(Lennon & McCartney) (F) Edited by Nicholas Hare. Kaleidoscope will save you time! Do you spend hours arranging music for odd assortments of instruments? Kaleidoscope is specially arranged to suit almost any instrumentalcombination 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 orchestralgroupings. 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 setcontains a score plus around 50 parts each one carefully written to suit the needs of each instrument. For example easy string parts are in first position only whilst easy clarinet parts take care to avoid the break. There aremore 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 ofwell-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. And don’t forget we haveKaleidoscope bumper carol packs and seasonal gems for your Christmas Concert too!

In Circles - 16 Imaginary Dances for 18 Players (2010). Parts are available on hire: hire@ewh.dk Instr.: FluteOboeClarinet in BbBass ClarinetBassoonHorn2 Trumpets In BbTenor-Bassposaune2 PercussionistsPiano2 ViolinsViola2 CellosDouble Bass Programme note About five years ago the Ensemble Modern commissioned a composition giving me relatively free rein over instrumentation duration and completion date. I was very excited about the opportunity and eager to start work but first I had to finish asymphony and a cello concerto. However when I wanted to begin writing the piece for Frankfurt inspiration became silent and remained silent for the next three years apart from the two works for chamber orchestra: I experienced my first writer’s block. This was not my first commission but the first time that I was seriously worried about a piece and started thinking about the commissioning ensemble and its expectations. If anything I held the Ensemble Modern in too high esteem. The ensemble is notorious for being a group of all-rounders who have already seen and done everything. However it was simply time for me to challenge my self-belief as composer and to search out what kind of composer I really am. Whatever the true reason was I still didn’t get anything down on paper. Nothing would gel. In 2008 a stipend from a New York foundation led me to an Italian lavender-castle from the 15th century far away from everything else deep in Umbria. The deadline for my first opera moved dangerously closer but was barely started. The next commission for an orchestra was also waiting in addition to the piece for EM: only empty sheets.  When I came home six weeks later though I hadn’t finished anything the spell was broken. Behind the massive walls drafts had been created for what within the

Per Nørgård's Bach to the Future (reduced version) for two Percussion soloists and ten instruments (2010).Commissioned by and dedicated to Safri Duo. A Concerto in three movements based on Preludes by J.S. Bach for Percussion Duo and Orchestra. Reduced version 2010 by Steve Ferre approved by the composer for Percussion Duo (unchanged) and ten instruments (5 woodwind 5 strings)1 Flute dbl. Piccolo and Alto Flute in G1 Oboe dbl. Cor Anglaid in FY1 Clarinet in Bb dbl. Bass Clarinet in Bb1 Bassoon1 Horn in F1 Violin 11 Violin 21 Viola1 Cello1 DoubleBassThe score is written in C Original version for Percussion Duo and Orchestra: KP00615