The sheet music for Nico Muhly's Doublespeak arranged for Chamber Ensemble and composed for the orchestral sextet 'eighth blackbird'. The piece is arranged for Flute (Soprano Recorder) Clarinet in B flat Percussion (Castanets Tenor Drum Pedal Bass Drum) Glockenspiel Piano Violin and Cello. It works for 2-6 players and this item includes the full score as well as the parts. Doublespeak had its debut at the Edlis Neeson Theatre in Chicago performed by the new musical six-piece 'eighth blackbird'. The piece is a slow and repetitive one punctuated bymoments of stark beauty. It is according to Muhly something of a tribute to the great Philip Glass the forefather of minimalist classical music. It takes implicit inspiration from his entire oeuvre but also explicitly incorporates portions of his most famous and valued works interweaving them inside a new composition that captures what 'eighth blackbird' do best.  The Doublespeak sheet music would be ideal for Chamber Ensembles looking to perform or practise minimalist music drawn from the 1960s and 1970s. If you love Philip Glass or Nico Muhly or both this composition is a real treat.

Nico Muhly's Aston Magna for two Violins Viola da gamba and Harpsichord. Score and parts.This 12 minute work was commissioned by Lee Elman to celebrate the Aston Magna Estate for world premiere performances by Aston Magna Music Festival on July 17 18 and 19 2014.

For Flute (+ Piccolo Alto Flute) Oboe and Piano.Published in 1966.Score and Parts.

Arrangeur: Joseph Knaus. Par SUZUKI SHINICHI. Comprised of works from Volumes 1, 2, and 3 of the Suzuki Violin School, which have been arranged for string quartet by violinist/arranger Joseph Knaus. With lower string parts providing melodic and rhythmic counterpoint to set off the simple melodies (which match the Suzuki Method repertoire), these quartets are nevertheless simple enough for beginning level players ready for their first chamber music experience. String Quartets for Beginning Ensembles are sold in sets including full score and one part book per instrument. Volume 3 contents are: Gavotte (P. Martini) * Minuet, BWV Anh. II 114/Anh. III 183/Anh. II 115 (J. S. Bach) * Gavotte in G Minor, Gavotte en Rondeaufrom Suite in G Minor for Klavier, BWV 822 (J. S. Bach) * Humoresque, Op. 101, No. 7 for Piano (A. Dvorák) * Gavotte (J. Becker) * Gavotte from Orchestral Suite No. 3 from Overture in D Major, BWV 1068 (J. S. Bach) * Bourree, Bourrees I and II from Suite III in C Major for Violoncello, BWV 1009 (J. S. Bach). / Niveau : Intermédiaire / Recueil / Orchestre de Chambre

11'; for Soprano Recorder Cello and Harpsichord.Published 2003.Text: Aloysius Bertrand.First performance: Lesley-Jane Rogers (sop) with John Turner Jonathan Price and Janet Simpson Bridgewater Hall Manchester 16th October 2004.Score and parts.

For soprano clarinet and vibraphone.Published 2004.Text: Magdalena Mismarza de la Luz.First performed by Marie Vassiliou (sop) and Endymion 12th July 2004.Score and parts.

5'; for oboe d'amore Viola and Harp.First published 2003.Written for for Jinny Shaw and Okeanos.First performance: Jinny Shaw and Okeanos March 2003.Score and parts.

For Violin Horn and Piano. Published 1968. First performance: Liverpool Horn Trio Stoke-on-Trent 24th April 1969.

For Piano Violin and Cello.Published 2004.Commissioned by the City of London Festival for the Piano Trio of Vienna.First performance: Piano Trio of Vienna City of London Festival LSO St Lukes OldStreet London 23 June 2004.Score and parts.

James Weeks' The Catford Harmony for Oboe Clarinet Alto Saxophone Piano Violin and Cello. Composed 2008 revised and published 2014. Duration: 8'30'. Commissioned by Gwyn Pritchard. First performed by Uroboros Ensemble at The Warehouse London on 10th April 2008.

Serenade no. 1 H 217. Unusual instrumentations were by no means the exception in the chamber music works of Bohuslav Martinu, most notably the works he wrote in Paris in the 1920s and 1930s being characterised by his experimentation with sound and form. It is from this period that four short serenades also originate, of which the Serenade No. 1 was composed in 1932. The serenades were published by the Prague publishing house of Melantrich in 1949. Although the study score of the Serenade No. 1 was published while the composer was still alive, he was in fact not involved in preparing this edition: indeed, the performance material also appeared in print without his participation in 1954. It was therefore decided to use the autograph score as the principal source for this edition.