Catalogue No. |Website Header|Website Info|ISMN|Composer alpha|Composer display|Title|Instrument|Retail Price GB?|Weight(gms)
1001|||9790222238404|IVES G|Grayston Ives|Falcon|Voice solo (with accompaniment)|?3.50|25
1002|||9790222238411|NAYLOR B|Bernard Naylor|Gentle Sleep|Voice solo (with accompaniment)|?3.50|13
1005|||9790222238428|PLUMSTEAD|Mary Plumstead|'Ha''nacker Mill'|Voice solo (with accompaniment)|?3.50|25
1006|||9790222238435|ORR|Charles Wilfred Orr|Lads in Their Hundreds|Voice solo (with accompaniment)|?3.50|25
1007|||9790222238442|ORR|Charles Wilfred Orr|Two Seventeenth Century Poems|Voice solo (with accompaniment)|?3.50|25
1008|||9790222238459|ORR|Charles Wilfred Orr|Soldier from the Wars Returning|Voice solo (with accompaniment)|?3.50|25
1009|||9790222238466|ORR|Charles Wilfred Orr|Tryste Noel|Voice solo (with accompaniment)|?3.50|25
1010|||9790222238473|ORR|Charles Wilfred Orr|Hymn Before Sleep|Voice solo (with accompaniment)|?3.50|25
1011|||9790222238480|ORR|Charles Wilfred Orr|In Valleys Green and Still|Voice solo (with accompaniment)|?3.50|25
1012|||9790222238497|ORR|Charles Wilfred Orr|While Summer On Is Stealing|Voice solo (with accompaniment)|?3.50|25
1013|Michael Head
I WILL LIFT UP MINE EYES for solo voice
Roberton 01013|Psalm 121. "I Will Lift Up Mine Eyes", No.1 of Three Psalms set to music by Michael Head for voice and piano.
In two keys: for Low Voice in C major (B-E) and High Voice in F major (E-A). Both keys are included in the same copy.|9790222238503|HEAD|Michael Head|I Will Lift Up Mine Eyes|Voice solo (with accompaniment)|?4.00|38
01014H|||9790222238510|HEAD|Michael Head|Be Merciful Unto Me O God (high)|Voice solo (with accompaniment)|?4.00|38
01014L|||9790222238527|HEAD|Michael Head|Be Merciful Unto Me O God (low)|Voice solo (with accompaniment)|?4.00|38
01015H|||9790222238534|HEAD|Michael Head|Make A Joyful Noise Psalm100 (high)|Voice solo (with accompaniment)|?3.50|25
01015L|||9790222238541|HEAD|Michael Head|Make A Joyful Noise Psalm100 (low)|Voice solo (with accompaniment)|?3.50|25
1016|||9790222238558|CROFT|William Croft|'My Heart Is Ev''ry Beauty''s Prey'|Voice solo (with accompaniment)|?3.50|25
1017|||9790222238565|WORDSWORTH|William Wordsworth|Solitary Reaper (sop/clar/pno)|Voice solo (with accompaniment)|?5.50|100
1018|||9790222238572|NAYLOR J|John Naylor|Come Away Death (low & high key)|Voice solo (with accompaniment)|?3.50|25
1019|||9790222238589|NAYLOR B|Bernard Naylor|'Child''s Carol'|Voice solo (with accompaniment)|?3.50|13
1020|||9790222238596|NAYLOR B|Bernard Naylor|Dreams of the Sea|Voice solo (with accompaniment)|?3.50|25
01021H|||9790222238602|NAYLOR B|Bernard Naylor|Ecstatic (high)|Voice solo (with accompaniment)|?3.50|13
01021L|||9790222238619|NAYLOR B|Bernard Naylor|Ecstatic (low)|Voice solo (with accompaniment)|?3.50|13
1022|Bernard Naylor
FALLEN POPLAR for voice & piano
Roberton 01022||9790222238626|NAYLOR B|Bernard Naylor|Fallen Poplar|Voice solo (with accompaniment)|?3.50|13
1024|||9790222238640|MACNUTT|Walter MacNutt|O Love, Be Deep|Voice solo (with accompaniment)|?3.50|13
1027|Mary Plumstead
CLOSE THINE EYES for voice and piano
Roberton 01027|All three keys in the same copy - High Gb, Medium E, Low Db.|9790222269866|PLUMSTEAD|Mary Plumstead|Close Thine Eyes (H/M/L keys)|Voice solo (with accompaniment)|?3.50|25
1028|||9790222238671|PLUMSTEAD|Mary Plumstead|Grateful Heart / He Was the One|Voice solo (with accompaniment)|?3.50|25
1029|||9790222238688|RAPHAEL|Mark Raphael|Weep No More|Voice solo (with accompaniment)|?3.50|13
1030|||9790222238695|RAPHAEL|Mark Raphael|Three Blake Songs|Voice solo (with accompaniment)|?3.50|25
1031|||9790222238701|CAREY H|Henry Carey|Friendly Adviser (real.Cockshott)|Voice solo (with accompaniment)|?3.50|25
1033|||9790222238725|HEAD|Michael Head|Child On the Shore (voice/vln/pno)|Voice solo (with accompaniment)|?4.50|76
01034H|||9790222238732|ROBERTON|Hugh S. Roberton|Maureen (high - key F)|Voice solo (with accompaniment)|?3.50|13
01034L|||9790222238749|ROBERTON|Hugh S. Roberton|Maureen (low - key C)|Voice solo (with accompaniment)|?3.50|13
01034M|||9790222238756|ROBERTON|Hugh S. Roberton|Maureen (medium - key E Flat)|Voice solo (with accompaniment)|?3.50|13
01035H|||9790222238763|ROBERTON|Hugh S. Roberton|Old Woman (high)|Voice solo (with accompaniment)|?3.50|13
01035L|||9790222238770|ROBERTON|Hugh S. Roberton|Old Woman (low)|Voice solo (with accompaniment)|?3.50|13
1036|||9790222238787|ROBERTON|Hugh S. Roberton|Wee Toun Clerk|Voice solo (with accompaniment)|?3.50|13
1038|||9790222238794|PARKE|Dorothy Parke|Wee Hughie (low & high keys)|Voice solo (with accompaniment)|?3.50|25
1039|||9790222238800|PLUMSTEAD|Mary Plumstead|Song of the Cross (low & high keys)|Voice solo (with accompaniment)|?3.50|25
1041|||9790222238817|PARRY|C. Hubert H. Parry|Jerusalem (simplified in key C)|Voice solo (with accompaniment)|?3.50|13
1042|||9790222238824|PARKE|Dorothy Parke|Song in Exile|Voice solo (with accompaniment)|?3.50|13
1043|||9790222238831|PARKE|Dorothy Parke|Road To Ballydare|Voice solo (with accompaniment)|?3.50|25
1044|||9790222238848|DALE|Gordon Dale|Fie Diddle Dee and Fie On Me|Voice solo (with accompaniment)|?3.50|13
1045|||9790222238855|DALE|Gordon Dale|Footprints in the Snow|Voice solo (with accompaniment)|?3.50|25
1046|||9790222238862|DALE|Gordon Dale|Snowie the Snowman|Voice solo (with accompaniment)|?3.50|25
1047|||9790222238879|ANDERSON|William Henry Anderson|Last Year|Voice solo (with accompaniment)|?3.50|13
1048|William Henry Anderson
TWO UKRAINIAN FOLK SONGS
Roberton 01048|"Alone" and "In the Garden Flowers are Growing", two Ukrainian folksongs arranged by W.H.Anderson for solo or unison voices and piano.
Re-typeset in 2023 for a clearer copy.|9790222238886|ANDERSON|William Henry Anderson|Two Ukrainian Folk Songs|Voice solo (with accompaniment)|?3.50|13
1049|||9790222238893|ANDERSON|William Henry Anderson|'Old Shepherd''s Prayer (key Dm)'|Voice solo (with accompaniment)|?3.50|13
1050|||9790222238909|PARKE|Dorothy Parke|Falling of the Leaves|Voice solo (with accompaniment)|?3.50|13
01051H|||9790222238916|ANDERSON|William Henry Anderson|To a Girl On Her Birthday (high)|Voice solo (with accompaniment)|?3.50|13
01051L|||9790222238923|ANDERSON|William Henry Anderson|To a Girl On Her Birthday (low)|Voice solo (with accompaniment)|?3.50|13
1052|||9790222238930|PARKE|Dorothy Parke|House and the Road|Voice solo (with accompaniment)|?3.50|13
1053|||9790222238947|WAGNER R|Richard Wagner|O Pure and Tender Star of Eve|Voice solo (with accompaniment)|?3.50|25
1054|||9790222238954|SCHUBERT|Franz Schubert|Almighty (Die Allmacht)|Voice solo (with accompaniment)|?3.50|25
1055|||9790222238961|ROBERTON|Hugh S. Roberton|'As If I Didn''t Know (the Deluderer)'|Voice solo (with accompaniment)|?3.50|13
1056|||9790222238978|ROBERTON|Hugh S. Roberton|Old Harper (traditional Scots air)|Voice solo (with accompaniment)|?3.50|13
1057|||9790222238985|WALTERS L|Leslie Walters|Love Song (high & low keys)|Voice solo (with accompaniment)|?3.50|25
1058|||9790222269873|GIBBS CA|C Armstrong Gibbs|Covent Garden (3 keys in one copy)|Voice solo (with accompaniment)|?4.00|50
01061H|||9790222239029|PARRY|C. Hubert H. Parry|'Poet''s Song (high key - F)'|Voice solo (with accompaniment)|?3.50|13
01061L|||9790222239036|PARRY|C. Hubert H. Parry|'Poet''s Song (low key - D)'|Voice solo (with accompaniment)|?3.50|13
01061M|||9790222239043|PARRY|C. Hubert H. Parry|'Poet''s Song (medium key - E)'|Voice solo (with accompaniment)|?3.50|13
1062|||9790222239050|ROWLEY|Alec Rowley|On Newlyn Hill|Voice solo (with accompaniment)|?3.50|25
01064H|||9790222239067|ANDERSON|William Henry Anderson|Hospitality key D Minor (high)|Voice solo (with accompaniment)|?3.50|13
01064L|||9790222239074|ANDERSON|William Henry Anderson|Hospitality key C Minor (low)|Voice solo (with accompaniment)|?3.50|13
1065|||9790222239081|JEFFREYS J|John Jeffreys|Northumberland|Voice solo (with accompaniment)|?3.50|13
1066|||9790222239098|TEED|Roy Teed|Holy Thursday|Voice solo (with accompaniment)|?3.50|25
1068|Dilys Elwyn-Edwards
THE CLOTHS OF HEAVEN for solo voice
Roberton 01068|Words by W.B.Yeats (with an additional Welsh translation by Meredydd Evans) set to music by Dilys Elwyn-Edwards.
Key D, range is D to E.|9790222239104|ELWYN-EDWARD|Dilys Elwyn-Edwards|Cloths of Heaven|Voice solo (with accompaniment)|?3.50|25
1069|||9790222239111|PARKE|Dorothy Parke|Wish|Voice solo (with accompaniment)|?3.50|13
1070|||9790222239128|JEFFREYS J|John Jeffreys|Gone Is My Love from the Silver Str|Voice solo (with accompaniment)|?3.50|13
1071|John Jeffreys
I WILL GO WITH MY FATHER A-PLOUGHING
Roberton 01071|Song for voice and piano in key G. (Also available in key F - 75317)
Duration 3 minutes|9790222239135|JEFFREYS J|John Jeffreys|I Will Go With My Father [key G]|Voice solo (with accompaniment)|?3.50|25
1072|||9790222239142|JEFFREYS J|John Jeffreys|'Poacher''s Dog'|Voice solo (with accompaniment)|?4.00|38
1073|||9790222239159|GIBBS CA|C Armstrong Gibbs|Slow Horses Slow (low - C minor)|Voice solo (with accompaniment)|?3.50|25
1074|||9790222239166|PARKE|Dorothy Parke|Kilkeel|Voice solo (with accompaniment)|?3.50|13
1075|Harrison Oxley
LAURA SLEEPING
for voice and piano
Roberton 1075|A lovely setting of words by Charles Cotton (1630-1687) with original music by Harrison Oxley. A great range is not required (High voice Eb-G, Low voice C-E) and both keys are printed in the same copy so you cannot buy the wrong one! Sample score shown is the HIgh Voice version.|9790222252493|OXLEY|Harrison Oxley|Laura Sleeping|Voice solo (with accompaniment)|?4.00|50
1076|John Jeffreys
THE FAR COUNTRY for high voice and piano
Roberton 1076|'A lovely setting of A. E. Housman''s well-known poem for high voice [range E up to A] and piano.
Duration: 3 minutes'|9790222264885|JEFFREYS J|John Jeffreys|Far Country|Voice solo (with accompaniment)|?3.50|13
1077|John Jeffreys
HERACLITUS for medium voice and piano
Roberton 1077|A setting of words by William Cory (1823-1892) for medium voice [range Eb up to Eb] and piano.
Duration: 3? minutes|9790222266438|JEFFREYS J|John Jeffreys|Heraclitus|Voice solo (with accompaniment)|?3.50|13
1501|||9790222239173|NAYLOR B|Bernard Naylor|Speaking from the Snow|Voice solo (with accompaniment)|?4.00|50
1504|||9790222239180|HAMILTON|Alasdair Hamilton|Plumes of Time|Voice solo (with accompaniment)|?4.50|76
1505|Claire Liddell
THE KINDLING FIRE for voice and piano
Roberton Publications 1505|'Twelve Burns songs set to the original airs for high voice and piano
A rosebud by my early walk; Ca'' the yowes; Comin'' through the rye; Go, fetch me a pint of wine; I dreamed I lay where flowers were springing; I''m o''er young to marry yet; On Cessnock banks; Scots wha hae; Talk not of love; To a blackbird; Wee Willie Gray; Ye banks and braes of bonnie Doon.'|9790222239197|LIDDELL C|Claire Liddell|Kindling Fire - 12 Burns Songs|Voice solo (with accompaniment)|?7.50|136
1506|||9790222239203|LIDDELL C|Claire Liddell|Five Orkney Scenes|Voice solo (with accompaniment)|?5.00|88
1507|||9790222239210|ARNOLD M|Malcolm Arnold|Two John Donne Songs|Voice solo (with accompaniment)|?4.00|38
1508|Rene Atkinson
MA BONNY LAD
for voice and piano
Roberton Publications 1508|Five traditional songs from Northumbria arranged for voice and piano by Rene Atkinson.
The Water of Tyne
Elsie Marley
Ma Bonny Lad
Bonny at Morn
Bobby Shaftoe|9790222239227|ATKINSON R|Rene Atkinson|Ma Bonny Lad (Northumbrian Songs)|Voice solo (with accompaniment)|?5.00|88
1509|||9790222239234|RAPHAEL|Mark Raphael|Two Thomas Moore Songs|Voice solo (with accompaniment)|?3.50|25
01510H|||9790222239241|ROBERTON|Hugh S. Roberton|Scottish Songs Book 1 (high)|Voice solo (with accompaniment)|?4.00|38
01510L|||9790222239258|ROBERTON|Hugh S. Roberton|Scottish Songs Book 1 (low)|Voice solo (with accompaniment)|?4.00|38
01511H|||9790222239265|ROBERTON|Hugh S. Roberton|Scottish Songs Book 2 (high)|Voice solo (with accompaniment)|?4.00|38
01511L|||9790222239272|ROBERTON|Hugh S. Roberton|Scottish Songs Book 2 (low)|Voice solo (with accompaniment)|?4.00|38
1512|||9790222239289|RAPHAEL|Mark Raphael|Three D.H.Lawrence Love Poems|Voice solo (with accompaniment)|?4.00|50
1513|HEAD, Michael (1900-1976)
NINE CORNISH SONGS
for voice and piano
Roberton Publications 1513|'First publication (2007) of nine settings of poems by John Harris, James Dryden Hosken, Joseph Thomas and Charles Causley all with a Cornish theme. The songs are:
Kynance (John Harris) [Range: Bb(Db) - Bb]
Mystic melody (John Harris) [C - Ab]
Porthleven: The brown sails tremble (J. D. Hosken) [C# - A]
The burial (Will''s ferret) (John Harris) [D - E]
As I went down Zig-Zag (Charles Causley) [E - G#]
The Lark (John Harris) [Eb - Ab]
Mary, Mary, Magdalene (Charles Causley) [Eb - G]
Gyllyngdune (John Harris) [B - A]
My young man''s a Cornishman (Charles Causley) for soprano OR Kitty Cornish (Joseph Thomas) for tenor [E - A].
The ranges are generally suitable for high voice though "The Burial (Will''s ferret)" and "As I went down Zig-Zag" could be sung by a mezzo or baritone. The songs have been edited by Alison Mary Sutton from Michael Head''s manuscript.
Total duration c.25 minutes'|9790222262171|HEAD|Michael Head|Nine Cornish Songs|Voice solo (with accompaniment)|?9.50|173
1515|HEAD, Michael (1900-1976)
SONGS OF REMINISCENCE
for voice and piano
Roberton Publications 1515|'First publication (2007) of seven settings of poems by Patrick Kavanagh (1940-1967). The songs are:
A Christmas childhood [Range C to F]
Memory of my Father [C-D]
If ever you go to Dublin Town [A-F#]
My room [B-D#]
The Rowley Mile [A-F#]
Plough horses [A-E]
September morning [Db-Gb]
The songs have been edited by Alison Mary Sutton from Michael Head''s manuscript.
Total duration c.17 minutes'|9790222262188|HEAD|Michael Head|Songs of Reminiscence|Voice solo (with accompaniment)|?6.50|124
1519|||9790222239296|STEVENS B|Bernard Stevens|True Dark - Song Cycle|Voice solo (with accompaniment)|?8.00|149
1520|Francis George Scott
THE SONGS OF FRANCIS GEORGE SCOTT for voice and piano
Roberton Publications 1520|'A centenary album of 41 songs edited by Neil Mackay.
Ane sang of the birth of Christ (Trad); An apprentice angel (Hugh MacDiarmid); Ay waukin, O (Robert Burns); Country life (Hugh MacDiarmid); Crowdieknowe (Hugh MacDiarmid); Cupid and Venus (Mark Alexander Boyd); The deil O'' Bogie (Alexander Gray); The discreet hint (Robert Burns); The eemis stane (Hugh MacDiarmid); Empty vessel (Hugh MacDiarmid); First love (Hugh MacDiarmid); Florine (Thomas Campbell); The Kerry shore - Loch Fyne (George Campbell Hay); Lourd on my heart (Hugh MacDiarmid); The love-sick lass (Hugh MacDiarmid); Mary Morrison (Robert Burns); Milkwort and bog-cotton (Hugh MacDiarmid); Moonstruck (Hugh MacDiarmid); My luve is like a red, red rose (Robert Burns); O were my love you lilac fair (Robert Burns); Of ane blackamoor (William Dunbar); The old fisherman (George Campbell Hay); Phillis (William Drummond); Rattlin'', roarin'' (Robert Burns); Reid e''en (Hugh MacDiarmid); Rorate coeli desuper (William Dunbar); St. Brendan''s graveyard; Isle of Barra (Jean Lang); The sauchs in the reuch heuch hauch (Hugh MacDiarmid); Scots, wha hae (Robert Burns); Scroggam (Robert Burns); Since all thy vows, false maid (Anon); To a lady (William Dunbar); To a Loch Fyne fisherman who keeps to the old ways (George Campbell Hay); The tryst (William Soutar); The twa corbies (Traditional); The twa kimmers (William Dunbar); The watergaw (Hugh MacDiarmid); The wee man (Willa Muir); Wee Willie Gray (Robert Burns); Wha is that at my bower-door? (Robert Burns);Wheesht, wheesht (Hugh MacDiarmid).'|9790222239302|SCOTT|Francis George Scott|Songs of Francis George Scott|Voice solo (with accompaniment)|?12.50|490
1525|||9790222239319|ORR|Charles Wilfred Orr|Five Songs from A Shropshire Lad|Voice solo (with accompaniment)|?5.00|88
1528|||9790222239326|RAPHAEL|Mark Raphael|Row Gently Here / Oh! Breathe Not..|Voice solo (with accompaniment)|?3.50|25
1529|James Oswald
THE DUST CART
A favourite cantata for high voice and piano or harpsichord
Edited and realised by David Patrick|'James Oswald, who died around 1769, was a Scottish Dancing Master, violinist, organist and composer who came from Edinburgh to London in 1741 and became chamber composer to George III. This cantata (two short arias and recitatives) tells of "Tink''ring Tom''s" love for Silvia passing by in her dustcart.'|9790222252066|OSWALD|James Oswald|Dust Cart (ed.Patrick)|Voice solo (with accompaniment)|?4.00|63
1530|John Jeffreys
BOOK OF SONGS for voice and piano
Roberton Publications 1530|'Forty songs for tenor and baritone
Ambulance train (Wilfrid Wilson Gibson); And would you see my mistress'' face (Philip Rosseter); The appeal (Thomas Wyatt); Curlew calling (Wilfrid Wilson Gibson); From Omiecourt (Ivor Gurney); Full fathom five (William Shakespeare); The hag (Robert Herrick); The high hills (Ivor Gurney); Horror follows horror (Ivor Gurney); I was young and foolish (W. B. Yeats); If it chance your eye offend you (A. E. Housman); In youth is pleasure (Robert Wever); It is winter (Walter de la Mare); It was a lover and his lass (William Shakespeare); Jillian of Berry (Anon); A lyke-wake dirge (Anon); The milkmaid (Thomas Nabbes); My little pretty one (Anon); O mistress mine (William Shakespeare); Omens (James H. Cousins); Otterburn (Wilfrid Wilson Gibson); Passing by (Anon); Requiem (Ivor Gurney); Romance (Robert Louis Stevenson); Severn meadows (Ivor Gurney); Sigh no more, ladies (William Shakespeare); Sleep (John Fletcher); Snow (Edward Thomas); The songs I had (Ivor Gurney); Stow-on-the-Wold (Wilfrid Wilson Gibson); Take, O take those lips away (William Shakespeare); There is a lady sweet and kind (Anon); Thirteen pence a day (A. E. Housman); This night (Padraic Pearse); ''Tis time, I think (A. E. Housman); Under the blossom (William Shakespeare); What evil coil of fate (Ivor Gurney); When daisies pied (William Shakespeare); When that I was and a little tiny boy (William Shakespeare); Who is at my window? (Anon)'|9790222239333|JEFFREYS J|John Jeffreys|Book of Songs|Voice solo (with accompaniment)|?17.50|510
1531|||9790222239340|DALE|Gordon Dale|Four English Lyrics|Voice solo (with accompaniment)|?4.00|38
1532|John Jeffreys
SECOND BOOK OF SONGS for voice and piano
Roberton Publications 1532|'Thirty-three songs with piano
Amaryllis (Thomas Campion); A light wind (Barry Duane Hill); Be you blithe and bonny (William Shakespeare); Black Stitchel (Wilfrid Wilson Gibson); Candle Gate (Wilfrid Wilson Gibson); Christ''s nativity (Anon); Cruel and bright (Wilfrid Wilson Gibson); The cuckoo (Anon); The falcon (Anon); Golden slumbers (Thomas Dekker); Hill song (Barry Duane Hill); How should I your true love know? (William Shakespeare); I will make you brooches (R. L. Stevenson); If there were dreams to sell (Thomas Lovell Beddoes); In pride of May (Anon); The little milkmaid (Thomas Nabbes); The little pretty nightingale (Anon); Little trotty wagtail (John Clare); Lovely playthings (Ivor Gurney); My mistress frowns (Anon); My pretty honey one (Anon); Now wolde (Anon); O good ale (Anon); O my dere heart (Martin Luther); Robin Redbreast (W. H. Davies); The salley gardens (W. B. Yeats); Seals of love (John Fletcher); She is all so slight (Richard Aldington); She is ever for the new (Anon); This is the weather (Thomas Hardy); Thomas MacDonagh (Francis Ledwidge); White was the way (Barry Duane Hill)'|9790222239357|JEFFREYS J|John Jeffreys|Second Book of Songs|Voice solo (with accompaniment)|?17.50|445
1533|John Jeffreys
WHEN I WAS YOUNG - Part 1 for voice and piano
Roberton Publications 1533|Eighteen miniature songs for tenor or soprano with piano, being musical reflections on childhood days, in three parts, each album containing six songs in variety.|9790222239364|JEFFREYS J|John Jeffreys|When I Was Young - Six Little Songs|Voice solo (with accompaniment)|?4.00|38
1534|HOWELLS, Herbert (1892-1983)
PEACOCK PIE for voice and piano
Roberton 1534|Settings for voice and piano of poems by Walter de la Mare.
1. Tired Tim
2. Alas, alack!
3. Mrs. MacQueen
4. The dunce
5. Full moon
6. Miss T|9790222239371|HOWELLS|Herbert Howells|Peacock Pie|Voice solo (with accompaniment)|?5.00|88
1535|||9790222239388|CAMILLERI|Charles Camilleri|Three Songs of Omar Khayyam|Voice solo (with accompaniment)|?3.50|25
1536|John Jeffreys
WITH WORDS OF LOVE for voice and bassoon
Roberton Publications 1536|Four songs for tenor and bassoon
That ever I saw (Anon); My little pretty one (Anon); My mistress frowns (Anon); And would you fain the reason know? (Philip Rosseter?)|9790222239395|JEFFREYS J|John Jeffreys|With Words of Love - Four Songs|Voice solo (with accompaniment)|?4.00|50
1537|John Jeffreys
THIRD AND LAST BOOK OF SONGS for voice and piano
Roberton Publications 1537|'Thirty-one songs with piano
(Despite the title, this was NOT the composer''s LAST book of songs!)
Awake thee my Bessy (J. J. Callanan); The birds (Hilaire Belloc); Brown is my love (Anon); Corpus Christi (Anon); The farewell (Robert Burns); Fill me O stars (Joseph Campbell); Gather ye rosebuds (Robert Herrick); Ha''nacker Mill (Hilaire Belloc); I am the gilly of Christ (Joseph Campbell); In a boat (Hillaire Belloc); In Marley Wood (Hugh S. Roberton); The lone bird (Emily Bronte); Love me not for comely grace (Anon); Lullaby (Thomas Dekker); Merry eye (Wilfrid Wilson Gibson); My lady (Anon); My master hath a garden (Anon); Northumberland (Wilfrid Wilson Gibson); The reaper (Barry Duane Hill); Sally (Barry Duane Hill); Six badgers (Robert Graves); Sweeney the Mad (Anon); That ever I saw (Anon); To make my mistress kind (Patrick Hannay); A true woman''s eye (Anon); What thing is love? (Anon); When I came last to Ludlow (A. E. Housman); When I was one and twenty (A. E. Housman); When as I wake (Patrick Hannay); With rue my heart is laden (A. E. Housman); Yet will I love her (Anon)'|9790222239401|JEFFREYS J|John Jeffreys|Third and Last Book of Songs|Voice solo (with accompaniment)|?17.50|385
1538|John Jeffreys
WHEN I WAS YOUNG - Part 2 for voice and piano
Roberton Publications 1538|Eighteen miniature songs for tenor or soprano with piano, being musical reflections on childhood days, in three parts, each album containing six songs in variety.|9790222239418|JEFFREYS J|John Jeffreys|When I Was Young (Part Two)|Voice solo (with accompaniment)|?3.50|25
1539|John Jeffreys
WHEN I WAS YOUNG - Part 3 for voice and piano
Roberton Publications 1539|Eighteen miniature songs for tenor or soprano with piano, being musical reflections on childhood days, in three parts, each album containing six songs in variety.|9790222239425|JEFFREYS J|John Jeffreys|When I Was Young (Part Three)|Voice solo (with accompaniment)|?3.50|25
1540|HEWITT-JONES, Tony (1926-1989)
TWO SONNETS OF SIR PHILIP SIDNEY
for baritone voice and piano
Roberton 1540|Two sonnets "Stella" and "Loving in truth" by Sir Philip Sidney (1554-1586) set to music by Tony Hewitt-Jones. Ranges: A-E and Bb-F#
Duration around 3? minutes|9790222261488|HEWITT-JONES|Tony Hewitt-Jones|Two Sonnets of Sir Philip Sidney|Voice solo (with accompaniment)|?4.00|38
1541|HEWITT-JONES, Tony (1926-1989)
FIVE POEMS OF SIR WALTER RALEIGH
for high voice and piano
Roberton 1541|'Tony Hewitt-Jones was commissioned to write these songs by Neil Jenkins as part of a prize awarded to him in 1972 for winning the National Federation of Music Societies Award for Young Singers.
The individual poems are: What is our life? [Range: C-A#], Go soul, the body''s guest [D-A], Wrong not, dear Empress [F#-G#], Now what is love [D#-Cb], Even such is time [C-A]
Total Duration 7 minutes'|9790222261495|HEWITT-JONES|Tony Hewitt-Jones|Five Poems of Sir Walter Raleigh|Voice solo (with accompaniment)|?5.50|100
1542|John Jeffreys
ALBUM OF FOURTEEN SONGS for voice and piano
Roberton Publications 1542|'Fourteen songs for a variety of voices.
The salley gardens (4th setting)(W.B.Yeats); The salley gardens (5th setting)(W.B.Yeats); Drop, drop, slow tears (Phineas Fletcher); Brigg Fair (Traditional); The bailey beareth the breath away (Anon); Sing no sad songs for me (Christina Rosetti); The whin (Wilfrid Wilson Gibson); Aspatia''s song (John Fletcher); The song of love (Barry Duane Hill);The corncrake (James H.Cousins); Long to me thy coming (Padraic Pearse); Wine (Henry Carey); The quarry (Wilfrid Wilson Gibson); Season of ice (Anon)'|9790222239432|JEFFREYS J|John Jeffreys|Album of Fourteen Songs|Voice solo (with accompaniment)|?10.00|184
1543|John Jeffreys
SIXTEEN TENOR SONGS for voice and piano
Roberton Publications 1543|'My dear lady (Anon); I saw love raised upon a tree (Barry Jones); Drop, drop slow tears (Phineas Fletcher); The herons (Francis Ledwidge); An old desire (Francis Ledwidge); Tom Collier of Croydon (Ulpian Fulwell); The high hills (Ivor Gurney); When the body might free (Ivor Gurney); Near spring (Ivor Gurney); The heath (Thomas Boyd); Three roses (John Boyle O''Reilly); Under the leaves green (Anon); All night under the moon (Wilfrid Wilson Gibson) (3 settings); The shepherd''s carol (Anon)'|9790222239449|JEFFREYS J|John Jeffreys|Sixteen Tenor Songs|Voice solo (with accompaniment)|?10.75|197
1544|JEFFREYS, John (1927- )
THE FOX for tenor voice, horn and string quartet
Roberton 1544|A cycle of five poems by Barry Duane Hill set to music for tenor with an accompaniment of french horn and string quartet. The five poems are entitled Dawn; Idyll; Chased; Death; Lament. A full score and set of parts is included. A reduction for tenor and piano is also available - see catalogue number 1545.
Duration: 20 minutes|9790222259034|JEFFREYS J|John Jeffreys|Fox (The) tenor/horn/str.quartet|Voice solo (with accompaniment)|?14.25|257
1545|JEFFREYS, John (1927- )
THE FOX for tenor and piano
Roberton 1545|A cycle of five poems by Barry Duane Hill set to music for tenor with an accompaniment of french horn and string quartet here in a reduction for voice and piano. The five poems are entitled Dawn; Idyll; Chased; Death; Lament. The full score and parts are also available - see catalogue number 1544.
Duration: 20 minutes|9790222266650|JEFFREYS J|John Jeffreys|Fox (The) piano reduction|Voice solo (with accompaniment)|?5.50|100
1546|JEFFREYS, John (1927- )
POEM FOR END for baritone voice and piano
Roberton 1546|A poem by Ivor Gurney set to music for solo baritone, flute and string orchestra. This is a voice and piano reduction - the full score and parts are also available. See catalogue number GMCO070.
Duration 9 minutes|9790222264168|JEFFREYS J|John Jeffreys|Poem for End piano reduction|Voice solo (with accompaniment)|?4.50|76
1547|C Armstrong Gibbs
FIVE SONGS for voice and piano
Roberton 1547|Five settings of poems by Walter de la Mare. Originally published in 1920 but out of print for many years, this set of songs is now available again in a newly typeset edition with the numerous errors that appeared in the original now corrected.
The songs are:-
The Stranger [Range: D-Gb]
The Linnet [G-G]
The Mountains [C#-E]
Love in the Almond Bough [E-Gb]
The Bells [Cb-G]
Total duration: 8? minutes|9790222269880|GIBBS CA|C Armstrong Gibbs|Five Songs|Voice solo (with accompaniment)|?5.50|100
2532|||9790222239456|ROBERTON|Hugh S. Roberton|Joy of My Heart|Voice solo (with accompaniment)|?3.50|25
2536|||9790222239463|ROBERTON|Hugh S. Roberton|'Blake''s Cradle Song'|Voice solo (with accompaniment)|?3.50|25
2555|Hugh S. Roberton
ALL IN THE APRIL EVENING
for voice and piano
Roberton 2555|'Born in Glasgow, Hugh Roberton became a funeral director apart from being a conductor and composer. A highly motivated and self-taught choir-master, he founded the Toynbee Musical Association in 1901 and five years later, this became the Glasgow Orpheus Choir which gained a world-wide reputation and went on to perform under Hugh''s direction for some 45 years. He composed much for his choir, with perhaps his most famous pieces being "All in the April Evening" and the "Mingulay Boat Song". He had a reputation for getting the very best from his singers, who held him in such great esteem that when he resigned as their leader shortly before his death, the choir agreed that they must disband. However, the Orpheus rose again when many of its members re-formed as the Glasgow Phoenix Choir, which continues to perform and tour to this day. Hugh Roberton was knighted in 1931.
There are versions of "All in the April Evening" available for unaccompanied mixed voice choir (SATB), solo voice, unison voices, female voice choir, male voice choir, mixed voice choir (SAB), with Welsh words and also in an arrangement for string orchestra and a "meditation" for organ.
Duration nearly 3 minutes'|9790222239470|ROBERTON|Hugh S. Roberton|All in the April Evening(Eng/Welsh)|Voice solo (with accompaniment)|?3.50|25
2578|||9790222239487|PLUMSTEAD|Mary Plumstead|Grey Wind|Voice solo (with accompaniment)|?3.50|25
2579|||9790222239494|PLUMSTEAD|Mary Plumstead|Down By the Salley Gardens|Voice solo (with accompaniment)|?3.50|25
2580|Brian Hughes
ON THE BANKS OF ALLAN WATER
for solo voice and piano
Roberton 02580|An eighteenth century Scottish melody (composer unknown) in a beautiful arrangement for solo voice and piano by Brian Hughes. The words are by Matthew Gregory Lewis (1775-1818).
Also available in versions for Flute (GM237), male voice choir (53218) and mixed voice choir (63309) all with piano accompaniment.
Duration 3? minutes|9790222307537|HUGHES|Brian Hughes|On the Banks of Allan Water|Voice solo (with accompaniment)|?3.50|25
2581|Tim Ravalde
DREAMERS
for solo voice and piano
Roberton 02581|'Words by Siegfried Sassoon. This song was the winning entry in the Association of English Singers and Speakers'' Song Writing Competition 2018, generously supported by the Thompson Educational Trust.
Its first performance was given on 3 November 2018 as part of the London Song Festival by Florian Panzieri, tenor, and Nicole Johnson, piano.
DREAMERS by Siegfried Sassoon
Soldiers are citizens of death''s grey land,
Drawing no dividend from time''s to-morrows.
In the great hour of destiny they stand,
Each with his feuds, and jealousies, and sorrows.
Soldiers are sworn to action; they must win
Some flaming, fatal climax with their lives.
Soldiers are dreamers; when the guns begin
They think of firelit homes, clean beds and wives.
I see them in foul dug-outs, gnawed by rats,
And in the ruined trenches, lashed with rain,
Dreaming of things they did with balls and bats,
And mocked by hopeless longing to regain
Bank-holidays, and picture shows, and spats,
And going to the office in the train.
