Catalogue No. |Website Header|Website Info|ISMN|Composer alpha|Composer display|Title|Instrument|Retail Price GB?|Weight(gms)
AND01|Johann Sebastian Bach
ADAGIO BWV 1020
Andresier/Bardic Edition AND01|Arranged by Dominic Leitner for Flute and guitar|9790502440008|BACH JS|Johann Sebastian Bach|Adagio BWV 1020|Flute and guitar|?4.25|63
AND02|'Nicholas Barton
BEN''S BOOK OF LULLABIES
Andresier/Bardic Edition AND02'|Solo Guitar|9790502440015|BARTON|Nicholas Barton|'Ben''s Book of Lullabies'|Guitar|?4.25|63
AND03|Nicholas Barton
THE END OF SUMMER
Andresier/Bardic Edition AND03|Large A3 copy for Guitar|9790502440022|BARTON|Nicholas Barton|The End of Summer|Guitar|?8.00|100
AND05|Peter R Bowcott
AUDAX ET CAUTUS
Andresier/Bardic Edition AND05|for Solo Guitar|9790502440039|BOWCOTT|Peter R Bowcott|Audax et Cautus|Guitar|?6.25|88
AND06|Martin Brabbins
SOMETIMES YOU CAN HEAR THE BIRDS SING
Bardic Edition AND06|Score for 4 guitars|9790502440046|BRABBINS|Martin Brabbins|Sometimes you can hear birds sing|Guitar ensemble|?5.25|76
AND07|Richard Churches
THREE PIECES
Andresier/Bardic Edition AND07|for Solo Guitar|9790502440053|CHURCHES|Richard Churches|Three Pieces|Guitar|?4.25|63
AND08|Mark Ellis
THE DRAGON & THE MINSTREL
Andresier/Bardic Edition AND08|Playing score for cello and guitar|9790502440060|ELLIS M|Mark Ellis|The Dragon & The Minstrel|Cello and Guitar|?4.25|63
AND09|Mark Ellis
HOLIDAY FANCIES
Andresier/Bardic Edition AND09|for Solo Guitar|9790502440077|ELLIS M|Mark Ellis|Holiday Fancies|Guitar|?5.25|76
AND14|Mark Ellis
WHITE HILLS GLITTERING DEEPS
Andresier/Bardic Edition AND14|for Solo Guitar|9790502440084|ELLIS M|Mark Ellis|White hills glittering deeps|Guitar|?4.25|63
AND15|Rajmil Fischmann
FLAUTA Y GUITARA
Andresier/Bardic Edition AND15|Large A3 playing score for flute and guitar|9790502440091|FISCHMANN|Rajmil Fischmann|Flauta y Guitara|Flute and guitar|?12.00|160
AND18|Allan Greenwood
INVISIBLE THREADS
Andresier/Bardic Edition AND18|for flute, clarinet, viola and guitar. Score.|9790502440107|GREENWOOD|Allan Greenwood|Invisible Threads|Ensemble - Mixed|?8.25|112
AND19|Allan Greenwood
WRITING FOR THE GUITAR
Andresier/Bardic Edition AND19|Book|9790502440114|GREENWOOD|Allan Greenwood|Writing for the guitar|Book|?5.25|76
AND20|T Heydecker
CONCERTO SERENISSIME Score
Andresier/Bardic Edition AND20|Guitar concerto SCORE|9790502440121|HEYDECKER|Thomas Heydecker|Concerto Serenissime Score|Guitar|?7.25|100
AND20-01|Thomas Heydecker
CONCERTO SERENISSIME Guitar Part
Andresier/Bardic Edition AND20-01|Guitar concerto. GUITAR PART|9790502440138|HEYDECKER|Thomas Heydecker|Concerto Serenissime Guitar Part|Guitar|?9.25|124
AND22|Antoinette Kirkwood
RAPSODIE No.1 Op.21/4
Andresier/Bardic Edition AND22|for viola and guitar - playing score|9790502440145|KIRKWOOD A|Antoinette Kirkwood|Rapsodie No.1 Op.21/4|Viola and Guitar|?7.25|100
AND23|Antoinette Kirkwood
SOLILOQUY Op.19/3
Andresier/Bardic Edition AND23|for Solo Guitar|9790502440152|KIRKWOOD A|Antoinette Kirkwood|Soliloquy op. 19/3|Guitar|?6.25|88
AND24|Dominic Leitner
TWO STUDIES: Kouign Aman & Kig Ha Farz
Andresier/Bardic Edition AND24|for Solo Guitar|9790502440169|LEITNER|Dominic Leitner|Two Studies Kouign Aman/Kig Ha Farz|Guitar|?4.25|63
AND25|Martin Plackett
FANTASIA
Andresier/Bardic Edition AND25|for Solo Guitar|9790502440176|PLACKETT|Martin Plackett|Fantasia|Guitar|?4.25|63
AND26|Haydn Reeder
OBJECTS ACTIONS 1/1 for prepared guitar
Andresier/Bardic Edition AND26|Solo Guitar|9790502440183|REEDER|Haydn Reeder|Objects Actions 1 1|Guitar|?4.25|63
AND27|Jonathan Richards
MINI PRELUDES
Andresier/Bardic Edition AND27|for Solo Guitar|9790502440190|RICHARDS|Jonathan Richards|Mini Preludes|Guitar|?4.25|63
AND28|Rhian Samuel
THREE SONGS for voice and guitar
Andresier/Bardic Edition AND28|Three songs: A Dream within a dream; Night; If the owl calls again; for voice and guitar|9790502440206|SAMUEL|Rhian Samuel|Three Songs for voice and guitar|Voice solo (with accompaniment)|?6.25|88
AND29|Ernest Shand
ANDANTE RELIGIOSO
Andresier/Bardic Edition AND29|for Solo Guitar|9790502440213|SHAND|Ernest Shand|Andante Religioso|Guitar|?4.00|51
AND30|Gregory Snape
DOUBLE GUITAR SUITE
Andresier/Bardic Edition AND30|For 2 guitars - playing score|9790502440220|SNAPE|Gregory Snape|Double Guitar Suite|Guitar ensemble|?9.25|124
AND32|Edward Warner
FOUR PIECE SUITE OP.1
Andresier/Bardic Edition AND32|for Solo Guitar|9790502440282|WARNER|Edward Warner|Four Piece Suite Op.1|Guitar|?4.00|51
AND33|John Gerrard Wilks
SCORDATURA INTERMEZZO
Andresier/Bardic Edition AND33|for Solo Guitar|9790502440299|WILKS|John Gerrard Wilks|Scordatura Intermezzo|Guitar|?6.25|88
AND41|Richard Nye
RETURN TO THE RIVER
Andresier/Bardic Edition AND41|For Oboe or Flute and guitar|9790502440305|NYE|Richard Nye|Return to the river|Flute and guitar|?8.25|112
BDE0001|Percy Grainger
BEAUTIFUL FRESH FLOWER
Bardic Edition BDE1|Chinese melody arranged by Percy Grainger for Piano Solo|9790502440312|GRAINGER|Percy Grainger|Beautiful Fresh Flower|Piano - Solo|?4.00|51
BDE0002|Percy Grainger
THE NIGHTINGALE & TWO SISTERS
Bardic Edition BDE2|Piano|9790502440329|GRAINGER|Percy Grainger|The Nightingale & Two Sisters|Piano - Solo|?4.25|63
BDE0003|J S Bach arr.Grainger
FUGUE IN A MINOR
Bardic Edition BDE3|Piano|9790502440336|BACH ARR.GRA|Bach arr.Grainger|Fugue in A minor|Piano - Solo|?4.25|63
BDE0004|Johannes Brahms arr.Grainger
VARIATION 12
Bardic Edition BDE4|Piano|9790502440343|BRAHMS ARR.G|Brahms arr.Grainger|Variation 12|Piano - Solo|?4.00|51
BDE0005|Edward Elgar arr.Grainger
NIMROD
Bardic Edition BDE5|Piano|9790502440350|ELGAR ARR.GR|Elgar arr.Grainger|Nimrod|Piano - Solo|?3.50|13
BDE0006|George Gershwin arr.Grainger
EMBRACEABLE YOU
Bardic Edition BDE6|Piano (4 hands)|9790502440367|GERSHWIN ARR|Gershwin arr.Grainger|Embraceable You|Piano - 2 players on 1 piano|?3.50|13
BDE0007|Percy Grainger
COUNTRY GARDENS FOR 2 DESCANTS
Bardic Edition BDE0007|Arrangement for 2 descant recorders.|9790502440374|GRAINGER|Percy Grainger|Country Gardens for 2 descants|Recorder ensemble|?4.25|63
BDE0008|Percy Grainger
LISBON
Bardic Edition BDE8|3 recorders (sss)|9790502440381|GRAINGER|Percy Grainger|Lisbon|Recorder ensemble|?5.25|50
BDE0009|Percy Grainger
COUNTRY GARDENS
Bardic Edition BDE9|for mixed choir (SATB)|9790502440398|GRAINGER|Percy Grainger|Country Gardens|Choir - Mixed voices (SATB)|?3.00|25
BDE0010|Percy Grainger
COUNTRY GARDENS
Bardic Edition BDE10|Mens choir (ttbb)|9790502440404|GRAINGER|Percy Grainger|Country Gardens|Choir - Male voices|?2.00|13
BDE0011|Percy Grainger
COUNTRY GARDENS
Bardic Edition BDE11|Female choir (ssaa)|9790502440411|GRAINGER|Percy Grainger|Country Gardens|Choir - 4 part upper voices|?3.75|38
BDE0012|Percy Grainger
COUNTRY GARDENS
Bardic Edition BDE12|Choir for two parts (ss/sa)|9790502440428|GRAINGER|Percy Grainger|Country Gardens|Choir - 2 part upper voices|?2.00|13
BDE0013|Percy Grainger
EARLY ONE MORNING
Bardic Edition BDE13|Mixed choir (satb) a capella|9790502440435|GRAINGER|Percy Grainger|Early One Morning|Choir - Mixed voices (SATB)|?4.75|50
BDE0014|Thomas Pitfield
FOUR CHORAL MINIATURES
Bardic Edition BDE14|Mixed choir (satb) and piano|9790502440442|PITFIELD|Thomas Pitfield|Four Choral Miniatures|Choir - Mixed voices (SATB)|?7.75|88
BDE0015|'Percy Grainger
THE GYPSY''S WEDDING DAY
Bardic Edition BDE15'|Mixed choir (satb) a cappella|9790502440459|GRAINGER|Percy Grainger|'The Gypsy''s Wedding Day'|Choir - Mixed voices (SATB)|?3.00|25
BDE0016|'Percy Grainger
LORD MAXWELL''s GOODNIGHT
Bardic Edition BDE16'|Mens choir|9790502440466|GRAINGER|Percy Grainger|'Lord Maxwell''s Goodnight'|Choir - Male voices|?3.75|38
BDE0017|Percy Grainger
NEAR WOODSTOCK TOWN
Bardic Edition BDE17|Mixed choir (satbb) a cappella|9790502440473|GRAINGER|Percy Grainger|Near Woodstock Town|Choir - Mixed voices (SATB)|?2.00|13
BDE0018|Percy Grainger
SKYE BOAT SONG
Bardic Edition BDE18|Choir unison and piano|9790502440480|GRAINGER|Percy Grainger|Skye Boat Song|Choir - Unison voices|?2.00|13
BDE0019|'Percy Grainger
SUSSEX MUMMERS'' CHRISTMAS CAROL
Bardic Edition BDE19'|for mixed choir (SAATBarB) a cappella arranged by Dana Paul Perna|9790502440497|GRAINGER|Percy Grainger|'Sussex Mummers'' Christmas Carol'|Choir - Mixed voices (SATB)|?3.00|25
BDE0020|Percy Grainger
NEAR WOODSTOCK TOWN
Bardic Edition BDE20|Piano|9790502440503|GRAINGER|Percy Grainger|Near Woodstock Town|Piano - Solo|?4.00|51
BDE0021|Percy Grainger
A BRIDAL LULLABY for piano solo
Bardic Edition BDE21|'Grainger''s original piano solo edited by Ronald Stevenson. Includes a facsimile page of Grainger''s manuscript together with informative editorial notes.
Duration 2 minutes'|9790502440510|GRAINGER|Percy Grainger|A Bridal Lullaby|Piano - Solo|?4.25|63
BDE0022|Percy Grainger
ANDANTE CON MOTO
Bardic Edition BDE22|for piano solo edited by Penelope Thwaites|9790502440527|GRAINGER|Percy Grainger|Andante con moto|Piano - Solo|?4.00|51
BDE0023|Percy Grainger
DIED FOR LOVE
Bardic Edition BDE23|'Lincolnshire folksong ''dished-up'' for piano solo edited by Dana Paul Perna'|9790502440534|GRAINGER|Percy Grainger|Died for Love|Piano - Solo|?4.00|51
BDE0024|Percy Grainger
A BRIDAL LULLABY for piano
Bardic Edition BDE24|arranged for piano solo.
Used as the theme music for the Merchant Ivory Productions film of Howards End.|9790502440541|GRAINGER|Percy Grainger|A Bridal Lullaby|Piano - Solo|?3.50|13
BDE0025|Percy Grainger
COUNTRY GARDENS
Bardic Edition BDE25|for descant and treble recorders unaccompanied - score and parts|9790502440558|GRAINGER|Percy Grainger|Country Garden for descant & treble|Recorder ensemble|?4.25|63
BDE0027|Percy Grainger
LEEZIE LINDSAY
Bardic Edition BDE27|Voice and piano|9790502440572|GRAINGER|Percy Grainger|Leezie Lindsay|Voice solo (with accompaniment)|?4.00|51
BDE0028|Percy Grainger
AT TWILIGHT
Bardic Edition BDE28|Piano|9790502440589|GRAINGER|Percy Grainger|At Twilight|Piano - Solo|?3.50|13
BDE0029|Percy Grainger
IN BRISTOL TOWN
Bardic Edition BDE29|Piano|9790502440596|GRAINGER|Percy Grainger|In Bristol Town|Piano - Solo|?3.50|13
BDE0030|Percy Grainger
ENGLISH WALTZ
Bardic Edition BDE30|Piano|9790502440602|GRAINGER|Percy Grainger|English Waltz|Piano - Solo|?5.25|76
BDE0031|Percy Grainger
PEACE AND SAXON TWI-PLAY
Bardic Edition BDE31|for piano solo|9790502440619|GRAINGER|Percy Grainger|Peace and Saxon Twi-Play|Piano - Solo|?4.25|63
BDE0032|Percy Grainger
THE RAG-TIME GIRL for piano solo
Bardic Edition BDE32|'The Rag-time Girl (American Popular Song), words and music by Howard and Emerson. The chorus only, set for piano solo by Percy Grainger (July 1900)
"Hello! ma baby" is a song written in 1899 by the team of Joseph E. Howard and Ida Emerson. Its subject is a man who has a girlfriend he knows only through the telephone. The song was first recorded by Arthur Collins on Edison 5470 and the song is easily adaptable to any singer. It was originally published by T. B. Harms & Company, NY. The chorus is far better known than its verse, as the introductory song in the famous Warner Bros. cartoon One Froggy Evening (1955), sung by the character later dubbed Michigan J. Frog and high-stepping in the style of Bert Williams.
Grainger first heard this song sung by his American friend, Carlo Fischer (b. 1872) whom he had met in Frankfurt during his studies at Dr. Hoch''s Conservatorium. Grainger''s manuscript copy is of the chorus only and is dated July 2, 1900, London. The chorus with words is given on page 4. For those interested in performing the complete song, the verses of the original have been printed on pages 6 and 7.'|9790502440626|GRAINGER|Percy Grainger|The Rag-time Girl|Piano - Solo|?4.25|63
BDE0033|Percy Grainger
TWO DANISH FOLKSONGS
Bardic Edition BDE33|Piano|9790502440633|GRAINGER|Percy Grainger|Two Danish Folksongs|Piano - Solo|?4.00|51
BDE0035|Percy Grainger
WALKING TUNE
Bardic Edition BDE35|Piano or organ (4 hands)|9790502440657|GRAINGER|Percy Grainger|Walking Tune|Piano - 2 players on 1 piano|?4.00|51
BDE0036|Percy Grainger
ENGLISH WALTZ
Bardic Edition BDE36|'Fifth and last movement of "Youthful Suite" ''dished-up'' for one piano, four hands by Christopher Palmer'|9790502440664|GRAINGER|Percy Grainger|English Waltz|Piano - 2 players on 1 piano|?6.25|88
BDE0037|Percy Grainger
WHEN THE WORLD WAS YOUNG
Bardic Edition BDE37|Sentimental No.2 for 2 pianos, 4 hands - (Two copies included)|9790502440671|GRAINGER|Percy Grainger|When the world was young|Piano - 2 players on 2 pianos|?10.25|136
BDE0038|Percy Grainger
HARVEST HYMN
Bardic Edition BDE38|'''dished-up'' for 2 pianos, 8 hands - Two copies included'|9790502440688|GRAINGER|Percy Grainger|Harvest Hymn|Piano - 4 players on 2 pianos|?8.25|112
BDE0039|Percy Grainger
IN BRISTOL TOWN
Bardic Edition BDE39|Piano (6 hands)|9790502440695|GRAINGER|Percy Grainger|In Bristol Town|Piano - 3 players on 1 piano|?4.00|51
BDE0040|Percy Grainger
YE BANKS & BRAES
Bardic Edition BDE40|Piano (6 hands)|9790502440701|GRAINGER|Percy Grainger|Ye Banks & Braes|Piano - 3 players on 1 piano|?4.00|25
BDE0041|Percy Grainger
EARLY ONE MORNING
Bardic Edition BDE41|Old English tune set for 2 players at one harmonium or reed organ or pipe, or electric organ.|9790502440718|GRAINGER|Percy Grainger|Early One Morning|Organ duet|?4.00|51
BDE0042|Percy Grainger
TIGER! TIGER!
Bardic Edition BDE42|(Kipling setting No.4) set for 2 players at one harmonium or reed organ or pipe, or electric organ|9790502440725|GRAINGER|Percy Grainger|Tiger! Tiger!|Organ duet|?4.00|51
BDE0043|'Percy Grainger
LET''S DANCE GAY IN GREEN MEADOW
Bardic Edition BDE43'|(Faeroe Island dance song) set for 3 players at 1 harmonium or reed organ or piano|9790502440732|GRAINGER|Percy Grainger|'Let''s Dance Gay In Green Meadow'|Piano - 3 players on 1 piano|?4.00|51
BDE0044|Percy Grainger
WALKING TUNE
Bardic Edition BDE44|arranged for recorder or flute and piano by Barry Peter Ould|9790502440749|GRAINGER|Percy Grainger|Walking Tune|Flute and piano|?4.25|63
BDE0045|'Claude Le Jeune arr.Grainger
LA BEL''ARONDE
Bardic Edition BDE45'|2 pianos (4 hands)|9790502440756|LE JEUNE|Le Jeune arr.Grainger|'La Bel''Aronde'|Piano - 2 players on 2 pianos|?4.25|63
BDE0046|Percy Grainger
A BRIDAL LULLABY
Bardic Edition BDE46|Harp|9790502440763|GRAINGER|Percy Grainger|A Bridal Lullaby|Harp|?3.50|13
BDE0047|Percy Grainger
A BRIDAL LULLABY
Bardic Edition BDE47|Mixed choir (ssatbb) and harp (piano)|9790502440770|GRAINGER|Percy Grainger|A Bridal Lullaby|Choir - Mixed voices (SATB)|?5.75|63
BDE0048|Edward Allwright
WEDDING MARCH TOCCATA
Bardic Edition BDE48|for organ arranged and adapted from Mendelssohn and Widor|9790502440787|ALLWRIGHT|Edward Allwright|Wedding March Toccata|Organ Solo|?4.25|63
BDE0049|Margaret Lyell
A LOVELY ROSE IS SPRUNG
Bardic Edition BDE49|Mixed choir (satb)|9790502440794|LYELL|Margaret Lyell|A Lovely Rose is Sprung|Choir - Mixed voices (SATB)|?2.00|13
BDE0050|Alan Bush
THREE EASY FIVE BEAT PIECES
Bardic Edition BDE50|op.114 for piano solo|9790502440800|BUSH|Alan Bush|Three Easy Five Beat Pieces|Piano - Solo|?4.25|63
BDE0051|Ferruccio Busoni
CANTO AND VALSE
Bardic Edition BDE51|Piano|9790502440817|BUSONI|Ferruccio Busoni|Canto and Valse|Piano - Solo|?6.25|88
BDE0052|'Eugen d''Albert
GAVOTTE & MUSETTE OP. 4/1
Bardic Edition BDE52'|Piano|9790502440824|'D''ALBERT'|'Eugen d''Albert'|Gavotte & Musette op. 1/4|Piano - Solo|?4.25|63
BDE0053|Ella Grainger
BIGELOW MARCH
Bardic Edition BDE53|Piano|9790502440831|GRAINGER E|Ella Grainger|Bigelow March|Piano - Solo|?4.25|63
BDE0054|Ella Grainger
LOVE AT FIRST SIGHT
Bardic Edition BDE54|Piano|9790502440848|GRAINGER E|Ella Grainger|Love at first sight|Piano - Solo|?4.00|51
BDE0055|Franz Liszt
PIANO PIECE NO. 1 AB MAJOR
Bardic Edition BDE55|Piano|9790502440855|LISZT|Franz Liszt|Piano Piece No. 1 Ab Major|Piano - Solo|?4.25|63
BDE0056|Kaikhosru Shapurji Sorabji
FANTASIETTINA
Bardic Edition BDE56|Piano|9790502440862|SORABJI|Kaikhosru Shapurji Sorabji|Fantasiettina|Piano - Solo|?6.25|88
BDE0057|Bernard Stevens
BARCAROLLE
Bardic Edition BDE57|Piano|9790502440879|STEVENS B|Bernard Stevens|Barcarolle|Piano - Solo|?4.00|51
BDE0058|Bernard Stevens
THEME AND VARIATIONS
Bardic Edition BDE58|Piano|9790502440886|STEVENS B|Bernard Stevens|Theme and Variations|Piano - Solo|?6.25|88
BDE0063|Joseph Parry
MYFANWY
Bardic Edition BDE63|Arranged for mixed voice choir (SATBB) and piano by Barry Peter Ould. Music by Joseph Parry, English words by "Cuhelyn".|9790502440930|PARRY J|Joseph Parry|Myfanwy|Choir - Mixed voices (SATB)|?2.00|13
BDE0066|Alfred J Swan
ALBUM OF PIANO PIECES
Bardic Edition BDE66|'For piano solo. Contents: The exile''s song; Pezzo giocoso in modo maggiore; Albumblatt; Sine nomine; Jane''s melodies; Chorale for Palm Sunday; Petit Choral; Praeludium et Fugue 3 vocum; Petite Pastourelle; Into an Album'|9790502440961|SWAN|Alfred J Swan|Album of Piano Pieces|Piano - Solo|?11.25|149
BDE0067|Bernard van Dieren
PICCOLO PRALINUDETTINO
Bardic Edition BDE67|Piano|9790502440978|VAN DIEREN|Bernard van Dieren|Piccolo Pralinudettino|Piano - Solo|?6.25|88
BDE0068|Arr.Lawrence Glover
AFTON WATER
Bardic Edition BDE68|Scottish folk-music settings No.2 arranged for 2 pianos, 4 hands by Lawrence Glover|9790502440985|GLOVER|Lawrence Glover|Afton Water|Piano - 2 players on 2 pianos|?4.25|63
BDE0069|'Lawrence Glover
THE BONNIE EARL O'' MORAY
Bardic Edition BDE69'|2 pianos (4 hands)|9790502440992|GLOVER|Lawrence Glover|'The Bonnie Earl o'' Moray'|Piano - 2 players on 2 pianos|?4.25|63
BDE0070|Charles Spinks
VARIATIONS ON A GREEK FOLKSONG
Bardic Edition BDE70|2 pianos (4 hands)|9790502441005|SPINKS|Charles Spinks|Variations on a Greek Folksong|Piano - 2 players on 2 pianos|?9.25|124
BDE0071|Penelope Thwaites
A LAMBETH GARLAND
Bardic Edition BDE71|2 pianos (4 hands)|9790502441012|THWAITES|Penelope Thwaites|A Lambeth Garland|Piano - 2 players on 2 pianos|?18.25|233
BDE0073|Anonymous
ANGELUS AD VIRGINEM
Bardic Edition BDE73|3 recorders|9790502441036|ANON|Anonymous|Angelus ad Virginem|Recorder ensemble|?7.25|100
BDE0076|Percy Grainger
AGINCOURT SONG
Bardic Edition BDE76|Mixed choir (satb) a cappella|9790502441067|GRAINGER|Percy Grainger|Agincourt Song|Choir - Mixed voices (SATB)|?3.00|25
BDE0077|Bernard Stevens
TWO DANCES OP.33
Bardic Edition BDE77|for piano duet (one piano, four hands)|9790502441074|STEVENS B|Bernard Stevens|Two Dances op. 33|Piano - 2 players on 1 piano|?7.25|100
BDE0078|Christopher Boodle
TOCCATA ECLATANTE
Bardic Edition BDE78|for organ (revised version 2020).
Duration 7 minutes|9790502441081|BOODLE|Christopher Boodle|Toccata Eclatante|Organ Solo|?8.25|112
BDE0079|Alan Gibbs
MAGIC FLUTES
Bardic Edition BDE79|Organ|9790502441098|GIBBS A|Alan Gibbs|Magic Flutes|Organ Solo|?5.25|76
BDE0080|Alan Gibbs
SIX ADJECTIVES
Bardic Edition BDE0080|Organ|9790502441104|GIBBS A|Alan Gibbs|Six Adjectives|Organ Solo|?5.25|76
BDE0082|Charles Spinks
TWO PIECES: FEU FOLLET & BAGATELLE
Bardic Edition BDE82|for Organ|9790502441128|SPINKS|Charles Spinks|Two Pieces: Feu Follet & Bagatelle|Organ Solo|?4.25|63
BDE0083|Charles Spinks
TOCCATA
Bardic Edition BDE83|Organ|9790502441135|SPINKS|Charles Spinks|Toccata|Organ Solo|?6.25|88
BDE0084|Bernard Stevens
FANTASIA
Bardic Edition BDE84|Organ|9790502441142|STEVENS B|Bernard Stevens|Fantasia|Organ Solo|?7.75|88
BDE0086|Penelope Thwaites
TWO PIECES: CARILLON & FANFARE
Bardic Edition BDE86|for Organ|9790502441166|THWAITES|Penelope Thwaites|Two Pieces: Carillon & Fanfare|Organ Solo|?6.25|88
BDE0088|Enrique Granados
BALLAD OF LOVE AND DEATH for guitar
Bardic Edition BDE88|Transcribed for guitar solo by Ronald Stevenson.
Duration 2? minutes|9790502441180|GRANADOS|Enrique Granados|Ballad of Love and Death|Guitar|?4.00|51
BDE0089|'Henry Purcell
THE QUEEN''S DOLOUR for guitar
Bardic Edition BDE89'|Transcribed for guitar solo by Ronald Stevenson.
Duration 3? minutes|9790502441197|PURCELL H|Henry Purcell|'The Queen''s Dolour'|Guitar|?4.00|51
BDE0090|Colin Tommis
SIX WELSH FOLK PRELUDES
Bardic Edition BDE90|Guitar|9790502441203|TOMMIS|Colin Tommis|Six Welsh Folk Preludes|Guitar|?8.25|112
BDE0091|Ella Grainger
ELLA LOVE FIRST SIGHT
Bardic Edition BDE91|Simplified arrangement for voice and piano or piano solo by Ronald Stevenson|9790502441210|GRAINGER E|Ella Grainger|Ella Love First Sight|Voice solo (with accompaniment)|?4.00|51
BDE0092|Mervyn Horder
BLACK DIAMONDS I
Bardic Edition BDE92|Voice and piano|9790502441227|HORDER|Mervyn Horder|Black Diamonds I|Voice solo (with accompaniment)|?4.25|63
BDE0095|Percy Grainger
THE BRIDEGROOM GREETS
Bardic Edition BDE95|'Scottish Folk-Ballad arranged for low voice and piano (realised by Barry Peter Ould).
Grainger''s setting of this Scottish Folk-Ballad dates from April 23, 1902 where it is categorised as being amongst his ''Early settings of Folksongs and Popular Tunes''. The work was originally scored for contralto voice accompanied by two violas and three violoncellos. The melody was collected and notated by Peter Buchan of Peterhead, Aberdeenshire and included in his Ancient Ballads and Songs of the North of Scotland (1828) and the particular version of the text used by Grainger is shorter and quite different from the other texts for this ballad.
This song relates the curious story of a troubled bridegroom who, unable to consummate his marriage on his wedding night, enlists help from a certain John Gray. The word ''greets'' in this song is the Scots word which means ''to cry''.
Duration 1? minutes'|9790502441258|GRAINGER|Percy Grainger|The Bridegroom Greets|Voice solo (with accompaniment)|?4.00|51
BDE0096|Nick Davies
SLOOP JOHN B
Bardic Edition BDE96|Traditional words and music arranged for unaccompanied male voice choir (TTBB) by Nick Davies|9790502441265|DAVIES N|Nick Davies|Sloop John B|Choir - Male voices|?3.75|38
BDE0097|Nick Davies
SCARBOROUGH FAIR
Bardic Edition BDE97|Mens choir (ttbb)|9790502441272|DAVIES N|Nick Davies|Scarborough Fair|Choir - Male voices|?3.00|25
BDE0098|John Tilstone Ellis
DUSTY ROAD
Bardic Edition BDE98|A simple carol for the Nativity for SATB choir a cappella.
Words and Music by John Tilstone Ellis.|9790502441289|ELLIS JT|John T Ellis|Dusty Road|Choir - Mixed voices (SATB)|?3.00|25
BDE0099|John T Ellis
LONE STAR CAROL
Bardic Edition BDE99|Mens choir (ttbb)|9790502441296|ELLIS JT|John T Ellis|Lone Star Carol|Choir - Male voices|?3.00|25
BDE0100|John T Ellis
NO ROOM
Bardic Edition BDE100|Mixed choir (satb)|9790502441302|ELLIS JT|John T Ellis|No Room|Choir - Mixed voices (SATB)|?3.00|25
BDE0101|John T Ellis
SONG OF THE HILLSIDE
Bardic Edition BDE101|Mixed choir (satb)|9790502441319|ELLIS JT|John T Ellis|Song of the Hillside|Choir - Mixed voices (SATB)|?3.00|25
BDE0103|Antony Hopkins
WHILE SHEPHERDS WATCHED
Bardic Edition BDE103|Soprano, mixed choir (satb) and organ|9790502441333|HOPKINS A|Antony Hopkins|While Shepherds Watched|Choir - Mixed voices (SATB)|?4.75|50
BDE0105|Percy Grainger
DEDICATION (2ND SETTING)
Bardic Edition BDE105|High voice and piano|9790502441340|GRAINGER|Percy Grainger|Dedication (2nd Setting)|Voice solo (with accompaniment)|?4.00|51
BDE0106|Percy Grainger
THE FIRST CHANTEY for voice & piano
Bardic Edition BDE106|'''The First Chantey'' comes from Kipling''s The Seven Seas and Grainger''s setting dates from 7th and 8th February, 1899. In 1903 Grainger began work on an instrumental setting based on the version published here, to which he returned from time to time over a number of years. Regrettably, the instrumental setting was never completed and exists only in the form of several sketches. As the song unfolds, Grainger''s music manages to capture perfectly in sound the mood of this unusual poem, and it must surely rank high amongst Grainger''s earliest original creations which he called his ''Youthful Toneworks''.'|9790502441357|GRAINGER|Percy Grainger|The First Chantey|Voice solo (with accompaniment)|?5.25|76
BDE0107|Percy Grainger
HARVEST HYMN for 1 piano 6 hands
Bardic Edition BDE107|'''dished-up'' for 1 piano, 6 hands.
Grainger began sketching this work in London, 1905 with the title ''Hymny Tune''. Eventually he changed the title to ''Harvest Hymn'', and as such was completed in Sweden in 1932. It is an elaboration of the earlier sketches and as such is meant to represent an apotheosis of hymn-like melodies. The work exists in many different forms from versions for piano solo to full orchestra with or without voices. In fact, Grainger states on the front cover of the published score that all the possible versions are interchangeable and can be combined together. This version for 1 pianos, 6 hands may also be used with any of the other published versions as it is in the same key and contains the same number of bars.'|9790502441364|GRAINGER|Percy Grainger|Harvest Hymn|Piano - 3 players on 1 piano|?4.25|63
BDE0109|Percy Grainger
LAND O THE LEAL
Bardic Edition BDE109|'A Traditional Scottish Air arranged for low voice and piano (realised by Barry Peter Ould).
Grainger''s setting of this Scottish Traditional Air dates from April 23, 1902 where it is categorised as being amongst his ''Early settings of Folksongs and Popular Tunes''. The work was originally scored for contralto voice accompanied by violin, two violas and two violoncellos. The words by Carolina, Lady Nairne, a Scottish song writer and collector of tunes whose works include Will Ye No Come Back Again and The Rowan Tree. The melody used is a variant of Hae Tuttie Taiti which many of us know as Scots wha hae. Although the age of this traditional Scots air is unknown, it is reputed to have been played by the army of Robert the Bruce before the Battle of Bannockburn in 1314 and during the Siege of Orleans in 1429 (when France and Scotland allied). For Scots, ''the land o the leal'' is a poetic phrase meaning heaven, and this song is a moving ballad concerning illness and death.
