This comprehensive collection contains the most well-known, best-loved pieces of music that every pianist should have in their repertoire. You'll find classical favourites, famous film themes, laid-back jazz, chart hits, wedding music, Christmas classics and handy must-haves like 'Auld Lang Syne' and 'Happy Birthday To You', all organised into themed sections for easy navigation. With everything from Mozart to Mariah Carey, Einaudi to Elton John and John Williams to Ed Sheeran, this is the ultimate dip-in resources for pianists! (Everything I Do) I Do It For You A Night In Tunisia A Thousand Miles A Thousand Years Adagio For Strings All I Want For Christmas Is You All Of Me All You Need Is Love At Last Auld Lang Syne Autumn Leaves Ave Maria Blackadder Theme Bridal March Bridge Over Troubled Water Can You Feel The Love Tonight Candle In The Wind Canon in D Can't Help Falling In Love Chasing Cars Clair de lune Clocks Congratulations Dancing Queen Ding Dong! Merrily On High Eine Kleine Nachtmusik (1st Movement: Allegro) Fairytale Of New York Flower Duet Fly me to the moon For He's A Jolly Good Fellow Für Elise Georgia On My Mind Get Lucky Gymnopédie No. 1 Happy Birthday To You Have Yourself A Merry Little Christmas He's A Pirate Jingle Bell Rock Jingle Bells Jurassic Park Theme Love Theme (From The Godfather) Mad World Make You Feel My Love Maple Leaf Rag Moon River Moonlight Sonata My Heart Will Go On Nuvole Bianche O Come Ye Faithful Once In Royal David's City Over The Rainbow (From The Wizard Of Oz) Panis Angelicus Piano Man Pie Jesu Pomp And Circumstance, March No. 1 (Land Of Hope And Glory) Rhapsody In Blue Rocket Man Santa Claus Is Coming To Town Satin Doll Silent Night Singin' In The Rain Skyfall Someone Like You Spring Symphony No. 5 (Theme From First Movement) Take The 'A' Train The Arrival Of The Queen Of Sheba The Entertainer The Girl From Ipanema The Heart Asks Pleasure First The Pink Panther Theme The Way You Look Tonight Thinking Out Loud Walking In The Air Wedding March White Christmas Winter Wonderland You've Got A Friend In Me

Mandolin Play-Along Volume 11-The Mandolin Play-Along Series will help you play your favourite songs quickly and easily. Just follow the written music listen to the demo tracks to hear how the Mandolin should sound and then play along using the separate backing tracks. Standard notation and tablature are both included in the book. Includes online audio tracks for download or streaming. The audio is accessed online using the unique code inside each book and can be streamed or downloaded. The audio files include Playback+ a multi-functional audio player that allows you to slow down audio without changing pitch set loop points change keys and pan left or right.Piecesinclude: Blue Danube Waltz Eine Kleine Nachtmusik (“Serenade”) First Movement Excerpt Für Elise Humoresque In the Hall of the Mountain King La donna e mobile The Merry Widow Waltz and Spring First Movement.

Parts available (NOV120161-01). This work was written during the spring of 1964 and was commissioned by the artist Maurice de Sausmarez in memory of his mother Jessie Rose de Sausmarez. The first performance took place in London during the same year. The work is a kind of epitaph or memorial and each movement tries to express a different aspect of grief culminating in a more extended elegiac fugue. All seven variations are based on a single series of notes and the series is used both thematically and as a structural basis. There is therefore no 'theme' in the traditional sense and in this respect the work follows the practice of many modern essays in variationform.