? Siegfried Sassoon. Used by permission
Range D-F#
Duration 2? minutes
Also available is the 2019 AESS Song Competition winner, "Still Glides the Stream" by Owen Ho (Roberton 02582)'|9790222309937|RAVALDE|Tim Ravalde|Dreamers|Voice solo (with accompaniment)|?3.50|25
2582|Owen Ho
STILL GLIDES THE STREAM for high voice and piano
Roberton 02582|'This song was the joint winning entry in the Association of English Singers and Speakers'' Song Writing Competition 2019, generously supported by the Thompson Educational Trust. It is a setting of Matthew Arnold''s poem "The River". Range A-D
Duration 5? minutes
Also available is the 2018 winner, "Dreamers" by Tim Ravalde (Roberton 02581)'|9790222313439|HO|Owen Ho|Still Glides the Stream|Voice solo (with accompaniment)|?4.00|38
2583|Clive Pollard
BECAUSE I LIKED YOU BETTER
for voice and piano
Roberton 2583|Words by A.E.Housman, music by Clive Pollard. In two keys (both in the same copy): Lower - Range B-E, Higher - Range C#-F#.|9790222314979|POLLARD|Clive Pollard|Because I liked you better|Voice solo (with accompaniment)|?3.50|25
2741|||9790222239500|ROBERTON|Hugh S. Roberton|Fidgety Bairn|Voice solo (with accompaniment)|?3.50|13
2743|||9790222239517|ROBERTON|Hugh S. Roberton|'Lewis Bridal Song (Mairi''s Wedding)'|Voice solo (with accompaniment)|?3.50|13
2745|||9790222239524|ROBERTON|Hugh S. Roberton|Uist Tramping Song (Come Along)|Voice solo (with accompaniment)|?3.50|13
02746L|||9790222239531|ROBERTON|Hugh S. Roberton|Rise and Follow Love (low)|Voice solo (with accompaniment)|?3.50|13
2747|||9790222239548|ROBERTON|Hugh S. Roberton|Hebridean Shanty|Voice solo (with accompaniment)|?3.50|13
2748|||9790222239555|ROBERTON|Hugh S. Roberton|Island Spinning Song|Voice solo (with accompaniment)|?3.50|13
2749|||9790222239562|ROBERTON|Hugh S. Roberton|Mingulay Boat Song|Voice solo (with accompaniment)|?3.50|13
2750|||9790222239579|ROBERTON|Hugh S. Roberton|Windjammer|Voice solo (with accompaniment)|?3.50|13
2753|||9790222239586|ROBERTON|Hugh S. Roberton|Shuttle and Loom|Voice solo (with accompaniment)|?3.50|13
2754|||9790222239593|ROBERTON|Hugh S. Roberton|None So Sweet|Voice solo (with accompaniment)|?3.50|13
2755|||9790222239609|ROBERTON|Hugh S. Roberton|Sing At the Wheel|Voice solo (with accompaniment)|?3.50|13
2775|||9790222239616|ROBERTON|Hugh S. Roberton|Westering Home|Voice solo (with accompaniment)|?3.50|13
2777|||9790222239623|ROBERTON|Hugh S. Roberton|Health and Joy Be With You|Voice solo (with accompaniment)|?3.50|13
2781|||9790222239647|ROBERTON|Hugh S. Roberton|'As Down By Banna''s Banks I Strayed'|Voice solo (with accompaniment)|?3.50|13
2785|||9790222239661|ROBERTON|Hugh S. Roberton|Highland Cradle Song|Voice solo (with accompaniment)|?3.50|13
2790|||9790222239678|PLUMSTEAD|Mary Plumstead|Take O Take Those Lips Away|Voice solo (with accompaniment)|?3.50|13
2987|||9790222239685|NELSON H|Havelock Nelson|'Irish Folksinger''s Album'|Voice solo (with accompaniment)|?5.00|63
3001|||9790222239692|NAYLOR B|Bernard Naylor|Exultet Mundus Gaudio|Choir - Vocal score|?8.25|138
3002|||9790222239708|NAYLOR B|Bernard Naylor|Six Poems from Miserere|Choir - Vocal score|?5.50|88
3013|Vincent Lubeck
CHRISTMAS CANTATA ed.Butterworth
Roberton 03013|"We welcome Thee, Saviour" (Willkommen, susser Brautigam) for chorus of two sopranos with soprano solo, two violins and continuo by Vincent Lubeck (1654-1740) edited and realised by Neil Butterworth.
Score on sale (03013), violins part (03013-VLN) printed Violin 1 on one side Violin 2 on reverse so 1 copy needed for each player, and cello part (03013-CELLO).
Duration 8 minutes|9790222239722|LUBECK|Vincent Lubeck|Christmas Cantata (Butterworth)|Choir - Vocal score|?5.00|63
03013-CELLO|||9790222239715|LUBECK|Vincent Lubeck|Christmas Cantata (Butterworth)|Cello solo|?1.50|13
03013-VLN|||9790222239739|LUBECK|Vincent Lubeck|Christmas Cantata (Butterworth)|Violin solo|?1.50|13
3019|Antonin Tucapsky
IN HONOREM VITAE
for unaccompanied mixed voice chorus
Roberton 3019|Five poems of Horatius set to music to form a suite of madrigals for mixed voice choir.
Duration 22 minutes|9790222239746|TUCAPSKY|Antonin Tucapsky|In Honorem VItae|Choir - Vocal score|?10.75|197
3035|||9790222239753|LEIGHTON|Kenneth Leighton|Sequence for All Saints|Choir - Vocal score|?9.50|173
3036|||9790222281370|LE FLEMING C|Christopher Le Fleming|Songs of Youth and Age|Choir - Vocal score|?14.25|257
3037|Leos Janacek (ed. Tucapsky)
OTCENAS (OUR FATHER) for mixed voice choir
Roberton 3037|For full chorus of mixed voices, tenor or soprano solo, organ and harp, this work has been edited and adapted by Antonin Tucapsky. The text is given in Czech and English. It is published as a SCORE (03037) at A4 size showing all voice parts, the harp and the organ, a CHORUS SCORE (03037-C) showing the vocal parts only, a separate HARP PART (03037-H) and a separate ORGAN PART (03037-O).
The HARP and ORGAN parts are also available as digital downloads (marked as DOWNLOAD below)
Duration 17-18 minutes|9790222239760|JANACEK|Leos Janacek|Otcenas ed.Tucapsky Vocal score|Choir - Mixed voices (SATB)|?6.25|100
03037-C|||9790222239777|JANACEK|Leos Janacek|Otcenas ed.Tucapsky Choir part only|Choir - Mixed voices (SATB)|?2.75|38
03037-H|||9790222239784|JANACEK|Leos Janacek|Otcenas Harp part|Choir - Mixed voices (SATB)|?4.00|38
03037-O|||9790222239791|JANACEK|Leos Janacek|Otcenas Organ part|Choir - Mixed voices (SATB)|?4.00|38
3045|||9790222239807|LEIGHTON|Kenneth Leighton|Hymn To Matter (cantata)|Choir - Vocal score|?5.50|88
3046|||9790222239814|STUART|Robert Stuart|Missa Orbis Factor|Choir - Vocal score|?8.25|138
3058|||9790222239821|CAMILLERI|Charles Camilleri|Unum Deum / Te Deum / Amen|Choir - Vocal score|?4.75|75
3073|Philip Lane
FIVE SHAKESPEARE LYRICS for female voice choir and piano
Roberton 3073|Shakespeare is so much the poet of all times and all climes that it occurred to me to view a sequence of song texts with a kaleidoscopic eye and create a variety of stylistic examples that grew characteristically out of each text - not to produce variety for its own sake but as a genuine collection of individual reactions. This apparent mixture of styles seems to me completely natural and acceptable, although only perhaps in film music is it normal for a composer to be able to express himself in quite such a disparate manner. Philip Lane
Five settings of Shakespeare texts for SSA choir and piano: Where the bee sucks (from "The Tempest"); Tell me, where is fancy bred? (from "The Merchant of Venice"); Blow, blow, thou winter wind (from "As You Like It"); Full fathom five (from "The Tempest"); It was a lover and his lass (from "As You Like It").
Duration 11 minutes|9790222239852|LANE P|Philip Lane|Five Shakespeare Lyrics SSA|Choir - Vocal score|?6.50|124
3078|Robert Simpson
TEMPI for mixed voice choir
Roberton 03078|For full mixed choir a cappella.Duration 15 minutes|9790222239869|SIMPSON|Robert Simpson|Tempi|Choir - Vocal score|?7.50|136
3079|Antonin Tucapsky
STABAT MATER
for mixed voice choir, contralto and baritone soloists and orchestra.
Roberton 3079|Scored for double SATB choir, alto and baritone solo and orchestra of 2 flutes (1 doubling piccolo), 2 oboes (1 doubling cor anglais), 2 clarinets (1 doubling bass clarinet), 2 bassoons, 2 horns, 2 trumpets, 2 trombones, harp, celeste, timpani, percussion and strings.
Duration 44 minutes|9790222239876|TUCAPSKY|Antonin Tucapsky|Stabat Mater|Choir - Vocal score|?12.75|233
3081|Bryan Kelly
AFRICA for chorus and accompaniment
Roberton 3081|A cantata for school and mixed choirs; senior choir, junior choir and tenor soloist with accompaniment of piano alone or orchestra comprising 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, 6 percussion and piano.
Duartion 16 minutes|9790222239883|KELLY|Bryan Kelly|Africa|Choir - Vocal score|?8.50|160
3082|Antonin Tucapsky
MARY MAGDALENE
for mixed voice choir, soprano solo and orchestra
Roberton 3082|A setting of the poem "Mary Magdalene" from Dr.Zhivago by Boris Pasternak in a translation by Eugene M.Kayden, for SATB choir, soprano soloist and orchestra comprising 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, percussion, harp and strings.
Duration 20 minutes|9790222239890|TUCAPSKY|Antonin Tucapsky|Mary Magdalene|Choir - Vocal score|?8.50|160
3083|||9790222239906|COOMBES|Douglas Coombes|Psalms for Dancing|Choir - 3 part upper voices|?11.25|209
3084|Bryan Kelly
MISSA BREVIS WESTMINSTER SERVICE
Roberton 03084|For full mixed voice chorus (SATB) and organ with optional trumpets. The two trumpet parts (in Bb) appear on the same copy which is on sale separately.
Duration 15 minutes|9790222239913|KELLY|Bryan Kelly|Missa Brevis Westminster Service|Choir - Vocal score|?7.50|136
03084-TRP||||KELLY|Bryan Kelly|Missa Brevis Westminster TRP PART|Choir - Vocal score|?2.00|25
3085|Bryan Kelly
CRUCIFIXION
for mixed voice choir
Roberton 3085|A setting for SATB choir, soprano and tenor soloists with string orchestra, organ and percussion or organ and percussion or organ only. English text devised by Anne Ridler.
Duration 36 minutes|9790222239920|KELLY|Bryan Kelly|Crucifixion|Choir - Vocal score|?12.75|233
3086|Antonin Tucapsky
THE SACRIFICE
for baritone solo, mixed voice choir and organ
Roberton 3086|Cantata for chorus of mixed voices, baritone solo and organ. English text by George Herbert (1593-1633).
Duration 28 minutes|9790222239937|TUCAPSKY|Antonin Tucapsky|Sacrifice|Choir - Vocal score|?15.00|269
3087|||9790222239944|LEWIS J|Jeffrey Lewis|Westminster Mass|Choir - Mixed voices (SATB)|?5.50|88
3088|Antonin Tucapsky
KOLEDA: A cycle of Czech carols
for mixed voice chorus and organ
Roberton 3088|A cycle of ten Czech carols rendered into English for mixed voice choir wirh organ accompaniment.
Duration 22 minutes|9790222239951|TUCAPSKY|Antonin Tucapsky|Koleda - Cycle of Czech Carols|Choir - Mixed voices (SATB)|?8.00|149
3090|||9790222239968|BROWN P|Peter Brown|Way Beyond the Cross|Choir - Vocal score|?17.00|305
3091|||9790222239975|LANE P|Philip Lane|Some Rhymes of Lewis Carroll SSAA|Choir - Vocal score|?8.50|160
3092|Antony Le Fleming
CANTATE DOMINO
for mixed voice chorus and orchestra
Roberton 3092|English text, for double SATB chorus and organ and small orchestra (of 3 trumpets, harp, timpani and percussion).
Duration 18 minutes|9790222239982|LE FLEMING A|Antony le Fleming|Cantate Domino|Choir - Vocal score|?10.00|184
3093|Antony Le Fleming
MAGNIFICAT
for mixed voice chorus and orchestra
Roberton 3093|English text, for SATB chorus (occasional divisi), soprano solo and chamber orchestra of 2 oboes, 2 horns and strings.
Duration 12 minutes|9790222239999|LE FLEMING A|Antony le Fleming|Magnificat|Choir - Mixed voices (SATB)|?5.50|88
3094|||9790222240001|BONSOR|Brian Bonsor|There Was a Lad (6 Scottish Songs)|Choir - Mixed voices (SATB)|?9.50|173
3095|Bryan Kelly
LOOK STRANGER AT THIS ISLAND
for mixed voice choir
Roberton 3095|A cantata for SATB choir, junior choir, baritone solo and orchestra. English texts by W.H.Auden, Derek Walcott, George Mackay Brown, William Shakespeare, John Masefield and Andrew Marvell. Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba. timpani, percussion, harp, piano, celeste, organ [ad lib] and strings.
Duration 40 minutes|9790222240018|KELLY|Bryan Kelly|Look Stranger At This Island|Choir - Vocal score|?18.25|330
03095JC|||9790222279629|KELLY|Bryan Kelly|Look Stranger junior choir part|Choir|?4.75|75
3096|Antony Le Fleming
CRY OUT ON TIME
for mixed voice chorus and orchestra
Roberton 3096|English text, for SATB choir (with divisi), baritone solo, horn and piano.
Duration 20 minutes|9790222240025|LE FLEMING A|Antony le Fleming|Cry Out On Time|Choir - Vocal score|?8.00|149
3097|Antonin Tucapsky
TE DEUM LAUDAMUS
for mixed voice choir and orchestra
Roberton 3097|A short 15 minute work for mixed voice choir and orchestra of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion and strings.
Duration 15 minutes|9790222240032|TUCAPSKY|Antonin Tucapsky|Te Deum Laudamus|Choir - Vocal score|?7.50|136
3098|||9790222240049|TUCAPSKY|Antonin Tucapsky|Missa De Angelis|Choir - 3 part upper voices|?4.75|75
3099|Antonin Tucapsky
MISSA SERENA
for soprano and baritone soloists, mixed voice choir and orchestra
Roberton 3099|A mass setting scored for soprano and baritone soloists, mixed voice choir and orchestra of 3 flutes (3rd doubling piccolo and alto flute), 2 oboes (2nd doubling cor anglais), 2 clarinets (2nd doubling bass clarinet), 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, harp, organ, timpani, percussion and strings.
Duration 48 minutes|9790222240056|TUCAPSKY|Antonin Tucapsky|Missa Serena|Choir - Vocal score|?17.75|318
3100|Antony Le Fleming
MATILDA
for mixed voice choir
Roberton 3100|Five cautionary tales by Hilaire Belloc and Heinrich Hoffmann set to music for SATB choir, piano and percussion with optional youth choir.
The five tales are: Matilda; The story of little Suck-a-thumb; Henry King; The story of flying Robert; Charles Augustus Fortescue.
Percussion requires one player playing: Bass Drum, Bell Tree, Cabaza, Flexatone, Glockenspiel, Jingles, Klaxon, Side Drum, Suspended Cynbal, Tam-tam, Tom-tom [low], Traingle, Tubular Bell, Vibraphone, Whip, Wood-block, Xylophone!
Matilda can also be performed with orchestra accompaniment (score and parts available on hire).
Duration about 20 minutes|9790222240063|LE FLEMING A|Antony le Fleming|Matilda|Choir - Vocal score|?12.75|233
03100PERC||||LE FLEMING A|Antony le Fleming|Matilda percussion part|Percussion|?2.50|50
3101|Antonin Tucapsky
FIVE PSALMS
for unaccompanied mixed voice chorus
Roberton 3101|Latin text, SATB with divisi, unaccompanied. The five psalms are: Levavi oculos meos, Caeli enarrant, De profundis, Lauda anima mea, Afferte domino.
Duration 14 minutes|9790222240070|TUCAPSKY|Antonin Tucapsky|Five Psalms|Choir - Mixed voices (SATB)|?8.50|160
3102|Antonin Tucapsky
THE TIME OF CHRISTEMAS
for mixed voice choir with guitar and percussion
Roberton 3102|A cycle of seven carols for four-part chorus of mixed voices with guitar and percussion instruments. The seven carols are: Come sing and dance, A child is born, Sing all ye shepherds, Balulalow, Let us go to Bethlehem, Joseph and Mary, Make we merry. All are also available individually.
Duration 18 minutes
The guitar and percussion parts are on sale - search for 03102GTR and 03102PERC|9790222240087|TUCAPSKY|Antonin Tucapsky|Time of Christemas complete|Choir - Vocal score|?13.50|245
03102GTR|||9790222240094|TUCAPSKY|Antonin Tucapsky|Time of Christemas guitar part|Guitar|?3.50|25
03102PERC|||9790222240100|TUCAPSKY|Antonin Tucapsky|Time of Christemas percussion part|Percussion|?4.00|38
3103|Antonin Tucapsky
FIVE LENTEN MOTETS
for unaccompanied mixed voice chorus
Roberton 3103|Tristis est anima; Pater mi; Filiae Jerusalem; Eli, eli; Pater meus. These titles are also available individually.
Duration 12 minutes|9790222240117|TUCAPSKY|Antonin Tucapsky|Five Lenten Motets complete|Choir - Vocal score|?6.00|112
3104|Philip Lane
FOUR SHAKESPEARE LYRICS
for female voice choir|'1. Sigh no more (Much Ado about Nothing); 2. Fear no more the heat of the sun (Cymbeline); 3. Come away death (Twelfth Night); 4. Under the greenwood tree (As You Like it)
These four settings were commissioned by the girls'' choir of Methodist College, Belfast with funding from the Sainsbury''s Choir of the Year competition in 1998. The choir had so much enjoyed Philip Lane''s Five Shakespeare Lyrics (Roberton No.03073) that they asked for some more! Excellent, entertaining settings in a modern jazzy style that will please singers and audience alike. For SSAA with piano, optional two flutes, oboe or soprano saxophone and percussion. Also available in a version for mixed voice choir (No.03105)'|9790222240124|LANE P|Philip Lane|Four Shakespeare Lyrics|Choir - 4 part upper voices|?5.50|100
03104PARTS|||9790222240131|LANE P|Philip Lane|Four Shakespeare Lyrics instr.parts|Choir - 4 part upper voices|?6.00|50
3105|Philip Lane
FOUR SHAKESPEARE LYRICS
for mixed voice choir|'1. Sigh no more (Much Ado about Nothing); 2. Fear no more the heat of the sun (Cymbeline); 3. Come away death (Twelfth Night); 4. Under the greenwood tree (As You Like it)
These four settings were commissioned by the girls'' choir of Methodist College, Belfast with funding from the Sainsbury''s Choir of the Year competition in 1998. The choir had so much enjoyed Philip Lane''s Five Shakespeare Lyrics (Roberton No.03073) that they asked for some more! Excellent, entertaining settings in a modern jazzy style that will please singers and audience alike. For SATB with piano, optional two flutes, oboe or soprano saxophone and percussion. Also available in a version for SSAA choir (No.03104)'|9790222240148|LANE P|Philip Lane|Four Shakespeare Lyrics|Choir - Mixed voices (SATB)|?5.50|100
03105PARTS|||9790222240155|LANE P|Philip Lane|Four Shakespeare Lyrics instr.parts|Choir - Mixed voices (SATB)|?6.00|50
3106|Alan Bush
THE EARTH IN SHADOW
for mixed voice chorus and orchestra
Vocal score (voice and piano reduction) Catalogue number 03106|'Orchestration
Piccolo, 2 Flutes, 2 Oboes, Cor Anglais, 2 Clarinets in Bb, Bass clarinet, 2 Bassoons
4 Horns in F, 2 Trumpets in Bb, 3 Trombones, Timpani, Percussion (Tambourine, Side drum, Bass Triangle, Bass drum, Cymbals), Piano
Strings (Violin 1, Violin 2, Viola, Cello, Bass)
Mixed voice chorus (SATB)
First performed in 1986 by the Student Orchestra and Choir at Goldsmiths'' College, London, this work is a setting of a poem by Nancy Bush. Although written 20 years ago, it has a particular relevance today with the current fears of global warming and man''s destruction of the environment.
Now at last we have seen her
The earth with her wreath of mists, her garment of waters,
Her hemispheres marked with faint continents,
The earth, most beautiful of all the planets,
The earth. moving and turning in her sun-bound orbit.
A globe, blue and cloudy, hanging in space
So she appears to man from this new watchtower,
And seeing her thus entire,
Can he destroy her?
Many are blind to marvels.
For greed they will plunder, for fear bring down destruction,
Shut out the sun in freezing nuclear night.
A few may pause and turn back from a senseless holocaust.
What once is shattered never can be restored;
The earth once lost, is lost forever.
This they may understand.
From this protect her,
From this guard and protect her.
The earth, cradle of man,
The earth, treading her silent path among the planets.
Now at last we have seen her,
The earth with her wreath of mists, her garment of waters,
The earth, cradle of man,
Most beautiful of all the planets.
You can view the vocal score here. The audio is of the full version. The full score and orchestral material is available on hire or to buy.
Duration: c.10 minutes'|9790222252134|BUSH|Alan Bush|Earth in Shadow|Choir - Vocal score|?6.50|124
03106SS|Alan Bush
THE EARTH IN SHADOW
for mixed voice chorus and orchestra
Study Score Catalogue number 03106ss|'Orchestration
Piccolo, 2 Flutes, 2 Oboes, Cor Anglais, 2 Clarinets in Bb, Bass clarinet, 2 Bassoons
4 Horns in F, 2 Trumpets in Bb, 3 Trombones, Timpani, Percussion (Tambourine, Side drum, Bass Triangle, Bass drum, Cymbals), Piano
Strings (Violin 1, Violin 2, Viola, Cello, Bass)
Mixed voice chorus (SATB)
First performed in 1986 by the Student Orchestra and Choir at Goldsmiths'' College, London, this work is a setting of a poem by Nancy Bush. Although written 20 years ago, it has a particular relevance today with the current fears of global warming and man''s destruction of the environment.
Now at last we have seen her
The earth with her wreath of mists, her garment of waters,
Her hemispheres marked with faint continents,
The earth, most beautiful of all the planets,
The earth. moving and turning in her sun-bound orbit.
A globe, blue and cloudy, hanging in space
So she appears to man from this new watchtower,
And seeing her thus entire,
Can he destroy her?
Many are blind to marvels.
For greed they will plunder, for fear bring down destruction,
Shut out the sun in freezing nuclear night.
A few may pause and turn back from a senseless holocaust.
What once is shattered never can be restored;
The earth once lost, is lost forever.
This they may understand.
From this protect her,
From this guard and protect her.
The earth, cradle of man,
The earth, treading her silent path among the planets.
Now at last we have seen her,
The earth with her wreath of mists, her garment of waters,
The earth, cradle of man,
Most beautiful of all the planets.
Duration: c.10 minutes'|9790222265608|BUSH|Alan Bush|Earth in Shadow|Study score|?8.00|149
3107|Armstrong Gibbs
SUITE OF SONGS FROM THE BRITISH ISLES
for baritone solo, mixed chorus and piano or orchestra
Roberton 3107|Settings of "Men of Harlech" (Wales), "The Gentle Maiden" (Ireland), "Charlie is my Darling" (Scotland), "The Oak and the Ash" and "King Arthur" (England) for baritone soloist (or semi-chorus), mixed voice choir and piano or orchestra. (Orchestral parts are available on hire).
Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion and strings or piano and strings.
Duration about 12 minutes|9790222260948|GIBBS CA|C Armstrong Gibbs|Suite of Songs from British Isles|Choir - Vocal score|?7.50|136
3108|Armstrong Gibbs
BEHOLD THE MAN for soloists, mixed chorus and organ
Roberton 3108|A cantata for Passiontide for soloists, mixed voice choir and organ or orchestra. Words by Benedict Ellis.
Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani and strings, or for organ/piano and strings.
The vocal score is available to buy or to hire. The full score and orchestral material is available to hire from Goodmusic.
Duration 55 minutes |9790222260955|GIBBS CA|C Armstrong Gibbs|Behold the Man|Choir - Vocal score|?15.00|269
3109|Armstrong Gibbs
THE HIGH ADVENTURE for mixed voice choir and orchestra
Roberton 3109|A cantata in four sections: The Golden Hind; Pastoral; The Battles of Britain; Chorale. Words by Benedict Ellis. Orchestral parts are available on hire.
Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, piano and strings.
Duration 33 minutes |9790222260962|GIBBS CA|C Armstrong Gibbs|High Adventure|Choir - Vocal score|?12.75|233
3110|Armstrong Gibbs
A SAVIOUR BORN
for mezzo-soprano soloist, upper voice choir and orchestra|A Christmas cantata to words by Benedict Ellis for mezzo-soprano solo (although this could be sung by a choir member or even a semi-chorus), SSA choir and a choice of accompaniments: the original version is with piano and strings, but there is also a version for organ and a version arranged for two pianos. All of these are available on hire. There are opportunites to interpolate Christmas hymns within the work.
Duration about 24 minutes (without interpolated hymns)|9790222260979|GIBBS CA|C Armstrong Gibbs|Saviour Born|Choir - Vocal score|?7.50|136
3111|Armstrong Gibbs
THE TURNING YEAR for mixed voice choir and piano or orchestra
Roberton 3111|"High Summer", "In Autumn", "Fell Winter" and "Spring Song"; text by Benedict Ellis set to music by Armstrong Gibbs for mixed chorus with piano or orchestra accompaniment. Orchestral parts are available on hire. It is scored for mixed chorus and small orchestra made up of flute, oboe, 2 clarinets, bassoon, 2 horns, trumpet, trombone, timpani, percussion, piano and strings. However, cues provided in the piano and string parts mean that it can be performed just with piano and strings without any wind at all.
Duration about 25 minutes|9790222260986|GIBBS CA|C Armstrong Gibbs|Turning Year|Choir - Vocal score|?11.25|209
3112|Antony Le Fleming
EVERYONE SANG
for mixed voice chorus, harp and string orchestra
Vocal score (voice and piano reduction) Catalogue number 03112|Orchestration
Strings (Violin 1, Violin 2, Viola, Cello, Bass)
Harp
Mixed voice chorus (SATB)
First performed in July 2005, this short work is a setting of two poems by Siegfried Sassoon: "Everyone Sang" (otherwise known as "Everyone suddenly burst out singing") and "Idyll".
You can view the vocal score here. The audio is of the full orchestral version. The full score and orchestral material is available on hire or to buy.
Duration: c.13 minutes|9790222262362|LE FLEMING A|Antony le Fleming|Everyone Sang|Choir - Mixed voices (SATB)|?6.25|100
03112-00|Antony Le Fleming
EVERYONE SANG
for mixed voice chorus, harp and string orchestra
Full score Catalogue number 03112-00|Orchestration
Strings (Violin 1, Violin 2, Viola, Cello, Bass)
Harp
Mixed voice chorus (SATB)
First performed in July 2005, this short work is a setting of two poems by Siegfried Sassoon: "Everyone Sang" (otherwise known as "Everyone suddenly burst out singing") and "Idyll".
You can VIEW SCORE by clicking on the link. There is also a vocal score available (Catalogue number 03112). The full score and orchestral material is also available on hire or to buy.
Duration: c.13 minutes|9790222263314|LE FLEMING A|Antony le Fleming|Everyone Sang full score|Full score|?10.75|197
03112-01|||9790222263321|LE FLEMING A|Antony le Fleming|Everyone Sang Violin 1|Orchestra|?2.00|25
03112-02|||9790222263338|LE FLEMING A|Antony le Fleming|Everyone Sang Violin 2|Orchestra|?2.00|25
03112-03|||9790222263345|LE FLEMING A|Antony le Fleming|Everyone Sang Viola|Orchestra|?2.00|25
03112-04|||9790222263352|LE FLEMING A|Antony le Fleming|Everyone Sang Cello|Orchestra|?2.00|25
03112-05|||9790222263369|LE FLEMING A|Antony le Fleming|Everyone Sang Bass|Orchestra|?2.00|25
03112-06|||9790222263376|LE FLEMING A|Antony le Fleming|Everyone Sang Harp|Orchestra|?2.50|38
3113|'Antonin Tucapsky
CHRISTMASTIDE - A Little Christmas Music
for children''s voices, mixed voice chorus and orchestra
Roberton 03113'|'A Christmas sequence for children''s chorus, mixed voice chorus (SATB) with organ accompaniment. Here are six settings of diverse words with a Christmas flavour; "Silver Bells" by Hamish Hendry, "Song" by Henry Neville Maugham, "Christmas Night" by B. E. Milner plus three latin texts. Two of the settings are for children''s choir and organ, two for SATB choir and organ and the outer two for all forces. Any could be performed alone though they are designed as a 12 minute sequence.
Duration: c.12 minutes'|9790222264304|TUCAPSKY|Antonin Tucapsky|Christmastide|Choir - Vocal score|?6.50|124
3114|JEPSON, David W
FOUR LIVERPOOL SEA SONGS for mixed voice choir
Roberton 03114|A collection of four sea songs with Liverpudlian origins arranged for mixed voice choir (SATB) with piano (except for the second which is unaccompanied). The songs are:-
Liverpool Girls
Roll, Alabama, Roll
The Greenland Whale Fishery
The Leaving of Liverpool
These songs are also available individually (under catalogue numbers 63275, 63276, 63277 and 63278). This complete edition saves you some money if you wanted to buy all four. To see and hear the scores of these four songs look under the individual titles or catalogue numbers.
Total duration: 14? minutes |9790222266391|JEPSON D|David Jepson|Four Liverpool Sea Songs|Choir - Mixed voices (SATB)|?5.50|88
3115|GRYSPEERDT, Michael (1927-2000)
FOUR BITS OF NONSENSE for mixed voice choir
Roberton 03115|'A collection of four humorous pieces for mixed voice choir (SSATB) unaccompanied. Each song is also published separately though if you want all four it is cheaper to buy this collection. To see the scores and hear them played and for more information look under each individual title. The songs are:-
Mary''s Ghost (No. 63279)
Who''s been unravelling my bolero? (63280)
Last tango in Cheltenham (63281)
She was poor but she was honest (63282)
Total duration: 15 minutes '|9790222266414|GRYSPEERDT|Michael Gryspeerdt|Four Bits of Nonsense Op.20|Choir - Mixed voices (SATB)|?7.00|113
3116|David Stone
FOUR SONGS OF WINTER for SSA choir and piano
Roberton 3116|Settings of four poems on the theme of winter without any mention of Christmas! The four poems are "Winter" by Walter de la Mare, "Sleighing" by Edgar Allen Poe, "A widow bird sate mourning" by Percy Bysshe Shelley and "Up in the morning" by Robert Burns. The four songs can be sung separately or as a set. They are also published for sale individually (catalogue numbers 75492, 75493, 75494 and 75495).
Duration 7 minutes|9790222271531|STONE|David Stone|Four Songs of Winter complete|Choir - 3 part upper voices|?4.75|75
3117|Tom Cunningham
SCOTLAND AT NIGHT
for unaccompanied mixed voice choir
Roberton 3117|'Six original poems by well-known novelist Alexander McCall Smith (author of "The No.1 Ladies'' Detective Agency" series and many other novels) set to music by Tom Cunningham. An attempt to reveal some of that other Scotland - the Scotland that begins at dusk.
World premieres given on 21st/22nd December 2007 in concerts given by Cappella Nova in Glasgow and Edinburgh.
The individual titles which are also available separately are Dusk; Refinery in the Darkness; Ceilidh; Simmer Dim in Shetland; Trout Loch; Lullaby.
Duration 11 mins'|9790222271814|CUNNINGHAM|Tom Cunningham|Scotland At Night|Choir - Mixed voices (SATB)|?7.50|125
3118|Stuart Johnson
SONGS AND SONNETS
for mixed voice choir unaccompanied
Roberton 3118|'Four settings for SATB choir a cappella of Shakespeare words:
Hark, hark! The lark
Shall I compare thee to a summer''s day?
O mistress mine!
When to the sessions of sweet silent thought.
The sequence can be reversed to give a "big finish" with "Hark, hark!". These settings were composed for Roy Wales and the English Concert Singers. They were first performed in London at St.John''s, Smith Square in November 2000.
Duration 8 minutes'|9790222272354|JOHNSON S|Stuart Johnson|Songs and Sonnets|Choir - Mixed voices (SATB)|?4.75|75
3119|'Tom Cunningham
THE PAINTER''S EYE
for unaccompanied mixed voice choir
Roberton 3119'|'A sequence of five original poems by well-known novelist Alexander McCall Smith (author of "The No.1 Ladies'' Detective Agency" series and many other novels) set to music by Tom Cunningham. Each poem is inspired by a painting in one of the world''s art galleries. The paintings are:-
Peaceable Kingdom by Edward Hicks
Tower of Babel by Pieter Bruegel the Elder
The Skating Minister by Sir Henry Raeburn
Birth of Venus by Sandro Botticelli
An Old Man with his Grandson by Domenico Ghirlandaio
Duration 10 minutes
"The Skating Minister" is also published separately. See catalogue no.63302.'|9790222275980|CUNNINGHAM|Tom Cunningham|'Painter''s Eye'|Choir - Mixed voices (SATB)|?5.50|88
3120|Tom Cunningham
A TIME OF GIFTS
for unaccompanied mixed voice choir
Roberton 3120|'A sequence of six original poems by well-known novelist Alexander McCall Smith (author of "The No.1 Ladies'' Detective Agency" series and many other novels) set to music by Tom Cunningham.
Alexander McCall Smith writes:- "A Time of Gifts is my third collaboration with the composer, Tom Cunningham. Some years ago I was invited to write a series of short pieces about giving for a concert in St Paul''s Cathedral in London. For that I wrote a number of very short stories - a few lines long in each case. This work represents a development of that idea, in which I have tried to say something in verse about what it is to give to others. Giving brings people into a relationship with one another that recognizes shared humanity and vulnerability. But one should not be too solemn about giving: sometimes gifts are unwanted, or awkward, or, as in one of these poems, they insist on coming back!"
The six pieces are:-
Thoughts that come to mind
The only gift
My love gave me a cat
A gift of time
Fitting gifts
His and hers
Duration c.12 minutes'|9790222278608|CUNNINGHAM|Tom Cunningham|Time of Gifts|Choir - Mixed voices (SATB)|?7.00|113
3121|Antony le Fleming
LIKE THE RHYTHM OF THE STARS
Five songs for upper voices and piano
Roberton 03121|A collection of five songs which are settings of various poems to new music by Antony le Fleming. They are scored for upper voices in two or three parts with piano accompaniment. The five pieces are "Dreamtime" (words by Judith Nicholls), "Leisure" (W.H. Davies), "Song for a Banjo Dance" (Langston Hughes), "Twinkle, twinkle, little star" (Jane Taylor), and "We got rhythm" (Mike Jubb)
Total duration 13 minutes|9790222280090|LE FLEMING A|Antony le Fleming|Like the Rhythm of the Stars|Choir - Upper voices|?5.50|88
3122|Antonin Tucapsky
TRES PSALMI
for mixed voice chorus and organ
Roberton 3122|Three psalms (Salvum me fac [No.11], Domine, dominus noster [No.8] and Ad te, domine [No.24]) in new settings by Antonin Tucapsky for mixed voice (SATB) choir with organ accompaniment.
Duration 21 minutes|9790222280113|TUCAPSKY|Antonin Tucapsky|Tres Psalmi|Choir - Vocal score|?9.50|173
3123|A JACOBITE LEGACY arr. Michael Neaum
for upper voice choir and piano
Roberton 3123|'A sequence of four songs arranged for upper voice choir (SSA) and piano accompaniment. With short sections of dialogue linking the songs, it tells some of the story of the Jacobite uprisings and the songs written about the events. The songs are:-
Ye Jacobites by name
Can ye o''er frae France?
Skye Boat Song also available separately - catalogue number 75516
Charlie is my darling.
Duration 8? minutes'|9790222281479|NEAUM|Michael Neaum|Jacobite Legacy|Choir - 3 part upper voices|?4.75|75
3124|Tom Cunningham
FIVE AUDEN SONGS for upper voice choir and piano
Roberton 03124|'Five of W.H.Auden''s poems on the theme of "love" set to music by Tom Cunningham for choir of upper voices (SSA) and piano. Due to the nature of Auden''s texts, these settings are more suited to an adult choir and audience.
The five titles are: The Willow-Wren and the Stare (4? minutes); Make this night loveable (Nocturne II) (2? minutes); Dear, though the night is gone (2 minutes); If I could tell you (but I can''t) (2? minutes); The Love Feast (1? minutes).
40 pages - Duration 13 minutes in total
These can be performed as a set or individually.
Also available for solo voice and piano - see GM126.'|9790222289215|CUNNINGHAM|Tom Cunningham|Five Auden Songs|Choir - 3 part upper voices|?7.50|125
3125|Tom Cunningham
A SCOTTISH FOUR SEASONS for upper voice choir and piano
Roberton 03125|Poems by Alexander McCall Smith on the four seasons from a Scottish point of view, set to music for SSA choir and piano by Tom Cunningham.
Spring, Summer, Autumn, Winter.
Also available in a version for solo voice and piano - GM151
Duration 8 minutes|9790222292956|CUNNINGHAM|Tom Cunningham|Scottish Four Seasons|Choir - 3 part upper voices|?5.50|88
3126|Tom Cunningham
THE CIRCLING YEAR for mixed voice choir and piano
Roberton 03126|Four poems by William Soutar of Perth, Scotland (1898-1943) chosen to represent the four seasons of the year and set to music by Tom Cunningham.
The four poems are titled:-
Crocus, The Lea, The Turn of the Year, Winter Song.
Duration 9? minutes|9790222308503|CUNNINGHAM|Tom Cunningham|Circling Year|Choir - Mixed voices (SATB)|?5.50|88
3127|Tom Cunningham
THE LANGUAGE OF LOVE for unaccompanied mixed voice choir
Roberton 03127|'A sequence of four pieces for unaccompanied SATB choir; settings of words by Percy Bysshe Shelley - Love''s Philosophy, Louise Labe - Dix-huitieme Sonnet, Heinrich Heine - Auf Flugeln des Gesanges and Francesco Petrarca - Benedetto sia ''l giorno. The texts are in English, French, German and Italian respectively. Explanatory (but not singable) translations are provided.
Duration 8 minutes'|9790222309975|CUNNINGHAM|Tom Cunningham|Language of Love|Choir - Mixed voices (SATB)|?4.75|75
3128|Alasdair Jamieson
THREE SCOTTISH SONGS for unaccompanied mixed voice choir
Roberton 03128|'Three Scottish Songs to texts by Scott, Burns and Oliphant, using traditional Scottish tunes but arranged in an up-to-date fashion for mixed voice choir (SATB with divisions) by Alasdair Jamieson.
The three are Jock o'' Hazeldean (Sir Walter Scott), Ye Jacobites by name (Robert Burns) and Will ye no come back again? (Carolina Oliphant [Lady Nairne]).
A piano reduction is shown for rehearsal purposes.
