with intermittent dancing cross-rhythms in 6/8. In the interests of brevity, most of it is chorally homophonic, moving verbally and rhythmically in lockstep and only occasionally diversifying into brief flurries of imitative counterpoint. I was, however, encouraged by Colm Carey to write with an organist of international virtuoso standing in mind. The result represents the best accommodation I could make between Christian Wilsonʼs brilliance and that aforementioned hope of regular performances. Francis Pott, 2024

Six String Quartets Op.33 Hob.III

Introducing his new player-friendly edition of the Haydn Quartets, Simon Rowland-Jones writes: 'There can be no such thing as a final, perfect version; Haydn left too many questions open.' The new Peters Edition isfounded upon this honest assessment. By heightening our awareness of the questions that remain 'open', this edition liberates the interpretative inspiration of performers as never before. As a result, the new edition is likely tobecome indispensable for all who perform or study these masterpieces. Each volume includes: Full Score – included with the parts for the first time – invaluable for performancepreparationFold-out Pages – as required in the separate parts, eliminating all page-turns within movements Guidance for Performers – as well as giving historical background to the quartets, theprefaces to each volume contain a treasure trove of information about all aspects of performance practice Critical Commentary – in the extensive Critical Commentary to each volume the most authoritative earlysources for Haydn's quartets are carefully evaluated and full details of their variant readings given for comparison. Naturally, the composer's autograph, where extant, assumes pre-eminence, but alternative primarysources are also considered, and secondary sources drawn upon where appropriate.

The 6 String Quartets Op.64

Introducing his new player-friendly edition of the Haydn Quartets, Simon Rowland-Jones writes: 'There can be no such thing as a final, perfect version; Haydn left too many questions open.'The new Peters Edition isfounded upon this honest assessment. By heightening our awareness of the questions that remain 'open', this edition liberates the interpretative inspiration of performers as never before. As a result, the new edition is likely tobecome indispensable for all who perform or study these masterpieces.Each volume includes:Full Score – included with the parts for the first time – invaluable forperformancepreparationFold-out Pages – as required in the separate parts, eliminating all page-turns within movementsGuidance for Performers – as well as giving historical background to the quartets,the prefaces to each volume contain a treasure trove of information about all aspects of performance practiceCritical Commentary – in the extensive Critical Commentary to each volume the most authoritative earlysources for Haydn's quartets are carefully evaluated and full details of their variant readings given for comparison.Naturally, the composer's autograph, where extant, assumes pre-eminence, but alternative primarysources are also considered, and secondary sources drawn upon where appropriate.

Grieg: A Piano Treasury

Grieg: A Piano Treasury is the perfect introduction to Edvard Grieg’s piano repertoire. This beautiful collection features easy to intermediate level original piano pieces as well as arrangements of some of Grieg’s best-known melodies. The preface contains detailed commentary on all the works and is accompanied by photographs, providing a fascinating overview of Grieg’s life and musical work. This collector’s edition was produced in association with Kode, an association of four art museums and three composers’ homes in and around Bergen, including Grieg’s home, Troldhaugen. The book includes an introduction by Christian Grøvlen, Director of Music and of the Grieg House, Kode. Grieg: Musikalische Kostbarkeiten für Klavier Diese wunderschöne Sammlung ist der perfekte Einstieg in Griegs Klavierrepertoire. Enthalten sind leichte bis mittelschwere Originalkompositionen sowie Klavierbearbeitungen einiger seiner bekanntesten Melodien. Das Vorwort enthält ausführliche, mit Fotografien bebilderte Werkbeschreibungen und bietet einen faszinierenden Einblick in Griegs Leben und sein musikalisches Schaffen. Sonderausgabe in Verbindung mit Kode, dem Museumsverband aus vier Kunstmuseen und drei Komponistenhäusern in Bergen und Umgebung, einschließlich Griegs Wohnsitz Troldhaugen. Mit einer Einführung von Christian Grøvlen, Musikalischer Leiter und Direktor des Grieghauses, Kode.

