Shadowland from the Lion King Broadway stage production is superbly arranged here for SATB choir by Mac Huff. The simple African phrase alternates with an inspiring English lyric all above the undulating African percussion. Performance time: 4 minutes

Funeral Procession for Violin Viola and Chamber Ensemble was composed in 1989 as a commission from the Sonanza Ensemble. The music is apart from a few swarming bursts slow and silent. Dynamic is almost stripped away and the musicians play as faintly as possible - almost inaudibly. 'Funeral Procession' is the latest part in a series of four chamber ensemble works i.e. 'Clairobscur' premiered by Esbjerg Ensemble 1988 'Minnewater' premiered by Ensemble Modern 1989 and 'Shadowland' premiered by London Sinfonietta 1990.Bent Sørensen

Veni Sancte Spiritus & Sacris Solemniis-More familiar to some as the theme from the blockbuster film Shadowlands the beautiful Veni Sancte Spiritus and Sacris Solemnius are arranged here for SATB Chorus with Organ Accompaniment.

Ce quatuor, parfois appelé l'américain est écrite à l'intérieur d'une quinzaine de jours en juin 1893, tandis que Dvorák et sa famille séjournaient dans l'al settlement tchèque Spilleville (Iowa). À la fin de la partition, il écrit: 'Dieu soit merci. Je suis convaincu : il est allé / Quatuor A Cordes

Fifty fiddle tunes from the basic Irish English Welsh and Shetland repertoires. Well-known standards and obscure gems. Tips on authentic techniques and interpretation.

Bluegrass on Hammered Dulcimer is a collection of tunes commonly found in the standard bluegrass repertoire. Favorite vocal pieces such as 'A Man of Constant Sorrow ' 'Angel Band ' 'Keep on the Sunny Side ' and 'Will the Circlebe Unbroken ' are included along side hot instrumentals such as 'Jerusalem Ridge ' 'Rawhide ' 'Big Mon ' and 'Blue Grass Stomp.' Even traditional tunes that you think you know already such as 'Bill Cheatham ' 'Farewell toWhiskey ' 'Forked Deer ' and 'Salty Dog' are given a new twist when presented as a typical bluegrass 'break.' Intermediate players and above will enjoy the challenge of learning more complicated versions of common tunes andperforming them at the high-speed tempo that is expected in bluegrass music. Players are encouraged to use these examples of bluegrass breaks merely as a starting point. Improvisation is a key component in playing bluegrass styleand players will enjoy experimenting with their own creations. Each tune has guitar chords notated above the music staff. Standard notation only.

Larsen's song cycle is based on the novel by the American writer Willa Cather and the songs recount Jim Burden's memories of Antonia Shimerda during their shared experiences of the pioneering period of European settlement on the tall-grass prairie of the American Midwest.

The Blue Book contains over 100 Irish Dance Tunes and Airs selected and arranged into Sets by Brid Cranitch. This collection contains a varied selection of widely played and lesser known tunes divided into different dance rhythms: double jigs slides slip jigs polkas reels hornpipes set dances and airs. In turn these have been sorted into sets of similar tunes to be played at Irish sessions. The range of the tunes are particularly suitable for the fiddle but can be used on other instruments. Includes Silver Spear Shetland Reel Rose In The Heather and Fasten The Leg In Her.

'Yankee Doodle' with variations is the most concise way to describe the piece commissioned by the New Haven Symphony Orchestra to commemorate Conneticut's participation in The United States Bicentennial. 'Yankee Doodle' a tune dating back to the Middle Ages in Holland and England (and used by the British as early as 1755 to poke fun at untrained American troops in the French and Indian war) is interwoven with other folk and national melodies to stitch a patchwork or a musical collage. It is a personal view of American history.'To explain my approach to They All Sang Yankee Doodle I must explain my own background because the piece is made up ofmusical memories imprinted from early childhood.My earliest musical memories are a juxtaposition of sounds - hymns and Bach chorales from the church next door where my mother was choir director; early twenties jazz from my oldest brother's dance band; classical piano from my middle brother and my mother's piano studio; and cowboy songs and turn-of-the-century ballads that I have always identified with my father. Concord California where I was born was once part of a land grant from the Mexican government and the Spanish-Mexican influence remained strong even as the town expanded from a sleepy settlement into an American microcosmos with a wide variety of ethnic groups. Over fifty years ago most of us who sang 'Yankee Doodle' in Concord could not trace our ancestry to the founding fathers. Those of us with Anglo-Saxon names were at the end of the Westward push our forefathers having left behind the Eastern cities a few generations before settling for a time mid-continent then restlessly pushing further West. Little is known of my paternal grandfather for instance except that he had come to California from Indiana walking across Nevada desert to become one of the first settlers in Mordoc Indian territory.Of course the native American the Indian was there to greet each new migration and it is his

Commissioned by the Primrose Piano Quartet with funding from the Scottish Arts Council Mr and Mrs J. A.Pye’s Charitable Settlement the Royal Scottish Academy of Music and Drama and the Hope-Scott Trust. Firstperformance by the Primrose Piano Quartet on 13th July 2008 at the Pump Room Cheltenham as partof the Cheltenham International Festival of Music.