Duration 3 minutes'|9790502441371|GRAINGER|Percy Grainger|Land O the Leal|Voice solo (with accompaniment)|?4.00|51
BDE0111|Ivan Tcherepnin
BUTTERFLY DREAM
Bardic Edition BDE111|Mixed choir (satb) a cappella|9790502441395|TCHEREPNIN|Ivan Tcherepnin|Butterfly Dream|Choir - Mixed voices (SATB)|?3.75|38
BDE0112|Bernard van Dieren
AVE MARIA
Bardic Edition BDE112|Mixed choir (satb/ssatb)|9790502441401|VAN DIEREN|Bernard van Dieren|Ave Maria|Choir - Mixed voices (SATB)|?3.00|25
BDE0113|'Julian Jacobson
EVA''S WALTZ WI 4
Bardic Edition BDE113'|Violin and piano|9790502441418|JACOBSON J|Julian Jacobson|'Eva''s Waltz WI 4'|Violin and piano|?7.25|100
BDE0114|Julian Jacobson
GOTHENBURG WALTZ WI 1
Bardic Edition BDE114|Cello (viola) and piano|9790502441425|JACOBSON J|Julian Jacobson|Gothenburg Waltz WI 1|Cello and piano|?6.25|88
BDE0115|Julian Jacobson
LYDIAN WALTZ WI 3
Bardic Edition BDE115|Violin and piano|9790502441432|JACOBSON J|Julian Jacobson|Lydian Waltz WI 3|Violin and piano|?4.25|63
BDE0116|Julian Jacobson
VALSE WI 2
Bardic Edition BDE116|Flute and piano|9790502441449|JACOBSON J|Julian Jacobson|Valse Waltz-Impromptu No.2|Flute and piano|?5.25|76
BDE0117|Bernard Stevens
FOUR CANONS
Bardic Edition BDE117|2 oboes and bassoon|9790502441456|STEVENS B|Bernard Stevens|Four Canons|Wind Ensemble|?5.25|76
BDE0119|Percy Grainger
THE LONELY DESERT-MAN
Bardic Edition BDE119|Piano (4 hands)|9790502441463|GRAINGER|Percy Grainger|The Lonely Desert-Man|Piano - 2 players on 1 piano|?4.25|63
BDE0120|Percy Grainger
LULLABY
Bardic Edition BDE120|Piano|9790502441470|GRAINGER|Percy Grainger|Lullaby|Piano - Solo|?3.50|13
BDE0121|Alfred J Swan
STRING QUARTET NO.1 C MAJOR Score
Bardic Edition BDE121|String quartet|9790502441487|SWAN|Alfred J Swan|String Quartet No.1 C major Score|String Quartet|?4.25|66
BDE0122|Alfred J Swan
STRING QUARTET NO.2 D MAJOR Score
Bardic Edition BDE122|Flute and string quartet|9790502441494|SWAN|Alfred J Swan|String Quartet No.2 D major Score|Ensemble - Mixed|?4.25|66
BDE0123|Alfred J Swan
STRING QUARTET NO. 3
Bardic Edition BDE123|Set of parts for string quartet|9790502441500|SWAN|Alfred J Swan|String Quartet No.3 Set of Parts|String Quartet|?4.75|50
BDE0123-10|Alfred J Swan
STRING QUARTET NO.3 Score
Bardic Edition BDE123-10|String quartet|9790502441517|SWAN|Alfred J Swan|String Quartet No.3 Score|String Quartet|?4.25|66
BDE0124|Alfred J Swan
STRING QUARTET NO.4 in Bm Score & Parts
Bardic Edition BDE124|Score and Parts for string quartet. Score also sold separately.|9790502441524|SWAN|Alfred J Swan|String Quartet No.4 in Bm Sc+Parts|String Quartet|?25.00|318
BDE0124-10|Alfred J Swan
STRING QUARTET NO.4 in Bm Score
Bardic Edition BDE124-10|Score [only] for string quartet (score & parts also on sale)|9790502441531|SWAN|Alfred J Swan|String Quartet No.4 in Bm Score|String Quartet|?13.25|173
BDE0125|Alfred J Swan
STRING QUARTET NO.5 A MINOR Score
Bardic Edition BDE125|String quartet|9790502441548|SWAN|Alfred J Swan|String Quartet No.5 A minor Score|String Quartet|?4.25|66
BDE0127|Percy Grainger
THE MAIDEN AND THE FROG
Bardic Edition BDE127|Cello and piano|9790502441555|GRAINGER|Percy Grainger|The Maiden and the Frog|Cello and piano|?4.00|25
BDE0130|Jonathan FeBland
THREE PRELUDES
Bardic Edition BDE130|Piano|9790502441562|FEBLAND|Jonathan FeBland|Three Preludes|Piano - Solo|?6.25|88
BDE0131|Alan Gibbs
SIX CHARACTERS FROM SHAKESPEARE
Bardic Edition BDE131|Piano|9790502441579|GIBBS A|Alan Gibbs|Six Characters from Shakespeare|Piano - Solo|?3.75|38
BDE0133|John Jordan
GREENPEACE ROUNDS
Bardic Edition BDE133|Piano (2 pianos)|9790502441586|JORDAN|John Jordan|Greenpeace Rounds|Piano - 2 players on 2 pianos|?5.25|76
BDE0135|Reginald King
MEDITATION for piano solo
Bardic Edition BDE135||9790502441609|KING R|Reginald King|Meditation|Piano - Solo|?4.25|63
BDE0136|Reginald King
REVERIE
Bardic Edition BDE136|Piano|9790502441616|KING R|Reginald King|Reverie|Piano - Solo|?4.25|63
BDE0137|Reginald King
SONATA
Bardic Edition BDE137|Piano|9790502441623|KING R|Reginald King|Sonata|Piano - Solo|?11.25|149
BDE0140|Raymond Parfrey
THREE DANCES
Bardic Edition BDE140|Piano|9790502441630|PARFREY|Raymond Parfrey|Three Dances|Piano - Solo|?5.25|76
BDE0144|John Pickard
SONATA
Bardic Edition BDE144|Piano|9790502441647|PICKARD|John Pickard|Sonata|Piano - Solo|?15.25|197
BDE0146|Thomas Pitfield
MAZURKA
Bardic Edition BDE146|Piano|9790502441661|PITFIELD|Thomas Pitfield|Mazurka|Piano - Solo|?4.00|51
BDE0147|Charles Spinks
DANCE SUITE OP. 12
Bardic Edition BDE147|Piano|9790502441678|SPINKS|Charles Spinks|Dance Suite op. 12|Piano - Solo|?5.25|76
BDE0151|Percy Grainger
NIGHT SONG IN THE JUNGLE
Bardic Edition BDE151|'''Night Song in the Jungle'' (1st setting) for TTBB a cappella choir. Words by Rudyard Kipling from ''The Jungle Book''.'|9790502441685|GRAINGER|Percy Grainger|Night Song in the Jungle|Choir - Male voices|?2.00|13
BDE0152|Penelope Thwaites
DANCING PIECES
Bardic Edition BDE152|Piano|9790502445164|THWAITES|Penelope Thwaites|Dancing Pieces|Piano - Solo|?4.25|63
BDE0153|Alexander White
THREE SCOTTISH PIECES
Bardic Edition BDE153|Piano|9790502441692|WHITE A|Alexander White|Three Scottish Pieces|Piano - Solo|?4.25|63
BDE0154|Malcolm MacDonald
HEBRIDES
Bardic Edition BDE154|2 pianos (4 hands)|9790502441708|MACDONALD|Malcolm MacDonald|Hebrides|Piano - 2 players on 2 pianos|?12.25|160
BDE0155|Charles Spinks
THREE ARABESQUES for organ
Bardic Edition BDE155|Organ solo|9790502441715|SPINKS|Charles Spinks|Three Arabesques|Organ Solo|?5.25|76
BDE0156|Alan Gibbs
MAGIC FLUTES
Bardic Edition BDE156|For organ duet|9790502441722|GIBBS A|Alan Gibbs|Magic Flutes|Organ duet|?8.25|112
BDE0157|Margaret Lyell
SWEET PASTORALE
Bardic Edition BDE157|Voice, flute and piano|9790502441739|LYELL|Margaret Lyell|Sweet Pastorale|Voice solo (with accompaniment)|?5.25|76
BDE0158|Penelope Thwaites
FORESTRY
Bardic Edition BDE158|Medium voice and piano|9790502441746|THWAITES|Penelope Thwaites|Forestry|Voice solo (with accompaniment)|?4.00|51
BDE0159|Penelope Thwaites
REVERIE
Bardic Edition BDE159|Voice and piano|9790502441753|THWAITES|Penelope Thwaites|Reverie|Voice solo (with accompaniment)|?4.00|51
BDE0161|Gwyn Arch
I WHO SAW HIM
Bardic Edition BDE161|Mixed choir (satb)|9790502441760|ARCH|Gwyn Arch|I Who Saw Him|Choir - Mixed voices (SATB)|?3.75|38
BDE0162|Denis Atkinson
THE SEARCH FOR TODAY
Bardic Edition BDE162|Soprano or female choir (ssaa) and piano|9790502441777|ATKINSON D|Denis Atkinson|The Search for Today|Choir - 4 part upper voices|?3.00|25
BDE0163|Denis Atkinson
SONG OF MAN
Bardic Edition BDE163|Soprano and piano|9790502441784|ATKINSON D|Denis Atkinson|Song of Man|Voice solo (with accompaniment)|?3.00|25
BDE0164| Geoffrey Atkinson
AIGNISH
Bardic Edition BDE164|Mixed choir (satb), violin, cello and harpsichord|9790502441791|ATKINSON G| Geoffrey Atkinson|Aignish|Choir - Mixed voices (SATB)|?3.75|38
BDE0165|' Geoffrey Atkinson
ST.JOSEPH''S CAROL
Bardic Edition BDE165'|Soloists (sbar) and mixed choir (satb)|9790502441807|ATKINSON G| Geoffrey Atkinson|'St.Joseph''s Carol'|Choir - Mixed voices (SATB)|?3.00|25
BDE0166|David Bullock
MASS IN D OP.40
Bardic Edition BDE166||9790502445966|BULLOCK|David Bullock|Mass in D Op.40|Choir - Mixed voices (SATB)|?16.75|200
BDE0167|Robert Carver
GAUDE FLORE VIRGINALI
Bardic Edition BDE167|Mixed choir (sattb) a cappella|9790502441814|CARVER|Robert Carver|Gaude Flore Virginali|Choir - Mixed voices (SATB)|?11.25|149
BDE0169|A C Bell
CRADLE CAROL
Bardic Edition BDE169|Mixed choir (satb) a cappella|9790502441821|BELL AC|A C Bell|Cradle carol|Choir - Mixed voices (SATB)|?2.00|13
BDE0170|A C Bell
SILENT O MOYLE
Bardic Edition BDE170||9790502445973|BELL AC|A C Bell|Silent O Moyle|Choir - Mixed voices (SATB)|?2.00|13
BDE0171|Harry Croft-Jackson
PRAYER (OLNEY ANTHEM NO.1)
Bardic Edition BDE171||9790502445980|CROFT-JACKSO|Harry Croft-Jackson|Prayer (Olney Anthem No.1)|Choir - Mixed voices (SATB)|?2.00|13
BDE0172|Harry Croft-Jackson
CHRIST MY BELOVED
Bardic Edition BDE172||9790502445955|CROFT-JACKSO|Harry Croft-Jackson|Christ my Beloved|Choir - Mixed voices (SATB)|?3.00|25
BDE0173|Harry Croft-Jackson
CHRIST MY LONGING
Bardic Edition BDE173||9790502445997|CROFT-JACKSO|Harry Croft-Jackson|Christ My Longing|Choir - Mixed voices (SATB)|?3.00|25
BDE0174|John T Ellis
SHORE TO SHORE
Bardic Edition BDE174|Choir unison and piano|9790502441838|ELLIS JT|John T Ellis|Shore to Shore|Choir - Unison voices|?3.00|25
BDE0179|Alan Gibbs
GAUDEAMUS IGITUR
Bardic Edition BDE179|Mixed choir (satb) and keyboard|9790502441845|GIBBS A|Alan Gibbs|Gaudeamus Igitur|Choir - Mixed voices (SATB)|?3.75|38
BDE0181|Alan Gibbs
GOD BE MERCIFUL
Bardic Edition BDE181||9790502446000|GIBBS A|Alan Gibbs|God Be Merciful|Choir - 2 part upper voices|?3.00|25
BDE0183|Alan Gibbs
ISLEWORTH COMMUNION
Bardic Edition BDE0183|Congregation (for one part) and keyboard|9790502441852|GIBBS A|Alan Gibbs|Isleworth Communion|Choir - Unison voices|?3.75|38
BDE0184|Alan Gibbs
I WILL ALWAY GIVE THANKS
Bardic Edition BDE184||9790502446017|GIBBS A|Alan Gibbs|I Will Alway Give Thanks|Choir - Unison voices|?3.00|25
BDE0185|Alan Gibbs
A MOTHER SINGS
Bardic Edition BDE185||9790502446024|GIBBS A|Alan Gibbs|A Mother Sings|Choir - Unison voices|?2.00|13
BDE0186|Alan Gibbs
O YE CHILDREN
Bardic Edition BDE186||9790502446031|GIBBS A|Alan Gibbs|O Ye Children|Choir - Unison voices|?3.00|25
BDE0187|Alan Gibbs
PLEASURE IT IS
Bardic Edition BDE0187|Soprano and piano|9790502441869|GIBBS A|Alan Gibbs|Pleasure it is|Voice solo (with accompaniment)|?3.50|13
BDE0188|Alan Gibbs
REJOICE IN THE LORD O YE RIGHTEOUS
Bardic Edition BDE188||9790502446048|GIBBS A|Alan Gibbs|Rejoice in the Lord O Ye Righteous|Choir - Mixed voices (SATB)|?3.00|25
BDE0189|Alan Gibbs
SALUTATION CAROL
Bardic Edition BDE189|For mixed voice choir (SATB) unaccompanied.|9790502441876|GIBBS A|Alan Gibbs|Salutation Carol|Choir - Mixed voices (SATB)|?3.00|25
BDE0190|Alan Gibbs
SHEPHERDS AND ANGELS
Bardic Edition BDE0190|2 mixed choirs and piano|9790502441883|GIBBS A|Alan Gibbs|Shepherds and Angels|Choir - Mixed voices (SATB)|?2.00|13
BDE0191|Alan Gibbs
SHEPHERDS AWAY!
Bardic Edition BDE0191|Mixed choir (satb)|9790502441890|GIBBS A|Alan Gibbs|Shepherds Away!|Choir - Mixed voices (SATB)|?4.75|50
BDE0194|Alan Gibbs
A SONG OF MERCY
Bardic Edition BDE194||9790502446055|GIBBS A|Alan Gibbs|A Song of Mercy|Choir - Unison voices|?3.00|25
BDE0195|Alan Gibbs
SPELL OUT THE NEWS
Bardic Edition BDE0195|Choir unison and keyboard|9790502441906|GIBBS A|Alan Gibbs|Spell Out the News|Choir - Unison voices|?2.00|13
BDE0197|Stuart K Hine
HOW GREAT THOU ART arr.Arch
Bardic Edition BDE197|Swedish-Russian hymn arranged for male voice choir (TTBB) and piano by Gwyn Arch|9790502441913|HINE|Stuart K Hine|How Great Thou Art|Choir - Male voices|?3.75|38
BDE0199A|John Pickard
TE LUCIS ANTE TERMINUM for SSAA
Bardic Edition BDE199A|for unaccompanied SSAA choir - One of Three Latin Motets (the other two are for SATB)|9790502441920|PICKARD|John Pickard|Te lucis ante terminum|Choir - 4 part upper voices|?3.00|25
BDE0199B|John Pickard
O NATA LUX for SATB
Bardic Edition BDE199B|for mixed voice choir (SATB) - one of Three Latin Motets|9790502445911|PICKARD|John Pickard|O nata lux|Choir - Mixed voices (SATB)|?2.00|13
BDE0199C|John Pickard
UBI CARITAS ET AMOR for SATB
Bardic Edition BDE199C|for mixed voice choir (SATB) - one of Three Latin Motets|9790502441937|PICKARD|John Pickard|Ubi caritas et amor|Choir - Mixed voices (SATB)|?2.00|13
BDE0200|Bernard Stevens
MASS
Bardic Edition BDE200|Mixed choir (ssaattbb)|9790502441944|STEVENS B|Bernard Stevens|Mass|Choir - Mixed voices (SATB)|?19.00|245
BDE0201|'David Tall
MAYDYN''S LULLABY
Bardic Edition BDE201'|Soprano and mixed choir (sat)|9790502441951|TALL|David Tall|'Maydyn''s Lullaby'|Choir - Mixed voices (SATB)|?2.00|13
BDE0202|Penelope Thwaites
A LAMBETH GARLAND
Bardic Edition BDE202|Satb choir and piano 4 hands|9790502441968|THWAITES|Penelope Thwaites|A Lambeth Garland|Choir - Mixed voices (SATB)|?19.00|245
BDE0203|Penelope Thwaites
PSALM 121
Bardic Edition BDE203|Female choir (ss/sa) and piano|9790502441975|THWAITES|Penelope Thwaites|Psalm 121|Choir - 2 part upper voices|?2.00|13
BDE0204|Bernard van Dieren
THREE TWO-PART SONGS
Bardic Edition BDE204|Choir (ss or sa).
Good day, Sire Cristemas; Wherefore shall I hang up my bow; With margerain gentle|9790502441982|VAN DIEREN|Bernard van Dieren|Three Two-part Songs|Choir - 2 part upper voices|?3.00|25
BDE0205|John Bellm
CLOUDS CROSSING THE MOON
Bardic Edition BDE205|Flute and guitar|9790502441999|BELLM|John Bellm|Clouds crossing the moon|Flute and guitar|?3.50|13
BDE0206|Michael Blake
SPIRIT for solo flute
Bardic Edition BDE206|for solo flute. The first performance was given by Tessa Swade at the Mind Body Spirit Festival in London, May 1985
Duration 3? minutes|9790502442002|BLAKE M|Michael Blake|Spirit|Flute solo|?4.00|51
BDE0207|Alan Gibbs
HARLEQUINADE
Bardic Edition BDE0207|3 equal instruments|9790502442019|GIBBS A|Alan Gibbs|Harlequinade|Ensemble - Mixed|?4.75|50
BDE0208|Malcolm Hawkins
GLIMPSES OF A GARDEN
Bardic Edition BDE208|Flute (treble recorder) and piano|9790502442026|HAWKINS|Malcolm Hawkins|Glimpses of a garden|Flute and piano|?7.25|100
BDE0211|Reginald King
MEDITATION for flute and piano
Bardic Edition BDE211|Flute and piano - also published for violin and piano or cello and piano.|9790502447250|KING R|Reginald King|Meditation|Flute and piano|?5.25|76
BDE0213|Reginald King
MEDITATION for violin and piano
Bardic Edition BDE213|For violin and piano - also published for flute and piano or cello and piano.|9790502447274|KING R|Reginald King|Meditation|Violin and piano|?5.25|76
BDE0214|Reginald King
MEDITATION for cello and piano
Bardic Edition BDE214|Cello and piano - but also published for flute and piano or violin and piano.|9790502447298|KING R|Reginald King|Meditation|Cello and piano|?5.25|76
BDE0215|Reginald King
PLANTATION MOOD
Bardic Edition BDE215|Oboe and piano|9790502445119|KING R|Reginald King|Plantation Mood|Oboe and piano|?4.25|63
BDE0218|Otto Luening
THREE FANTASIAS for baroque flute
Bardic Edition BDE218|Three fantasias for baroque flute solo.
Duration 12? minutes|9790502447328|LUENING|Otto Luening|Three Fantasias for baroque flute|Flute solo|?5.25|76
BDE0219|Otto Luening
SEXTET
Bardic Edition BDE219-01|Flute, clarinet, horn, violin, viola and cello|9790502442064|LUENING|Otto Luening|Sextet|Ensemble - Mixed|?26.00|330
BDE0221|Joanne Shaw
THE MOORHEN
Bardic Edition BDE221|Clarinet and piano|9790502442088|SHAW J|Joanne Shaw|The Moorhen|Clarinet and piano|?5.25|76
BDE0222|Charles Spinks
PEBMARSH FANCY
Bardic Edition BDE222|Flute and piano|9790502442095|SPINKS|Charles Spinks|Pebmarsh Fancy|Flute and piano|?5.25|76
BDE0223|Bernard Stevens
SONATA OP. 1
Bardic Edition BDE223|Violin and piano|9790502442101|STEVENS B|Bernard Stevens|Sonata op. 1|Violin and piano|?9.25|124
BDE0224|Bernard Stevens
LYRIC SUITE
Bardic Edition BDE224|Violin, viola and cello|9790502442118|STEVENS B|Bernard Stevens|Lyric Suite|String Trio|?10.25|136
BDE0224-10|Bernard Stevens
LYRIC SUITE
Bardic Edition BDE224-10|Violin, viola and cello|9790502442125|STEVENS B|Bernard Stevens|Lyric Suite|String Trio|?12.75|150
BDE0225|Harold Truscott
MEDITATION for solo cello
Bardic Edition BDE225|'Meditation on themes by Emanuel Moor for violoncello solo from the 1st movement and Finale of Moor''s Suite for 4 ''cellos, op.95
Duration 5? minutes'|9790502442132|TRUSCOTT|Harold Truscott|Meditation|Cello solo|?4.25|63
BDE0227|Alfred J Swan
SONATA NO. 2
Bardic Edition BDE227|Violin and piano|9790502442149|SWAN|Alfred J Swan|Sonata No. 2|Violin and piano|?9.25|124
BDE0228|Eiluned Davies
MICE
Bardic Edition BDE228|3 equal voices|9790502442156|DAVIES E|Eiluned Davies|Mice|Choir|?2.00|13
BDE0229|John Somers-Cocks
SONATA
Bardic Edition BDE229|Organ|9790502442163|SOMERS-COCKS|John Somers-Cocks|Sonata|Organ Solo|?9.25|124
BDE0230|John Somers-Cocks
SONATA NO. 2
Bardic Edition BDE230|Organ|9790502442170|SOMERS-COCKS|John Somers-Cocks|Sonata No. 2|Organ Solo|?8.25|112
BDE0231|John Somers-Cocks
SONATA NO. 3
Bardic Edition BDE231|Organ|9790502442187|SOMERS-COCKS|John Somers-Cocks|Sonata No. 3|Organ Solo|?6.25|88
BDE0233|Franz Reizenstein
FIVE SONNETS OP.36
Bardic Edition BDE233|'Five Sonnets of Elizabeth Barrett-Browning. A song cycle for tenor voice and piano.
The soul''s expression
Our two souls
I love thee
I think of thee
Perplexed music
Duration 18 minutes'|9790502442194|REIZENSTEIN|Franz Reizenstein|Five Sonnets op.36|Voice solo (with accompaniment)|?11.25|149
BDE0234|Percy Grainger
EDI BEO THU
Bardic Edition BDE234|Female choir (sa) or Mens choir (tb)|9790502442200|GRAINGER|Percy Grainger|Edi Beo Thu|Choir - 2 part upper voices|?3.00|25
BDE0235|Percy Grainger
A SONG OF VARMELAND
Bardic Edition BDE235|Mixed choir (satbarb)|9790502442217|GRAINGER|Percy Grainger|A Song of Varmeland|Choir - Mixed voices (SATB)|?3.00|25
BDE0237|Alan Gibbs
GOD IS OUR HOPE
Bardic Edition BDE0237|Mixed choir (satb) and organ|9790502442231|GIBBS A|Alan Gibbs|God is our hope|Choir - Mixed voices (SATB)|?6.75|75
BDE0238|Mark Golding
HOLIEST MORNING
Bardic Edition BDE238|Mixed choir (satb) and piano|9790502442248|GOLDING|Mark Golding|Holiest Morning|Choir - Mixed voices (SATB)|?3.00|25
BDE0240|Percy Grainger
THE OLD WOMAN AT THE CHRISTENING
Bardic Edition BDE240|Voice(s), harmonium and piano|9790502445379|GRAINGER|Percy Grainger|The Old Woman at the Christening|Voice solo (with accompaniment)|?8.25|112
BDE0242|J C Hill
I SAW A SIGHT
Bardic Edition BDE242|Mixed choir (satb)|9790502442255|HILL JC|J C Hill|I saw a sight|Choir - Mixed voices (SATB)|?2.00|13
BDE0243|'Frederick Delius
THE YOUNG PIANIST''S DELIUS
Bardic Edition BDE243'|Piano|9790502442262|DELIUS|Frederick Delius|'The Young Pianist''s Delius'|Piano - Solo|?9.25|124
BDE0246|Percy Grainger
A BRIDAL LULLABY for organ
Bardic Edition BDE246|arranged for organ by Alan Gibbs.
Used as the theme music for the Merchant Ivory Productions film of Howards End.|9790502442279|GRAINGER|Percy Grainger|A Bridal Lullaby|Organ Solo|?3.50|13
BDE0247|Percy Grainger
A BRIDAL LULLABY
Bardic Edition BDE247|Guitar|9790502442286|GRAINGER|Percy Grainger|A Bridal Lullaby|Guitar|?3.50|13
BDE0248|Percy Grainger
A BRIDAL LULLABY for violin and piano
Bardic Edition BDE248|'Arranged by Alan Gibbs for violin and piano, "A Bridal Lullaby" is an exquisite miniature composed by Percy Grainger and given as a wedding gift to Karen Holten (a former sweetheart), when she announced her marriage to someone else. It remained unpublished during Grainger''s lifetime (1882-1961) and was discovered by the present publisher whilst visiting the Grainger house in White Plains, New York. Later, it was found out that this haunting melody formed the middle section of Warriors II, a sequel to his massive 1916 imaginary ballet score The Warriors.
In 1992, Grainger''s A Bridal Lullaby was used for the main theme music for Howards End, the Merchant Ivory Production of E.M.Forster''s novel of Edwardian England.'|9790502446352|GRAINGER|Percy Grainger|A Bridal Lullaby arr.Gibbs|Violin and piano|?4.25|63
BDE0249|Alan Gibbs
PEACEHAVEN PRELUDES
Bardic Edition BDE0249|for Organ.
Five ostinati to be played as voluntaries or as a suite. The use of pedals in the first four pieces is optional.
1. Exuberance
2. Meditation on a Genevan Tune (Virgin-born, we bow before thee)
3. Calypso
4. Meditation on a French Tune (Therefore we, before him bending)
5. Nun Danket (Now thank we all our God)
Duration 8 minutes|9790502442293|GIBBS A|Alan Gibbs|Peacehaven Preludes|Organ Solo|?5.25|76
BDE0251|Percy Grainger
IN BRISTOL TOWN
Bardic Edition BDE251|Medium voice and guitar|9790502442309|GRAINGER|Percy Grainger|In Bristol Town|Voice solo (with accompaniment)|?4.00|51
BDE0252|Stephen Foster
SWANEE RIVER
Bardic Edition BDE252|Mixed choir (ss(a)atbb)|9790502442316|FOSTER|Stephen Foster|Swanee River|Choir - Mixed voices (SATB)|?3.00|25
BDE0253|Percy Grainger
A BRIDAL LULLABY
Bardic Edition BDE253|Horn (tenor horn) and piano|9790502442323|GRAINGER|Percy Grainger|A Bridal Lullaby|Tenor Horn and Piano|?4.00|25
BDE0255|Kevin Bowyer
LOVE SONG ANNA LIVIA
Bardic Edition BDE255|Organ|9790502442330|BOWYER|Kevin Bowyer|Love Song Anna Livia|Organ Solo|?3.50|13
BDE0256|Antoinette Kirkwood
PRELUDE AND FUGUE for piano
Bardic Edition BDE256|for piano solo Op.3 No.2.
Duration 5 minutes|9790502446260|KIRKWOOD A|Antoinette Kirkwood|Prelude and Fugue Op.3 No.2|Piano - Solo|?4.25|63
BDE0257|Margaret Lyell
SISTER AWAKE
Bardic Edition BDE257|Mixed choir (ssaattbb) and piano|9790502442347|LYELL|Margaret Lyell|Sister Awake|Choir - Mixed voices (SATB)|?3.00|25
BDE0258|Penelope Thwaites
THE LORD IS MY SHEPHERD
Bardic Edition BDE258|Psalm 23 set for voice and piano
This setting was made in 1978 as a Christening present for my god-daughter, Veronica Thwaites, and her twin brother Robert. It was first performed by the Australian soprano, Roslyn Dunbar. Penelope Thwaites|9790502442354|THWAITES|Penelope Thwaites|The Lord is my Shepherd|Voice solo (with accompaniment)|?4.25|63
BDE0260|Reginald King
FOUR PRELUDES Op.5 for piano solo
Bardic Edition BDE260|Reginald Claude McMahon King was born in Hampstead, London in 1904. He came from a musical family, and his father, Conrad King, was a singing teacher and composer of ballads. Reginald showed an early interest in music and started composing piano pieces at the age of seven. He studied at the Blackheath Conservatoire from 1918 to 1920, and then entered the Royal Academy where he studied piano with Charles Reddie and composition with Harry Farjeon. His Piano Concerto in F minor gained him the McFarren Scholarship in 1921. In 1936 he was elected Fellow of the Royal Academy of Music. These Four Preludes date from 1923 and were originally published by Joseph Williams Limited, who later published his Five Preludes op.7 in 1925.|9790502442361|KING R|Reginald King|Four Preludes Op.5|Piano - Solo|?6.25|88
BDE0261|Reginald King
FIVE PRELUDES OP. 7 for piano
Bardic Edition BDE261|Reginald Claude McMahon King was born in Hampstead, London in 1904. He came from a musical family, and his father, Conrad King, was a singing teacher and composer of ballads. Reginald showed an early interest in music and started composing piano pieces at the age of seven. He studied at the Blackheath Conservatoire from 1918 to 1920, and then entered the Royal Academy where he studied piano with Charles Reddie and composition with Harry Farjeon. His Piano Concerto in F minor gained him the McFarren Scholarship in 1921. In 1936 he was elected Fellow of the Royal Academy of Music. These Five Preludes date from 1925 and were originally published by Joseph Williams Limited, who had published his four preludes op. 5. in 1923. In later years, the composer provided an alternative ending for the fourth prelude in the current set, included in this new edition as Prelude IVa.|9790502442378|KING R|Reginald King|Five Preludes op. 7|Piano - Solo|?6.25|88
BDE0262|Reginald King
THREE PIECES Op.4 for piano
Bardic Edition BDE262|Three Pieces op.4 for piano solo
Reginald Claude McMahon King was born in Hampstead, London in 1904. He came from a musical family, and his father, Conrad King, was a singing teacher and composer of ballads. Reginald showed an early interest in music and started composing piano pieces at the age of seven. He studied at the Blackheath Conservatoire from 1918 to 1920, and then entered the Royal Academy where he studied piano with Charles Reddie and composition with Harry Farjeon. His Piano Concerto in F minor gained him the McFarren Scholarship in 1921. In 1936 he was elected Fellow of the Royal Academy of Music. These Three Pieces date from 1923 and were originally published by Joseph Williams Limited, who had also published his Four Preludes op.5. in 1923. The Humoreske op. 4 No.1 in the original Williams publication is given the title "1st Humoreske" although no evidence has come to light to suggest that he composed a second.
1. Humoreske; 2. Beside the Lake; 3. Cynthia
Duration 5 minutes|9790502442385|KING R|Reginald King|Three Pieces Op.4|Piano - Solo|?5.25|38
BDE0268|Antoinette Kirkwood
SIX INTERMEZZI
Bardic Edition BDE268|Piano|9790502442392|KIRKWOOD A|Antoinette Kirkwood|Six Intermezzi|Piano - Solo|?10.25|136
BDE0269|Antoinette Kirkwood
SONATINA for piano
Bardic Edition BDE269|for piano solo Op.2 No.1.
Duration 3 minutes|9790502446253|KIRKWOOD A|Antoinette Kirkwood|Sonatina Op.2 No.1|Piano - Solo|?4.25|63
BDE0270|Antoinette Kirkwood
THE FLY
Bardic Edition BDE270|Medium voice and piano|9790502442408|KIRKWOOD A|Antoinette Kirkwood|The Fly|Voice solo (with accompaniment)|?3.75|38
BDE0271|Antoinette Kirkwood
MUST SHE GO?
Bardic Edition BDE271|Voice and piano|9790502442415|KIRKWOOD A|Antoinette Kirkwood|Must she go?|Voice solo (with accompaniment)|?4.00|25
BDE0272|Antoinette Kirkwood
SONG OF THE FISHERMAN OF CACRU
Bardic Edition BDE272|Medium voice and piano|9790502442422|KIRKWOOD A|Antoinette Kirkwood|Song of the Fisherman of Cacru|Voice solo (with accompaniment)|?3.75|38
BDE0273|'Antoinette Kirkwood
THE OYSTER-CATCHERS'' Song op. 11/4
Bardic Edition BDE273'|Voice and piano|9790502442439|KIRKWOOD A|Antoinette Kirkwood|'The Oyster-Catchers'' Song op. 11/4'|Voice solo (with accompaniment)|?4.00|51
BDE0274|Antoinette Kirkwood
HIGH SERIOUSNESS
Bardic Edition BDE274|Voice and piano|9790502442446|KIRKWOOD A|Antoinette Kirkwood|High Seriousness|Voice solo (with accompaniment)|?3.50|13
BDE0275|Antoinette Kirkwood
THE AKOND OF SWAT OP. 20/1
Bardic Edition BDE275|Soprano, tenor and piano|9790502442453|KIRKWOOD A|Antoinette Kirkwood|The Akond of Swat op. 20/1|Vocal Duo|?9.75|113
BDE0276|Antoinette Kirkwood
THE CUMMERBUND
Bardic Edition BDE276|Soprano, tenor and piano|9790502442460|KIRKWOOD A|Antoinette Kirkwood|The Cummerbund|Vocal Duo|?7.75|88
BDE0277|Antoinette Kirkwood
SNOWFLAKE
Bardic Edition BDE277|Medium voice and piano|9790502442477|KIRKWOOD A|Antoinette Kirkwood|Snowflake|Voice solo (with accompaniment)|?4.00|25
BDE0278|Antoinette Kirkwood
VISIT TO THE KILLING FIELDS
Bardic Edition BDE278|Medium voice and piano|9790502442484|KIRKWOOD A|Antoinette Kirkwood|Visit to the Killing Fields|Voice solo (with accompaniment)|?4.00|25
BDE0279|Antoinette Kirkwood
REMEMBRANCE
Bardic Edition BDE279|Medium voice and piano|9790502442491|KIRKWOOD A|Antoinette Kirkwood|Remembrance|Voice solo (with accompaniment)|?4.00|25
BDE0283|Antoinette Kirkwood
RHAPSODIE
Bardic Edition BDE283|Harp|9790502442507|KIRKWOOD A|Antoinette Kirkwood|Rhapsodie|Harp|?4.00|25
BDE0284|Antoinette Kirkwood
LARGO
Bardic Edition BDE284|Flute and piano|9790502442514|KIRKWOOD A|Antoinette Kirkwood|Largo|Flute and piano|?3.75|38
BDE0285|Antoinette Kirkwood
SLEEPY WATERS IN THE MOONLIGHT
Bardic Edition BDE285|Strings|9790502442521|KIRKWOOD A|Antoinette Kirkwood|Sleepy Waters in the Moonlight|Ensemble - Mixed strings|?4.00|25
BDE0286|Jessica Phibbs
LYRIC PIECES NO. 1&2
Bardic Edition BDE286|2 violins|9790502442538|PHIBBS|Jessica Phibbs|Lyric Pieces No. 1&2|Recorder ensemble|?4.25|63
BDE0287|Jessica Phibbs
RUSSIAN MELODY AND GIGUE
Bardic Edition BDE287|Piano|9790502442545|PHIBBS|Jessica Phibbs|Russian Melody and Gigue|Piano - Solo|?4.00|25
BDE0288|John Somers-Cocks
TWO GORDON BOTTOMLY SONGS
Bardic Edition BDE288|High voice and piano|9790502442552|SOMERS-COCKS|John Somers-Cocks|Two Gordon Bottomly Songs|Voice solo (with accompaniment)|?6.25|88
BDE0290|John Somers-Cocks
EVERYONE SANG
Bardic Edition BDE290|High voice and piano|9790502442569|SOMERS-COCKS|John Somers-Cocks|Everyone sang|Voice solo (with accompaniment)|?4.00|51
BDE0291|John Somers-Cocks
TWO CHRISTINA ROSETTI SONGS
Bardic Edition BDE291|High voice and piano|9790502442576|SOMERS-COCKS|John Somers-Cocks|Two Christina Rosetti Songs|Voice solo (with accompaniment)|?5.25|76
BDE0294|John Somers-Cocks
SONATINA for oboe
Bardic Edition BDE294|For oboe and piano
Duration 14 minutes|9790502442606|SOMERS-COCKS|John Somers-Cocks|Sonatina|Oboe and piano|?9.25|124
BDE0295|John Somers-Cocks
THREE SKETCHES for oboe
Bardic Edition BDE295|For oboe and piano
Duration 8? minutes|9790502442613|SOMERS-COCKS|John Somers-Cocks|Three Sketches|Oboe and piano|?8.25|112
BDE0297|Pamela Torphichen
TO ELECTRA
Bardic Edition BDE297|Medium voice and piano|9790502442620|TORPHICHEN|Pamela Torphichen|To Electra|Voice solo (with accompaniment)|?3.25|13
BDE0300|Eddie Richman
A CHRISTMAS LULLABY
Bardic Edition BDE300|Choir unison and piano|9790502442637|RICHMAN|Eddie Richman|A Christmas Lullaby|Choir - Unison voices|?2.00|13
BDE0301|Percy Grainger
SPRIG OF THYME
Bardic Edition BDE301|Soprano solo and choir (tttb/ssatbb)|9790502442644|GRAINGER|Percy Grainger|Sprig of Thyme|Choir - Mixed voices (SATB)|?3.75|38
BDE0303|'William Byrd
THE CARMAN''S WHISTLE
Bardic Edition BDE303'|Piano|9790502442651|BYRD|William Byrd|'The Carman''s Whistle'|Piano - Solo|?5.25|76
BDE0304|Malcolm Hawkins
SANCTA SOPHIA
Bardic Edition BDE304|Voices and organ|9790502442668|HAWKINS|Malcolm Hawkins|Sancta Sophia|Choir - Unison voices|?20.00|257
BDE0305|John Pickard
AVE MARIS STELLA
Bardic Edition BDE305|for SATB choir a cappella|9790502444976|PICKARD|John Pickard|Ave Maris Stella|Choir - Mixed voices (SATB)|?3.75|38
BDE0311|John Pickard
INSCAPE
Bardic Edition BDE311|Guitar|9790502442682|PICKARD|John Pickard|Inscape|Guitar|?4.25|63
BDE0316|John Pickard
THE PHOENIX
Bardic Edition BDE316|'Text adapted from Cynewulf (translated by R. K. Gordon) for Soprano voice and piano.
