Patrick Marcland: Alto-Solo I

Alto-Solo I by Patrick Marcland for solo Viola.

Johann Strauss I: Radetzky March (Easy Piano No.36)

Arranged for Easy Piano Originally Composed By Johann Strauss I.

Michael Nyman: I Sonetti Lussuriosi (Parts)

I Sonetti Lussuriosi is a collection of pieces by world-renowned composer Michael Nyman . This work is a setting of 8 pieces of erotic poetry by Italian poet Pietro Aretino. These are the Parts of this work, including Violin I, Violin II, Viola, Cello and Piano. I Sonetti Lussuriosi  was inspired by Renaissance engravings of couples engaged in sexual intercourse, which caused outrage among authorities at the time. At the world premiere of Nyman 's work, Marie Angel voiced both the male and female characters, with the Orchestra di Santa Cecilia, conducted by Michael Nyman  himself.

Malashkin: Oh Could I But Express In Song (Low Voice)

'Oh Could I But Express In Song' arranged for low voice.

Helen Grime: Lullay, Lullow - I Saw A Sweete Seemly Sight

Helen Grime wrote this Christmas carol for the Hallé Youth Choir to sing at the close of 2013. The words are from an anonymous medieval cradle song. Grime said of the piece: ?I haven?t written much choral music before, so it?s really exciting for me. And I know they?re an absolutely fabulous choir. I wanted to write something quite simple in structure and clear in meaning.?

Brian Elias: Once Did I Breathe Another's Breath

Once Did I Breathe Another's Breath was commissioned for the 2013 Ludlow Weekend of English Song with funds provided by Finzi Friends and specifically Ernie Kay, Brian & Mary Midgley and Adrian & Norma Williams.The first performance of Once Did I Breathe Another's Breath was given by Ashley Riches and Iain Burnside on 31st May 2013 at the Ludlow Weekend of English Song in Ludlow Assembly Rooms.

Helen Grime: Lullay, Lullow - I Saw A Sweete Seemly Sight (Vocal Score)

Helen Grime wrote this Christmas carol for the Hallé Youth Choir to sing at the close of 2013. The words are from an anonymous medieval cradle song. Grime said of the piece: ?I haven?t written much choral music before, so it?s really exciting for me. And I know they?re an absolutely fabulous choir. I wanted to write something quite simple in structure and clear in meaning.?

Michael Nyman: I Sonetti Lussuriosi (Full Score)

I Sonetti Lussuriosi is a collection of pieces by world-renowned composer Michael Nyman . This work is a setting of 8 pieces of erotic poetry by Italian poet Pietro Aretino. This is the Full Score and is arranged for Voice and Piano Quintet. I Sonetti Lussuriosi  was inspired by Renaissance engravings of couples engaged in sexual intercourse, which caused outrage among authorities at the time. At the world premiere of Nyman 's work, Marie Angel voiced both the male and female characters, with the Orchestra di Santa Cecilia, conducted by Michael Nyman  himself.

Lennox Berkeley – I Carry Your Heart With Me

Lennox Berkeley 's I Carry Your Heart With Me for medium Voice and Piano. ' Sometime in 1970 I gave Lennox Berkeley a volume of poems by the American poet E. E. Cummings (1894-1962) since my sister Meriel Dickinson and I were commissioning him towrite a song-cycle for a whole programme of settings of Cummings. At the time he became involved with Chinese poetry and we were delighted with the Chinese Songs, Op. 78. However, a year or so later, in July 1972, Berkeley did set a poem by Cummings. This was ‘i carry your heart with me’ from 95 Poems (1958) and he dedicated the song to the countertenorTay Cheng Jim. The manuscript leaves few questions. Obviously the pedal sustains the sextuplet and triplet groups at the start and finish. It is possible that all the As in bar 32 of the left hand piano part should be flat, although there are clashes like this elsewhere. A few phrase-marks have been added on existing patterns. ' - Peter Dickinson

Michael Nyman: I Sonetti Lussuriosi (Vocal Score)

I Sonetti Lussuriosi is a collection of pieces by world-renowned composer Michael Nyman . This work is a setting of 8 pieces of erotic poetry by Italian poet Pietro Aretino. This is the Vocal Score which can be used for either the Piano Quintet or Orchestra version. I Sonetti Lussuriosi  was inspired by Renaissance engravings of couples engaged in sexual intercourse, which caused outrage among authorities at the time. At the world premiere of Nyman 's work, Marie Angel voiced both the male and female characters, with the Orchestra di Santa Cecilia, conducted by Michael Nyman  himself.