Duration 10 minutes'|9790222309982|JAMIESON|Alasdair Jamieson|Three Scottish Songs|Choir - Mixed voices (SATB)|?5.50|88
5501|||9790222240162|CAMILLERI|Charles Camilleri|Times of Day|Piano - Solo|?5.00|88
5502|||9790222240179|CAMILLERI|Charles Camilleri|Three African Sketches|Piano - Solo|?4.00|63
5503|||9790222240186|CAMILLERI|Charles Camilleri|Etudes Book 1|Piano - Solo|?5.50|100
5504|||9790222240193|CAMILLERI|Charles Camilleri|Etudes Book 2|Piano - Solo|?5.00|88
5505|||9790222240209|CAMILLERI|Charles Camilleri|Etudes Book 3 (the Picasso Set)|Piano - Solo|?4.50|76
5506|Charles Camilleri
SONATINA CLASSICA for piano
Roberton 5506|A sonatina in classical style.|9790222240216|CAMILLERI|Charles Camilleri|Sonatina Classica|Piano - Solo|?4.50|76
5507|||9790222240223|CAMILLERI|Charles Camilleri|Sonatina No.1|Piano - Solo|?5.00|88
5508|||9790222240230|CAMILLERI|Charles Camilleri|African Dreams|Piano - Solo|?6.50|124
5509|Charles Camilleri
DUE CANTI for piano
Roberton 5509|Two songs for piano solo - Cantilena and Arabesque.|9790222240247|CAMILLERI|Charles Camilleri|Due Canti|Piano - Solo|?4.00|63
5510|||9790222240254|CAMILLERI|Charles Camilleri|Four Ragamats|Piano - Solo|?9.50|173
5511|||9790222240261|CAMILLERI|Charles Camilleri|Pieces for Anya|Piano - Solo|?4.00|63
5512|||9790222240278|PARKE|Dorothy Parke|Tunetime|Piano - Solo|?4.00|63
5513|||9790222240285|HAWES J|Jack Hawes|Three Whimsical Pieces|Piano - Solo|?4.00|63
5514|||9790222240292|JACQUES|Michael Jacques|Five Piece Suite|Piano - Solo|?4.50|76
5515|||9790222240308|BLYTON|Carey Blyton|Fun With Figures|Piano - Solo|?5.00|88
5516|||9790222240315|STEVENSON ES|Ella Savourna Stevenson|'Ella Savourna''s Notebook'|Piano - Solo|?5.00|88
5517|||9790222240322|FURZE|Jessie Furze|Six Little Piano Pieces|Piano - Solo|?4.00|38
5518|||9790222240339|FURZE|Jessie Furze|Ten Little Ditties|Piano - Solo|?4.00|38
5519|||9790222240346|FURZE|Jessie Furze|'Grandpapa''s Diary'|Piano - Solo|?4.00|50
5520|||9790222240353|FURZE|Jessie Furze|In Time of Spring|Piano - Solo|?4.00|63
5521|||9790222240360|FURZE|Jessie Furze|Isle of Sark|Piano - Solo|?4.00|50
5522|||9790222240377|HEDGES|Anthony Hedges|Five Preludes|Piano - Solo|?4.00|38
5523|Jessie Furze
THE WESTERN ISLES for piano solo
Roberton 5523|'Eight colourful sketches for solo piano.
1. Over the Minch with the mail boat
2. Croon for an island babe
3. Iona, isle of St. Columba
4. Sea birds
5. Harris weavers'' working song
6. Dancing the reel at the ceilidh
7. The white stone cottage
8. The Piper of Dunvegan.'|9790222240384|FURZE|Jessie Furze|Western Isles|Piano - Solo|?4.00|50
5529|||9790222240391|FURZE|Jessie Furze|Day By Day|Piano - Solo|?4.50|76
5530|||9790222240407|FURZE|Jessie Furze|My Scrap Book|Piano - Solo|?5.00|88
5531|||9790222240414|CAMILLERI|Charles Camilleri|Americana|Piano - Solo|?4.00|38
5533|||9790222240438|CAMILLERI|Charles Camilleri|Sonatina Semplice|Piano - Solo|?3.50|25
5534|||9790222240445|JEFFREYS J|John Jeffreys|Four Little English Dances|Harpsichord|?3.50|25
5545|||9790222240452|CAMILLERI|Charles Camilleri|Concerto Americano|Piano - Solo|?5.50|100
5546|William Alwyn (1905-1985)
MOVEMENTS
for piano solo|'Completed in 1961 (and originally published by Chester Music), Alwyn''s first major piece for piano solo after the 12 Preludes of 1959. In between these years Alwyn had suffered a nervous breakdown and, for a while, had lost the ability to compose. He was nursed back to health by his second wife, Mary (professional name - Doreen Carwithen) to whom the work is dedicated. The work consists of three contrasting movements entitled Allegro Appassionata, Evocation and The Devil''s Reel. (Advanced) Duration 15 minutes.'|9790222259423|ALWYN|William Alwyn|Movements|Piano - Solo|?8.00|149
5550|||9790222240469|FURZE|Jessie Furze|Call of the Tartan|Piano - Solo|?3.50|25
5551|||9790222240476|FURZE|Jessie Furze|In My Country Garden|Piano - Solo|?4.00|38
5552|||9790222240483|FURZE|Jessie Furze|Scenes from Holland|Piano - Solo|?4.00|38
5553|||9790222240490|FURZE|Jessie Furze|Town and Country|Piano - Solo|?3.50|25
5554|||9790222240506|FURZE|Jessie Furze|Windmill Land|Piano - Solo|?4.00|38
5556|||9790222240513|FURZE|Jessie Furze|Things I Remember|Piano - Solo|?3.50|25
5557|||9790222240520|CENTER|Ronald Center|From Childhood|Piano - Solo|?3.50|25
5558|||9790222240537|FOOT|Foot|Holiday Suite|Piano - Solo|?3.50|25
5559|||9790222240544|VAN ROSSUM|Rossum Frederik Van|Little Style-studies|Piano - Solo|?4.50|76
5560|Alan Bush
SIX SHORT PIECES FOR PIANO
Roberton 05560|Invention in two voices; Evening Lyric; Tyneside reel; Ceremonial; Song; Rondino.|9790222240551|BUSH|Alan Bush|Six Short Pieces for Piano|Piano - Solo|?4.50|76
5573|Bernard Stevens
FOUR CONCERT PIECES for piano
Roberton 5573|Aria
Nocturne on a note-row by Ronald Stevenson
Fuga all sarabanda
Elegiac fugue on the name "Geraldine"
An earlier, longer version of "Aria" is also available separately - Roberton 9547|9790222240568|STEVENS B|Bernard Stevens|Four Concert Pieces for Piano|Piano - Solo|?5.00|88
5574|||9790222240575|CUMMINGS-KNI|Geoffrey Cummings-Knight|24 Preludes|Piano - Solo|?17.75|318
5575|||9790222240582|CAMILLERI|Charles Camilleri|Malta Miniatures|Piano - Solo|?4.00|63
5576|||9790222240599|CAMILLERI|Charles Camilleri|Valletta Images|Piano - Solo|?4.50|76
5577|Patrick Piggott
EIGHT PRELUDES AND A POSTLUDE
for piano
Roberton 5577|This is the third set of eight preludes by Patrick Piggott and is more advanced in style than the earlier two. Piggott considered these to be best; he wrote "Most people find No.6 quite easy to understand (not to play), and this is the one they tend to see pictures in or hear the wind and so on." "No.8 is one of the best things I have done! Free at last of anything that once hindered me. If the eighth Prelude expresses anything other than music, it might be the battle with death (sounds over-dramatic) which I was fighting through most of last year . . . " He completed the set with a Postlude, a cortege-like reflection and resolution of earlier conflicts whilst revealing a mood of doubt or apprehension.
Duration 19 minutes
Patrick Piggott (1915-1990)
Born in Dover and educated at Dover College, Patrick Piggott then studied at the Royal Acaademy of Music under Harold Craxton for piano and Benjamin Dale for composition. After the Academy, he continued his composition studies with Nadia Boulanger and his piano studies with Emile Bosquet in Brussels and then Julius Isserlis in London. Most of his early compositions were performed and broadcast though none now exists either in print or in recorded form. He became busy as a pianist and indeed was resident pianist at Cardiff University for many years. In 1965 he was appointed BBC Head of Music, Midland Region, a post which he held for four years before devoting himself to composition.|9790222269224|PIGGOTT P|Patrick Piggott|Eight Preludes & a Postlude|Piano - Solo|?7.50|136
5578|'John Jeffreys
TOBY''S DREAMS for piano
Roberton 5578'|'These eight short piano pieces, Toby''s Dreams and Elegy constitute diversions, rather than variations, on the brief triplet phrase, evoking the slumbering contentment of the dog Toby whose devotion to handicapped children was tragically cut short as, shepherding their outgoings, he was struck by a car and killed.
"After dog Toby''s master was killed in a road accident he searched the entire village looking for him. On many a winter''s night he would call at our house and be fed before lying down in front of the open fire to sleep, perchance to dream! Among the dreams would come the occasional muffled barks (see No.2). His summer visits seemed to bring him some cheer, as betrayed by a curious "step-lollop" (see No.6). The cold silence of the winter stars (No.7) was finally replaced by the mutual joy and affection he later shared with the children of the local Dr. Barnardo''s home." John Jeffreys
Total duration about 17 minutes'|9790222279636|JEFFREYS J|John Jeffreys|'Toby''s Dreams'|Piano - Solo|?5.00|88
6375|||9790222240605|ROBERTON|Hugh S. Roberton|Songs of the Isles|Choir - Vocal score|?11.25|209
6501|||9790222240612|BLYTON|Carey Blyton|Three Food Songs|Choir - Unison voices|?1.50|13
6502|||9790222240629|BLYTON|Carey Blyton|Three Insect Songs|Choir - Unison voices|?1.50|13
6505|Dorothy Parke
BY WINDING ROADS
Roberton 06505|Fifteen songs of the Irish countryside - words by John Irvine, music by Dorothy Parke for solo or unison voices.
Contents: The Provinces; Over the hills and far away; Little boats; Three little towns; The old man from Kilkenny; Music; The fairy tree; The travellers; If; The fairy hill; In old Donegal; Winds; In summer time; Blarney; Goodbye.|9790222240643|PARKE|Dorothy Parke|By Winding Roads|Choir - Unison voices|?6.00|112
6512|||9790222240667|BURTCH|Mervyn Burtch|Songs of London Town|Choir - Unison voices|?6.00|112
6515|||9790222240674|ROBERTON|Hugh S. Roberton|Lions and Crocodiles collection|Choir - Unison voices|?5.50|100
6544|||9790222240698|DALE|Gordon Dale|Centipede and Other Rhymes|Choir - Unison voices|?5.00|88
6545|||9790222240711|DALE|Gordon Dale|Eight Nonsense Songs|Choir - Unison voices|?5.00|63
6546|||9790222240735|DALE|Gordon Dale|Let the Children Sing|Choir - Unison voices|?5.00|63
6547|||9790222240742|DALE|Gordon Dale|Sixteen Silly Songs for Kids|Songbook|?5.00|75
6550|||9790222240759|ROWLEY|Alec Rowley|Little Robin & Other Small Songs|Songbook|?4.00|50
6551|||9790222240766|ROWLEY|Alec Rowley|Plum Or Plain & Other Small Songs|Songbook|?4.00|38
6552|||9790222240773|BELYEA|Warren Herbert Belyea|Zoo - Song Cycle for Young Voices|Choir - Unison voices|?5.00|63
6554|||9790222240780|OTTO|Donna Otto|Primary Songs for Christmas|Choir - Unison voices|?5.50|100
9501|||9790222240834|BEETHOVEN|Ludwig van Beethoven|Sonata in C Woo51 (completed Orga)|Piano - Solo|?5.00|88
9502|||9790222240841|FURZE|Jessie Furze|Song of the Hammer Etc.|Piano - Solo|?3.50|13
9503|||9790222240858|FURZE|Jessie Furze|Waltzing Mice|Piano - Solo|?3.50|13
9504|||9790222240865|FURZE|Jessie Furze|Told in the Twilight|Piano - Solo|?3.50|13
9505|||9790222240872|FURZE|Jessie Furze|Rocking Chair Story Etc.|Piano - Solo|?3.50|13
9506|||9790222240889|STEVENS B|Bernard Stevens|Ballad No.2|Piano - Solo|?4.50|76
9507|||9790222240896|FURZE|Jessie Furze|Tin Soldiers|Piano - Solo|?3.50|13
9508|||9790222240902|FURZE|Jessie Furze|Lords and Ladies|Piano - Solo|?3.50|13
9509|||9790222240919|FURZE|Jessie Furze|Fairies Afoot|Piano - Solo|?3.50|13
9510|||9790222240926|FURZE|Jessie Furze|Lonely Shepherd|Piano - Solo|?3.50|13
9511|||9790222240933|JACOBSON M|Maurice Jacobson|Sarabande and Rustic Ballet|Piano - Solo|?3.50|25
9512|||9790222240940|CAMILLERI|Charles Camilleri|Berceuse / Out of School|Piano - Solo|?3.50|25
9513|||9790222240957|ROBERTON|Hugh S. Roberton|For Alan and Meg|Piano - Solo|?3.50|25
9514|||9790222240964|FURZE|Jessie Furze|'All Alone / Two''s Company'|Piano - Solo|?3.50|13
9515|||9790222240971|FURZE|Jessie Furze|'Smugglers''revels / Primroses In....'|Piano - Solo|?3.50|13
9516|||9790222240988|DALE|Gordon Dale|Clouds That Veil the Midnight Moon+|Piano - Solo|?3.50|25
9517|||9790222240995|DALE|Gordon Dale|Harlem Scherzo|Piano - Solo|?3.50|25
9518|||9790222241008|DALE|Gordon Dale|On the Banks of the Serpentine|Piano - Solo|?3.50|13
9519|||9790222241015|DALE|Gordon Dale|Polonaise Napolitana|Piano - Solo|?3.50|25
9520|||9790222241022|DALE|Gordon Dale|Royal Wedding|Piano - Solo|?3.50|25
9521|||9790222241039|KING|Janet King|Playful Kittens|Piano - Solo|?3.50|13
9522|||9790222241046|CENTER|Ronald Center|Giglot and Toccata|Piano - Solo|?4.00|38
9523|||9790222241053|CENTER|Ronald Center|Sonata for Piano|Piano - Solo|?6.00|112
9524|ARNOLD, Malcolm (1921-2006)
SONATA for piano (new 2012 edition)
Roberton 09524|'Malcolm Arnold completed this piano sonata in August 1942 when he was just 20 years old. He took up the trumpet at the age of 12 after seeing Louis Armstrong perform in a concert in Bournemouth. Five years later he gained a scholarship to the Royal College of Music where he studied the trumpet with Ernest Hall and composition with Gordon Jacob.
The Sonata was originally published only in 1992 and was reproduced from the composer''s manuscript. This new edition has been typeset for clarity but the music has not been materially altered. The manuscript version is also included in the copy.
A Concerto for alto saxophone and string orchestra was created from this Sonata by David Ellis in 1994 at the request of the composer. It is published in the Goodmusic Concert Originals series (GMCO065).
Duration 9? minutes'|9790222241060|ARNOLD M|Malcolm Arnold|Sonata for Piano (2012 edition)|Piano - Solo|?6.50|124
9525|||9790222241077|PEPIN|Clermont Pepin|Short Etude No.1|Piano - Solo|?3.50|25
9526|||9790222241084|MELECCI|Adelmo Melecci|Italian Boy|Piano - Solo|?3.50|13
9527|||9790222241091|MELECCI|Adelmo Melecci|Little Frogs|Piano - Solo|?3.50|13
9528|||9790222241107|COUTTS|George Coutts|Italian Dance|Piano - Solo|?3.50|13
9529|||9790222241114|COUTTS|George Coutts|Merrily Tramping|Piano - Solo|?3.50|13
9531|||9790222241138|KING|Janet King|Playtime / Balloon On A String|Piano - Solo|?3.50|13
9532|||9790222241145|YOUNGER|John B. Younger|I Love A Parade Etc.|Piano - Solo|?3.50|13
9533|||9790222241152|YOUNGER|John B. Younger|Day Dreaming Etc.|Piano - Solo|?3.50|13
9536|||9790222241169|MELECCI|Adelmo Melecci|Mexican Holiday|Piano - Solo|?3.50|13
9543|||9790222241176|ROWLEY|Alec Rowley|Rivulet|Piano - Solo|?3.50|13
9545|||9790222241183|TUCAPSKY|Antonin Tucapsky|Fantasia Quasi Una Sonata|Piano - Solo|?5.00|88
9546|||9790222241190|MERRICK F|Frank Merrick|Hebridean Seascape|Piano - Solo|?5.50|100
9547|Bernard Stevens
ARIA for piano
Roberton 9547|Bernard Stevens wrote more than one version of this piece. One version is contained in "Four Concert Pieces" (Roberton 5573). This version is believed to be the original and has been recorded on DUTTON EPOCH CDLX 7160 played by Michael Finnissy.
Duration 3? minutes|9790222252073|STEVENS B|Bernard Stevens|Aria|Piano - Solo|?4.00|63
9548|Ronald Stevenson
EIGHT SONGS OF FRANCIS GEORGE SCOTT
transcribed for piano|'As recorded by Murray McLachlan on Olympia CD these wonderful transcriptions are available in print for the first time. Suitable for advanced pianists!
1. Since all thy vows, false maid, are blown to air
Transcribed on returning home from a 3 months'' Australian concert tour, and finding a gift awaiting me: F. G. Scott''s copy of Busoni''s Von der Einheit der Musik, very kindly presented by the composer''s son George: for me a symbolic gift of a communion of minds. R.S.
2.Wha is that at my bower-door?
3.O were my love you lilac fair
4.Wee Willie Gray
5.Milkwort and bog-cotton
6.Crowdieknowe
Twenty-six years of devotion to a masterpiece of Mephistophelian balladry, worthy of Busoni''s Doktor Faust and linking the eldritch Scottish Borders with the European Faust legend. R.S. July 1989.
7.Ay waukin, O
Ay waukin, O = Ever waking, O - insomnia from love.
8.There''s news, lasses, news
Duration 25 minutes'|9790222258853|STEVENSON R|Ronald Stevenson|Eight Songs of F.G.Scott|Piano - Solo|?7.50|136
9549|Antonin Tucapsky
PRELUDES Book 1 for piano
Roberton 9549|A set of 24 preludes in two books (1 to 12 in Book 1, 13 to 24 in Book 2) suitable for more advanced pianists.
Duration: Book 1 - c.53 minutes, Book 2 - c.41 minutes|9790222262164|TUCAPSKY|Antonin Tucapsky|Preludes Book 1|Piano - Solo|?11.25|209
9550|Antonin Tucapsky
PRELUDES Book 2 for piano
Roberton 9550|A set of 24 preludes in two books (1 to 12 in Book 1, 13 to 24 in Book 2) suitable for more advanced pianists.
Duration: Book 1 - c.53 minutes, Book 2 - c.41 minutes|9790222271944|TUCAPSKY|Antonin Tucapsky|Preludes Book 2|Piano - Solo|?8.50|160
9801|Thomas Johnson
SCHERZO FOR PIANO TRIO
Roberton 09801|For three players at one piano|9790222241206|JOHNSON T|Thomas Johnson|Scherzo for Piano Trio|Piano - 3 players on 1 piano|?3.50|25
9901|||9790222241213|HAMILTON|Alasdair Hamilton|Scherzo - Keys of Canterbury|Piano - 2 players on 1 piano|?4.00|50
9902|||9790222241220|ROWLEY|Alec Rowley|Minuetto|Piano - 2 players on 1 piano|?3.50|25
9903|||9790222241237|ROWLEY|Alec Rowley|Festive Dance|Piano - 2 players on 1 piano|?4.00|38
9904|||9790222241244|ROWLEY|Alec Rowley|Pavanesque|Piano - 2 players on 1 piano|?4.00|38
9905|||9790222241251|HEDGES|Anthony Hedges|Hornpipe Rondo|Piano - 2 players on 1 piano|?3.50|25
9911|||9790222241268|FURZE|Jessie Furze|Fairies Afoot|Piano - 2 players on 1 piano|?3.50|25
9913|||9790222241275|FURZE|Jessie Furze|Dancing Princess|Piano - 2 players on 1 piano|?3.50|25
9915|||9790222241282|FURZE|Jessie Furze|Tin Soldiers / Lords and Ladies|Piano - 2 players on 1 piano|?4.00|38
9916|||9790222241299|FIELD J|John Field|Le Midi (Rondo) arr.Havelock Nelson|Piano - 2 players on 2 pianos|?7.50|136
9918|||9790222241305|FURZE|Jessie Furze|Lonely Shepherd / Dancing Princess|Piano - 2 players on 1 piano|?4.00|38
9919|LANE, Philip (1950- )
BADINAGES for piano duet
Roberton 09919|'In four movements: 1. Mouvement perpetuel, 2. Nocturne, 3. Valse excentrique, 4. Promenade en fiacre
Badinages is the earliest piece the composer still acknowledges. An impromptu play-through with Professor Ivor Keys formed the major part of his interview at Birmingham University in 1969. The work is an affectionate tribute to his heroes of the French school - Debussy, Ravel, Poulenc and Milhaud - although there are echoes of the dedicatee, Lord Berners, and Walton here and there also. The individual titles are largely self-explanatory - suffice to add that the composer had a cobbled boulevard after rain in mind for the Nocturne and the frenetic ride in a horse-drawn "fiacre" was suggested by an old newsreel.
A commercial recording by Peter Lawson and Alan Maclean is available on Albany TROY142.
The originally published version was reproduced from the composer''s manuscript. This has now been replaced by this typeset edition published in 2012.
Each movement lasts around 2? minutes - Total duration c.11 minutes'|9790222241312|LANE P|Philip Lane|Badinages for piano duet|Piano - 2 players on 1 piano|?7.50|136
9920|Serge Prokofiev (arranged by David Patrick)
WINTER BONFIRE
for piano duet|'A splendid arrangement of modest difficulty of "Departure" taken from the suite Winter Bonfire Op.122 originally for boys'' choir and orchestra. (Approx Grade 4-5).
Please note that the printed copy of this work is arranged with the Secondo part on the left hand page and the Primo part on the right hand page. The Scorch file of this work has the two parts arranged one above the other (not like the printed copy) so that you can listen to the work and watch the music go by!'|9790222252080|PROKOFIEV|Sergei Prokofiev|Winter Bonfire (arr.Patrick)|Piano - 2 players on 1 piano|?4.50|76
9921|||9790222241329|LANE P|Philip Lane|Mouvement Perpetuel from Badinages|Piano - 2 players on 1 piano|?4.00|38
9922|Dorothy Parke
CHRISTMAS CAROLS - A SHORT FANTASIA
for piano duet
Roberton 9922|A fantasia on Christmas carol tunes arranged for two players on one piano around Grade 3-5 standard.
The carol tunes used are I saw three ships, Holy night, The holly and the ivy, Coventry carol and When the crimson sun had set.|9790222241336|PARKE|Dorothy Parke|Christmas Carols - A Short Fantasia|Piano - 2 players on 1 piano|?4.50|76
9923|||9790222241343|ROWLEY|Alec Rowley|Columbine|Piano - 2 players on 1 piano|?3.50|25
9924|||9790222241350|ROWLEY|Alec Rowley|Pantaloon|Piano - 2 players on 1 piano|?4.00|38
9927|||9790222241367|BURY|Frank Bury|Prelude and Fugue in E Flat|Piano - 2 players on 2 pianos|?7.50|136
9928|Philip Lane
SCHERZO BURLESCO
for piano duet|An original work for piano duet in a humorous lighter style.
(Approx Grade 6-7)
Duration 2? minutes|9790222241374|LANE P|Philip Lane|Scherzo Burlesco|Piano - 2 players on 1 piano|?4.50|76
9929|Dorothy Parke
CHRISTMAS CAROLS - A SHORT FANTASIA
for two pianos
Roberton 9929|A fantasia on Christmas carol tunes arranged for two pianos around Grade 5 standard. Two copies are included, one for each pianist.
The carol tunes used are I saw three ships, Holy night, The holly and the ivy, Coventry carol and When the crimson sun had set.|9790222241381|PARKE|Dorothy Parke|Christmas Carols - A Short Fantasia|Piano - 2 players on 2 pianos|?6.00|112
9930|THIRTY FINGERS SERIES for six hands on one piano
EASY BAROQUE TRIOS
arranged by Peter Wildman
Roberton 9930|'THIRTY FINGERS is a series of books of various standards for three players on one piano.
This book is for players of around Grades 1 to 3 and contains Bach - Musette from the Anna Magdalena Notebook, Gluck - Dance of the Blessed Spirits, Handel - Lascia ch''io pianga; Minuet from the Water Music; Minuet from the Fireworks Music, Purcell - Rondeau from Abdelazer, Rameau - Musette from Fetes d''Hebe, Vivaldi - Largo from the Lute Concerto.
Also available are free Practice Tracks each with a different player''s part missing so you can play along with your two partners even when they are not there!
For details on the whole series and to listen to or download the Practice Tracks CLICK HERE
'|9790222269712|WILDMAN|Peter Wildman|Thirty Fingers Easy Baroque|Piano - 3 players on 1 piano|?7.50|136
9931|THIRTY FINGERS SERIES for six hands on one piano
INTERMEDIATE BAROQUE TRIOS
arranged by Peter Wildman
Roberton 9931|'THIRTY FINGERS is a series of books of various standards for three players on one piano.
This book is for players of around Grades 4 to 6 and contains Bach - Air from Suite No.3, Corelli - Allegro from the Christmas Concerto, Gluck - Che faro senza Euridice?, Pergolesi - Inflammatus et accensus, Scarlatti - O Clemens from Salve Regina, Vivaldi - Largo from Winter.
Also available are free Practice Tracks each with a different player''s part missing so you can play along with your two partners even when they are not there!
For details on the whole series and to listen to or download the Practice Tracks CLICK HERE
'|9790222269729|WILDMAN|Peter Wildman|Thirty Fingers Intermediate Baroque|Piano - 3 players on 1 piano|?7.50|136
9932|THIRTY FINGERS SERIES for six hands on one piano
EASY CLASSICAL TRIOS
arranged by Peter Wildman
Roberton 9932|'THIRTY FINGERS is a series of books of various standards for three players on one piano.
This book is for players of around Grades 1 to 3 and contains Beethoven - Two Contredances; Two German Dances; Minuet; The Glory of God in Nature, Boccherini - Minuet, Haydn - Three German Dances, Mozart - Auf die feierliche Johannisloge; The Birdcatcher''s Song; O Isis and Osiris, Schubert To music.
Also available are free Practice Tracks each with a different player''s part missing so you can play along with your two partners even when they are not there!
For details on the whole series and to listen to or download the Practice Tracks CLICK HERE
'|9790222269736|WILDMAN|Peter Wildman|Thirty Fingers Easy Classical|Piano - 3 players on 1 piano|?7.50|136
9933|THIRTY FINGERS SERIES for six hands on one piano
INTERMEDIATE CLASSICAL TRIOS
arranged by Peter Wildman
Roberton 9933|'THIRTY FINGERS is a series of books of various standards for three players on one piano.
This book is for players of around Grades 4 to 6 and contains Beethoven - Peasants'' Merrymaking, Haydn - Andante from the Trumpet Concerto, Mozart - Bei mannern (Magic Flute), Schubert - Entr''acte from Rosamunde.
Also available are free Practice Tracks each with a different player''s part missing so you can play along with your two partners even when they are not there!
For details on the whole series and to listen to or download the Practice Tracks CLICK HERE
'|9790222269743|WILDMAN|Peter Wildman|Thirty Fingers Intermed. Classical|Piano - 3 players on 1 piano|?7.50|136
9934|THIRTY FINGERS SERIES for six hands on one piano
EASY ROMANTIC TRIOS
arranged by Peter Wildman
Roberton 9934|'THIRTY FINGERS is a series of books of various standards for three players on one piano.
This book is for players of around Grades 1 to 3 and contains Brahms - Gypsy Song, Dvorak - Largo, Faure - Pie Jesu, Gounod - O ma Belle Rebelle, Schumann Davidsbundler tanze, Tchaikovsky - Arabian Dance.
Also available are free Practice Tracks each with a different player''s part missing so you can play along with your two partners even when they are not there!
For details on the whole series and to listen to or download the Practice Tracks CLICK HERE
'|9790222269750|WILDMAN|Peter Wildman|Thirty Fingers Easy Romantic|Piano - 3 players on 1 piano|?6.50|124
9935|THIRTY FINGERS SERIES for six hands on one piano
INTERMEDIATE ROMANTIC TRIOS
arranged by Peter Wildman
Roberton 9935|'THIRTY FINGERS is a series of books of various standards for three players on one piano.
This book is for players of around Grades 4 to 6 and contains Bizet - Farandole, Delibes - Flower Duet, Elgar - Nimrod, Grieg - In the Hall of the Mountain King, Mahler - Lov''st thou but beauty.
Also available are free Practice Tracks each with a different player''s part missing so you can play along with your two partners even when they are not there!
For details on the whole series and to listen to or download the Practice Tracks CLICK HERE
'|9790222269767|WILDMAN|Peter Wildman|Thirty Fingers Intermed. Romantic|Piano - 3 players on 1 piano|?7.50|136
9936|THIRTY FINGERS SERIES for six hands on one piano
J. S. BACH - VIVACE from BWV530
arranged by Peter Wildman
Roberton 9936|'THIRTY FINGERS is a series of books of various standards for three players on one piano.
This work is for players of around Grades 6 to 8 standard. The movement is taken from one of Bach''s Trio Sonatas for the organ.
Also available are free Practice Tracks each with a different player''s part missing so you can play along with your two partners even when they are not there!
For details on the whole series and to listen to or download the Practice Tracks CLICK HERE
'|9790222269774|WILDMAN|Peter Wildman|Thirty Fingers Bach Vivace|Piano - 3 players on 1 piano|?6.00|112
9937|THIRTY FINGERS SERIES for six hands on one piano
BEETHOVEN - Allegro con brio from SYMPHONY No.5
arranged by Peter Wildman
Roberton 9937|'THIRTY FINGERS is a series of books of various standards for three players on one piano.
This work is for players of around Grades 6 to 8 standard. This is the first movement from Beethoven''s fifth symphony.
Also available are free Practice Tracks each with a different player''s part missing so you can play along with your two partners even when they are not there!
For details on the whole series and to listen to or download the Practice Tracks CLICK HERE
'|9790222269781|WILDMAN|Peter Wildman|Thirty Fingers Beethoven 5 Allegro|Piano - 3 players on 1 piano|?6.50|124
9938|THIRTY FINGERS SERIES for six hands on one piano
TCHAIKOVSKY - Adagio lamentoso from SYMPHONY No.6
arranged by Peter Wildman
Roberton 9938|'THIRTY FINGERS is a series of books of various standards for three players on one piano.
This work is for players of around Grades 6 to 8 standard. This is the last movement from Tchaikovsky''s sixth symphony.
Also available are free Practice Tracks each with a different player''s part missing so you can play along with your two partners even when they are not there!
For details on the whole series and to listen to or download the Practice Tracks CLICK HERE
'|9790222269859|WILDMAN|Peter Wildman|Thirty Fingers Tchaikovsky 6 Adagio|Piano - 3 players on 1 piano|?6.00|112
9940|Maurice Jacobson
PRELUDE TO A PLAY for two pianos
Roberton 09940|'The Prelude to a Play started life as a short work for orchestra. In 1939 Maurice Jacobson made this arrangement for two pianos - two copies (one for each pianist) are included.
Maurice Jacobson was regarded in his lifetime as a "musician extraordinary", gifted with such exceptional versatility that formal classifications were quite inadequate to convey the wide-ranging nature of his career. Among his manifold activities, he was a composer, pianist, conductor, music publisher, editor, broadcaster, lecturer, and doyen of British music festival adjudicators. Jacobson, who was awarded the OBE in 1971 for "services to music", began his professional career as a solo pianist early in life - he was, in fact, a child prodigy, having started serious lessons in both the violin and the piano at the age of seven. At 16, he won a piano scholarship at the Modern School of Music, London, which enabled him to receive lessons from Busoni. By that time, he could play all Beethoven''s sonatas and all of Bach''s 48 Preludes and Fugues from memory, a feat which many eminent professional musicians would envy. In 1916, he gained an open scholarship at the Royal College of Music, where, with a four-year break for military service in World War I, he studied composition under Stanford and Holst and conducting under Sir Adrian Boult, until 1922. In 1923 Maurice Jacobson joined the music publishing firm of J. Curwen & Sons as a music reader. In 1933 he was made a director and later its chairman from 1950 to 1972. Maurice Jacobson''s compositions and arrangements number around 450 including a ballet, David; also the cantatas The Lady of Shalott (1940) and The Hound of Heaven (1953) together with many short instrumental pieces, chamber music, and songs.
Duration 4 minutes'|9790222280304|JACOBSON M|Maurice Jacobson|Prelude To A Play|Piano - 2 players on 2 pianos|?7.50|136
9941|Maurice Jacobson
THEME AND VARIATIONS for piano duet (two players at one piano)
Roberton 09941|'The "Theme and Variations", completed in either 1943 or 1947 (the records are not clear), is a large-scale set of variations on an original theme for symphony orchestra. Maurice Jacobson also prepared a concert version for piano duet which is published here for the first time.
Maurice Jacobson was regarded in his lifetime as a "musician extraordinary", gifted with such exceptional versatility that formal classifications were quite inadequate to convey the wide-ranging nature of his career. Among his manifold activities, he was a composer, pianist, conductor, music publisher, editor, broadcaster, lecturer, and doyen of British music festival adjudicators. Jacobson, who was awarded the OBE in 1971 for "services to music", began his professional career as a solo pianist early in life - he was, in fact, a child prodigy, having started serious lessons in both the violin and the piano at the age of seven. At 16, he won a piano scholarship at the Modern School of Music, London, which enabled him to receive lessons from Busoni. By that time, he could play all Beethoven''s sonatas and all of Bach''s 48 Preludes and Fugues from memory, a feat which many eminent professional musicians would envy. In 1916, he gained an open scholarship at the Royal College of Music, where, with a four-year break for military service in World War I, he studied composition under Stanford and Holst and conducting under Sir Adrian Boult, until 1922. In 1923 Maurice Jacobson joined the music publishing firm of J. Curwen & Sons as a music reader. In 1933 he was made a director and later its chairman from 1950 to 1972. Maurice Jacobson''s compositions and arrangements number around 450 including a ballet, David; also the cantatas The Lady of Shalott (1940) and The Hound of Heaven (1953) together with many short instrumental pieces, chamber music, and songs.
Duration 22 minutes'|9790222280311|JACOBSON M|Maurice Jacobson|Theme and Variations|Piano - 2 players on 1 piano|?9.50|173
9942|THIRTY FINGERS SERIES for six hands on one piano
EASY ENGLISH TRIOS
arranged by Peter Lawson
Roberton 9942|'Thirty Fingers is a series of books of various standards for three players on one piano.
This book is for players of around Grades 1 to 3 and contains
Hook - The Lass of Richmond Hill
Clarke - Trumpet Tune in D
Boyce - Gavot from Symphony 4
Holst - I Vow to Thee My Country
Elgar - Larghetto from Serenade for Strings
Delius - On Hearing the First Cuckoo in Spring.
Also available are free Practice Tracks each with a different player''s part missing so you can play along with your two partners even when they are not there!
For details on the whole series and to listen to or download the Practice Tracks CLICK HERE
'|9790222301061|LAWSON|Peter Lawson|Thirty Fingers Easy English Trios|Piano - 3 players on 1 piano|?7.50|136
9943|THIRTY FINGERS SERIES for six hands on one piano
INTERMEDIATE ENGLISH TRIOS
arranged by Peter Lawson
Roberton 9943|'Thirty Fingers is a series of books of various standards for three players on one piano.
This book is for players of around Grades 4 to 6 and contains
Arne - Rule Britannia
Parry - Jerusalem
Butterworth - The Banks of Green Willow
Elgar - Salut d''Amour
Delius - Sleigh Ride
Alford - Colonel Bogey March.
Also available are free Practice Tracks each with a different player''s part missing so you can play along with your two partners even when they are not there!
For details on the whole series and to listen to or download the Practice Tracks CLICK HERE
'|9790222301078|LAWSON|Peter Lawson|Thirty Fingers Intermediate English|Piano - 3 players on 1 piano|?8.00|149
9944|THIRTY FINGERS SERIES for six hands on one piano
EASY FRENCH TRIOS
arranged by Peter Lawson
Roberton 9944|'Thirty Fingers is a series of books of various standards for three players on one piano.
This book is for players of around Grades 1 to 3 and contains
Satie - Gymnopedie No.1
Charpentier - Prelude from the Te Deum
Bizet - Habanera from Carmen
Faure - Berceuse from the Dolly Suite
Couperin - Le Moucherin (The Gnat)
Saint-Saens - The Swan
Ravel - Pavane pour une Infante Defunte.
Also available are free Practice Tracks each with a different player''s part missing so you can play along with your two partners even when they are not there!
For details on the whole series and to listen to or download the Practice Tracks CLICK HERE
'|9790222301085|LAWSON|Peter Lawson|Thirty Fingers Easy French Trios|Piano - 3 players on 1 piano|?7.50|136
9945|THIRTY FINGERS SERIES for six hands on one piano
INTERMEDIATE FRENCH TRIOS
arranged by Peter Lawson
Roberton 9945|'Thirty Fingers is a series of books of various standards for three players on one piano.
This book is for players of around Grades 4 to 6 and contains
Faure - Pavane
Ravel - Forlane from Le Tombeau de Couperin
Debussy - Prelude from Suite Bergamasque
Satie - Je Te Veux
Massenet - Meditation from Thais
Saint-Saens - Organ Symphony Theme.
Also available are free Practice Tracks each with a different player''s part missing so you can play along with your two partners even when they are not there!
For details on the whole series and to listen to or download the Practice Tracks CLICK HERE
'|9790222301092|LAWSON|Peter Lawson|Thirty Fingers Intermediate French|Piano - 3 players on 1 piano|?7.50|136
9946|THIRTY FINGERS SERIES for six hands on one piano
EASY DANCE TRIOS
arranged by Peter Lawson
Roberton 9946|'Thirty Fingers is a series of books of various standards for three players on one piano.