The text of "The Phoenix" is freely adapted from R. K. Gordon''s translation of the 9th Century poem of the same name found in the Exeter Book. The poem was long thought to be by the Northumbrian, Cynewulf, though modern scholarship now suggests otherwise.
In its full version, the poem is a Christian allegory in the manner of the rather later Bestiaries. These were medieval tracts (themselves derived from the Ancient Greek ''Physiologus'') which describe fabulous animals in vivid language and which end by drawing a mora'' from the description. In The Phoenix the mythical bird''s ability to rise from its own ashes becomes a symbol of Christ''s resurrection.
The Phoenix is a long poem - almost 700 lines - so the text prepared for this piece uses only a fraction oft the original. It concentrates on the first half of the poem, using very little of the specifically Christian allegory of its second part. So the shape of the original poem has been completely distorted.
Additionally, the text is not only translated to modern English, but the translation in turn has been freely adapted by myself for the purposes of setting to music and, where certain words have seemed inappropriate for setting, I have simply substituted my own versions. Naturally, all of this takes us a long way from the original text.
However, what I have attempted to retain and to amplify in musical terms is the ecstatic lyricism of the original poem. In contrast with the prevailing gloom of much Anglo-Saxon poetry, The Phoenix is suffused with light and warmth and these are the features which I have tried to reflect in the music.
The Phoenix was commissioned by the Department of Extra-Mural Studies, University College, Aberystwyth, with funds from the Welsh Arts Council. It was written for Delyth Hopkins Evans and Lyn Davies. The work lasts about fifteen minutes and runs continuously. John Pickard, 1992
Duration 15 minutes'|9790502442699|PICKARD|John Pickard|The Phoenix|Voice solo (with accompaniment)|?10.25|136
BDE0317|Percy Grainger
MERCIFUL TOWN
Bardic Edition BDE317|Voice and piano|9790502442705|GRAINGER|Percy Grainger|Merciful Town|Voice solo (with accompaniment)|?4.25|63
BDE0318|Michael Blake
LET US RUN OUT OF THE RAIN
Bardic Edition BDE318|'for percussion quartet (marimba and vibraphone - 4 players)
''Let us run out of the rain'' paraphrases Nsenga kalimba (thumb piano) music recorded in the Petauke District of Zambia (in southern Africa) by John Blacking in 1961, and transcribed by him. The tunes were composed and performed by Gideon Bingaili, Ackson Lungu, Taiad Mwanza and Ackson Zuly. The work was originally composed for piano or harpsichord duet and also transcribed for orchestra with the title Kalimba. It was premiered by Roy Stratford and Michael Blake at the British Music Information Centre, London on 23 June 1986.
This version for percussion quartet was commissioned by Chris Brannick for Ensemble Bash in 1995 and premiered at the Purcell Room, London on 19 July 1996. It is scored for marimba (2 players) and vibraphone (2 players). Ensemble Bash has recorded Let us run out of the rain on ''Damba Moon'' (SoundCircus SC006). Michael Blake, London, December 1995
Duration 7? minutes
A score and a Marimba part and a Vibraphone part are included.'|9790502442712|BLAKE M|Michael Blake|Let us run out of the rain|Percussion|?14.25|184
BDE0321|Jonathan FeBland
DOUBLE CROSS
Bardic Edition BDE321|Oboe|9790502442729|FEBLAND|Jonathan FeBland|Double Cross|Oboe solo|?4.00|51
BDE0322|Michael Blake
WHISTLE DUET for 2 clarinets
Bardic Edition BDE322|'Whistle Duet (Hindewhu) for two clarinets or soprano saxophones or two birbynes
Whistle Duet is based on my own transcription of a piece of Pygmy music titled Hindewhu (meaning ''whistle'') in which one performer alternately sings and blows a panpipe using a kind of hocketing technique. I made the transcription and composed most of the piece during the summer of 1989 in a remote village on the Greek island Paros.
While originally written with the particular sound qualities of the early 19th century clarinet in mind, the piece may be performed on modern clarinets or soprano saxophones, but never a mixture. Twenty years later, at the request of Darius Klysis, I inserted several ossia passages so that it may also be played on two birbynes, traditional Lithuanian wind instruments.
Duration 8? minutes'|9790502442736|BLAKE M|Michael Blake|Whistle Duet|Clarinet ensemble|?5.25|76
BDE0323|Percy Grainger
RANDOM ROUND
Bardic Edition BDE323|2 pianos (5-6 player)|9790502442743|GRAINGER|Percy Grainger|Random Round|2 Pianos|?10.25|136
BDE0326|Percy Grainger
ALWAYS MERRY & BRIGHT
Bardic Edition BDE326|2 pianos (4 hands)|9790502442750|GRAINGER|Percy Grainger|Always Merry & Bright|Piano - 2 players on 2 pianos|?6.25|88
BDE0327|Percy Grainger
PRITTELING PRATTELING PRETTY POLL P
Bardic Edition BDE327|2 pianos (4 hands)|9790502442767|GRAINGER|Percy Grainger|Pritteling Pratteling Pretty Poll P|Piano - 2 players on 2 pianos|?14.25|184
BDE0328|Percy Grainger
SONGS OF THE NORTH
Bardic Edition BDE328|'Twelve Scottish Songs arranged by George Percy Grainger for voice or unison voices and piano
1. Willie''s Gane to Melville Castle
2. Weaving Song
3. Skye Boat Song
4. This Is No My Plaid
5. Turn Ye To Me
6. Drowned
7. Fair Young Mary (Mairi Bhan Og)
8. Leezie Lindsay
9. The Women Are A'' Gane Wud
10. My Faithful Fond One
11. Bonnie George Campbell
12. O''er the Moor'|9790502442774|GRAINGER|Percy Grainger|Songs of the North|Voice solo (with accompaniment)|?10.25|136
BDE0328G|Percy Grainger
FAIR YOUNG MARY for voice and piano
Bardic Edition BDE328G|No.7 from "Songs of the North" (BDE328), for solo or unison voices and piano.|9790502447632|GRAINGER|Percy Grainger|Fair Young Mary(Songs of the North)|Voice solo (with accompaniment)|?2.00|13
BDE0329|Charles Spinks
THE BIRDS
Bardic Edition BDE329||9790502446062|SPINKS|Charles Spinks|The Birds|Choir - Mixed voices (SATB)|?3.00|25
BDE0336|'Robert Carver
FOUR PART MASS L''Homme Arme
Bardic Edition BDE0336'|for SATB a cappella edited by Muriel Brown.|9790502446208|CARVER|Robert Carver|'Four Part Mass L''Homme Arme'|Choir - Mixed voices (SATB)|?16.25|209
BDE0337|Robert Carver
FOUR PART MASS Pater Creator Omnium
Bardic Edition BDE337|for ATTB a cappella edited by Muriel Brown|9790502442798|CARVER|Robert Carver|Four Part Mass Pater Creator Omnium|Choir - Mixed voices (SATB)|?10.25|136
BDE0338|Robert Carver
MOTET
Bardic Edition BDE338|19-part mixed choir|9790502442804|CARVER|Robert Carver|Motet|Choir - Mixed voices (SATB)|?7.25|100
BDE0339|Harry Croft-Jackson
WELCOME YULE (6 CAROLS)
Bardic Edition BDE339|'A Carillon of Carols for solo voices and SATB chorus.
The Heart''s Desire; I Sing the Birth; See the Babe so like a Flower; Lullay my liking; Love Came Down at Christmas; Welcome Yule.'|9790502442811|CROFT-JACKSO|Harry Croft-Jackson|Welcome Yule (6 carols)|Choir - Mixed voices (SATB)|?3.75|38
BDE0342|David Tall
WHER RYCHES YS EVERLASTYNGLY
Bardic Edition BDE342|Mixed choir (satb)|9790502442828|TALL|David Tall|Wher Ryches ys Everlastyngly|Choir - Mixed voices (SATB)|?2.00|13
BDE0348|John T Ellis
THERE WAS A PIG
Bardic Edition BDE348|Mixed choir (satb)|9790502442835|ELLIS JT|John T Ellis|There was a Pig|Choir - Mixed voices (SATB)|?3.75|38
BDE0349|'Percy Grainger
SIX DUKES WENT A-FISHIN''
Bardic Edition BDE349'|Mixed choir (satb) and flute|9790502442842|GRAINGER|Percy Grainger|'Six Dukes Went A-Fishin'''|Choir - Mixed voices (SATB)|?5.75|63
BDE0350|Percy Grainger
MARCH OF THE MEN OF HARLECH
Bardic Edition BDE350|Mixed choir (ssaattbb) and percussion|9790502442859|GRAINGER|Percy Grainger|March of the Men of Harlech|Choir - Mixed voices (SATB)|?2.00|13
BDE0351|Percy Grainger
THE CAMP
Bardic Edition BDE351|Mixed choir or Mens choir|9790502442866|GRAINGER|Percy Grainger|The Camp|Choir - Mixed voices (SATB)|?3.00|25
BDE0352|Percy Grainger
O GIN I WERE WHERE GADIE RINS
Bardic Edition BDE352|Mixed choir (satb)|9790502442873|GRAINGER|Percy Grainger|O Gin I were where Gadie Rins|Choir - Mixed voices (SATB)|?2.00|13
BDE0353|'Percy Grainger
MY LOVE''S IN GERMANIE
Bardic Edition BDE353'|Soloists (satb) or mixed choir (satb)|9790502442880|GRAINGER|Percy Grainger|'My Love''s in Germanie'|Choir - Mixed voices (SATB)|?4.75|50
BDE0354|Percy Grainger
THOU GRACIOUS POWER
Bardic Edition BDE354|Anthem for SATBB choir|9790502442897|GRAINGER|Percy Grainger|Thou Gracious Power|Choir - Mixed voices (SATB)|?2.00|13
BDE0357|Percy Grainger
DALVISA
Bardic Edition BDE357|Mixed choir (satbarb)|9790502442903|GRAINGER|Percy Grainger|Dalvisa|Choir - Mixed voices (SATB)|?2.00|13
BDE0358|Anonymous
ANGELUS AD VIRGINEM
Bardic Edition BDE358|Piano|9790502442910|ANON|Anonymous|Angelus ad Virginem|Piano - Solo|?4.00|51
BDE0359|J S Bach arr.Grainger
FUGUE IN E MAJOR
Bardic Edition BDE359|Piano|9790502442927|BACH ARR.GRA|Bach arr.Grainger|Fugue E Major|Piano - Solo|?4.25|63
BDE0360|J S Bach arr.Grainger
TOCCATA AND FUGUE in D minor (BWV565)
Bardic Edition BDE360|'Concert version for solo piano by Percy Aldridge Grainger after the transcriptions by Carl Tausig and Ferruccio Busoni (Notated from Grainger''s recordings and edited by Leslie Howard)'|9790502442934|BACH ARR.GRA|Bach arr.Grainger|Toccata and Fugue in D minor|Piano - Solo|?6.25|88
BDE0363|Percy Grainger
THE POWER OF LOVE for piano
Bardic Edition BDE363|'Transcribed for piano solo by Penelope Thwaites
"The Power of Love" is the first movement of the Danish Folk-Music Suite and is a setting of a Folksong gathered with a phonograph in Jutland by Evald Tang Kristensen and myself during the years 1922-1927. It tells the story of a maiden whose clandestine lover is attacked by her seven brothers, all of whom he kills. Returning from this encounter, he tells her that he has killed her seven brothers, to which she answers: "Even had you killed my father as well, I still would follow you." The last verse of the ballad (the only one which the original folksinger, Mrs Ane Nielsen Post could remember) comments symbolically on love''s ruthless sway and it is the mood of this last verse that is mirrored in my setting. Percy Aldridge Grainger, Summer 1946'|9790502445171|GRAINGER|Percy Grainger|The Power of Love|Piano - Solo|?4.25|63
BDE0365|'Percy Grainger
SAILOR''S SONG
Bardic Edition BDE365'|for solo piano|9790502442941|GRAINGER|Percy Grainger|'Sailor''s Song'|Piano - Solo|?4.25|63
BDE0366|Percy Grainger
IRISH TUNE FROM COUNTY DERRY
Bardic Edition BDE366|For solo piano transcribed by Alexander Siloti|9790502442958|GRAINGER|Percy Grainger|Irish Tune from County Derry|Piano - Solo|?4.00|51
BDE0370|Ruth Botterill
THE BLESSING
Bardic Edition BDE370|Mixed choir (satb)|9790502442965|BOTTERILL|Ruth Botterill|The Blessing|Choir - Mixed voices (SATB)|?2.00|13
BDE0378|Percy Grainger
THE MERRY KING
Bardic Edition BDE378|Wind band and piano|9790502442972|GRAINGER|Percy Grainger|The Merry King|Wind band|?50.00|680
BDE0387|Dana Paul Perna
THREE LOCATIONS
Bardic Edition BDE387|Guitar|9790502442989|PERNA|Dana Paul Perna|Three Locations|Guitar|?4.00|51
BDE0388|Dana Paul Perna
CALYX & KRATER
Bardic Edition BDE388|Guitar|9790502442996|PERNA|Dana Paul Perna|Calyx & Krater|Guitar|?4.00|25
BDE0389|Antoinette Kirkwood
THE BARREL ORGAN
Bardic Edition BDE389|Medium voice and piano|9790502443009|KIRKWOOD A|Antoinette Kirkwood|The Barrel Organ|Voice solo (with accompaniment)|?4.00|25
BDE0393|Johnny McLain
DREAM AWHILE
Bardic Edition BDE393|Voice and piano|9790502443016|MCLAIN|John McLain|Dream awhile|Voice solo (with accompaniment)|?4.00|25
BDE0396|Krinio Papastavrou
LITTLE GREEK SHEPHERD
Bardic Edition BDE396|Flute|9790502443023|PAPASTAVROU|Krinio Papastavrou|Little Greek Shepherd|Flute solo|?3.50|13
BDE0398|Otto Luening
SONATA
Bardic Edition BDE398|Sonata "In memoriam Ferruccio Busoni" for piano solo|9790502443030|LUENING|Otto Luening|Sonata|Piano - Solo|?13.25|173
BDE0400|Thomas Pitfield
PAX MUSICA
Bardic Edition BDE400|Mixed choir (ssaattbb) and organ|9790502443047|PITFIELD|Thomas Pitfield|Pax Musica|Choir - Mixed voices (SATB)|?4.75|50
BDE0403|A C Bell
LULLABY OF INFANT CHIEFTAIN & LAMENT
Bardic Edition BDE403||9790502446086|BELL AC|A C Bell|Lullaby of Infant Chieftain/Lament|Choir - 4 part upper voices|?2.00|13
BDE0405|Lawrence Glover
MY LAGAN LOVE
Bardic Edition BDE405|Traditional Ulster Air after Hamilton Harty arranged for three pianos
Three copies included.|9790502443054|GLOVER|Lawrence Glover|My Lagan Love|Piano Ensemble|?14.25|184
BDE0406|Lawrence Glover
MY LAGAN LOVE
Bardic Edition BDE406|Oboe and piano|9790502445126|GLOVER|Lawrence Glover|My Lagan Love|Oboe and piano|?5.25|50
BDE0408|Bach arr.Grainger
FUGUE in C BWV846 for 2 pianos
Bardic Edition BDE408|'Fugue in C major (BWV846) from the "Well-Tempered Clavier" Book 1, No.1 arranged for 2 pianos, 4 hands by Percy Aldridge Grainger.
(Excerpt from Grainger''s "Bach for Keyboard Team-Work").'|9790502443061|BACH ARR.GRA|Bach arr.Grainger|Fugue in C BWV846|Piano - 2 players on 2 pianos|?4.25|63
BDE0410|Bach arr.Grainger
FUGUE IN E for 4 pianos, 8 hands
Bardic Edition BDE410|Fugue in E from the Well Tempered Klavier Book 2, No.9 arranged by Percy Grainger for 4 pianos, 8 hands as an octave study.
Score and the 4 piano parts are included.|9790502446604|BACH ARR.GRA|Bach arr.Grainger|Fugue in E (4 pianos+8 hands)|Piano Ensemble|?8.25|112
BDE0411|J S Bach arr.Grainger
FUGUE IN E
Bardic Edition BDE411|Well Tempered Klavier Book II, No. 9 (BWV 878) arranged for 2 (or any multiple of 2) pianos (2 players at each piano) or 4 pianos (1 player at each piano).
Also suitable for massed pianos. Score plus Piano 1 and Piano 2 parts included.|9790502443078|BACH ARR.GRA|Bach arr.Grainger|Fugue in E|Piano - 4 players on 2 pianos|?8.25|112
BDE0412|Percy Grainger
THE DUKE OF MARLBOROUGH
Bardic Edition BDE412|2 pianos (4 hands)|9790502443085|GRAINGER|Percy Grainger|The Duke of Marlborough|Piano - 2 players on 2 pianos|?4.25|63
BDE0416|Percy Grainger
RONDO
Bardic Edition BDE416|Piano (4 hands)|9790502443092|GRAINGER|Percy Grainger|Rondo|Piano - 2 players on 1 piano|?6.25|88
BDE0421|Thomas Pitfield
THE PILGRIM
Bardic Edition BDE421|6-part mixed choir|9790502443108|PITFIELD|Thomas Pitfield|The Pilgrim|Choir - Mixed voices (SATB)|?3.00|25
BDE0422|Thomas Pitfield
NIGHT MUSIC
Bardic Edition BDE422|Mixed choir|9790502443115|PITFIELD|Thomas Pitfield|Night Music|Choir - Mixed voices (SATB)|?12.25|160
BDE0429|Percy Grainger
CREEPING JANE
Bardic Edition BDE429|Voice and piano|9790502443139|GRAINGER|Percy Grainger|Creeping Jane|Voice solo (with accompaniment)|?5.25|76
BDE0430|Percy Grainger
GANGES PILOT
Bardic Edition BDE430|for baritone voice and piano or baritone solo and male chorus|9790502443146|GRAINGER|Percy Grainger|Ganges Pilot|Voice solo (with accompaniment)|?4.25|63
BDE0431|Percy Grainger
EARLY ONE MORNING
Bardic Edition BDE431|High voice and piano|9790502443153|GRAINGER|Percy Grainger|Early One Morning|Voice solo (with accompaniment)|?4.25|63
BDE0432|'Percy Grainger
LORD MAXWELL''S GOODNIGHT
Bardic Edition BDE432'|Male voice and piano|9790502443160|GRAINGER|Percy Grainger|'Lord Maxwell''s Goodnight'|Voice solo (with accompaniment)|?4.25|63
BDE0433|Percy Grainger
NORTHERN BALLAD
Bardic Edition BDE433|Male voice and piano|9790502443177|GRAINGER|Percy Grainger|Northern Ballad|Voice solo (with accompaniment)|?4.00|51
BDE0434|Percy Grainger
THE POWER OF LOVE
Bardic Edition BDE434|High voice and piano|9790502443184|GRAINGER|Percy Grainger|The Power of Love|Voice solo (with accompaniment)|?4.25|63
BDE0437|Percy Grainger
SOLDIER SOLDIER
Bardic Edition BDE437|Male voice and piano|9790502443214|GRAINGER|Percy Grainger|Soldier Soldier|Voice solo (with accompaniment)|?4.00|51
BDE0438|Percy Grainger
KLAVIERSTUCK in D major for piano solo
Bardic Edition BDE438|'Edited by Penelope Thwaites.
This early piano piece was composed in June 1897 during Grainger''s period of study at the Hoch Conservatorium of Music in Frankfurt-am-Main, Germany. The piece is dedicated to Grainger''s father John, for his birthday on October 27, 1897. There are three separate manuscripts relating to this particular work and this edition has been based on all three. These early pieces leave room for musicianly interpretation. Phrasing is largely missing; dynamics are sparse, pedalling non-existent. Whilst acknowledging the creative achievement of Grainger the gifted child and teenager, it is also clear that these were works awaiting his own editorial hand in later years. Sadly, this never happened.
Based on my own research and performances, I have presumed to suggest some phrasings and dynamics as a guide, and I have redistributed notes between hands on occasions where Grainger wrote chords spanning a tenth or more. Grainger himself often recommended "harping" wide chords, although this should be done with discretion. There are times when it may sound better, for example, to take the bass note in a left hand chord with the pedal (as an acciaccatura or appoggiatura) before playing the remaining notes.
Much is still left for the interpreter. The starting point is to grasp the mood of each piece (which in Grainger''s case is not always what it may first appear). Background reading is recommended. There is no doubt that Grainger absorbed contemporary influences as he developed, and research is therefore the best interpretative guide. Penelope Thwaites'|9790502443221|GRAINGER|Percy Grainger|Klavierstuck in D major|Piano - Solo|?4.25|63
BDE0439|Percy Grainger
KLAVIERSTUCK in A minor for piano
Bardic Edition BDE439|'Edited by Penelope Thwaites.
This early piano piece was composed in May 1898 during Grainger''s period of study at the Hoch Conservatorium of Music in Frankfurt-am-Main, Germany. These early pieces leave room for musicianly interpretation. Phrasing is largely missing; dynamics are sparse, pedalling non-existent. Whilst acknowledging the creative achievement of Grainger the gifted child and teenager, it is also clear that these were works awaiting his own editorial hand in later years. Sadly, this never happened.
Based on my own research and performances, I have presumed to suggest some phrasings and dynamics as a guide, and I have redistributed notes between hands on occasions where Grainger wrote chords spanning a tenth or more. Grainger himself often recommended "harping" wide chords, although this should be done with discretion. There are times when it may sound better, for example, to take the bass note in a left hand chord with the pedal (as an acciaccatura or appoggiatura) before playing the remaining notes.
Much is still left for the interpreter. The starting point is to grasp the mood of each piece (which in Grainger''s case is not always what it may first appear). Background reading is recommended. There is no doubt that Grainger absorbed contemporary influences as he developed, and research is therefore the best interpretative guide. Penelope Thwaites'|9790502447137|GRAINGER|Percy Grainger|Klavierstuck in A minor|Piano - Solo|?4.25|63
BDE0440|Percy Grainger
KLAVIERSTUCK in Bb
Bardic Edition BDE440|'Edited by Penelope Thwaites.
This early piano piece was composed in May 1898 during Grainger''s period of study at the Hoch Conservatorium of Music in Frankfurt-am-Main, Germany. These early pieces leave room for musicianly interpretation. Phrasing is largely missing; dynamics are sparse, pedalling non-existent. Whilst acknowledging the creative achievement of Grainger the gifted child and teenager, it is also clear that these were works awaiting his own editorial hand in later years. Sadly, this never happened.
Based on my own research and performances, I have presumed to suggest some phrasings and dynamics as a guide, and I have redistributed notes between hands on occasions where Grainger wrote chords spanning a tenth or more. Grainger himself often recommended "harping" wide chords, although this should be done with discretion. There are times when it may sound better, for example, to take the bass note in a left hand chord with the pedal (as an acciaccatura or appoggiatura) before playing the remaining notes.
Much is still left for the interpreter. The starting point is to grasp the mood of each piece (which in Grainger''s case is not always what it may first appear). Background reading is recommended. There is no doubt that Grainger absorbed contemporary influences as he developed, and research is therefore the best interpretative guide. Penelope Thwaites'|9790502447144|GRAINGER|Percy Grainger|Klavierstuck in B flat|Piano - Solo|?4.00|51
BDE0441|Percy Grainger
KLAVIERSTUCK in E major for piano solo
Bardic Edition BDE441|'Edited by Penelope Thwaites.
This early piano piece for Grainger''s mother was composed for her birthday in July 1897 during his period of study at the Hoch Conservatorium of Music in Frankfurt-am-Main, Germany. These early pieces leave room for musicianly interpretation. Phrasing is largely missing; dynamics are sparse, pedalling non-existent. Whilst acknowledging the creative achievement of Grainger the gifted child and teenager, it is also clear that these were works awaiting his own editorial hand in later years. Sadly, this never happened.
Based on my own research and performances, I have presumed to suggest some phrasings and dynamics as a guide, and I have redistributed notes between hands on occasions where Grainger wrote chords spanning a tenth or more. Grainger himself often recommended "harping" wide chords, although this should be done with discretion. There are times when it may sound better, for example, to take the bass note in a left hand chord with the pedal (as an acciaccatura or appoggiatura) before playing the remaining notes.
Much is still left for the interpreter. The starting point is to grasp the mood of each piece (which in Grainger''s case is not always what it may first appear). Background reading is recommended. There is no doubt that Grainger absorbed contemporary influences as he developed, and research is therefore the best interpretative guide. Penelope Thwaites '|9790502445713|GRAINGER|Percy Grainger|Klavierstuck in E major|Piano - Solo|?6.25|88
BDE0442|John Pickard
A MADRIGAL FOR THOMAS MORLEY for brass quartet
Bardic Edition BDE442|Scored for 2 trumpets in Bb, horn in F and trombone. Score and parts included.
Duration 6 minutes|9790502444983|PICKARD|John Pickard|A Madrigal for Thomas Morley|Ensemble - Mixed brass|?9.25|124
BDE0443|Jane Joseph
A LITTLE CHILDE THERE IS IBORE
Bardic Edition BDE443|Female choir (ssa) and organ|9790502443238|JOSEPH|Jane Joseph|A Little Childe There Is Ibore|Choir - 3 part upper voices|?3.75|38
BDE0447|Thomas Pitfield
THE OLD MAN
Bardic Edition BDE447|Mens choir (tbb) and piano|9790502443245|PITFIELD|Thomas Pitfield|The Old Man|Choir - Male voices|?2.00|13
BDE0448|Charles Spinks
TWO PIECES
Bardic Edition BDE448|Oboe and piano|9790502445133|SPINKS|Charles Spinks|Two Pieces|Oboe and piano|?6.25|88
BDE0449|Percy Grainger
VARIATIONS ON THE HARMONIOUS BLACKSMITH
Bardic Edition BDE449|for voice (or bass fiddle [violoncello]) and piano|9790502443252|GRAINGER|Percy Grainger|Variations|Voice solo (with accompaniment)|?4.25|63
BDE0450|Raymond Parfrey
THREE AMUSEMENTS
Bardic Edition BDE450|Piano|9790502443269|PARFREY|Raymond Parfrey|Three Amusements|Piano - Solo|?5.25|76
BDE0454|Percy Grainger
HANDEL IN THE STRAND
Bardic Edition BDE454|arranged for organ solo by Wolfgang Stockmeier.|9790502443276|GRAINGER|Percy Grainger|Handel in the Strand|Organ Solo|?5.25|76
BDE0455|W F E Bach & Domenico Zipoli
TWO PIECES
Bardic Edition BDE455|Two Pieces: W. F. E. Bach "Allegro" and Domenico Zipoli "Little Fugue" for free-bass accordion or piano|9790502443283|BACH WFE|Wilhelm Friedrich Ernst Bach|Two Pieces|Accordion|?4.00|51
BDE0474|Alan Gibbs
FOUR SHORT MOTETS for mixed voice choir
Bardic Edition BDE474|Four Short Motets for SATB a cappella. Music by Alan Gibbs
O quam gloriosum; Ave Maria, inclita; O vos omnes; Jubilate Deo.|9790502447120|GIBBS A|Alan Gibbs|Four Short Motets|Choir - Mixed voices (SATB)|?4.75|50
BDE0475|Alan Gibbs
LORD IS MY SHEPHERD
Bardic Edition BDE475||9790502446093|GIBBS A|Alan Gibbs|Lord is My Shepherd|Choir - Mixed voices (SATB)|?3.75|38
BDE0481|Alan Gibbs
EVENING CANTICLES IN D
Bardic Edition BDE481|Magnficat and Nunc Dimittis in D for treble voices and organ|9790502443313|GIBBS A|Alan Gibbs|Evening Canticles in D|Choir - 2 part upper voices|?3.75|38
BDE0485|Alan Gibbs
BABY BORN IN A MANGER
Bardic Edition BDE0485|Choir unison, piano and percussion|9790502443320|GIBBS A|Alan Gibbs|Baby Born in a Manger|Choir - Unison voices|?3.00|25
BDE0499|Alan Gibbs
FIVE HYMN PRELUDES
Bardic Edition BDE0499|Organ|9790502443344|GIBBS A|Alan Gibbs|Five Hymn Preludes|Organ Solo|?11.25|149
BDE0500|Alan Gibbs
SONATA No.1 for organ
Bardic Edition BDE500|'The composer''s first substantial organ piece, composed in 1955 for John Webster to premiere at the Nuremberg International Organ Week the following year, and revised in 1957 during a period of study with Matyas Seiber. Its march-like G minor prologue (With Dignity) presents two themes: one direct, diatonic and harmonic, growing from the four-note germ of the work, the other reflective and chromatic in its web of 3-part counterpoint. The first returns in a ff climax and gives way to the main Allegro section, which likewise has two contrasting themes but is rooted in D minor. After much development and variation of this material the prologue returns, much changed: its attempt to re-establish G minor fails and it is a triumphant D major chord which ends the sonata.
Duration 8 minutes'|9790502443351|GIBBS A|Alan Gibbs|Sonata No. 1|Organ Solo|?7.25|100
BDE0502|Alan Gibbs
VIEWPOINTS
Bardic Edition BDE502|for Organ|9790502443368|GIBBS A|Alan Gibbs|Viewpoints|Organ Solo|?6.25|88
BDE0504|Alan Gibbs
JAZZOGRAM
Bardic Edition BDE0504|Organ|9790502443375|GIBBS A|Alan Gibbs|Jazzogram|Organ Solo|?11.25|149
BDE0505|Alan Gibbs
OXFORD MAY MUSIC
Bardic Edition BDE0505|Organ|9790502443382|GIBBS A|Alan Gibbs|Oxford May Music|Organ Solo|?8.25|112
BDE0506|Alan Gibbs
CELEBRATION for organ
Bardic Edition BDE506|'A Celebration of Josef Rheinberger (1839-1901) based on themes from his Eighth Organ Sonata for organ
This work was written in answer to a request from Dr Martin Weyer, Director of Music at Philipps University at Marburg and an authority on Rheinberger, for a recital piece to commemorate the 150th anniversary of that composer''s birth. The Eighth Sonata, a masterpiece of the organ repertory, furnished the inspiration; the subject of the Fugue was the primary source of my material as, it would seem, that of the original sonata. This theme contains not only the rising scales which permeate Rheinberger''s piece, but also the falling fifths which ultimately produce the ground of the Passacaglia. (One curiosity of my re-working of this theme is its introduction in the elaborate form of one of the variations: it proceeds gradually to assume the simple shape of Rheinberger''s original thought.) I hope the result of my re-creation will be found a substantial piece in its own right, with its own 20th Century voice: a pastiche of the 19th Century sonata would have been a poor sort of tribute. In programme-building, it should follow rather than precede the sonata, perhaps at a respectful distance. Alan Gibbs
Duration 8 minutes'|9790502443399|GIBBS A|Alan Gibbs|Celebration|Organ Solo|?7.25|100
BDE0507|Alan Gibbs
CALGARY FLOURISH
Bardic Edition BDE0507|Organ|9790502443405|GIBBS A|Alan Gibbs|Calgary Flourish|Organ Solo|?9.25|124
BDE0508|Alan Gibbs
TRIO
Bardic Edition BDE0508|Organ|9790502443412|GIBBS A|Alan Gibbs|Trio|Organ Solo|?6.25|88
BDE0509|Alan Gibbs
CONTRASTS
Bardic Edition BDE0509|for organ duet|9790502443429|GIBBS A|Alan Gibbs|Contrasts|Organ duet|?18.25|233
BDE0511|Alan Gibbs
SONATA DA CHIESA
Bardic Edition BDE0511|Trumpet and organ|9790502443436|GIBBS A|Alan Gibbs|Sonata Da Chiesa|Trumpet and piano|?12.25|160
BDE0512|Alan Gibbs
SIX WAYS OF GETTING THERE
Bardic Edition BDE0512|Piano|9790502443443|GIBBS A|Alan Gibbs|Six Ways of Getting There|Piano - Solo|?4.25|63
BDE0514|Alan Gibbs
THOSE TWENTIES
Bardic Edition BDE0514|Violin-ensemble|9790502443450|GIBBS A|Alan Gibbs|Those Twenties|Violin ensemble|?12.25|160
BDE0518|Alan Gibbs
TRIOLET
Bardic Edition BDE0518|Violin, cello and piano|9790502443467|GIBBS A|Alan Gibbs|Triolet|Piano trio|?12.25|160
BDE0521|Percy Grainger
THE BRISK YOUNG SAILOR
Bardic Edition BDE521|Piano|9790502443474|GRAINGER|Percy Grainger|The Brisk Young Sailor|Piano - Solo|?3.50|13
BDE0522|Percy Grainger
LISBON
Bardic Edition BDE522|Piano|9790502443481|GRAINGER|Percy Grainger|Lisbon|Piano - Solo|?4.25|63
BDE0523|Johnny McLain
OUR FATHER WHO ART IN HEAVEN
Bardic Edition BDE523|Solo or choir unison and piano|9790502443498|MCLAIN|John McLain|Our Father Who Art In Heaven|Choir - Unison voices|?2.00|13
BDE0526|Bach arr.Grainger
O PRAISE THE LORD ALL YE HEATHEN
Bardic Edition BDE526||9790502446109|BACH ARR.GRA|Bach arr.Grainger|O Praise the Lord All Ye Heathen|Choir - Mixed voices (SATB)|?3.00|25
BDE0527|Percy Grainger
AFTER-WORD
Bardic Edition BDE527|Choir unison and wind instruments|9790502443504|GRAINGER|Percy Grainger|After-Word|Choir - Unison voices|?4.25|63
BDE0528|'George Gershwin arr.Grainger
O I CAN''T SIT DOWN
Bardic Edition BDE528'|Piano (6 hands)|9790502443511|GERSHWIN ARR|Gershwin arr.Grainger|'O I can''t sit down'|Piano - 3 players on 1 piano|?4.25|63
BDE0529|George Frideric Handel
MINUET D MAJOR
Bardic Edition BDE529|Flute (violin, oboe) and piano|9790502443528|HANDEL GF|George Frideric Handel|Minuet D Major|Flute and piano|?4.00|25
BDE0530|'Mike Kempster
I CAN''T TAKE MY EYES OFF YOU
Bardic Edition BDE530'|Mens choir (ttbb) and piano|9790502443535|KEMPSTER|Mike Kempster|'I Can''t Take My Eyes Off You'|Choir - Male voices|?4.00|25
BDE0531|Jeremiah Clarke
TWO TRUMPET TUNES
Bardic Edition BDE531|2 trumpets (horns)|9790502443542|CLARKE J|Jeremiah Clarke|Two Trumpet Tunes|Trumpet Ensemble|?4.00|51
BDE0533|Johnny McLain
OUR FATHER WHO ART IN HEAVEN
Bardic Edition BDE533|Mens choir (ttbb) and piano (organ)|9790502443566|MCLAIN|John McLain|Our Father Who Art In Heaven|Choir - Male voices|?4.75|50
BDE0538|John Pickard
THE PHAGOTUS OF AFRANIO
Bardic Edition BDE538|Bassoon and piano|9790502443573|PICKARD|John Pickard|The Phagotus of Afranio|Bassoon and piano|?11.25|149
BDE0539|Percy Grainger
YE BANKS & BRAES
Bardic Edition BDE539|2 pianos (4 hands)|9790502443580|GRAINGER|Percy Grainger|Ye Banks & Braes|Piano - 2 players on 2 pianos|?4.00|51
BDE0540|'Lawrence Glover
LOVE''S REDEEMING WORK
Bardic Edition BDE540'|Mixed choir (satb) and organ|9790502443597|GLOVER|Lawrence Glover|'Love''s Redeeming Work'|Choir - Mixed voices (SATB)|?3.75|38
BDE0543|Antony Hopkins
GAUDEAMUS
Bardic Edition BDE543|Music by Antony Hopkins, words by Rev.Keith H. Wilkinson for SATB choir and organ with optional brass quintet.|9790502443603|HOPKINS A|Antony Hopkins|Gaudeamus|Choir - Mixed voices (SATB)|?3.00|25
BDE0544|Thomas Pitfield
MAGNIFICAT AND NUNC DIMITTUS
Bardic Edition BDE544|Mens choir (ttbb) and organ|9790502443610|PITFIELD|Thomas Pitfield|Magnificat and Nunc Dimittus|Choir - Male voices|?4.75|50
BDE0546|'Percy Grainger
HARD-HEARTED BARB''RA (H)ELLEN
Bardic Edition BDE546'|Voice and piano|9790502443634|GRAINGER|Percy Grainger|'Hard-Hearted Barb''ra (H)Ellen'|Voice solo (with accompaniment)|?7.25|100
BDE0547|Thomas Pitfield
THE WITCH
Bardic Edition BDE547||9790502446116|PITFIELD|Thomas Pitfield|The Witch|Choir - 2 part upper voices|?3.00|25
BDE0549|Michael Blake
LET US RUN OUT OF THE RAIN
Bardic Edition BDE549|Piano (4 hands)|9790502443641|BLAKE M|Michael Blake|Let us run out of the rain|Piano - 2 players on 1 piano|?7.25|100
BDE0550|Michael Blake
13 INVENTIONS for two pianos, four hands
Bardic Edition BDE550|Two copies included. Duration c.7 minutes|9790502446857|BLAKE M|Michael Blake|13 Inventions|Piano - 2 players on 2 pianos|?14.25|184
BDE0551|Michael Blake
HOMMAGE A MDCLXXXV
Bardic Edition BDE551|Harpsichord|9790502443658|BLAKE M|Michael Blake|Hommage a MDCLXXXV|Harpsichord|?5.25|76
BDE0552|Michael Blake
FIVE TRADITIONAL ANIMAL POEMS OF THE KHOIKHOI
Bardic Edition BDE552|'For SATB choir a cappella.
