Sunset Song op.42 for bassoon and piano was written and premiered in 1994 at the Los Angeles Museum of Art, Bing Theatre. It is the composer´s second large work featuring the bassoon as soloist (after Hexen) and like Hexen it is also dedicated to bassoonist Judith Farmer who premiered it with the composer at the piano.Sunset Song is technically a tour de force for both the bassoon and the piano. It is happy, sensuous, obsessive and at times mocking - often reflecting the time in which it was written and the events of a Mexico tour that followed the first performance during which the piece underwent revisions.The piece starts with an introduction played by the bassoon almost entirely. This introduction uses elements of 1950s pop music. A middle section follows where a static -almost Middle Eastern- ostinato rhythmic pattern beats with increasing tension. This pattern is then transformed to a Latin beat which finally returns the piece to the opening mood. The bassoon ends the piece in an irreverent tone, with a pitch written two octaves above the official limit of the instrument's register. The title Sunset Song was inspired by California's sunsets and the sun setting on the Pacific Ocean. / Basson Et Piano

Composer's NoteNarcissus wanders through the forest observing enjoying ... unselfconscious but self-absorbed.He sees as pool of water and then as he approaches notices his reflection in the water. He is intrigued and then jumps back in fright. Once more he approaches ... it is still there. Narcissus steps away from the pool to consider this phenomenon. Several times he approaches the figure is always there watching him.In the shimmering sunlight Narcissus seems to see this glorious and attractive being moving in the rippling water. He is dazzled and slowly holds out his arms. To his amazement the figure responds.In awe and wonder Narcissusapproaches closer and closer. With a sudden change of mood Narcissus dances happily and playfully ... the figure echoing him. But then Narcissus begins to question anxiously the lack of any independent response...is he being mocked? He gets more and more aggitated and finally in a fury he rushes headlong into the water to grapple with the figure. The waves surge up and Narcissus is drowned. There is a distant shimmering vision of Narcissus and his reflection. Then in the setting sun the vision disappears the forest is empty and the pool lies undisturbed.Thea Musgrave

for upper voices SATB and piano (with snare and tenor drums and solo cello) or chamber orchestra. This profound setting of poems by Wilfred Owen explores the idea of the sun as a redemptive force. The sense of human connection and vivid imagery of the natural world imbued in Owen's poetry is perfectly conveyed in Chilcott's music which is rich in highly effective word painting and melodies as visceral as the poetry itself. The first movement 'Song of Songs' sets the tone for the work balancing a sense of reverence and solemnity with hopefulness and optimism and a poignant and moving setting of Futility is a powerful focal point.Chilcott supplements the choral texture to great effect with snare and tenor drum creating a mood of expectancy in 'Spring Offensive' and a middle movement for tenor and cello soloists that inhabits a stark musical landscape that blossoms harmonically as the soldier tells of the 'fellowships' and 'beauty' they have found.

Everyone Sang was written for a wedding blessing at Wells Cathedral on 26th May 2007. The choir on that occasion featured many singers from the operatic world and this combined with the emotional nature of the occasion explains something of its ecstatic style. The poem is truly beautiful and offers much opportunity for word-setting. Opening in unison the musical material follows the wonderful images of the poem leading to a shattering climax for 'everyone's voice was suddenly lifted'. A warm chord emerges for the 'setting sun' before the mood darkens slightly for the following lines before the final pages of profound peace; 'the singingwill never be done' is repeated until almost inaudible and finally left hanging in space. An excellent addition to the remembrance and war commemoration repertoire for use in concert hall or church especially during the centenary commemorations of the First World War. 

Displaying Chydenius's unique style I am the great sun is a driven and focused setting of Charles Causley's poem. This is textured choral writing: you'll find imitative passages melodic and rhythmic motifs sections requiring precise articulation and full homophonic climaxes. An exciting challenge for established choirs!

Uses: Palm SundayScripture: Luke 19:14-21; John 12:13; Philippians 2:5-11This charming piece for Palm Sunday incorporates both adult and children's voices. The addition of an easy handbell part sealsthe deal on this festive winner. Sounding like regal trumpets the piano calls the piece to attention setting the stage for a theme based call and response work. The piece works splendidly as a processional for the entry of thepalms.

Pour Piano. Par HAHN REYNALDO. The unacquainted listener, upon hearing a piece from the Hahn piano repertoire, is often surprised by its powerful charm - a testament to the composer' s unique musical sensibility. Although some of Hahn' s musical ideas have roots in the long tradition of Romanticism, they also present a host of new images, scarcely seen in earlier scores Each piece in this collection is based on a single formula that varies little from start to finish. An exception to this unique principle occurs in the IInd piece, where the young woman takes fright at the ' flaming red eye of the setting sun watching her through the branches”. As a conclusion, Reynaldo Hahn offers a ' very free” cadence that takes up and comments on the initial theme: the crackling notes culminate in a fortissimo blaze, rapidly followed by a progressive lull that slowly fades away./ Répertoire / Piano

This movement is the beginning of a Mass called Sunrise, and, according to its composer, it is to 'be performed with the sense of floating in space.? A fine challenge for accomplished high school choirs and beyond! The setting uses the Latin Kyrie Eleison text. Duration: ca. 5:35. / Choeur Mixte SSAATTBB A Cappella

31 Duets That Can Be Played By Any Combination Of Wind Instruments-If you have a friend that plays another instrument and you want to play a duet with them for fun or in a performance then this is the book for you! This collection contains 31 duets in a variety of styles from classical to folk music to original pieces that will be fun to play with any combination of two wind instruments. Duets are a great way to learn how to play in a chamber music setting and this unique collection gives you the opportunity to do it with anyone else that plays a wind instrument making the combinations of instruments that can be used almost limitless. This collection is ideally suited for use in schools for students who areespecially eager to play music with their friends. The flexibility of these duets makes them a must-have for any wind player. Editions available for: Alto/Baritone Saxophone (CFWF95)Clarinet/Trumpet/T.C. Euphonium/Tenor Saxophone (CFWF94)Flute/Oboe (CFWF93)Trombone/B.C. Euphonium/Bassoon (CFWF96)Horn In F (CFWF97)Tuba (CFWF98)

Perfect for a spring concert this bright Beatles classic in an appealing a cappella setting features rich harmonies and light arpeggiated textures resulting in a warm sound without being too complex. Available separately: SATB SSAA TTBB. Duration: ca. 2:10.

Written specifically for SAB voices this setting of the Walt Whitman text is very popular for contests and festivals.

A powerful dissonant setting of texts by Michelangelo dealing with love life and death. Powers was inspired by the idea that a block of marble contains the finished sculpture within it.

This all-time favorite Irving Berlin standard gets an updated swing treatment in this Kirby Shaw setting that will showcase your pop/jazz/show group at its best. / Voix Mixtes