This book is for players of around Grades 1 to 3 and contains
Mozart - Minuet from Eine Kleine Nachtmusik
Bach - Siciliano from Flute Sonata
Captain Pugwash (The Trumpet Hornpipe)
Chopin - Waltz in A minor Op.Posth
Grieg - Sarabande from the Holberg Suite
Handel - Bouree from the Water Music
Strauss - Thunder and Lightning Polka.
Also available are free Practice Tracks each with a different player''s part missing so you can play along with your two partners even when they are not there!
For details on the whole series and to listen to or download the Practice Tracks CLICK HERE
'|9790222301108|LAWSON|Peter Lawson|Thirty Fingers Easy Dance Trios|Piano - 3 players on 1 piano|?7.50|136
9947|THIRTY FINGERS SERIES for six hands on one piano
INTERMEDIATE DANCE TRIOS
arranged by Peter Lawson
Roberton 9947|'Thirty Fingers is a series of books of various standards for three players on one piano.
This book is for players of around Grades 4 to 6 and contains
Bach - Gigue from Suite No.3 in D
Waldteufel - The Skaters'' Waltz
Debussy - Golliwog''s Cakewalk
Tchaikovsky - Russian Dance from the Nutcracker Suite
Joplin - Ragtime Dance.
Also available are free Practice Tracks each with a different player''s part missing so you can play along with your two partners even when they are not there!
For details on the whole series and to listen to or download the Practice Tracks CLICK HERE
'|9790222301115|LAWSON|Peter Lawson|Thirty Fingers Intermediate Dance|Piano - 3 players on 1 piano|?8.00|149
28191|||9790222241398|DAVAN WETTON|Wetton Hilary Davan|Come Ye People Hasten Near|Choir - Mixed voices (SATB)|?1.50|13
40009|||9790222241404|PARRY|C. Hubert H. Parry|Jerusalem (original in key D)|Choir - Unison voices|?1.50|13
40061|||9790222241411|PARRY|C. Hubert H. Parry|Jerusalem (simplified in key D)|Choir - Unison voices|?1.50|13
40062|PARRY, C. Hubert H.
JERUSALEM for voice(s) with organ accompaniment
Roberton 40062|'A newly typeset edition of Parry''s famous "Jerusalem" with organ accompaniment by George Thalben-Ball. We also sell various other editions of "Jerusalem" including the standard voice and piano plus simplified editions and choral arrangements.
Duration 2? minutes'|9790222265530|PARRY|C. Hubert H. Parry|Jerusalem (org.accomp Thalben-Ball)|Voice solo (with accompaniment)|?3.50|13
40063|||9790222241428|PARRY|C. Hubert H. Parry|Jerusalem (simplified in key C)|Choir - Unison voices|?1.50|13
43015|||9790222241459|WESTBROOK|Francis Westbrook|Reading Hymn Tunes & Singing Psalms|Book|?2.50|90
43030|||9780951372012|JEFFREYS J|John Jeffreys|Life and Works of Philip Rosseter|Book|?8.00|180
43031|||9790222241503|BONELLO|Michael Bonello|Piano Music of Charles Camilleri|Book|?6.00|115
43033|John Jeffreys
A MEMOIR OF PHILIP ROSSETER
Book|'Paperback, 172 pages.
This second book upon the life and works of Philip Rosseter concludes John Jeffreys'' researches that began in 1950 with the purpose of countering the neglect of a legacy of music that remains among the finest ever left by an English Composer.
John Jeffreys'' first book "The Life and Works of Philip Rosseter" is also still available (No.43030).'|9780951372036|JEFFREYS J|John Jeffreys|Memoir of Philip Rossetter|Book|?12.00|360
50015|||9790222241510|DE RILLE|Laurent De Rille|Martyrs of the Arena|Choir - Male voices|?2.75|38
50346|||9790222241527|SCHUBERT|Franz Schubert|Lord Is My Shepherd|Choir - Male voices|?2.00|25
50371|COMRADES IN ARMS by Adolphe Adam
for unaccompanied male voice choir and piano
Roberton 50371|This is the "original" version of Comrades in Arms for unaccompanied male voice choir. Also available is a version which includes a piano accompaniment by Bryan Davies (no.53217). These 50371 copies can be used by choir members along with the new accompanied version. The only additions are that at the start is an 8 bar piano introduction, a 4 bar section added at the end and an extra bar inserted before the Allegro marziale.
Duration 4? minutes|9790222241534|ADAM A|Adolphe Adam|Comrades in Arms|Choir - Male voices|?2.75|38
50467|||9790222241541|MACKENZIE|David Mackenzie|'Newquay Fisherman''s Song'|Choir - Male voices|?2.00|25
50538|||9790222241558|MOZART|Wolfgang Amadeus Mozart|Gloria from 12th Mass|Choir - Male voices|?2.00|25
50552|||9790222267305|ROBERTON|Hugh S. Roberton|Loch Leven Love Lament|Choir - Male voices|?2.00|25
50553|||9790222241565|ROBERTON|Hugh S. Roberton|Scots Wha Hae|Choir - Male voices|?2.00|25
50553SOLFA|||9790222241572|ROBERTON|Hugh S. Roberton|Scots Wha Hae (solfa edition)|Choir - Male voices|?2.00|25
50558|||9790222241589|ROBERTON|Hugh S. Roberton|Island Shieling Song|Choir - Male voices|?2.00|25
50558SOLFA|||9790222241596|ROBERTON|Hugh S. Roberton|Island Shieling Song(solfa edition)|Choir - Male voices|?2.00|25
50650|||9790222241602|ROBERTON|Hugh S. Roberton|Blow Away the Morning Dew|Choir - Male voices|?1.50|13
50666|Hugh S. Roberton
ALL IN THE APRIL EVENING
for male voice choir
Roberton 50666|'Born in Glasgow, Hugh Roberton became a funeral director apart from being a conductor and composer. A highly motivated and self-taught choir-master, he founded the Toynbee Musical Association in 1901 and five years later, this became the Glasgow Orpheus Choir which gained a world-wide reputation and went on to perform under Hugh''s direction for some 45 years. He composed much for his choir, with perhaps his most famous pieces being "All in the April Evening" and the "Mingulay Boat Song". He had a reputation for getting the very best from his singers, who held him in such great esteem that when he resigned as their leader shortly before his death, the choir agreed that they must disband. However, the Orpheus rose again when many of its members re-formed as the Glasgow Phoenix Choir, which continues to perform and tour to this day. Hugh Roberton was knighted in 1931.
There are versions of "All in the April Evening" available for unaccompanied mixed voice choir (SATB), solo voice, unison voices, female voice choir, male voice choir, mixed voice choir (SAB), with Welsh words and also in an arrangement for string orchestra and a "meditation" for organ.
Duration nearly 3 minutes'|9790222241619|ROBERTON|Hugh S. Roberton|All in the April Evening|Choir - Male voices|?1.50|13
50666SOLFA|||9790222241626|ROBERTON|Hugh S. Roberton|All in the April Evening (solfa)|Choir - Male voices|?1.50|13
50666WELSH|||9790222241633|ROBERTON|Hugh S. Roberton|All in the April Evening(welsh wds)|Choir - Male voices|?1.50|13
50668|||9790222241640|ROBERTON|Hugh S. Roberton|Where the Violets Blow|Choir - Male voices|?1.50|13
50685|||9790222241657|ROBERTON|Hugh S. Roberton|In Summertime On Bredon|Choir - Male voices|?2.00|25
50710|||9790222241664|ROBERTON|Hugh S. Roberton|De Battle Ob Jerico|Choir - Male voices|?1.50|13
50710SOLFA|||9790222241671|ROBERTON|Hugh S. Roberton|De Battle Ob Jerico (solfa edition)|Choir - Male voices|?1.50|13
50712|||9790222241688|ROBERTON|Hugh S. Roberton|'Deil''s Awa'|Choir - Male voices|?1.50|13
50713|||9790222241695|ROBERTON|Hugh S. Roberton|Ossianic Processional|Choir - Male voices|?2.00|25
50716|||9790222241701|ROBERTON|Hugh S. Roberton|Celtic Hymn|Choir - Male voices|?2.00|25
50731|||9790222241718|ROBERTON|Hugh S. Roberton|Pine Tree Standeth Lonely|Choir - Male voices|?1.50|13
50732|||9790222241725|ROBERTON|Hugh S. Roberton|Donkey|Choir - Male voices|?1.50|13
50732SOLFA|||9790222241732|ROBERTON|Hugh S. Roberton|Donkey (solfa edition)|Choir - Male voices|?1.50|13
50741|||9790222241749|ROBERTON|Hugh S. Roberton|Lyke-wake Dirge|Choir - Male voices|?2.00|25
50745|||9790222241756|ROBERTON|Hugh S. Roberton|'Ay Waukin'' O'|Choir - Male voices|?2.00|25
50745SOLFA|||9790222241763|ROBERTON|Hugh S. Roberton|'Ay Waukin'' O (solfa edition)'|Choir - Male voices|?2.00|25
50761|||9790222241770|ROBERTON|Hugh S. Roberton|There Is a Green Hill Far Away|Choir - Male voices|?1.50|13
50765|||9790222241787|ROBERTON|Hugh S. Roberton|Kirkconnel Lea|Choir - Male voices|?2.00|25
50766|||9790222241794|ROBERTON|Hugh S. Roberton|Uist Tramping Song (Come Along)|Choir - Male voices|?2.00|25
50767|||9790222241800|ROBERTON|Hugh S. Roberton|O Lovely Heart|Choir - Male voices|?1.50|13
50768|||9790222241817|ROBERTON|Hugh S. Roberton|Sundown|Choir - Male voices|?1.50|13
50769|||9790222241824|ROBERTON|Hugh S. Roberton|So Sweet Love Seemed That April Mrn|Choir - Male voices|?1.50|13
50772|||9790222241831|ROBERTON|Hugh S. Roberton|Celtic Keening Song|Choir - Male voices|?1.50|13
50773|||9790222241848|ROBERTON|Hugh S. Roberton|Eileen Aroon|Choir - Male voices|?2.00|25
50782|||9790222241855|ROBERTON|Hugh S. Roberton|Give a Man a Horse He Can Ride|Choir - Male voices|?1.50|13
50783|||9790222241862|ROBERTON|Hugh S. Roberton|Barque of Clanranald|Choir - Male voices|?2.00|25
50784|||9790222241879|ROBERTON|Hugh S. Roberton|'Lassie Wad Ye Lo''e Me?'|Choir - Male voices|?1.50|13
50785|||9790222241886|ROBERTON|Hugh S. Roberton|When De Stars Begin To Fall|Choir - Male voices|?2.00|25
50786|||9790222241893|ROBERTON|Hugh S. Roberton|Sweet Nightingale|Choir - Male voices|?2.00|25
50790|||9790222241909|ROBERTON|Hugh S. Roberton|O Western Wind|Choir - Male voices|?1.50|13
50791|||9790222241916|ROBERTON|Hugh S. Roberton|How Very Dear She Was|Choir - Male voices|?1.50|13
50792|||9790222241923|ROBERTON|Hugh S. Roberton|Were You There? (TBB)|Choir - Male voices|?1.50|13
50794|||9790222241930|ROBERTON|Hugh S. Roberton|Cloths of Heaven|Choir - Male voices|?1.50|13
50797|||9790222241947|ROBERTON|Hugh S. Roberton|Listen to the Lambs|Choir - Male voices|?2.00|25
50798|||9790222241954|ROBERTON|Hugh S. Roberton|My Luve is Like a Red Red Rose|Choir - Male voices|?2.00|25
50799|||9790222241961|ROBERTON|Hugh S. Roberton|Pratty Flowers|Choir - Male voices|?2.00|25
50802|||9790222241978|ROBERTON|Hugh S. Roberton|Go Down Moses!|Choir - Male voices|?2.00|25
50803|||9790222241985|ROBERTON|Hugh S. Roberton|I See His Blood Upon the Rose|Choir - Male voices|?2.00|25
50805|||9790222241992|ROBERTON|Hugh S. Roberton|'Nobody Knows De Trouble I''ve Seen'|Choir - Male voices|?1.50|13
50806|||9790222242005|ROBERTON|Hugh S. Roberton|'E''en As a Lovely Flower'|Choir - Male voices|?1.50|13
50851|||9790222242012|ROBERTON|Hugh S. Roberton|A-roving|Choir - Male voices|?2.00|25
50852|||9790222242029|ROBERTON|Hugh S. Roberton|Full Fathom Five|Choir - Male voices|?2.00|25
53002|||9790222242036|NELSON H|Havelock Nelson|Maid of Bunclody|Choir - Male voices|?2.00|25
53007|||9790222242043|ROBERTON|Hugh S. Roberton|Over Here|Choir - Male voices|?1.50|13
53008|||9790222242050|HEAD|Michael Head|I Will Lift Up Mine Eyes(Psalm 121)|Choir - Male voices|?2.00|25
53009|||9790222242067|HEAD|Michael Head|Make A Joyful Noise Unto the Lord|Choir - Male voices|?2.75|38
53010|||9790222242074|WALTERS L|Leslie Walters|For the Ungodly Said.......|Choir - Male voices|?2.75|38
53011|||9790222242081|WALTERS L|Leslie Walters|Galley-Rowers|Choir - Male voices|?2.00|25
53012|||9790222242098|BLYTON|Carey Blyton|In Lighter Mood|Choir - Male voices|?2.75|38
53013|||9790222242104|BANTOCK|Granville Bantock|Fighting Temeraire|Choir - Male voices|?2.75|38
53014|||9790222242111|LIDDELL C|Claire Liddell|'I''ll Ay Ca'' in By Yon Toon'|Choir - Male voices|?1.50|13
53015|||9790222242128|ROBERTON|Hugh S. Roberton|Serenade|Choir - Male voices|?1.50|13
53016|||9790222242135|WILKINSON|Stephen Wilkinson|Consider Well|Choir - Male voices|?2.75|38
53017|Brian Hughes (arr)
JONAH
for male voice choir
Roberton 53017|Arrangement of a spritual for male voice choir (TTBB) unaccompanied. Originally published in 1978, this is now available in a revised version (2009). In the new version, there have been some amendments to the notes, the layout has been improved and it now comes with Welsh words as well as English shown on the same copy.
If you need extra copies of the ORIGINAL version to add to an existing set then you may order using catalogue number 53017ORIG.
Duration 2? minutes|9790222242142|HUGHES|Brian Hughes|Jonah (Revised) English+Welsh|Choir - Male voices|?2.00|25
53017ORIG||||HUGHES|Brian Hughes|Jonah (original edition)|Choir - Male voices|?1.50|13
53018|||9790222242159|ROBERTON|Hugh S. Roberton|All Through the Night|Choir - Male voices|?1.50|13
53019|||9790222242166|ROBERTON|Hugh S. Roberton|At the Mid Hour of Night|Choir - Male voices|?1.50|13
53020|||9790222242173|FOSTER|Stephen Foster|Poor Old Joe (arr.Roberton)|Choir - Male voices|?1.50|13
53025|||9790222242180|BURTCH|Mervyn Burtch|Epilogue|Choir - Male voices|?1.50|13
53026|||9790222242197|PLUMSTEAD|Mary Plumstead|They All Were Looking for a King|Choir - Male voices|?1.50|13
53027|||9790222242203|STEVENS RJS|Richard John Samuel Stevens|'Cloud-Capp''d Towers'|Choir - Male voices|?1.50|13
53027SOLFA|||9790222242210|STEVENS RJS|Richard John Samuel Stevens|'Cloud-Capp''d Towers (solfa edition)'|Choir - Male voices|?1.50|13
53028|||9790222242227|ROBERTON|Hugh S. Roberton|Crimond (staff & solfa)|Choir - Male voices|?1.50|13
53029|||9790222242234|ROBERTON|Hugh S. Roberton|Isle of Mull|Choir - Male voices|?1.50|13
53031|||9790222242241|ROBERTON|Hugh S. Roberton|Ye Gates Lift Up Your Heads|Choir - Male voices|?1.50|13
53032|||9790222242258|ROBERTON|Hugh S. Roberton|Battle-Hymn of the Republic|Choir - Male voices|?2.00|25
53033|||9790222242265|BYRD|William Byrd|Ave Verum Corpus (arr.Hilda Morgan)|Choir - Male voices|?2.00|25
53033SOLFA|||9790222242272|BYRD|William Byrd|Ave Verum Corpus (solfa edition)|Choir - Male voices|?2.00|25
53035|||9790222242289|STANFORD|Charles Villiers Stanford|Hush Sweet Lute|Choir - Male voices|?2.00|25
53036|||9790222242296|ROBERTON|Hugh S. Roberton|Be With Us Lord This Eventide|Choir - Male voices|?1.50|13
53037|||9790222242302|ROBERTON|Hugh S. Roberton|By Cool Siloam (Hymn tune Belmont)|Choir - Male voices|?1.50|13
53038|||9790222242319|ROBERTON|Hugh S. Roberton|Two Scottish Psalm Tunes|Choir - Male voices|?2.75|38
53039|||9790222242326|FESTA|Constanzo Festa|Down in a Flowery Vale arr.Roberton|Choir - Male voices|?1.50|13
53040|||9790222242333|ROBERTON|Hugh S. Roberton|Maureen (mezzo-sop+TTBB)|Choir - Male voices|?1.50|13
53041|||9790222242340|HEDGES|Anthony Hedges|Ally Croaker|Choir - Male voices|?2.00|25
53042|||9790222242357|ROBERTON|Hugh S. Roberton|O Light of Life|Choir - Male voices|?1.50|13
53043|||9790222242364|ROBERTON|Hugh S. Roberton|Oft in the Stilly Night|Choir - Male voices|?1.50|13
53044|||9790222242371|ROBERTON|Hugh S. Roberton|Old Woman|Choir - Male voices|?1.50|13
53045|||9790222242388|LEES|Heath Lees|Iona Boat Song|Choir - Male voices|?1.50|13
53046|||9790222242395|ROBERTON|Hugh S. Roberton|'Standin'' in the Need of Prayer'|Choir - Male voices|?1.50|13
53047|||9790222242401|ROBERTON|Hugh S. Roberton|Eriskay Love Lilt|Choir - Male voices|?2.00|25
53051|||9790222242418|JANACEK|Leos Janacek|'True Love & the Soldier''s Lot'|Choir - Male voices|?1.50|13
53052|||9790222242425|DAVIES B|Bryan Davies|Hava Nagila (+ piano duet accomp.)|Choir - Male voices|?3.50|50
53054|||9790222242432|DAVIES B|Bryan Davies|Bryn Myrddin - Great Is He the Lord|Choir - Male voices|?2.00|25
53055|||9790222242449|TUCAPSKY|Antonin Tucapsky|O Captain My Captain|Choir - Male voices|?4.75|75
53056|||9790222242456|TUCAPSKY|Antonin Tucapsky|Let the Peoples Praise Thee|Choir - Male voices|?2.75|38
53057|Leos Janacek
OUR BIRCH TREE for male voice choir
Roberton 53057|With words in Czech [Coz ta nase briza] and English, this chorus by Janacek for unaccompanied male voices has been edited by Antonin Tucapsky.
Duration: 2? minutes|9790222264267|JANACEK|Leos Janacek|Our Birch Tree Ed.Tucapsky|Choir - Male voices|?1.50|13
53058|Leos Janacek
LEAVE TAKING for male voice choir
Roberton 53058|With words in Czech [Rozlouceni] and English, this chorus by Janacek for unaccompanied male voices has been edited by Antonin Tucapsky.
Duration: 3 minutes|9790222264274|JANACEK|Leos Janacek|Leave Taking Ed.Tucapsky|Choir - Male voices|?2.75|38
53059|||9790222242463|WOOD C|Charles Wood|Ethiopia Saluting the Colours|Choir - Male voices|?2.75|38
53063|||9790222242470|ROBERTON|Hugh S. Roberton|Orlington - O God of Bethel|Choir - Male voices|?1.50|13
53064|||9790222242487|GANGE|Kenneth Gange|'Sing Nowell & Babe in Bethlhem''s...'|Choir - Male voices|?1.50|13
53071|||9790222242494|DAVIES B|Bryan Davies|'Takin''Names & Where Shall I Be?'|Choir - Male voices|?2.00|25
53071BR||||DAVIES B|Bryan Davies|Where Shall I Be Score & Parts|Ensemble - Mixed brass|?15.00|190
53072|||9790222242500|DAVIES B|Bryan Davies|Finnish Forest|Choir - Male voices|?2.00|25
53073|||9790222242517|TROYTE|Arthur Henry Dyke Troyte|'Sunset Poem (Troyte''s Chant No.1)'|Choir - Male voices|?1.50|13
53076|Antonin Tucapsky
VANISHED YOUTH for male voice choir
Roberton 53076|A folk song from Moravia [Zahucaly Hory] arranged for unaccompanied male voice choir (TTBB) with English words by Beryl Tucapska.
Duration: 2? minutes|9790222264281|TUCAPSKY|Antonin Tucapsky|Vanished Youth|Choir - Male voices|?2.00|25
53077|||9790222242524|LEWIS W R|W. Rees Lewis|Boot Saddle To Horse|Choir - Male voices|?2.00|25
53083|||9790222242531|MOLLOY|James L. Molloy|Thursday|Choir - Male voices|?2.00|25
53084|||9790222242548|ADAMS S|Stephen Adams|Nirvana (arr.Bryan Davies)|Choir - Male voices|?2.75|38
53084SOLFA|||9790222242555|ADAMS S|Stephen Adams|Nirvana (arr.Bryan Davies)|Choir - Male voices|?2.00|25
53085|||9790222242562|DAVIES B|Bryan Davies|Tribute To Mr.Curwen|Choir - Male voices|?2.00|25
53086|||9790222242579|ARCH|Gwyn Arch|Gospel Train|Choir - Male voices|?2.00|25
53086SOLFA|||9790222242586|ARCH|Gwyn Arch|Gospel Train (solfa edition)|Choir - Male voices|?1.50|13
53088|||9790222242593|WAGNER R|Richard Wagner|Pilgrims Chorus from Tannhauser|Choir - Male voices|?2.00|25
53088SOLFA|||9790222242609|WAGNER R|Richard Wagner|Pilgrims Chorus (solfa edition)|Choir - Male voices|?2.00|25
53089|||9790222242616|ROBERTON|Hugh S. Roberton|'Man''s a Man for a'' That'|Choir - Male voices|?1.50|13
53090|||9790222242623|WAGNER R|Richard Wagner|Roman War Song (from Rienzi)|Choir - Male voices|?2.00|25
53092|||9790222242630|GOUNOD|Charles Gounod|'Soldier''s Chorus from Faust'|Choir - Male voices|?2.00|25
53092SOLFA|||9790222242647|GOUNOD|Charles Gounod|'Soldier''s Chorus from Faust'|Choir - Male voices|?2.00|25
53093|||9790222242654|MENDELSSOHN|Felix Mendelssohn|In the Woods (arr.Roberton)|Choir - Male voices|?1.50|13
53094|Bryan Davies
NEVER WEATHER BEATEN SAIL
for male voice choir|A beautiful setting of words by Thomas Campion (1567-1620) to music by Bryan Davies for unaccompanied male voice choir TTBB.
Also available in a version for SATB - number 63271
Duration 2? Minutes |9790222261334|DAVIES B|Bryan Davies|Never Weather Beaten Sail|Choir - Male voices|?1.50|13
53095|KOLOKOLCHIK (The Little Bell)
arranged for male voice choir by Bryan Davies
Roberton 53095|A Russian folk song arranged for tenor solo and male voice choir with optional balalaikas and a tubular bell. A separate part for balalaikas is also available (53095B)
Duration 3? Minutes |9790222261341|DAVIES B|Bryan Davies|Kolokolchik (Little Bell)|Choir - Male voices|?2.00|25
53095B|||9790222264915|DAVIES B|Bryan Davies|Kolokolchik Balalaika Part|Balalaika|?1.50|7
53096|||9790222242661|DAVIES B|Bryan Davies|Lonely Steppe|Choir - Male voices|?2.00|25
53096SOLFA|||9790222242678|DAVIES B|Bryan Davies|Lonely Steppe (solfa edition)|Choir - Male voices|?1.50|13
53097|||9790222242685|DAVIES B|Bryan Davies|Stenka Razin|Choir - Male voices|?2.00|25
53097SOLFA|||9790222242692|DAVIES B|Bryan Davies|Stenka Razin (solfa edition)|Choir - Male voices|?2.00|25
53098|||9790222242708|UNDERWOOD|S. W. Underwood|Fire Kindled|Choir - Male voices|?2.00|25
53099|||9790222242715|CLARK|Derek Clark|I Got a Robe|Choir - Male voices|?1.50|13
53100|||9790222242722|CLARK|Derek Clark|'Piper O'' Dundee'|Choir - Male voices|?2.00|25
53102|||9790222242739|ARCH|Gwyn Arch|Rock-a My Soul|Choir - Male voices|?2.00|25
53102SOLFA|||9790222242746|ARCH|Gwyn Arch|Rock-a My Soul (solfa edition)|Choir - Male voices|?1.50|13
53105|||9790222242753|WALTERS E|Edmund Walters|'Tom the Piper''s Son'|Choir - Male voices|?2.75|38
53106|||9790222242760|WALTERS E|Edmund Walters|'Sunday''s Child'|Choir - Male voices|?2.00|25
53107|||9790222242777|WALTERS E|Edmund Walters|Lady and the Swine|Choir - Male voices|?2.00|25
53108|||9790222242784|WALTERS E|Edmund Walters|Bobby Shafto|Choir - Male voices|?2.75|38
53109|||9790222242791|WALTERS E|Edmund Walters|Sweet Lass of Richmond Hill|Choir - Male voices|?2.00|25
53110|||9790222242807|PFEIL|Heinrich Pfeil|Calm Is the Sea|Choir - Male voices|?1.50|13
53110SOLFA|||9790222242814|PFEIL|Heinrich Pfeil|Calm Is the Sea (solfa edition)|Choir - Male voices|?1.50|13
53111|||9790222242821|ARCH|Gwyn Arch|Sospan Fach|Choir - Male voices|?2.75|38
53111SOLFA|||9790222242838|ARCH|Gwyn Arch|Sospan Fach (solfa edition)|Choir - Male voices|?2.75|38
53112|||9790222242845|WALTERS E|Edmund Walters|Andalusian Love Song|Choir - Male voices|?2.00|25
53113|||9790222242852|WALTERS E|Edmund Walters|Lily of the Valley|Choir - Male voices|?2.00|25
53118|||9790222242869|WALTERS E|Edmund Walters|'Lord''s Prayer'|Choir - Male voices|?1.50|13
53126|||9790222242876|GOUNOD|Charles Gounod|'By Babylon''s Wave (arr.Fletcher)'|Choir - Male voices|?2.75|38
53127|||9790222242883|SULLIVAN|Arthur Sullivan|Long Day Closes|Choir - Male voices|?1.50|13
53133|||9790222242890|WHITE MV|Maude Valery White|When the Swallows Fly Homeward|Choir - Male voices|?1.50|13
53136|||9790222242906|WILBYE|John Wilbye|Flora Gave Me Fairest Flowers|Choir - Male voices|?2.00|25
53139|||9790222242913|JOHNSTONE|Gordon Johnstone|There Is No Death (arr.Davies)|Choir - Male voices|?1.50|13
53140|Drake/Graham/Shirl/Stillman
I BELIEVE
arranged for male voice choir by Bryan Davies
Roberton 53140|This well-known 1950s pop song is here given the J S Bach treatment in an excellent arrangement by Bryan Davies for male voice choir (TTBB), piano and optional string bass.
Duration 2? Minutes |9790222261327|DAVIES B|Bryan Davies|I Believe|Choir - Male voices|?2.00|25
53141|||9790222242920|COOK|Melville Cook|West Sussex Drinking Song|Choir - Male voices|?2.00|25
53144|||9790222242937|WERNER|Heinrich Werner|Two Roses|Choir - Male voices|?1.50|13
53146|Denys Hood
WHEN THE SAINTS GO MARCHING IN
Roberton 53146||9790222242944|HOOD|Denys Hood|When the Saints Go Marching in|Choir - Male voices|?2.75|38
53146SOLFA|||9790222242951|HOOD|Denys Hood|When the Saints Go (solfa edition)|Choir - Male voices|?1.50|13
53147|||9790222242968|ADAM A|Adolphe Adam|Comrades Song of Hope|Choir - Male voices|?2.75|38
53147SOLFA|||9790222242975|ADAM A|Adolphe Adam|Comrades Song of Hope (solfa)|Choir - Male voices|?2.00|25
53148|||9790222242982|ZERAFA|Benigno Zerafa|Magnus Dominus (ed.Camilleri)|Choir - Male voices|?2.75|38
53149|||9790222242999|SCHUBERT|Franz Schubert|Night Op.17 No.4|Choir - Male voices|?1.50|13
53150|||9790222243002|BERLIN|Irving Berlin|'Alexander''s Ragtime Band (arr.Hood)'|Choir - Male voices|?3.50|50
53152|||9790222243019|CAMILLERI|Charles Camilleri|Requiem|Choir - Male voices|?2.00|25
53153|Alasdair Jamieson
THERE IS A TAVERN IN THE TOWN
for male voice choir|Excellent arrangement for TTBB with divisi of the well-known traditional song. It is designed to be sung unaccompanied though a piano reduction of the voice parts is provided for rehearsal purposes.|9790222252059|JAMIESON|Alasdair Jamieson|There Is a Tavern in the Town|Choir - Male voices|?2.75|38
53154|||9790222243026|WALTERS E|Edmund Walters|'Jacob''s Ladder'|Choir - Male voices|?1.50|13
53155|||9790222243033|CAMILLERI|Charles Camilleri|Malta Yok!|Choir - Male voices|?2.00|25
53156|||9790222243040|KNIPPER|Lev Knipper|Cavalry of the Steppes (Eng.text)|Choir - Male voices|?1.50|13
53157|||9790222243057|ALEXANDROV|Alexander Vasilyevich Alexandrov|Kalinka|Choir - Male voices|?1.50|13
53158|||9790222243064|ALEXANDROV|Alexander Vasilyevich Alexandrov|Silver Birch|Choir - Male voices|?1.50|13
53159|||9790222243071|DAVIES B|Bryan Davies|Katyusha|Choir - Male voices|?2.75|38
53159SOLFA|||9790222243088|DAVIES B|Bryan Davies|Katyusha|Choir - Male voices|?2.00|25
53160|||9790222243095|CAMILLERI|Charles Camilleri|Tfal (Children)|Choir - Male voices|?2.00|25
53161|||9790222243101|WALTERS E|Edmund Walters|National Anthem|Choir - Male voices|?1.50|13
53161BRASS|||9790222271883|WALTERS E|Edmund Walters|National Anthem BrBand Accomp.parts|Choir - Male voices|?25.00|300
53162|||9790222243118|WALTERS E|Edmund Walters|Calon Lan|Choir - Male voices|?2.75|38
53163|||9790222243125|ROBERTON|Hugh S. Roberton|Flow Gently Sweet Afton (TBB)|Choir - Male voices|?1.50|13
53164|Derek Clark
SCARBOROUGH FAIR
for male voice choir|Lovely new arrangement of this well-known English folk song for TTBB choir and piano.
Duration about 5 minutes |9790222260726|CLARK|Derek Clark|Scarborough Fair|Choir - Male voices|?3.50|50
53165|||9790222243132|ROBERTON|Hugh S. Roberton|Caleno Custure Me|Choir - Male voices|?1.50|13
53166|||9790222243149|ROTHERY|Kenneth Rothery|Christ-Child in the Manger|Choir - Male voices|?2.00|25
53167|Michael Neaum
WATER OF TYNE for male voice choir
Roberton 53167|Northumbrian folk song arranged for TTBB choir and piano|9790222243156|NEAUM|Michael Neaum|Water of Tyne|Choir - Male voices|?2.00|25
53168|Gabriel FAURE (1845-1924)
CANTIQUE DE JEAN RACINE Op.11
arranged for male voice choir by Derek J Clark
Roberton 53168|Originally written for mixed voice choir, this excellent arrangement by Derek J Clark makes this lovely piece available for male voice choirs. Words are in the original French or English.
Duration 4? Minutes |9790222260092|FAURE G|Gabriel Faure|Cantique De Jean Racine (arr.Clark)|Choir - Male voices|?3.50|50
53169|THE WHITE COCKADE
arranged for male voice choir by Bryan Davies
Roberton 53169|A Jacobite song arranged for male voice choir with accompaniment of snare drum and two piccolos. Jacobite troops had no formal uniform. The white cockade on a blue bonnet became their emblem. It is said to have originated when Bonnie Prince Charlie picked a wild rose and pinned it to his hat.
Duration 1? Minutes |9790222263925|DAVIES B|Bryan Davies|White Cockade|Choir - Male voices|?2.75|38
53169PIC|||9790222266636|DAVIES B|Bryan Davies|White Cockade Piccolos Part|Piccolo|?1.50|13
53169SD|||9790222266643|DAVIES B|Bryan Davies|White Cockade Snare Drum Part|Percussion|?1.50|13
53170|Paul Simon arr.Gwyn Arch
THE SOUND OF SILENCE
for male voice choir and piano
Roberton 53170|This popular Paul Simon song in an excellent new arrangement by Gwyn Arch for TTBB and piano.
Duration: 3? minutes|9790222259430|SIMON|Paul Simon|Sound of Silence (arr.Arch)|Choir - Male voices|?2.75|38
53171|Claude-Michel Schonberg arr.Gwyn Arch
I DREAMED A DREAM
for male voice choir and piano
Roberton 53171|The popular song from the award winning musical "Les Miserables" in an excellent new arrangement by Gwyn Arch for TTBB and piano.
Duration: c.3 minutes
Only licenced for sale in the EU, EFTA and Australasia|9790222267374|SCHONBERG|Claude-Michel Schonberg|I Dreamed a Dream (arr.Arch)|Choir - Male voices|?2.00|25
53172|'Bob Dylan arr.Gwyn Arch
BLOWIN'' IN THE WIND
for male voice choir and piano
Roberton 53172'|'Bob Dylan''s famous song from the sixties in a superb new arrangement by Gwyn Arch for TTBB and piano.
Duration: c.4 minutes'|9790222268807|DYLAN|Bob Dylan|'Blowin'' in the Wind (arr.Arch)'|Choir - Male voices|?2.00|25
53173|Harry Warren arr.Gwyn Arch
CHATTANOOGA CHOO CHOO
for male voice choir and piano
Roberton 53173|Well known 1940s song performed by many artists including Glenn Miller, arranged for male voice choir (TTBB) and piano by Gwyn Arch.
Duration c.2 minutes
Only licenced for sale in Europe|9790222268814|WARREN|Harry Warren|Chattanooga Choo Choo (arr.Arch)|Choir - Male voices|?2.00|25
53174|Davis, Onorati and Simeone arr.Gwyn Arch
THE LITTLE DRUMMER BOY
for male voice choir and piano
Roberton 53174|Well known Christmas song arranged for male voice choir (TTBB) and piano by Gwyn Arch.
Duration c.2? minutes
Only licenced for sale in Europe|9790222269149|SIMEONE|Harry Simeone|Little Drummer Boy (arr.Arch)|Choir - Male voices|?2.00|25
53175|Gwyn Arch (arr.)
LITTLE BROWN JUG
for male voice choir and piano
Roberton 53175|The well known song in an excellent new arrangement for male voice choir (TTBB) and piano by Gwyn Arch.
Duration 3 minutes|9790222269194|ARCH|Gwyn Arch|Little Brown Jug|Choir - Male voices|?2.00|25
53176|Vincent Youmans arr.Gwyn Arch
GREAT DAY
for male voice choir and piano
Roberton 53176|A well-loved up tempo number arranged for male voice choir (TTBB) and piano by Gwyn Arch.
Duration 1? minutes
Only licenced for sale in Europe|9790222269200|YOUMANS|Vincent Youmans|Great Day (arr.Arch)|Choir - Male voices|?2.00|25
53177|Gwyn Arch (arranged)
YOUNG AND SENTIMENTAL - A Sinatra Medley
for male voice choir and piano
Roberton 53177|Two Frank Sinatra songs ("You make me feel so young" and "Sentimental journey") combined for male voice choir (TTBB) and piano by Gwyn Arch.
Duration 3 minutes
Only licenced for sale in Europe|9790222269217|ARCH|Gwyn Arch|Young & Sentimental Sinatra Medley|Choir - Male voices|?2.75|38
53178|Irving Berlin arr.Gwyn Arch
BLUE SKIES
for male voice choir and piano
Roberton 53178|Excellent Irving Berlin number arranged for male voice choir (TTBB) and piano by Gwyn Arch.
Duration 1? minutes
Only licenced for sale in Europe|9790222269842|BERLIN|Irving Berlin|Blue Skies arr.Arch|Choir - Male voices|?2.00|25
53179|Revaux/Francois/Anka arr.Gwyn Arch
MY WAY
for male voice choir and piano
Roberton 53179|Perhaps the most famous of Frank Sinatra songs arranged for male voice choir (TTBB) and piano by Gwyn Arch.
Duration c.3 minutes
Only licenced for sale in Europe|9790222270220|REVAUX/ANKA|Revaux / Anka|My Way (arr.Arch)|Choir - Male voices|?2.00|25
53180|JUST JOLSON arr. Gwyn Arch
for male voice choir and piano
Roberton 53180|A medley of songs that were sung by Al Jolson arranged for male voice choir (TTBB) and piano by Gwyn Arch. The songs included are April Showers, Carolina in the morning, You made me love you, Rock-a-bye your baby with a Dixie melody and California here I come. You can even let your audience sing-a-long with the choir!
Duration c.6 minutes
Only licenced for sale in Europe|9790222270428|ARCH|Gwyn Arch|Just Jolson|Choir - Male voices|?3.50|50
53181|GHOST RIDERS IN THE SKY arr. Gwyn Arch
for male voice choir and piano
Roberton 53181|Ghost Riders in the Sky - a cowboy legend - arranged for male voice choir (TTBB) and piano by Gwyn Arch.