These animal poems, in a 19th-century translation by the philologist W H I Bleek (1827-75), are taken from his collection Reynard the Fox in South; or Hottentot Fables and Tales (London, 1864):
1. The hyena
2. The hyena addressing her young ones
3. The giraffe
4. The zebra
5. The horse cursed by the sun
The first performance was given by the Brighton Chamber Choir conducted by Guy Richardson on 11 July 1992 in St Augustine''s Church, Brighton
Duration 8? minutes'|9790502446710|BLAKE M|Michael Blake|Five Traditional Animal Poems|Choir - Mixed voices (SATB)|?4.75|50
BDE0553|Michael Blake
CAROL OF THE THREE OUTAS
Bardic Edition BDE553|Soprano solo and female choir (ssa)|9790502443665|BLAKE M|Michael Blake|Carol of the Three Outas|Choir - 3 part upper voices|?3.00|25
BDE0554|Michael Blake
HONEY GATHERING SONG
Bardic Edition BDE554|Flute and piano|9790502443672|BLAKE M|Michael Blake|Honey Gathering Song|Flute and piano|?8.25|112
BDE0555|Howard Thompson
MELLOW CELLOS
Bardic Edition BDE555|'Mellow ''Cellos for Violoncello Ensemble (Quartet or Octet) edited by Kay Tucker. Score and set of parts (cellos 1-4).'|9790502443689|THOMPSON|Howard Thompson|Mellow Cellos|Cello ensemble|?9.25|124
BDE0559|Maurice Ravel
LA VALLEE DES CLOCHES arr.Grainger
Bardic Edition BDE0559|'Study score of Ravel''s "La vallee des cloches" (The valley of bells) from Miroirs arranged for tuneful percussion, harp and strings by Percy Grainger.
Grainger made his arrangement of this piece for performance by students during his teaching session at the National Music Camp, Interlachen, Michigan in 1944. The manuscript instrumental parts were written between July 27th and July 31st, 1944.'|9790502446611|RAVEL|Maurice Ravel|La Vallee des Cloches arr.Grainger|Study score|?5.25|76
BDE0564|Johnny McLain
OUR FATHER WHO ART IN HEAVEN
Bardic Edition BDE564||9790502446123|MCLAIN|John McLain|Our Father Who Art in Heaven|Choir - Mixed voices (SATB)|?4.75|50
BDE0565|John Somers-Cocks
A CHRISTMAS LULLABY
Bardic Edition BDE565|Flute and piano|9790502443696|SOMERS-COCKS|John Somers-Cocks|A Christmas Lullaby|Flute and piano|?5.25|50
BDE0566|Harry Croft-Jackson
COURAGE (OLNEY ANTHEMS NO.2)
Bardic Edition BDE566||9790502446130|CROFT-JACKSO|Harry Croft-Jackson|Courage (Olney Anthems No.2)|Choir - Mixed voices (SATB)|?3.00|25
BDE0567|Mervyn Horder
FIVE BURNS SONGS
Bardic Edition BDE567|Voice and piano|9790502443702|HORDER|Mervyn Horder|Five Burns songs|Voice solo (with accompaniment)|?5.25|76
BDE0569|Louise Denny
SONG OF ENGLAND
Bardic Edition BDE569|Mixed choir (satb) and piano (organ)|9790502443719|DENNY|Louise Denny|Song of England|Choir - Mixed voices (SATB)|?4.75|50
BDE0571|Johnny McLain
OUR FATHER WHO ART IN HEAVEN
Bardic Edition BDE571||9790502446147|MCLAIN|John McLain|Our Father Who Art in Heaven|Choir - 2 part upper voices|?2.00|13
BDE0574|'Percy Grainger
SIX DUKES WENT A-FISHIN''
Bardic Edition BDE574'|Mixed choir (satb) a cappella|9790502443733|GRAINGER|Percy Grainger|'Six Dukes Went A-Fishin'''|Choir - Mixed voices (SATB)|?3.00|25
BDE0575|Percy Grainger
MO NIGHEAN DUBH for choir
Bardic Edition BDE575|Mo Nighean Dubh (My Dark-Haired Maiden) from "Songs of the North" arranged for mixed voice choir (SAATTBB) a cappella.|9790502443740|GRAINGER|Percy Grainger|Mo Nighean Dubh|Choir - Mixed voices (SATB)|?3.00|25
BDE0576|Thomas Morley
O MISTRESS MINE arr Grainger
Bardic Edition BDE576|For mixed voice choir (SATB) arranged by Percy Grainger.|9790502443757|MORLEY|Thomas Morley|O Mistress Mine arr.Grainger|Choir - Mixed voices (SATB)|?2.00|13
BDE0577|Percy Grainger
MARY THOMSON for SATB
Bardic Edition BDE577|set for 4 mixed voices or 4-part mixed choir (satb) unaccompanied|9790502443764|GRAINGER|Percy Grainger|Mary Thomson|Choir - Mixed voices (SATB)|?3.00|25
BDE0578|Antoinette Kirkwood
NOCTURNE for piano
Bardic Edition BDE578|for piano solo Op.2 No.2
Duration 5 minutes|9790502446246|KIRKWOOD A|Antoinette Kirkwood|Nocturne|Piano - Solo|?4.25|63
BDE0579|Antoinette Kirkwood
SUITE for piano
Bardic Edition BDE579|Suite (Ballet Suite) for piano solo Op.3 No.1,
Duration 9? minutes|9790502446338|KIRKWOOD A|Antoinette Kirkwood|Suite Op.3 No.1|Piano - Solo|?10.25|136
BDE0580|Vincenzo Bellini
GRAND MARCH
Bardic Edition BDE580|Piano (6 hands)|9790502443771|BELLINI|Vincenzo Bellini|Grand March|Piano - 3 players on 1 piano|?5.25|76
BDE0581|Franz Reizenstein
ZODIAC - TWELVE PIANO PIECES
Bardic Edition BDE581|Twelve piano pieces: Fanfare (Aries); Enharmonics (Aquarius); Intermezzo (Virgo); Imitations (Libra); Variations (Capricorn); Interplay (Cancer); Burlesque (Sagitarius); Fuguetta (Scorpio); Textures (Taurus); Mysteries (Pisces); Scherzino (Gemini); Polonaise (Leo).
Duration 21 minutes|9790502443788|REIZENSTEIN|Franz Reizenstein|Zodiac - Twelve Piano Pieces|Piano - Solo|?10.25|136
BDE0584|Justin Vickery
BEHOLD A SIMPLE TENDER BABE
Bardic Edition BDE584|Mixed choir (satb) a cappella|9790502443818|VICKERY|Justin Vickery|Behold a Simple Tender Babe|Choir - Mixed voices (SATB)|?2.00|13
BDE0585|Mervyn Horder
AND IS IT TRUE?
Bardic Edition BDE585|Mixed choir (satb) and piano (organ)|9790502443825|HORDER|Mervyn Horder|And Is It True?|Choir - Mixed voices (SATB)|?2.00|13
BDE0586|Percy Grainger
TIGER-TIGER for piano
Bardic Edition BDE586|'Kipling Setting No. 4 dished-up for piano solo.
This work exists in numerous arrangements by the composer ranging from piano solo to brass ensemble. The original version for a cappella male voice chorus dates from 1898 and is a setting of the verse heading for the story ''Tiger-Tiger!'' from Rudyard Kipling''s The Jungle Book. In 1905 Grainger made some revisions, and it is this version that appears as the ninth movement in his Jungle Book cycle. This version for piano solo was made for ''The Easy Grainger'' a projected album of various Grainger pieces to be edited by D. C. Parker which alas, never came to fruition. Barry Peter Ould
Composer''s note: This piano arrangement may serve as a study in simultaneous tone-strength differentiation (a prominent melody accompanied by subdued harmonies). The finger playing the prominent note should protrude keywards (beyond the fingers playing subdued notes) and should strike the piano key all the way down. Fingers playing subdued notes should strike at the tops of their keys only - not following-through. Fingers, hand and wrist should be held stiff during simultaneous tone-strength differentiation. Percy Aldridge Grainger September 7, 1939'|9790502443832|GRAINGER|Percy Grainger|Tiger-Tiger|Piano - Solo|?4.00|51
BDE0587|Daniel Leavitt
TWO HORN ENTHROPY
Bardic Edition BDE587|2 horns|9790502443849|LEAVITT|Daniel Leavitt|Two Horn Enthropy|Horn Ensemble|?4.00|51
BDE0588|Daniel Leavitt
TWO TRUMPET ENTROPY
Bardic Edition BDE588|For two trumpets. Two Trumpet Entropy was conceived in 1976, as an experiment in aleatory. It can be used as an introduction and teaching tool to both performers and audience; the social reflections and aesthetic statements being in the ear of the beholder. Traditional musical rules apply, measures should be executed in totality by both players, resulting in a uniform start and finish (both players play all the same notes, eventually). Daniel Leavitt
Playing score.|9790502443856|LEAVITT|Daniel Leavitt|Two Trumpet Entropy|Trumpet Ensemble|?4.00|51
BDE0590|Daniel Leavitt
SUB VOCE ENTROPY
Bardic Edition BDE590|2 tubas|9790502443863|LEAVITT|Daniel Leavitt|Sub Voce Entropy|Tuba Ensemble|?4.00|25
BDE0591|Ludwig van Beethoven
SONATA PATHETIQUE NO. 8
Bardic Edition BDE591|5 brass instruments|9790502443870|BEETHOVEN|Ludwig van Beethoven|Sonata Pathetique No. 8|Ensemble - Mixed brass|?10.25|136
BDE0594|Louise Denny
SONG OF ENGLAND
Bardic Edition BDE594|Dedicated to The Royal British Legion for their 80th anniversary year (2001). For TTBB choir and piano (or organ) with optional fanfare trumpet and trombone parts. Words by Randle Manwaring.|9790502443894|DENNY|Louise Denny|Song of England|Choir - Male voices|?4.75|50
BDE0595|Anonymous
ANGELUS AD VIRGINEM
Bardic Edition BDE595|Mixed choir (satb)|9790502443900|ANON|Anonymous|Angelus ad Virginem|Choir - Mixed voices (SATB)|?3.75|38
BDE0596|Percy Grainger
ALLELUIA PSALLAT
Bardic Edition BDE596|'English Gothic Music No.2 "Alleluia Psallat" Edited by Dom Amselm Hughes and Percy Aldridge Grainger for 3 unmixed voices (women''s or children''s, or men''s) (singly or massed), or for 6 mixed voices (singly or massed), with optional Organ (or other instrumental) accompaniment.'|9790502443917|GRAINGER|Percy Grainger|Alleluia Psallat|Choir - Mixed voices (SATB)|?3.00|25
BDE0597|Anonymous
ENGLISH GOTHIC MUSIC NO. 4
Bardic Edition BDE597|3 voices or choir (ttb or atb) a cappella with harmonium (opt.) and/or wind or string instruments|9790502443924|ANON|Anonymous|English Gothic Music No. 4|Choir - Male voices|?3.00|25
BDE0598|Anonymous
MARIONETTE DOUCE
Bardic Edition BDE598|S(a)atbar(b) a cappella with optional harmonium and/or wind or string accompaniment|9790502443931|ANON|Anonymous|Marionette Douce|Choir - Mixed voices (SATB)|?3.00|25
BDE0599|Anonymous
PUELLARE GREMIUM
Bardic Edition BDE599|Smeza and/or tbarb; harmonium and/or wind instruments-/strings-accompaniment ad libitum|9790502443948|ANON|Anonymous|Puellare Gremium|Choir - Mixed voices (SATB)|?3.00|25
BDE0602|Thomas Pitfield
A SKETCHBOOK OF WOMEN
Bardic Edition BDE602|Female choir (ssa) and piano|9790502443955|PITFIELD|Thomas Pitfield|A Sketchbook of Women|Choir - 3 part upper voices|?13.25|173
BDE0603|Thomas Pitfield
A SKETCHBOOK OF ANIMALS
Bardic Edition BDE603|Mixed choir and piano|9790502443962|PITFIELD|Thomas Pitfield|A Sketchbook of Animals|Choir - Mixed voices (SATB)|?14.25|184
BDE0605|Michael Blake
CLARINET QUINTET
Bardic Edition BDE605|'Scored for basset clarinet (or clarinet in A) and string quartet
This piece is intended to be played on classical instruments, which, whilst producing a generally smaller sound than their modern counterparts, give a greater purity and focus of tone quality. The classical clarinet is made from boxwood and has a smaller bore and mouthpiece than a modern instrument, along with fewer than half the number of keys. This last characteristic means that many notes are achieved with the use of ''forked'' fingerings which tend to be much more flexible in terms of intonation than ''keyed'' fingerings; hence the quartertonal possibilities are greater. Nevertheless, performance on modern instruments is also possible.
Duration 12 minutes
Score and parts included.'|9790502443979|BLAKE M|Michael Blake|Clarinet Quintet|Ensemble - Mixed|?21.00|269
BDE0612|Percy Grainger
THE SHOEMAKER FROM JERUSALEM
Bardic Edition BDE612|'''Dished-up'' for violoncello and piano by Barry Peter Ould'|9790502443993|GRAINGER|Percy Grainger|The Shoemaker from Jerusalem|Cello and piano|?5.25|76
BDE0613|John Pickard
A STARLIT DOME
Bardic Edition BDE613|Piano|9790502444006|PICKARD|John Pickard|A Starlit Dome|Piano - Solo|?7.25|100
BDE0617|Percy Grainger
THE LONELY DESERT-MAN SEES THE TENT
Bardic Edition BDE617|Tenor, soprano and highr baritone (soloists) or choir and piano|9790502444013|GRAINGER|Percy Grainger|The Lonely Desert-Man Sees the Tent|Choir - Mixed voices (SATB)|?4.25|63
BDE0618|Percy Grainger
THEME & VARIATIONS
Bardic Edition BDE618|String quartet|9790502444020|GRAINGER|Percy Grainger|Theme & Variations|String Quartet|?16.25|209
BDE0619|Percy Grainger
LUKANNON
Bardic Edition BDE619|Voice and piano|9790502444037|GRAINGER|Percy Grainger|Lukannon|Voice solo (with accompaniment)|?4.00|51
BDE0620|Thomas Pitfield
SONATINA
Bardic Edition BDE620|Cello and piano|9790502444044|PITFIELD|Thomas Pitfield|Sonatina|Cello and piano|?10.25|136
BDE0622|John Pickard
STRING QUARTET No.1 Study Score
Bardic Edition BDE622|Study score, 80 pages.
Duration 37 minutes|9790502447540|PICKARD|John Pickard|String Quartet No.1|Study score|?22.00|281
BDE0623|John Pickard
STRING QUARTET No.2
Bardic Edition BDE623|Study score on sale, 40 pages
String parts (Violin 1, Violin 2 , Viola, Cello) available as a set of parts.
Duration 16 minutes|9790502447557|PICKARD|John Pickard|String Quartet No.2|Study score|?12.25|160
BDE0623-01||||PICKARD|John Pickard|String Quartet No.2 Set of Parts|String Quartet|?9.75|113
BDE0624|John Pickard
STRING QUARTET No.3 for String Quartet
Bardic Edition BDE624|For string quartet. Score & Parts|9790502444051|PICKARD|John Pickard|String Quartet No.3|String Quartet|?24.00|305
BDE0627|'Penelope Thwaites
COLD WINTER''S NIGHT
Bardic Edition BDE627'|Female choir (ssa) and piano|9790502444068|THWAITES|Penelope Thwaites|'Cold Winter''s Night'|Choir - 3 part upper voices|?3.00|25
BDE0628|Penelope Thwaites
LOOK AT THE CHILDREN
Bardic Edition BDE628|for solo voice or unison voices and piano. Words and Music by Penelope Thwaites|9790502445188|THWAITES|Penelope Thwaites|Look at the Children|Voice solo (with accompaniment)|?3.00|25
BDE0629|Alan Gibbs
PRELUDE & ALLEGRO (ON A HOLST FRAGMENT) for organ
Bardic Edition BDE629|Prelude - duration: about 5 minutes, Allegro - duration: about 5 minutes|9790502446635|GIBBS A|Alan Gibbs|Prelude & Allegro on Holst Fragment|Organ Solo|?7.25|100
BDE0630|Alan Gibbs
WASHINGTON TOCCATA
Bardic Edition BDE0630|Organ|9790502444075|GIBBS A|Alan Gibbs|Washington Toccata|Organ Solo|?6.25|88
BDE0643|'Percy Grainger
SHEPHERD''S HEY
Bardic Edition BDE643'|Violin, cello and piano|9790502444105|GRAINGER|Percy Grainger|'Shepherd''s Hey'|Piano trio|?7.25|100
BDE0648|Percy Grainger
TIGER-TIGER for TTBB choir
Bardic Edition BDE648|'"Tiger-Tiger!" (1st setting) for TTBB a cappella choir by George Percy Grainger (1899), Words by Rudyard Kipling from ''The Jungle Book''.'|9790502444129|GRAINGER|Percy Grainger|Tiger-Tiger|Choir - Male voices|?2.00|13
BDE0649|Percy Grainger
TIGER-TIGER!
Bardic Edition BDE649|'set for 3 descant, 1 treble and 1 tenor recorders
This work exists in numerous arrangements by the composer ranging from piano solo to brass ensemble. The original version for male voice chorus a cappella dates from 1898 and is a setting of the verse heading for the story Tiger -Tiger! from Rudyard Kipling''s The Jungle Book. In 1905 Grainger made some revisions, and it is this version that appears as the ninth movement in his Jungle Book cycle. The manuscript for this recorder version is undated although Grainger went back to his original revisions and possibly set this around 1946 when he also scored the piece for violoncello quintet.
Score and all parts included.'|9790502446451|GRAINGER|Percy Grainger|Tiger-Tiger!|Recorder ensemble|?5.25|76
BDE0651|Percy Grainger
TRAIN MUSIC
Bardic Edition BDE651|excerpt for piano solo edited by Penelope Thwaites|9790502444136|GRAINGER|Percy Grainger|Train Music|Piano - Solo|?4.00|51
BDE0652|Percy Grainger
UNDER A BRIDGE for voices and piano
Bardic Edition BDE652|For Mezzo-soprano, baritone and piano
Danish folksong, sung by Jens Christian Jensen (of Albaek, Herning, Jutland), gathered by Evald Tang Kristensen, H. P. Hansen and Percy Aldridge Grainger (August, 1922)
Set by Percy Aldridge Grainger (1945/46) for 2 voices and piano (or piano duet or large room-music)
"Planned as a wedding-gift to my beloved wife (for our wedding in 1928), but not carried out until 18 years later"
Duration 3? minutes|9790502444143|GRAINGER|Percy Grainger|Under a Bridge|Vocal Duo|?5.25|76
BDE0653|Percy Grainger
WALKING TUNE (EXTENDED VERSION)
Bardic Edition BDE653|Piano (4 hands)|9790502444150|GRAINGER|Percy Grainger|Walking Tune (Extended version)|Piano - 2 players on 1 piano|?5.25|76
BDE0656|'Percy Grainger
THE WIDOW''S PARTY
Bardic Edition BDE656'|Piano (4 hands)|9790502445423|GRAINGER|Percy Grainger|'The Widow''s Party'|Piano - 2 players on 1 piano|?4.25|63
BDE0657|'Percy Grainger
THE WIDOW''S PARTY MARCH
Bardic Edition BDE657'|'for 6 hands at 2 pianos.
"The Widow''s Party" March, originally conceived by Grainger for wind and brass band was dished-up for 6 hands at 2 pianos between August 16, 1905 and January 1, 1907 and finalised on July 1, 1908 in time for Rose Grainger''s 47th birthday on July 3 that same year. In the manuscript score Grainger marks two similar note sequences (B flat, A natural and G) in the bass line at bar 84 (player 3) and at bar 97 (player 1) with the date of New Year''s Eve 1906. What significance this has is not known. Thematic material used in this work also appears in several other works he was writing around the same time, including the setting of Kipling''s poem of the same name - Kipling Setting No.7. The opening theme is however, unique to this particular work and is typical of Grainger''s ability to write a melody which has a certain ''cheekiness'' to it whilst having great charm. Barry Peter Ould
Duration 4? minutes
Two copies are included.'|9790502445232|GRAINGER|Percy Grainger|'The Widow''s Party March'|2 Pianos|?14.25|184
BDE0660|Percy Grainger
YOUNG BRITISH SOLDIER
Bardic Edition BDE660|Male voice and piano|9790502445751|GRAINGER|Percy Grainger|Young British Soldier|Voice solo (with accompaniment)|?6.25|88
BDE0661|Percy Grainger
BELL PIECE
Bardic Edition BDE661|Tenor voice and wind band.|9790502444167|GRAINGER|Percy Grainger|Bell Piece (Score & Parts)|Wind band|?100.00|580
BDE0661-10|Percy Grainger
BELL PIECE
Bardic Edition BDE661-10|Tenor and wind band|9790502444174|GRAINGER|Percy Grainger|Bell Piece Score only|Wind band|?10.00|160
BDE0667|Anonymous
FOWELES IN THE FRITH
Bardic Edition BDE667|Tenor, baritone and viola|9790502444181|ANON|Anonymous|Foweles in the frith|Vocal Duo|?3.50|13
BDE0668|Anonymous
FOWELES IN THE FRITH for TTBB choir
Bardic Edition BDE668|'English Gothic Music "Foweles in the Frith" (Birds in the Wood).
Edited by Dom Anselm Hughes and Percy Aldridge Grainger for men''s chorus a cappella.'|9790502445294|ANON|Anonymous|Foweles in the frith|Choir - Male voices|?2.00|13
BDE0672|Percy Grainger
THE KEEL ROW
Bardic Edition BDE672|'dished-up for 5 pianists at 2 pianos or 3 pianists at 1 piano by Barry Peter Ould.
Grainger''s arrangement of The Keel Row was originally sketched for chorus, whistlers and orchestra in 1901 but it was never completed and remained in manuscript until the present author realised the work and edited a full score and performing material. This version was premiered at a late night Henry Wood Promenade Concert in August 2000 at the Royal Albert Hall by the City of London Sinfonia conducted by the late Richard Hickox. Years before this, I decided to ''dish-up'' a version for 5 pianists at 2 pianos using material from the orchestral sketches. I soon realised that the piece also worked well for 3 pianists at 1 piano by omitting the second piano part entirely. The use of whistlers is entirely optional although Grainger himself was very fond of the sound. Grainger commented that this popular Northumbrian traditional melody was in fact a variant of Shepherd''s Hey! which he also set in many different arrangements including a version for 2 pianos 4 hands. Barry Peter Ould
Duration 1? minutes'|9790502444198|GRAINGER|Percy Grainger|The Keel Row|Piano - 3 players on 1 piano|?4.25|63
BDE0688|Jane Joseph
VENITE for organ
Bardic Edition BDE688|freely arranged for organ by Alan Gibbs|9790502444204|JOSEPH|Jane Joseph|Venite arr.Alan Gibbs|Organ Solo|?5.25|76
BDE0691|Michael Blake
REVERIE for two pianos
Bardic Edition BDE691|'for two pianos, four hands (two copies are included)
"...of the joy of the dreamer no man knoweth but he who dreameth...without dreams and phantoms man cannot exist" (Olive Schreiner, "Story of an African Farm")
Composer''s Note:
Pedal should be used where indicated, but may also be used anywhere else in the piece taking care not to blur the sound. The rests should alwaysbe observed, except where pedalling is indicated. Although the dynamics are marked low until bar 185, the piece should be played in a rhythmically very precise and articulated way, and tempo relationships faithfully observed throughout.
The first performance was given on 31st March, 1996 in the Institute of Contemporary Arts, London by Sally Rose and Tony Gray.
Duration 10 minutes'|9790502444211|BLAKE M|Michael Blake|Reverie|Piano - 2 players on 2 pianos|?12.25|160
BDE0692|Christopher Headington
SONATINA
Bardic Edition BDE692|Oboe and piano|9790502445140|HEADINGTON|Christopher Headington|Sonatina|Oboe and piano|?10.25|136
BDE0695|Reginald King
LILACS IN THE RAIN for piano
Bardic Edition BDE695|'Reginald Claude McMahon King was born in Hampstead, London in 1904. He came from a musical family, and his father, Conrad King, was a singing teacher and composer of ballads. Reginald showed an early interest in music and started composing piano pieces at the age of seven. He studied at the Blackheath Conservatoire from 1918 to 1920, and then entered the Royal Academy where he studied piano with Charles Reddie and composition with Harry Farjeon. His Piano Concerto in F minor gained him the McFarren Scholarship in 1921. In 1936 he was elected Fellow of the Royal Academy of Music. Lilacs in the rain is one of many of the light music pieces that flowed from the composer''s pen between the years 1934 and 1990.
This work amongst others, has been recorded by the pianist Mark Bebbington in a collection entitled ''Song of Paradise'': piano music by Reginald King available on Somm Recordings (SOMMCD 0125).
Duration 5? minutes'|9790502444228|KING R|Reginald King|Lilacs in the Rain|Piano - Solo|?4.25|63
BDE0697|John Pickard
STRING QUARTET No.4 Study Score
Bardic Edition BDE697|Study score. 84 pages.
Duration 27 minutes|9790502447564|PICKARD|John Pickard|String Quartet No.4|Study score|?23.00|294
BDE0703|George Gershwin
SUMMERTIME for violin and piano
Bardic Edition BDE703|Violin and piano transcription by Lawrence Glover|9790502444235|GERSHWIN G|George Gershwin|Summertime arr.Glover|Violin and piano|?5.25|76
BDE0709|Claire Hamilton
MY LAGAN LOVE
Bardic Edition BDE709|Cello|9790502444242|GLOVER|Lawrence Glover|My Lagan Love|Cello solo|?4.00|51
BDE0725|Ella Grainger
FAREWELL TO AN ATOLL for voice & piano
Bardic Edition BDE725|'for voice (man''s or woman''s) and piano (simplified). Ella Grainger''s Farewell to an Atoll is a setting of one of her own poems to her own original melody, which was harmonized and scored by Percy Grainger between 1944 and 1945. The song was inspired by a painting of a coral atoll given to Ella by the New Zealand artist, H. Neville-Smith. The painting currently hangs in the Grainger Home and Studio in White Plains, NY. This simplified arrangement by Ronald Stevenson was made in 1979 to celebrate Ella''s 90th birthday on the 1st of May that year and along with 4 of Ella''s other songs has been recorded by Della Jones (mezzo soprano) with Penelope Thwaites (piano) on Chandos Records (CHAN 9730) Vol.12 of the monumental Grainger Edition. Barry Peter Ould
Duration 1? minutes'|9790502447427|GRAINGER E|Ella Grainger|Farewell to an Atoll arr.Stevenson|Voice solo (with accompaniment)|?4.00|51
BDE0728|Jane Joseph
HYMN FOR WHITSUNTIDE for SATB
Bardic Edition BDE728|'Poem "Whit Sunday" by Joseph Beaumont (1616-1699) set to music by Jane Josephs for mixed voice choir (SATB) a cappella, edited by Alan Gibbs.
The first Whitsun Festival directed by Gustav Holst at Thaxted parish church took place in 1916, with music students from Morley College and pupils from St. Paul''s Girls'' School taking part. It was so successful that it initiated an almost unbroken series for many years, although after the War it moved to churches in London and elsewhere. Beginning with Bach, Purcell, Palestrina and similar composers, Holst soon began to add his own works and those of his students. Jane Joseph (1894-1929) was honoured in this way in 1918, and her Hymn for Whitsuntide, easy and effective in neo-modal idiom was evidently tried out in 1922, and became a firm favourite from 1924, the year of its publication. After her untimely death, it was sung at the Kensington Competitive Musical Festival under Vaughan Williams''s direction, the audience standing in tribute. Holst called it "a flawless little motet" and its simple and unaffected beauty should be matched by similar qualities in performance.'|9790502444259|JOSEPH|Jane Joseph|Hymn for Whitsuntide|Choir - Mixed voices (SATB)|?2.00|13
BDE0738|Dana Paul Perna
SOLILOQUY AND VARIATIONS for violoncello
Bardic Edition BDE738|'Dana Paul Perna composed his Soliloquy and Variations for unaccompanied violoncello between early-September and mid-October 1977, and it received its premiere performance on December 1st of that year. There is little out of the ordinary in terms of its notation; its technical demands remaining for its ''cellist to circumvent within their own parameters.
The only aspect of notation to mention are the indications of ''col legno'' that appear in Variation 7 - Epilogue. Due to the nature of striking the strings with ones'' bow, it is always a concern with ''cellists wishing to not cause damage to it, nor to their ''cello itself. For this reason, the dynamic demarkation of fortissimo may be, perhaps, achieved with a bit less force than that dynamic implies, simply due to the dramatic nature of the action ''col legno'' produces, and presents to an audience. Another option for the ''cellist may be to tap their bow on the finger board if they wish to add a bit more of a ''percussive'' sound to it. As for those passages marked ''pizzicato'' (in the same variation), to perform them at that tempo will be a challenge. It will not be out-of-the-question if those rapid 16th-notes come off as something more analogous to a ''portamento'', as ''gliding-tones'', or as ''bends.'' If any of those prove a simpler solution, as opposed to aiming to articulate every pitch individually, that will be a matter for the performer to consider.
Like the Soliloquy, each variation concludes with a full double bar. ''Cellists may interpret these as pauses between each variation, or, to perform them attacca, or, in a combination thereof. Their interpretation, in other words, shall remain a decision that is best left up to the performers'' discretion.
Duration 9 minutes'|9790502445775|PERNA|Dana Paul Perna|Soliloquy and Variations|Cello solo|?5.25|76
BDE0740|Dana Paul Perna
TWO ODES
Bardic Edition BDE740|Oboe solo|9790502445157|PERNA|Dana Paul Perna|Two Odes|Oboe solo|?4.00|51
BDE0743|Dana Paul Perna
TWO PIECES for trombone
Bardic Edition BDE743|For solo trombone|9790502445799|PERNA|Dana Paul Perna|Two Pieces|Trombone solo|?4.00|51
BDE0756|Michael Blake
QUARTET for flute and strings
Bardic Edition BDE756|Quartet for Flute and Strings (Violin, Viola & Cello) is a transcription of Honey Gathering Song for flute and piano, composed during January to March 1989 and revised in December 1999. The transcription was made at the same time as the composition and revision of Honey Gathering Song.
Pieces with this title are found among the music of the Rain Forest Pygmies, but no direct reference is made to their music.
The first performance of the Quartet was given at the Europe-Asia Festival, Kazan on 31 March 2002 by Vladislav Zakharov (flute) and members of the Tatarstan State String Quartet. Michael Blake
Score and parts included.
Duration 8 minutes|9790502444266|BLAKE M|Michael Blake|Quartet for flute and strings|Ensemble - Mixed|?12.25|160
BDE0758|Penelope Thwaites
ALL THE DAYS OF CHRISTMAS
Bardic Edition BDE758|Voice and piano|9790502445195|THWAITES|Penelope Thwaites|All the days of Christmas|Voice solo (with accompaniment)|?4.25|63
BDE0759|John Pickard
OZYMANDIAS
Bardic Edition BDE759|for 10 part mixed voice choir (SSSAAATTBB) a cappella. Words by Percy Bysshe Shelley.|9790502444273|PICKARD|John Pickard|Ozymandias|Choir - Mixed voices (SATB)|?4.75|50
BDE0764|Dana Paul Perna
TWO PIECES FOR ORGAN
Bardic Edition BDE764|'Two pieces for organ: 1. John Wayne, 2. Evocation
Completed in 1980, Two Pieces for organ was conceived as an evocative meditation in which each of its pieces treat their material differently: elegiacally and mournfully in ''John Wayne'', and as a set of sacred variations in ''Evocation''. Similar motivic/thematic material appear in both pieces, which evoke memories and images of the late actor''s work (and death) in ''John Wayne'' and the conflict between religious and moral principals - old and new - in ''Evocation''. Dana Paul Perna
Duration 5? and 3 minutes'|9790502444921|PERNA|Dana Paul Perna|Two Pieces for organ|Organ Solo|?4.25|63
BDE0765|Dana Paul Perna
ORATORY FOR ORGAN
Bardic Edition BDE765|Organ|9790502444938|PERNA|Dana Paul Perna|Oratory for organ|Organ Solo|?4.25|63
BDE0768|Thomas Pitfield
TUNES FROM DOWN UNDER for recorders
Bardic Edition BDE768|for 2 descant and 2 treble recorders and wood blocks.
