This major concert work cosists o five movements.1st movement: La Laguna del ShimbeSituated high up in the Andes mountains in Northern Peru are the Huaringas a group of lagoons in isolated and mysterious surroundings. The water has healing powersand for centuries traditional healers have settled there in small villages. From far the sick come to the Huaringas to be treated in nightly rituals in which the hallucinating juice of the San Pedro cactus gives the prophet a look inside hispatient. The biggest lagoon is the ?Laguna del Shimbe? one of the countless wells of the immense Amazon stream.2nd movement: Los AguarunasFurther downstream in Northern Peru we come across the rain tribe of Los Aguarunas. It?s a proud beautiful andindependent race which has never succumbed to domination not even from the Incas. They live from everything the forest has to offer: fish fruit plants ... . They also grow some crops and live as semi-nomads. They take their fate into their ownhands and after having made contact with modern civilisation they have integrated new elements into their lives without betraying their own ways.3rd movement: MekaronMekaron is an Indian word meaning ?picture? ?soul? ?essence?. The Indians are theorigina inhabitants of the Amazon region. They either live in one place as a group or move around a large region. They all have their own political system their own language and an intense social life. At the same time they are master of music andmedicine. ?Everywhere the white man goes he leaves a wilderness behind him? wrote the North American Indian leader Seatl in 1885. As a result of these contacts with the whites the disruption of most Indian societies began. (In this century alone 80 tribes have vanished completely).4th movement: KêêtuajêThis is the name of the initiating ceremony of the Krahô tribe in the Brazilian state of Goias in which young boys and girls enter adult life. They are cleansed with water painted with redpaint and covered with feathers after which the ritual dance holds the entire tribe spell-bound.5th movement: Paulino FaiakanIn 1988 the Indian chiefs Faiakan and Raoni Kaiapo came to Europe to protest against the building of the Altamira dam inBrazil. As a result of the dam the Indians would be driven from their traditional land and enormous artificial would be created. The project was supported financially by amongst others the European Community. In February 1989 the Indian tribesaround Altamira held a protest march for the first time in their history together. Amongst other things they paid tribute tot Chico Mendez who murdered in 1988 was the leader of the rubber syndicate and a fierce opponent of the destruction of theBrazilian rain forest. Brazilian and world opinion was awakened. The building of the dam was -albeit temporarily - stopped.

Return To Avalon is scored for two flutes one doubling Piccolo the other doubling Alto Flute.In the mid-thirteenth century over 200 000 Cathars were murdered in the South of France 'Avalon' by forces of darkness and ignorance. The Cathars were European Buddhists who believed in loving each other that we are all equal in the eyes of God non-revenge vegetarianism and that women could be priests. They also believed in reincarnation.In answer to threats and bullying many of them chose to be burnt alive rather than be forced to follow teachings they believed to be untrue.People say that the Cathars never came back. People saythat they died in vain. But I believe that they are wrong I believe that the Cathars did come back to create a Church of light outside the constricts of religion but through the arts through music poetry and prose.'Return to Avalon' is the story of two great Cathar flute players who rise from the ashes of the Montsegur massacre to return and baptize the world into the truth of the eternal through the beauty of sound and honesty of expression. I imagined these 'Sons of the light ' playing this piece and letting its message of friendship and brotherhood echo out over the mountains.'Return to Avalon' begins with 'The Last Song' a 13th century Cathar melody echoed on alto flute then explores an idea I first used in my 1993 flute concerto the idea of orchestrated digital delay.The second movement 'Human flame' on piccolo and alto is also based on a medieval theme but takes it further and further out until finally it burns up into a huge fireball.In the third movement 'Sons of the light return to Avalon' the two flutes reappear Phoenix-like from the ashes leading and learning from each other. Eventually the flutes become inseparable as they interweave together at speed leading us to a higher truth that we are all brothers and sisters equally loved by God.Phenomenal flautist Samuel