Duration 3? minutes
Only licenced for sale in Europe|9790222271166|JONES|Stan Jones|Ghost Riders in the Sky arr.Arch|Choir - Male voices|?2.75|38
53182|WHAT A WONDERFUL WORLD arr. Gwyn Arch
for male voice choir and piano
Roberton 53182|Lovely song made famous by Louis Armstrong arranged for male voice choir (TTBB) and piano by Gwyn Arch.
Duration 3 minutes
Only licenced for sale in Europe|9790222271173|WEISS|George Weiss|What a Wonderful World arr.Arch|Choir - Male voices|?2.00|25
53183|Weiss/Creatore/Peretti arr.Gwyn Arch
THE LION SLEEPS TONIGHT (Wimoweh)
for male voice choir and piano
Roberton 53183|'This song was first recorded in 1939 but became best known in the 1950s when sung by Pete Seeger. He explains the song . . . . "it refers to an old legend about the last king of the Zulus, who was known as Shaka the Lion. Legend says that Shaka the Lion didn''t die when the Europeans took over the country; he simply went to sleep, and he''ll wake up some day".
This new arrangement by Gwyn Arch is for male voice choir with piano accompaniment and percussion - a CONGA or similar drum and CLAVES or a woodblock.
Duration about 3 minutes
Only licensed for sale in the UK'|9790222274648|WEISS|George Weiss|Lion Sleeps Tonight Wimoweh (Arch)|Choir - Male voices|?2.00|25
53184|THE BIRTH OF THE BLUES arr. Gwyn Arch
for male voice choir and piano
Roberton 53184|Written by Ray Henderson, Bud de Sylva and Lew Brown this popular song from the 1920s is arranged for male voice choir by Gwyn Arch.
Duration 2? minutes
Only licenced for sale in Europe|9790222275034|HENDERSON|Ray Henderson|Birth of the Blues (arr.Arch)|Choir - Male voices|?2.00|25
53185|THE DEADWOOD STAGE arr. Gwyn Arch
for male voice choir and piano
Roberton 53185|This well known song from the stage show "Calamity Jane" is arranged for male voice choir by Gwyn Arch.
Duration 2 minutes
Only licenced for sale in Europe|9790222275041|FAIN|Sammy Fain|Deadwood Stage (arr.Arch)|Choir - Male voices|?2.00|25
53187|LULLABY OF BROADWAY arr. Gwyn Arch
for male voice choir and piano
Roberton 53187|This well known song from the 1930s by Harry Warren and Al Dubin is arranged for male voice choir by Gwyn Arch.
Duration 2? minutes
Only licenced for sale in Europe|9790222275065|WARREN|Harry Warren|Lullaby of Broadway (arr.Arch)|Choir - Male voices|?2.00|25
53188|NIGHT AND DAY arr. Gwyn Arch
for male voice choir and piano
Roberton 53188|'Cole Porter''s lovely song is arranged here for male voice choir by Gwyn Arch.
Duration 3 minutes
Only licenced for sale in Europe'|9790222275072|PORTER|Cole Porter|Night and Day (arr.Arch)|Choir - Male voices|?2.00|25
53189|PICK YOURSELF UP arr. Gwyn Arch
for male voice choir and piano
Roberton 53189|This song with music by Jerome Kern and words by Dorothy Fields, is from the Ginger Rogers and Fred Astaire 1936 film "Swing Time" and is arranged here for male voice choir by Gwyn Arch.
Duration 2 minutes
Only licenced for sale in Europe|9790222275089|KERN|Jerome Kern|Pick Yourself Up (arr.Arch)|Choir - Male voices|?2.00|25
53190|'RAINDROPS KEEP FALLIN'' ON MY HEAD arr. Gwyn Arch
for male voice choir and piano
Roberton 53190'|This fine Burt Bacharach song used in the film "Butch Cassidy and the Sundance Kid" is arranged for male voice choir by Gwyn Arch.
Duration 2 minutes
Only licenced for sale in Europe|9790222275096|BACHARACH|Burt Bacharach|'Raindrops Keep Fallin'' (arr.Arch)'|Choir - Male voices|?2.00|25
53191|THEY CALL THE WIND MARIA arr. Gwyn Arch
for male voice choir and piano
Roberton 53191|This song with music by Frederick Loewe and words by Alan Jay Lerner, is from the popular musical "Paint Your Wagon" and is arranged here for male voice choir by Gwyn Arch.
Duration 2 minutes
Only licenced for sale in Europe|9790222275102|LOEWE|Carl Loewe|They Call the Wind Maria (arr.Arch)|Choir - Male voices|?2.00|25
53192|THE TROLLEY SONG arr. Gwyn Arch
for male voice choir and piano
Roberton 53192|From the 1944 film "Meet me in St.Louis" starring Judy Garland, this well known song is arranged for male voice choir by Gwyn Arch.
Duration 2 minutes
Only licenced for sale in Europe|9790222275119|BLANE/MARTIN|Blane/Martin|Trolley Song (arr.Arch)|Choir - Male voices|?2.00|25
53193|THE WAY WE WERE arr. Gwyn Arch
for male voice choir and piano
Roberton 53193|Many people think this song is called "Memories" (as that is the opening lyric), but the song has the same name as the film in which it appeared in 1973 - "The way we were". With words written by Alan and Marilyn Bergman and music by Marvin Hamlisch, this arrangement for male voice choir is by Gwyn Arch.
Duration 2? minutes
Only licenced for sale in Europe|9790222275126|HAMLISCH|Marvin Hamlisch|The Way We Were (arr.Arch)|Choir - Male voices|?2.00|25
53194|THE WIND BENEATH MY WINGS arr. Gwyn Arch
for male voice choir and piano
Roberton 53194|This song by Jeff Silbar and Larry Henley from the 1960s is arranged for male voice choir by Gwyn Arch.
Duration 3 minutes
Only licenced for sale in Europe|9790222275133|SILBAR/HENLE|Silbar/Henley|Wind Beneath My Wings (arr.Arch)|Choir - Male voices|?2.00|25
53195|'MAKIN'' WHOOPEE arr. Gwyn Arch
for male voice choir and piano
Roberton 53195'|Wonderful 1920s song arranged for two-part male voice choir and piano by Gwyn Arch.
Duration 2? minutes
Only licensed for sale in Europe|9790222281097|ARCH|Gwyn Arch|'Makin'' Whoopee'|Choir - Male voices|?2.00|25
53196|SIDE BY SIDE arr. Gwyn Arch
for male voice choir and piano
Roberton 53196|Spledid Harry Woods song from the 1920s arranged for two-part male voice choir and piano by Gwyn Arch.
Duration 2? minutes
Only licensed for sale in Europe|9790222281103|ARCH|Gwyn Arch|Side By Side|Choir - Male voices|?2.00|25
53197|TEA FOR TWO arr. Gwyn Arch
for male voice choir and piano
Roberton 53197|This famous 1920s song, here arranged for male voice choir and piano by Gwyn Arch, is sometimes sung legato and sometimes as a staccato cha-cha. This arrangement incorporates both styles and uses a soloist or solo group as well as the main choir.
Duration 2? minutes
Only licensed for sale in Europe|9790222281110|ARCH|Gwyn Arch|Tea for Two|Choir - Male voices|?2.00|25
53198|THE GLORY OF LOVE arr. Gwyn Arch
for male voice choir and piano
Roberton 53198|Billy Hill song from the 1930s arranged for two-part male voice choir and piano by Gwyn Arch.
Duration 2 minutes
Only licensed for sale in Europe|9790222281127|ARCH|Gwyn Arch|Glory of Love|Choir - Male voices|?2.00|25
53199|THE LADY IS A TRAMP arr. Gwyn Arch
for male voice choir and piano
Roberton 53199|Famous Rodgers and Hart song from the 1930s arranged for three-part male voice choir and piano by Gwyn Arch.
Duration 1? minutes
Only licensed for sale in Europe|9790222281134|ARCH|Gwyn Arch|Lady Is A Tramp|Choir - Male voices|?2.00|25
53200|ON THE SUNNY SIDE OF THE STREET arr. Gwyn Arch
for male voice choir and piano
Roberton 53200|"Grab your coat and get your hat, leave your worries on the doorstep" as you sing this splendid song from the 1930s arranged for male voice choir (TTBB) and piano by Gwyn Arch.
Duration 2 minutes
Only licensed for sale in Europe|9790222281141|ARCH|Gwyn Arch|On the Sunny Side of the Street|Choir - Male voices|?2.00|25
53201|SEPTEMBER SONG arr. Gwyn Arch
for male voice choir and piano
Roberton 53201|'Kurt Weill''s gorgeous September Song arranged for male voice choir (TTBB) and piano by Gwyn Arch.
Duration 3 minutes
Only licensed for sale in Europe'|9790222281158|ARCH|Gwyn Arch|September Song|Choir - Male voices|?2.00|25
53202|STORMY WEATHER arr. Gwyn Arch
for male voice choir and piano
Roberton 53202|'Harold Arlen''s Stormy Weather arranged for two-part male voice choir (TB) and piano by Gwyn Arch.
Duration 2? minutes
Only licensed for sale in Europe'|9790222281165|ARCH|Gwyn Arch|Stormy Weather|Choir - Male voices|?2.00|25
53203|ALMOST LIKE BEING IN LOVE arr. Gwyn Arch
for male voice choir and piano
Roberton 53203|From the Lerner and Loewe musical "Brigadoon", this popular song from the 1940s is arranged for male voice choir (TTBB) and piano by Gwyn Arch.
Duration 2 minutes
Only licensed for sale in Europe|9790222281172|ARCH|Gwyn Arch|Almost Like Being in Love|Choir - Male voices|?2.00|25
53204|BEWITCHED arr. Gwyn Arch
for male voice choir and piano
Roberton 53204|The Rodgers and Hart "Bewitched, bothered and bewildered" song from the 1940s arranged for male voice choir (TTBB) and piano by Gwyn Arch.
Duration 2? minutes
Only licenced for sale in Europe|9790222281189|ARCH|Gwyn Arch|Bewitched (Bothered and Bewildered)|Choir - Male voices|?2.00|25
53205|'DON''T FENCE ME IN arr. Gwyn Arch
for male voice choir and piano
Roberton 53205'|Cole Porter song from the 1940s arranged for male voice choir (TTBB) and piano by Gwyn Arch.
Duration 3? minutes
Only licenced for sale in Europe|9790222281196|ARCH|Gwyn Arch|'Don''t Fence Me in'|Choir - Male voices|?2.00|25
53206|MY FOOLISH HEART arr. Gwyn Arch
for male voice choir and piano
Roberton 53206|Lovely Victor Young / Ned Washington song from the 1940s arranged for male voice choir (TTBB) and piano by Gwyn Arch.
Duration 3? minutes
Only licenced for sale in Europe|9790222281202|ARCH|Gwyn Arch|My Foolish Heart|Choir - Male voices|?2.00|25
53207|SWINGING ON A STAR arr. Gwyn Arch
for male voice choir and piano
Roberton 53206|Popular 1950s song with a bit of added twinkle (!) arranged for three-part male voice choir (Tenor, Baritone, Bass) and piano by Gwyn Arch.
Duration 2 minutes
Only licenced for sale in Europe|9790222281219|ARCH|Gwyn Arch|Swinging On a Star|Choir - Male voices|?2.00|25
53208|THAT LUCKY OLD SUN arr. Gwyn Arch
for male voice choir and piano
Roberton 53208|Song from the 1940s arranged for male voice choir (TTBB) and piano by Gwyn Arch.
Duration 3 minutes
Only licenced for sale in Europe|9790222281226|ARCH|Gwyn Arch|That Lucky Old Sun|Choir - Male voices|?2.00|25
53209|THE WHITE CLIFFS OF DOVER arr. Gwyn Arch
for male voice choir and piano
Roberton 53209|Favourite wartime song made famous by Vera Lynn arranged for male voice choir (TTBB) and piano by Gwyn Arch.
Duration 2? minutes
Only licenced for sale in Europe|9790222281233|ARCH|Gwyn Arch|White Cliffs of Dover|Choir - Male voices|?2.00|25
53211|BYE BYE BLACKBIRD arr. Gwyn Arch
for three-part male voice choir and piano
Roberton 53211|Written by the American composer Ray Henderson and lyricist Mort Dixon this popular standard was first recorded by Gene Austin in 1926. Here it is in arrangement for three-part male voice choir (tenor, baritone, bass) and piano by Gwyn Arch.
Duration 2 minutes
Only licensed for sale in Europe|9790222281356|ARCH|Gwyn Arch|Bye Bye Blackbird|Choir - Male voices|?2.00|25
53212|JEEPERS CREEPERS arr. Gwyn Arch
for two-part male voice choir and piano
Roberton 53212|Harry Warren song from the 1940s arranged for two part male voice choir and piano by Gwyn Arch.
Duration 1? minutes
Only licensed for sale in Europe|9790222281363|ARCH|Gwyn Arch|Jeepers Creepers|Choir - Male voices|?1.50|13
53213|Hugh Roberton
LEWIS BRIDAL SONG arr.by Neil MacKay for male voice choir
Roberton 53213|'The famous Lewis Bridal Song, also known as Mairi''s Wedding, in an arrangement by Neil MacKay for male voice choir (TTBB) and piano accompaniment.
Duration 2? minutes'|9790222288270|ROBERTON|Hugh S. Roberton|Lewis Bridal Song arr.Neil Mackay|Choir - Male voices|?2.00|25
53214|Terry Rigler
SEND DOWN A SONG FOR ME for male voice choir and piano
Roberton 53214|A splendid ballad by Terry Rigler, a member of the Bournemouth Male Voice Choir, reflecting on the power of music and the pleasure of singing.
Duration 4? minutes
Also available in a version for mixed voice choir (63318)|9790222294400|RIGLER|Terry Rigler|Send Down a Song for Me|Choir - Male voices|?2.75|38
53215|Tom Cunningham
AULD LANG SYNE for male voice choir
Roberton 53215|Traditional favourite arranged for male voice choir (TTBB) unaccompanied or with piano.
Duration 1? minutes|9790222296633|CUNNINGHAM|Tom Cunningham|Auld Lang Syne|Choir - Male voices|?1.50|13
53216|CARO MIO BEN by Tommaso Giordani
Arranged by Brian Hughes for male voice choir and piano
Roberton 53216|This popular aria, sung by Luciano Pavarotti and many others, is here arranged by Brian Hughes for male voice choir (TTBB) and piano. The lyrics are shown in the original Italian as well as new translations in English and in Welsh.
"My dearest love, believe but this, without thy love, life hath no bliss."
It was originally thought to have been written by Giuseppe Giordani but has more recently been attributed to his brother Tommaso.
Duration 3 minutes|9790222300736|GIORDANO|Giordano|Caro Mio Ben arr Hughes|Choir - Male voices|?2.00|25
53217|COMRADES IN ARMS by Adolphe Adam
Arranged by Bryan Davies for male voice choir and piano
Roberton 53217|This version of "Comrades in Arms" includes the extra piano accompaniment by Bryan Davies. The original version without this accompaniment is also available in our catalogue (no.50371). The old 50371 copies can be used by choir members along with this new accompanied version. The only additions are that at the start is an 8 bar piano introduction, a 4 bar section added at the end and an extra bar inserted at bar 94 before the Allegro marziale. This lovely new edition, however, is much clearer than the old original one!
Duration 5 minutes|9790222302600|ADAM A|Adolphe Adam|Comrades in Arms arr. Bryan Davies|Choir - Male voices|?4.00|63
53218|Brian Hughes
ON THE BANKS OF ALLAN WATER
for male voice choir and piano
Roberton 53218|An eighteenth century Scottish melody (composer unknown) in a beautiful arrangement for male voice choir (TTBB) and piano by Brian Hughes. The words are by Matthew Gregory Lewis (1775-1818).
Also available in versions for Flute (GM237), solo voice (02580) and mixed voice choir (63309) all with piano accompaniment.
Duration 3? minutes|9790222307544|HUGHES|Brian Hughes|On the Banks of Allan Water|Choir - Male voices|?2.00|25
53219|'Clive Jenkins
THREE WISE MEN for men''s voices and piano
Roberton 53219'|'A Christmas song for men''s voices (Tenor, Baritone, Bass) and piano. Words and music by Clive Jenkins. This can be sung by a trio of male voices or a male voice choir.
Duration 2? minutes'|9790222313446|JENKINS C|Clive Jenkins|Three Wise Men|Choir - Male voices|?2.00|25
53221|Peter Lawson
A BED OF HAY for TTBB choir
Roberton 53221|'This is the first carol in a sequence entitled A BED OF HAY, a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 2 minutes'|9790222310537|LAWSON|Peter Lawson|A Bed of Hay|Choir - Male voices|?2.00|25
53222|'Peter Lawson
SHEPHERDS'' CAROL for TTBB choir
Roberton 53222'|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 2? minutes'|9790222310544|LAWSON|Peter Lawson|'Shepherds'' Carol'|Choir - Male voices|?2.00|25
53223|Peter Lawson
DOMINE TE ADORO for TTBB choir
Roberton 53223|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 3 minutes'|9790222310551|LAWSON|Peter Lawson|Domine Adoro Te|Choir - Male voices|?2.00|25
53224|Peter Lawson
CHRIST IS HERE, HOLY YEAR for TTBB choir
Roberton 53224|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 2? minutes'|9790222310568|LAWSON|Peter Lawson|Christ is here Holy Year|Choir - Male voices|?2.00|25
53225|Peter Lawson
THIS HAPPY NIGHT for TTBB choir
Roberton 53225|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 3 minutes'|9790222310575|LAWSON|Peter Lawson|This Happy Night|Choir - Male voices|?2.75|38
53226|Peter Lawson
THE NIGHT WIND IS COLD for TTBB choir
Roberton 53226|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 3 minutes'|9790222310582|LAWSON|Peter Lawson|The Night Wind is Cold|Choir - Male voices|?2.00|25
53227|Peter Lawson
HODIE! CHRISTUS NATUS EST for TTBB choir
Roberton 53227|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 2? minutes'|9790222310599|LAWSON|Peter Lawson|Hodie! Christus Natus est|Choir - Male voices|?2.00|25
53228|Franz Schubert arr.Brian Hughes
DER WANDERER for male voice choir
Roberton 53228|'This song was composed by Franz Schubert for voice and piano in October 1816. The words are taken from a German poem by Georg Philipp Schmidt (von Lubeck). "Der Wanderer" was one of the few songs by Schubert that became popular during the composer''s lifetime largely due to the recitals given by the celebrated baritone Vogl with the composer as his accompanist . . . .it remains a favourite with singers of the present day. Here it is in a splendid arrangement for male voice choir (TTBB) and piano by Brian Hughes. Words are in the original German and an English translation by Brian Hughes. It is also available with Welsh words - Roberton 53229
Duration 5 minutes'|9790222326002|SCHUBERT|Franz Schubert|Der Wanderer (Ger/Eng) arr Hughes|Choir - Male voices|?2.75|38
53229|Franz Schubert arr.Brian Highes
DER WANDERER / Y CRWYDRYN for male voice choir
Roberton 53229|'This song was composed by Franz Schubert for voice and piano in October 1816. The words are taken from a German poem by Georg Philipp Schmidt (von Lubeck). "Der Wanderer" was one of the few songs by Schubert that became popular during the composer''s lifetime largely due to the recitals given by the celebrated baritone Vogl with the composer as his accompanist . . . .it remains a favourite with singers of the present day. Here it is in a splendid arrangement for male voice choir (TTBB) and piano by Brian Hughes with words in Welsh (translation by Brian Hughes). It is also available with German and English words - Roberton 53228
Duration 5 minutes'|9790222326019|SCHUBERT|Franz Schubert|Der Wanderer (Welsh) arr Hughes|Choir - Male voices|?2.75|38
60899|||9790222243163|ROBERTON|Hugh S. Roberton|Sledge Bells|Choir - Mixed voices (SATB)|?2.00|25
60972|||9790222243170|ROBERTON|Hugh S. Roberton|King Arthur (Dorsetshire Ballad)|Choir - Mixed voices (SATB)|?2.00|25
60976|Hugh S. Roberton
ALL IN THE APRIL EVENING
for mixed voice choir
Roberton 60976|'Born in Glasgow, Hugh Roberton became a funeral director apart from being a conductor and composer. A highly motivated and self-taught choir-master, he founded the Toynbee Musical Association in 1901 and five years later, this became the Glasgow Orpheus Choir which gained a world-wide reputation and went on to perform under Hugh''s direction for some 45 years. He composed much for his choir, with perhaps his most famous pieces being "All in the April Evening" and the "Mingulay Boat Song". He had a reputation for getting the very best from his singers, who held him in such great esteem that when he resigned as their leader shortly before his death, the choir agreed that they must disband. However, the Orpheus rose again when many of its members re-formed as the Glasgow Phoenix Choir, which continues to perform and tour to this day. Hugh Roberton was knighted in 1931.
This version of "All in the April Evening" for unaccompanied mixed voice choir (SATB) is now in a clearer, newly typeset edition. Other versions are available for solo voice, unison voices, female voice choir, male voice choir, mixed voice choir (SAB), with Welsh words and also in an arrangement for string orchestra and a "meditation" for organ.
Duration nearly 3 minutes'|9790222243187|ROBERTON|Hugh S. Roberton|All in the April Evening|Choir - Mixed voices (SATB)|?2.00|25
60976SOLFA|||9790222243194|ROBERTON|Hugh S. Roberton|All in the April Evening (solfa)|Choir - Mixed voices (SATB)|?1.50|13
60976WELSH|||9790222243200|ROBERTON|Hugh S. Roberton|All in the April Evening (Welsh)|Choir - Mixed voices (SATB)|?1.50|13
61039|||9790222243217|ROBERTON|Hugh S. Roberton|It Was the Time of Roses|Choir - Mixed voices (SATB)|?1.50|13
61052|||9790222243224|ROBERTON|Hugh S. Roberton|Eriskay Love Lilt|Choir - Mixed voices (SATB)|?2.00|25
61057|||9790222243231|ROBERTON|Hugh S. Roberton|'Ay Waukin'' O'|Choir - Mixed voices (SATB)|?1.50|13
61058|||9790222243248|ROBERTON|Hugh S. Roberton|Blue Bonnets Over the Border|Choir - Mixed voices (SATB)|?2.00|25
61075|||9790222243255|ROBERTON|Hugh S. Roberton|Ballad of Yarrow|Choir - Mixed voices (SATB)|?1.50|13
61077|||9790222243262|ROBERTON|Hugh S. Roberton|'MacGregors'' Gathering'|Choir - Mixed voices (SATB)|?2.00|25
61080|||9790222290457|ROBERTON|Hugh S. Roberton|Farewell (Soiridh)|Choir - Mixed voices (SATB)|?1.50|13
61087|||9790222271913|HOLST|Gustav Holst|I Love My Love|Choir - Mixed voices (SATB)|?2.00|25
61088|||9790222274327|HOLST|Gustav Holst|Swansea Town|Choir - Mixed voices (SATB)|?2.00|25
61089|||9790222243279|ROBERTON|Hugh S. Roberton|'Wee Cooper O'' Fife'|Choir - Mixed voices (SATB)|?2.00|25
61090|||9790222243286|ROBERTON|Hugh S. Roberton|Celtic Hymn|Choir - Mixed voices (SATB)|?1.50|13
61099|||9790222243293|ROBERTON|Hugh S. Roberton|'Banks O'' Doon'|Choir - Mixed voices (SATB)|?1.50|13
61232|||9790222243309|ROBERTON|Hugh S. Roberton|Mice and Men (Psalm Tune Desert)|Choir - Mixed voices (SATB)|?1.50|13
61233|||9790222243316|ROBERTON|Hugh S. Roberton|Nightfall in Skye|Choir - Mixed voices (SATB)|?1.50|13
61274|||9790222243323|ROBERTON|Hugh S. Roberton|De Battle Ob Jerico|Choir - Mixed voices (SATB)|?1.50|13
61275|||9790222243330|ROBERTON|Hugh S. Roberton|Nobody Knows De Trouble I See|Choir - Mixed voices (SATB)|?1.50|13
61286|||9790222243347|ROBERTON|Hugh S. Roberton|Were You There?|Choir - Mixed voices (SATB)|?1.50|13
61287|||9790222243354|ROBERTON|Hugh S. Roberton|Swing Low Sweet Chariot|Choir - Mixed voices (SATB)|?1.50|13
61288|||9790222243361|ROBERTON|Hugh S. Roberton|Steal Away To Jesus|Choir - Mixed voices (SATB)|?1.50|13
61306|||9790222243378|ROBERTON|Hugh S. Roberton|Ossianic Processional|Choir - Mixed voices (SATB)|?2.00|25
61322|||9790222243385|ROBERTON|Hugh S. Roberton|Threnody|Choir - Mixed voices (SATB)|?1.50|13
61327|||9790222243392|ROBERTON|Hugh S. Roberton|Turn Ye To Me|Choir - Mixed voices (SATB)|?2.00|25
61330|||9790222243408|ROBERTON|Hugh S. Roberton|Midsummer Spell|Choir - Mixed voices (SATB)|?1.50|13
61335|||9790222243415|ROBERTON|Hugh S. Roberton|I See His Blood Upon the Rose|Choir - Mixed voices (SATB)|?1.50|13
61337|||9790222243422|ROBERTON|Hugh S. Roberton|O Lovely Heart|Choir - Mixed voices (SATB)|?2.00|25
61338|||9790222243439|ROBERTON|Hugh S. Roberton|White Waves On the Water|Choir - Mixed voices (SATB)|?2.00|25
61339|||9790222243446|ROBERTON|Hugh S. Roberton|Irish Lament|Choir - Mixed voices (SATB)|?2.00|25
61354|||9790222243453|ROBERTON|Hugh S. Roberton|Mingulay Keening Song|Choir - Mixed voices (SATB)|?1.50|13
61359|||9790222243460|ROBERTON|Hugh S. Roberton|He Came All So Still|Choir - Mixed voices (SATB)|?1.50|13
61370|||9790222243477|ROBERTON|Hugh S. Roberton|Uist Tramping Song (Come Along)|Choir - Mixed voices (SATB)|?2.00|25
61372|||9790222290440|ROBERTON|Hugh S. Roberton|Let Us Homage Bring|Choir - Mixed voices (SATB)|?1.50|13
61374|||9790222243484|ROBERTON|Hugh S. Roberton|Loch Lomond|Choir - Mixed voices (SATB)|?2.00|25
61378|||9790222243491|ROBERTON|Hugh S. Roberton|There Is A Green Hill Far Away|Choir - Mixed voices (SATB)|?1.50|13
61380|||9790222243507|ROBERTON|Hugh S. Roberton|'Caller Herrin'''|Choir - Mixed voices (SATB)|?2.00|25
61383|||9790222243514|ROBERTON|Hugh S. Roberton|Celtic Litany|Choir - Mixed voices (SATB)|?1.50|13
61384|||9790222243521|ROBERTON|Hugh S. Roberton|When De Stars Begin To Fall|Choir - Mixed voices (SATB)|?1.50|13
61386|||9790222243538|ROBERTON|Hugh S. Roberton|Sweet Nightingale|Choir - Mixed voices (SATB)|?2.00|25
61387|||9790222243545|ROBERTON|Hugh S. Roberton|'St.Mary''s Bells'|Choir - Mixed voices (SATB)|?2.00|25
61388|||9790222243552|ROBERTON|Hugh S. Roberton|In Summertime On Bredon|Choir - Mixed voices (SATB)|?2.00|25
61390|||9790222243569|ROBERTON|Hugh S. Roberton|Nativity Cradle Song|Choir - Mixed voices (SATB)|?1.50|13
61391|||9790222243576|ROBERTON|Hugh S. Roberton|'I Foun'' My Los'' Sheep'|Choir - Mixed voices (SATB)|?2.00|25
61393|||9790222243583|ROBERTON|Hugh S. Roberton|'Going By Daly''s Shanty'|Choir - Mixed voices (SATB)|?2.00|25
61394|||9790222243590|ROBERTON|Hugh S. Roberton|Sunset and Evening Star|Choir - Mixed voices (SATB)|?1.50|13
61395|||9790222243606|ROBERTON|Hugh S. Roberton|Three Fishers Went A-sailing|Choir - Mixed voices (SATB)|?2.00|25
61399|||9790222243613|ROBERTON|Hugh S. Roberton|Dashing White Sergeant|Choir - Mixed voices (SATB)|?2.00|25
61400|||9790222243620|ROBERTON|Hugh S. Roberton|Iona Boat Song|Choir - Mixed voices (SATB)|?2.00|25
61403|||9790222243637|ROBERTON|Hugh S. Roberton|Gretna Green|Choir - Mixed voices (SATB)|?2.00|25
61404|||9790222243644|ROBERTON|Hugh S. Roberton|Listen To De Lambs|Choir - Mixed voices (SATB)|?1.50|13
61406|||9790222243651|ROBERTON|Hugh S. Roberton|Great Day!|Choir - Mixed voices (SATB)|?2.00|25
61411|||9790222243668|ROBERTON|Hugh S. Roberton|Pipe the Music! Beat the Drum!|Choir - Mixed voices (SATB)|?2.00|25
61413|||9790222243675|ROBERTON|Hugh S. Roberton|Ae Fond Kiss|Choir - Mixed voices (SATB)|?1.50|13
61418|||9790222243682|ROBERTON|Hugh S. Roberton|'Ca'' the Yowes'|Choir - Mixed voices (SATB)|?2.00|25
61420|||9790222243699|ROBERTON|Hugh S. Roberton|Chilly Waters|Choir - Mixed voices (SATB)|?2.00|25
61421|||9790222243705|ROBERTON|Hugh S. Roberton|De Gospel Train|Choir - Mixed voices (SATB)|?1.50|13
61422|||9790222243712|ROBERTON|Hugh S. Roberton|'Ev''ry Time I Feel De Spirit'|Choir - Mixed voices (SATB)|?2.00|25
61424|||9790222243729|ROBERTON|Hugh S. Roberton|Holy Night|Choir - Mixed voices (SATB)|?1.50|13
61444|||9790222243743|ROBERTON|Hugh S. Roberton|Jesus Thou Joy of Loving Hearts|Choir - Mixed voices (SATB)|?1.50|13
61447|||9790222243750|ROBERTON|Hugh S. Roberton|'Herrick''s Litany'|Choir - Mixed voices (SATB)|?1.50|13
61490|||9790222243767|ROBERTON|Hugh S. Roberton|Bells of Shandon|Choir - Mixed voices (SAMen)|?1.50|13
61491|||9790222243774|ROBERTON|Hugh S. Roberton|Caleno Custure Me|Choir - Mixed voices (SATB)|?2.00|25
61492|||9790222243781|ROBERTON|Hugh S. Roberton|Faithful Johnny|Choir - Mixed voices (SATB)|?1.50|13
61493|||9790222243798|ROBERTON|Hugh S. Roberton|'Prince Charlie''s Farewell'|Choir - Mixed voices (SATB)|?1.50|13
61512|||9790222243804|ROBERTON|Hugh S. Roberton|Cloths of Heaven|Choir - Mixed voices (SATB)|?1.50|13
62001|Tom Cunningham
THE SKATING MINISTER
for mixed voice choir of S/A/Men and piano
Roberton 62001|'The third from a sequence entitled "The Painter''s Eye", five original poems by well-known novelist Alexander McCall Smith (author of "The No.1 Ladies'' Detective Agency" series and many other novels) set to music by Tom Cunningham. Each poem is inspired by a painting in one of the world''s art galleries; this one being "The Skating Minister" by Sir Henry Raeburn which hangs in the National Gallery of Scotland in Edinburgh. Originally scored for unaccompanied mixed voice choir, this version has been arranged by the composer for a choir of sopranos, altos and men, accompanied by piano.
Duration is a little over 1? minutes'|9790222284845|CUNNINGHAM|Tom Cunningham|Skating Minister|Choir - Mixed voices (SAMen)|?2.00|25
62002|Tom Cunningham
AN OLD MAN AND HIS GRANDSON
for mixed voice choir of S/A/Men and piano
Roberton 62002|'The fifth piece from a sequence entitled "The Painter''s Eye", five original poems by well-known novelist Alexander McCall Smith (author of "The No.1 Ladies'' Detective Agency" series and many other novels) set to music by Tom Cunningham. Each poem is inspired by a painting in one of the world''s art galleries; this one being "An old man and his grandson" by Domenico Ghirlandaio (1449-1494) which hangs in the Louvre in Paris. Originally scored for unaccompanied mixed voice choir, this version has been arranged by the composer for a choir of sopranos, altos and men, accompanied by piano.
Duration 3 minutes'|9790222284852|CUNNINGHAM|Tom Cunningham|Old Man and His Grandson|Choir - Mixed voices (SAMen)|?2.00|25
62003|Tom Cunningham
CEILIDH from Scotland at Night
for mixed voice choir of S/A/Men and piano
Roberton 62003|'The third item from "Scotland at Night", a group of six original poems by well-known novelist Alexander McCall Smith (author of "The No.1 Ladies'' Detective Agency" series and many other novels) set to music by Tom Cunningham. An attempt to reveal some of that other Scotland - the Scotland that begins at dusk. Originally scored for unaccompanied mixed voice choir, this version has been arranged by the composer for a choir of sopranos, altos and men, accompanied by piano.
Duration 2 mins'|9790222284869|CUNNINGHAM|Tom Cunningham|Ceilidh|Choir - Mixed voices (SAMen)|?2.75|38
62004|Beethoven (arr.Peter Lawson)
MOONLIGHT for mixed voice choir (S/A/Men) and piano
Roberton 62004|'Here is Beethoven''s most famous piano piece, the first movement of his Moonlight Sonata, in an arrangement for choir with a soloist. The piece can be accompanied by piano or by an orchestra. For full details of the orchestral version see under catalogue number GMCL169.
The choir can be either a mixed voice choir (SATB) [GM047], a mixed voice choir of S/A/Men [this version], a choir of upper voices (SSA) [GM048] or a male voice choir (TTBB) [GM049].
The lyrics have been written specially by Jason Pimblett.
Duration 5? minutes'|9790222284876|BEETHOVEN|Ludwig van Beethoven|Moonlight (arr.Lawson)|Choir - Mixed voices (SAMen)|?2.75|38
62005|Peter Lawson
MUSIC HALL MEDLEY for mixed voice choir (S/A/Men)
Roberton 62005|'A splendid medley of songs made famous in the music halls comprising "Put on your tat-ta little girlie", "I''ll be your sweetheart", "Danny Boy", "After the ball", "She was one of the early birds", "Somebody stole my gal", "I do like to be beside the seaside", "Oh, Oh, Antonio", "Daisy Bell", "Daddy wouldn''t buy me a bow-wow", "Let''s all go down the Strand", "Lily of Laguna" and "It''s a long way to Tipperary" . . . . . . . Phew!
This medley can be performed by choir with a piano accompaniment or, if you just happen to have a full concert orchestra hanging around, they can accompany you instead. The orchestral score and parts are available in our Goodmusic Concert Pops series (see under GMCP016 for full details).
Your audience, should you be lucky enough to have one, can join in all the choruses they know and love!
There are two short instrumental sections in this medley (bars 21 to 52 and bars 99 to 130) which may be cut if you are performing it with just a piano and you want to deny your accompanist a bit of a solo spot and a little glory.
A version of this medley for male voice choir is also available (Catalogue number GM051) as well as a version for full mixed voice choir [SATB] (Catalogue number GM050) and upper voice choir (GM148).
Duration 12 minutes'|9790222284883|LAWSON|Peter Lawson|Music Hall Medley|Choir - Mixed voices (SAMen)|?7.00|113
62006|Hugh S. Roberton
ALL IN THE APRIL EVENING
for mixed voice choir (S/A/Men)
Roberton 62006|'Born in Glasgow, Hugh Roberton became a funeral director apart from being a conductor and composer. A highly motivated and self-taught choir-master, he founded the Toynbee Musical Association in 1901 and five years later, this became the Glasgow Orpheus Choir which gained a world-wide reputation and went on to perform under Hugh''s direction for some 45 years. He composed much for his choir, with perhaps his most famous pieces being "All in the April Evening" and the "Mingulay Boat Song". He had a reputation for getting the very best from his singers, who held him in such great esteem that when he resigned as their leader shortly before his death, the choir agreed that they must disband. However, the Orpheus rose again when many of its members re-formed as the Glasgow Phoenix Choir, which continues to perform and tour to this day. Hugh Roberton was knighted in 1931.
This version of "All in the April Evening" originally published under the catalogue number 61427 for unaccompanied mixed voice choir of sopranos, altos and men, is now in a clearer, newly typeset edition. Other versions are available for solo voice, unison voices, female voice choir, male voice choir, full mixed voice choir (SATB), with Welsh words and also in an arrangement for string orchestra and a "meditation" for organ.
Duration nearly 3 minutes'|9790222243736|ROBERTON|Hugh S. Roberton|All in the April Evening|Choir - Mixed voices (SAMen)|?2.00|25
62007|Tom Cunningham
FOR UNTO US A CHILD IS BORN for mixed voice choir (SA+Men) and piano
Roberton 62007|'Words from Isaiah 9:6, well known from their use in a section of Handel''s Messiah, are here set to new music by Tom Cunningham for a mixed voice choir of SA+Men and piano. If you are not short of men, you may be interested in the full SATB version of this - see catalogue number 63304. There is also a version for upper voice choir (SSA) - number 75621.
Duration 3 minutes'|9790222287914|CUNNINGHAM|Tom Cunningham|For Unto Us A Child Is Born|Choir - Mixed voices (SAMen)|?2.75|38
62008|Peter Lawson
BRING BACK CHRISTMAS CHEER for mixed voice (SA+Men) choir
Roberton 62008|'A merry original song for the Christmas season for choir and orchestra or orchestra alone or choir and piano, with words by Anthony Pritchard set to music by Peter Lawson.
