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West: As Amoret With Phillis Sat SATB

West 'As Amoret With Phillis Sat' arranged for mixed voice choir SATB.

Lefanu: Same Day Dawns (Study Score)

Robert Walker: In The Bleak Mid-winter

A modern a cappella setting of Christina Rosetti's words as used in the ever-popular carol. Written for the choir of Grimsby Parish Church for the Christmas of 1972. Newly engraved.

Herbert Howells: Holy Spirit Ever (Hymn)

For SATB and Organ.

The Novello Book Of Music For Lent & Easter

The Novello Book Of Music For Lent & Easter is an exciting collection of Lent and Easter music for mixed-voice choirs, from the easy to learn to the more challenging and unconventional./A book of anthems, hymn arrangements, and other pieces covering the period from Ash Wednesday to Easter, including music for Palm Sunday, Holy Week, Maundy Thursday, Good Friday and Easter Day. The book is in the same style as the successful Noel! series, with the same balance of new and familiar pieces to ensure it appeals to the greatest possible choral market.Mixed-voice choirs of all levels will enjoy these new arrangements of favourite Hymns as well as stimulating original works for the Easter season.

Samuel Wesley: Thou Art A Priest For Ever

For SAATTB Choir and Organ. Edited J. Varley Roberts.

Robert Walker: As The Apple Tree

For SATB Choir and Organ.

Tarik O'Regan: Tal Vez Tenemos Tiempo (Maybe We Have Time)

Written for SATB choir.Maybe we have time was commissioned by Conspirare and Craig Hella Johnson for their September 2007 concert series in Texas. It sets a poem of the same name by Chilean poet Pablo Neruda (1904-1973), which was initially suggested to me by Craig Hella Johnson in an excellent translation by Alastair Reid. As Reid eloquently puts it, however, ?English and Spanishmove very differently, like streams that run in quite separate courses?. With this in mind I decided to look at Neruda?s original language and found a musicality there that no English translation could possibly capture. As Reidhimself acknowledges, he can only offer his translation ?as a homage to the original?.

Jonathan Varcoe: As I In Hoary Winter's Night

For SATB Choir and Chamber Ensemble.

Antonio Vivaldi: Gloria in D RV.589 (Cameron ed.) - Full Score

Few baroque composers were ever able to create work as sunny, as joyous as Vivaldi did in this beloved Gloria. The contrast of mood throughout the work as it moves through the drama of the Mass to its satisfying double final movement shows the composer at the height of his powers.Vivaldi composed this work in Venice in about 1715, during his fruitful time at the Ospedale della Pietà. In his lifetime this priest, composer and virtuoso Violinist achieved enormous musical success. Considering his great popularity in the modern era, it is difficult to believe that public appreciation of his work declined after his death and that the Gloria languished undiscovered for centuries. It wasn’t until 1957 that the restored work was heard again in its entirety. Since that time, this moving and joyous Gloria has been recorded more than one hundred times and perennially appears on concert series around the world.

Carl Rutti: I Wonder As I Wander (SATB/Organ)

Rütti's increasingly popular contemporary arrangement of this traditional carol, dedicated to Stephen Jackson and the Wooburn Singers.

Henry Purcell: Four Pieces From Abdelazer For Organ

Henry Purcell (1659-1695) held numerous appointments at the Royal Court and Westminster Abbey, and is considered by many to be the greatest ever English-born composer. His prolific work covered all fields: orchestral, ecclesiastical, operatic, theatrical, incidental, and chamber music were all enriched by his output. Abdelazer , also known as The Moor's Revenge , was a 1676 play. Purcell later composed incidental music for a revival of it in the 1690s. He wrote ten movements in total, the most famous of which was later used as the theme for Britten's Young Person's Guide to the Orchestra . Four of these have been arranged here for Organ by Desmond Ratcliffe.

Tarik O?Regan: Alice Changes

Alice Changes , by Tarik O'Regan , is a short piece for solo Violin, composed for Thomas Gould. The work progresses through a series of increasingly intricate figurations, which sit on top of the same underlying chord progression found in Charlie Parker?s Blues for Alice (1951). A variation of the twelve-bar blues, this harmonic sequence goes by several names, such as: ?Bird blues?, ?Bird changes?, or ?Alice changes? . Thomas Gould premiered Alice Changes at Ronnie Scott?s Jazz Club in London on 30 March, 2014.