In preparing for publication the 1935 orchestral version of Britten's Te Deum in C it became clear that there were a number of discrepancies between the manuscript and the original 193 vocal score. Some of these were minor:different articulation and dynamic markings something Britten was later very fussy about but perhaps left unchanged on proof because of his relative inexperience at this stage of his career with the processes of musicpublishing. Others were more important: wrong pedal notes for example which Britten failed to notice on proof and which have been perpetuated in performances and recordings for nearly seventy years. These have been corrected inthe new edition of the vocal score and in the orchestral score (Britten clearly used the published vocal score to prepare his orchestral version). The two versions have been made consistent in other details - rehearsal cues andbar numbers for example - since Britten intended choristers to use the vocal score to perform the orchestral version. This would have been an easy task for these is little discrepancy in essential details between versions (arare departure occurs in bars 53 to 56 where the works 'Lord God of Sabaoth' are unaccompanied in the orchestral version but doubled by Organ in the original). Sustained Organ chords are often filled out with arpeggiated stringwriting while the spacing of chords is frequently much wider in the string version with melodies transposed into different octaves. Although harmony in both versions is identical voice leading is sometimes altered in the latterto make it better suited to the idioms of the instruments concerned.So although in essence the two versions are the same the soundworld explored in each is quite distinct. Britten's orchestral version should neither beviewed as an occasional piece nor considered solely a liturgical work like many of his choral pieces from the 1930s and 1940s it is equally at home in church and concert hall.

This major concert work cosists o five movements.1st movement: La Laguna del ShimbeSituated high up in the Andes mountains in Northern Peru are the Huaringas a group of lagoons in isolated and mysterious surroundings. The water has healing powersand for centuries traditional healers have settled there in small villages. From far the sick come to the Huaringas to be treated in nightly rituals in which the hallucinating juice of the San Pedro cactus gives the prophet a look inside hispatient. The biggest lagoon is the ?Laguna del Shimbe? one of the countless wells of the immense Amazon stream.2nd movement: Los AguarunasFurther downstream in Northern Peru we come across the rain tribe of Los Aguarunas. It?s a proud beautiful andindependent race which has never succumbed to domination not even from the Incas. They live from everything the forest has to offer: fish fruit plants ... . They also grow some crops and live as semi-nomads. They take their fate into their ownhands and after having made contact with modern civilisation they have integrated new elements into their lives without betraying their own ways.3rd movement: MekaronMekaron is an Indian word meaning ?picture? ?soul? ?essence?. The Indians are theorigina inhabitants of the Amazon region. They either live in one place as a group or move around a large region. They all have their own political system their own language and an intense social life. At the same time they are master of music andmedicine. ?Everywhere the white man goes he leaves a wilderness behind him? wrote the North American Indian leader Seatl in 1885. As a result of these contacts with the whites the disruption of most Indian societies began. (In this century alone 80 tribes have vanished completely).4th movement: KêêtuajêThis is the name of the initiating ceremony of the Krahô tribe in the Brazilian state of Goias in which young boys and girls enter adult life. They are cleansed with water painted with redpaint and covered with feathers after which the ritual dance holds the entire tribe spell-bound.5th movement: Paulino FaiakanIn 1988 the Indian chiefs Faiakan and Raoni Kaiapo came to Europe to protest against the building of the Altamira dam inBrazil. As a result of the dam the Indians would be driven from their traditional land and enormous artificial would be created. The project was supported financially by amongst others the European Community. In February 1989 the Indian tribesaround Altamira held a protest march for the first time in their history together. Amongst other things they paid tribute tot Chico Mendez who murdered in 1988 was the leader of the rubber syndicate and a fierce opponent of the destruction of theBrazilian rain forest. Brazilian and world opinion was awakened. The building of the dam was -albeit temporarily - stopped.

The tradition of the Christmas tree in Western Europe dates back to a time long before any Christianization had taken place. During the severely cold winter nights so it was believed evil spirits tried to ?kill? nature. Needle-leaved trees were the only ones which kept their green colour throughout the year and therefore became symbols of immortality. These ?living? trees said to be the work of benign spirits were brought into people?s houses to ward off evil life-threatening powers. In the 14th century people first started to decorate Christmas trees. It was a pagan custom originated by the inhabitants of Alsace. This custom was taken over by the Church in thecourse of the 15th and 16th century. At first the decoration consisted mainly of edibles such as apples and wafers but later small presents were added. Legend has it that the reformer Martin Luther was the first person to decorate a Christmas tree with candles. The flickering candle flames were meant to create the image of a starry sky in which Christ?s apparition could be recognized. The German organ-player Ernst Anschütz from Leipzig was the first person to notate the song ?O Tannenbaum? the melody being a well-known folk song. Next to ?Stille Nacht? ?O Tannenbaum? is the most famous German Christmas song now known throughout the world. In the United States of America the melody of ?O Tannenbaum? has even been used in four States (among which the State of Maryland) for their State song. In David Well?s arrangement the song is first heard as many of us know it. After this introduction however it is transformed into a solid rock version and the beat has been changed. In the second part the familiar three-four time is back but here the rhythm is different from the original. After the richly ornamented rock beat the basic theme can be heard once again and the composition is concluded in a festive manner.

