Malcolm Arnold's one act ballet score Homage To The Queen was commissioned in 1953 by the Royal Opera House Covent Garden to celebrate the coronation of Her Majesty Queen Elizabeth II. The ballet was conceived and choreographed by Frederick Ashton with designs by Oliver Messel and was danced by the full company of the Sadler's Wells Ballet with an illustrious cast that comprised Nadia Nerina as Queen of the Earth Violetta Elvin as Queen of the Waters Beryl Grey as Queen of Fire and Margot Fonteyn as Queen of the Air. The conductor of the ROH orchestra was Robert Irving. Homage to the Queen was first performed on the night of the coronation 2June1953.One of the towering musical figures of the 20th century Sir Malcolm Arnold has a remarkable catalogue of major concert works to his credit including nine symphonies seven ballets two operas one musical over twenty concertos two string quartets and music for brass band and wind band. He has also written over 132 film scores and among these are some of the finest works ever composed for the medium: Bridge On The River Kwai Inn Of The Sixth Happiness Hobson's Choice Whistle Down The Wind and David Copperfield.

Whistle Down The Wind Small Suite For Small Orchestra is three-movement suite Prelude The Three Kings Finale played as one continuous piece. Its melodic charm and instrumentation including vibraphone glockenspiel and chimes effectively evokes the innocence of the main characters of the film. Malcolm Arnold was a British composer who earned an international reputation both as a composer of serious works including nine symphonies and as a composer of light music. He composed more than one hundred film scores among them the Oscar-winning music for The Bridge on the River Kwai the award-winning music for The Inn of the Sixth Happiness and Hobson’s Choice. Malcolm said that his favourite film composition however was the one for Whistle Down the Wind.

Malcolm Arnold's Symphony No.9 was competed on 5th September 1986 at Wymondham Norfolk and is dedicated to Anthony John Day. It was first performed on 20th January 1992 in Studio 7 at BBC Manchester by the BBc Philharmonic Orchestra under the direction of Sir Charles Groves. Study Score edition.

A full orchestral arrangement in miniature pocket score format of Four Scottish Dances Op.57 by Sir Malcolm Arnold CBE. A superb quartet of Scottish dances by the prolific English composer that was originally commissioned for the BBC Light Music Festival and premiered at the Royal Festival Hall on 8th June 1957. With varying mood and styles from jigs and reels to a more brooding ballad the work reflects the tranquillity and beauty of Scotland as well the vibrancy and liveliness of its population.

The first published edition of Malcolm Arnold's playful 1956 overture written for the Gerald Hoffnung Festival. The orchestral score includes parts for three vacuum cleaners an electric polisher and four rifles.

Commissioned by the Cheltenham Festival Society Malcolm Arnold's Fifth Symphony Op.74 was composed in 1960 and first performed in 1961 (the year of his fortieth birthday). The work was composed towards the end of a period of intense compositional activity. Surrounded by controversy and criticism for its unashamed Neo-Romantic style at the time of composition it is now rightly heralded as a work of art. Edited by Millan Sachania.

The first published edition of Malcolm Arnold's playful 1956 overture written for the Gerald Hoffnung Festival. The orchestral score includes parts for three vacuum cleaners, an electric polisher and four rifles. / Orchestre

Darrell Jones says 'Arnold has in the new work invoked traditional rhythms but again the musical matter is his own. The second of the dances has a misty and reflective character but the other three are vintage boisterous Arnold vividly illustrating his gift for bouncy rhythms and fine melodies and his massive sense of fun. Chronicle and Echo 15th August 1966

Ivan March of Gramophone says '. . .a bleak unease in the unrelenting energy of the first movement which becomes even more discomforting in the desolate start to the Lento. This leads to a forlorn suggestion of a funeral march which then ironically quickens in pace but is suddenly cut down; the drum strokes become menacingly powerful and the despairing mood of the movement's opening returns. . . and grips the listener in the music's pessimism. . .'This is a Study Score of Arnold’s Symphony No.6 Op.95.