SKU: RM.JOHN01963-CO

SKU: BT.MUSM570209088

English.

13 specially commissioned pieces which aim to breathe new life into a largely neglected component of the GCSE/Key Stage 4 Music syllabus, Ensemble Performance. On Track comes complete with a CD-Rom containing all the parts for all the pieces and transpositions for any instrument, and these parts come with a licence for printing as many copies as needed, directly from the CD-Rom. A separate 'audio' CD also contains recordings of every piece. The book contains scores for each piece and extended notes by the composers to aid in the preparation of the music: there are 5 pieces for fixed ensembles and 8 pieces for flexible ensembles. The editor of the compilation, Sadie Harrison, comments: Playing in an ensemble with one's peers is perhaps the most rewarding and satisfying thing to do as a young performer, and it is crucial to nurture this element of GCSE courses to reflect this. On Track is a fantastic collection of many different styles, approaches and sounds. There is something in here for everybody, at whatever level, and on whatever instrument. This is what GCSE Music teachers are crying out for, and finally here is something that really hits the mark. Harrison's comments are echoed by recent examiners' reports from EdExcel, one of the largest examiners of GCSE music. They describe how the music they heard in examinations demonstrated 'an extreme range of standards and revealed evidence of the very wide range of instruments in use'. The AQA (Assessment and Qualification Alliance) Examiners' report in 2004 warns schools against allowing their students to present solo music with a piano accompaniment played by a teacher or with a CD accompaniment for the ensemble performance component. It continues, saying that it is of utmost importance that the chosen ensemble allows the candidate to show rapport with the other player(s). This is a significant requirement with which many [examination] centres did NOT comply. Fixed Ensembles Sadie Harrison — On the run!for clarinet in Bb, violin, 'cello, piano Ed Hughes — Matthew's Mazurkafor piano duet Jeremy Dale Roberts — 'Takes three...' for trumpet, 'cello, piano Matthew Roddie — Gone Clubbin' for violin, 'cello Thomas Simaku — From Across the Sea for 2 flutes, clarinet in Bb Flexible Ensembles David Blake — Piece for Luis and Justin for four instruments Anthony Gilbert — U-GO for Arirang for four instruments Jo Kondo — A Birthday Toast for any number of instruments David Lumsdaine — A tree dances for Orpheus for three instruments Paul Mealor — Swing Slow for two instruments Robert Saxton — There and Back for three instruments John Stringer — Duo for two instruments Lu s Tinoco — Diversion for four instruments.

SKU: M7.NOR-2617000-47

ISBN 9790979026170. Norwegian.

Today, this blues song is mostly recognized with the 'Blues Brothers' Movie featuring Dan Akroyd and John Belushi. It was composed and recorded as early as 1937 by Robert Johnson.

SKU: HL.14047929

12.0x8.25 inches.

Robert Saxton 's Passacaglia On The Name John McCabe for Organ. Commissioned by George Vass for a concert in celebration of the life and work of John McCabe CBE. First performed in Faversham Church, Kent, on 28th June 2015 by Edward Kemp-Luck. Duration: 6 mins ca. A review in the June 2016 edition of Organist's Review calls this piece a beautifully produced work that features the pleasing disorientation of false relations and is as inventive as it is impressive. A similarly glowing review in the August-October edtion of The Organ magazine calls this piece a very impressive short work indeed; brilliantly imagines and written for the instrument...one can only urge thismusic on all recital organists - it is a splendid piece, and would surely make a counterpart to an original McCabe organ work in the same programme - the Johannes-Partita , especially.

Robert Saxton's Passacaglia On The Name John McCabe for Organ.

Commissioned by George Vass for a concert in celebration of the life and work of John McCabe CBE.

First performed in Faversham Church, Kent, on 28th June 2015 by Edward Kemp-Luck.

Duration: 6 mins ca.

A review in the June 2016 edition of Organist's Review calls this piece a 'beautifully produced work' that features 'the pleasing disorientation of false relations' and is 'as inventive as it is impressive.'

A similarly glowing review in the August-October edtion of The Organ magazine calls thispiece 'a very impressive short work indeed; brilliantly imagines and written for the instrument...one can only urge this music on all recital organists - it is a splendid piece, and would surely make a counterpart to an original McCabe organ work in the same programme - the Johannes-Partita, especially.'

SKU: BT.MUSM570367177

Robert Saxton's Little Prelude for John McCabe for treble recorder, clarinet, viola and piano. 

Little Prelude for John McCabe was commissioned by John Turner, with funds providedby the Rawsthorne Trust, for an autumn 2016 concert at the Royal Northern College of Music concert to celebrate the life and work of the composer and pianist John McCabe CBE. It is based on the upper-case letters joHn mcCABE (Hbeing B natural in German notation), but transposed. This interval succession acts as a cantus firmus throughout.

SKU: BT.MUSM570361922

English.

The song repertoire has its origins in the late nineteenth century when every household had a piano and for much of the twentieth century, singers and their pianist collaborators were able to create recital programmes from a deep reservoir of European and North American song. The recital genre became more sophisticated as the century progressed and metamorphosed from a miscellaneous collection of lollipops to something altogether more sophisticated, often featuring elaborate themes which would enable the music to be presented in a variety of new contexts. In the twenty first century opportunities for recitalists are fewer and programmes still tend to focus on the much-loved butwell-explored repertoire. We hope this collection will contribute to a broadening of possibilities for recitalists or anyone who just wants something new to sing. There are several songs for voice and piano but some require other instruments. There is a wide range of styles. We have resisted the temptation to grade them by difficulty, as our criteria were more broadly performative and musical rather than didactic. All selected composers have a particular sympathy for the singing voice, so there is nothing that cannot be sung by a competent performer. The songs generally have a designated voice type, but this shouldn't be thought of as prescriptive; they are designed to be flexible and to offer the maximum opportunity for creative interpretation. They range from the curious and quirky to the virtuosic and challenging, the intense and mysterious to the sad and the light-hearted. We hope that many performers will find their tastes represented here. Compiled by David Blake and John Potter. Edited by Michael Hooper.