The Novello Book Of Classic Anthems

The Novello Book of Classic Anthems brings together some of the finest sacred choruses ever written. The collection includes miniature gems, including Edward Elgar?s Ave verum corpus , Henry Purcell?s Thou knowest, Lord, the secrets of our hearts , and Thomas Attwood?s Come, Holy Ghost , and established choral favourites such as Handel?s Hallelujah Chorus , Henry Balfour Gardiner?s Evening Hymn and Samuel Sebastian Wesley?s Blessed be the God and Father . It also covers a number of dramatic extended anthems, suitable for both church choirs and choral societies, such as Edward Naylor?s Vox dicentis: clama , John Stainer?s I saw the Lord and Wesley?s Ascribe unto the Lord , and twentieth-century classics such as William Harris?s Bring us, O Lord God , Patrick Hadley?s My beloved spake , and Edgar Bainton?s And I saw a new heaven . All the pieces have been re-engraved and some, such as Haydn?s The heavens are telling and Brahms?s How lovely are thy dwellings , have newly arranged accompaniments, specifically designed for the Organ. This collection of nineteen anthems covers a wide range of moods and festivals, and offers a delightful concert programme in itself, as well as an essential addition to any choir?s library.

W.S. Lloyd Webber: Just As I Am, Thine Own To Be

For SATB Chorus.

Gladys Knight: Licence To Kill (SATB)

Gladys Knight: Licence To Kill is the theme song from the James Bond film of the same name. This powerful piece is perfect for any Choral group.Gladys Knight: Licence To Kill has been beautifully arranged by Thomas Lydon for S.A.T.B Choir and Piano.

Percy E. Fletcher: Fountain Reverie For Organ

The Fountain Reverie features soft, rippling arpeggios with a contrasting middle section. As with the Festival Toccata, published at the same time, the brilliance of Fountain Reverie disguises the fact that one does not need to be a virtuoso to play it well and effectively, and it plays well on many different Organs.Percy Fletcher was an English composer, conductor and Orchestrator of prodigious output who made his career in the lively world of the London music theatre of the years of the late 19th and early 20th century. He was music director at many theatres, including His Majesty’s Theatre for the last seventeen years of his life. He was the Orchestrator and conductor for the big budget spectacular theatre piece Chu Chin Chow which ran for five years, a record that remained unbroken for forty years. In addition to his myriad works of light music, Fletcher also wrote a serious church cantata, The Passion of Christ, as well as the delightful children’s work, The Walrus and the Carpenter.

Thomas Attwood: Come, Holy Ghost (New Engraving)

A new engraving of Thomas Attwood's delightful miniature, Come Holy Ghost, this piece is suitable for Whitsundtide or for general use. Thomas Attwood (1765-1838) is perhaps best known as the composer of such charming miniatures as Come, Holy Ghost, which is in essence a simple, threeverse hymn. Its elegant melody, first sung by soprano, then by a chorus (or quartet and chorus) is reminiscent of Mozart?s delicate masterpiece, Ave verum corpus.This is perhaps unsurprising ?Attwood took composition lessons from Mozart in Vienna, and one of his contemporaries quotes Mozart as saying: ?He partakes more of my style than any scholar I ever had; and I predict, that he will prove a sound musician.? Attwood worked closely with the royal family throughout his life. He taught music to the Prince of Wales, was appointed composer and eventually organist to the Chapel Royal, and organist at St Paul?s Cathedral (he is buried under the organ there). He wrote the anthem I was glad for the coronation of King George IV.

Kenneth Leighton: Seven Variations For String Quartet Op.43 (Score)

Parts available (NOV120161-01). This work was written during the spring of 1964, and was commissioned by the artist, Maurice de Sausmarez, in memory of his mother, Jessie Rose de Sausmarez. The first performance took place in London during the same year. The work is a kind of epitaph or memorial and each movement tries to express a different aspect of grief culminating in a more extended elegiac fugue. All seven variations are based on a single series of notes, and the series is used both thematically and as a structural basis. There is therefore no 'theme' in the traditional sense, and in this respect the work follows the practice of many modern essays in variation form.

Kenneth Leighton: Seven Variations For String Quartet Op.43 (Parts)

Score available (NOV120161).This work was written during the spring of 1964, and was commissioned by the artist, Maurice de Sausmarez, in memory of his mother, Jessie Rose de Sausmarez. The first performance took place in London during the same year. The work is a kind of epitaph or memorial and each movement tries to express a different aspect of grief culminating in a more extended elegiac fugue. All seven variations are based on a single series of notes, and the series is used both thematically and as a structural basis. There is therefore no 'theme' in the traditional sense, and in this respect the work follows the practice of many modern essays in variation form.