This song is available in four different choral versions:
Mixed Voice Choir (SATB) - GM110
Upper Voice Choir (SSA) - GM111
Male Voice Choir (TTBB) - GM112
or if you have a mixed voice choir but a shortage of men . . . .
Mixed Voice Choir (SA+Men) - Roberton 62008
The orchestral score and parts (for details see under GMCH013) are the same for all versions.
The computer-generated audio sample is the version for choir of SA+Men and piano as is the score shown here.
You can hear the other choral versions with piano accompaniment and the orchestral version (with SATB choir) and see their associated scores by looking on the "details" page under the respective catalogue numbers.
Duration c.5 minutes
To give you a flavour of the humour the first (of four) verses and choruses is:-
We think we had better
Write Santa a letter
And tell him that Christmas
Is cancelled this year,
The shops barely close
And as it hardly ever snows,
Rudolph''s cold is better
So there''s no more red nose.
And Prancer and Dancer
Have taken up ballet,
They live by the coast
In a very nice chalet;
They''re really quite neat
And they have very light feet
And watching them plie
Is really a treat!
Oh bring back, Oh bring back,
Oh bring back the spirit of Christmases past!
We hadn''t much money, But the jokes are still funny,
Oh how we so wanted those good times to last!'|9790222287952|LAWSON|Peter Lawson|Bring Back Christmas Cheer|Choir - Mixed voices (SAMen)|?4.75|75
62009|Tom Cunningham
I WILL LIFT UP MINE EYES for mixed voice choir of SA+Men and organ
Roberton 62009|A new setting of Psalm 121 (King James version) for a mixed voice choir and organ. This version is suitable for choirs with fewer men; there is a fuller SATB version available as Roberton 63306.
Duration 3 minutes|9790222289239|CUNNINGHAM|Tom Cunningham|I will lift up mine eyes|Choir - Mixed voices (SAMen)|?2.00|25
62010|'Tom Cunningham
THE BOATMAN (Fear a''bhata) for mixed voice choir of SA+Men and Piano
Roberton 62010'|A beautiful traditional Gaelic air adapted and arranged for mixed voice choir of SA+Men and piano. English verses with the chorus in Gaelic (a note on pronunciation is given for all us non-Gaelic speakers!)
Duration 3? minutes
Also available in a version for female voice choir - see 75459|9790222290532|CUNNINGHAM|Tom Cunningham|'Boatman (Fear a'' bhata)'|Choir - Mixed voices (SAMen)|?2.75|38
62011|Peter Lawson
A BED OF HAY for SA+Men choir
Roberton 62011|'This is the first carol in a sequence entitled A BED OF HAY, a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 2 minutes'|9790222310605|LAWSON|Peter Lawson|A Bed of Hay|Choir - Mixed voices (SAMen)|?2.00|25
62012|'Peter Lawson
SHEPHERDS'' CAROL for SA+Men choir
Roberton 62012'|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 2? minutes'|9790222310612|LAWSON|Peter Lawson|'Shepherds'' Carol'|Choir - Mixed voices (SAMen)|?2.00|25
62013|Peter Lawson
DOMINE TE ADORO for SA+Men choir
Roberton 62013|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 3 minutes'|9790222310629|LAWSON|Peter Lawson|Domine Adoro Te|Choir - Mixed voices (SAMen)|?2.00|25
62014|Peter Lawson
CHRIST IS HERE, HOLY YEAR for SA+Men choir
Roberton 62014|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 2? minutes'|9790222310636|LAWSON|Peter Lawson|Christ is here Holy Year|Choir - Mixed voices (SAMen)|?2.00|25
62015|Peter Lawson
THIS HAPPY NIGHT for SA+Men choir
Roberton 62015|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 3 minutes'|9790222310643|LAWSON|Peter Lawson|This Happy Night|Choir - Mixed voices (SAMen)|?2.75|38
62016|Peter Lawson
THE NIGHT WIND IS COLD for SA+Men choir
Roberton 62016|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 3 minutes'|9790222310650|LAWSON|Peter Lawson|The Night Wind is Cold|Choir - Mixed voices (SAMen)|?2.00|25
62017|Peter Lawson
HODIE! CHRISTUS NATUS EST for SA+Men choir
Roberton 62017|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 2? minutes'|9790222310667|LAWSON|Peter Lawson|Hodie! Christus Natus est|Choir - Mixed voices (SAMen)|?2.00|25
63001|||9790222243811|NAYLOR E W|Edward Woodall Naylor|Merry Bells of Yule|Choir - Mixed voices (SATB)|?2.75|38
63002|||9790222243828|DOUGLAS|James Douglas|Christmas Fable|Choir - Mixed voices (SATB)|?1.50|13
63003|||9790222243835|HOPKINS E|Ewart Hopkins|All My Trials, Lord|Choir - Mixed voices (SATB)|?2.00|25
63004|||9790222243842|HAMILTON|Alasdair Hamilton|All Bells in Paradise|Choir - Mixed voices (SATB)|?2.00|25
63006|||9790222243859|DARE M|Marie Dare|Widow Bird Sate Mourning|Choir - Mixed voices (SATB)|?1.50|13
63011|||9790222243866|MONELLE|Raymond Monelle|Lullay, Myn Lykyng|Choir - Mixed voices (SATB)|?2.00|25
63026|||9790222243873|VALE|Charles Vale|'Christ''s Carol'|Choir - Mixed voices (SATB)|?1.50|13
63027|||9790222243880|COSTELEY|Guillaume Costeley|Mignonne (My Fairest, See)|Choir - Mixed voices (SATB)|?2.00|25
63029|||9790222243897|HOPKINS E|Ewart Hopkins|Metyelitsa (Russian Folk Song)|Choir - Mixed voices (SATB)|?1.50|13
63031|||9790222243903|BLYTON|Carey Blyton|Mistletoe Bough|Choir - Mixed voices (SATB)|?2.75|38
63036|||9790222243910|ROBERTON|Hugh S. Roberton|Golden Slumbers|Choir - Mixed voices (SATB)|?1.50|13
63040|||9790222243927|WEEKS|John Ralph Weeks|Rapture|Choir - Mixed voices (SATB)|?1.50|13
63041|||9790222243934|LIDDELL C|Claire Liddell|Ae Fond Kiss|Choir - Mixed voices (SATB)|?2.00|25
63042|||9790222243941|LIDDELL C|Claire Liddell|Fine Flowers in the Valley|Choir - Mixed voices (SATB)|?2.00|25
63043|||9790222243958|LIDDELL C|Claire Liddell|Where Are the Joys?|Choir - Mixed voices (SATB)|?2.00|25
63044|||9790222243965|LIDDELL C|Claire Liddell|Ye Banks and Braes|Choir - Mixed voices (SATB)|?1.50|13
63048|||9790222243972|WILKINSON|Stephen Wilkinson|Nightingale|Choir - Mixed voices (SATB)|?2.75|38
63051|||9790222243989|HUGHES|Brian Hughes|Two Old Testament Sprituals|Choir - Mixed voices (SATB)|?2.00|25
63053|||9790222243996|SMITH|Robert Smith|Winter Song|Choir - Mixed voices (SATB)|?2.00|25
63054|||9790222244009|SMITH|Robert Smith|Music|Choir - Mixed voices (SATB)|?2.00|25
63056|||9790222244016|THOMAS E|Elizabeth Thomas|'Frog Went A-courtin'''|Choir - Mixed voices (SATB)|?2.00|25
63057|||9790222244023|BURTCH|Mervyn Burtch|Three Sonnets of John Donne|Choir - Mixed voices (SATB)|?4.00|63
63058|||9790222244030|ROBERTON|Hugh S. Roberton|All Through the Night (Eng+Welsh)|Choir - Mixed voices (SATB)|?1.50|13
63059|||9790222244047|ROBERTON|Hugh S. Roberton|Flow Gently Sweet Afton|Choir - Mixed voices (SATB)|?1.50|13
63067|||9790222244054|ROBERTON|Hugh S. Roberton|'Standin'' in De Need of Prayer'|Choir - Mixed voices (SATB)|?1.50|13
63068|||9790222244061|ROBERTON|Hugh S. Roberton|Weep You No More Sad Fountains|Choir - Mixed voices (SATB)|?1.50|13
63069|||9790222244078|PLUMSTEAD|Mary Plumstead|Close Thine Eyes|Choir - Mixed voices (SATB)|?1.50|13
63075|Gerald Cockshott
CANTICLE for mixed voice choir
Roberton 63075||9790222244085|COCKSHOTT|Gerald Cockshott|Canticle|Choir - Mixed voices (SATB)|?1.50|13
63076|||9790222244092|CLARK K|Keith Clark|Three Songs from A Shropshire Lad|Choir - Mixed voices (SATB)|?3.50|50
63077|||9790222244108|BLYTON|Carey Blyton|In Lighter Mood|Choir - Mixed voices (SATB)|?2.75|38
63079|||9790222244115|ROBERTON|Hugh S. Roberton|Bonnie Dundee|Choir - Mixed voices (SATB)|?1.50|13
63080|||9790222244122|ROBERTON|Hugh S. Roberton|In Praise of Islay (Eng/Gaelic)|Choir - Mixed voices (SATB)|?1.50|13
63081|||9790222244139|ROBERTON|Hugh S. Roberton|Island Homing Song|Choir - Mixed voices (SATB)|?1.50|13
63082|||9790222244146|ROBERTON|Hugh S. Roberton|Isle of Mull|Choir - Mixed voices (SATB)|?1.50|13
63083|Hugh S. Roberton
MY AIN HOOSE for SATB choir
Roberton 63083|For unaccompanied SATB choir.
Gaelic Words by Malcolm Macfarlane, English translation by Alex Stewart. From "The Minstrelsy of the Scottish Highlands" arranged by Hugh S. Roberton.|9790222244153|ROBERTON|Hugh S. Roberton|My Ain Hoose|Choir - Mixed voices (SATB)|?1.50|13
63085|||9790222244160|TUCAPSKY|Antonin Tucapsky|Lauds|Choir - Mixed voices (SATB)|?4.75|75
63088|||9790222244177|PURCELL H|Henry Purcell|Mavis (arr.Roberton)|Choir - Mixed voices (SATB)|?1.50|13
63089|||9790222244184|ROBERTON|Hugh S. Roberton|Crucifixion|Choir - Mixed voices (SATB)|?1.50|13
63090|||9790222244191|ROBERTON|Hugh S. Roberton|Maureen|Choir - Mixed voices (SATB)|?1.50|13
63091|||9790222244207|ROBERTON|Hugh S. Roberton|Old Woman|Choir - Mixed voices (SATB)|?1.50|13
63092|||9790222244214|ROBERTON|Hugh S. Roberton|'Rovin'' Boy'|Choir - Mixed voices (SATB)|?1.50|13
63093|||9790222244221|ROBERTON|Hugh S. Roberton|When Your Lamp Burn Down|Choir - Mixed voices (SATB)|?2.00|25
63096|||9790222244238|GANGE|Kenneth Gange|'This Lonesome Valley/You''d Better R'|Choir - Mixed voices (SATB)|?2.00|25
63098|||9790222244245|LAZARENO|Manuel Lazareno|Three Spanish Folk Tunes|Choir - Mixed voices (SATB)|?2.75|38
63107|||9790222244252|DEALE|Edgar Deale|Down By the Salley Gardens|Choir - Mixed voices (SATB)|?2.00|25
63108|||9790222244269|DEALE|Edgar Deale|Oft in the Stilly Night|Choir - Mixed voices (SATB)|?2.00|25
63114|||9790222244276|STANFORD|Charles Villiers Stanford|Quick! We Have But A Second|Choir - Mixed voices (SATB)|?1.50|13
63115|||9790222244283|WILCOCK|Anthea Wilcock|Shepherd|Choir - Mixed voices (SATB)|?2.75|38
63117|||9790222244290|NELSON H|Havelock Nelson|For Snow|Choir - Mixed voices (SATB)|?1.50|13
63118|||9790222244306|BERTALOT|John Bertalot|Alouette|Choir - Mixed voices (SATB)|?2.00|25
63119|||9790222244313|BERTALOT|John Bertalot|Go Tell It On the Mountain|Choir - Mixed voices (SATB)|?2.00|25
63120|||9790222244320|DEALE|Edgar Deale|Follow Me Up To Carlow|Choir - Mixed voices (SATB)|?2.00|25
63137|||9790222244337|BLYTON|Carey Blyton|What Then Is Love?|Choir - Mixed voices (SATB)|?3.50|50
63139|||9790222244344|WEBB|Evelyn Webb|William Taylor|Choir - Mixed voices (SATB)|?1.50|13
63140|||9790222244351|OXLEY|Harrison Oxley|Soldier,Soldier / Billy Boy / etc.|Choir - Mixed voices (SATB)|?3.50|50
63141|||9790222244368|OXLEY|Harrison Oxley|Barbra Ellen|Choir - Mixed voices (SATB)|?1.50|13
63142|||9790222244375|WEBB|Evelyn Webb|Smiling Spring/Carter/I Will Give..|Choir - Mixed voices (SATB)|?2.00|25
63143|||9790222244382|WEBB|Evelyn Webb|Dashing Away With the Smoothing Iro|Choir - Mixed voices (SATB)|?2.00|25
63144|Paul Carr
THE LAMB (1985) for unaccompanied mixed voice choir
Roberton 63144|A setting of the famous William Blake text. Paul Carr has set these words twice; this first setting is from 1985. A later setting, from 2015, is also available - see Goodmusic GM161.
Duration 4 minutes|9790222244399|CARR P|Paul Carr|Lamb (First setting 1985)|Choir - Mixed voices (SATB)|?1.50|13
63154|||9790222244405|BREWER|Michael Brewer|Joshua Fit the Battle of Jericho|Choir - Mixed voices (SATB)|?2.00|25
63157|||9790222244412|HUGHES-JONES|Llifon Hughes-Jones|'Can y Melinydd (Miller''s Song)'|Choir - Mixed voices (SATB)|?2.00|25
63159|||9790222244429|GIBBS CA|C Armstrong Gibbs|Cradle Song|Choir - Mixed voices (SATB)|?1.50|13
63160|||9790222244436|GENEE|Richard Genee|Italian Salad|Choir - Mixed voices (SATB)|?2.75|38
63163|||9790222244443|PARRY|C. Hubert H. Parry|Jerusalem (in key F)|Choir - Mixed voices (SATB)|?2.00|25
63168|||9790222244467|DEALE|Edgar Deale|Drinking Song|Choir - Mixed voices (SATB)|?2.00|25
63169|||9790222244474|DEALE|Edgar Deale|My Lovely Celia|Choir - Mixed voices (SATB)|?1.50|13
63170|||9790222244481|DEALE|Edgar Deale|Fairest Rose in All the Garden|Choir - Mixed voices (SATB)|?1.50|13
63171|||9790222244498|FRASER S|Shena Fraser|'I Know Where I''m Going'|Choir - Mixed voices (SATB)|?1.50|13
63206|||9790222244504|ROBERTON|Hugh S. Roberton|Misty Isle|Choir - Mixed voices (SATB)|?1.50|13
63210|||9790222244511|FRASER S|Shena Fraser|Three Scots Songs|Choir - Mixed voices (SATB)|?4.00|63
63211|||9790222244528|WHITWORTH|John Whitworth|Begone Dull Care|Choir - Mixed voices (SATB)|?2.00|25
63212|||9790222244535|WHITWORTH|John Whitworth|O Waly Waly|Choir - Mixed voices (SATB)|?2.75|38
63213|||9790222244542|WHITWORTH|John Whitworth|Mermaid|Choir - Mixed voices (SATB)|?3.50|50
63214|Paul Barnes (arr.Jack Griffin)
TRIBUTE TO A FAMOUS SONG: DOLLY GRAY
for mixed voice choir|A sort of fantasy on "Goodbye Dolly Gray" for unaccompanied mixed voice choir in eight parts. We hear the bugles, the drums and the boom of the guns interwoven with the beloved song of the First World War.
Duration 5? minutes.|9790222259645|GRIFFIN|Jack Griffin|Tribute To a Famous Song:Dolly Gray|Choir - Mixed voices (SATB)|?4.00|63
63215|Vivian Ellis (arr.Jack Griffin)
SPREAD A LITTLE HAPPINESS
for mixed voice choir|'"Even when the darkest clouds are in the sky, You mustn''t sigh, and you mustn''t cry; Just spread a little happiness as you go by". Vivian Ellis'' popular song arranged for unaccompanied mixed voice choir. Duration 4 minutes.'|9790222259652|ELLIS|Vivian Ellis|Spread a Little Happiness (Griffin)|Choir - Mixed voices (SATB)|?2.00|25
63222|Tom Cunningham
THE GOOD-BYE JAZZ for mixed voice choir
Roberton 63222|Time to say Good-Bye . . . in various different ways and different languages set to music in a light-hearted jazzy fashion for mixed voice choir (SATB) either unaccompanied or with piano accompaniment.
Duration 3 minutes|9790222244559|CUNNINGHAM|Tom Cunningham|Good-Bye Jazz|Choir - Mixed voices (SATB)|?3.50|50
63228|||9790222244566|DEALE|Edgar Deale|I Will Walk With My Love|Choir - Mixed voices (SATB)|?2.00|25
63231|||9790222244573|COAKLEY|Donald Coakley|Donkey Riding|Choir - Mixed voices (SATB)|?2.00|25
63233|Alasdair Jamieson
STRAWBERRY FAIR
for mixed voice choir|Somerset folk song arranged for unaccompanied SATB choir
A wonderfully original setting of this well known tune - requires an 8 part choir as all parts divide.|9790222252158|JAMIESON|Alasdair Jamieson|Strawberry Fair|Choir - Mixed voices (SATB)|?3.50|50
63234|Llifon Hughes-Jones
SLEEP (CWSG) for SATB
Roberton 63234|for SATB choir and piano|9790222244580|HUGHES-JONES|Llifon Hughes-Jones|Sleep (Cwsg)|Choir - Mixed voices (SATB)|?2.75|38
63235|||9790222244597|CAMILLERI|Charles Camilleri|Malta Yok!|Choir - Mixed voices (SATB)|?2.00|25
63236|||9790222244603|KELLY|Bryan Kelly|Dover Beach|Choir - Mixed voices (SATB)|?4.75|75
63237|||9790222244610|NEAUM|Michael Neaum|Water of Tyne|Choir - Mixed voices (SATB)|?2.00|25
63238|||9790222244627|WILLS A|Arthur Wills|Agricultural Caress (SATB or ATBB)|Choir - Mixed voices (SATB)|?2.00|25
63239|||9790222244634|TUCAPSKY|Antonin Tucapsky|Seven Sorrows|Choir - Mixed voices (SATB)|?4.75|75
63239VLN|||9790222244641|TUCAPSKY|Antonin Tucapsky|Seven Sorrows (violin part)|Choir - Mixed voices (SATB)|?2.00|25
63240|||9790222244658|WEBB|Evelyn Webb|Searching for Lambs|Choir - Mixed voices (SATB)|?2.00|25
63241|||9790222244665|WEBB|Evelyn Webb|Brisk Young Widow|Choir - Mixed voices (SATB)|?2.75|38
63242|||9790222244672|JOHNSTON|Ken Johnston|Westering Home|Choir - Mixed voices (SATB)|?2.75|38
63243|||9790222244689|JOHNSTON|Ken Johnston|Air Falalalo|Choir - Mixed voices (SATB)|?3.50|50
63244|||9790222244696|ARCH|Gwyn Arch|Gospel Train|Choir - Mixed voices (SATB)|?2.75|38
63245|||9790222244702|OXLEY|Harrison Oxley|'Rise ''n'' Shine'|Choir - Mixed voices (SATB)|?4.00|63
63248|||9790222244719|CAMILLERI|Charles Camilleri|Tfal (Children)|Choir - Mixed voices (SATB)|?2.00|25
63249|||9790222244726|LIDDELL C|Claire Liddell|Sonnet in the Sky|Choir - Mixed voices (SATB)|?2.75|38
63250|||9790222244733|HOOD|Denys Hood|When the Saints Go Marching in|Choir - Mixed voices (SATB)|?2.75|38
63251|Derek Clark
SCARBOROUGH FAIR
for mixed voice choir|Lovely new arrangement of this well-known English folk song for SATB choir and piano.
Duration about 5 minutes |9790222260733|CLARK|Derek Clark|Scarborough Fair|Choir - Mixed voices (SATB)|?3.50|50
63252|||9790222244740|TUCAPSKY|Antonin Tucapsky|Amo Ergo Sum (Because I Love)|Choir - Mixed voices (SATB)|?4.75|75
63253|Richard Grylls
TRUE BELIEVER
A sequence of four spirituals
for mixed voice choir|'"Didn''t my Lord deliver Daniel", "Sometimes I feel like a motherless child", "Deep river" and "In that great getting-up morning" arranged for unaccompanied SATB choir.
The number of verses in a particular spiritual seems to vary from edition to edition, as it probably also did in early performances. These arrangements certainly omit some known verses. One more verse of "Didn''t my Lord deliver Daniel" is often sung and a further fourteen (!) of "In that great getting-up morning". The latter, in its complete present-day form, is a stirring telling of the Judgement Day Story in the Book of Revelations.
Although it is intended that these four spirituals be sung as a sequence, any of them may be sung as an individual item, perhaps with a few minor alterations at the start or finish.'|9790222252165|GRYLLS|Richard Grylls|True Believer (Four Spirituals)|Choir - Mixed voices (SATB)|?7.00|113
63254|||9790222244757|NEAUM|Michael Neaum|Bunch of Thyme|Choir - Mixed voices (SATB)|?2.00|25
63255|Michael Neaum
GLOUCESTERSHIRE WASSAIL
Roberton 63255|Traditional Gloucestershire carol arranged for SATB choir and ad lib piano.|9790222244764|NEAUM|Michael Neaum|Gloucestershire Wassail|Choir - Mixed voices (SATB)|?2.00|25
63256|||9790222244771|WEBB|Evelyn Webb|'Willy''s Rare and Willy''s Fair'|Choir - Mixed voices (SATB)|?2.00|25
63257|||9790222244788|BROADHURST|C. J. Broadhurst|Cowboy Carol arr.Davies (pf duet)|Choir - Mixed voices (SATB)|?2.00|25
63258|Angus Kennedy (arr.Kelvin Thomas)
ISLE OF ARRAN
for mixed voice choir|A fine arrangement of the Scottish popular song written by Angus Kennedy. (Duration 2? minutes)|9790222252547|KENNEDY|Angus Kennedy|Isle of Arran (arr.K.Thomas)|Choir - Mixed voices (SATB)|?2.00|25
63259|||9790222244795|COOMBES|Douglas Coombes|Psalm 47 (O Clap Your Hands)|Choir - Mixed voices (SATB)|?3.50|50
63260|Michael Neaum
SWEET LITTLE JESUS BOY
for mixed voice choir|A traditional spiritual arranged here by Michael Neaum for mixed voice choir with a soprano solo and piano accompaniment. Michael is the accompanist for the award-winning Cantamus Choir, who sing many of his excellent arrangements.|9790222252141|NEAUM|Michael Neaum|Sweet Little Jesus Boy|Choir - Mixed voices (SATB)|?2.00|25
63261|Michael Short
A WEDDING SONG
for mixed voice choir|'A setting of words by John Clare, also suitable for occasions other than weddings!
"O wert thou in a storm, how would I shield thee:
To keep thee dry and warm, a camp I would build thee.
Though the clouds pour''d again, not a drop should harm thee . . ."
For unaccompanied mixed voice choir.'|9790222252523|SHORT M|Michael Short|Wedding Song|Choir - Mixed voices (SATB)|?2.00|25
63262|Michael Short
THREE SHAKESPEARE SONGS
for mixed voice choir|'Tell me where is fancy bred; Blow, blow thou winter wind; Full fathom five
Three superb settings of Shakespeare''s famous words, for unaccompanied mixed voice choir (SATB) in four parts. As the parts do not divide, these songs could be performed by a quartet of voices. A piano reduction for rehearsal purposes is shown in the copy.'|9790222252530|SHORT M|Michael Short|Three Shakespeare Songs|Choir - Mixed voices (SATB)|?3.50|50
63263|Michael Neaum
I ONCE LOVED A LAD
for mixed voice choir|English folk song arranged for mixed voice choir and piano.|9790222258877|NEAUM|Michael Neaum|I Once Loved a Lad|Choir - Mixed voices (SATB)|?2.75|38
63264|'Michael Neaum
DIDN''T IT RAIN
for mixed voice choir'|Spiritual arranged for mixed voice choir and piano.|9790222258884|NEAUM|Michael Neaum|'Didn''t It Rain'|Choir - Mixed voices (SATB)|?2.75|38
63265|Ewart Hopkins
TWO WELSH FOLKSONGS
for mixed voice choir|"Gathering the Wheat" and "Suo gan" (Lullaby) for unaccompanied mixed voice choir in four parts.|9790222259027|HOPKINS E|Ewart Hopkins|Two Welsh Folksongs|Choir - Mixed voices (SATB)|?2.75|38
63267|Tom Cunningham
LOCH LOMOND
for mixed voice choir|Traditional Scottish song arranged for unaccompanied mixed voice choir in four parts (although the sopranos divide for one 8-bar passage).
Duration 2? minutes|9790222259416|CUNNINGHAM|Tom Cunningham|Loch Lomond|Choir - Mixed voices (SATB)|?2.00|25
63268|Richard G. Grylls
A ROYAL NURSERY MUDDLEY
for mixed voice choir|Traditional tunes muddled together in a humorous medley. "Humpty Dumpty", "Old King Cole", "The Grand Old Duke of York" and "Sing a song of sixpence" all appear in this arrangement for unaccompanied mixed voice choir.
Duration 2 minutes|9790222260115|GRYLLS|Richard Grylls|Royal Nursery Muddley|Choir - Mixed voices (SATB)|?2.00|25
63269|Richard G. Grylls
EPITAPH FOR GRACE for mixed voice choir
Roberton 63269|'At the east end of the north aisle of Totnes Parish Church in Devon, high up on the wall, is a small wooden memorial to Grace Gryles. She was buried in the church in April 1636. Grace, who was born in October 1619, was the daughter of Charles and Honor Gryles of Carwen in the parish of Lanreath, Cornwall. Her mother''s maiden name had been Fortescue. Grace''s aunt Phillippa, Honor''s sister, was married to Walter Dotting, a wealthy merchant living in Totnes. In August 1635 Walter Dotting died. It appears that, since Walter and Phillippa had not had any children, Grace Gryles was sent from Lanreath to Totnes to comfort and act as a companion to her bereaved aunt. Sadly, that companionship was all too soon severed by the death of Grace, aged only sixteen. The cause of her death is unknown.
In Lanreath Church there are two large and magnificent memorials to members of the Gryles family who lived during the 1600s, but the small memorial to Grace in Totnes Church records in a much more personal and touching manner the grief experienced by her family.
This setting of Grace''s epitaph (for unaccompanied SATB choir) was composed by the eight-times great grandson of Sir John Gryles of Lanreath, Grace''s uncle. It is dedicated to all those whose children''s lives have been cut tragically short.
Duration 2 minutes 45 seconds'|9790222260122|GRYLLS|Richard Grylls|Epitaph for Grace|Choir - Mixed voices (SATB)|?2.75|38
63270|Vaughan Williams (arr.Lane)
GREENSLEEVES or THE KING OF LOVE
for mixed voice choir|'This is a choral setting by Philip Lane of Vaughan Williams'' ever-popular Fantasia on Greensleeves. Two sets of words are given: either the traditional folk song words for "Greensleeves" can be used or alternatively "The King of Love my shepherd is" makes it suitable for church use. An SATB choir is accompanied by piano or this choral version can be sung with an orchestral accompaniment by using the original orchestral version of Fantasia on Greensleeves (arranged by Ralph Greaves) which is now published for sale in the Goodmusic Orchestral Series (Catalogue number GMCL128).
Also available in a version for SSA - number 75479
Duration 4 Minutes '|9790222260450|VAUGHAN WILL|Ralph Vaughan Williams|Greensleeves/King of Love arr.Lane|Choir - Mixed voices (SATB)|?2.75|38
63271|Bryan Davies
NEVER WEATHER BEATEN SAIL
for mixed voice choir|A beautiful setting of words by Thomas Campion (1567-1620) to music by Bryan Davies for unaccompanied mixed voice choir SATB.
Also available in a version for TTBB - number 53094
Duration 2? Minutes |9790222261457|DAVIES B|Bryan Davies|Never Weather Beaten Sail|Choir - Mixed voices (SATB)|?1.50|13
63272|Paul Lewis
ROSA MUNDI
Vocalise for mixed voice choir or vocal sextet|Whilst composing this piece to assuage the sadness of parting from a loved one, a single flower of my favourite rose blossomed in my garden - the only one to do so that year. (P.Lewis)
The composer made this arrangement for mixed voices (SSATBarB) after hearing the St. Petersburg Blagovest Ensemble in Farringdon Church, Devon on May 16th 2005. As this is a vocalise, there are no lyrics to detract from the simple beauty of the music!
The original string orchestra version of ROSA MUNDI is available in the Goodmusic Concert Originals series of music for orchestra (GMCO057).
Duration 3 Minutes |9790222263697|LEWIS P|Paul Lewis|Rosa Mundi|Choir - Mixed voices (SATB)|?2.00|25
63273|Michael Short
THREE FRENCH FOLK SONGS for mixed voice choir
Roberton 63273|'Reveillez vous, Le Rossignol and J''ai descendu set for unaccompanied mixed voice choir (SATB). Originally written for a Dolmetsch Summer School to satisfy a requirement for something fairly easy which could be rehearsed in the limited time available, and which would be enjoyable for singers and listeners alike. The text is to be sung in French although English translations are provided so that you know what it is all about!
Total duration: 6 minutes'|9790222264342|SHORT M|Michael Short|Three French Folk Songs|Choir - Mixed voices (SATB)|?4.00|63
63274|'GRANT-JONES, Tim
BEETHOVEN''S SYMPATHY for mixed voice choir
Roberton 63274'|A humorous piece using various bits of Beethoven - Symphony No.5, The Ode to Joy and Fur Elise - for mixed voice choir (SATB) unaccompanied.
Duration nearly 3 minutes|9790222264922|GRANT-JONES|Tim Grant-Jones|'Beethoven''s Sympathy'|Choir - Mixed voices (SATB)|?3.50|50
63275|JEPSON, David W
LIVERPOOL GIRLS for mixed voice choir
Roberton 63275|No.1 of Four Liverpool Sea Songs, a set of four sea songs with Liverpudlian origin. Arranged for SATB choir with piano accompaniment. The four songs are also available in a complete edition (Catalogue number 03114) which is cheaper to buy than the four separately.
Duration 3? minutes|9790222264939|JEPSON D|David Jepson|Liverpool Girls|Choir - Mixed voices (SATB)|?2.00|25
63276|JEPSON, David W
ROLL ALABAMA ROLL for mixed voice choir
Roberton 63276|No.2 of Four Liverpool Sea Songs, a set of four sea songs with Liverpudlian origin. Arranged for SATB choir unaccompanied. The four songs are also available in a complete edition (Catalogue number 03114) which is cheaper to buy than the four separately.
Duration 3 minutes|9790222264946|JEPSON D|David Jepson|Roll Alabama Roll|Choir - Mixed voices (SATB)|?2.00|25
63277|JEPSON, David W
THE GREENLAND WHALE FISHERY for mixed voice choir
Roberton 63277|No.3 of Four Liverpool Sea Songs, a set of four sea songs with Liverpudlian origin. Arranged for SATB choir with piano accompaniment. The four songs are also available in a complete edition (Catalogue number 03114) which is cheaper to buy than the four separately.
Duration 3? minutes|9790222264953|JEPSON D|David Jepson|Greenland Whale Fishery|Choir - Mixed voices (SATB)|?2.00|25
63278|JEPSON, David W
THE LEAVING OF LIVERPOOL for mixed voice choir
Roberton 63278|No.4 of Four Liverpool Sea Songs, a set of four sea songs with Liverpudlian origin. Arranged for SATB choir with piano accompaniment. The four songs are also available in a complete edition (Catalogue number 03114) which is cheaper to buy than the four separately.
Duration 4 minutes|9790222264960|JEPSON D|David Jepson|Leaving of Liverpool|Choir - Mixed voices (SATB)|?2.00|25
63279|'GRYSPEERDT, Michael (1927-2000)
MARY''S GHOST for mixed voice choir
Roberton 63279'|'A humorous piece for SSATB choir unaccompanied. This is a setting of a "pathetic ballad" by Thomas Hood (1799-1845) which tells of Mary who appears as a ghost to her young William to tell him that she has suffered the attentions of body snatchers . . . "You thought that I was buried deep, quite decent like and chary, But from her grave in Marybone, They''ve come and boned your Mary!"
This is No.1 of Four Bits of Nonsense by Michael Gryspeerdt - all four Bits are also available published together under No.03115.
Duration: 4 minutes '|9790222265547|GRYSPEERDT|Michael Gryspeerdt|'Mary''s Ghost'|Choir - Mixed voices (SATB)|?2.75|38
63280|'GRYSPEERDT, Michael (1927-2000)
WHO''S BEEN UNRAVELLING MY BOLERO? for mixed voice choir
Roberton 63280'|'This is a humorous arrangement of Ravel''s Bolero (using some of the words to Bobby Shaftoe) for SSATB choir unaccompanied.
It is No.2 of Four Bits of Nonsense by Michael Gryspeerdt - all four Bits are also available published together under No.03115.
Duration: 2? minutes '|9790222265554|GRYSPEERDT|Michael Gryspeerdt|'Who''s Been Unravelling My Bolero?'|Choir - Mixed voices (SATB)|?2.00|25
63281|GRYSPEERDT, Michael (1927-2000)
LAST TANGO IN CHELTENHAM for mixed voice choir
Roberton 63281|This is a humorous original piece for unaccompanied SSATB choir . . . "Why on earth do people dance the tango, spreading consternation and dismay? Surely a mazurka or fandango is more civilised in every way."
This is No.3 of Four Bits of Nonsense by Michael Gryspeerdt - all four Bits are also available published together under No.03115.
Duration: 1? minutes |9790222265561|GRYSPEERDT|Michael Gryspeerdt|Last Tango in Cheltenham|Choir - Mixed voices (SATB)|?2.00|25
63282|GRYSPEERDT, Michael (1927-2000)
SHE WAS POOR BUT SHE WAS HONEST for mixed voice choir
Roberton 63282|'A humorous ballad for unaccompanied SSATB choir which tells in twelve short verses the story of a girl who was poor . . ."but she was honest, victim of a rich man''s game; First he loved her, then he left her, and she lost her maiden name". Eventually she ends her life by jumping off a bridge and drowning in the River Thames!
This is No.4 of Four Bits of Nonsense by Michael Gryspeerdt - all four Bits are also available published together under No.03115.
Duration: 7 minutes '|9790222265578|GRYSPEERDT|Michael Gryspeerdt|She Was Poor But She Was Honest|Choir - Mixed voices (SATB)|?2.75|38
63283|GRYSPEERDT, Michael (1927-2000)
IN PRAISE OF VENICE Op.24 No.1 for mixed voice choir
Roberton 63283|'A setting for SSATB choir unaccompanied of Percy Bysshe Shelley''s words. A companion piece IN PRAISE OF VERONA (Op.24 No.2) with words by the composer is also available under Roberton 63284.
Duration 3 minutes'|9790222265585|GRYSPEERDT|Michael Gryspeerdt|In Praise of Venice Op.24 No.1|Choir - Mixed voices (SATB)|?2.00|25
63284|GRYSPEERDT, Michael (1927-2000)
IN PRAISE OF VERONA Op.24 No.2 for mixed voice choir
Roberton 63284|A setting for unaccompanied SSATB choir. A companion piece IN PRAISE OF VENICE (Op.24 No.2) with words by Shelley is also available under Roberton 63283.
Duration 3? minutes|9790222266421|GRYSPEERDT|Michael Gryspeerdt|In Praise of Verona Op.24 No.2|Choir - Mixed voices (SATB)|?2.00|25
63285|Richard G. Grylls
WINE OF LOVE for mixed voice choir
Roberton 63285|Viva la musica! - "The wine of Love is music, and the feast of Love is song". . . a rousing setting for unaccompanied mixed voice choir in praise of both Love and Music.
Duration 2? minutes|9790222267312|GRYLLS|Richard Grylls|Wine of Love|Choir - Mixed voices (SATB)|?2.75|38
63286|JEPSON, David W
VICTORIAN CHRISTMAS MEDLEY for mixed voice choir
Roberton 63286|'A lighter medley of original Victorian Christmas songs arranged for SATB choir with piano accompaniment. Songs include: What shall we sing?; It was my Father''s custom; Under the mistletoe; When there''s love at home; Miss Hooligan''s Christmas cake; Old Father Christmas.
Duration 6? minutes'|9790222267329|JEPSON D|David Jepson|VIctorian Christmas Medley|Choir - Mixed voices (SATB)|?4.00|63
63287|'Arranged by Richard G. Grylls
PADDY McGINTY''S GOAT for mixed voice choir
Roberton 63287'|The well-known traditional Irish song (sung frequently by Val Doonican in the 1960s) in a humorous arrangement for unaccompanied mixed voice choir. Auditions for the solo goat part [drawn from the altos] may require some diplomacy!
Duration 2? minutes|9790222267695|GRYLLS|Richard Grylls|'Paddy McGinty''s Goat'|Choir - Mixed voices (SATB)|?3.50|50
63288|Tom Cunningham
DUSK from Scotland at Night
for unaccompanied mixed voice choir
Roberton 63288|'The first of six original poems by well-known novelist Alexander McCall Smith (author of "The No.1 Ladies'' Detective Agency" series and many other novels) set to music by Tom Cunningham. An attempt to reveal some of that other Scotland - the Scotland that begins at dusk. The work is available complete (catalogue number 03117) or all of the individual titles are also available separately. They are Dusk; Refinery in the Darkness; Ceilidh; Simmer Dim in Shetland; Trout Loch; Lullaby.
