These four splendid anthems were composed for the coronation of George II in October 1727 and have since retained a position at the heart of the English choral tradition. The popular anthem Zadok the Priest has been performed at all subsequent coronations and Handel's other contributions to the royal occasion - Let thy hand be strengthened  The King shall rejoice and My heart is inditing - have the same majestic grandeur with affecting contrasts between different sections of the sacred texts. The editor Clifford Bartlett has corrected various inconsistencies in Handel's score and completedetails of sources and editorial method additional performance notes and a critical commentary are included.

Darth Vader lives! The amazing world of space adventure known as Star Wars returns again, and it is bigger than ever. With enhanced visuals and a new series of films to follow, it's the most important entertainment story of the decade. The marvelously exciting music of John Williams has created a magical aura, and Charles Sayre has masterfully created a fresh new version of this gigantic anthem. Need more be said? (1:49)

Standard US Set (without european suppl. parts)-Barry E. Kopetz' Fantasy On A Theme By Samuel Barber. Score and parts for Orchestra. The basis for this composition is the beautiful legato theme from Barber's 'Overture to the School for Scandal.'

From the opening nobility of “Now Thank We All Our God” to the impassioned new setting of the beloved “For the Beauty of the Earth ” this original is a stunning choice for Thanksgiving or general worshipneeds. Lush Stan Pethel orchestrations add to the emotional impact of the whole and the versatile text makes it an anthem that will be used time and time again. Glorious!

Full orchestra score for the theme tune from the Paramount television series Mission: Impossible.

March No. 1-Score and parts for Elgar's March Theme from Pomp and Circumstance arranged by Charles Woodhouse. Hawkes School Series 25.

Composer's Note: Quilting co-commissioned by the BBC Symphony Orchestra and the Los Angeles Philharmonic is my first stand alone work fororchestra and is loosely inspired by the American tradition of quilt making. I composed Quilting while living most of last year in Paris. During my time there I thought a lot about what it means to compose symphonic music as ayoung American in the 21st century when so many of the many masterworks which are programmed year in and out by orchestras across the country are European. I considered which artistic traditions defined the American 19th-century.I began to think of the American crafts-tradition of quilting as a foil to the high-art tradition of European orchestral composition. As the score for my new work began to take shape I started thinking about themanuscript itself as an object its vertical and horizontal planes create a kind of patterned geometry of their own. Visually the way a musical score is woven together like patchwork brought to mind quilts and the great Americantradition of quilting. I imagined about how conducting an orchestra can feel like stitching a piece together or sewing together a large number of musical ideas and musicians into a coherent and transcendent whole. Quilting was an integral part of American vernacular in the 18th and 19th centuries the African-American quilting tradition is especially fascinating and the quilts tell the stories of the women and communities who made them.The names of the quilt patterns themselves can have their own sense of narrative: 'jacobs ladder' 'drunkards path' 'solomon's puzzle' and (my favorite for its relevance to this piece) 'the road to California.' -Bryce Dessner