Score and parts|9790502447380|PITFIELD|Thomas Pitfield|Tunes from Down Under|Recorder ensemble|?10.25|136
BDE0775|Bernard Stevens
RUNNING TO PARADISE
Bardic Edition BDE775||9790502446154|STEVENS B|Bernard Stevens|Running to Paradise|Choir - Mixed voices (SATB)|?3.00|25
BDE0776|Michael Blake
FRENCH SUITE
Bardic Edition BDE776|Piano solo|9790502444280|BLAKE M|Michael Blake|French Suite|Piano - Solo|?8.25|112
BDE0777|Percy Grainger
THE PEORA HUNT
Bardic Edition BDE777|Mens choir (6-part)|9790502444297|GRAINGER|Percy Grainger|The Peora Hunt|Choir - Male voices|?2.00|13
BDE0779|Michael Blake
CUM MARTELLI INCRUDENA
Bardic Edition BDE779|for elastic scoring - score and all parts included.
Cum martelli incrudena (With hammer and anvil) is a thirteenth-century Italian ballad for three voices, in which a scale rising from the first to the seventh degree is gradually built up and then broken down over a considerable number of bars, by the systematic addition and subtraction of pitches, making it a kind of minimalist prototype. It is dedicated to Barry Peter Ould to mark the founding of Bardic Edition, with whom I had just signed a publishing agreement. Michael Blake
Instrumentation:
Clarinet 1 in Bb. or Trumpet 1 in Bb or C. or Alto Saxophone 1 in Eb.
Clarinet 2 in Bb. or Trumpet 2 in Bb or C. or Alto Saxophone 2 in Eb.
Piano or Guitar or Harpsichord
Vibraphone or Glockenspiel or Xylophone or Marimba or Bells
Violin or Viola
Violoncello
Duration 2 minutes|9790502444303|BLAKE M|Michael Blake|Cum Martelli Incrudena|Ensemble - Mixed|?19.00|245
BDE0780|Michael Blake
KARAOKE MINUS ONE
Bardic Edition BDE780|for any number of voices|9790502444310|BLAKE M|Michael Blake|Karaoke Minus One|Choir|?4.00|51
BDE0781|Alan Gibbs
ISLEWORTH BELLS
Bardic Edition BDE0781|Organ|9790502444327|GIBBS A|Alan Gibbs|Isleworth Bells|Organ Solo|?5.25|76
BDE0782|Percy Grainger
FREE MUSIC NO. 1
Bardic Edition BDE782|String quartet|9790502445256|GRAINGER|Percy Grainger|Free Music No. 1|String Quartet|?4.00|25
BDE0783|Antoinette Kirkwood
SNOWFLAKE OP. 21/1
Bardic Edition BDE783|Voice and guitar|9790502444334|KIRKWOOD A|Antoinette Kirkwood|Snowflake op. 21/1|Voice solo (with accompaniment)|?3.50|13
BDE0784|'Michael Blake
THREE VENDA CHILDREN''S SONGS for guitar
Bardic Edition BDE784'|'for solo guitar.
When Charles Ramirez was overhauling the guitar syllabi for the Trinity College grade exams he asked me if I would contribute pieces for the first three grades, and expressed the wish that these would have something of an African aesthetic. I turned again to John Blacking''s transcriptions, this time those of Venda Children''s Songs, and chose three pieces that I felt would translate well into guitar music which was technically elementary but musically challenging. They were commissioned by Trinity College London who first published them in 1997. Michael Blake
Duration 3 minutes'|9790502444341|BLAKE M|Michael Blake|'Three Venda Children''s Songs'|Guitar|?4.00|51
BDE0787|'John Pickard
PARAPHRASE ON ''THE DUKE OF MARLBOROUGH'' for piano
Bardic Edition BDE787'|Piano solo|9790502444990|PICKARD|John Pickard|Paraphrase on Duke of Marlborough|Piano - Solo|?5.25|76
BDE0788-10|John Pickard
PIANO TRIO
Bardic Edition BDE788-10|Violin, cello and piano|9790502444839|PICKARD|John Pickard|Piano Trio|Piano trio|?15.25|197
BDE0790|Percy Grainger
DANNY DEEVER
Bardic Edition BDE790|Mens choir, piano and harmonium|9790502444358|GRAINGER|Percy Grainger|Danny Deever|Choir - Male voices|?3.75|38
BDE0791|Percy Grainger
THE KEEL ROW
Bardic Edition BDE791|Mixed choir (satb) and piano|9790502444365|GRAINGER|Percy Grainger|The Keel Row|Choir - Mixed voices (SATB)|?3.75|38
BDE0792|Percy Grainger
THE POWER OF LOVE
Bardic Edition BDE792|Sopranos and piano|9790502444372|GRAINGER|Percy Grainger|The Power of Love|Choir - Upper voices|?2.00|13
BDE0794|J S Bach arr.Grainger
SEE WHAT HIS LOVE CAN DO
Bardic Edition BDE794|Wind band and harp|9790502444389|BACH ARR.GRA|Bach arr.Grainger|See What His Love Can Do|Wind band|?80.00|760
BDE0796|Michael Blake
LET US RUN OUT OF THE RAIN for string quartet
Bardic Edition BDE796|for string quartet. Score and parts included.
"Let us run out of the rain" paraphrases Nsenga kalimba music recorded in the Petauke District of Zambia by John Blacking in 1961, and subsequently transcribed by him. The tunes were composed and performed by Gideon Bingaili, Ackson Lungu, Taiad Mwanza and Ackson Zuly.
Originally composed for piano duet in 1986, the work was first performed by Roy Stratford and Michael Blake (piano) at the British Music Information Centre, London, on 23 June 1986. It was transcribed for the Fitzwilliam String Quartet in 1991 and both versions were revised in 1993. It can be played on classical or modern string instruments, but always without vibrato.
Duration 8 minutes|9790502444396|BLAKE M|Michael Blake|Let us run out of the rain|String Quartet|?14.25|184
BDE0797|Michael Blake
CARPET OF MEMORY for piano trio
Bardic Edition BDE797|'for violin, cello and piano.
The title "Carpet of Memory" is taken from Paul Klee''s 1914 painting "Teppich der Erinnerung".
The first performance was given on 23 July, 2011 in the Dutch Reformed Church, Franschhoek, South Africa by Trio Fibonacci.
Duration 13 minutes'|9790502445591|BLAKE M|Michael Blake|Carpet of Memory|Piano trio|?17.25|221
BDE0798|Michael Blake
LEAF CARRYING SONG
Bardic Edition BDE798|Oboe d amore or oboe or flute and guitar|9790502444402|BLAKE M|Michael Blake|Leaf Carrying Song|Oboe and Guitar|?14.25|184
BDE0799|Alan Gibbs
SNOW IN WINTER for organ
Bardic Edition BDE799|for organ. Duration 4? minutes|9790502446338|GIBBS A|Alan Gibbs|Snow in Winter|Organ Solo|?4.25|63
BDE0800|Michael Blake
BEAMISH GRACE for SAB voices
Bardic Edition BDE800|For SAB voices a cappella.
Composed 18 July 1987, and first performed 19 July 1987, at Beamish Hall, Durham County by participants in the University of Durham Weekend Course for Singers, conducted by J. Murray Brown. The work was sung from the dining hall gallery before breakfast was eaten.
Duration 2 minutes|9790502446727|BLAKE M|Michael Blake|Beamish Grace|Choir - Mixed voices (SAMen)|?3.00|25
BDE0802|Michael Blake
SAN POLYPHONY for organ
Bardic Edition BDE802|The material is derived partly from vocal counterpoint of the San (Bushmen), transcribed by Nicholas England, and partly from Shona mbira music, transcribed by Andrew Tracey and myself. The registration should emphasise soft colours with gradual changes.
The first performance was given on 27 September 1998 in Commemoration Church, Grahamstown, South Africa by Gerrit Jordaan. The work was slightly revised in 1999 and performed in that version, by Gerrit Jordaan, at the National Arts Festival, Grahamstown in July 2000.
The present revised and expanded version was made in 2006, and first performed on 15 November 2019, in the Orgelpark, Amsterdam, by Ere Lievonen, who has edited the score for this publication. Michael Blake
Duration 18 minutes|9790502446505|BLAKE M|Michael Blake|San Polyphony|Organ Solo|?9.25|124
BDE0803|Percy Grainger
COUNTY DERRY AIR
Bardic Edition BDE803|Wind band and organ|9790502444419|GRAINGER|Percy Grainger|County Derry Air (Score & Parts)|Wind band|?100.00|865
BDE0803-10|Percy Grainger
COUNTY DERRY AIR
Bardic Edition BDE803-10|Wind band and organ|9790502444426|GRAINGER|Percy Grainger|County Derry Air (Score only)|Wind band|?6.25|88
BDE0807|Michael Blake
38A HILL STREET BLUES
Bardic Edition BDE807|for marimba and vibraphone (2 players). Performing score.
Duration 4 minutes|9790502445669|BLAKE M|Michael Blake|38a Hill Street Blues|Percussion|?5.25|76
BDE0811|Michael Blake
UNTITLED
Bardic Edition BDE811|Clarinet in A and piano|9790502444433|BLAKE M|Michael Blake|Untitled|Clarinet and piano|?16.25|209
BDE0812|Michael Blake
STRING QUARTET NO.1
Bardic Edition BDE812|string quartet score only|9790502444440|BLAKE M|Michael Blake|String Quartet No.1 Score|String Quartet|?10.25|136
BDE0812-10|Michael Blake
STRING QUARTET NO.1
Bardic Edition BDE812-10|string quartet score and parts|9790502445201|BLAKE M|Michael Blake|String Quartet No.1 Score+Parts|String Quartet|?22.00|281
BDE0813|Michael Blake
BIRTHDAY FANFARE for tuba quartet
Bardic Edition BDE813|'Birthday Fanfare, a four-voice canon, was composed for the 75th Anniversary in 1998 of the Department of Music & Musicology at Rhodes University, Grahamstown, and the official opening of the Department''s new studio. For this occasion, Bruce Stevens (tuba) pre-recorded tubas 2-4 and gave the first performance with Jim Chapman (sound diffusion), in the Beethoven Room in October 1998.
The piece may be played by four tubas, or a solo tuba player can pre-record tubas 2-4 and play along with them. Score and parts included.
Duration 2? minutes'|9790502446833|BLAKE M|Michael Blake|Birthday Fanfare for Tuba Quartet|Tuba Ensemble|?8.25|112
BDE0814|Alan Gibbs
A MEDIEVAL CHRISTMAS for organ
Bardic Edition BDE814|Three pieces for organ.
These pieces may be played as a suite or separately. They are based on melodies found in the English Hymnal and Oxford Book of Carols: the first is from the 13th century Sarum Antiphoner (EH 14), the second is the 15th century. Song of the Nuns of Chester (OBC 67), and the last a Christmas sequence from the Sarum Graduale (EH 22). You may detect the odd nod to isorhythm and hocket. Alan Gibbs
Total duration c.15 minutes|9790502444457|GIBBS A|Alan Gibbs|A Medieval Christmas|Organ Solo|?8.25|112
BDE0815|Percy Grainger
HUNTING SONG OF THE SEEONEE PACK
Bardic Edition BDE815|Mens choir|9790502444464|GRAINGER|Percy Grainger|Hunting Song of the Seeonee Pack|Choir - Male voices|?3.00|25
BDE0819-10|Bernard Stevens
STRING QUARTET NO. 2
Bardic Edition BDE819-10|2 violins, viola and cello|9790502444488|STEVENS B|Bernard Stevens|String Quartet No. 2|String Quartet|?18.25|233
BDE0821|Mervyn Horder
FOUR SHAKESPEARE DUETS
Bardic Edition BDE821|for soprano, baritone and piano.
1. It was a lover and his lass (As you like it)
2. Come unto these yellow sands (The Tempest)
3. Where the bee sucks (The Tempest)
4. When that I was and a little tiny boy (Twelfth Night).|9790502445218|HORDER|Mervyn Horder|Four Shakespeare Duets|Vocal Duo|?7.25|100
BDE0825|Bernard Stevens
BIRTHDAY SONG
Bardic Edition BDE825|Piano (4 hands)|9790502444495|STEVENS B|Bernard Stevens|Birthday Song|Piano - 2 players on 1 piano|?5.25|76
BDE0828|Michael Blake
PIANO QUINTET (Homage to Schumann)
Bardic Edition BDE828|For piano and string quartet. Score and set of parts included.
The first performance was given on 30 April 2006 at Fitzwilliam College, Cambridge, by Michael Blake (piano) and the Fitzwilliam String Quartet: Lucy Russell & Jonathan Sparey (violins), Alan George (viola) and Andrew Skidmore (violoncello).
It has been recorded by the same artists on CD MBED 002.
Duration 21 minutes|9790502444501|BLAKE M|Michael Blake|Piano Quintet|Piano Quintet|?25.00|318
BDE0830|Alan Gibbs
WINGS OF FAITH for organ
Bardic Edition BDE830|Two Hymn Preludes for Organ. These pieces were commissioned by Douglas Bates for his organist friends Ronald Styles (who studied the piano with Frederick Lamond) and Dr. Tom Corfield (Suborganist of Derby Cathedral). Although the two hymns on which the preludes are based belong to different seasons, they are intimately related, the Holy Spirit (I) being the inspiration of the Saints (II). The opening phrase of another familiar hymn for All Saints, by Isaac Watts, has furnished the title, aptly reminding us that wings symbolize the Holy Spirit in Christian art. Furthermore, there are thematic relationships between the melodies of the two hymns and their treatment, although they may be played separately. Alan Gibbs
Duration 7? minutes|9790502444518|GIBBS A|Alan Gibbs|Wings of Faith|Organ Solo|?6.25|88
BDE0847|Percy Grainger
HUSBAND AND WIFE for voices and piano
Bardic Edition BDE847|'HUSBAND AND WIFE (Hubby and Wifey) (Manden og Konen)
Danish folksong, sung by Jens Christian Jensen (of Albaek, Herning, Jutland), gathered by Evald Tang Kristensen, H. P. Hansen and Percy Aldridge Grainger (August, 1922)
Set for woman''s and man''s voices and piano by Percy Aldridge Grainger (1923) for 2 voices and piano.
This song is in the form of a quarrelling duet in which the wife finally brings her husband to his senses by means of a spinning spindle skilfully applied to his head. The melody also forms part of Grainger''s Jutish Medley.
Duration 1? minutes'|9790502447519|GRAINGER|Percy Grainger|Husband and Wife (Voices+Piano)|Vocal Duo|?4.25|63
BDE0852|John McLain
PSALM 23 for unison voices
Bardic Edition BDE852|for solo or unison voices and piano, music by John McLain arranged by Christopher Hayward.|9790502447335|MCLAIN|John McLain|Psalm 23|Choir - Unison voices|?2.00|13
BDE0853|Percy Grainger
BLITHE BELLS for wind band
Bardic Edition BDE853|'for Military Band and tuneful percussion (edited by Barry Peter Ould)
A free ramble by Percy Aldridge Grainger on Bach''s aria "Sheep may graze in safety when a goodly shepherd watches o''er them" (from the Secular Cantata "Was mir behagt, ist nur die muntre Jagd"). The ramble is coloured by the thought that Bach, in writing the melody in thirds that opens and closes the number, may have aimed at giving a hint of the sound of sheep bells. Percy Aldridge Grainger
An A4 score and set of parts is included.
A larger A3 sized score is available separately.'|9790502444525|GRAINGER|Percy Grainger|Blithe Bells (Score+Parts)|Wind band|?100.00|580
BDE0853-10|Percy Grainger
BLITHE BELLS
Bardic Edition BDE853-10|Wind band|9790502444532|GRAINGER|Percy Grainger|Blithe Bells - Large A3 score|Wind band|?15.00|100
BDE0854|John Pickard
THE BORDERS OF SLEEP
Bardic Edition BDE854|Nine Poems by Edward Thomas for Baritone voice and piano
Composed for its dedicatee Jeremy Huw Williams, who commissioned it with financial assistance from the Arts Council of Wales.
Duration 30 minutes|9790502445003|PICKARD|John Pickard|The Borders of Sleep|Voice solo (with accompaniment)|?14.25|184
BDE0859|Michael Blake
KWELA study score
Bardic Edition BDE859|Study score for string orchestra
Duration 9? minutes|9790502444556|BLAKE M|Michael Blake|Kwela Score|String Orchestra|?9.25|124
BDE0862|Alan Gibbs
TENISON PSALMS
Bardic Edition BDE0862|Solo (treble or soprano), mixed choir (satb), organ and percussion (optional harp)|9790502445300|GIBBS A|Alan Gibbs|Tenison Psalms|Choir - Mixed voices (SATB)|?19.00|245
BDE0866|Paul R Harvey
OBSERVATIONS
Bardic Edition BDE866|Piano|9790502444563|HARVEY|Paul R Harvey|Observations|Piano - Solo|?5.25|76
BDE0868|Cecil Coles
TRISTE E GAI
Bardic Edition BDE868|Piano|9790502444570|COLES|Cecil Coles|Triste e Gai|Piano - Solo|?4.25|63
BDE0876|John Pickard
ORION for trumpet and organ
Bardic Edition BDE876|'For trumpet (flugelhorn) and organ.
I - Nebula, II - Alnitak, III - Betelgeuse
Orion was commissioned by the 2004 Presteigne Festival, in association with the Arts Council of Wales, and is dedicated to Alison Balsom.
Orion is probably the most magnificent constellation in the northern hemisphere, dominating the sky on a clear winter''s night. It contains stars of all ages, from the newest, conceived in the primordial soup of the Great Nebula (no. 42 in Messier''s catalogue of deep-sky objects), to "supergiants" nearing the end of their lives. This work celebrates some of the features of this wondrous spectacle.
In the first movement, Nebula, various musical elements emerge from an amorphous opening and gradually coalesce into a definitive and dramatic statement. The second movement, Alnitak, takes it name from the easternmost star in Orion''s belt (translated from the Arabic, its name means "The Girdle"). The outer sections of this movement are lyrical, dominated by the rich sound of the fl?gelhorn. These frame a very fast central section - a short hunting scene reflecting Orion''s mythological status as "The Mighty Hunter". The final movement, Betelgeuse, refers to the most celebrated of all "red giant" stars. It is a relatively cool star (a mere 3000 degrees!) and reaching the end of its life. Eventually it will swell up and slough off its outer layer to form a ring (a "planetary nebula"), dispersing into the infinite depths of space. John Pickard
Performance note:
The player should double flugelhorn in the outer sections of the second movement. In cases of absolute necessity, the flugelhorn part may be played on trumpet (preferably a Bb instrument).'|9790502446529|PICKARD|John Pickard|Orion|Trumpet & Organ|?17.25|221
BDE0886|John Pickard
VIOLIN SONATA
Bardic Edition BDE886|Violin and piano|9790502444587|PICKARD|John Pickard|Violin Sonata|Violin and piano|?15.25|197
BDE0888|Alan Gibbs
SEE THE CONQUEROR
Bardic Edition BDE888||9790502446161|GIBBS A|Alan Gibbs|See the Conqueror|Choir - Unison voices|?2.00|13
BDE0889|Alan Gibbs
HARK! THE SOUND
Bardic Edition BDE0889|Choir unison|9790502444594|GIBBS A|Alan Gibbs|Hark! The Sound|Choir - Unison voices|?2.00|13
BDE0890|Percy Grainger
CHILDRENS MARCH for piano duet
Bardic Edition BDE890|'CHILDREN''S MARCH - ''Over the hills and far away'', version for piano duet (1 piano, 4 hands) by Walden Hughes.
Grainger''s Children''s March was originally written in 1918 for piano and military band and was performed by the Coast Artillery Band of the U.S. Army in which Grainger was serving at that time as a bandsman (2nd class). In February of the same year, Grainger went into the studio of the Duo-Art Company, New York, and prepared several piano rolls of sketches for intended compositions. There was a possibility that the Army Band would be sent to France on stretcher duty and Grainger, ever mindful that he could be killed in action, set about recording for posterity his current musical thoughts. Amongst these recordings is a short sketch for a setting of a Faeroese Folk Song Tjugundi Bidil the opening notes of which are strikingly similar to the tune of the Children''s March.
This version for piano duet was commissioned by the distinguished American harpsichordist and fortepianist, Igor Kipnis (1930-2002).
Duration 6? minutes'|9790502444600|GRAINGER|Percy Grainger|'Children''s March'|Piano - 2 players on 1 piano|?9.25|124
BDE0892|Percy Grainger
BRIDAL LULLABY RAMBLE for piano solo
Bardic Edition BDE892|'transcribed by John Lavender from a piano roll edited by Penelope Thwaites.
With the possibility that Grainger whilst in the US Army might be sent on overseas service, he set to preserving some of his compositions by performing them onto piano rolls at the Duo-Art studio in New York (February 1918). These rolls eventually found their way to the Grainger Museum in Melbourne, Australia where they lay for many years unheard until they were eventually transferred onto tape by the late Denis Condon. Grainger had recorded two possible versions of what he called Warriors room-music (slow movement). It was exciting to discover that these were in fact extended versions of the piece A Bridal Lullaby which he had written for his former lover, Karen Holten. For this publication, John Lavender transcribed the more convincing of the two versions giving it the explanatory title Bridal Lullaby Ramble. Some of this material intersects with that of his two-piano work Warriors 2 which in turn is the projected second movement of his Thanksgiving Song, written to celebrate the women in his life.
The first performance was given by Penelope Thwaites on April 12, 2005 at St John''s Smith Square and recorded by her on CHAN 10205 (CHANDOS The Grainger Edition, Volume 19, Works for Solo Piano 3) or CD 19 of The Complete Grainger Edition CHAN 20196 (21).'|9790502444877|GRAINGER|Percy Grainger|Bridal Lullaby Ramble|Piano - Solo|?5.25|76
BDE0896|Paul R Harvey
VALSE CAPRICE
Bardic Edition BDE896|Piano|9790502445409|HARVEY|Paul R Harvey|Valse Caprice|Piano - Solo|?4.25|63
BDE0897|Paul R Harvey
VALSE CAPRICE
Bardic Edition BDE897|2 pianos|9790502445416|HARVEY|Paul R Harvey|Valse Caprice|Piano - 2 players on 2 pianos|?8.25|112
BDE0898|Michael Blake
JESUS OUR MIGHTY LORD
Bardic Edition BDE898|Mixed choir (satb)|9790502444617|BLAKE M|Michael Blake|Jesus Our Mighty Lord|Choir - Mixed voices (SATB)|?3.75|38
BDE0900|Cecil Coles
FIVE LITTLE VARIATIONS
Bardic Edition BDE900|Piano|9790502444624|COLES|Cecil Coles|Five Little Variations|Piano - Solo|?4.25|63
BDE0901|Cecil Coles
VARIATIONS ON AN ORIGINAL THEME
Bardic Edition BDE901|Piano|9790502444631|COLES|Cecil Coles|Variations on an original theme|Piano - Solo|?5.25|76
BDE0903|Percy Grainger
HARLEM (125TH STREET) WALKABOUT for piano
Bardic Edition BDE903|Realised and extended for piano solo by Ronald Stevenson
"Harlem (125th Street) Walkabout" started life as a sketch by Grainger entitled "Little March Air" (Aug 20, 1919) which he composed whilst walking along 125th Street, NY on the way to 129th Street Station in Harlem, NY. It was completed by the composer-pianist Ronald Stevenson and given its premiere performance at a piano recital held in White Plains Public Library (April 10, 1987) where by a vote of the audience, it was renamed to "Harlem (125th Street) Walkabout".
Duration 3 minutes|9790502446628|GRAINGER|Percy Grainger|Harlem (125th Street) Walkabout|Piano - Solo|?4.25|63
BDE0905|Percy Grainger
SEVEN MEN FROM ALL THE WORLD for piano
edited by Penelope Thwaites
Bardic Edition BDE905|'This particular piano piece was part of a series of pieces that Grainger cut onto a series of piano rolls in February 1918. At that time he was in the US army and there was a possibility that his unit, the 15th Coast artillery band would be sent to France on stretcher duty. Grainger had many ideas for compositions in his head and instead of writing them on paper (time was short) he decided to commit them to piano roll. These sketches for compositions on the privately cut Duo-Art piano rolls lay in the collection of the Grainger Museum, Melbourne for some 80 years before being transferred to Clavierdisc by the doyen of piano roll experts, Denis Condon. From these discs, John Lavender was able to transfer the information via midi to a digital keyboard and eventually extract the notation to paper.
The title Seven Men from all the World comes from the words of a poem by Rudyard Kipling which was originally used by Grainger for his Kipling setting "The Ballad of the Bolivar" for large men''s chorus and orchestra sketched between January 15 -26, 1901. The piano version published here for the first time has been edited by Penelope Thwaites whose premiere recording can be heard on Vol.16 of the Chandos Grainger Series (CHAN 9895) or CD No.17 of The Complete Grainger Edition: 60 Years: 1961-2021 (CHAN 20196 (21)) Barry Peter Ould '|9790502447168|GRAINGER|Percy Grainger|Seven Men from All the World|Piano - Solo|?4.00|51
BDE0907|Percy Grainger
TWO PRELUDES AND A GIGUE for piano
Bardic Edition BDE907|'Prelude in C, Prelude in G and Gigue for piano solo.
Grainger''s childhood and early teenage works, edited from his own manuscripts, leave room for musicianly interpretation. In the earliest, written at the age of nine, he was still learning how to write down his music, and at times he confuses musical conventions and symbols. Phrasing is largely missing; dynamics are sparse, pedalling non-existent. While acknowledging his burgeoning creativity, it is clear that these works were awaiting his own editorial hand in later years. Sadly, this never eventuated. Based on my own research and performances, I have presumed to suggest some phrasings and dynamics, as a guide, and I have on occasion re-distributed notes between hands where the composer wrote chords spanning a tenth or more. Grainger himself often recommended "harping" wide chords, although this should be done with discretion. There are times, for example, when it may sound better to take the bass note in a left-hand chord with the pedal (as an acciaccatura or appoggiatura) before playing the remaining notes. His Preludes and Gigue are clearly Bach-inspired, but they are, even at this early stage, recognisably Graingeresque in their characteristic touches of unexpectedness, lyricism and subversive humour. Penelope Thwaites'|9790502444648|GRAINGER|Percy Grainger|Two Preludes and a Gigue|Piano - Solo|?4.25|63
BDE0910|Penelope Thwaites
PSALM 19
Bardic Edition BDE910|Voice and piano|9790502445393|THWAITES|Penelope Thwaites|Psalm 19|Voice solo (with accompaniment)|?4.25|63
BDE0911|Penelope Thwaites
PSALM 24
Bardic Edition BDE911|Mixed choir (satb) and organ|9790502445614|THWAITES|Penelope Thwaites|Psalm 24|Choir - Mixed voices (SATB)|?3.75|38
BDE0913|Penelope Thwaites
WALKABOUT for solo voice and chorus
Bardic Edition BDE913|for solo voice, chorus (women and men) and piano. Words by Gerd Jonzon.
Duration 2? minutes|9790502447151|THWAITES|Penelope Thwaites|Walkabout for solo voice and chorus|Choir|?3.00|25
BDE0917|Michael Blake
COLLECTED SHORTER PIECES VOL. 1
Bardic Edition BDE917|Piano|9790502444655|BLAKE M|Michael Blake|Collected Shorter Pieces Vol.1|Piano - Solo|?13.25|173
BDE0921|Percy Grainger
BAHRILYALE V. PALANDARI
Bardic Edition BDE921|Percussion and harmonium drone|9790502445249|GRAINGER|Percy Grainger|Bahrilyale v. Palandari|Percussion|?9.25|124
BDE0922|'George Gershwin
O I CAN''T SIT DOWN
Bardic Edition BDE922'|Piano (4 hands)|9790502444662|GERSHWIN G|George Gershwin|'O I Can''t sit down'|Piano - 2 players on 1 piano|?4.25|63
BDE0925|Paul R Harvey
FOUR CAROLS for unison voices and piano
Bardic Edition BDE925|Four carols for unison voices and piano with words by Jonathan Clarke and music bu Paul R. Harvey.
1. He Came Down
2.The First Christmas Day
3. This Christmas
4.The Bells of Christmas.|9790502447830|HARVEY|Paul R Harvey|Four Carols|Choir - Unison voices|?4.75|50
BDE0926|Nicholas Barton
DEAR LORD....6 ANIMAL SONGS TO GOD
Bardic Edition BDE926|Six Animal Songs to God for voice(s) and piano.
Poems by children of St. Thomas of Canterbury C of E School, Brentwood.
The Ant; The Crocodile; The Spider; The Little Deer; The Daddy-Longlegs; The Nightingale.
Duration 8? minutes|9790502444679|BARTON|Nicholas Barton|Dear Lord....6 Animal Songs to God|Voice solo (with accompaniment)|?5.25|76
BDE0933|John Pickard
A BETTER TIME THAN OURS
Bardic Edition BDE933|for mixed voice choir a cappella. Words by Matthew Arnold & Isaac Watts.|9790502445027|PICKARD|John Pickard|A Better Time Than Ours|Choir - Mixed voices (SATB)|?4.75|50
BDE0934|Paul R Harvey
NOCTURNE for female voice choir
Bardic Edition BDE0934|A vocalise scored for SSAA chorus and piano.|9790502447236|HARVEY|Paul R Harvey|Nocturne|Choir - 4 part upper voices|?3.75|38
BDE0937|John Pickard
SONGS OF RAIN AND SEA
Bardic Edition BDE937|'Words by Sigrun Davidsdottir. Instrumentation:
Children''s Choir, Youth Choir or Women''s Choir (SSA)
2 Pianos (or Piano Duet) (separate versions available)
Percussion (2 players):
Player 1: 2 Timpani, Tambourine, Suspended Cymbal, Vibraphone, Crotales (upper octave) [where Crotales are unavailable, a Glockenspiel played with brass beaters may be substituted]
Player 2: Tubular Bells, Side Drum, Bass Drum, Tam-tam, Suspended Cymbal, 2 Bongos, Triangle
NB: the Piano and Percussion parts are technically demanding and require professional, or at least highly experienced, performers.
"Songs of Rain and Sea" was commissioned by Finchley Children''s Music Group to mark their 50th anniversary year.
When I was asked to write a work for the 50th anniversary of Finchley Children''s Music Group the first problem was finding suitable texts to set. I wanted to write something optimistic, celebratory and uncomplicated, though I had immediately and categorically ruled out setting anything even remotely resembling children''s poetry.
I became interested in writing something about that most British of subjects, the weather. But none of the poems I found appealed as material for setting. I then became engrossed in 16th and 17th century books on weather forecasting, which I studied at the British Library, but still nothing emerged that seemed suitable for setting to music.
Just as I began to despair of ever finding suitable texts, I got to know the work of the Icelandic writer Sigrun Davidsdottir, who enthusiastically accepted my suggestion that we collaborate. The writing partnership proceeded very smoothly, the texts and music being created simultaneously.
We had immediately agreed that our native countries, Iceland and Great Britain, had two things in common: a lot of sea and a lot of rain. So we made that the basis of the piece, conceiving the work in terms of a seasonal cycle: from summer to spring and back to summer, so that the piece ends where it began.
There are five songs (summer has an extra one, an Intermezzo), each observing the coastline and its weather from a different seasonal perspective. John Pickard
Duration 17 minutes'|9790502445034|PICKARD|John Pickard|Songs of Rain and Sea|Choir - 3 part upper voices|?21.00|269
BDE0944|Michael Blake
DO YOU PREFER RED OR WHITE?
Bardic Edition BDE944|Violin and piano|9790502444693|BLAKE M|Michael Blake|Do you prefer red or white?|Violin and piano|?9.25|124
BDE0945|Michael Blake
SONG OF THE BULLFROGS for Sax Quartet & frogs
Bardic Edition BDE945|'Song of the Bullfrogs (for S,A,T & Bar Saxes & frogs) was inspired by two frogs in Punda Maria, the northernmost camp in the Kruger National Park, who duetted all night after the start of the torrential rains in January 2006, resulting in many road closures and most of the animals simply hiding. But these two fellows croaked on, allowing me to capture them on a mini disc recorder. They are represented by the tenor and baritone saxes, and even put in a guest appearance towards the end of the piece.
Song of the Bullfrogs was commissioned by SAMRO Endowment for the National Arts and is dedicated to Sven, Jorgen, Leif and Per. The first performance was given at the New Music Indaba, Grahamstown on 2 July 2006.
A soundtrack of the croaking frogs'' part can be downloaded from the composer''s website: www.michaelblake.co.za/resources/soundtracks
Duration 10? minutes'|9790502446925|BLAKE M|Michael Blake|Song of the Bullfrogs|Saxophone quartet|?15.25|197
BDE0946|Michael Blake
STRING QUARTET NO.2
Bardic Edition BDE946|for 2 violins, viola and violoncello. Composed during a residency at Visby International Composers Centre, Gotland, Sweden in December 2006.
The first performance was given by the Marselis String Quartet on 2 July 2008 in Torshavn, Faroe Islands.
Score and parts included.
Duration 21? minutes|9790502444709|BLAKE M|Michael Blake|String Quartet No.2|String Quartet|?22.00|281
BDE0947|Michael Blake
SHOOWA PANEL
Bardic Edition BDE947|Vibraphone and marimba|9790502444716|BLAKE M|Michael Blake|Shoowa Panel|Percussion|?10.25|136
BDE0948|Michael Blake
RURAL ARIAS for singing saw and ensemble
Bardic Edition BDE948|for singing saw (or soprano voice) and chamber orchestra (11 players). Score and parts included.|9790502444723|BLAKE M|Michael Blake|Rural Arias Score+Parts|Singing Saw and Ensemble|?27.00|344
BDE0950|Michael Blake
WAYS TO PUT IN THE SALT
Bardic Edition BDE950|Piano|9790502444747|BLAKE M|Michael Blake|Ways to put in the salt|Piano - Solo|?5.25|76
BDE0952|Michael Blake
SONATA FOR TWO PIANOS
Bardic Edition BDE952|2 pianos (4 hands)|9790502444754|BLAKE M|Michael Blake|Sonata for Two Pianos|Piano - 2 players on 2 pianos|?20.00|257
BDE0953|'Michael Blake
GARY AND ELBE''S LOVE SONG for organ
Bardic Edition BDE953'|'The first performance was given by Cameron Upchurch at the wedding of Gary and Elbe Roberts in the Chapel of St John''s College, Johannesburg on Saturday 24 November, 2007.
