For King And Country is part of a larger work entitled 'The Angel Of Mons' by composer Patrick Hawes dedicated to the memory of the British soldiers who Hawes believes witnessed an 'angel' during a battle in World War One. This is the Vocal Score arranged for SATB Chorus and Piano Accompaniment. This piece with a libretto by his brother Andrew Hawes was premiered in the latter's own church on the centenary of the date the 'angel' sighting was said to have occurred.  The inspiration comes from a mythical story around the Battle of Mons during World War One where a group ofsoldiers supposedly received divine help from 'angels'. The story arose from a fictional short story by a writer that came to be known as fact despite the author's desperate please otherwise. The music itself is beautiful perfectly capturing the crisis of conscience and cognitive dissonance that the soldiers must have experienced being told that they were fighting for King and country yet at the same time being terrified of their own lives. 

LULLABY from The Unicorns (1967/82/86) 'The Lullaby from ‘The Unicorns’ arose from an opera libretto I commissioned from John Heath-Stubbs (1918-2006) in the late 1960s. In his story two unicorns are discovered in a remote part of Africa. Both the East and West want to obtain them for research so they send out rival expeditions. The Western technique is to lure the unicorn with a young girl singing a lullaby. Both East and West capture unicorns but the mythical animals escape in the end. I never completed the opera but I made a six movement suite from it called The Unicorns. There arethree songs and three instrumental numbers and the first performance was given with Elisabeth Söderström and Solna Brass under Lars-Gunnar Björklund at Ekensbergskyrkan Solna Sweden on 31 October 1982. This version was recorded (Albany TROY 760) and my arrangement of the three songs for voice and piano was recorded by Marilyn Hill Smith (Albany TROY365). The career of the Lullaby continued with a version for clarinet and piano which I premiered with Jack Brymer aboard the Sea Princess in the Mediterranean on 29 September 1986. The oboe version was for Sarah Francis and Duke Dobing and I have recorded it for flute and piano (Naxos 8.572287). Lullaby can be played with a variety of solo instruments and is also available for piano left hand and piano solo which I have recorded.' - Peter Dickinson

Par HOSAY JAMES L.. At the end of the Sixties and the beginning of the Seventies, slowly but surely, a new exciting music style arose in pop music. Pop groups enlarged the musical spectrum by combining jazz harmonies with rock ’n’ roll rhythms. These experiments are now known as ‘fusion’. Fusion Factory combines elements of early fusion with modern fusion sounds. Listen to the excellent result! / Niveau : 4 / Musique légère originale / Répertoire / Concert Band ou Harmonie

Photoplay Music From The Days Of Early Cinema-'Photoplays' or silent movies cried out for accompaniment and a distinctive art form arose to fill the demand combining cinema music and storytelling. This unique anthology features original sheet music for the Piano pieces that complemented early motion pictures. Derived from eight rare sources the contents include pieces by J.S. Zamecnik M. L. Lake Joseph Carl Breil J. Bodewalt Lampe and Walter C. Simon.

Par DE HAAN JACOB. Everest is the name of a restaurant on the 40th floor of a skyscraper in Chicago. In 2003 the composer Jacob de Haan had dinner there together with his publishers and other fellow composers. The idea of composing a march to honour the excellent cuisine, the magnificent view of the skyline and the pleasant atmosphere in the restaurant arose during the visit. The results can be heard in this delightful and unusual work. / Niveau : 3 / Marche / Répertoire / Fanfare

Par DE HAAN JACOB. Everest is the name of a restaurant on the 40th floor of a skyscraper in Chicago. In 2003 the composer Jacob de Haan had dinner there together with his publishers and other fellow composers. The idea of composing a march to honour the excellent cuisine, the magnificent view of the skyline and the pleasant atmosphere in the restaurant arose during the visit. The results can be heard in this delightful and unusual work. / Niveau : 3 / Marche / Répertoire / Fanfare

Par CAGE JOHN. Bacchanale, John Cage\'s first work to exploit his influential \'prepared piano\' technique, arose from a request for musical accompaniment by dancer Syvilla Fort. Intending to write her a percussion piece, Cage discovered that the theater in which the premiere was to take place was too small to accommodate any instruments beyond the piano already present, and instead adapted the piano into a palette of percussive sounds by placing small foreign objects among the strings. A new arrangement by guitarist Aaron Larget-Caplan translates this six-minute work from the prepared piano to an even more novel instrumentation: a duo of prepared guitars, the sound of their vibrating strings transformed by the addition of alligator clips, washers, and slips of paper. This performing score (EP 6784a) includes detailed, illustrated instructions from the arranger on how to prepare the instruments. The original version of Bacchanale is now available for sale in John Cage\'s Prepared Piano Music 1940-47, Vol. 1 (EP 67886a). Along with fellow guitarist Adam Levin, Aaron Larget-Caplan gave the world premiere of this arrangement in December 2018 at Arlington Street Church in Boston. / Date parution : 2022-09-07/ Répertoire / 2 Guitares Préparées

Torstein Aagaard-Nilsen’s (1964) way of composing can be described as: uncompromising wilful and contemporary. It is not surprising therefore that this occasionally causes a stir. In the middle of the Seventies a trend arose in youth culture which was characterized by provocation distrust of the great ideologies and the autonomy of the individual. Punk is playful aggressive often humorous and anti-everything which inevitably leads to self-irony. The first part of Aagaard-Nielsen’s composition (Introduction) is a texture based mainly on one short theme. This pompous theme breathes a spirit of cold empty plains where icy winds sigh around yourhead. In the vehement Punk (Presto barbaro!) there is no longer any question of a theme. The basis for this part is formed by a repetitive motif (a descending minor third). This motif is alternated with very powerful percussion beats and later on shrill harmonies.

Mariachi music for most of its 200 or so years has primarily been an aural tradition passing songs down from generation to generation ear to ear. In the 1980's there was a sudden renaissance of traditional Mexican music not inits native Mexico but around the world. As interest grew in learning mariachi repertory from non-mariachi trained musicians a need arose to provide written notational documentation of the many songs that have come to identifythe mariachi tradition. Author Laura Sobrino has been a professional mariachi and is familiar with the stylistic intricacies that truly make this Mexican traditional and popular music unique. For those who wish to grasp anunderstanding of the mariachi style and who don't have a mariachi musician to teach them these transcriptions are some of the best available. The pieces in this collection include parts for one or two violins guitar (notationand chord symbols) and bass (notation only).

Celebrating the resurrection of Jesus Christ our Lord here is a rousing and uplifting anthem of joy peace and hope There is a mighty hope since Jesus arose from the grave is the perfect text for the Easter season. May besung a cappella or with the optional piano accompaniment. Available for SATB a cappella with optional accompaniment. Duration: ca. 2:15.

Contents include: A Mighty Fortress Is Our God; Turn Your Eyes Upon Jesus; Shout to the Lord; Jesus the Very Thought of Thee; We're Marching to Zion; It Is Well with My Soul; Rejoice Ye Pure in Heart; I Surrender All; Christ Arose; On Eagle's Wings.