World premieres given on 21st/22nd December 2007 in concerts given by Cappella Nova in Glasgow and Edinburgh.
Duration 2? mins'|9790222271821|CUNNINGHAM|Tom Cunningham|Dusk|Choir - Mixed voices (SATB)|?2.00|25
63289|Tom Cunningham
REFINERY IN THE DARKNESS from Scotland at Night
for unaccompanied mixed voice choir
Roberton 63289|'The second of six original poems by well-known novelist Alexander McCall Smith (author of "The No.1 Ladies'' Detective Agency" series and many other novels) set to music by Tom Cunningham. An attempt to reveal some of that other Scotland - the Scotland that begins at dusk. The work is available complete (catalogue number 03117) or all of the individual titles are also available separately. They are Dusk; Refinery in the Darkness; Ceilidh; Simmer Dim in Shetland; Trout Loch; Lullaby.
World premieres given on 21st/22nd December 2007 in concerts given by Cappella Nova in Glasgow and Edinburgh.
Duration 1? mins'|9790222271838|CUNNINGHAM|Tom Cunningham|Refinery in the Darkness|Choir - Mixed voices (SATB)|?2.00|25
63290|Tom Cunningham
CEILIDH from Scotland at Night
for unaccompanied mixed voice choir
Roberton 63290|'The third of six original poems by well-known novelist Alexander McCall Smith (author of "The No.1 Ladies'' Detective Agency" series and many other novels) set to music by Tom Cunningham. An attempt to reveal some of that other Scotland - the Scotland that begins at dusk. The work is available complete (catalogue number 03117) or all of the individual titles are also available separately. They are Dusk; Refinery in the Darkness; Ceilidh; Simmer Dim in Shetland; Trout Loch; Lullaby.
World premieres given on 21st/22nd December 2007 in concerts given by Cappella Nova in Glasgow and Edinburgh.
Duration 2 mins'|9790222271845|CUNNINGHAM|Tom Cunningham|Ceilidh|Choir - Mixed voices (SATB)|?2.75|38
63291|Tom Cunningham
SIMMER DIM IN SHETLAND from Scotland at Night
for unaccompanied mixed voice choir
Roberton 63291|'The fourth of six original poems by well-known novelist Alexander McCall Smith (author of "The No.1 Ladies'' Detective Agency" series and many other novels) set to music by Tom Cunningham. An attempt to reveal some of that other Scotland - the Scotland that begins at dusk. The work is available complete (catalogue number 03117) or all of the individual titles are also available separately. They are Dusk; Refinery in the Darkness; Ceilidh; Simmer Dim in Shetland; Trout Loch; Lullaby.
World premieres given on 21st/22nd December 2007 in concerts given by Cappella Nova in Glasgow and Edinburgh.
Duration 2 mins'|9790222271852|CUNNINGHAM|Tom Cunningham|Simmer Dim in Shetland|Choir - Mixed voices (SATB)|?1.50|13
63292|Tom Cunningham
TROUT LOCH from Scotland at Night
for unaccompanied mixed voice choir
Roberton 63292|'The fifth of six original poems by well-known novelist Alexander McCall Smith (author of "The No.1 Ladies'' Detective Agency" series and many other novels) set to music by Tom Cunningham. An attempt to reveal some of that other Scotland - the Scotland that begins at dusk. The work is available complete (catalogue number 03117) or all of the individual titles are also available separately. They are Dusk; Refinery in the Darkness; Ceilidh; Simmer Dim in Shetland; Trout Loch; Lullaby.
World premieres given on 21st/22nd December 2007 in concerts given by Cappella Nova in Glasgow and Edinburgh.
Duration 2 mins'|9790222271869|CUNNINGHAM|Tom Cunningham|Trout Loch|Choir - Mixed voices (SATB)|?2.00|25
63293|Tom Cunningham
LULLABY from Scotland at Night
for unaccompanied mixed voice choir
Roberton 63293|'The last of six original poems by well-known novelist Alexander McCall Smith (author of "The No.1 Ladies'' Detective Agency" series and many other novels) set to music by Tom Cunningham. An attempt to reveal some of that other Scotland - the Scotland that begins at dusk. The work is available complete (catalogue number 03117) or all of the individual titles are also available separately. They are Dusk; Refinery in the Darkness; Ceilidh; Simmer Dim in Shetland; Trout Loch; Lullaby.
World premieres given on 21st/22nd December 2007 in concerts given by Cappella Nova in Glasgow and Edinburgh.
Duration 2 mins'|9790222271876|CUNNINGHAM|Tom Cunningham|Lullaby|Choir - Mixed voices (SATB)|?2.00|25
63295|'David Jepson (arr.)
GARTON MOTHER''S LULLABY
for mixed voice choir and piano
Roberton 63295'|An arrangement for accompanied mixed voices of this beautiful folksong from County Donegal.
Duration 3? minutes|9790222272361|JEPSON D|David Jepson|'Garton Mother''s Lullaby'|Choir - Mixed voices (SATB)|?2.00|25
63302|Tom Cunningham
THE SKATING MINISTER
for unaccompanied mixed voice choir
Roberton 63302|'The third in a sequence of five original poems by well-known novelist Alexander McCall Smith (author of "The No.1 Ladies'' Detective Agency" series and many other novels) set to music by Tom Cunningham. Each poem is inspired by a painting in one of the world''s art galleries; this one being "The Skating Minister" by Sir Henry Raeburn
Duration is a little over 1? minutes
For the complete work "The Painter''s Eye" see catalogue no.03119. The others in the sequence are NOT published separately.'|9790222278721|CUNNINGHAM|Tom Cunningham|Skating Minister|Choir - Mixed voices (SATB)|?2.00|25
63303|BOLERA SEVILLANAS arr. Michael Neaum
for mixed voice choir and piano
Roberton 63303|Traditional Spanish song arranged by Michael Neaum for mixed voice choir (SATB) with piano. A fun, very rhythmical piece with a true Spanish flavour. This is also available in a version for upper voice choir as one of "Two Spanish Traditional Songs" - catalogue number 75327.
Duration 1? minutes|9790222281462|NEAUM|Michael Neaum|Bolera Sevillanas|Choir - Mixed voices (SATB)|?2.00|25
63304|Tom Cunningham
FOR UNTO US A CHILD IS BORN for mixed voice choir and piano
Roberton 63304|'Words from Isaiah 9:6, well known from their use in a section of Handel''s Messiah, are here set to new music by Tom Cunningham for mixed voice choir (SATB) and piano. If you are short of men, you may be interested in the "SA+Men" version of this - see catalogue number 62007. There is also a version for upper voice choir (SSA) - number 75621.
Duration 3 minutes
An orchestral accompaniment is available on hire from Goodmusic.'|9790222286573|CUNNINGHAM|Tom Cunningham|For Unto Us A Child Is Born|Choir - Mixed voices (SATB)|?2.75|38
63305|Tom Cunningham
SIR CHRISTEMAS for unaccompanied mixed voice choir
Roberton 63305|A lovely, modern, lively setting by Tom Cunningham for six part (SSATBB) unaccompanied mixed voice choir of this anonymous 16th century text.
Duration c.3 minutes|9790222288232|CUNNINGHAM|Tom Cunningham|Sir Christemas|Choir - Mixed voices (SATB)|?2.00|25
63306|Tom Cunningham
I WILL LIFT UP MINE EYES for mixed voice choir and organ
Roberton 63306|A new setting of Psalm 121 (King James version) for SATB choir and organ. For choirs with fewer men there is also a version for SA+Men available as Roberton 62009.
Duration 3 minutes|9790222289222|CUNNINGHAM|Tom Cunningham|I will lift up mine eyes|Choir - Mixed voices (SATB)|?2.00|25
63307|Tom Cunningham
AULD LANG SYNE for mixed voice choir
Roberton 63307|Traditional favourite arranged for mixed voice choir (SATB) unaccompanied or with piano.
Duration 1? minutes|9790222296626|CUNNINGHAM|Tom Cunningham|Auld Lang Syne|Choir - Mixed voices (SATB)|?1.50|13
63308|Hugh Roberton
WESTERING HOME arranged for mixed voice choir by Janet Wheeler
Roberton 63308|A new arrangement by Janet Wheeler for unaccompanied SATB choir of this favourite from "Songs of the Isles".
Duration 2? minutes|9790222301597|ROBERTON|Hugh S. Roberton|Westering Home arr. Janet Wheeler|Choir - Mixed voices (SATB)|?2.75|38
63309|Brian Hughes
ON THE BANKS OF ALLAN WATER
for mixed voice choir and piano
Roberton 63309|An eighteenth century Scottish melody (composer unknown) in a beautiful arrangement for mixed voice choir (SATB) and piano by Brian Hughes. The words are by Matthew Gregory Lewis (1775-1818).
Also available in versions for Flute (GM237), male voice choir (53218) and solo voice (02580) all with piano accompaniment.
Duration 3? minutes|9790222307551|HUGHES|Brian Hughes|On the Banks of Allan Water|Choir - Mixed voices (SATB)|?2.00|25
63310|Peter Lawson
VIRTUE
for mixed voice choir
Roberton 63310|'This a capella anthem, Virtue, was written in 1978, just after completing the song-cycle Care-Charmer Sleep, (Goodmusic GM265). The melody and harmonies of the closing bars of the first of four songs in the cycle, The Good Morrow by John Donne, are quoted in the closing bars of the anthem, albeit with different words from a different metaphysical poet, George Herbert.
The anthem is dedicated to Timothy Salter and the Ionian Singers, who gave its first performance in St Johns, Smith Square a few years later.
George Herbert''s poem contrasts the permanence of a virtuous soul to the impermanence of a sweet day, a sweet rose and a sweet spring, which ''all must die'', whereas, in the final stanza:
Only a sweet and virtuous soul,
Like seasoned timber, never gives;
But though the whole world turn to coal,
Then chiefly lives.
Peter Lawson
Duration 3 minutes'|9790222309951|LAWSON|Peter Lawson|Virtue|Choir - Mixed voices (SATB)|?2.00|25
63311|Peter Lawson
A BED OF HAY for SATB choir
Roberton 63311|'This is the first carol in a sequence entitled A BED OF HAY, a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 2 minutes'|9790222310674|LAWSON|Peter Lawson|A Bed of Hay|Choir - Mixed voices (SATB)|?2.00|25
63312|'Peter Lawson
SHEPHERDS'' CAROL for SATB choir
Roberton 63312'|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 2? minutes'|9790222310681|LAWSON|Peter Lawson|'Shepherds'' Carol'|Choir - Mixed voices (SATB)|?2.00|25
63313|Peter Lawson
DOMINE TE ADORO for SATB choir
Roberton 63313|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 3 minutes'|9790222310698|LAWSON|Peter Lawson|Domine Adoro Te|Choir - Mixed voices (SATB)|?2.00|25
63314|Peter Lawson
CHRIST IS HERE, HOLY YEAR for SATB choir
Roberton 63314|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 2? minutes'|9790222310704|LAWSON|Peter Lawson|Christ is here Holy Year|Choir - Mixed voices (SATB)|?2.00|25
63315|Peter Lawson
THIS HAPPY NIGHT for SATB choir
Roberton 63315|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 3 minutes'|9790222310711|LAWSON|Peter Lawson|This Happy Night|Choir - Mixed voices (SATB)|?2.75|38
63316|Peter Lawson
THE NIGHT WIND IS COLD for SATB choir
Roberton 63316|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 3 minutes'|9790222310728|LAWSON|Peter Lawson|The Night Wind is Cold|Choir - Mixed voices (SATB)|?2.00|25
63317|Peter Lawson
HODIE! CHRISTUS NATUS EST for SATB choir
Roberton 63317|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 2? minutes'|9790222310735|LAWSON|Peter Lawson|Hodie! Christus Natus est|Choir - Mixed voices (SATB)|?2.00|25
63318|Terry Rigler
SEND DOWN A SONG FOR ME for mixed voice choir and piano
Roberton 63318|A splendid ballad by Terry Rigler (words and music) reflecting on the power of music and the pleasure of singing for SATB choir with piano accompaniment.
Duration 4? minutes
Also available in a version for male voice choir (53214)|9790222313408|RIGLER|Terry Rigler|Send Down a Song for Me|Choir - Mixed voices (SATB)|?2.75|38
63319|Brian Hughes
RHYMES FROM CHILDHOOD for SATB choir
Roberton 63319|Three nursery rhymes set to new music by Brian Hughes for unaccompanied mixed voice choir - Doctor Foster, Solomon Grundy and Oliver Cromwell.
Although the lyrics might be aimed at young children, this clever musical setting is not! Reasonably advanced singers will be required.
Duration 5? minutes|9790222327825|HUGHES|Brian Hughes|Rhymes from Childhood|Choir - Mixed voices (SATB)|?4.75|75
71452|||9790222244801|ROBERTON|Hugh S. Roberton|Birds Are Singing|Choir - 3 part upper voices|?1.50|13
71500|||9790222244818|ROBERTON|Hugh S. Roberton|Shepherdess|Choir - 3 part upper voices|?1.50|13
71514|||9790222244825|ROBERTON|Hugh S. Roberton|Peat Fire Smooring Prayer|Choir - 3 part upper voices|?1.50|13
71523|||9790222244832|ROBERTON|Hugh S. Roberton|Cherry Ripe|Choir - 3 part upper voices|?2.00|25
71536|||9790222244849|ROBERTON|Hugh S. Roberton|Hear the Sledges With the Bells|Choir - 3 part upper voices|?2.00|25
71541|||9790222244856|ROBERTON|Hugh S. Roberton|Memory|Choir - 3 part upper voices|?1.50|13
71545|||9790222244863|ROBERTON|Hugh S. Roberton|Celtic Lullaby|Choir - 3 part upper voices|?1.50|13
71874|||9790222244870|ROBERTON|Hugh S. Roberton|Joy of My Heart|Choir - Unison voices|?1.50|13
71898|||9790222244887|ROBERTON|Hugh S. Roberton|Fairy Lullaby|Choir - Unison voices|?1.50|13
71971|||9790222244894|ROBERTON|Hugh S. Roberton|Holy Night|Choir - Unison voices|?1.50|13
71972|||9790222244900|ROBERTON|Hugh S. Roberton|Holy Night|Choir - 2 part upper voices|?2.00|25
72043|||9790222244917|ROBERTON|Hugh S. Roberton|Glenlyon Lament|Choir - 2 part upper voices|?1.50|13
72044|Hugh S. Roberton
ALL IN THE APRIL EVENING
for two-part upper voice choir
Roberton 72044|'Born in Glasgow, Hugh Roberton became a funeral director apart from being a conductor and composer. A highly motivated and self-taught choir-master, he founded the Toynbee Musical Association in 1901 and five years later, this became the Glasgow Orpheus Choir which gained a world-wide reputation and went on to perform under Hugh''s direction for some 45 years. He composed much for his choir, with perhaps his most famous pieces being "All in the April Evening" and the "Mingulay Boat Song". He had a reputation for getting the very best from his singers, who held him in such great esteem that when he resigned as their leader shortly before his death, the choir agreed that they must disband. However, the Orpheus rose again when many of its members re-formed as the Glasgow Phoenix Choir, which continues to perform and tour to this day. Hugh Roberton was knighted in 1931.
There are versions of "All in the April Evening" available for unaccompanied mixed voice choir (SATB), solo voice, unison voices, female voice choir, male voice choir, mixed voice choir (SAB), with Welsh words and also in an arrangement for string orchestra and a "meditation" for organ.
Duration nearly 3 minutes'|9790222244924|ROBERTON|Hugh S. Roberton|All in the April Evening (English)|Choir - 2 part upper voices|?1.50|13
72044WELSH|||9790222244931|ROBERTON|Hugh S. Roberton|All in the April Evening (Welsh)|Choir - 2 part upper voices|?1.50|13
72068|||9790222244948|ROBERTON|Hugh S. Roberton|Fairy Lullaby|Choir - 2 part upper voices|?2.00|25
72069|||9790222244955|ROBERTON|Hugh S. Roberton|'Marie''s Wedding'|Choir - 2 part upper voices|?1.50|13
72072|||9790222244962|ROBERTON|Hugh S. Roberton|'Morag''s Cradle Song'|Choir - 3 part upper voices|?1.50|13
72075|||9790222244979|ROBERTON|Hugh S. Roberton|Whither Away?|Choir - 3 part upper voices|?1.50|13
72085|||9790222244986|ROBERTON|Hugh S. Roberton|'I''ll Bid My Heart Be Still'|Choir - 3 part upper voices|?1.50|13
72087|||9790222244993|ROBERTON|Hugh S. Roberton|'Queen''s Marys'|Choir - 3 part upper voices|?2.00|25
72088|||9790222245006|ROBERTON|Hugh S. Roberton|Aubade|Choir - 3 part upper voices|?2.00|25
72094|||9790222245013|ROBERTON|Hugh S. Roberton|They Crucified My Lord|Choir - 3 part upper voices|?1.50|13
72095|||9790222245020|ROBERTON|Hugh S. Roberton|Oh, Peter, Go Ring Dem Bells|Choir - 3 part upper voices|?1.50|13
72100|||9790222245037|ROBERTON|Hugh S. Roberton|Sweet Nightingale|Choir - 3 part upper voices|?2.00|25
72101|||9790222245044|ROBERTON|Hugh S. Roberton|Little David Play On Your Harp|Choir - 3 part upper voices|?2.00|25
72102|||9790222245051|ROBERTON|Hugh S. Roberton|'Oh, By An'' By'|Choir - 3 part upper voices|?2.00|25
72103|||9790222245068|ROBERTON|Hugh S. Roberton|Swing Low Sweet Chariot|Choir - 3 part upper voices|?2.00|25
72104|||9790222245075|ROBERTON|Hugh S. Roberton|Steal Away To Jesus|Choir - 3 part upper voices|?2.00|25
72105|||9790222245082|ROBERTON|Hugh S. Roberton|Deep River|Choir - 3 part upper voices|?2.00|25
72106|||9790222245099|ROBERTON|Hugh S. Roberton|I Got A Robe|Choir - 3 part upper voices|?1.50|13
72107|||9790222245105|ROBERTON|Hugh S. Roberton|When De Stars Begin To Fall|Choir - 3 part upper voices|?1.50|13
72108|||9790222245112|ROBERTON|Hugh S. Roberton|'Blake''s Cradle Song'|Choir - 3 part upper voices|?1.50|13
72113|||9790222245129|ROBERTON|Hugh S. Roberton|Nobody Knows De Trouble I See|Choir - 3 part upper voices|?2.00|25
72114|||9790222245136|ROBERTON|Hugh S. Roberton|Were You There?|Choir - 3 part upper voices|?1.50|13
72115|||9790222245143|ROBERTON|Hugh S. Roberton|De Battle Ob Jerico|Choir - 3 part upper voices|?2.00|25
72119|||9790222245150|ROBERTON|Hugh S. Roberton|Hush-a-Ba Birdie|Choir - 3 part upper voices|?1.50|13
72120|Hugh S. Roberton
ALL IN THE APRIL EVENING
for three-part upper voice choir SSA
Roberton 72120|'Born in Glasgow, Hugh Roberton became a funeral director apart from being a conductor and composer. A highly motivated and self-taught choir-master, he founded the Toynbee Musical Association in 1901 and five years later, this became the Glasgow Orpheus Choir which gained a world-wide reputation and went on to perform under Hugh''s direction for some 45 years. He composed much for his choir, with perhaps his most famous pieces being "All in the April Evening" and the "Mingulay Boat Song". He had a reputation for getting the very best from his singers, who held him in such great esteem that when he resigned as their leader shortly before his death, the choir agreed that they must disband. However, the Orpheus rose again when many of its members re-formed as the Glasgow Phoenix Choir, which continues to perform and tour to this day. Hugh Roberton was knighted in 1931.
There are versions of "All in the April Evening" available for unaccompanied mixed voice choir (SATB), solo voice, unison voices, female voice choir, male voice choir, mixed voice choir (SAB), with Welsh words and also in an arrangement for string orchestra and a "meditation" for organ.
Duration nearly 3 minutes'|9790222245167|ROBERTON|Hugh S. Roberton|All in the April Evening|Choir - 3 part upper voices|?2.00|25
72131|||9790222245174|ROBERTON|Hugh S. Roberton|Dance To Your Daddy|Choir - 3 part upper voices|?2.00|25
72140|||9790222245181|ROBERTON|Hugh S. Roberton|Lark Now Leaves His Watery Nest|Choir - Unison voices|?1.50|13
72164|||9790222245198|ROBERTON|Hugh S. Roberton|Dance To Your Daddy|Choir - Unison voices|?1.50|13
72174|||9790222245204|ROBERTON|Hugh S. Roberton|White Waves On the Water|Choir - 2 part upper voices|?1.50|13
72176|||9790222245211|ROBERTON|Hugh S. Roberton|Humpty Dumpty / Shoo Shaggie|Choir - Unison voices|?1.50|13
72179|||9790222279643|ROBERTON|Hugh S. Roberton|Oran-a-chree|Choir - Unison voices|?1.50|13
72180|||9790222245228|ROBERTON|Hugh S. Roberton|Oran-a-chree|Choir - 2 part upper voices|?1.50|13
72181|||9790222245235|ROBERTON|Hugh S. Roberton|Charlie Is My Darling|Choir - 2 part upper voices|?1.50|13
72182|||9790222245242|ROBERTON|Hugh S. Roberton|Wee Folk|Choir - Unison voices|?1.50|13
72187|||9790222245259|ROBERTON|Hugh S. Roberton|Shoo Shaggie|Choir - 2 part upper voices|?1.50|13
72188|||9790222245266|ARNE|Thomas Arne|Under the Greenwood Tree|Choir - 3 part upper voices|?2.00|25
72189|||9790222245273|ROBERTON|Hugh S. Roberton|Rising of the Lark|Choir - 3 part upper voices|?1.50|13
72193|||9790222245280|ROBERTON|Hugh S. Roberton|Gretna Green|Choir - 2 part upper voices|?1.50|13
72228|||9790222245297|ROBERTON|Hugh S. Roberton|Toy Soldiers|Choir - Unison voices|?1.50|13
72235|||9790222245303|ROBERTON|Hugh S. Roberton|Cat and the Fiddle|Choir - Unison voices|?1.50|13
72240|||9790222245310|ROBERTON|Hugh S. Roberton|Dashing White Sergeant (unis/2pt)|Choir - 2 part upper voices|?1.50|13
72247|||9790222245327|ROBERTON|Hugh S. Roberton|'Child''s Prayer / Elizabeth''s Carol'|Choir - Unison voices|?2.00|25
72263|||9790222245334|ROBERTON|Hugh S. Roberton|Shepherd / Up the Airy Mountain|Choir - Unison voices|?1.50|13
72378|||9790222245341|ROBERTON|Hugh S. Roberton|Westering Home|Choir - Unison voices|?1.50|13
72379|||9790222245358|ROBERTON|Hugh S. Roberton|Uist Tramping Song (Come Along)|Choir - Unison voices|?1.50|13
72384|||9790222245365|ROBERTON|Hugh S. Roberton|Westering Home|Choir - 2 part upper voices|?1.50|13
72425|||9790222245372|ROBERTON|Hugh S. Roberton|Bonny George Campbell|Choir - 2 part upper voices|?1.50|13
72426|||9790222245389|ROBERTON|Hugh S. Roberton|Dance To Your Daddy|Choir - 2 part upper voices|?1.50|13
72427|||9790222245396|ROBERTON|Hugh S. Roberton|One Morning in May|Choir - 3 part upper voices|?1.50|13
72447|||9790222245402|PLUMSTEAD|Mary Plumstead|Old Fisherman Joe|Choir - 2 part upper voices|?2.00|25
72450|||9790222245419|ROBERTON|Hugh S. Roberton|All in the April Evening(Eng/Welsh)|Choir - Unison voices|?1.50|13
72495|||9790222245426|SCHUBERT|Franz Schubert|To the Sun|Choir - 2 part upper voices|?1.50|13
72507|||9790222245433|ROBERTON|Hugh S. Roberton|'Lewis Bridal Song (Mairi''s Wedding)'|Choir - Unison voices|?1.50|13
72536|||9790222245440|ROWLEY|Alec Rowley|Bed in Summer / Of Speckled Eggs|Choir - Unison voices|?1.50|13
72537|||9790222245457|ROWLEY|Alec Rowley|Marching Song / Time To Rise / Etc.|Choir - Unison voices|?2.00|25
72538|Alec Rowley
FROM A RAILWAY CARRIAGE
Roberton 72538|For solo or unison voices and piano. Newly re-typeset in 2022.|9790222245464|ROWLEY|Alec Rowley|From A Railway Carriage|Choir - Unison voices|?1.50|13
72539|||9790222245471|ROWLEY|Alec Rowley|Boats On the River|Choir - 2 part upper voices|?1.50|13
72540|||9790222245488|ROWLEY|Alec Rowley|Friendly Cow|Choir - Unison voices|?1.50|13
72541|||9790222245495|ROWLEY|Alec Rowley|Foreign Children|Choir - 2 part upper voices|?1.50|13
72542|||9790222245501|ROWLEY|Alec Rowley|I Have A Little Shadow|Choir - 2 part upper voices|?1.50|13
72543|||9790222245518|ROWLEY|Alec Rowley|Swing|Choir - 2 part upper voices|?1.50|13
72544|||9790222245525|ROWLEY|Alec Rowley|Lamplighter|Choir - Unison voices|?1.50|13
72568|||9790222245532|ROBERTON|Hugh S. Roberton|Air Falalalo|Choir - Unison voices|?1.50|13
72569|||9790222271548|ROBERTON|Hugh S. Roberton|Iona Boat Song|Choir - Unison voices|?1.50|13
72623|||9790222260108|BLYTON|Carey Blyton|Six Regional Canadian Folk Songs|Choir - Unison voices|?4.00|63
72625|||9790222245549|ROBERTON|Hugh S. Roberton|Mingulay Boat Song|Choir - Unison voices|?1.50|13
75001|||9790222245556|WILLIAMS|Bryn Williams|Three Welsh Folksongs|Choir - 4 part upper voices|?3.50|50
75012|||9790222245563|ROBERTON|Hugh S. Roberton|Dalmatian Cradle Song|Choir - Unison voices|?1.50|13
75013|||9790222245570|BLAKE L|Leonard Blake|Carol of the Sun|Choir - 2 part upper voices|?2.00|25
75016|||9790222245587|DEACON|Helen Deacon|Rabbits|Choir - Unison voices|?1.50|13
75017|||9790222245594|DUCKWORTH|Arthur Duckworth|Heave-Yo-Ho|Choir - Unison voices|?2.00|25
75018|||9790222245600|COPLEY|Ian A. Copley|Two Lullaby Carols|Choir - 4 part upper voices|?1.50|13
75019|||9790222245617|ROBERTON|Hugh S. Roberton|Good Morrow To You/Softly Fall the|Choir - Unison voices|?1.50|13
75021|||9790222245624|BEAUMONT|Adrian Beaumont|Long Long Ago|Choir - 4 part upper voices|?1.50|13
75022|||9790222245631|ROBERTON|Hugh S. Roberton|Wee Willie Winkie|Choir - Unison voices|?1.50|13
75023|||9790222245648|LEES|Heath Lees|Iona Boat Song|Choir - 4 part upper voices|?1.50|13
75024|||9790222245655|LEES|Heath Lees|Breathe On Me Breath of God|Choir - 3 part upper voices|?1.50|13
75025|||9790222245662|BUTTERWORTHN|Neil Butterworth|Four Canzonets|Choir - 2 part upper voices|?2.00|25
75027|||9790222245679|WALTERS L|Leslie Walters|Solitary Reaper|Choir - 3 part upper voices|?2.75|38
75028|||9790222245686|WALTERS L|Leslie Walters|Love Song|Choir - 3 part upper voices|?2.00|25
75031|||9790222245693|NAYLOR B|Bernard Naylor|Cantate Domino|Choir - 2 part upper voices|?2.75|38
75032|||9790222245709|NAYLOR B|Bernard Naylor|Deus Misereatur|Choir - 2 part upper voices|?2.00|25
75033|Heath Lees
DEEP RIVER for upper voice choir
Roberton 75033|Spiritual for unaccompanied upper voice choir (SSA).
Duration 3 minutes|9790222245716|LEES|Heath Lees|Deep River|Choir - 4 part upper voices|?1.50|13
75035|||9790222245723|THIMAN|Eric Thiman|Thrush in the Spring|Choir - 2 part upper voices|?2.00|25
75036|||9790222245730|PHILLIPS|John C. Phillips|O Waly Waly|Choir - 3 part upper voices|?1.50|13
75037|||9790222245747|NELSON H|Havelock Nelson|I Wonder When I Shall Be Married|Choir - 3 part upper voices|?2.00|25
75038|||9790222245754|LIDDELL C|Claire Liddell|Scottish Carol|Choir - 3 part upper voices|?1.50|13
75039|||9790222245761|NELSON H|Havelock Nelson|Enchanted Valley|Choir - 3 part upper voices|?2.00|25
75040|||9790222245778|ROBERTON|Hugh S. Roberton|'Blake''s Cradle Song'|Choir - Unison voices|?1.50|13
75041|||9790222245785|COPE|Cecil Cope|Two Songs from the Wandering Moon|Choir - Unison voices|?2.00|25
75042|||9790222245792|KELLY|Bryan Kelly|Boys in A Pie|Choir - 2 part upper voices|?2.00|25
75043|||9790222245808|SHORT M|Michael Short|'Song''s Eternity'|Choir - 3 part upper voices|?2.00|25
75045|||9790222245815|SWEELINCK|Jan Pieterszoon Sweelinck|Hodie Christus Natus Est|Choir - 4 part upper voices|?2.00|25
75046|||9790222245822|COPLEY|Ian A. Copley|Lilly Bright and Shine-a|Choir - 2 part upper voices|?1.50|13
75047|||9790222245839|BROWN C|Christopher Brown|A-courting We Will Go|Choir - 2 part upper voices|?4.75|75
75048|||9790222245846|HAWES J|Jack Hawes|Psalm Trilogy|Choir - 3 part upper voices|?4.00|63
75049|||9790222245853|ROBERTON|Hugh S. Roberton|Ho-ree, Ho-ro, My Little Wee Girl|Choir - Unison voices|?1.50|13
75050|||9790222245860|SMITH|Robert Smith|In Excelsis Gloria|Choir - 3 part upper voices|?4.00|63
75051|||9790222245877|ROSE|Bernard Rose|Missa: Voces Choristarum Series 3|Choir - 3 part upper voices|?2.75|38
75052|||9790222245884|LYELL|Margaret Lyell|Love in May|Choir - 4 part upper voices|?2.00|25
75056|||9790222245891|ROBERTON|Hugh S. Roberton|Rowan Tree|Choir - 2 part upper voices|?1.50|13
75057|||9790222245907|COPLEY|Ian A. Copley|'Come O''er the Stream Charlie'|Choir - Unison voices|?1.50|13
75058|||9790222245914|COPLEY|Ian A. Copley|Rosebud By My Early Walk|Choir - Unison voices|?1.50|13
75059|||9790222245921|COPLEY|Ian A. Copley|Ten Thousand Miles Away|Choir - Unison voices|?2.00|25
75060|||9790222245938|PLUMSTEAD|Mary Plumstead|Close Thine Eyes|Choir - 4 part upper voices|?1.50|13
75061|||9790222245945|PLUMSTEAD|Mary Plumstead|Pied Beauty|Choir - 3 part upper voices|?2.00|25
75062|||9790222245952|PLUMSTEAD|Mary Plumstead|Two By Two|Choir - Unison voices|?1.50|13
75063|||9790222245969|PARKE|Dorothy Parke|Fairy Tree / In Old Donegal|Choir - Unison voices|?1.50|13
75064|||9790222245976|PARKE|Dorothy Parke|If/Old Man from Kilkenny/Over the H|Choir - Unison voices|?2.00|25
75065|||9790222245983|PARKE|Dorothy Parke|Blarney/Little Boats/3 Little Towns|Choir - Unison voices|?1.50|13
75066|Dorothy Parke
FAIRY HILL / TRAVELLERS
Roberton 75066|'Two songs for solo or unison voices from Dorothy Parke''s "By Winding Roads".'|9790222245990|PARKE|Dorothy Parke|Fairy Hill / Travellers|Choir - Unison voices|?1.50|13
75067|||9790222246003|PARKE|Dorothy Parke|In Summertime / Winds|Choir - Unison voices|?1.50|13
75068|||9790222246010|LIDDELL W|William M. Liddell|Mary Had A Baby|Choir - 2 part upper voices|?1.50|13
75069|||9790222246027|PRICE|Beryl Price|Sigh No More Ladies|Choir - 4 part upper voices|?2.00|25
75070|||9790222246034|PRICE|Beryl Price|Snail|Choir - 2 part upper voices|?1.50|13
75071|||9790222246041|ANDERSON|William Henry Anderson|Long Long Ago|Choir - Unison voices|?1.50|13
75072|||9790222246058|EGERTON|Arthur Egerton|Frost Is Here|Choir - Unison voices|?2.00|25
75073|||9790222246065|HELYER|Marjorie Helyer|Wish|Choir - 2 part upper voices|?2.00|25
75074|||9790222246072|ROWLEY|Alec Rowley|Candle-light|Choir - Unison voices|?1.50|13
75075|||9790222246089|HUMPERDINCK|Engelbert Humperdinck|Evening Prayer|Choir - 2 part upper voices|?1.50|13
75076|||9790222246096|ROWLEY|Alec Rowley|Fairy Weavers|Choir - Unison voices|?1.50|13
75077|Alec Rowley
GRANDFATHER CLOCK
Roberton 75077|For solo or unison voices and piano.|9790222246102|ROWLEY|Alec Rowley|Grandfather Clock|Choir - Unison voices|?1.50|13
75078|||9790222246119|NELSON H|Havelock Nelson|Tis My Grief and Sorrow|Choir - 3 part upper voices|?2.00|25
75079|||9790222246126|ROBERTON|Hugh S. Roberton|Three Songs from Peacock Pie|Choir - 3 part upper voices|?2.75|38
75080|||9790222246133|PLUMSTEAD|Mary Plumstead|Close Thine Eyes|Choir - Unison voices|?1.50|13
75081|||9790222246140|COCKSHOTT|Gerald Cockshott|'Birds'' Song'|Choir - Unison voices|?1.50|13
75082|||9790222246157|PRICE|Beryl Price|Duke of Wellington|Choir - Unison voices|?1.50|13
75083|||9790222246164|COCKSHOTT|Gerald Cockshott|Three Songs for Boys|Choir - Unison voices|?3.50|50
75084|||9790222246171|NAYLOR B|Bernard Naylor|Of One That Is So Fair and Bright|Choir - 3 part upper voices|?1.50|13
75086|||9790222246188|SHAW M|Martin Shaw|Marketing Day|Choir - Unison voices|?1.50|13
75087|||9790222246195|SHAW M|Martin Shaw|Three Calendar Songs for Children|Choir - Unison voices|?1.50|13
75089|||9790222246201|GRAVES|Richard Graves|Splendour Falls|Choir - 4 part upper voices|?2.00|25
75090|||9790222246218|COCKSHOTT|Gerald Cockshott|Two Old French Carols|Choir - Unison voices|?2.00|25
75091|||9790222246225|COCKSHOTT|Gerald Cockshott|I Saw Three Ships|Choir - Unison voices|?1.50|13
75092|||9790222246232|COCKSHOTT|Gerald Cockshott|Two Eighteenth Century Songs|Choir - Unison voices|?2.00|25
75093|||9790222246249|COCKSHOTT|Gerald Cockshott|Three French Carols|Choir - Unison voices|?2.75|38
75094|||9790222246256|COCKSHOTT|Gerald Cockshott|Our Donkey|Choir - Unison voices|?1.50|13
75095|||9790222246263|COCKSHOTT|Gerald Cockshott|Shanty / Two Folk Songs from France|Choir - Unison voices|?3.50|50
75096|||9790222246270|COCKSHOTT|Gerald Cockshott|Three French Songs|Choir - Unison voices|?3.50|50
75098|||9790222246287|BARRELL B|Bernard Barrell|Two Fifteenth Century Carols|Choir - 4 part upper voices|?1.50|13
75099|||9790222246294|FRASER S|Shena Fraser|Infant King|Choir - 4 part upper voices|?1.50|13
75100|Mary Plumstead
A GRATEFUL HEART
for solo or unison voices
Roberton 75100|A beautiful setting of words by George Herbert. Also now available in a version for mixed voice choir. (See catalogue number 85362).
Duration 1 minute|9790222246300|PLUMSTEAD|Mary Plumstead|Grateful Heart key Db|Choir - Unison voices|?1.50|13
75103|||9790222246317|ROBERTON|Hugh S. Roberton|Ae Fond Kiss|Choir - 2 part upper voices|?1.50|13
75104|||9790222246324|ROBERTON|Hugh S. Roberton|Dream Angus|Choir - 3 part upper voices|?1.50|13
75105|||9790222246331|FRASER S|Shena Fraser|National Anthem|Choir - 4 part upper voices|?1.50|13
75108|||9790222246348|NELSON H|Havelock Nelson|Silly Sally Sue|Choir - Unison voices|?1.50|13
75109|||9790222246355|VITTORIA|Tomas Luis da Vittoria|Jesu the Very Thought is Sweet|Choir - 4 part upper voices|?1.50|13
75112|||9790222246362|FRASER S|Shena Fraser|Cotton|Choir - Unison voices|?1.50|13
75117|||9790222246379|HOW|Martin How|Easter Greeting|Choir - Unison voices|?1.50|13
75118|'Paul Petrocokino
WORKERS'' CAROL for unison voices
Roberton 75118'|'THE WORKERS'' CAROL Words by Morris Martin, tune by Paul Petrocokino arranged for unison voices, descant and treble recorders and piano by Pamela Breese.