Duration 3? minutes'|9790502447090|BLAKE M|Michael Blake|'Gary and Elbe''s Love Song'|Organ Solo|?4.25|63
BDE0954|Michael Blake
COLLECTED SHORTER PIECES VOL.2 for piano
Bardic Edition BDE954|'Including: PNFT (2006); Gautango (2006); Fragments from a Pilgrimage through Italy (2009) - 1. Gazing upon "The Ecstasy of Santa Teresa", 2. Walking in Liszt''s Footsteps in the Gardens of the Villa Melzi, 3. Abstract Speed + Sound; Hob Fragments (2009); March of the New Philistines (2010); All the White Keys (2011); 100 Voicings (2012); The Hymns of Ntsikana (2013); Shard (2014).'|9790502444761|BLAKE M|Michael Blake|Collected Shorter Pieces Vol. 2|Piano - Solo|?11.25|149
BDE0958|John Pickard
TESSERAE for organ
Bardic Edition BDE958|A tessera (pl. tesserae) is an individual tile in a mosaic. This piece is constructed like a mosaic from several strongly differentiated musical fragments, which are repeated and juxtaposed. No two repetitions are exactly the same however, just as individual tiles tend to have minute differences. Furthermore, as the piece proceeds the more similar types of fragment tend to attract each other and form more continuous spans, in the same way that individual tesserae in a mosaic group together to form larger patterns.
Tesserae was generously commissioned by John Grimshaw for David Goode, who gave the first performance at Christ Church Cathedral, Oxford on 25 May, 2009. John Pickard
Duration 11 minutes|9790502445041|PICKARD|John Pickard|Tesserae|Organ Solo|?7.25|100
BDE0962|John Pickard
VALEDICTIONS for cello and piano
Bardic Edition BDE962|This work was composed during the winter of 1999-2000 for the cellist Helen Thatcher, to whom it is dedicated in friendship and admiration.
The title refers to two poems by the metaphysical poet John Donne, both concerned with aspects of parting and farewell. I originally wanted to set them for voice, but this never seemed to work and instead the settings developed into two instrumental paraphrases, which follow the original texts in a very free way.
The first, "A Valediction of Weeping" centres on the idea of parting lovers each carrying the image of the other reflected in their tears. The second, "A Valediction Forbidding Mourning" is about one of the lovers going on a journey. Here the image of a map and a pair of dividers illustrates the idea of one pointer remaining fixed but leaning towards the other pointer as it moves on its circular journey.
The work, which is lyrical throughout, is generally suffused with a feeling of farewell and loss, not least reflecting the period of its composition - on the cusp of the twentieth and twenty-first centuries. John Pickard
Duration 8 minutes|9790502445058|PICKARD|John Pickard|Valedictions|Cello and piano|?8.25|112
BDE0963|Michael Blake
STRING QUARTET NO.3
Bardic Edition BDE963|Score and parts for 2 violins, viola and violoncello
Nofinishi Dywili (d. 2002), from Ngqoko in the Eastern Cape, South Africa, was the greatest performer of uhadi bow songs. My String Quartet No.3 is loosely based on a transcription of Nofinishi singing her great personal song "Inxembula" ("The Ugly One"). It was written for the Bow Project and could be prefaced in concert with a performance of "Inxembula". Michael Blake
Duration 5 minutes|9790502444778|BLAKE M|Michael Blake|String Quartet No.3|String Quartet|?12.25|160
BDE0978|Eric Hudes
SEQUENZA DA CAMERA II for oboe family
Bardic Edition BDE978|'. . . for an Oboe family of three with doublings.
Oboe 1 db. Oboe d''Amore, Oboe 2 db. Oboe d''Amore & Cor Anglais, Oboe 3 db. Cor Anglais.
Duration 14 minutes'|9790502447670|HUDES|Eric Hudes|Sequenza da Camera II|Oboe ensemble|?15.25|197
BDE1013|Michael Blake
STRING QUARTET NO.4
Bardic Edition BDE1013|'String Quartet No.4 was my contribution to the Fitzwilliam String Quartet''s fortieth anniversary collection: pieces based on the Purcell Fantazias for four viols. The ensemble has included these remarkable pieces in their repertoire for many years, and were looking for new works which would complement and reference the earlier pieces. String Quartet No.4, my shortest to date, takes its cue from Purcell''s Fantazia No 6, Z737, which ideally should precede it in performance. The material is derived partly from Mozambican accordion music, which I transcribed myself. The first performance was given by Quatuor Atkhamar on 22 November, 2014 at the Ars Musica Festival in Bruges as part of the marathon evening ''Night of the String Quartet''. Michael Blake
Score and parts included.
Duration 4? minutes'|9790502446772|BLAKE M|Michael Blake|String Quartet No.4|String Quartet|?9.25|124
BDE1014|Michael Blake
PIANO QUARTET
Bardic Edition BDE1014|'This single movement for piano, violin, viola and violoncello is drawn from the music for the silent movie ''Erotikon'' (directed by Gustav Machaty, 1929). The original live score for flute, viola, bass clarinet and piano was commissioned by the National Arts Festival of South Africa to accompany the South African premiere screening in the Olive Schreiner Hall, Grahamstown on 7 July 2000. On that occasion the music was played by the Michael Blake Ensemble.
Score and parts included.
Duration 10 minutes'|9790502446598|BLAKE M|Michael Blake|Piano Quartet|Piano Quartet|?9.25|124
BDE1017|Michael Blake
TWO PIECES for cello and piano
Bardic Edition BDE1017|"Connectivity" Duration 11 minutes and "Song without words" Duration 6 minutes|9790502445577|BLAKE M|Michael Blake|Two Pieces|Cello and piano|?7.25|100
BDE1018|Michael Blake
RINGTONE
Bardic Edition BDE1018|'Digital music theatre for solo violin, cellphone and video camera
1. The ringtone is programmed into the performer''s cellphone.
2. The caller(s) must be outside the auditorium and should dial in before the ringtone is scored in the music, though a small margin of error with regard to the exact point of entry is permissible. Allowance should be made for unsolicited calls to the cellphone owner, but the phone should not be answered on those occasions.
3. Conversations can be in one language or a mixture of languages (including the 11 indigenous languages of South Africa), appropriate to the country in which it is being performed. The premiere performance was given in Japanese.
4. The video, which should take the form of an unsynchronised simulacrum of the violinist playing the piece, can be improvised live or pre-recorded during rehearsals. This should be projected to the right or left of the player.
The first performance was given on 4 July 2006 during the New Music Indaba, South Africa, by Yasutaka Hemmi (violin) with Michael Blake (cellphone caller), Aryan Kaganof (video camera) and Corinne Cooper (sound projection). Michael Blake
Duration 6 minutes'|9790502445652|BLAKE M|Michael Blake|Ringtone|Ensemble - Mixed|?4.25|63
BDE1019|Michael Blake
KORA for harp
Bardic Edition BDE1019|Kora is a transcription of the First Dance of French Suite for piano, which paraphrases music of the kora (West African harp-lute) and the mbira dza vadzimu (thumb piano from Zimbabwe). It can also be played on the lever harp.
The first performance was given in Matsue, Japan on 19 June, 2020 by Takayo Matsumura.
Duration 7 minutes|9790502445645|BLAKE M|Michael Blake|Kora|Harp|?5.25|76
BDE1021|Michael Blake
SEXTET FOR WINDS
Bardic Edition BDE1021|'Sextet for flute/piccolo, oboe, clarinet in Bb, horn in F, bassoon and bass clarinet in Bb. This is a transcription of the piano piece French Suite (1994) which was imagined as a companion piece to Leos Janacek''s Mladi (Youth).
Duration 9 minutes
Score and parts are included.'|9790502446918|BLAKE M|Michael Blake|Sextet for Winds|Wind Ensemble|?27.00|360
BDE1022|Michael Blake
THE PHILOSOPHY OF COMPOSITION
Bardic Edition BDE1022|Cello and piano|9790502444792|BLAKE M|Michael Blake|The philosophy of composition|Cello and piano|?6.25|88
BDE1024|'Michael Blake
PIANO SONATA ''CHORAL''
Bardic Edition BDE1024'|'The ''Choral'' Sonata is a response to the monumental Second Piano Sonata (''Concord'') by Charles Ives which was inspired by the writings of the American ''transcendentalists''. The individual movements of the ''Choral'' Sonata pay homage to some of the great visionaries in Southern African choral music:
I. Michael M. Moerane
II. Reuben T. Caluza
III. Ntsikana Gaba
IV. Joshua P. Mohapeloa
The first performance was given on 20 July, 2008 at the Gentse Feesten (Ghent, Belgium) by Daan Vandewalle.
Duration 30 minutes'|9790502444808|BLAKE M|Michael Blake|Sonata|Piano - Solo|?13.25|173
BDE1028|Michael Blake
O WHEN WILL I SEE THAT DAY for choir
Bardic Edition BDE1028|Motet for SSATB a cappella choir. Poem by Don Mattera, music by Michael Blake.
Commissioned by the Choir of Christ Church Arcadia, Pretoria/Tshwane. The first performance was given on 24 December 2007 at the Festival of Nine Lessons and Carols by the Choir of Christ Church Arcadia, conducted by George King.
Duration 4 minutes|9790502446802|BLAKE M|Michael Blake|O When Will I See That Day|Choir - Mixed voices (SATB)|?3.75|38
BDE1029|Michael Blake
WAYS TO PUT IN THE SALT Havana Version
Bardic Edition BDE1029|'"Ways to put in the salt" (Havana Version 2008) for piano and tape .
In the course of researching Xhosa music (in the Eastern Cape, South Africa), one of David Dargie''s informants, Mrs Amelia No-Silence Matiso, told him how the Xhosa people like "to put salt into their songs" to bring the performance to life. Salt may be added rhythmically, melodically and harmonically through the use of cross-rhythms, clap-delay techniques, altered scale tones, parallel melodic and harmonic parts, nonharmonic tones, dissonance, pattern-singing, and a variety of vocal techniques. The now legendary Nofinishi Dywili, whose live and recorded performances are among my most memorable musical experiences, was probably the greatest exponent of uhadi bow music. Strangely, the day after I had completed the piece I heard from a friend, Andrew Tracey, that she had died.
Ways to put in the salt was written at the request of John Tilbury who gave the first performance in the Beethoven Room, Grahamstown, South Africa on 28 June 2002 during the New Music Indaba. Michael Blake, June 2002
In 2008 I made an electronic tape to accompany the piano. It adds rhythmic layers derived from transcriptions of some of Nofinishi Dywili''s performances, and includes two brief appearances of her voice towards the end of the piece. I gave the first performance of the Havana version in the Bas?lica Menor San Francisco de As?s, Havana on 16 March 2008 at the ''Spring in Havana'' festival. It is dedicated to the memory of Stockhausen, electronic music pioneer, who had died a few months earlier. Michael Blake, March 2008
Duration 13 minutes'|9790502445638|BLAKE M|Michael Blake|Ways to put in the salt (Havana)|Piano and Tape|?7.25|100
BDE1034|Cecil Coles
FIVE SKETCHES for piano
Bardic Edition BDE1034|Five Sketches for piano solo
1. Prelude; 2. Her Picture; 3. Little Study; 4. Phantom; 5. Retrospect
Duration 6 minutes|9790502444815|COLES|Cecil Coles|Five Sketches|Piano - Solo|?5.25|76
BDE1035|Cecil Coles
TWO FUGUES for organ
Bardic Edition BDE1035|1. Fugue on the Chorale "Wer nur den lieben Gott"
2. Fugue on The Old Hundredth
(edited by John Scott Whiteley)
Duration 3 & 2? minutes|9790502446390|COLES|Cecil Coles|Two Fugues|Organ Solo|?6.25|88
BDE1037|John Pickard
THE BURNING OF THE LEAVES
Bardic Edition BDE1037|for baritone voice and piano with words by Robert Laurence Binyon.
Duration 7? minutes|9790502445065|PICKARD|John Pickard|The Burning of the Leaves|Voice solo (with accompaniment)|?5.25|76
BDE1042|John Pickard
CHACONNE
Bardic Edition BDE1042|Viola solo|9790502445089|PICKARD|John Pickard|Chaconne|Viola solo|?4.25|56
BDE1044|'Philip Spratley
CLARINET CONCERTINO ''Byard''s Leap'' Op.27''
Bardic Edition BDE1044'|'Study Score. For Bb Clarinet, Timpani, Percussion: (Bass Drum, Cymbals, Wood Block) and Strings.
Near the village of Ancaster in Lincolnshire there are stories of a famous horse called Byard who did a series of amazing leaps to escape the clutches of the evil old hag Meg. One version of the story tells of his demise shortly afterwards but another tells of his living to ripe old age.
The music depicts the second version and the first movement, which opens with a brief cadenza, evokes a pastoral scene. The scoring is for clarinet and strings only in this movement, where the horse is in a field close to the church - the day being Good Friday.
The second movement is marked Larghetto e desolato as the lonely and unwanted Byard wanders towards the edge of the field. The doors and windows of the church are open and he hears a story of a man unwanted and abandoned by his friends. He cries out in pain as rumbles of thunder are heard in the distance. Two children in the choir sneak out to see what the matter is and for a brief moment a miracle occurs and Byard is able to tell them of his distress. The youngsters promise to look after him and visit him regularly.
The last movement depicts the horse''s joy as he finds new life to prance around his pasture. In the final section he describes his famous leaps to the two youngsters. Philip Spratley
Performance material for this work is available on hire/rental from Bardic Edition or its worldwide agents.'|9790502447205|SPRATLEY|Philip Spratley|'Clarinet Concertino ''Byard''s Leap'''|Study score|?12.25|160
BDE1048|John Pickard
SNOWBOUND
Bardic Edition BDE1048|Bass clarinet, cello and piano|9790502445096|PICKARD|John Pickard|Snowbound|Ensemble - Mixed|?13.25|173
BDE1050|Nicholas Barton
SHAKESPEARE SONGS
Bardic Edition BDE1050|'for SATB a cappella choir:
1. Tell me where is fancy bred? (From ''The Merchant of Venice'' [Act 4, Scene 2])
2. When daisies pied (first three verses) (From ''Love''s labour''s lost'' [Act 5, Scene 2])
3. Fear no more the heat o'' the sun (first verse) (From ''Cymbeline'' [Act 4, Scene 2])
4. Full fathom five (From ''The Tempest'' [Act 1, Scene 2])
Total duration c.8 minutes'|9790502445447|BARTON|Nicholas Barton|Shakespeare Songs|Choir - Mixed voices (SATB)|?8.75|100
BDE1051|Alan Gibbs
GLASGOW TOCCATA
Bardic Edition BDE1051|Organ|9790502445225|GIBBS A|Alan Gibbs|Glasgow Toccata|Organ Solo|?7.25|100
BDE1059|Julian Jacobson
THE ORANG-U-TANGO
Bardic Edition BDE1059|for violin and piano|9790502444846|JACOBSON J|Julian Jacobson|The Orang-U-Tango|Violin and piano|?5.25|76
BDE1060|Johann Sebastian Bach
SARABANDE for piano
Bardic Edition BDE1060|'Sarabande from the sixth ''cello suite arranged for piano solo by Julian Jacobson
Duration 4 minutes'|9790502445331|BACH JS|Johann Sebastian Bach|Sarabande|Piano - Solo|?4.25|63
BDE1061|Julian Jacobson
VALSE MELANCOLIQUE for cello and piano
Bardic Edition BDE1061|Cello and piano|9790502445553|JACOBSON J|Julian Jacobson|Valse melancolique|Cello and piano|?5.25|76
BDE1062|John Pickard
INSOMNIA for violin & piano
Bardic Edition BDE1062|Anyone unfortunate enough to be afflicted by insomnia will be all too familiar with the symptoms: the inability to lie comfortably no matter how hard you try; the way the mind races, sometimes latching onto random thoughts and chasing them round the brain in a maddening loop; the uncomfortable enhanced awareness of your own body, every itch, every twinge of discomfort, every unnaturally amplified heartbeat another obstruction on the endless road to blessed oblivion. Above all, the knowledge that the longer it takes for sleep to come and the more of a wreck one will feel the next day is an inescapable fact which only adds to the anxiety and further prevents sleep. As a (mercifully) occasional insomniac, I decided to try to exorcise these sensations by writing a piece of music which confronts them head-on. So far, I can report that this unorthodox form of auto-therapy has met with a modest degree of success.
Insomnia alternates two speeds: the first is basically slow but packed with incident, sometimes turbulent and, just occasionally, dreamy. The second tempo is fast, and its first two (brief) appearances are dominated by a ghostly scurrying in the violin part. Two speeds occur alternately three times, but on its third appearance the fast music takes off in furious perpetual motion. At the climax, references to the slow music come back but are now absorbed into the fast tempo. The work then races to an abrupt conclusion.
This work was composed for Oliver Lewis during the summer of 1997. It was commissioned by him for several performances throughout the UK during 1998, with financial assistance from the Arts Council of England. John Pickard
Duration 12 minutes|9790502444884|PICKARD|John Pickard|Insomnia|Violin and piano|?12.25|160
BDE1063|Julian Jacobson
PICCOLA MUSICA NOTTURNA for piano solo
Bardic Edition BDE1063|My Piccola musica notturna was commissioned by Alison Bowring for Hannah Gill to play in the 2007 Texaco Young Musician of Wales competition. The title is borrowed from the 1954 masterpiece by Luigi Dallapiccola. The piece describes various aspects and moods of the night, successively tranquil, agitated and solemn. Julian Jacobson
Duration 4? minutes|9790502447304|JACOBSON J|Julian Jacobson|Piccola Musica Notturna|Piano - Solo|?4.25|63
BDE1066|Percy Grainger
HANDEL IN THE STRAND for piano duet
Bardic Edition BDE1066|'"Handel in the Strand" - Clog Dance - To be played to or without clog dancing.
My title was originally "Clog Dance". But my dear friend William Gair Rathbone (to whom the piece is dedicated) suggested the title "Handel in the Strand", because the music seemed to reflect both Handel and English musical comedy (the "Strand" is the home of London musical comedy). In bars 1 - 16 (and their repetition, bars 47 - 60) I have made use of matter from some variations of mine on Handel''s "Harmonious Blacksmith" tune. Percy Aldridge Grainger
''Dished-up'' for 1 piano, 4 hands by Clare Butteriss'|9790502447649|GRAINGER|Percy Grainger|Handel in the Strand|Piano - 2 players on 1 piano|?5.25|76
BDE1067|Percy Grainger
SEA-SONG SKETCH for piano solo
edited by Penelope Thwaites
Bardic Edition BDE1067|'In a busy musical life, Grainger''s experimental ideas often remained unexpanded - as seeds of what might have become full-scale works. Sea-Song Sketch is a good example - typically dense in texture and ideas, carefully dated, and leaving us with a sense of "what might have been".
It is puzzling that he labelled it to be played "fast". Played like that, a brief, seemingly garbled 14 bars go by with little impact. If they are played using the right tempi, there is time for their fleeting beauties to emerge. The rise and fall of waters had fascinated Grainger since childhood and these few bars seem to suggest passing a window, catching a sudden glimpse of the colours and movements of a patch of sea, then moving on.
As in other works (for example Lord Melbourne in A Lincolnshire Posy), Grainger achieves his ''free music'' effects here with constantly shifting time signatures. Although his directions for (for example) 1?/4 may look arresting, there is little point in the device when the same result is achieved more readably by 3/8. Hence the editorial decision to use the latter. Penelope Thwaites
Grainger''s Sea-Song is one of a number of pieces he originally thought of as part of his ''Free Music'' experiments. In a version written to be performed by 6 Theremins, it is known as ''Beatless Music''. Other versions for string ensembles with or without organ have been realised from Grainger''s manuscripts by Alan B.Stout and are available from the present publisher.
This sketch for piano solo published herewith for the first time has been edited by Penelope Thwaites, who also gave the recording premiere of it on Volume 2 of her complete survey of Grainger''s piano music for the monumental Chandos Grainger Edition (CHAN 9919) or CD No.18 of The Complete Grainger Edition 60 Years: 1961-2021 (CHAN 20192(21)). Barry Peter Ould'|9790502447175|GRAINGER|Percy Grainger|Sea-Song Sketch|Piano - Solo|?4.00|51
BDE1069|Philip Spratley
IF YE WOULD HEAR
Bardic Edition BDE1069|Advent carol for SATB a cappella|9790502446475|SPRATLEY|Philip Spratley|If Ye Would Hear|Choir - Mixed voices (SATB)|?3.00|25
BDE1070|Henry Cowell
TWO ELLA GRAINGER SONGS
Bardic Edition BDE1070|Voice and piano (ukulele)|9790502444853|COWELL|Henry Cowell|Two Ella Grainger Songs|Voice solo (with accompaniment)|?5.25|76
BDE1071|Philip Spratley
LO, IN THE WILDERNESS
Bardic Edition BDE1071|Advent Carol for SATB chorus and organ with music by Philip Spratley (adapted from a Norwegian Melody by Ludwig Lindeman) and words by Percy Dearmer (adapted by Phillip Johnson)|9790502446482|SPRATLEY|Philip Spratley|Lo, In The Wilderness|Choir - Mixed voices (SATB)|?3.75|38
BDE1075|Christopher Headington
SONATA
Bardic Edition BDE1075|Bassoon and piano|9790502445317|HEADINGTON|Christopher Headington|Sonata|Bassoon and piano|?10.25|136
BDE1076|John Pickard
STRING QUARTET No.5 Study Score
Bardic Edition BDE1076|Study score, 72 pages.
Duration 26 minutes|9790502447571|PICKARD|John Pickard|String Quartet No.5|Study score|?20.00|257
BDE1077|Philip Spratley
CAROL FANTASIA for SATB and organ
Bardic Edition BDE1077|'This work was begun in late December 2011 and revised in January 2013. It is meant to be a progression from the Annunciation to the Epiphany. Carols 2 and 5 are virtually unknown; 1, 3, and 5 will be known to some. The passages marked solo can also be sung by semi-chorus or tutti.
1. ''Angelus ad Virginem'' which is mostly sung in Latin was known as long ago as 1250. The Dublin Troper, one of the few surviving sources of notated music contains gives two three part versions. I have chosen an unfamiliar translation by Rev.Gabriel Gillett 1799-1871 who was for 40 years Rector of St. Mary''s Church, Waltham on the Wolds, Leicestershire, and whose legacy remains today.
2. A Virgin most Pure. The words are well known but not this Shropshire melody as it has been eclipsed by the one in the Davies Gilbert collection, used in many arrangements. It was collected by Sharp in 1911.
3. Sans Day. This carol was sung by Mr. Thomas Beard at St. Day in Cornwall to Mr W. D. Watson who in turn sang it to Rev G. H. Doble. It is thought to date from the late 18th or early 19th century and is similar in content to ''The Holly and the Ivy''.
4. This Endris Night means the other night or a few nights ago. It was not new when it was written out in the Bodleian library sometime between 1460 and 1490. The text is a conversation between Mary and the infant Jesus.
5. ''Wassail Song''. I found this joyful and sadly neglected carol with others in the Lucy Broadwood archives in Cecil Sharp House in June 2006. The text was incomplete so verses have been borrowed from mainly familiar Yorkshire sources. This carol was noted by Annie Gilchrist from the singing of one Mrs Bowker of Sunderland Point, Lancashire in September 1909. This was, and still is a remote place on the coast of the north west of the county. This work can be sung by a) choir and organ accompaniment or b) orchestra of flute; oboe; 2 each of clarinets in A (or B flat), bassoons, horns, trumpets, Timpani in G, A, D, E, cymbals, triangle (1 player) organ and strings. Philip Spratley'|9790502447038|SPRATLEY|Philip Spratley|Carol Fantasia|Choir - Mixed voices (SATB)|?18.25|233
BDE1079|Cecil Coles
PIANO SONATA in C minor
Bardic Edition BDE1079|For solo piano. Duration c.9 minutes|9790502447885|COLES|Cecil Coles|Piano Sonata in C minor|Piano - Solo|?7.25|100
BDE1082|Jonathan FeBland
17 MICROETUDES
Bardic Edition BDE1082|Flute|9790502444945|FEBLAND|Jonathan FeBland|17 Microetudes|Flute solo|?5.25|76
BDE1083|Pamela Marsh
12 SONGS TO POEMS BY ELIZABETH HACK
Bardic Edition BDE1083|Voice and piano|9790502444860|MARSH|Pamela Marsh|12 Songs to poems by Elizabeth Hack|Voice solo (with accompaniment)|?18.25|233
BDE1084|Christopher Boodle
THE MIDNIGHT CLEAR
Bardic Edition BDE1084|Soprano, tenor, mixed choir and organ|9790502444891|BOODLE|Christopher Boodle|The Midnight Clear|Choir - Mixed voices (SATB)|?15.25|197
BDE1085|Ronald Center
FOUR SELDEN CAROLS
Bardic Edition BDE1085|for SATB choir a cappella Text: Selden ms. Bodleian Library, music by Ronald Center.
1. As I lay upon a night (Alma redemptoris mater)
2. Let us all be glad together (Omnes una gaudeamus)
3. Of a rose singe we
4. This day|9790502446468|CENTER|Ronald Center|Four Selden Carols|Choir - Mixed voices (SATB)|?6.75|75
BDE1089|Ronald Center
PANTOMIME Three pieces for piano solo
Bardic Edition BDE1089|'Three pieces for piano solo
1. Pantaloon, 2. Columbine, 3. Harlequin
Pantomime probably dates from the 1950''s and it is the Arlecchino of Busoni who hovers over much of this composition. Over this attractive work, no shadow seems to fall, even in the lyrical ''Columbine''; formally, it is a ''sonatine'' in which the movements have titles, and it makes an instructive contrast with the far from sunlit Sonatine [BDE 1139]. James Reid Baxter ? 2013
This work has been recorded by the Scottish pianist Christopher Guild along with other piano music by Ronald Center and is available on Toccata Classics CD: TOCC 0719
Duration 4? minutes'|9790502446437|CENTER|Ronald Center|Pantomime - Three Pieces|Piano - Solo|?5.25|76
BDE1090|Ronald Center
THREE PIECES for piano
Bardic Edition BDE1090|Three pieces for piano solo: Hommage, Impromptu & Nocturne.
Duration 11 minutes|9790502447915|CENTER|Ronald Center|Three Pieces|Piano - Solo|?5.25|76
BDE1091|Cecil Coles
SONATINA in Bb for violin and piano
Bardic Edition BDE1091|edited by Baryy Peter Ould.
Duration 12 minutes|9790502445287|COLES|Cecil Coles|Sonatina in B flat|Violin and piano|?11.25|149
BDE1092|Penelope Thwaites
LEAD, KINDLY LIGHT
Bardic Edition BDE1092|for SATB choir and piano or organ, music by Penelope Thwaites, words by John Henry Newman.|9790502444914|THWAITES|Penelope Thwaites|Lead Kindly Light|Choir - Mixed voices (SATB)|?3.75|38
BDE1093|Antony Hopkins
MAGNIFICAT AND NUNC DIMITTIS
Bardic Edition BDE1093|'for girl''s or women''s voices and organ (or piano)'|9790502444952|HOPKINS A|Antony Hopkins|Magnificat and Nunc Dimittis|Choir - 3 part upper voices|?5.75|63
BDE1096|Nicholas Barton
MOVIE MUSIC
Bardic Edition BDE1096|Guitar|9790502444907|BARTON|Nicholas Barton|Movie Music|Guitar|?5.25|76
BDE1101|Cecil Coles
STRING QUARTET
Bardic Edition BDE1101|For 2 violins, viola and violoncello. Score and parts included.
Duration 12 minutes|9790502447892|COLES|Cecil Coles|String Quartet|String Quartet|?16.25|209
BDE1102|Alan Gibbs
RENEWAL for SATB choir
Bardic Edition BDE1102|'A carol for the 21st Century for SATB choir a cappella. Words and Music by Alan Gibbs
Each year this babe is born,
The gift-wrapped, carolled inner-city symbol
Of a half-forgotten faith;
Each year the pristine hope-
Unprejudiced by rant of false prophet,
By scheming corrupter or cheat-
That the world''s hungry may feed,
Its aggression abate
And its children
Find their future.
Duration 3? minutes'|9790502445355|GIBBS A|Alan Gibbs|Renewal carol|Choir - Mixed voices (SATB)|?3.75|38
BDE1104|Jonathan FeBland
17 MICROETUDES
Bardic Edition BDE1104|Clarinet|9790502444969|FEBLAND|Jonathan FeBland|17 Microetudes|Clarinet|?6.25|88
BDE1105|Michael Blake
TWO PIECES for cello solo
Bardic Edition BDE1105|'Pentimenti began as a concertante work for cello and small ensemble for Friedrich Gauwerky to play at the dance-themed Johannesburg Mozart Festival in February 2013. When the festival director got cold feet, the work morphed into a piece for solo cello and imagined accompaniment, with some of the pentimenti (in art, visible traces of earlier painting beneath the paint on the canvass) of the original accompaniment still evident in the score. Pentimenti marks the centenary of the riotous premiere in Paris, on 29 May 1913, of Stravinsky''s Le Sacre du Printemps. Friedrich Gauwerky premiered Pentimenti at the Nirox Foundation, Sterkfontein, South Africa on 24 February 2013.
Duration 14 minutes
I composed the richter scale in Italy in July 2015 as a 60th birthday gift for my old friend Kalman Richter. He and I explored the New Music repertoire for cello and piano in the 1970s and 1980s back in South Africa, and he was the cellist in my two Johannesburg-based New Music ensembles - Orion (1974-1976) and Moonchild (1977-1981). The pitch material is drawn from the musical letters of his name A-C-H(B natural)-E. The first performance was given by Friedrich Gauwerky in Hurth, Cologne on 17 December 2016.
Duration 2 minutes
Michael Blake'|9790502446796|BLAKE M|Michael Blake|Two Pieces:Pentimenti+richter scale|Cello solo|?6.25|88
BDE1109|Cecil Coles
REVERIE for violin and piano
Bardic Edition BDE1109|'Reverie ''The Sorrows of Werthe'' for violin and piano (edited by Barry Peter Ould)
Duration 12 minutes'|9790502445270|COLES|Cecil Coles|Reverie|Violin and piano|?5.25|76
BDE1110|Cecil Coles
LA MARQUISE for violin and piano
Bardic Edition BDE1110|"La Marquise Morceau Gracieux" for violin and piano (edited by Barry Peter Ould)
Duration 2 minutes|9790502445263|COLES|Cecil Coles|La Marquise|Violin and piano|?4.25|63
BDE1111|Cecil Coles
CORTEGE
Bardic Edition BDE1111|Organ|9790502445102|COLES|Cecil Coles|Cortege|Organ Solo|?4.00|51
BDE1112|Cecil Coles
IN THE CATHEDRAL for string trio
Bardic Edition BDE1112|'In the Cathedral ''Reverie'' for violin, viola and violoncello (edited by Barry Peter Ould)
Score and parts included.
Duration 6? minutes'|9790502445454|COLES|Cecil Coles|In the Cathedral|String Trio|?7.25|100
BDE1114|Cecil Coles
THREE THOMAS MOORE SONGS
Bardic Edition BDE1114|'Three Thomas Moore Songs for voice and piano (edited by Barry Peter Ould)
1. Elegy
2. Sigh not thus
3. ''Tis love that murmurs
Duration 6 minutes'|9790502446215|COLES|Cecil Coles|Three Thomas Moore Songs|Voice solo (with accompaniment)|?5.25|76
BDE1115|Michael Blake
PIANO CONCERTO NO.2 Study score
Bardic Edition BDE1115|Piano Concerto No.2 ("Boschpoort") for piano and seven instruments (Flute (doubling piccolo), Bass Clarinet (doubling clarinet in Bb), Trumpet in C, Bass Trombone, Violin, Viola, Cello).
The starting points for this work were twofold: a commission for Ensemble Reconsil which specified the instrumentation, and a longstanding opportunity to collaborate with Willem Boshoff, composing music to complement the images collected on his Druid walks. He suggested images from several of his walks at Boschpoort, the quarry which has yielded the granite for his large-scale sculptures.
The first movement was composed during a joint residency with Willem Boshoff at the Nirox Foundation in October 2012. Most of the second movement was written during the summer of 2013 at the home of friends in the village of Balledent in the French Limousin.
The work can be performed in several ways:
1. as a concert work
2. as an audio-visual presentation with live music
3. as an installation with recorded music
Duration 23 minutes|9790502446888|BLAKE M|Michael Blake|Piano Concerto No.2 (Boschpoort)|Study score|?17.25|221
BDE1123|John Pickard
MASS IN TROUBLED TIMES FOR 18 VOICE
Bardic Edition BDE1123|Mixed choir|9790502445492|PICKARD|John Pickard|Mass in troubled times for 18 voice|Choir - Mixed voices (SATB)|?23.00|294
BDE1140|George Gershwin
SECOND RHAPSODY for piano duet
Transcribed by Julian Jacobson
Bardic Edition BDE1140|Second Rhapsody (Rhapsody in Rivets) for piano duet (1 piano, 4 hands)|9790502445348|GERSHWIN G|George Gershwin|Second Rhapsody|Piano - 2 players on 1 piano|?14.25|184
BDE1141|Philip Spratley
CAROL FOR THE SUNDAY AFTER CHRISTMAS
Bardic Edition BDE1141|for soprano solo and SATB choir a cappella. Words by Fred Pratt Green, music by Philip Spratley.|9790502447007|SPRATLEY|Philip Spratley|Carol for theSunday after Christmas|Choir - Mixed voices (SATB)|?2.00|13
BDE1145|John Pickard
BINYON SONGS
Bardic Edition BDE1145|Baritone and piano|9790502445478|PICKARD|John Pickard|Binyon Songs|Voice solo (with accompaniment)|?9.25|124
BDE1146|John Pickard
O MAGNUM MYSTERIUM
Bardic Edition BDE1146|Mixed choir (satb) a cappella or mixed choir (satb) and piano/organ|9790502445362|PICKARD|John Pickard|O magnum mysterium|Choir - Mixed voices (SATB)|?3.00|25
BDE1147|Michael Blake
STRING QUARTET No.5
Bardic Edition BDE1147|'My fifth string quartet was composed during two residencies, July to August 2014 in Druskininkai at the invitation of DAR (Lithuanian Composers Union), and from September to November 2014 in Stellenbosch at the invitation of STIAS (Stellenbosch Institute for Advanced Study). My thanks to Egidija Medeksaite and Zita Bruzaite; Hendrik Geyer and the Board of STIAS.
Katharina Wolpe, friend and pianist, with whom I studied from time to time, died in 2013; on a number of occasions I performed the quite remarkable music of her father Stefan Wolpe. His Form for piano, a key work in Kathi''s repertoire, informs this quartet in various ways, not least in its quotation and use of the opening 6-note row. At the same time, Schubert''s late Drei Klavierstucke, to which Kathi brought unforgettable insights, provides the raw material for my piece.
The first performance was given by the Chordos Quartet on 14th September, 2018 in the Anthroposophische Zentrum Kassel, Germany during the Festival der Komponisten-Initiative Kassel. Michael Blake
Score and parts included.
