Free To Solo is a unique publication designed to be a fun play-along book for students who want to enjoy soloing freely instead of having to cope with too many scale changes. With interesting heads and long open sections the tunes encourage creativity over the inspiring contemporary material. Free to Solo is suitable for intermediate students seeking a challenge as well as more advanced players requiring additional material to explore.On the included CD there are 'minus one' tracks to play along with as well as complete performance versions of all the instruments in the series (Alto / Tenor sax Flute / Violin Clarinet Trumpet Guitar andTrombone) so that the reader can draw upon different interpretations of the improvised material.

Mimih was commissioned as part of a Residency with Künstler Bei Wu its first performance taking place on 24th June 2017 in the Chamber Music Hall of the Künstler Bei Wu Sculpture Park Wesenberg. The concert marked the inauguration of Bei Wu’s Indigenous Australian Art Gallery in collaboration with the Australia Now Festival and Australian Embassy. The Residency was supported by an Arts Council England/British Council International Development Grant. The work is dedicated with gratitude to David Ng and Peter Wilmot Thompson. Also available as a full score M570367655

Beethoven's String Trios complete Op.3; Op.9 Nos.1–3; Serenade Op.8; Serenade Op.25 composed for Violin Viola & Flute.

Pariser Quartette-Nouveaux Quatuors en Six Suites II for Flute Violin Viola da Gamba or Violoncello and Basso Continuo 'Paris Quartets'.Volume 2:Quartets 4-6 (B minor A major E minor) TWV 43: h2 A3 e4.Telemann’s chamber music is historically unique in its range of instrumental settings. From his huge output these new editions present the six quartets for Flute Violin Viola da Gamba or Violoncello and Basso Continuo that he wrote in Paris in the 1730s.Published with the title Nouveaux Quatuors en Six Suites by Le Clerc in Paris in 1738 these six pieces are suites with various sequences of movements each introduced by aprelude.Here Telemann shows himself committed to the French style. The works are of special interest not only for their high quality but also because of the variable scoring of the third part for Viola da Gamba or Violoncello.Our edition consists of a full score with preface (German/English) and separate instrumental parts including a Keyboard with figured bass.

'Verse 1' marks the beginning of a more ambitious and intense style of composition. The ideas are relatively simple and develop gradually in a cyclic fashion within a one movement sectional design. Progressively faster tempi leadto the main climax of the work near the end of the piece. Then a short coda leads to a very quiet ending and a return to the original tonal centre of C.Quoting composer:'In April 1975 I occupied a flat in Aldeburgh Suffolk near the seafront. As a member of the English Chamber Orchestra I had come to work for a week on a recording of Britten’s opera ‘Death in Venice’ so the real and suggested sound of the sea was in my ears so to speak for dayson end. A few weeks later when I started work on 'Verse 1' it became clear in the first few bars that I was recalling and suggesting the sea and the beach at Aldeburgh. I am not aware of any direct influence from Britten’smusic but I do however quote a small fragment from a theme to be found in a piano quartet by Mahler played early in the piece by the flute (bars 6 & 7).This work was awarded the First Prize in the Viotti InternationalCompetition for composers in Italy in 1975.

Serenade for Flute Violin and Viola in D major op. 25-What occasioned Beethoven to write a composition for such an unusual and yet sonorous group of instruments? Was it perhaps commissioned by a nobleman who played music with such a group and needed music? Whatever thereason behind it Opus 25 is one of Beethoven’s few chamber music works that did not have a Bass instrument. Despite the unusual combination of instruments Beethoven had no difficulty in finding apublisher for his serenade; shortly afterwards he even turned to the work again and revised an arrangement for Flute and Piano (Op. 41) which had been made by a third party. Our revised edition follows the musical text which willsoon be published in volume VI/1 of our new Beethoven Complete Edition.