PARTITIONS GRATUITES :
- Dimensions III: Score

Composed by Anthony LaBounty. Concert Band. Opus III Series. Audio recording available separately (item CL.WFR372). Score and set of parts. Composed 2011. Duration 6 minutes, 8 seconds. Published by Opus III Wind Orchestra Publication

(for Orchestra Full Score). By Michael Daugherty (1954-). For Orchestra. Peermusic Classical. 60 pages. Peermusic #61910-851. Published by Peermusic

SKU: ST.PE21

Composed by Henry Purcell. Edited by Margaret Laurie. Library Volumes. Edited Margaret Laurie. Vocal and Instrumental Music for the Stage, Part III. First published in 2010.. Pages: 288. Format: Hardback. Dimensions (mm): 303 x 213 x 27. Score. Stainer & Bell Ltd. #PE21. Published by Stainer & Bell Ltd. (ST.PE21).

ISBN 9790220222733.

Purc ell began writing for the stage in 1680. His work for the two London theatre companies (which merged in 1682, but which in 1695 split once more into two competing factions) constituted an increasingly important aspect of his creative activities in the late 1680s, and became exceptionally fruitful in the last six years of his life, encompassing not merely his four great dramatic operas but also a prodigious quantity of music for more modest stage pieces.

The productions for which the music is included in this volume are: Oedipus (1692), Oroonoko (1695), Pausanias (1696), Regulus (1692), Rule a wife and have a wife (1693), Sir Anthony Love (1690), Sir Barnaby Whigg (1681), Sophonisba (?1685), The Old Batchelour (1693), The Richmond Heiress (1693), The Rival Sisters (1695), The Spanish Fryar (1695), The Tempest (1695), The Virtuous Wife (1695), The Wives Excuse (1691), Theodosius (1680), and Tyrannick Love (1694).

The original Purcell Society edition of this volume, edited by Alan Gray and published in 1917, has long been out of print. This comprehensive new edition - the only one available of most of the music - is based on a fresh examination of all the surviving materials, including newly discovered manuscript sources, carried out by one of the greatest living authorities on Purcell's dramatic music.

By Joseph Compello. Concert Band. For Flute, Oboe, Clarinet I, Clarinet II, Clarinet III, Alto Clarinet, Bass Clarinet, Bassoon, Alto Saxophone I, Alto Saxophone II, Tenor Saxophone, Baritone Saxophone, Keyboard, Trumpet II, Trumpet III, Horn, Horn II, Tenor I, Tenor II, Baritone (Bass Clef),. Carl Fischer Concert Performance Series. Classical. Grade 3-3.5. Score and Set of Parts. Standard notation. 36 pages. Published by Carl Fischer

SKU: ST.MB64

Composed by John Blow. Edited by Bruce Wood. Library Volumes. Edited by Bruce Wood. First published in 1993. Pages: 224. Format: Paperback. Dimensions (mm): 330 x 254 x 20. Score. Stainer & Bell Ltd. #MB64. Published by Stainer & Bell Ltd. (ST.MB64).

ISBN 9790220201301.

Nine pieces are included in this third volume of anthems for voices and orchestra by John Blow. They were composed during his first decade as a Gentleman of the Chapel Royal and reveal both his indebtedness to the influence of Pelham Humfrey, and his rapid assertion of his own manner.

CONTENTS
Arise, O Lord (attb, TrATB and Strings)
Cry aloud, and spare not (ttb, TrATB and Strings)
I will hearken (ttb, TrATB and Strings)
O give thanks unto the Lord, (tratbb, TrATB and Strings)
O sing unto the Lord a new song: (attb, TrATB and Strings)
The kings of Tharsis (att, TrATB and Strings)
The Lord is King, and hath put on glorious (ttb, TrATB and Strings)
When Israel came out of Egypt (attb, TrATB and Strings)
When the Lord turned against the (atbarb, TrATB and Strings).

Choir

SKU: ST.MB89

Composed by Samuel Sebastian Wesley. Edited by Peter Horton. Library Volumes. Edited by Peter Horton. First published in 2010. Pages: 272. Format: Hardback. Dimensions (mm): 330 x 254 x 30. Choral Score. Stainer & Bell Ltd. #MB89. Published by Stainer & Bell Ltd. (ST.MB89).

ISBN 9790220222573.

The third and final volume devoted to the anthems of S. S. Wesley completes the canon with 23 original works written in the period between his departure from Exeter Cathedral to become organist of Leeds parish church in 1842 and 1874, the likely date of his final essays in the genre. Moving towards a greater simplicity of style, with less counterpoint and dissonance, but emphasising elements of colour, timbre and texture, these works are in general conceived on a more modest scale than earlier pieces such as The Wilderness. Even so, they show the composer continuing to experiment with the Anglican verse anthem, the evolution of which had been the cornerstone of a creative achievement without equal in the history of the English cathedral tradition between Purcell and Stanford.