Duration 10 minutes'|9790502446789|BLAKE M|Michael Blake|String Quartet No.5|String Quartet|?19.00|245
BDE1148|Sydney Bressey
MUSIC WHEN SOFT VOICES DIE for voice and piano
Bardic Edition BDE1148|'Sydney Herbert Bressey was a student at Morley College for Working Men and Women before the first World War. Gustav Holst was its inspiring Director of Music from 1907, and Sydney showed early promise, winning first prize at the South and West London Musical Festival Competition with a part-song, The Poet''s Song. In November 1914 the Morley Magazine reported that he had produced the best arrangement in the Harmony Competition with an Irish air, Avenging and bright. By then he was in the Army, training at St Albans, and he was soon on active service in France. Transferred to the Signal Company of the Royal Engineers, he organized part-singing to a hired piano by way of relaxation. In 1916 he was badly wounded, earning the Military Medal, and on being returned to England presented Holst with a setting of Music when soft voices die for male voice quartet "written" said Holst, "in his soldier''s pocket book in a dug out in the firing line". The surviving version published here is from the Lambeth Archives and is for voice and piano, probably in the handwriting of Dulcie Nutting, who was Holst''s librarian. She should have given the premiere on 27 January 1917, but was ill and another student soprano, Lilian Twiselton, deputized. "Bressey''s song caused a sensation", Holst told a friend afterwards, and it was repeated by Lilian on 9 June by popular demand. Sadly for Sydney, now a 2nd Lieutenant, his hopes for "the time when I shall be able to resume my studies seriously" were thwarted when he was sent back to the front and a German shell burst near him, killing him on Holst''s birthday, 21 September 1918.'|9790502446673|BRESSEY|Sydney Bressey|Music When Soft Voices Die|Voice solo (with accompaniment)|?4.00|51
BDE1149|Michael Blake
SOUVENIR DE PRAGUE
Bardic Edition BDE1149|'Scored for two viiolins, cello and harmonium, this was imagined as a companion piece to Dvorak''s Bagatelles Op 47 for the same strange instrumentation. Souvenir de Prague derives most of its material from that work. I composed it during a residency at the Nirox Foundation, February - March 2014. Michael Blake
Score and parts included.
Duration 10 minutes'|9790502446765|BLAKE M|Michael Blake|Souvenir de Prague|Ensemble - Mixed strings|?18.25|233
BDE1150|Dana Paul Perna
TRICENTENNIAL TWO-STEP for organ
Bardic Edition BDE1150|'Tricentennial Two-Step for Benjamin Franklin for organ
For a variety of Museums across the United States, Leon Klayman, as director of the label "Art-in-Concert", would compile period-driven audio CD compilations of music that corresponded to the featured artist on view at whichever museum the event was set to occur in (provided the Museum, and its souvenir shop, concurred with this enterprise). My participation on a majority of these CD''s was to serve as Leon''s mastering engineer. The CD Leon compiled for the Philadelphia Museum of Art''s retrospective with regards to Benjamin Franklin proved to be our final collaboration. It was my intention to prepare an original work as a way to conclude the disc, thereby demonstrating that Franklin''s influence and legacy carries on into more present times. Leon informed me that the project was to remain wholly devoted to music that corresponded to Franklin''s lifespan, specifically from 1706 to 1790. Nevertheless, Tricentennial Two-Step for Benjamin Franklin was composed in 2005 in order that it could be completed in time for celebrations that were set to occur at the Philadelphia Museum of Art in 2006. Dana Paul Perna
Duration 2? minutes'|9790502445430|PERNA|Dana Paul Perna|Tricentennial Two-Step for Benjamin|Organ Solo|?5.25|76
BDE1157|Christopher Boodle
TWO CHRISTMAS SLEIGH RIDES for organ
Bardic Edition BDE1157|Duration 4? minutes and 4 minutes|9790502445461|BOODLE|Christopher Boodle|Two Christmas Sleigh Rides|Organ Solo|?6.25|88
BDE1158|Ronald Stevenson
A WEE HOLIDAY SUITE for recorder and piano
Bardic Edition BDE1158|'A wee holiday suite for descant recorder (or flute) and piano was written during a visit to the Percy Grainger home in White Plains, New York State in May 1978. The visit was primarily to celebrate the 89th birthday of Grainger''s widow Ella for which Ronald Stevenson presented a special piano recital in the Fry Studio, White Plains. He was accompanied on this trip by the co-founder of the Percy Grainger Society, Barry Peter Ould for whom he coined the nickname ''Bipo'', suggesting that his travelling companion was similar, in some ways to an extra member of the Marx brothers. Three of the movements relate to the various actions of ''Bipo'' (1, 3 and 5) whilst the two other movements relate to Teresa Balough (2), who published the first ever catalogue of works by Grainger and Ulla Lundin (Ella Grainger''s niece from Sweden) and Ella Grainger herself (4). The title refers to the daily routine of walking Ella around the veranda of the Grainger house for exercise.'|9790502447113|STEVENSON R|Ronald Stevenson|A Wee Holiday Suite|Recorder and piano|?5.25|76
BDE1162|Michael Blake
CELLO/ORCHESTRA Study score
Bardic Edition BDE1162|'Composers regularly start with beginnings, which may or may not remain beginnings, but I chose to start this piece by composing the end. Secretly I just wanted to follow the process Edgar Allan Poe use for his classic poem ''The Raven'', which he sets out in the 1846 essay The Philosophy of Composition. So in my piece, originally for cello and piano, I tried to find a way back from a tiny Messiaen homage written the year before. As it happens I ended up working backwards from, or towards, something completely different. I transcribed The Philosophy of Composition as Cello/Orchestra in 2013 as a gift for Friedrich Gauwerky. Michael Blake, August 2017
Duration 9 minutes'|9790502446871|BLAKE M|Michael Blake|Cello/Orchestra|Study score|?14.25|184
BDE1163|Philip Spratley
TWO MASEFIELD SONGS for male voice choir
Bardic Edition BDE1163|"Trade Winds" and "Beauty", poems by John Masefield set to music by Philip Spratley for T Bar Bar B male voice choir and harp or piano.|9790502447069|SPRATLEY|Philip Spratley|Two Masefield Songs|Choir - Male voices|?4.75|50
BDE1166|George Gershwin
AN AMERICAN IN PARIS for piano duet
Transcribed by Julian Jacobson
Bardic Edition BDE1166|For piano duet (1 piano, 4 hands)|9790502445485|GERSHWIN G|George Gershwin|An American in Paris|Piano - 2 players on 1 piano|?15.25|197
BDE1167|'Dana Paul Perna
PERNA''S PENGUINIAN POLKA for clarinet quartet
Bardic Edition BDE1167'|'For 3 x Bb Clarinets and bass clarinet. Score and parts included.
Having long admired the music of Raymond Scott (1908-1994), part of what made his output so unique was his ability to come up with some of the most outlandishly zany titles for his work. During the period in which he was popular, in competition with him for a different recording label, Alec Wilder (1907-1980) created an ensemble of eight musicians (e.g. flute/piccolo, oboe/English horn, clarinet, bass clarinet, bassoon, harpsichord, drums and bass) for which he composed some of his finest titles expressly for. In his case, while his ensemble was called "The Alec Wilder Octet", Wilder did not participate as a performing musician in the same way as Scott did (e.g. as pianist) in his "quintette". Nevertheless, what both composers shared in common were those idiosyncratic titles I alluded to earlier, with Wilder - an equally brilliant writer of words - coming up with some real gems of his own, such as "Jack, This is my Husband", "The House Detective Registers", "Neurotic Goldfish", "Dance Man Buys a Farm", and "Her Old Man Was Suspicious", among many others. (Many of these Wilder pieces rank among my favorite music by anyone, period.) With that spirit in mind - and holding an equal amount of respect for both polkas and penguins - I prepared Perna''s Penguinian Polka for a clarinet quartet. Feeling that the title possesses a certain Wilderian-whimsy that seems to fit the music, how could I pass up a title that lent itself so perfectly to alliteration, especially one that my last name could actually fit in? This short piece celebrates the memory of jazz great, Buddy DeFranco (1923-2014), a truly great artist, and a clarinet master of the very highest level of excellence. Dana Paul Perna
Duration 3? minutes'|9790502446444|PERNA|Dana Paul Perna|'Perna''s Penguinian Polka'|Clarinet ensemble|?9.25|124
BDE1168|Philip Spratley
ALL IN THE MORNING for SATB and organ
Bardic Edition BDE1168|Derbyshire folk carol set for SATB choir and organ or piano.|9790502446970|SPRATLEY|Philip Spratley|All in the Morning|Choir - Mixed voices (SATB)|?3.00|25
BDE1180|Nicholas Barton
SINGET DEM HERRN EINE NEUES LIED
Bardic Edition BDE1180|for SATB choir a cappella|9790502445843|BARTON|Nicholas Barton|Singet dem Herrn eine Neues Lied|Choir - Mixed voices (SATB)|?5.75|63
BDE1181|Nicholas Barton
CHRISTMAS BELLS
Bardic Edition BDE1181|for SATB choir with or without audience participation and piano. Words by Henry W. Longfellow.|9790502446192|BARTON|Nicholas Barton|Christmas Bells|Choir - Mixed voices (SATB)|?4.75|50
BDE1182|Philip Spratley
THERE IS A FOUNTAIN for SATB choir
Bardic Edition BDE1182|'A sequence of Carols for Passiontide for SATB choir a cappella.
In the early years of the twentieth century, with the English Folk Song Society in full swing, Lucy Broadwood encouraged musicians in all parts of Britain to send to her any songs they heard in their locality. Many of these are still untouched. In 2006 I trawled though the Broadwood collection to see if there were any seasonal carols that could be revived. Two of these, both from Herefordshire are included in this work. They are No. 2 ''O Have you Heard'' which was sung by Mrs Caroline Bridges to William Burnett at Pembridge in 1905. No. 4 was noted by Annie Webb from the singing of Thomas Colcome at Weobley in 1904. The melody of No. 3, comes from Bourne, Lincolnshire and was noted by Cecil Sharp at the Workhouse in 1911. The singer was Joseph Jackson but his text was confused and incomplete. Rather than lose this fine mixolydian melody I have adapted it to a translation of ''Maria''s Wandershaft''. The words of carol No. 1 are a selection from twenty-three verses by an anonymous author of the eighteenth century. The source of the melody is unknown but was restored by Stainer. Philip Spratley
Duration 15 minutes'|9790502447472|SPRATLEY|Philip Spratley|There is a Fountain|Choir - Mixed voices (SATB)|?7.75|88
BDE1184|Michael Blake
SONATA for cello and piano
Bardic Edition BDE1184|'Sonata ''Hours with the Masters'' for violoncello and piano.
Almost everyone who had piano lessons in the mid-20th century will have encountered the now classic anthologies of so-called masterpieces, ''Hours with the Masters''. And my Sonata for violoncello and piano, which has that subtitle, is therefore a kind of imaginary anthology of violoncello sonatas from Beethoven through to the 20th century, chosen mostly for the material they yield.
My other starting point emerged from the little-recognized scenario that Beethoven was a contemporary of the Christian Xhosa prophet and composer Ntsikana Gaba (c.1760-1821) whose hymns are the earliest pieces in the repertoire of most black South African choirs.
So my Sonata for violoncello and piano (''Hours with the Masters''), which I started in Cape Town in November 2015 and completed at my new home in France in September 2016, has two movements derived from the classical composers of violoncello sonatas (in particular Beethoven''s third), and two movements deriving more from Xhosa music - i.e. from the masters of both traditions.
It was written at the request of Friedrich Gauwerky.
This work has been recorded by Friedrich Gauwerky (violoncello) and Daan Vandevalle (piano) on Wergo CD: WER 736 12. Michael Blake
Duration 17 minutes'|9790502445522|BLAKE M|Michael Blake|'Sonata ''Hours with the Masters'''|Cello and piano|?12.25|160
BDE1189|Ronald Center
VIOLIN SONATA
Bardic Edition BDE1189|Violin and piano|9790502445546|CENTER|Ronald Center|Violin Sonata|Violin and piano|?13.25|173
BDE1201|Michael Blake
FROM THE STOEP for piano duet
Bardic Edition BDE1201|'Three easy pieces for one piano, four hands.
In this set of three pieces the primo part is the easier one. They draw on folk music from three different regions of Southern Africa, including the Eastern Cape and the island of Madagascar, and give an appropriate nod to Stravinsky whose easy duet model is acknowledged.
1. Galoppo Africano; 2. Uhadi Song Carried by the Afternoon Breeze; 3. Sailor''s Piano
Duration 7 minutes'|9790502445584|BLAKE M|Michael Blake|From the Stoep|Piano - 2 players on 1 piano|?7.25|100
BDE1204|Michael Blake
A FRACTURED LANDSCAPE for piano
Bardic Edition BDE1204|'A Fractured Landscape (in memoriam Edward Said) for piano solo
Requested by Antony Gray for his Australian concert tour in August 2009
The death in 2003 of the philosopher and musician Edward Said, and the posthumous publication of his book On Late Style, led me to consider afresh the notion of so-called late style in music. I looked particularly at piano music - late Beethoven, late Schubert, late Liszt and late Brahms - and given Tony Gray''s special affinity with Brahms'' four late sets of Klavierstucke, I tried to reflect on these pieces in A Fractured Landscape. Though I started the piece at home in Cape Town and finished it in Pretoria while on tour, I actually wrote a good deal of it in London at Tony''s piano.
A Fractured Landscape (in memoriam Edward Said) received its first performance in the Pilgrim Church, Adelaide, Australia on 17 August 2009 by Antony Gray. The work has been recorded by Daan Vandewalle on Wergo CD: WER 736 12. Michael Blake
Duration 9 minutes'|9790502445560|BLAKE M|Michael Blake|A Fractured Landscape|Piano - Solo|?5.25|76
BDE1206|Philip Spratley
THIS ENDRIS NIGHT for SATB choir and organ
Bardic Edition BDE1206|Words and music Anonymous 15th century arranged by Philip Spratley for SATB choir and organ.|9790502446994|SPRATLEY|Philip Spratley|This Endris Night|Choir - Mixed voices (SATB)|?3.75|38
BDE1208|Michael Blake
FIVE WALKS IN THE LIMOUSIN WOODS for piano duet
Bardic Edition BDE1208|'This second set of easy piano duets was inspired by afternoon walks I took each day during a month-long stay in the French village of Balledent in the summer of 2013. The title makes reference to Umberto Eco''s Norton Lectures Six Walks in the Fictional Woods; the subtitle once again acknowledges Stravinsky - his Five Easy Pieces for piano duet, and complements my earlier set From the Stoep - Three Easy Pieces for piano duet [BDE 1201]. Perhaps inadvertently though, I swapped the status of the easy parts around. The first performance was given by Coila-Leah Enderstein (primo) and Michael Blake (secondo) on 21 July 2017 at Stephen Pettitt''s ''Soirees Musicales au Genesteix'' in Azat le Riz, in the Limousin, France. Michael Blake
1. Scared Horse Walk; 2. Early Morning Walk; 3. A Walk by the Gartempe (Canon); 4. Gentle Stroll; 5. Three Collies Walk
Duration 10 minutes'|9790502446826|BLAKE M|Michael Blake|Five Walks in the Limousin Woods|Piano - 2 players on 1 piano|?7.25|100
BDE1209|Michael Blake
LOVEDALE HARMONY for sax quartet
Bardic Edition BDE1209|'(in memory of Siya Betana) for Saxophone quartet (SATBar) - Score and parts included.
I had always wanted to make a piece with material from the Lovedale Press Sol-fa Sheets and because the SATB format of the choir translated so beautifully to the four instruments of the standard saxophone quartet, a request for a second work from the Stockholm players seemed the right occasion.
The most well-known Lovedale composers are Moerane, Tyamzashe and Caluza but there are many other fine pieces by composers like Marivate, Monaisa and AM Jonas whose music is not much sung nowadays. Lovedale of course was also the original publisher of Nkosi Sikelel'' iAfrika, the South African national anthem.
Siya Betana, in whose memory the piece is written, was a member of the Hout Bay Music Project. That''s where I met him, when I was working with students at the project. He was only 19 when he was fatally shot on the streets of Imizamo Yethu during violent protests in Hout Bay in 2017. Siya had been a violin and double bass student for 9 years at the project, and had just begun to teach music theory and drumming. Meanwhile he had started his first year of engineering study at the University of the Western Cape.
I composed the work between September 2017 and January 2018 for the Stockholm Saxophone Quartet who gave the first performance on 23 February 2018 at the Purpur Festival in the Youngblood Gallery, Cape Town. Michael Blake
Duration 14 minutes'|9790502445607|BLAKE M|Michael Blake|Lovedale Harmony|Saxophone quartet|?11.25|149
BDE1212|Percy Grainger
MOLLY ON THE SHORE
Bardic Edition BDE1212|Viola and piano|9790502445508|GRAINGER|Percy Grainger|Molly on the Shore|Viola & Piano|?5.25|76
BDE1214|Philip Spratley
TWO FRENCH CAROLS
Bardic Edition BDE1214|"Patapan" and "What is That Fragrance?" for SATB a cappella choir ("Patapan" with or without percussion)
Words and Music Anonymous 15th Century translated by Irene Gass arranged by Philip Spratley.|9790502446499|SPRATLEY|Philip Spratley|Two French Carols|Choir - Mixed voices (SATB)|?3.75|38
BDE1216|Thomas Pitfield
LYRIC WALTZ
Bardic Edition BDE1216|for descant or tenor recorder and piano (Score and parts)|9790502445850|PITFIELD|Thomas Pitfield|Lyric Waltz|Recorder and piano|?6.25|88
BDE1218|Philip Spratley
EARTH TODAY REJOICES for SATB
Bardic Edition BDE1218|Carol for January and February for SATB choir and organ. Words by John Mason Neale, Music by Philip Spratley|9790502446277|SPRATLEY|Philip Spratley|Earth Today Rejoices|Choir - Mixed voices (SATB)|?3.00|25
BDE1221|Philip Spratley
BOTH ALL AND SOME for SATB choir
Bardic Edition BDE1221|Words and music Anonymous 15th century arranged by Philip Spratley for SATB choir and organ.|9790502446987|SPRATLEY|Philip Spratley|Both All and Some|Choir - Mixed voices (SATB)|?4.75|50
BDE1227|Michael Blake
MISTER TURNER HIS FOLIE for guitar
Bardic Edition BDE1227|'In response to Richard Turner''s request for a piece based on the evergreen Folia theme, I foraged through the repertoire and gathered about a dozen works based on that theme, from Geminiani and Marin Marais through to Rachmaninoff, and collated them in such a way - on my study wall - that I could trace a horizontal path through them and extract material as it suited the progress of the piece. I also introduced a traditional Xhosa bow song Latshon''ilanga and combined variations on that tune with the Folia material. Now you hear it, now you don''t. Michael Blake
Duration 7 minutes'|9790502445720|BLAKE M|Michael Blake|Mister Turner his folie|Guitar|?4.25|63
BDE1228|Michael Blake
PATTERNS IN A HEPTATONIC FIELD
Bardic Edition BDE1228|'For solo xylophone or marimba or vibraphone.
The solo xylophone has been neglected by contemporary composers in favour of the marimba which, apart from its low register, can be quite a bland instrument. To my mind the xylophone has more character and a crystal clear attack that reminds me of early pianos (versus the modern ''industrial'' Steinway). The title of this piece makes a reference to Morton Feldman''s ''Patterns in a Chromatic Field'', but the material is derived from timbila xylophone music from Mozambique, and in honour of the great timbila player and orchestra leader, Venancio Mbande (1933-2015), there are recurring quotations marking off the main sections of the piece. Unlike traditional timbila music, Patterns in a Heptatonic Field is cast in constantly changing metres, derived from the asymmetric patterning of Shoowa weaving.
While the concert xylophone is preferred, the piece may be played on the concert marimba using hard sticks, or a traditional marimba which has the requisite range and scale, and it is also possible to play it on the vibraphone without motor, without pedal, and again with fairly hard sticks. Michael Blake
Duration 5 minutes'|9790502446819|BLAKE M|Michael Blake|Patterns in a Heptatonic Field|Percussion|?4.25|63
BDE1229|Michael Blake
TOMBEAU DE MOERANE for Soprano Birbyne & Tape
Bardic Edition BDE1229|'Born in Lesotho in 1904, Michael Mosoeu Moerane was one of the foremost composers working in South Africa from the 1930s till his death in 1980. Though mostly disregarded by the white academic composer community, he has had a far-reaching influence on subsequent generations of young black composers in South Africa.
Tombeau de Moerane takes DNA samples from three of his most-loved choral pieces, and synthesises them into a new music, while retaining essential elements of his musical language. A composer very much ahead of his time, he may well have composed music like this himself, had circumstances in apartheid South Africa allowed it.
Tombeau de Moerane was composed at the request of Darius Klisys. The tape was created in August 2011 in the Alpha Studio, Visby, Sweden.
The work was recorded by Darius Klisys for the MBED label in 2013. The first concert performance of the clarinet version was given at the ISCM World Music Days in Ljubljana on 29 September, 2015 by Valentina Strucelj (clarinet) and Neven Smolcic (sound diffusion). The first concert performance of the original birbyne version was given at the online Bowed Electrons Festival in Cape Town on 6 December, 2020 by Darius Klisys.
The tape part can be downloaded from the composer''s website: www.michaelblake.co.za
Duration 13? minutes'|9790502446406|BLAKE M|Michael Blake|Tombeau de Moerane (Birbyne+Tape)|Miscellaneous|?6.25|88
BDE1230|Michael Blake
UMNGQOKOLO for solo alto flute
Bardic Edition BDE1230|'I think the flute came into its own in the 20th century, when it embarked on a new life as a solo instrument. While there had been some solo pieces in the 18th century, Debussy''s Syrinx, Varese''s Density 21.5 and Berio''s Sequenza 1 redefined the instrument''s unique palette of colours and opened up new soundworlds for modern composers. Notable among these is Justinian Tamusuza (b. 1951, Uganda) whose Okwanjula Kw'' Endere - the first part of An African Festivity for Flute - is probably the most significant solo flute piece by an African composer.
It was this piece that inspired me to write a solo work for alto flute, but whereas Tamusuza found his customary inspiration in the Kiganda traditional music of Uganda, I found mine in the bow music of the Xhosa in the Eastern Cape. Overtones, which are a feature of this music, became the essence of my Umngqokolo. ''Umngqokolo'' is a style of gruff overtone singing researched and documented by Dave Dargie in Xhosa Music, published 1988, the most important source of information about ''umngqokolo''. Umngqokolo was written for Marietjie Pauw, who gave the first performance on 27 January 2019 at Hoofstraat Conceptual, Riebeek Kasteel (in South Africa''s Western Cape Province). On that occasion the programme included Justinian Tamusuza''s solo flute piece. Michael Blake
Duration 10? minutes'|9790502445621|BLAKE M|Michael Blake|Umngqokolo|Flute solo|?4.25|63
BDE1231|Michael Blake
TOMBEAU DE MOERANE for alto saxophone & tape
Bardic Edition BDE1231|'Born in Lesotho in 1904, Michael Mosoeu Moerane was one of the foremost composers working in South Africa from the 1930s till his death in 1980. Though mostly disregarded by the white academic composer community, he has had a far-reaching influence on subsequent generations of young black composers in South Africa.
Tombeau de Moerane takes DNA samples from three of his most-loved choral pieces, and synthesises them into a new music, while retaining essential elements of his musical language. A composer very much ahead of his time, he may well have composed music like this himself, had circumstances in apartheid South Africa allowed it.
Tombeau de Moerane was composed at the request of Darius Klisys. The tape was created in August 2011 in the Alpha Studio, Visby, Sweden.
The work was recorded by Darius Klisys for the MBED label in 2013. The first concert performance of the clarinet version was given at the ISCM World Music Days in Ljubljana on 29 September, 2015 by Valentina Strucelj (clarinet) and Neven Smolcic (sound diffusion). The first concert performance of the original birbyne version was given at the online Bowed Electrons Festival in Cape Town on 6 December, 2020 by Darius Klisys.
The tape part can be downloaded from the composer''s website: www.michaelblake.co.za
Duration 13? minutes'|9790502446420|BLAKE M|Michael Blake|Tombeau de Moerane (Alto Sax+Tape)|Saxophone|?6.25|88
BDE1233|Percy Grainger
ARRIVAL PLATFORM HUMLET for oboe(s)
Bardic Edition BDE1233|'Room Music Tit-Bits No.7 "Arrival Platform Humlet" for solo oboe or massed oboes edited by William Wielgus.
Awaiting arrival of belated train bringing one''s sweetheart from foreign parts; great fun! The sort of thing one hums to oneself as an accompaniment to one''s tramping feet as one happily, excitedly, paces up and down the arrival platform.
Originally conceived for middle-fiddle single [viola], or massed middle-fiddles, or double-reed (oboe or sarrusophone family) single, or massed double-reeds, or as a humlet for a single voice or chorus of voices, the "Arrival Platform Humlet" was begun on Liverpool Street and Victoria railway stations, London (England), on February 2, 1908, and was continued and finished in 1908, 1910 and 1912 (England, Norway, etc.). In 1916 I scored it for orchestra, piano and Deagan percussion instruments as the first movement of my Suite "In A Nutshell". Percy Aldridge Grainger'|9790502445676|GRAINGER|Percy Grainger|Arrival platform humlet|Oboe solo|?4.25|63
BDE1234|Percy Grainger
ARRIVAL PLATFORM HUMLET for saxophone(s)
Bardic Edition BDE1234|'Room Music Tit-Bits No.7 "Arrival Platform Humlet" for solo soprano saxophone or massed soprano saxophones arranged by Dr.Paul Cohen.
Awaiting arrival of belated train bringing one''s sweetheart from foreign parts; great fun! The sort of thing one hums to oneself as an accompaniment to one''s tramping feet as one happily, excitedly, paces up and down the arrival platform.
Originally conceived for middle-fiddle single [viola], or massed middle-fiddles, or double-reed (oboe or sarrusophone family) single, or massed double-reeds, or as a humlet for a single voice or chorus of voices, the "Arrival Platform Humlet" was begun on Liverpool Street and Victoria railway stations, London (England), on February 2, 1908, and was continued and finished in 1908, 1910 and 1912 (England, Norway, etc.). In 1916 I scored it for orchestra, piano and Deagan percussion instruments as the first movement of my Suite "In A Nutshell". Percy Aldridge Grainger'|9790502445683|GRAINGER|Percy Grainger|Arrival platform humlet|Saxophone|?4.25|63
BDE1235|Michael Blake
TOMBEAU DE MOERANE for Bb clarinet & tape
Bardic Edition BDE1235|'Born in Lesotho in 1904, Michael Mosoeu Moerane was one of the foremost composers working in South Africa from the 1930s till his death in 1980. Though mostly disregarded by the white academic composer community, he has had a far-reaching influence on subsequent generations of young black composers in South Africa.
Tombeau de Moerane takes DNA samples from three of his most-loved choral pieces, and synthesises them into a new music, while retaining essential elements of his musical language. A composer very much ahead of his time, he may well have composed music like this himself, had circumstances in apartheid South Africa allowed it.
Tombeau de Moerane was composed at the request of Darius Klisys. The tape was created in August 2011 in the Alpha Studio, Visby, Sweden.
The work was recorded by Darius Klisys for the MBED label in 2013. The first concert performance of the clarinet version was given at the ISCM World Music Days in Ljubljana on 29 September, 2015 by Valentina Strucelj (clarinet) and Neven Smolcic (sound diffusion). The first concert performance of the original birbyne version was given at the online Bowed Electrons Festival in Cape Town on 6 December, 2020 by Darius Klisys.
The tape part can be downloaded from the composer''s website: www.michaelblake.co.za
Duration 13? minutes'|9790502446413|BLAKE M|Michael Blake|Tombeau de Moerane (Clarinet+Tape)|Clarinet|?6.25|88
BDE1238|Julian Jacobson
PALM COURT WALTZ
Bardic Edition BDE1238|Piano (4 hands)|9790502445737|JACOBSON J|Julian Jacobson|Palm Court Waltz|Piano - 2 players on 1 piano|?6.25|88
BDE1239|Alan Gibbs
ST.PETERS VESPERS for organ
Bardic Edition BDE1239|'Suite in five movements for organ manuals.
Designed for Peter Twitchin to play on his one-manual David Leach organ without pedals as a retirement gift from his family, the five short pieces in this suite are freely based on antiphon chants for vespers on the feast of SS Peter & Paul as found in the Liber Usualis. Apart from III, ''Dixit angelus'', they may also be performed on any appropriate keyboard instrument, or even modified for a two-manual organ with pedals. Alan Gibbs January, 2017
I PETRUS ET JOANNES
II ARGENTUM ET AURUM
III DIXIT ANGELUS
IV MISIT DOMINUS
V TU ES PETRUS
Duration 15 minutes'|9790502445690|GIBBS A|Alan Gibbs|'St. Peter''s Vespers'|Organ Solo|?5.25|76
BDE1240|Percy Grainger
WALKING TUNE for soprano saxophone
Bardic Edition BDE1240|'Room Music Tit-Bits No.3 "Walking Tune" for solo soprano saxophone adapted by Dr.Paul Cohen.
Percy Grainger composed his "Walking Tune" in the summer of 1900 as a "whistling accompaniment" while on a three day walk in the Scottish Highlands. He first set the tune for woodwind quintet (wind five-some) in 1904, and from 1911-1940 composed versions for piano solo, duo piano and wind ensemble. In all of Grainger''s settings of the tune, he created remarkable variety and interest through his colorful orchestrations, imaginative counterpoint and sophisticated harmonies.'|9790502445706|GRAINGER|Percy Grainger|Walking Tune|Saxophone|?4.25|63
BDE1241|Michael Blake
FANFARE FOR A NEW INSTITUTE
Bardic Edition BDE1241|Scored for three elastic instrumental groups in separate but connected spaces.
Group A: 2 Flutes or Oboes, Clarinet in Bb, Tuba
Group B: 2 Trumpets or Cornets in Bb, Field Drum (worn) or Side Drum (no snares)
Group C: Violin 1, Violin 2 or Viola, Violoncello or Basson, Double bass or Bass Guitar.
Alternative Group C: Soprano, Alto, Tenor & Baritone Saxes.
Duration 2 minutes
Score and parts included.|9790502446864|BLAKE M|Michael Blake|Fanfare for a New Institute Sc+Pts|Ensemble - Mixed|?27.00|360
BDE1244|Christopher Boodle
RONDO CAPRICCIOSO
Bardic Edition BDE1244|for organ. Duration 4? minutes|9790502445904|BOODLE|Christopher Boodle|Rondo Capriccioso|Organ Solo|?5.25|76
BDE1250|Bernard van Dieren
STRING QUARTET NO.4 Score
Bardic Edition BDE1250|for 2 violins, viola and double bass, edited by Denis Apivor|9790502445874|VAN DIEREN|Bernard van Dieren|String Quartet No.4 Score|String Quartet|?16.25|209
BDE1250-PTS|Bernard van Dieren
STRING QUARTET NO.4 Set of Parts
Bardic Edition BDE1250-PTS|for 2 violins, viola and double bass, edited by Denis Apivor.||VAN DIEREN|Bernard van Dieren|String Quartet No.4 Set of Parts|String Quartet|?18.00|213
BDE1251|John Pickard
THREE CHICKEN STUDIES for oboe
Bardic Edition BDE1251|For solo oboe. Duration 4? minutes|9790502447342|PICKARD|John Pickard|Three Chicken Studies|Oboe solo|?4.00|51
BDE1252|Dana Paul Perna
COVIDIFICATIONS ON B A C H
Bardic Edition BDE1252|'for solo french horn.
This composition occurred as the result of a conversation I had had with French hornist, James F. ''Big Jim'' Wilson in mid-June 2020 during the Global Quarantine as a result of the Coronavirus pandemic. While many topics were covered during that conversation, our first in several years, he simply asked if I had written anything for solo/unaccompanied French horn. Thoughts that began to formulate led to my placing them onto paper, setting them up on the computer for publication as the composition progressed onward toward completion a short time later.
While the music was conceived as based upon the pitches that spell out the last name of Johann Sebastian Bach, the French hornist, Karlis Rerihs offered a few additional insights that may provide, and/or prove to make for a more optimum experience for the performer. Where muting is indicated, he suggests that a wooden mute be used, whereas I am open to whatever will prove most expedient to the musician. True, I did - and do - employ bass clef within this piece. I could have chosen a different manner to have notated things, but, even with having used the indication of ''8va basso'', I wished to avoid using so many ledger lines it would have required to have achieved the same result. The conclusion of this opus beings fortissimo, followed by a diminuendo that leads to that last piano indication. Despite the lowest tessitura that that is cast in, the dynamic indication has to remain what it is in order to create that final gesture within a proper dramatic context.
During this same period in which this composition occurred, two significant people in my life passed away (neither from Covid-19, ironically.) In addition to its dedication to ''Big Jim'', it holds an additional ''in memoriam'' to Lauren Keith Keiser, and Allan Evans. Their contributions to the world remain, not only global, but permanently timeless. May they both Rest In Peace. I wish to extend an additional note of thanks by acknowledging Karlis Rerihs, and David Amram for their additional input regarding this opus. Dana Paul Perna'|9790502445782|PERNA|Dana Paul Perna|Covidifications on B A C H|Horn in F solo|?4.00|51
BDE1253|John Locke
SONATA FOR PIANO
Bardic Edition BDE1253|Sonata for piano solo. Duration 15 minutes|9790502446567|LOCKE|John Locke|Sonata for Piano|Piano - Solo|?9.25|124
BDE1254|John Locke
SONATA for Violoncello & Piano
Bardic Edition BDE1254|Duration 12 minutes|9790502446574|LOCKE|John Locke|Sonata for violoncello & piano|Cello solo|?11.25|149
BDE1255|Philip Spratley
NARENZA for organ
Bardic Edition BDE1255|for organ solo. Duration 6 minutes|9790502446949|SPRATLEY|Philip Spratley|Narenza|Organ Solo|?5.25|76
BDE1257|Philip Spratley
FOURTEEN CHORALE PRELUDES for organ
Bardic Edition BDE1257|14 Chorale Preludes for organ: Morning Hymn, Bread of Heaven, Caswell, Eudoxia, Melcombe, Cape Town, Llanfair, Pastor Pastorum, North Coates, St. Columba, Epiphany, Wareham, St. Cross, Vienna.|9790502446666|SPRATLEY|Philip Spratley|Fourteen Chorale Preludes|Organ Solo|?12.25|160
BDE1258|Philip Spratley
AN ADVENT RHAPSODY for organ
Bardic Edition BDE1258|For organ solo Duration 11? minutes|9790502446956|SPRATLEY|Philip Spratley|An Advent Rhapsody|Organ Solo|?7.25|100
BDE1269|Philip Spratley
ARRURU for SSA choir
Bardic Edition BDE1269|Chilean carol translated and versified by Eric Swift arranged for SSA chioir and piano by Philip Spratley.|9790502447021|SPRATLEY|Philip Spratley|Arruru|Choir - 3 part upper voices|?3.00|25
BDE1270|Philip Spratley
MY GOD ACCEPT MY HEART for SSA choir
Bardic Edition BDE1270|Confirmation or General anthem for SSA choir and piano. Words by Matthew Bridges to an Irish folk tune set by Philip Spratley.|9790502447014|SPRATLEY|Philip Spratley|My God Accept my Heart|Choir - 3 part upper voices|?3.00|25
BDE1277|David Seymour
SUITE FOR WIND QUINTET Movements 1+2
Bardic Edition BDE1277|'Suite for wind quintet (flute, oboe, clarinet, basoon, horn) - Movements 1 and 2: Sable d''or, Cawtu
Score and parts included'|9790502446345|SEYMOUR|David Seymour|Suite for Wind Quintet Movt.1+2|Wind Ensemble|?15.25|197
BDE1280|Philip Spratley
WHITSUNTIDE CAROL for SATB choir
Bardic Edition BDE1280|Traditional carol from Cambridgeshire arranged for SATB choir a cappella.|9790502447052|SPRATLEY|Philip Spratley|Whitsuntide Carol|Choir - Mixed voices (SATB)|?3.00|25
BDE1281|Michael Blake
AFRIKOSMOS Volume 1 for piano
Bardic Edition BDE1281|'The first 15 of 75 progressive piano pieces.
