For String Quartet.Published in 2002.Commissioned by the Vale of Glamorgan Festival.First performed by Chamber Domaine Museum of Welsh Life Cardiff as part of the Vale of Glamorgan Festival September2002.Score.

Score and parts to this mock serenade for brass instruments and percussion. One can only imagine the wild reverberations that echoed throughout the Metropolitan Museum of Art as Bernstein’s Shivaree was played to commemorate its Centenary!

This sacred work is a rousing and expansive mass written by English Elizabethan musician William Byrd. This is the definitive score for this masterpiece of Tudor polyphony has been edited by Henry Washington with reference tothe original part-books in the British Museum. This has been set for a mixed choir of Soprano Alto Tenor and Bass.

Ye Tuneful Muses Raise Your Heads is a work by Henry Purcell for SSCtTB Soli SSATB Chorus Treble Recorders Continuo and Strings. This work is taken from the Purcell Society Edition Volume 18: Royal Welcome Songs Part II edited by Bruce Wood. This is the Vocal Score and lasts around 24 minutes.

2 Volumes edizione critica a cura di Ivano Bettin-Some few months after returning to Naples from Rome where he had gone to follow the premiere of L?Olimpiade at the Teatro Tordinona during the 1735 carnival season Giovanni Battista Pergolesi ?? notwithstanding the quickened pace of the disease that would soon bring his brief life to a close ? presented the public with a new work Il Flaminio a ?commedeja pe? mmuseca? set to a libretto by Gennarantonio Federico. The opera was staged as the second of season that fall at the Teatro Nuovo sopra Toledo (one of three traditional venues together with the Teatro dei Fiorentini and the Teatro della Pace dedicated to the production of opere bu e) where it met with a generally favorable reception. The edition is based basically on the Pergolesi?s autograph full score for the third act (kept in Naple Conservatorio di San Pietro a Majella Library) and on a complete manuscript full score copy today in the Abbazia di Montecassino Library. The critical edition is in two volumes and includes a historical Introduction a detailed description of all the sources considered and a Commentary with critical notes and information related to specific problems of performance practice. There is also the facsimile reproduction of the printed libretto.

When Haydn was not around there was always Charles Dibdin (1740-1814) who regaled London with his songs at the same period. Davies's arrangement of four of them makes an amused but also affectionate picture of the man. The vocallines are essentially unchanged but the accompaniment is sometimes teased towards new metres and harmonies. Score. Duration c. 16 mins.

for Violin and Concert Band-Dans la mythologie grecque les Sirènes étaient des demi-déesses. Selon la légende ces créatures démoniaques mi-femme (tête) mi-oiseau (corps) vivaient sur trois petites péninsules situées entre Sorrente et Capri. Les Sirènes chantaient au-dessus des mers pour attirer les navigateurs et les faire périr. Certains ont toutefois réussi à leur échapper. Ainsi Ulysse réussit à passer sans dommage en suivant les conseils de la magicienne Circé : il se fit attacher au grand mât de son navire pour pouvoir écouter le chant des sirènes tandis que ses compagnons ramaient les oreilles bouchées par la cire. Orphée triompha de ces créatures maléfiques en étouffant leurs chantsensorcelants du son de sa lyre. On raconte aussi que les Sirènes auraient un jour défié les Muses au chant. Victorieuses les Muses exigèrent une couronne faite des plumes des Sirènes ce qui les priva du don de voler.

for Fanfare Band Bagpipes and Drums-Cette ?uvre saisissante a été composé pour la ville de Leeuwarden (Pays-Bas) en tant que capitale européenne de la culture en 2018. C?est dans cette ville que le compositeur a passé ses années universitaire. Cette ?uvre festive pour cornemuses tambours et fanfare est basée sur la mélodie de l?hymne de la province de la Frise. Proud a été écrit pour l'événement musical Grutsk qui est le mot frison pour Proud (fier) - d'où le titre. Sur cinq scènes différentes travers le centre-ville divers groupes ont joué. Le final était un concert sur le Wilhelminaplein (Square Wilhelmina) dont ce titre était l?ouverture. Cette première mondiale a été assurée par le compositeurlui-même. Les cornemuses sont facultatives mais recommandées. Ils donnent la composition dans son ensemble un son très particulier.

Score with lightly realised (and figured) Basso Continuo and parts (Treble Recorder Basso Continuo)Monsieur Naudot so named on all the title pages of his works dating between 1726 and 1752 lived as a virtuoso flautist and composer in Paris where he is said to have died in 1762. The date of his birth is unknown.The Sonata in G major presented here is the fifth work found in an undated Paris manuscript. There is a suggestion that these Sonatas could also be played on the Musette or Bagpipe then a fashionable instrument in upper French circles. This Sonata is therefore a relatively rare French composition for Treble Recorder and Basso Continuo.

Clocks portrays an imaginary visit to a clock museum exploring the vast sound world of clocks. Suite in six movements: Shelves Full of Clocks Midnight Strikes Old Clock's Story Sundial 2000 B.C.

The musical “Heroes of the Faith” burst on the scene just last year – an exciting children's show by J. Paul Williams and Pamela Martin including such musical luminaries as Lloyd Larson Craig Curry CindyBerry Mark Hayes and Joe Martin. The story leads the children through the museum of Biblical Heroes and discovers what they had that exists in each of us – the ability to serve God with the gifts we are given. The titlesong “Hero of the Faith” is presented here as a single and is a wonderful anthem of joy and praise. Available: 2-Part.

James Weeks' Olympic Frieze for any number of pitched instruments (minimum 12).Composed and published 2014. Variable duration. First performed by participants at CoMA Summer School High Melton Doncaster on 21st August 2014. Olympic Frieze is conceived like an Ancient Greek frieze around the entablature of a temple: players should be placed along the walls of the performance space at regular intervals like figures in a bas-relief. Like visitors to a temple or museum the audience should be free to wander through the space and out again as desired and there should be no audible starting or stopping point - ideallythe music should be playing before the first audience member enters and continue after the last audience member leaves. Thus the piece functions as part of the decoration of the room and might be considered a descendant of Satie's musique d'ameublement; the difference being that Olympic Frieze is not intended as background music but to draw the listener's attention. It is also fundamentally audio-visual in nature. The piece explores the fundamental pleasure and beauty of physical exercise that underlie both ancient and modern manifestations of the Olympic games (as well as the Spartan gymnopaedia evoked in Satie's Piano pieces). The music consists of three elements: Exercises Actions and Disciplines. There are 84 short repeated Exercise motifs analogous to simple movements of the body or stretching exercises in performing which the players adopt stylised (musical) poses akin to those of Greek art. In between Exercises the players perform a number of silent physical Actions devised by themselves. Once stretched and loose each player is ready to attempt his or her own personal Discipline chosen from a list of 9 possibilities (running jumping javelin and trampoline).

Written for chamber ensemble. This work was commissioned by the BBC. First performance on 6th September 2004 at the Victoria and Albert Museum London as part of the BBC Proms Chamber Music Series by the Britten Sinfoniaconducted by Nicholas Daniel.