Hans Abrahamsen's Flowersongs (1973) for three Flutes. Score. 'I wrote Flowersongs for three Flutes in the spring of 1973 when I was 20 years old. Looking back now 40 years begins to feel like a really long time and sometimes I think that it is as if someone in 1973 is talking about a piece from 1933! But in spite of this long time this is still a very important piece for me. In Flowersongs along with works like '10 Preludes' for String Quartet and 'Stratifications' for Orchestra I feel that I was on my way to finding my own voice in the middle of the music of the great Central Europeanmodernist tradition from the 50s and the reaction from the 60s of the new simplicity minimalism and the possibility of poly-stilisme. The English title Flowersongs links to the flower power movement and the hippie culture of the 60s and the early 70s and the work is trying to find the power inherent in this imaginary world. Many of my later works have titles in German for example 'Winternacht' (1976/78) 'Nacht und Trumpeten' (1981) and much later 'Schnee' (2006-08). If we think of Flowersongs in German it must be Blumenlieder and to me it now sounds suddenly very different more romantic and into the world of Schumann. Perhaps it is also a way in which to hear the piece? Another thing is that the correct English title is Flower Songs (as two words) and not as one word like in German or Danish. This is perhaps the German connection as I incorrectly wrote the title as one word; but perhaps it is also a kind of naivety which is also part of the work. I cannot help but carry with me to this day the ideas from my early works. For example there are clear links in this work from the 8th Prelude from '10 Preludes' and to Canon 2a from 'Schnee' from 2008. This work is written for the wonderful ensemble recherche and it was meeting them that made me consider making a version of

Venezuelan composer Beatriz Bilbao offers us Encore Un Mystere for mixed choir a cappella. The poem belongs to the Philosophical Sonnets of the Count of Saint Germain a renowned spiritual and philosophical guru. In a basically tonal harmonic movement the texture of this work elaborates in a profound simplicity throughout three clearly defined sections. The core exploration of the idea of nothing so eloquently expressed in the text is explored at the third and final section where the voices freely express sounds of murmurs whispers breaths etc. while the dynamic contour moves from mezzo-piano to nothing. A beautiful piece to program in fall and spring concerts for collegeand community choirs. Medium in difficulty.

Vol 1 Ut 50226 + Vol 2 Ut 50227-For more than 200 years Mozart’s piano sonatas have been part of every pianist’s repertoire. Research done over the last few decades has made it possible however to establish more accurate dating and ordering of these works. Expert examination of original documents has shown that many printed editions from the eighteenth Century give more reliable detail than Mozart’s own written scores; many of these works were prepared for publication by the composer himself and marked with precise indications for performance with regard to ornamentation dynamics and articulation. All this together with the rediscovery of documents that only becameaccessible again at the end of the 20th Century gives reason enough to justify the publication of a new Wiener Urtext edition of Mozart’s Piano Sonatas.To follow the second volume published in the spring of 2003 with Sonatas K 330 to K 576 we now present the first volume which contains the Sonatas K 279 to K 311. For Sonata K 284 variation XI in the final movement is given both in the version that appears in the original manuscript and in the version used in the first edition; in order to make the music easier to read both versions are given in normal print size. Music that is clear and well laid out with page turns in convenient places makes this edition extremely user-friendly.Advice on performance by the renowned Mozart specialist Robert D. Levin provides fresh stimulus for what can otherwise too often become a rather tired interpretation.

Hans Abrahamsen's Flowersongs (1973) for three Flutes. Parts. 'I wrote Flowersongs for three Flutes in the spring of 1973 when I was 20 years old. Looking back now 40 years begins to feel like a really long time and sometimes I think that it is as if someone in 1973 is talking about a piece from 1933! But in spite of this long time this is still a very important piece for me. In Flowersongs along with works like '10 Preludes' for String Quartet and 'Stratifications' for Orchestra I feel that I was on my way to finding my own voice in the middle of the music of the great Central Europeanmodernist tradition from the 50s and the reaction from the 60s of the new simplicity minimalism and the possibility of poly-stilisme. The English title Flowersongs links to the flower power movement and the hippie culture of the 60s and the early 70s and the work is trying to find the power inherent in this imaginary world. Many of my later works have titles in German for example 'Winternacht' (1976/78) 'Nacht und Trumpeten' (1981) and much later 'Schnee' (2006-08). If we think of Flowersongs in German it must be Blumenlieder and to me it now sounds suddenly very different more romantic and into the world of Schumann. Perhaps it is also a way in which to hear the piece? Another thing is that the correct English title is Flower Songs (as two words) and not as one word like in German or Danish. This is perhaps the German connection as I incorrectly wrote the title as one word; but perhaps it is also a kind of naivety which is also part of the work. I cannot help but carry with me to this day the ideas from my early works. For example there are clear links in this work from the 8th Prelude from '10 Preludes' and to Canon 2a from 'Schnee' from 2008. This work is written for the wonderful ensemble recherche and it was meeting them that made me consider making a version of