The idea of writing an African response to Bartok''s Mikrokosmos has a long genesis. I first approached it in 2003 with iKostina for Thalia Myers'' Spectrum 4 (published by the ABRSM). Given that Bartok''s collection also provides a vast and invaluable compendium of compositional techniques, I had the parallel idea of writing a manual for composers of New African or neo-African Music. I chose not to replicate the kind of technical exercises Bartok included for didactic purposes. However, I did follow his method of starting with the simplest pieces and working towards the more advanced pieces in the final volume. And I did explore in as comprehensive a way as possible the vast range of traditional music from sub-Saharan Africa. Each volume roughly follows a similar format, with one or two pieces that fall into each of the following genres: studies, pieces focusing on rhythm and texture, character pieces, dances, pieces exploring a mode or scale, folksong arrangements and variations, transcriptions and homages.
While a few pieces are piano transcriptions of existing music, most pieces are either written in a neo-African style, or reflect my own aesthetic which has drawn on African musical material and aesthetics since the mid-1970s. Michael Blake'|9790502446185|BLAKE M|Michael Blake|Afrikosmos Volume 1|Piano - Solo|?7.25|100
BDE1282|Michael Blake
AFRIKOSMOS Volume 2
Bardic Edition BDE1282|'Numbers 16 to 29 of 75 progressive piano pieces.
The idea of writing an African response to Bartok''s Mikrokosmos has a long genesis. I first approached it in 2003 with iKostina for Thalia Myers'' Spectrum 4 (published by the ABRSM). Given that Bartok''s collection also provides a vast and invaluable compendium of compositional techniques, I had the parallel idea of writing a manual for composers of New African or neo-African Music. I chose not to replicate the kind of technical exercises Bartok included for didactic purposes. However, I did follow his method of starting with the simplest pieces and working towards the more advanced pieces in the final volume. And I did explore in as comprehensive a way as possible the vast range of traditional music from sub-Saharan Africa. Each volume roughly follows a similar format, with one or two pieces that fall into each of the following genres: studies, pieces focusing on rhythm and texture, character pieces, dances, pieces exploring a mode or scale, folksong arrangements and variations, transcriptions and homages.
While a few pieces are piano transcriptions of existing music, most pieces are either written in a neo-African style, or reflect my own aesthetic which has drawn on African musical material and aesthetics since the mid-1970s. Michael Blake'|9790502446284|BLAKE M|Michael Blake|Afrikosmos Volume 2|Piano - Solo|?10.25|136
BDE1283|Michael Blake
AFRIKOSMOS Volume 3
Bardic Edition BDE1283|'Numbers 30 to 42 of 75 progressive piano pieces.
The idea of writing an African response to Bartok''s Mikrokosmos has a long genesis. I first approached it in 2003 with iKostina for Thalia Myers'' Spectrum 4 (published by the ABRSM). Given that Bartok''s collection also provides a vast and invaluable compendium of compositional techniques, I had the parallel idea of writing a manual for composers of New African or neo-African Music. I chose not to replicate the kind of technical exercises Bartok included for didactic purposes. However, I did follow his method of starting with the simplest pieces and working towards the more advanced pieces in the final volume. And I did explore in as comprehensive a way as possible the vast range of traditional music from sub-Saharan Africa. Each volume roughly follows a similar format, with one or two pieces that fall into each of the following genres: studies, pieces focusing on rhythm and texture, character pieces, dances, pieces exploring a mode or scale, folksong arrangements and variations, transcriptions and homages.
While a few pieces are piano transcriptions of existing music, most pieces are either written in a neo-African style, or reflect my own aesthetic which has drawn on African musical material and aesthetics since the mid-1970s. Michael Blake'|9790502446291|BLAKE M|Michael Blake|Afrikosmos Volume 3|Piano - Solo|?9.25|124
BDE1284|Michael Blake
AFRIKOSMOS Volume 4
Bardic Edition BDE1284|'Numbers 43 to 54 of 75 progressive piano pieces.
The idea of writing an African response to Bartok''s Mikrokosmos has a long genesis. I first approached it in 2003 with iKostina for Thalia Myers'' Spectrum 4 (published by the ABRSM). Given that Bartok''s collection also provides a vast and invaluable compendium of compositional techniques, I had the parallel idea of writing a manual for composers of New African or neo-African Music. I chose not to replicate the kind of technical exercises Bartok included for didactic purposes. However, I did follow his method of starting with the simplest pieces and working towards the more advanced pieces in the final volume. And I did explore in as comprehensive a way as possible the vast range of traditional music from sub-Saharan Africa. Each volume roughly follows a similar format, with one or two pieces that fall into each of the following genres: studies, pieces focusing on rhythm and texture, character pieces, dances, pieces exploring a mode or scale, folksong arrangements and variations, transcriptions and homages.
While a few pieces are piano transcriptions of existing music, most pieces are either written in a neo-African style, or reflect my own aesthetic which has drawn on African musical material and aesthetics since the mid-1970s. Michael Blake'|9790502446307|BLAKE M|Michael Blake|Afrikosmos Volume 4|Piano - Solo|?11.25|149
BDE1285|Michael Blake
AFRIKOSMOS Volume 5
Bardic Edition BDE1285|'Numbers 55 to 65 of 75 progressive piano pieces.
The idea of writing an African response to Bartok''s Mikrokosmos has a long genesis. I first approached it in 2003 with iKostina for Thalia Myers'' Spectrum 4 (published by the ABRSM). Given that Bartok''s collection also provides a vast and invaluable compendium of compositional techniques, I had the parallel idea of writing a manual for composers of New African or neo-African Music. I chose not to replicate the kind of technical exercises Bartok included for didactic purposes. However, I did follow his method of starting with the simplest pieces and working towards the more advanced pieces in the final volume. And I did explore in as comprehensive a way as possible the vast range of traditional music from sub-Saharan Africa. Each volume roughly follows a similar format, with one or two pieces that fall into each of the following genres: studies, pieces focusing on rhythm and texture, character pieces, dances, pieces exploring a mode or scale, folksong arrangements and variations, transcriptions and homages.
While a few pieces are piano transcriptions of existing music, most pieces are either written in a neo-African style, or reflect my own aesthetic which has drawn on African musical material and aesthetics since the mid-1970s. Michael Blake'|9790502446314|BLAKE M|Michael Blake|Afrikosmos Volume 5|Piano - Solo|?12.25|160
BDE1286|Michael Blake
AFRIKOSMOS Volume 6
Bardic Edition BDE1286|'Numbers 66 to 75 of 75 progressive piano pieces.
The idea of writing an African response to Bartok''s Mikrokosmos has a long genesis. I first approached it in 2003 with iKostina for Thalia Myers'' Spectrum 4 (published by the ABRSM). Given that Bartok''s collection also provides a vast and invaluable compendium of compositional techniques, I had the parallel idea of writing a manual for composers of New African or neo-African Music. I chose not to replicate the kind of technical exercises Bartok included for didactic purposes. However, I did follow his method of starting with the simplest pieces and working towards the more advanced pieces in the final volume. And I did explore in as comprehensive a way as possible the vast range of traditional music from sub-Saharan Africa. Each volume roughly follows a similar format, with one or two pieces that fall into each of the following genres: studies, pieces focusing on rhythm and texture, character pieces, dances, pieces exploring a mode or scale, folksong arrangements and variations, transcriptions and homages.
While a few pieces are piano transcriptions of existing music, most pieces are either written in a neo-African style, or reflect my own aesthetic which has drawn on African musical material and aesthetics since the mid-1970s. Michael Blake'|9790502446321|BLAKE M|Michael Blake|Afrikosmos Volume 6|Piano - Solo|?18.25|233
BDE1287|Bernard van Dieren
OVERTURE TO AN IMAGINARY COMEDY
Bardic Edition BDE1287|Study score. for chamber orchestra.|9790502445744|VAN DIEREN|Bernard van Dieren|Overture to an Imaginary Comedy|Study score|?21.00|269
BDE1298|Philip Spratley
A MAIDEN UNSPOTTED for SATB choir
Bardic Edition BDE1298|French carol arranged for SATB choir a cappella.|9790502446963|SPRATLEY|Philip Spratley|Maiden Unspotted|Choir - Mixed voices (SATB)|?2.00|13
BDE1299|Dana Paul Perna
.....FROM THE SPACES BETWEEN THE BOUNDARIES.....
Bardic Edition BDE1299|For solo tuba|9790502445805|PERNA|Dana Paul Perna|From the spaces between the.....|Tuba solo|?4.00|51
BDE1303|Cecil Coles
FOUR VERLAINE SONGS
Bardic Edition BDE1303|'for soprano voice and piano (or orchestra).
Fantastic in appearance; A slumber vast and black; Pastoral - a fragment; Let''s dance the jig.
Duration 10? minutes'|9790502445812|COLES|Cecil Coles|Four Verlaine Songs|Voice solo (with accompaniment)|?7.25|100
BDE1308|Alan Fleming Baird
IMAGINED DANCES for piano
Bardic Edition BDE1308|'Imagined Dances is a work for solo piano in five movements, each of which is inspired by at least one element of a traditional Scottish dance form.
The first movement takes its inspiration from the strathspey which makes use of the ''Scottish snap'' rhythm of a semi quaver followed by a dotted quaver and also brings in traditional bagpipe music embellishments.
The second movement takes its influence from the early 20th Century Gaelic work song ''The Cockle Gatherer'' which is most likely to come from Barra where cockle gathering is common.
The third movement is a lyrical songlike movement based on Scottish folk ballad songs. The right-hand melody is in three time (three crotchets per bar), while the left hand is in a compound two time (six quavers per bar) creating cross rhythms throughout its opening phrases. This rhythmic texture is meant to portray the lilting quality of Scottish folk music and the inspiration for creating this texture was to reimagine the lapping sounds of water in a loch.
The fourth movement is a reel which is traditionally in common time and made up of quaver movement with the accents being placed on the first and third beats of the bar and in a fast tempo. I use quite constant quaver movement but break the monotony of the constant common time by shifting the material into irregular time signatures.
The fifth movement is a rhapsody based on many different features found in other types of Scottish traditional music. It makes use of the Scottish snap rhythm again and the lyrical song lines of folk song and the dance rhythms of traditional Scottish dances. Alan Fleming Baird
Duration 16 minutes'|9790502446550|BAIRD|Alan Fleming Baird|Imagined Dances|Piano - Solo|?9.25|124
BDE1312|Nicholas Barton
IN THE BLEAK MIDWINTER
Bardic Edition BDE1312|for SATB choir and organ. Music by Nicholas Barton, words by Christina Rossetti|9790502445836|BARTON|Nicholas Barton|In the Bleak Midwinter|Choir - Mixed voices (SATB)|?3.75|38
BDE1321|Thomas Pitfield
LYRIC WALTZ score
Bardic Edition BDE1321|Lyric Waltz for string orchestra - A4 score.
Duration 3 minutes|9790502447878|PITFIELD|Thomas Pitfield|Lyric Waltz|Study score|?4.25|63
BDE1336|Alan Gibbs
OLYMPIC PAEAN for organ
Bardic Edition BDE1336|'This piece and Pastorale (''?green and pleasant land'') [BDE 1337] reflect the national fervour associated with the 2012 Olympic Games. Alan Gibbs
Duration 4 minutes'|9790502445935|GIBBS A|Alan Gibbs|Olympic Paean|Organ Solo|?4.25|63
BDE1337|Alan Gibbs
PASTORALE...GREEN AND PLEASANT LAND for organ
Bardic Edition BDE1337|This piece was inspired by the pageant created by Danny Boyle for the Opening Ceremony at the 2012 Olympic Games, and may be paired with Olympic Paean [BDE 1336]. Alan Gibbs
Duration 6 minutes|9790502445942|GIBBS A|Alan Gibbs|Pastorale...green and pleasant land|Organ Solo|?4.25|63
BDE1339|||9790502446178|CROFT-JACKSO|Harry Croft-Jackson|Love (Olney Anthems No.3)|Choir - Mixed voices (SATB)|?3.00|25
BDE1343|David Seymour
SUITE FOR WIND QUINTET Movements 3+4
Bardic Edition BDE1343|'Suite for wind quintet (flute, oboe, clarinet, basoon, horn) - Movements 3 and 4: "Kuzum" and "Father''s Day".
Score and Parts included.'|9790502446659|SEYMOUR|David Seymour|Suite for Wind Quintet Movt.3+4|Wind Ensemble|?16.25|209
BDE1344|David Seymour
SUITE FOR WIND QUINTET Movements 5+6
Bardic Edition BDE1344|For flute, oboe, clarinet, basson and horn. Score and parts included.
Movt.5: Steps. Movt.6: Waiting.|9790502447601|SEYMOUR|David Seymour|Suite for Wind Quintet Movt.5+6|Wind Ensemble|?11.25|149
BDE1347|Percy Grainger
A BRIDAL LULLABY for viola and piano
Bardic Edition BDE1347|'Arranged by Alan Gibbs for viola and piano, "A Bridal Lullaby" is an exquisite miniature composed by Percy Grainger and given as a wedding gift to Karen Holten (a former sweetheart), when she announced her marriage to someone else. It remained unpublished during Grainger''s lifetime (1882-1961) and was discovered by the present publisher whilst visiting the Grainger house in White Plains, New York. Later, it was found out that this haunting melody formed the middle section of Warriors II, a sequel to his massive 1916 imaginary ballet score The Warriors.
In 1992, Grainger''s A Bridal Lullaby was used for the main theme music for Howards End, the Merchant Ivory Production of E.M.Forster''s novel of Edwardian England.'|9790502446369|GRAINGER|Percy Grainger|A Bridal Lullaby arr.Gibbs|Viola & Piano|?4.25|63
BDE1349|Dana Paul Perna
DUO FOR FLUTE AND OBOE
Bardic Edition BDE1349|Duo for Flute and Oboe was composed between December 1976 into early January 1977. As the titles of its three movements implies, each were written in homage to three composers of note whom Perna remains particularly fond of, namely Maurice Ravel, Alban Berg, and Walter Piston, Respectively.
1) To Maurice Ravel
2) To Alban Berg
3) To Walter Piston
Score and parts included.
Duration 7 minutes|9790502446512|PERNA|Dana Paul Perna|Duo for flute and oboe|Wind Ensemble|?6.25|88
BDE1352|Thomas Pitfield
CONCERTO No.1 FOR PIANO & ORCHESTRA
Bardic Edition BDE1352|Study score - A4 116 pages wire bound.|9790502446536|PITFIELD|Thomas Pitfield|Concerto No.1 for Piano & Orchestra|Study score|?28.50|394
BDE1356|Philip Spratley
GLOUCESTERSHIRE WASSAIL for SATB choir
Bardic Edition BDE1356|Folksong collected by Ralph Vaughan Williams in Gloucestershire from several singers.
Words collated from various sources for SATB choir and piano (or orchestra).
Duration 5 minutes|9790502447045|SPRATLEY|Philip Spratley|Gloucestershire Wassail|Choir - Mixed voices (SATB)|?8.25|112
BDE1359|Philip Spratley
A MONTH OF SUNDAYS (SET 1) for organ
Bardic Edition BDE1359|'These short pieces began life just as isolated works and were conceived over several months. Gradually, the idea of music for all of a Sunday presented itself. They were then collated into the present form in the hope they would be useful for a wide range of organists. Each ''Sunday'' consists of four pieces; a Prelude, Gospel Procession, Communion Piece and a Postlude.
These pieces are aimed to be meaningful for a parish church congregation and useful for a cross section of organists or pianist/organists who may not be highly trained but are very competent and have limited time for choosing music and for practice. This includes young players with developing pedal technique. Pedal parts are, on the whole, fairly easy (and sometimes optional where they are shown as small notes). A few pieces are a la manniere of old English and European Dances in order that their styles and characters can live on in our young people. They are deliberately ''lighter'' in style.
It is a fact that there are many gifted amateur organists who find selection of music difficult and practice time even more so. The pieces are mostly, although not exclusively, aimed at them. They are, of course, interchangeable; the style of a particular piece might not be suitable for a particular Sunday whereas the other three might well be.
The repeats are optional and, in short gospel processions there are places where the music can end without any detrimental effect. Indications of registration are included only as a guide.
These works are meant for a 3 manual instrument but can equally be played on two. There are some items which do not use pedals and, except in one or two cases pedal parts are not exacting.
A Month of Sundays exists in two sets; there is a sequel entitled Preludes, Postludes and Pastorales which are intended to complement them. Philip Spratley Deeping St James, March 2023'|9790502446680|SPRATLEY|Philip Spratley|A Month of Sundays (Set 1)|Organ Solo|?13.25|173
BDE1360|Philip Spratley
A MONTH OF SUNDAYS (SET 2) for organ
Bardic Edition BDE1360|'These short pieces began life just as isolated works and were conceived over several months. Gradually, the idea of music for all of a Sunday presented itself. They were then collated into the present form in the hope they would be useful for a wide range of organists. Each ''Sunday'' consists of four pieces; a Prelude, Gospel Procession, Communion Piece and a Postlude.
These pieces are aimed to be meaningful for a parish church congregation and useful for a cross section of organists or pianist/organists who may not be highly trained but are very competent and have limited time for choosing music and for practice. This includes young players with developing pedal technique. Pedal parts are, on the whole, fairly easy (and sometimes optional where they are shown as small notes). A few pieces are a la manniere of old English and European Dances in order that their styles and characters can live on in our young people. They are deliberately ''lighter'' in style.
It is a fact that there are many gifted amateur organists who find selection of music difficult and practice time even more so. The pieces are mostly, although not exclusively, aimed at them. They are, of course, interchangeable; the style of a particular piece might not be suitable for a particular Sunday whereas the other three might well be.
The repeats are optional and, in short gospel processions there are places where the music can end without any detrimental effect. Indications of registration are included only as a guide.
These works are meant for a 3 manual instrument but can equally be played on two. There are some items which do not use pedals and, except in one or two cases pedal parts are not exacting. Philip Spratley'|9790502446697|SPRATLEY|Philip Spratley|A Month of Sundays (Set 2)|Organ Solo|?13.25|173
BDE1361|Philip Spratley
PRELUDES POSTLUDES AND PASTORALES for organ
Bardic Edition BDE1361|'1. Prelude (St. Edmund), 2. Postlude on ''Truro'', 3. Pastorale, 4. Postlude on ''Ellacombe'', 5. Prelude on ''Veni Creator'', 6. Prelude on ''Rockingham'', 7. Pastorale: Miniatura Mistica, 8. Postlude, 9. Pastorale, 10. Postlude, 11. Prelude for ''Festa dell'' Assino'', 12. Fuga: Fantasia on ''Orientus Partibus''.
These short pieces began life just as isolated works and were conceived over many months. They were then collated into the present form in the hope they would be useful for a wide range of organists. Some are based on well-known hymn tunes; others are original. Most are not too technically demanding with the exception of number 12 which might be quite a challenge for some.
These works are meant for a 3 manual instrument but most can equally be played on two. Philip Spratley'|9790502447533|SPRATLEY|Philip Spratley|Preludes Postludes and Pastorales|Organ Solo|?15.25|192
BDE1362|Michael Blake
THREE INTERLUDES for flautist and keyboard
Bardic Edition BDE1362|The flautist plays piccolo, flute in C and alto flute. The keyboard player plays celeste, piano and harpsichord. If some keyboard instruments are unavailable, the celeste and harpsichord parts may be played on the piano - celeste part an octave higher, and harpsichord part without sustain pedal.
A further alternative would be for the celeste and harpsichord parts to be played on a synthesiser or digital piano with appropriate samples.
The first performance was given by Jenni Scheffer (flutes) and Michael Blake (keyboards) in 1975/1976 in Johannesburg.
Duration 3 minutes|9790502446703|BLAKE M|Michael Blake|Three Interludes|Flute and piano|?8.25|112
BDE1363|Michael Blake
THESE CAROLS for SSAATB choir
Bardic Edition BDE1363|'For SSAATB choir a cappella - poem by Walt Whitman.
Music was one of Walt Whitman''s (1819-1892) greatest sources of inspiration. For him music was "greater than wealth, greater than buildings, ships, religions, paintings". More than 400 of his poems invoke music, and composers from Charles Ives to the present day have set his poetry. These Carols - just one stanza, two sentences - is taken from the collection Leaves of Grass: Songs of Parting (1891-1892).
Duration 1? minutes'|9790502446734|BLAKE M|Michael Blake|These Carols|Choir - Mixed voices (SATB)|?3.00|25
BDE1364|Michael Blake
THREE PIECES
Bardic Edition BDE1364|'for oboe, violin, viola and violoncello.
This set of pieces was collected over 15 years, starting with Love Song (composed 2007 as an organ solo, for the wedding of Gary and Elbe Roberts; transcribed 2010), then Dance Song (composed 2015 as one of five pieces for piano duet; transcribed 2016), and finally A Kind of Lullaby (composed 2022 for oboe and string trio). Dance Song draws on polyphonic horn music from the Central African Republic; A Kind of Lullaby uses fragments of a ''Lullaby'' from the repertoire of the Ba-Benzele Pygmies.
Duration 9? minutes'|9790502446741|BLAKE M|Michael Blake|Three Pieces Ob/Vln/Vla/Vc|Ensemble - Mixed|?14.25|184
BDE1365|Dana Paul Perna
SOLILOQUY AND VARIATIONS for viola
Bardic Edition BDE1365|'Dana Paul Perna composed his Soliloquy and Variations for unaccompanied viola between early-September and mid-October 1977, and it received its premiere performance on December 1st of that year. In 2021, he prepared this version for unaccompanied viola. There is little out of the ordinary in terms of its notation; its technical demands remaining for its violist to circumvent within their own parameters. The only notation-related aspects to mention are the indications of ''col legno'' that appear in Variation 7 - Epilogue. Due to the nature of striking the strings with ones'' bow, it is always a concern with violists wishing to not cause damage to it, nor to their viola itself. For this reason, the dynamic demarkation of fortissimo may be, perhaps, achieved with a bit less force than that dynamic implies, simply due to the dramatic nature of the action ''col legno'' produces, and presents to an audience. Another option for the violist may be to tap their bow on the finger board if they wish to add a bit more of a ''percussive'' sound to it. As for those passages marked ''pizzicato'' (in the same variation), to perform them at that tempo may prove a challenge. It will not be out-of-the-question if those rapid 16th-notes come off as something more analogous to a ''portamento'', or as ''gliding-tones'', or as ''bends.'' If any of those prove a simpler solution, as opposed to aiming to articulate every pitch individually, that will be a matter for the performer to consider. Like the Soliloquy, each variation concludes with a full double bar. Violists may interpret these as pauses between each variation, or, to perform them attacca, or, in a combination thereof. Their interpretation, in other words, shall remain a decision that is best left up to the performers'' discretion.
Duration 9 minutes'|9790502446758|PERNA|Dana Paul Perna|Soliloquy and Variations|Viola solo|?5.25|76
BDE1366|Michael Blake
BIRTHDAY GREETING FROM AFRIKA
Bardic Edition BDE1366|'Scored for bass flute, bass clarinet, violin, violoncello and piano.
The bass flute should be amplified or the dynamics of the other four instruments adjusted down to achieve a good balance. The first performance was given on 12 June 2010 in the Cascais Cultural Centre Portugal by Sond''Ar-te Electric Ensemble as part of the instrumental "Cadavre Exquis" celebrating the 25th Anniversary of Miso Music.
Score and parts included.
Duration 1? minutes'|9790502446840|BLAKE M|Michael Blake|Birthday Greeting from Afrika|Ensemble - Mixed|?6.25|88
BDE1367|Michael Blake
OLIVE SCHREINER for piano duet
Bardic Edition BDE1367|'Olive Schreiner takes material from my very first piano duet Let us run out of the rain and recasts it in new ways, making reference perhaps to the absence of narrative in Schreiner''s ground-breaking novel Story of an African Farm. lt was composed for the radical new music festival ''Music Breaks Free - Issues of Gender and Sexuality'', fearlessly curated by Michael Finnissy - the work''s dedicatee - at the University of Sussex in 1995. I gave the first performance with Sally Rose, on 16 March 1995 at the Gardner Arts Centre, Brighton. Michael Blake, Brighton, 1995
Duration 7 minutes'|9790502446895|BLAKE M|Michael Blake|Olive Schreiner|Piano - 2 players on 1 piano|?5.25|76
BDE1374|Philip Spratley
THE CHERRY TREE CAROL for mixed voice choir
Bardic Edition BDE1374|For mixed voices (SATB) and organ. Based on a carol from Hindman, Kentucky, sung by William Wooton to Cecil Sharp and Maud Karpeles in 1916.|9790502447212|SPRATLEY|Philip Spratley|The Cherry Tree Carol|Choir - Mixed voices (SATB)|?4.75|50
BDE1375|Philip Spratley
IN EXCELSIS GLORIA for mixed voice choir
Bardic Edition BDE1375|For SATB choir a cappella. Words anonymous c.1456.|9790502447229|SPRATLEY|Philip Spratley|In Excelsis Gloria|Choir - Mixed voices (SATB)|?2.00|13
BDE1377|Percy Grainger
THE MAIDEN AND THE FROG for 2 pianos
Bardic Edition BDE1377|"Jomfruen og froen" (The maiden and the frog) arranged for 2 pianos, four hands by Percy Aldridge Grainger, is a setting of a Danish folk--song gathered with a phonograph in Jutland by Evald Tang Kristensen and myself on August 22, 1922 from the singing of Andreas Knudsen of Vejlby, Jutland. It relates the well-known story of a poor maiden who is courted by a frog who is eventually revealed as an handsome prince who had been transformed into a frog by a magician. The maiden breaks the spell by consenting to make the frog her bedfellow for two nights after which they marry and live happily ever after. Percy Aldridge Grainger, 1925
Duration 4 minutes
Two copies are included.|9790502447311|GRAINGER|Percy Grainger|The Maiden and the Frog|Piano - 2 players on 2 pianos|?4.25|63
BDE1392|Malcolm Hawkins
TWO HYMNS for SATB choir
Bardic Edition BDE1392|Two Hymns: In Brighter Sky & Salvia Blue. Words and music by Malcolm Hawkins for SATB choir and keyboard or harp.|9790502447281|HAWKINS|Malcolm Hawkins|Two Hymns|Choir - Mixed voices (SATB)|?5.75|63
BDE1393|Malcolm Hawkins
ROSAMUNDI for SATB
Bardic Edition BDE1393|for SATB choir and harp or keyboard or organ.
Duration 3 minutes|9790502447083|HAWKINS|Malcolm Hawkins|Rosamundi|Choir - Mixed voices (SATB)|?3.75|38
BDE1395|David J Eccott
FIVE JAZZ INTERLUDES for piano
Bardic Edition BDE1395|'FIVE JAZZ INTERLUDES for piano solo,
Lockdown blues; Streetwise blues; In melancholy mood; Night drive; Ryan''s riff
Total duration 11 minutes'|9790502447106|ECCOTT|David J Eccott|Five Jazz Interludes|Piano - Solo|?8.25|112
BDE1396|Philip Spratley
TWO ANTHEMS for mixed voice choir
Bardic Edition BDE1396|Morning Anthem (Agnus Dei) and Evening Introit/Anthem for SATB choir and organ.
The morning anthem (Agnus Dei) is a simple setting for a small church choir. The words for the evening introit/anthem are by St. Ambrose, Bishop of Milano from 374 to 397. He is the patron saint of beekeepers. Translation and versification are by the prolific and greatly loved John M. Neale (1818-66). The melody of the setting is based on an Irish traditional one. Philip Spratley
Total duration 5? minutes|9790502447076|SPRATLEY|Philip Spratley|Two Anthems|Choir - Mixed voices (SATB)|?3.00|25
BDE1401|John Locke
SIX INVENTIONS for recorder & piano
Bardic Edition BDE1401|For descant recorder and piano.
Duration 5 minutes|9790502447373|LOCKE|John Locke|Six Inventions|Recorder and piano|?4.75|88
BDE1402|Thomas Pitfield
LITTLE FRENCH SUITE for piano
Bardic Edition BDE1402|Six short pieces for piano solo:
1. First variants; 2. Air; 3. Noel; 4. La pastourelle; 5. Berceuse; 6. Variations (finale)
Duration 7 minutes|9790502447397|PITFIELD|Thomas Pitfield|Little French Suite|Piano - Solo|?5.25|76
BDE1403|John Pickard
VERLAINE SONGS Study Score
Bardic Edition BDE1403|'For soprano and 10 instruments - Flute, Oboe, Clarinet in Bb, Horn in F, Harp, Piano, Violin, Viola, Violoncello & Contrabass.
I. Chanson d''automne; II Spleen; III Marine; IV Le Squellette; V L''heure exquise; VI Le soleil d''or
This cycle of songs sets poems by the great nineteenth-century French poet Paul Verlaine (1844-1896). The poems are mainly drawn from collections published in the earlier part of Verlaine''s career: Chanson d''Automne and Marine come from the Poemes saturniens of 1866; L''heure exquise and Le soleil d''or (both of which are untitled in the published text) come from La Bonne Chanson published in 1870; Spleen is from the 1874 Romances sans paroles; Le Squelette, the latest of the poems in this cycle, was published in 1884 as part of the collection Jadis et naguere.
Verlaine has always been a popular poet with French composers, with Faure, Debussy and Ravel among the many who set him. Critics frequently point to the innate musicality of Verlaine''s verse as an important inspiration. Even as a non-native, and not particularly accomplished, French speaker, I strongly sensed that musicality while attempting my own settings.
I chose these particular poems for their broad range of expression and grouped them in an order that provides dramatic contrast and an overall progression of mood. The first two poems are languorous and subjective, the third is a vivid description of a storm at sea, the fourth is a macabre and comical account of two drunks who try to offer a drink to a skeleton, who sits up and sends them on their way, the fifth is a romantic nocturne and the final song is a joyful description of the rising sun. John Pickard
Duration 17 minutes
A Soprano & Piano reduction is available - BDE1403A'|9790502447403|PICKARD|John Pickard|Verlaine Songs (Sop+10 instruments)|Study score|?25.00|318
BDE1412|Paul R Harvey
VALSE CAPRICE study score
Bardic Edition BDE1412|'Paul Harvey''s Valse Caprice for orchestra arranged by David J. Eccott.
Duration 2 minutes'|9790502447656|HARVEY|Paul R Harvey|Valse Caprice|Study score|?11.25|149
BDE1413|Paul R Harvey
SILHOUETTE study score
Bardic Edition BDE1413|'Paul Harvey''s Silhouette arranged for orchestra by David J. Eccott
Duration 1? minutes'|9790502447663|HARVEY|Paul R Harvey|Silhouette|Study score|?6.25|88
BDE1414|Michael Blake
GIYANI for reed quintet
Bardic Edition BDE1414|For reed quintet of oboe, alto saxophone in Eb, clarinet in Bb, bass clarinet in Bb, bassoon.
Note by the composer:
Giyani is a town in Limpopo Province, South Africa, birthplace of my friends Musa Nkuna and Tintswalo Khosa. This piece paints a portrait of them and their family, and of Giyani itself, and is therefore partly based on a Tsonga childrenfs song transcribed by Thomas F Johnston. Originally a piano work (Afrikosmos Volume 6), I wanted to characterise the Nkuna family members through the instrumentation of the reed quintet: oboe - Lisa; alto saxophone - Xilombe; clarinet - Tintswalo; bass clarinet . Nyeleti; bassoon - Musa.
Duration 5 minutes
Score and parts included.|9790502447687|BLAKE M|Michael Blake|Giyani|Wind Ensemble|?10.25|136
BDE1415|Michael Blake
PAN AFRICAN POLYPHONY for percussion
Bardic Edition BDE1415|For steel pans and percussion.
Steel Pans (Minimum of 5 players, but any number is possible especially on upper parts): Tenor, Double Tenor, Double Seconds
Cello/Guitar, Bass
Percussion (Any number of percussionists, other instruments may be used, and improvisation can be included): Rattles (or Maracas), Cabasa, Djembe, Drum Kit.
Duration 5? minutes
Score and parts included.|9790502447694|BLAKE M|Michael Blake|Pan African Polyphony|Ensemble - Mixed|?16.25|209
BDE1416|Michael Blake
SIX AFRICOSMS for brass quintet
Bardic Edition BDE1416|Instrumentation: Horn in F, 2 Trumpets in Bb, Trombone, Tuba
These six miniatures were transcribed for brass quintet in 2016 and 2022 from some of the Afrikosmos for piano, as an addition to the homegrown repertoire for South African brass ensembles. The first performance was given by Brahsse on 30th June, 2023 at the Stellenbosch International Chamber Music Festival, South Africa. Michael Blake
Score and parts included.
Duration 8 minutes|9790502447700|BLAKE M|Michael Blake|Six Africosms for brass quintet|Ensemble - Mixed brass|?19.00|245
BDE1423|Michael Blake
FIVE PIECES FOR PICCOLO & TUBA
Bardic Edition BDE1423|'Graphic score.
Five Pieces for Piccolo and Tuba grew out of a whim: the perverse idea of the two extremes of the woodwind/brass sections of the orchestra duetting with a kind of no man''s land between them, and perhaps also something comical about these two quirky members of the orchestra.
I notated it as a graphic score because of my interest in Dada, and in Johannesburg in the 1970s Dada was one way of responding to the stiflingly conservative politics of the time. The score came about largely by accident: having chosen the instrumentation, I sought out piccolo and tuba excerpts from various standard orchestral works - but also including the famous piccolo and tuba solos from Sousa''s "Stars and Stripes" - and then photocopied and cut them up, and made A4 collages. When photocopying them - on an early Rank Xerox machine - I accidentally removed a page too soon and discovered something like a photocopying equivalent to the canvasses of Jackson Pollock. This became my first chance composition.
I composed Five Pieces for Piccolo and Tuba in 1971 in the same year most white South African composers were responding to commissions in praise of the Second Republic - that of the apartheid regime - for performance at various 10th anniversary festivals for the white elite. My work most definitely did not commemorate this occasion.
I never found piccolo and tuba players to interpret it, so it ended up in the bottom drawer for four decades, travelled around the world with me, at some point the original Xeroxes getting lost (but fortunately I had copies), and having found willing players in the 21st century, it was performed for the first time on 30 April 2015 at the Young Blood Gallery in Cape Town. The performers were Marietjie Pauw (piccolo) and Le-Nique Brand (tuba).
In 2015 Willem Boshoff suggested I turn the score into a limited edition artist book of 5 copies, which I did in collaboration with Hel?ne van Aswegen. Michael Blake'|9790502447939|BLAKE M|Michael Blake|Five Pieces for Piccolo & Tuba|Ensemble - Mixed|?6.25|88
BDE1424|Paul R Harvey
THREE ROMANTIC INTERLUDES for piano
Bardic Edition BDE1424|Three Romantic Interludes for piano solo.
I would like to thank my good friend David Eccott for all his help in the past and for notating the music of these three pieces by ear from recordings of my performances of them. I would also like to thank Barry Ould of Bardic Edition Music Publishers for publishing these three pieces and all of my other compositions in the previous years. Paul Harvey
Duration 4? minutes (each interlude 1? minutes)|9790502447922|HARVEY|Paul R Harvey|Three Romantic Interludes|Piano - Solo|?6.25|88