Six String Quartets Op.20 Hob.III

Introducing his new player-friendly edition of the Haydn Quartets, Simon Rowland-Jones writes: 'There can be no such thing as a final, perfect version; Haydn left too many questions open.' The new Peters Edition isfounded upon this honest assessment. By heightening our awareness of the questions that remain 'open', this edition liberates the interpretative inspiration of performers as never before. As a result, the new edition is likely tobecome indispensable for all who perform or study these masterpieces. Each volume includes: Full Score – included with the parts for the first time – invaluable for performancepreparationFold-out Pages – as required in the separate parts, eliminating all page-turns within movements Guidance for Performers – as well as giving historical background to the quartets, theprefaces to each volume contain a treasure trove of information about all aspects of performance practice Critical Commentary – in the extensive Critical Commentary to each volume the most authoritative earlysources for Haydn's quartets are carefully evaluated and full details of their variant readings given for comparison. Naturally, the composer's autograph, where extant, assumes pre-eminence, but alternative primarysources are also considered, and secondary sources drawn upon where appropriate.

The 6 String Quartets Op.76

Introducting his new player-friendly edition of the Haydn Quartets, Simon Rowland-Jones writes: 'There can be no such thing as a final, perfect version; Haydn left too many questions open.'The new Peters Edition isfounded upon this honest assessment. By heightening our awareness of the questions that remain 'open', this edition liberates the interpretative inspiration of performers as never before. As a result, the new edition is likely tobecome indispensable for all who perform or study these masterpieces.Each volume includes: Full Score - included with the parts for the first time - invaluable forperformancepreparationFold-out Pages - as required in the separate parts, eliminating all page-turns within movements Guidance for Performers - as well as giving historical background to the quartets, the prefaces to eachvolume contain a treasure trove of information about all aspects of performance practice Critical Commentary - in the extensive Critical Commentary to each volume the most authoritative early sources for Haydn's quartetsare carefully evaluated and full details of their variant readings given for comparison. Naturally, the composer's autograph, where extant, assumes pre-eminence, but alternative primary sources are also considered,and secondary sources drawn upon where appropriate. The Publishers and Editors gratefully acknowledge the generous support for editorial research given by the Radcliffe Trust, the Arts and Humanities Research Board, the RoyalCollege of Music and the Royal Northern College of Music.

My Song is Love Unknown

Francis Pott’s My song is love unknown sets all of Samuel Crossman’s famous verses but one (commonly omitted when the poem is sung metrically as a hymn). The music begins with offbeat repeatedchords prompted—not inappropriately—by the opening to Richard Strauss’s tone poem, Death and transfiguration. In its early stages only trebles and altos are heard. The sequential flow ofCrossman’s poem is soon disrupted with particular dramatic ends in mind. After a seemingly anxious harmonic distortion of the opening chords, the word ‘crucify’ arises initially as a mere mutter from thelowervoices, so timed as to afford assonance with other words in the upper parts and thus remain barely discernible, as if only imagined. In due course, however, cries of ‘Hosanna’ find themselves on a collision coursewith a rising tide of ‘Crucify’, during which the ‘Hosanna’ faction gradually loses heart and, sheep-like, defects until a single treble voice—plaintively daring to repeat the ‘offending’word—is swept aside by a murderous outcry. In due course ‘Crucify’ recurs as a further angry climax before the opening music returns, this time expanding into an extended polyphonic final section for double choirand SATB soloists. The principal climax of the work subsides into a form of epilogue, crowned sorrowfully by a treble soloist to whom the music in toto has by now presented many challenges. The anthem ends in the key and mood ofits opening. The character of its demanding organ part reflects the possibility that it may one day be orchestrated.   My song is love unknown was composed in memory of Michael Renton, a craftsmanand largely self-taught ‘Renaissance’ man who was not only a member of the Winchester cathedral congregation but also the cathedral’s stonemason. He was beloved of many in the Cathedral community; a true and