Piers Hellawell's A White Room for Piano Quartet.a white room was the second short piece to be commissioned by the Schubert Ensemble for Chamber Music 2000. It was written in spring of 1999 during the composition of Inside Story a double concerto for the 1999 BBC Proms. a white room complements its predecessor in that it is a hushed scherzo rather than a slow aria; the latter type was by 1999 becoming rather prevalent among Chamber Music 2000 commissions and the Schubert Ensemble suggested that I tackle the challenge of writing 'easy' fast music. It turned out to be a challenge indeed; my solution to creating rapid movement using players of unknown technique wasto employ ostinato repetition of simple fragments largely using open strings - materials of a sort that in any case feature in my wider musical language. In addition I supplemented the rhythmic drive by percussive drumming on piano and cello (also aspects typical of me).These features add up to a sound picture in which rhythmic momentum predominates over line - though a chorale fragment persistently tries to establish itself. The title a white room indicates that this piece is an uncluttered space a location in sound perhaps free of the more exotic images in Hall Of Mirrors. - Piers HellawellCommission made possible by Keith Nimmo.

(Our Lady of the Spring)-This four movement Missa Brevis is full of multicultural influences with deep roots in the dance. Drawing from Bulgarian rhythm and melodic Turkish finger cymbals Mandolin figures of bluegrass waltzes plainsong chant and the Peking Opera this is a fresh and exciting look at a traditional musical form.

Hans Abrahamsen's Flowersongs (2012 version) for Flute Oboe and Clarinet. 'I wrote Flowersongs for three Flutes in the spring of 1973 when I was 20 years old. Looking back now 40 years begins to feel like a really long time and sometimes I think that it is as if someone in 1973 is talking about a piece from 1933! But in spite of this long time this is still a very important piece for me. In Flowersongs along with works like '10 Preludes' for String Quartet and 'Stratifications' for Orchestra I feel that I was on my way to finding my own voice in the middle of the music of the great Central Europeanmodernist tradition from the 50s and the reaction from the 60s of the new simplicity minimalism and the possibility of poly-stilisme. The English title Flowersongs links to the flower power movement and the hippie culture of the 60s and the early 70s and the work is trying to find the power inherent in this imaginary world. Many of my later works have titles in German for example 'Winternacht' (1976/78) 'Nacht und Trumpeten' (1981) and much later 'Schnee' (2006-08). If we think of Flowersongs in German it must be Blumenlieder and to me it now sounds suddenly very different more romantic and into the world of Schumann. Perhaps it is also a way in which to hear the piece? Another thing is that the correct English title is Flower Songs (as two words) and not as one word like in German or Danish. This is perhaps the German connection as I incorrectly wrote the title as one word; but perhaps it is also a kind of naivety which is also part of the work. I cannot help but carry with me to this day the ideas from my early works. For example there are clear links in this work from the 8th Prelude from '10 Preludes' and to Canon 2a from 'Schnee' from 2008. This work is written for the wonderful ensemble recherche and it was meeting them that made me consider making a version of

for Violin and Basso continuo-Handel returned repeatedly throughout his life to the composition of works for violin and basso continuo. The earliest autograph HWV 358 was composed around 1707 his last work for this combination of instruments the Sonata in D major HWV 371 stems from circa 1750. In addition to the 5 sonatas which have survived as autographs there are 4 other sonatas of a spurious nature which have found a place in the violin repertoire under Handel’s name although they are certainly not from his pen. These sonatas are attempts by other unknown composers to make a name by using the style of the great master. To round off thisfirst ever publication of Handel's Complete Works for Violin and Basso continuo there are two movements currently not available in any other performing edition: the Allegro HWV 408 and an Andante HWV 412. The Authoritative Performing Edition Edition with the recently-revised Urtext of the Halle Handel Edition First ever performing edition of the complete works for violin and basso continuo in one volume With separate violin and continuo bass parts the latter with figures Basso continuo part with figures including 2 movements not available in any other performing edition Includes valuable comments on performance practice An Associated Board recommended title “All violinists should buy this volume not only for its completeness and clarity but because it is exceptionally good value for score and parts.”(ESTA News Views Spring 2003)