Judith Weir: I Love All Beauteous Things

Celebrate HM The Queen's 90th Birthday with your choir Sing Judith Weir’s special new choral piece I Love All Beauteous Things Master of the Queen’s Music, Judith Weir , has been commissioned by St Paul’s Cathedral in London to write a piece for SATB choir and organ in celebration of HM The Queen’s 90th birthday in 2016. The piece is now available from Chester Music, so that choirs all over the world can join in with the festivities. Churches and other local organisations are planning events on Sunday 12th June and many may want to include this approachable setting of Robert Bridges’ poem. Directed by Andrew Carwood, the St Paul’s Cathedral Choir will perform I love all beauteous things as part of the National Service of Thanksgiving which will take place on at 11am on 10 June in the presence of HM The Queen and HRH The Duke of Edinburgh. At the service the Archbishop of Canterbury will give the address and the Prime Minister will read a lesson. The event will be televised live on BBC1. Judith Weir comments: "It is a particular honour to contribute new music for this great occasion, and a pleasure to write a choral version of Robert Bridges’ beautiful verse." Preview the score here Download the digital sheet music here COMPOSER’S NOTE At the suggestion of Michael Hampel, Precentor of St Paul’s Cathedral, I have set words by Robert Bridges, who was Poet Laureate from 1913–1930. Bridges was an outstanding humanitarian and writer, whose poetry has inspired me before in The Voice of Desire, a song-cycle for mezzo-soprano and piano. This short, fast-tempo setting aims to emulate the swift, fleet-footed rhyme and metre of the two-verse poem, with its unobtrusive but telling reference to ‘man in his hasty days’. J.W. Commissioned by the Chapter of St Paul’s Cathedral to mark the 90th birthday of HM The Queen, generously supported by the Boltini Trust.Performed at the National Service of Thanksgiving for HM The Queen’s birthday at St Paul’s Cathedral, London, on Friday 10th June 2016in the presence of HM The Queen and HRH The Duke of Edinburgh. Music by Judith Weir, Master of the Queen’s Music, words by Robert Bridges, Poet Laureate in the year HM The Queen was born. Duration c. 3½ minutes I LOVE ALL BEAUTEOUS THINGS words by Robert Bridges OM (1844–1930) Poet Laureate 1913–30 I love all beauteous things, I seek and adore them; God hath no better praise, And man in his hasty days Is honoured for them. I too will something make And joy in the making; Altho’ to-morrow it seem Like the empty words of a dream Remembered on waking. (I love all beauteous things, etc…)

Judith Weir: Truly I Tell You

The Vocal Score for Judith Weir 's Truly I Tell You , a setting of three different Biblical passages, from Psalms and Mark's gospel. This work was first performed by the Choir of Westminster Abbey at the Commonwealth Day Observance on the 9th of March 2015. It is arranged for SSATB Chorus and Organ. Truly I Tell You is a setting of Psalms 8: 4-10 and 34: 1-4 and Mark 10: 15. The thread that marries these three texts together is the comparison between man and the name of God, the literal exposition of the word of God (working beautifully within the context of such a brilliantly-composed piece of music), and the hopeful entering of God's kingdom in general. In the December 2015 edition of RSCM Church Music Quarterly Magazine, the reviewer states that this piece is "highly recommended" and is a "useful church anthem that is not too difficult". Judith Weir is a British composer whose music often draws influence from her many extra-musical interests, such as medieval history and Scottish traditional music. In 2005, Weir received a CBE for her services to music, and in 2014, she was appointed the Master of the Queen's Music, becoming the first female holder of a post which dates back to 1626.

Judith Weir: I Broke Off A Golden Branch (Score)

This work was commissioned by the Schubert Ensemble, and first performed by them on 5th July 1992 as part of the Cheltenham International Festival. The words "I broke off a golden branch" come from a Croatian folksong, which is very obliquely referred to in the second of the work's two movements. Scored for Violin, Viola, Cello, Double Bass and Piano. Score and Parts available together: CH60298

John Tavener: Mother Of God Here I Stand (Score and Parts)

John Tavener's Mother Of God Here I Stand, taken from Veil of the Temple and arranged for String Orchestra. ommissioned by the Temple Music Trustfor Premiere in The Temple Church, London. This version contains conductor's score and full set of parts (8x Violin 1, 8x Violin 2, 5x Viola, 5x Cello, 5x Double Bass).

Judith Weir: I Give You The End Of A Golden String (Study Score)

I Give You The End Of A Golden String was commissioned in 2013, by the Royal Philharmonic Society/Britten-Pears Foundation, to celebrate the centenary of the birth of Benjamin Brittenand the bicentenary of the foundation of the Royal Philharmonic Society. The piece was first performed on 8th June 2013 by the Britten Sinfonia conducted by Ryan Wigglesworth. 'My aim when I began this piece was to create a long length of string music out of a single strand of melody.While experimenting at the beginning, shaping and extending a melody in many possible directions, I cameacross William Blake’s lines… I give you the end of a golden string; Only wind it into a ball, It will lead you in at Heaven’s gate, Built in Jerusalem’s wall …and this became my working method, winding a single tune around itself so that it gradually formed itselfinto a much richer, more complex texture. The process happens three times, producing the equivalent of acontinuous three-movement concerto.The ‘first movement’ is engendered by two solo violas (the melody at the beginning already entwined witha slightly alternative version of itself). The ‘slow movement’ (a more extended, more decorated developmentof the opening tune) is introduced by a solo cello (soon winding itself into a quartet of celli). The fast ‘finale’,led by two solo violins, focuses on decorations within the melody, rolling out ribbons of (Britten-like?) thirds.' - Judith Weir Suggested minimum strings: 8.6.4.4.2 players

Judith Weir: I Broke Off A Golden Branch (Score And Parts)

This work was commissioned by the Schubert Ensemble, and first performed by them on 5th July 1992 as part of the Cheltenham International Festival. The words "I broke off a golden branch" come from a Croatian folksong, which is very obliquely referred to in the second of the work's two movements. Scored for Violin, Viola, Cello, Double Bass and Piano. Duration: c.15 minutes.