Each songbook in the Big Book series provides musicians of all ability levels with a big list---usually 40 or more titles per book---of the very best songs from a favorite musical genre. The holidays are just around the corner, and there is no better way to celebrate than with these Big Book classic Christmas tunes. Titles include All I Want for Christmas is My Two Front Teeth * Christmases with You * Deck the Hall * The First Noel * God Rest Ye Merry Gentlemen * Grown-Up Christmas List * I'll Be Home for Christmas * Joy to the World * Mary, Did You Know' * O Little Town of Bethlehem * Santa Baby * Silent Night * The Twelve Days of Christmas * What Child is This * Winter Wonderland * and many more. / Miscellaneous, Scores, Songbooks / Recueil / Piano, Voix, Guitare et Clavier

Christopher Columbus was born in Genoa in 1451. His father was a wool merchant. Originally he seemed destined to follow in his father?s footsteps and thus sailed the oceans to countries as far apart as Iceland and Guinea. In 1476 his ship was sunk during a battle off the coast of Portugal. Columbus saved his own life by swimming to shore. In 1484 he conceived the idea of sailing to the Indies via a westward sea route but it was only in 1492 that he was able to realize this plan. On this first voyage he was in command of three ships: the flag-ship called the Santa Maria the Pinta and the Ni?a. From Spain Columbus sailed via the Canary Islands to the Bahamas whichhe sighted on October 12th 1492. Without being aware of it Columbus discovered the ?New World? ? he thought he had landed in the eastern part of Asia. The motif from Dvoøák?s 9th Symphony ?Aus der neuen Welt? forms a little counterfeit history at this point in the composition. After this first voyage Columbus was to undertake another three long voyages to America. These voyages were certainly not entirely devoid of misfortune. More than once he was faced with shipwreck mutiny and the destruction of settlements he had founded. After Columbus had left for Spain from Rio Belen in 1503 he beached his ships on the coast of Jamaica. The crew were marooned there and it was only after a year that Columbus succeeded in saving his men and sailing back to Spain with them. In the music the misunderstanding about which continent Columbus discovered in his lifetime resounds for does this part in the composition not contain Asiatic motifs? Poor Columbus! In 1506 the famous explorer died in Valladolid.

In ‘Land of Legends’ German composer Andreas Ludwig (what’s in a name) Schulte takes you along to the fictional world of legends myths and fairy tales. The introduction to the first part (The Castle) describes the majestic contours of the sceneof action. Its instrumentation (horns) immediately makes you imagine being in Medieval spheres. The addition of trenchant copper instruments even gives the part a heroic tinge. After entering through the gate a lot of hustle and bustle appearsto be going on in the courtyard. Pages squires and soldiers are busy attending to their arms. Beer is being brewed flax is being spun cattle are being tended and some craftsmen from neighbouring villages are busily at work. In the upperchamber of the round tower lives an old man (The Old Wizard). He hardly ever comes out and nobody knows exactly what he is doing. It is said that he is engaged in wizardry and magic. It is all very mysterious. There are also festivities some ofthem sober others exuberant. The wedding in the third part is celebrated in a grand manner. With a flourish of trumpets the bride makes her entrance at the hand of her father. Afterwards at the party there is dancing to the music played byminstrels and of course a plentiful banquet follows.

