Andy Pape's Sommerfuglesange / Butterfly Songs (1990-2011). Songs based on poems by children from the TerezínConcentration Camp 1942-45 for Soprano Violin and Accordion. These songs are dedicated toLise-Lotte Nielsenand her childrenand my childrenand all children of the world. Includes performance CD English version available: WH32068  

A Cantata for Christmas-From John Leavitt comes this elegant cantata for Christmas set up in the form of a classic Lessons and Carols service. A colorful tapestry of beautiful sounds this major work has great variety in its scope and style. Whether presented with piano or John's chamber orchestration the sensitive writing will showcase the artful approach of a master arranger making this compilation of carols and readings a thoughtful choice for churches universities and community choruses. Highly recommended! Songs include: Veni Veni Emmanuel: People Look East: The Angel Gabriel: He Is Born the Divine Christ Child: Resonet in laudibus: What Sweeter Music: Tomorrow Shall Be My Dancing Day: WeThree Kings of Orient Are: Sing Noel Alleluia! Score and Parts (fl 1-2/pic ob cl 1-2 bn perc 1-3 timp hp vn 1-2 va vc db) available as a Printed Edition and as a digital download.

Commissioned jointly for Colin Currie by the City of Birmingham Symphony Orchestra and the Borletti-Buitoni Trust. First performance on 14th May 2008 at Symphony Hall Birmingham by Colin Currie (percussion) and the City ofBirmingham Symphony Orchestra conducted by Martyn Brabbins.NOTE FOR PERFORMANCEIn table top the unpitched solo percussion part in the 9th movement the scoring was initially left open. The present full score showsa suggested instrumentation  which was devised by Colin Currie in conjunction with the composer. Soloists  should attempt to match the timbres used but should not feel constrained by the  exact choice ofinstruments.COMPOSER’S NOTEThe percussion instruments used in a table of noises in some ways represent the odd things that were on my great uncle Ash’s parlour table that fascinated me as a child. There is even abottle; there was always a milk bottle with the silver top pushed in surrounded by other essentials for his life. From birth he was quite severely handicapped in one of his legs and couldn’t walk too far without his trusty crutch.He kept everything he needed within arm’s length. In the list of instruments for the solo part there’s everything from deep log drum sounds to very high metallic chime sounds. Wood glass metal and a whistle. Mostlysmall-scale things with a large gong behind used sparingly. I think that we managed to keep below 30 instruments in all which I was keen to do. I didn’t want scores of things that are only played once they have to earn theirkeep. I didn’t want to use a marimba but thought that trying to make the xylophone sound in a more expressive way would be more of a challenge. The percussionist sits for much of the time on a Cajon a flamenco instrument which isessentially a wooden box. The player hits the front of the box in various ways rather as you play a conga. There are guitar strings inside and bells to add to the overall colour. I would like to thank Colin Currie for the

Britta Byström's Trumpet Concerto No.2 Screen Memories for Trumpet solo and Orchestra (2012). Trumpet solo part: WH31514B Dedicated to Tine Thing Helseth. Premiered February 28 2013 by the Nordic Chamber Orchestra  and Tine Thing Helseth conducted by Johannes Gustavsson at Stadshuset in Sundsvall Sweden. Programme note Screen Memories is the English translation of a Freudian term (Deckerinnerung is the original German term). In Swedish it is called 'täckminnen'. The term means strong but seemingly meaningless childhoodmemories as 'cover' for substantial memory.  The title is something of a pun as the work is based on the composition Voyage Into the Golden Screen  (1968-69) by Danish composer Per Nørgård – a modern classic in which Nørgård presents his compositional technique known as the infinity series. The technique which I freely apply in the “Trumpet Concerto” enables the development of an endless melody! In that sense “Screen Memories” adapts a second understanding: memories of the composition of Nørgård.  Nørgård in turn adopted the title from a song by British songwriter Donovan – the first phrase of this song is in my trumpet concerto. And then there's a third musical reference: the second movement of Beethoven's Piano Sonata No. 8 'Pathetique'. I once heard it in concert while a massive rainstorm appeared and nearly drowned the music. A musical memory incorporated in the composition (the percussionist uses a “rain stick”).  Screen Memories thus becomes a concert full of musical memories dressed in new clothes. It is written for and dedicated to the soloist Tine Thing Helseth whose soft and virtuoso