Thinking I Hear Thee Call

Thinking I Hear Thee Call by Cheryl Frances-Hoad is inspired by the life of Florence Attridge, an Essex woman who, whilst working at the Marconi factory in Chelmsford during WWII, helped to make secret radio sets for spies. In this piece for soprano, speaker and electronics, we hear Florence recount her experiences, whilst, in another, secret location, in another time, a spy goes through the radio's (complicated!) set up instructions one last time before going on their first reconnaissance mission. The electronic element takes sounds that are associated with Florence's life and the history of Marconi, including morse code and "Absent", the first song to be broadcast from the factory. The text for Florence's part was written by Frances M Lynch based on research by Patricia Fara, and the speakers text comes from the official manual for the British Type 3 Mark II Spy Radio. Watch the video The performers from electric voice theater are:- Frances M Lynch - Soprano (Florence Attridge) Margaret Cameron - Speaker (Spy). The performers recorded their parts individually in their homes and the final work was combined with the composer's electronic track and produced by Frances M Lynch & Herbie Clarke at Birnam Studios, London. The work was commissioned by electric voice theater and first performed online during the Covid-19 Pandemic, Aug 24th 2020 as part of the 'Echoes from Essex'. The project was supported by the Arts Council Emergency Response Fund (National Lottery).

P. Tortelier: How I Play, How I Teach

A cello method by the celebrated French cellist, including many photographs and musical examples.

Kaleidoscope: (Everything I Do) I Do It For You

Kaleidoscope will save you time! Do you spend hours arranging music for odd assortments of instruments? Kaleidoscope is specially arranged to suit almost any instrumental combination and these varied ensembles are easy and enjoyable too. So much scope for virtually any combination of instruments!The series is successful with recorders, guitars, percussion and keyboard as well as with orchestral groupings. Whether there are five or fifty players, every Kaleidoscope title will work! Just make sure that melody and keyboard parts are included - all other parts are optional. Kaleidoscope is superb value for money - each set contains a score plus a photocopyable parts book, with each one carefully written to suit the needs of each instrument. Make as many or as few copies as you need! For example, easy string parts are in first position only whilst easy clarinet parts take care to avoid the break. There are more demanding parts too, for experienced players. To help you choose the right pieces for your players we have given the key of each Kaleidoscope in brackets. The complete performance option! These super-flexible arrangements of well-known titles are a must for every school. Why not choose a theme for your concert and perform a selection of Kaleidoscope show titles and film themes or have an evening of classical favourites. Arranged by Nicholas Hare. In C.

John Tavener: Mother Of God, Here I Stand (SATB/Organ)

Written for SATB choir and Organ.The Veil of the Temple was commissioned by the Temple Music Trust. The world premiere took place on 27th June 2003 at the Temple Church, London, performed by the Choir of the Temple Church and the Holst Singers, with Patricia Rozario (soprano), conducted by Stephen Layton, as part of The City of London Festival, 2003.The anthem Mother of God, here I stand was sponsored by the Toulmin Family, and it is dedicated to the Choir of the Temple Church, its Director of Music, Stephen Layton, and the Master of the Temple, the Rev. Robin Griffith-Jones. It was first performed on 13th May 2004, by the Choir of the Temple Church conducted by Stephen Layton.

I Can Read Music

The simplest introduction to learning to read music. This book looks at basic musical theory - note names, signs and symbols, what they look like and what they mean.No musical knowledge is needed - ideal for children starting to learn to sing or play an instrument.

I Saw a Peacock

Szymanski Through Loking Glass I Sc

Classroom Pops! I Dreamed A Dream

Classroom Pops!Classroom Pops! is a highly effective, flexible new collection of classroom songs for children, each complete with a lesson plan and backing track CD. Designed to involve the whole classroom and suitable for both class teachers and music specialists alike, this new series is an exciting, user-friendly approach to getting children singing!Lesson PlanEach Classroom Pops! song has been specially arranged for children's voices by Jane Sebba and Joanna Mangona, and includes a lesson plan that can be followed over several sessions. Also included are rhythm games, vocal warm-ups and step-by-step guidance on how to teach the song. Ideas for continuation work are also included, allowing the teacher to craft a rounded lesson plan.Accompaniment and SupportClassroom Pops! allows the teacher to formulate interesting and engaging classroom singing lessons without the necessity to read music. The accompanying CD includes backing and performance tracks as well as ideas for class percussion. However, a complete PVG score is printed for Piano players and music readers. Downloadable instrumental parts in C, B flat and E flat are also available should teachers wish to include instrumental work in their sessions.

How May I Call My Love?