Jóhann Jóhannsson was an award-winning Icelandic composer, renowned for his compositions across film, television, theatre and dance, including his stunning score to James Marsh?s Stephen Hawking biopic The Theory of Everything (2014), which earned him a Golden Globe Award for Best Original Score. Jóhann Jóhannsson: Piano Works brings together for the first time transcriptions of his best-loved works in a special limited-edition collection for solo piano, which celebrates music from his solo albums alongside his highly acclaimed and powerfully moving film scores. Featuring 30 pieces accurately transcribed for solo piano, this collection will allow fans of Jóhannsson to immerse in his unique sound-world with music from across his career including The Theory of Everything, Odi et Amo and Flight From the City. Suitable for intermediate piano.With only a thousand copies available, Jóhann Jóhannsson: Piano Works is presented as a stunning high-end cloth-bound hardback limited-edition book. Alongside the scores, it includes a wealth of striking photographs and a specially written introduction from American composer Dustin O?Halloran, a longtime friend of Jóhannsson.?I believe that music acts as a time capsule, preserving the very essence of an individuals heart. When we play music from the past, we possess the ability to summon their spirit and bring them back to life. Jóhann?s music, in its timelessness, will forever remain vibrant and alive. By playing these pieces, you will find yourself drawing closer to his musical world, ensuring its eternal resonance?. Dustin O?Halloran, composer.?Jóhann Jóhannsson: Piano Works offers a superb tribute and testament to the musical achievement of this much-missed composer.? Andrew Eales, pianodao.com A Game of Croquet (from The Theory of Everything) A Model of the Universe (from The Theory of Everything) Bað A Sparrow Alighted Upon Our Shoulder Be Over (from The Shadow Play soundtrack) Beauty (from Blind Massage) By the Roes, and by The Hinds of the Field Dressing Up (from Personal Effects) The Drowned World Eleven Thousand Six Hundred and Sixty-Nine Died of Natural Causes Englabörn (piano version) Flight From the City Flugeldar II Good Morning, Midnight He Says It?s the Future Indian Wedding (from Personal Effects) Innocence (from Free the Mind) Já, Hemmi Minn Jói and Karen Linda and Walter (from Personal Effects) Melodia (III) Odi et Amo / Krókódíll Payphone (from McCanick) The Radiant City Ruslpóstur The Sun?s Gone Dim and the Sky?s Turned Black Theme from ?Varmints? soundtrack The Theory of Everything (soundtrack) Time to Say Goodbye (from White Black Boy) Will?s Story (from Free the Mind) / Piano / Faber Music

A work for orchestra commissioned by Gothenburg Symphony Orchestra. The composer writes 'I have borrowed the title 'Voyages extraordinaires' from the writer Jules Verne and his famous novel series depicting fantastic or in reality impossible journeys. The title seemed fitting as my work is intended as fantastical musical voyages on which the listener encounters new worlds of sound through recurring orchestral transformations. I see the work somewhat as a tribute to how art has the abilities to transcend the limits of life. Some years ago I composed a horn trio 'Diagonal Musik' (2017) inspired by the Swedish artist Olle Baertling. Baertling’s paintings consist of large brighttriangular shapes and although the lines gradually approach one another the intersecting point is often placed outside the frame. Consequently the spectator will try to complete the angle in their own head. In my horn trio I wanted to transfer this to music: the lines that gradually approach each other but rarely meet except perhaps in the listener’s head. In 'Voyage Extraordinaires' I have tried to develop these techniques even further this time for orchestral forces and combine them with the magical transformations an important structural element of the piece. The fantastic journeys also refer to travels in our own imagination: what we believe and picture in our mind. The sudden musical transformations that occur are also reminiscent of dream logic and the dreamscape itself. Here it is possible to wander in and out through worlds in a way that feels consistent within the framework of the dream.' A work for orchestra commissioned by Gothenburg Symphony Orchestra. The composer writes 'I have borrowed the title 'Voyages extraordinaires' from the writer Jules Verne and his famous novel series depicting fantastic or in reality impossible journeys. The title seemed fitting as my work is intended as fantastical musical voyages on which the listener encounters new worlds of sound through recurring orchestral transformations. I see the work somewhat as a tribute to how art has the abilities to transcend the limits of life. Some years ago I composed a horn trio 'Diagonal Musik' (2017) inspired by the Swedish artist Olle Baertling. Baertling’s paintings consist of large brighttriangular shapes and although the lines gradually approach one another the intersecting point is often placed outside the frame. Consequently the spectator will try to complete the angle in their own head. In my horn trio I wanted to transfer this to music: the lines that gradually approach each other but rarely meet except perhaps in the listener’s head. In 'Voyage Extraordinaires' I have tried to develop these techniques even further this time for orchestral forces and combine them with the magical transformations an important structural element of the piece. The fantastic journeys also refer to travels in our own imagination: what we believe and picture in our mind. The sudden