George Dyson: Symphony In G (Study Score)

The Symphony In G for Full Orchestra was written in 1937, and first published in 1940. Lasting around 43 minutes, it is often compared to Moeran’s Symphony of the same year, as the two works are stylistically very similar. George Dyson (1883-1964) was a British composer, organist and music teacher. He studied at the Royal College of Music under Charles Stanford, and became a teacher at various public schools. He later became the Director of the RCM, ensuring it stayed open during the Second World War. He is probably best remembered nowadays for his Anglican church music, especially his settings of the canticles, but he also wrote a substantial amount of instrumental and secular choral music.

John Joubert: Tristia Op 118 (Score and Parts)

Tristia is a song-cycle to words by Osip Mandelstam, one of the founding members of the so-called Acmeist school of Russian poetry - a movement which has much in common with both Symbolism and Imagism. As a Jewish dissident who had survived the Russian Revolution of 1917 and fallen foul of the subsequent Soviet regime, Mandelstam found it increasingly difficult to get either recognition or employment. In 1934 he was arrested for having written a satirical poem about Stalin. He perished four years later in a labour camp. Though he died in complete obscurity - nobody seems to know for certain the exact time or place of his death - his memory was kept alive by the courage and devotion of his wife Nadezhda whose book, Hope against Hope, is a moving chronicle of their last few years together.The five poems which make up the cycle are taken from the collection published in 1922 under the title, Tristia, a reference to the work of the same name by the exiled Latin poet, Ovid. The poems are set in English, but even in translation they convey the essence of Mandelstam's highly personal, associative style. As such they express the reactions of an alienated, sensitive and classically-educated outsider to the turbulent events he had so recently lived through.The five poems which make up the cycle are taken from the collection published in 1922 under the title, Tristia, a reference to the work of the same name by the exiled Latin poet, Ovid. The poems are set in English, but even in translation they convey the essence of Mandelstam's highly personal, associative style. As such they express the reactions of an alienated, sensitive and classically-educated outsider to the turbulent events he had so recently lived through.

Henry Purcell: Lord, How Long Wilt Thou Be Angry?

Henry Purcell (1659-1695) held numerous appointments at the Royal Court and Westminster Abbey, and is considered by many to be the greatest ever English-born composer. His prolific work covered all fields: orchestral, ecclesiastical, operatic, theatrical, incidental, and chamber music were all enriched by his output. Lord, How Long Wilt Thou Be Angry? (Z 25) was one of Purcell's earlier works. It was written soon after his appointment as Organist of Westminster Abbey in 1679, and was undoubtedly used there many times during his tenure. It takes extracts from Psalm 79 for the text. The music has influences of Byrd and Gibbons, but also shows how Purcell was beginning to develop his own distinctive style.

Ernest Walker: I Will Lift Up Mine Eyes (ATB And Organ)

Twentieth century musician Ernest Walker was more widely known as a writer on music, educator, pianist and accompanist than as a composer, though his, mainly Choral, output is respected. Walker eschewed sentimentality or theatrical show in his compositions. His conservative style had room for chromatic harmony, as in I Will Lift Up Mine Eyes.

John Joubert: String Quartet No.2 Op.91 (Parts)

Though conceived as four separate movements, my second string quartet has a single motif which is common to them all. This is the three-note "Muss es sein?" from Beethoven's last quartet, Op. 135. But whereas Beethoven's theme is notated G E A flat, thus giving it an F minor connotation, I have sued an alternative spelling - G E G sharp - which suggests an ambiguous E minor-major. This ambiguity, in fact, becomes the tonal basis of the whole work, only to be resolved at the end of the final movement.Each movement begins with a variant of the basic motif on the cello. The first has the original form of the theme, while the second has a "majorised" version which is also expressed as a chord. The third movement, with its "scherzoid" middle section, reverts to the major-minor ambiguity of the first, and the finale begins with the "majorised" version as an ostinato accompaniment on pizzicato cello.The slow movement is sub-titled "In memoriam DSCH" and concludes with a quotation of Shostakovich's motto - D E flat C B - which is basically the same as Beethoven's with the addition of one note.This is not to imply that the work contains no other thematic material. One important theme, a rising fifth and a second, is also common to three of the movements, and is ultimately derived from my first quartet, Op. 1 of 27 years earlier, to which this second contribution to the form is in many ways like a sequel. Like the earlier work, too, this quartet is dedicated to my wife.