Duration 2? minutes'|9790222246386|PETROCOKINO|Paul Petrocokino|'Workers'' Carol'|Choir - Unison voices|?1.50|13
75119|||9790222246393|COCKSHOTT|Gerald Cockshott|My Boy Billy|Choir - 3 part upper voices|?2.00|25
75120|||9790222246409|ROBERTON|Hugh S. Roberton|'Morag''s Cradle Song'|Choir - Unison voices|?1.50|13
75121|||9790222246416|ROBERTON|Hugh S. Roberton|Bedtime|Choir - Unison voices|?1.50|13
75122|||9790222246423|ROBERTON|Hugh S. Roberton|'Herdmaiden''s Song'|Choir - 3 part upper voices|?1.50|13
75123|||9790222246430|ROBERTON|Hugh S. Roberton|Lions and Crocodiles|Choir - Unison voices|?1.50|13
75124|||9790222246447|ROBERTON|Hugh S. Roberton|Little Boy Blue|Choir - 3 part upper voices|?1.50|13
75125|||9790222246454|ROBERTON|Hugh S. Roberton|Music When Soft Voices Die|Choir - 4 part upper voices|?1.50|13
75126|||9790222246461|ROBERTON|Hugh S. Roberton|'Stars Sang in God''s Garden'|Choir - Unison voices|?1.50|13
75127|||9790222246478|ROBERTON|Hugh S. Roberton|'Stars Sang in God''s Garden'|Choir - 2 part upper voices|?1.50|13
75128|||9790222246485|ROBERTON|Hugh S. Roberton|Welsh Cradle Song|Choir - Unison voices|?1.50|13
75129|||9790222246492|ROBERTON|Hugh S. Roberton|Welsh Cradle Song|Choir - 2 part upper voices|?1.50|13
75130|||9790222246508|ROBERTON|Hugh S. Roberton|When Grandpa Was A Little Girl Like|Choir - Unison voices|?1.50|13
75131|||9790222246515|ROBERTON|Hugh S. Roberton|Whiskers|Choir - Unison voices|?1.50|13
75132|||9790222246522|HELYER|Marjorie Helyer|Ballad of Trees and the Master|Choir - 3 part upper voices|?2.00|25
75135|||9790222246539|BURTCH|Mervyn Burtch|Highgate / The Tower|Choir - Unison voices|?2.00|25
75136|||9790222246546|THIMAN|Eric Thiman|Two Anthems for Junior Choir|Choir - 2 part upper voices|?2.00|25
75137|||9790222246553|HELYER|Marjorie Helyer|Ocean Wood|Choir - 3 part upper voices|?2.00|25
75138|||9790222246560|COPLEY|Ian A. Copley|Golden City of St.Mary|Choir - Unison voices|?1.50|13
75139|||9790222246577|THIMAN|Eric Thiman|Morning Song|Choir - 2 part upper voices|?2.00|25
75140|||9790222246584|THIMAN|Eric Thiman|Voices of Children|Choir - 2 part upper voices|?2.00|25
75143|||9790222246591|FRASER S|Shena Fraser|Boating / Grannies To Sell|Choir - Unison voices|?2.00|25
75144|||9790222246607|HUGHES-JONES|Llifon Hughes-Jones|Sleep (Cwsg)|Choir - 2 part upper voices|?2.00|25
75145|||9790222246614|SCHUBERT|Franz Schubert|Dancing Butterflies|Choir - 2 part upper voices|?1.50|13
75146|||9790222246621|SCHUBERT|Franz Schubert|Gentle Thorns|Choir - Unison voices|?1.50|13
75147|||9790222246638|NELSON H|Havelock Nelson|Ghosts in the Belfry|Choir - Unison voices|?1.50|13
75148|||9790222246645|NELSON H|Havelock Nelson|Has Sorrow Thy Young Days Shaded|Choir - 3 part upper voices|?1.50|13
75149|||9790222246652|NELSON H|Havelock Nelson|Hermit|Choir - Unison voices|?1.50|13
75150|||9790222246669|NELSON H|Havelock Nelson|How the Rose Got Its Thorn|Choir - Unison voices|?1.50|13
75151|||9790222246676|NELSON H|Havelock Nelson|Last Rose of Summer|Choir - 3 part upper voices|?1.50|13
75152|||9790222246683|NELSON H|Havelock Nelson|Little Pets of Mochua|Choir - Unison voices|?1.50|13
75153|||9790222246690|NELSON H|Havelock Nelson|Sandy and Andy|Choir - Unison voices|?1.50|13
75154|||9790222246706|HUGHES-JONES|Llifon Hughes-Jones|How Far Is It To Bethlehem?|Choir - Unison voices|?2.00|25
75155|||9790222246713|GWYNNE|Una Gwynne|Flyaway Hill|Choir - Unison voices|?1.50|13
75157|||9790222246720|HEDGES|Anthony Hedges|Two Canons|Choir - 2 part upper voices|?2.00|25
75158|||9790222246737|HEDGES|Anthony Hedges|Leezie Lindsay|Choir - 2 part upper voices|?1.50|13
75159|||9790222246744|HEDGES|Anthony Hedges|In Commendation of Music|Choir - 3 part upper voices|?2.00|25
75160|||9790222246751|ROBERTON|Hugh S. Roberton|Sound the Pibroch|Choir - 2 part upper voices|?1.50|13
75161|||9790222246768|WOOD R|Ruzena Wood|Sleep Baby Jesus|Choir - 2 part upper voices|?1.50|13
75162|||9790222246775|BENGER|Richard Benger|Lenten Anthem|Choir - 2 part upper voices|?1.50|13
75164|||9790222246782|TATE P|Phyllis Tate|Beauty Bright|Choir - Unison voices|?1.50|13
75165|||9790222246799|DUBERY|David Dubery|Home Is the Sailor|Choir - 2 part upper voices|?2.00|25
75166|||9790222246805|WESTBROOK|Francis Westbrook|Blow Bugle, Blow|Choir - 2 part upper voices|?2.00|25
75168|||9790222246812|LANE P|Philip Lane|Lady Mary|Choir - 2 part upper voices|?2.00|25
75169|||9790222246829|PRICE|Beryl Price|Two Songs of the Nativity|Choir - 2 part upper voices|?2.75|38
75170|||9790222246836|COPE|Cecil Cope|Sing for Joy|Choir - 3 part upper voices|?3.50|50
75173|||9790222246843|PLUMSTEAD|Mary Plumstead|Light in the Cradle|Choir - Unison voices|?1.50|13
75174|||9790222246850|NELSON H|Havelock Nelson|Lovely Jimmie|Choir - 3 part upper voices|?2.00|25
75175|||9790222246867|NELSON H|Havelock Nelson|Ulster Lilt|Choir - 2 part upper voices|?1.50|13
75187|||9790222246874|TUCAPSKY|Antonin Tucapsky|White Goose|Choir - 4 part upper voices|?2.00|25
75187CZECH|||9790222246881|TUCAPSKY|Antonin Tucapsky|White Goose (with Czech Text)|Choir - 4 part upper voices|?2.00|25
75188|||9790222246898|GRAVES|Richard Graves|Country Cat|Choir - Unison voices|?1.50|13
75190|||9790222246904|LANE P|Philip Lane|Four Seasonal Anthems|Choir - 2 part upper voices|?3.50|50
75191|||9790222246911|FRASER S|Shena Fraser|Fishing / Money|Choir - Unison voices|?1.50|13
75193|||9790222246928|LANE P|Philip Lane|Huron Carol|Choir - 3 part upper voices|?2.00|25
75196|||9790222246935|CRAWLEY|Clifford Crawley|Three Songs of Science for Juniors|Choir - Unison voices|?2.00|25
75198|||9790222246942|HEWITT-JONES|Tony Hewitt-Jones|Great Granny Jingles|Choir - Unison voices|?2.75|38
75199|||9790222246959|HILL AH|Anthony Herschel Hill|Man Shall Be Free|Choir - 3 part upper voices|?1.50|13
75200|||9790222246966|LEUNER|Karl Leuner|'Shepherd''s Cradle Song (arr.Lane)'|Choir - 3 part upper voices|?1.50|13
75201|||9790222246973|PARKE|Dorothy Parke|Frolic|Choir - 2 part upper voices|?1.50|13
75203|||9790222246980|CENTER|Ronald Center|There Is No Rose|Choir - 3 part upper voices|?2.00|25
75204|||9790222246997|ROBERTON|Hugh S. Roberton|Fife Fisher Song|Choir - 3 part upper voices|?1.50|13
75206|||9790222247000|ANDERSON|William Henry Anderson|Song of Autumn|Choir - 3 part upper voices|?1.50|13
75207|||9790222247017|TUCAPSKY|Antonin Tucapsky|I Saw Thee Weep|Choir - 4 part upper voices|?2.00|25
75210|||9790222247024|PROKOFIEV|Sergei Prokofiev|Camp-fire Chorus|Choir - 2 part upper voices|?2.00|25
75211|||9790222247031|COOMBES|Douglas Coombes|Bobby Shaftoe / Ship That Never Ret|Choir - 3 part upper voices|?2.75|38
75212|||9790222247048|WALTERS L|Leslie Walters|Birds|Choir - Unison voices|?1.50|13
75217|||9790222247055|IRELAND A|Anthony Ireland|Merry Christmas|Choir - 3 part upper voices|?1.50|13
75219|||9790222247062|MORGAN|Hilda Morgan|Little Lambs, Where Do You Sleep?|Choir - Unison voices|?1.50|13
75222|||9790222247079|DAVIES B|Bryan Davies|Finnish Forest|Choir - 4 part upper voices|?2.75|38
75227|||9790222247086|PRICE|Beryl Price|Songs of Heroes|Choir - Unison voices|?1.50|13
75228|||9790222247093|PRICE|Beryl Price|VIctoria Station|Choir - Unison voices|?1.50|13
75232|||9790222247109|COLLEDGE|Patti Colledge|'Chip''s Carol'|Choir - Unison voices|?1.50|13
75233|||9790222247116|HEWITT-JONES|Tony Hewitt-Jones|'Great Granny''s Seaside Songs'|Choir - Unison voices|?2.75|38
75236|||9790222247123|SWEENEY|Eric Sweeney|Still South I Went & 4 Other Songs|Choir - Unison voices|?2.75|38
75237|||9790222247130|CRAWLEY|Clifford Crawley|Trick Or Treat|Choir - Unison voices|?2.00|25
75238|||9790222247147|BELYEA|Warren Herbert Belyea|Autumn Joy|Choir - 2 part upper voices|?1.50|13
75239|||9790222247154|FLEMING|Gordon M. Fleming|Calypso Carol|Choir - 2 part upper voices|?1.50|13
75240|||9790222247161|NELSON H|Havelock Nelson|'Sun Don''t Shine in the Valley No Mo'|Choir - 3 part upper voices|?1.50|13
75241|||9790222247178|OUCHTERLONY|David Ouchterlony|Three Songs for Very Young People|Choir - Unison voices|?2.00|25
75242|||9790222247185|ANDERSON|William Henry Anderson|Wind Music|Choir - Unison voices|?1.50|13
75244|||9790222247192|LEWIS W R|W. Rees Lewis|That Fair Childing / Balulalow|Choir - 3 part upper voices|?2.00|25
75245|||9790222247208|ANDERSON|William Henry Anderson|Four Seasonal Songs|Choir - Unison voices|?2.00|25
75246|||9790222247215|ANDERSON|William Henry Anderson|Little Jesus Came To Town|Choir - Unison voices|?1.50|13
75247|||9790222247222|CRAWLEY|Clifford Crawley|Merry Merry Christmas|Choir - Unison voices|?3.50|50
75248|||9790222247239|BILENCKO|Michael Bilencko (= W. H. Anderson)|Old Gipsy Play Your Songs So Fine|Choir - 2 part upper voices|?1.50|13
75250|||9790222247246|BILENCKO|Michael Bilencko (= W. H. Anderson)|Cuckoo Song / the Little Fish|Choir - 2 part upper voices|?1.50|13
75251|||9790222247253|BELYEA|Warren Herbert Belyea|Three Happy Seasons|Choir - 2 part upper voices|?2.75|38
75252|||9790222247260|ANDERSON|William Henry Anderson|Song for a Baby Sister/To a Baby Br|Choir - Unison voices|?1.50|13
75253|||9790222247277|LANE P|Philip Lane|Angel Gabriel|Choir - 3 part upper voices|?1.50|13
75254|||9790222247284|LANE P|Philip Lane|Morning Has Broken/Child in Manger|Choir - 3 part upper voices|?1.50|13
75255|||9790222247291|LANE P|Philip Lane|Out of Your Sleep|Choir - 4 part upper voices|?2.00|25
75256|||9790222247307|ANDERSON|William Henry Anderson|Spider Hunter|Choir - Unison voices|?1.50|13
75257|||9790222247314|ANDERSON|William Henry Anderson|Fairy Cobbler|Choir - Unison voices|?1.50|13
75258|||9790222247321|BYRAM-WIGFIE|Rebekah Byram-Wigfield|Christmas Bell Song (arr.Lane)|Choir - 2 part upper voices|?1.50|13
75259|||9790222247338|ANDERSON|William Henry Anderson|Birth-night|Choir - 2 part upper voices|?1.50|13
75260|||9790222247345|ANDERSON|William Henry Anderson|In the Fall of the Year|Choir - 2 part upper voices|?1.50|13
75261|||9790222247352|ANDERSON|William Henry Anderson|'Child''s Prayer/Old Shepherd''s Prayr'|Choir - Unison voices|?1.50|13
75262|||9790222247369|DALE|Gordon Dale|Apple Green|Choir - 2 part upper voices|?1.50|13
75263|||9790222247376|DALE|Gordon Dale|Christmas Tryptich|Choir - 2 part upper voices|?2.75|38
75264|||9790222247383|DALE|Gordon Dale|I Saw A Falling Star|Choir - 2 part upper voices|?1.50|13
75265|||9790222247390|DALE|Gordon Dale|Little Bird in the Sky|Choir - 2 part upper voices|?2.00|25
75266|||9790222247406|DALE|Gordon Dale|Marie|Choir - 2 part upper voices|?1.50|13
75267|||9790222247413|DALE|Gordon Dale|Three Songs for Two Part Choir|Choir - 2 part upper voices|?2.75|38
75269|||9790222247420|DALE|Gordon Dale|Holy Babe Boy|Choir - Unison voices|?1.50|13
75272|||9790222247437|DALE|Gordon Dale|Spring Is the Reason|Choir - Unison voices|?1.50|13
75274|'W.T. Soderberg
BIRD''S SONG for SSA choir
Roberton 75274'|Swedish song arranged for SSA choir with piano.|9790222247444|SODERBERG|W.T. Soderberg|'Bird''s Song'|Choir - 3 part upper voices|?2.00|25
75276|||9790222247451|ROWLEY|Alec Rowley|Cherry Tree / Father Sea|Choir - Unison voices|?1.50|13
75279|||9790222247468|BOWERS|Timothy Bowers|Babe Is Born|Choir - Unison voices|?1.50|13
75280|||9790222247475|HOPKINS A|Antony Hopkins|'Blake''s Lullaby'|Choir - Unison voices|?1.50|13
75282|||9790222247482|FLEMING|Gordon M. Fleming|Five Primary Songs|Choir - Unison voices|?2.00|25
75283|George Murray
HEAVEN IN EARTH for SSAA
Roberton 75283|A Carol for unaccompanied SSAA choir.
Duration 3 minutes|9790222247499|MURRAY G|George Murray|Heaven in Earth|Choir - 4 part upper voices|?1.50|13
75284|||9790222247505|WORROLL|Terry Worroll|Immortal Babe|Choir - 2 part upper voices|?1.50|13
75285|||9790222247512|ANDERSON|William Henry Anderson|Litany / Sleep, Little Jesus|Choir - Unison voices|?1.50|13
75286|||9790222247529|ANDERSON|William Henry Anderson|Omens of Spring|Choir - Unison voices|?2.00|25
75287|||9790222247536|CRAWLEY|Clifford Crawley|We Love To Sing|Choir - Unison voices|?2.00|25
75288|||9790222247543|BILENCKO|Michael Bilencko (= W. H. Anderson)|Katerina|Choir - 3 part upper voices|?1.50|13
75289|||9790222247550|DUNHILL|Thomas Dunhill|Three Jovial Welshman|Choir - Unison voices|?2.00|25
75290|||9790222247567|HELYER|Marjorie Helyer|Moon|Choir - 2 part upper voices|?2.00|25
75291|||9790222247574|CRAWLEY|Clifford Crawley|Once Upon A Christmas Time|Choir - Unison voices|?2.00|25
75292|||9790222247581|IVES G|Grayston Ives|Five Sacred Songs|Choir - 4 part upper voices|?3.50|50
75294|||9790222247598|BILENCKO|Michael Bilencko (= W. H. Anderson)|Near A Leafy Woodland / Old Gipsy..|Choir - Unison voices|?1.50|13
75296|||9790222247604|CRAWLEY|Clifford Crawley|Thunder and Lightning|Choir - Unison voices|?1.50|13
75297|||9790222247611|BURTCH|Mervyn Burtch|'World''s End'|Choir - Unison voices|?1.50|13
75298|||9790222247628|GREEN D|David Llewellyn Green|Hush My Babe|Choir - 2 part upper voices|?1.50|13
75300|||9790222247635|GREEN D|David Llewellyn Green|Angels Brightly Sing the Song|Choir - Unison voices|?1.50|13
75303|||9790222247642|HUGHES-JONES|Llifon Hughes-Jones|Migildi Magildi|Choir - 4 part upper voices|?2.00|25
75304|||9790222247659|LIDDELL C|Claire Liddell|Flight|Choir - 3 part upper voices|?4.75|75
75306|||9790222247666|STANFORD|Charles Villiers Stanford|Windy Nights|Choir - Unison voices|?1.50|13
75307|||9790222247673|SCHUBERT|Franz Schubert|Quiet Serenade|Choir - 2 part upper voices|?1.50|13
75308|||9790222247680|GRAVES|Richard Graves|Songs of Christmas Past|Choir - Unison voices|?2.00|25
75309|||9790222247697|HUGHES-JONES|Llifon Hughes-Jones|Patapan|Choir - 2 part upper voices|?1.50|13
75310|||9790222247703|DONIACH|Shula Doniach|Forest Carol / Christmas Lullaby|Choir - 2 part upper voices|?1.50|13
75311|||9790222247710|GREEN G|Gareth D. Green|Cradle Song / Ring the Bells.....|Choir - 2 part upper voices|?2.00|25
75312|||9790222247727|STEVENSON R|Ronald Stevenson|No Coward Soul Is Mine|Choir - 4 part upper voices|?2.00|25
75313|George Murray
THE KINGDOM for SSAA choir
Roberton 75313|For unaccompanied SSAA choir
Duration 3 minutes|9790222247734|MURRAY G|George Murray|Kingdom|Choir - 4 part upper voices|?1.50|13
75314|||9790222247741|CRAWLEY|Clifford Crawley|Creatures Great and Small Set 1|Choir - Unison voices|?2.00|25
75315|||9790222247758|CRAWLEY|Clifford Crawley|Everyday Things|Choir - Unison voices|?2.00|25
75316|||9790222247765|ANDERSON|William Henry Anderson|Two Icelandic Folk Songs|Choir - Unison voices|?1.50|13
75317|John Jeffreys
I WILL GO WITH MY FATHER A-PLOUGHING
Roberton 75317|Unison song in the key of F. Also available as a solo song in key G - Roberton 01071.
Duration 3 minutes|9790222247772|JEFFREYS J|John Jeffreys|I Will Go With My Father [key F]|Choir - Unison voices|?1.50|13
75319|||9790222247789|HILLIER|Ian Hillier|Welcome Yule|Choir - 3 part upper voices|?2.75|38
75321|||9790222247796|NELSON H|Havelock Nelson|Shivery Sarah|Choir - Unison voices|?1.50|13
75323|||9790222247802|BROWN G|Gerald Brown|Bells Across the Frosty Plain|Choir - Unison voices|?1.50|13
75323GLOCK|||9790222247819|BROWN G|Gerald Brown|Bells Across the Frosty Plain glock|Choir - Unison voices|?1.50|7
75324|||9790222247826|BROWN G|Gerald Brown|Christmas Time Is Carol Time|Choir - Unison voices|?1.50|13
75324GLOCK|||9790222247833|BROWN G|Gerald Brown|Christmas Time Is Carol Time glock|Choir - Unison voices|?1.50|7
75325|||9790222247840|WALTERS E|Edmund Walters|Bonny Bobby Shafto|Choir - 3 part upper voices|?2.00|25
75327|TWO SPANISH TRADITIONAL SONGS arr. Michael Neaum
for upper voice choir and piano
Roberton 75327|Two Spanish songs, A la rurru nino and Bolera Sevillanas in an arrangement for upper voice (SSA) choir and piano. Words are given in Spanish and English and either may be used. Bolera Sevillanas is also available in an arrangement for mixed voice choir - catalogue number Roberton 63303.
Total duration 5 minutes|9790222247857|NEAUM|Michael Neaum|Two Spanish Traditional Songs|Choir - 3 part upper voices|?2.75|38
75328|'Michael Neaum
DIDN''T IT RAIN for upper voice choir
Roberton 75328'|Spiritual arranged for SSAA choir and piano|9790222247864|NEAUM|Michael Neaum|'Didn''t It Rain'|Choir - 4 part upper voices|?2.00|25
75329|Michael Neaum
LONG TIME AGO for upper voice choir
Roberton 75329|American traditional song arranged for SSA choir and piano.|9790222247871|NEAUM|Michael Neaum|Long Time Ago|Choir - 3 part upper voices|?1.50|13
75330|||9790222247888|WALTERS E|Edmund Walters|Johnny Todd|Choir - 2 part upper voices|?2.00|25
75331|||9790222247895|OXLEY|Harrison Oxley|Angel Gabriel from God|Choir - Unison voices|?2.00|25
75332|||9790222247901|ANDERSON|William Henry Anderson|Sweet Nightingale|Choir - Unison voices|?1.50|13
75334|||9790222247918|BELYEA|Warren Herbert Belyea|Lions|Choir - Unison voices|?1.50|13
75335|||9790222247925|CRAWLEY|Clifford Crawley|Magic in the Air|Choir - Unison voices|?2.75|38
75336|||9790222247932|BRAHMS|Johannes Brahms|Blacksmith|Choir - Unison voices|?1.50|13
75339|||9790222247949|BROWN C|Christopher Brown|Strawberry Fair|Choir - 2 part upper voices|?1.50|13
75340|||9790222247956|ADAMS J|Jean Adams|'Shepherds'' Lullaby'|Choir - 3 part upper voices|?2.00|25
75341|||9790222247963|MORGAN|Hilda Morgan|I Saw Three Ships|Choir - 4 part upper voices|?2.00|25
75342|||9790222247970|MORGAN|Hilda Morgan|Christmas Morn|Choir - 3 part upper voices|?1.50|13
75343|||9790222247987|MORGAN|Hilda Morgan|Snowdrop and Lamb|Choir - Unison voices|?1.50|13
75344|||9790222247994|DEALE|Edgar Deale|Lark in the Clear Air|Choir - 3 part upper voices|?2.00|25
75345|||9790222248007|TELFER|Nancy Telfer|If You Should Meet A Crocodile|Choir - Unison voices|?2.00|25
75346|||9790222248014|NELSON H|Havelock Nelson|Songs for Joanna|Choir - Unison voices|?2.00|25
75347|Eric Wetherell
ALL THINGS BRIGHT AND BEAUTIFUL
Roberton 75347|For two-part choir (SA) and piano accompaniment.
Duration 3? minutes|9790222248021|WETHERELL|Eric Wetherell|All Things Bright and Beautiful|Choir - 2 part upper voices|?2.00|25
75348|||9790222248038|LANE P|Philip Lane|It Was A Lover and His Lass|Choir - 3 part upper voices|?2.00|25
75349|||9790222248045|GORDON-SMITH|Richard Gordon-Smith|Welcome Carol|Choir - Unison voices|?2.00|25
75350|||9790222248052|FRASER S|Shena Fraser|Boy Was Born|Choir - 3 part upper voices|?2.00|25
75351|||9790222248069|THIMAN|Eric Thiman|Joy To the World|Choir - Unison voices|?1.50|13
75352|||9790222248076|THIMAN|Eric Thiman|When I Was A Little Boy|Choir - 2 part upper voices|?1.50|13
75353|||9790222248083|THIMAN|Eric Thiman|You Spotted Snakes|Choir - 2 part upper voices|?2.00|25
75355|||9790222248090|NELSON H|Havelock Nelson|You Must Have That True Religion|Choir - 4 part upper voices|?2.00|25
75356|Samuel Coleridge-Taylor
FALL ON ME LIKE A SILENT DEW for upper voice choir
Roberton 75356|Words by Robert Herrick, music by Samuel Coleridge Taylor for SA and piano.|9790222248106|COLERIDGE-TA|Samuel Coleridge-Taylor|Fall On Me Like A Silent Dew|Choir - 2 part upper voices|?1.50|13
75357|||9790222248113|COLERIDGE-TA|Samuel Coleridge-Taylor|Oh, the Summer|Choir - 2 part upper voices|?1.50|13
75358|||9790222248120|THIMAN|Eric Thiman|Saviour Teach Me Day By Day|Choir - 2 part upper voices|?2.00|25
75359|||9790222248137|ROBERTON|Hugh S. Roberton|'Flowers O'' the Forest'|Choir - 3 part upper voices|?1.50|13
75362|||9790222248168|WALTERS E|Edmund Walters|Thou Blessed Haven|Choir - Unison voices|?2.75|38
75363|||9790222248175|NELSON H|Havelock Nelson|For Snow|Choir - 4 part upper voices|?1.50|13
75364|||9790222248182|HANDEL GF|George Frideric Handel|Silent Worship (key G)|Choir - Unison voices|?1.50|13
75366|||9790222248199|MEAKINS|Vaughan Meakins|De Virgin Mary Had A Baby Boy|Choir - 4 part upper voices|?2.75|38
75367|||9790222248205|BLYTON|Carey Blyton|Three Bird Songs|Choir - Unison voices|?1.50|13
75368|||9790222248212|BOYLE|Rory Boyle|Magnificat and Nunc Dimittis|Choir - Unison voices|?2.00|25
75369|||9790222248229|GIBBS CA|C Armstrong Gibbs|Thorough Bush Thorough Briar|Choir - 2 part upper voices|?1.50|13
75370|||9790222248236|LANE P|Philip Lane|Blow Blow Thou Winter Wind|Choir - 3 part upper voices|?2.00|25
75371|||9790222248243|CRAWLEY|Clifford Crawley|Little Leprechaun|Choir - Unison voices|?1.50|13
75372|Thomas Arne
WHERE THE BEE SUCKS Unison voices
Roberton 75372|For solo or unison voices and piano in teh key of F.|9790222248250|ARNE|Thomas Arne|Where the Bee Sucks (key F)|Choir - Unison voices|?1.50|13
75373|||9790222248267|OXLEY|Harrison Oxley|'Rise ''n'' Shine'|Choir - 3 part upper voices|?2.00|25
75374|||9790222248274|GRAVES|Richard Graves|Carol of the Refugee Children|Choir - Unison voices|?1.50|13
75375|||9790222248281|FIELD G|Geoffrey Field|Child Is Born|Choir - 2 part upper voices|?2.00|25
75376|||9790222248298|BERTALOT|John Bertalot|See the Baby Jesus (any voices)|Choir - 2 part upper voices|?2.00|25
75378|||9790222248304|CRAWLEY|Clifford Crawley|Circus Songs|Choir - Unison voices|?2.00|25
75379|||9790222248311|HOYLE|John S. Hoyle|Te Deum|Choir - 4 part upper voices|?2.75|38
75380|||9790222248328|SANGSTER|Donalda Sangster|Songs of Springtime|Choir - Unison voices|?2.00|25
75381|||9790222248335|FLETCHER P|Percy Fletcher|'Caller Herrin'''|Choir - 3 part upper voices|?2.00|25
75382|||9790222248342|ANDERSON|William Henry Anderson|Cowslip|Choir - Unison voices|?1.50|13
75383|Michael Neaum
THE WATER OF TYNE
for upper voice choir
Roberton 75383|Excellent arrangement for SSA and piano of this much loved folksong.
Duration 3 minutes|9790222248359|NEAUM|Michael Neaum|Water of Tyne|Choir - 3 part upper voices|?2.00|25
75384|Michael Neaum
LAST ROSE OF SUMMER for upper voice choir
Roberton 75384|Irish traditional song arranged for SSA choir, soprano solo and piano.|9790222248366|NEAUM|Michael Neaum|Last Rose of Summer|Choir - 3 part upper voices|?2.00|25
75385|Michael Neaum
I GAVE MY LOVE A CHERRY for upper voice choir
Roberton 75385|Traditional Appalachian folk song arranged for 2 soloists, SSAA choir and piano.|9790222248373|NEAUM|Michael Neaum|I Gave My Love A Cherry|Choir - 4 part upper voices|?1.50|13
75386|'Craig Cassils
SHE''S LIKE THE SWALLOW
for unison voices
Roberton 75386'||9790222248380|CASSILS C|Craig Cassils|'She''s Like the Swallow'|Choir - Unison voices|?2.00|25
75387|||9790222248397|ZERAFA|Benigno Zerafa|Magnus Dominus (ed.Camilleri)|Choir - 4 part upper voices|?2.75|38
75388|'Brahms
SEVEN CHILDREN''S SONGS
for unison voices
Roberton 75388'||9790222248403|BRAHMS|Johannes Brahms|'Seven Children''s Songs'|Choir - Unison voices|?2.00|25
75389|Mira & Michael Coghlan
ROCKING IN RHYTHM
Roberton 75389|Unison song with words and music by Mira and Michael Coghlan.|9790222248410|COGHLAN M|Michael Coghlan|Rocking in Rhythm|Choir - Unison voices|?1.50|13
75390|||9790222248427|CRAWLEY|Clifford Crawley|Penguin Dance|Choir - Unison voices|?1.50|13
75391|Clifford Crawley
MRS.DINOSAUR for unison voices
Roberton 75391||9790222248434|CRAWLEY|Clifford Crawley|Mrs.Dinosaur|Choir - Unison voices|?1.50|13
75392|Telfer
JUMPETY BUMPETY
for unison voices
Roberton 75392||9790222248441|TELFER|Nancy Telfer|Jumpety Bumpety|Choir - Unison voices|?2.00|25
75393|Telfer
ON THE BACK OF AN EAGLE
for unison voices
Roberton 75393||9790222248458|TELFER|Nancy Telfer|On the Back of an Eagle|Choir - Unison voices|?2.00|25
75394|||9790222248465|BELYEA|Warren Herbert Belyea|Gnus and Gnats / Rabbits|Choir - Unison voices|?2.00|25
75395|||9790222248472|CRAWLEY|Clifford Crawley|Humpy the Camel / the Fox|Choir - Unison voices|?2.00|25
75396|||9790222248489|SHAW ML|Marshall L. Shaw|Elements|Choir - Unison voices|?2.00|25
75397|||9790222248496|GOULD|Raymond Gould|Ebenezer Scrooge|Choir - 2 part upper voices|?2.00|25
75398|||9790222248502|GOULD|Raymond Gould|Magical Christmas|Choir - 2 part upper voices|?2.00|25
75399|||9790222248519|GOULD|Raymond Gould|Your Wonderful Sleigh|Choir - Unison voices|?1.50|13
75400|||9790222248526|CRAWLEY|Clifford Crawley|We Can Make A Difference|Choir - Unison voices|?1.50|13
75401|||9790222248533|FLEMING|Gordon M. Fleming|Witch|Choir - Unison voices|?1.50|13
75402|||9790222248540|FRITZ|Sherilyn Fritz|Fiddle Dee Fee|Choir - 3 part upper voices|?2.00|25
75403|||9790222248557|CAMILLERI|Charles Camilleri|Requiem|Choir - 4 part upper voices|?2.00|25
75404|||9790222248564|BELYEA|Warren Herbert Belyea|Bears (from the Zoo)|Choir - Unison voices|?1.50|13
75405|||9790222248571|CRAWLEY|Clifford Crawley|Shadows|Choir - 2 part upper voices|?1.50|13
75406|||9790222248588|THORNE|Brenda Thorne|Flunky Jim|Choir - Unison voices|?1.50|13
75407|Alasdair Jamieson
THE BURNING BABE
for female voice choir|'A carol for female or boys'' choir (SA) with organ accompaniment.
A modern setting of words by Robert Southwell (1561-95), something different for Yuletide, originally written for the choir of Cheltenham Ladies College.'|9790222252172|JAMIESON|Alasdair Jamieson|Burning Babe|Choir - 2 part upper voices|?2.75|38
75408|||9790222248595|CAMILLERI|Charles Camilleri|Malta Yok!|Choir - 4 part upper voices|?2.00|25
75409|Michael Neaum
A BUNCH OF THYME
for upper voice choir
Roberton 75409||9790222248601|NEAUM|Michael Neaum|Bunch of Thyme|Choir - 3 part upper voices|?2.00|25
75410|||9790222248618|CORFE|Joseph Corfe|Hosanna To the Son/Ponder My Words|Choir - 2 part upper voices|?2.75|38
75411|||9790222248625|ARCH|Gwyn Arch|Gospel Train|Choir - 4 part upper voices|?2.00|25
75412|||9790222248632|JEFFREYS J|John Jeffreys|Behold A Tender Silly Babe|Choir - 2 part upper voices|?1.50|13
75413|||9790222248649|JEFFREYS J|John Jeffreys|Good Day Sire Cristemas|Choir - Unison voices|?2.00|25
75414|||9790222248656|JEFFREYS J|John Jeffreys|I Sing of A Maiden|Choir - 2 part upper voices|?1.50|13
75415|Michael Neaum
SWEET LITTLE JESUS BOY for upper voice choir|Traditional spiritual arranged for SSAA choir, soprano solo and piano.|9790222248663|NEAUM|Michael Neaum|Sweet Little Jesus Boy|Choir - 4 part upper voices|?2.00|25
75416|Michael Neaum
TIREE LOVE SONG for upper voice choir
Roberton 75416|Arranged for SSA choir, soli and piano.|9790222248670|NEAUM|Michael Neaum|Tiree Love Song (Ho-ree,ho-ro)|Choir - 3 part upper voices|?2.00|25
75417|Michael Neaum
TOMORROW IS A LONG TIME
Roberton 75417|The Bob Dylan song arranged for SSA choir and piano by Michael Neaum|9790222248687|NEAUM|Michael Neaum|Tomorrow is a Long Time|Choir - 3 part upper voices|?1.50|13
75418|||9790222248694|RIDOUT|Alan Ridout|Songs of Advent|Choir - Unison voices|?3.50|50
75419|||9790222248700|BERTALOT|John Bertalot|Preces and Responses|Choir - 2 part upper voices|?1.50|13
75420|||9790222248717|GIBBS CA|C Armstrong Gibbs|Dream Pedlary|Choir - Unison voices|?1.50|13
75421|||9790222248724|GIBBS CA|C Armstrong Gibbs|Dream Pedlary|Choir - 2 part upper voices|?2.00|25
75422|||9790222248731|GIBBS CA|C Armstrong Gibbs|Balow|Choir - 3 part upper voices|?2.00|25
75423|||9790222248748|GIBBS CA|C Armstrong Gibbs|Slow Horses Slow (A minor)|Choir - Unison voices|?1.50|13
75424|||9790222248755|OXLEY|Harrison Oxley|English Folk Song Suite|Choir - 2 part upper voices|?5.50|88
75425|Michael Neaum
AFRICAN LULLABY for upper voice choir
Roberton 75425|Arranged for SSAA choir, soprano solo and small semi-chorus (unaccompanied).|9790222248762|NEAUM|Michael Neaum|African Lullaby|Choir - 4 part upper voices|?1.50|13
75426|||9790222248779|CAMILLERI|Charles Camilleri|Tfal (Children)|Choir - 4 part upper voices|?2.00|25
75427|Michael Neaum
DING DONG MERRILY ON HIGH for upper voice choir
Roberton 75427|Traditional carol arranged for SSAA choir and piano.|9790222248786|NEAUM|Michael Neaum|Ding Dong Merrily On High|Choir - 4 part upper voices|?2.00|25
75428|Michael Neaum
VIRGIN MARY HAD A LITTLE BABY for upper voice choir
Roberton 75428|Spiritual arranged for SSAA choir and piano.|9790222248793|NEAUM|Michael Neaum|Virgin Mary Had A Little Baby|Choir - 4 part upper voices|?1.50|13
75429|Michael Neaum
I ONCE LOVED A LAD
for upper voice choir
Roberton 75429||9790222248809|NEAUM|Michael Neaum|I Once Loved A Lad|Choir - 4 part upper voices|?2.00|25
75430|||9790222248816|FAURE G|Gabriel Faure|Cantique De Jean Racine (Oxley)|Choir - 3 part upper voices|?2.75|38
75431|Derek Clark
SCARBOROUGH FAIR
for female voice choir|Lovely new arrangement of this well-known English folk song for SSAA choir and piano.
Duration about 5 minutes |9790222260740|CLARK|Derek Clark|Scarborough Fair|Choir - 4 part upper voices|?3.50|50
75432|Michael Neaum
BONNY AT MORN for upper voice choir
Roberton 75432|Traditional Northumbrian song arranged for SSAA choir, soprano solo and piano.|9790222248823|NEAUM|Michael Neaum|Bonny At Morn|Choir - 4 part upper voices|?2.75|38
75433|Michael Neaum
GLOUCESTERSHIRE WASSAIL for upper voice choir
Roberton 75433|Traditional Gloucestershire song arranged for SSAA choir and piano.|9790222248830|NEAUM|Michael Neaum|Gloucestershire Wassail|Choir - 4 part upper voices|?1.50|13
75434|Michael Neaum
TWO HUNGARIAN FOLK SONGS for upper voice choir
Roberton 75434|"Szilvas Faklu" (Silvas Village) and "Alazatos Szolgaja" (Pleased to meet you, now goodbye) arranged for SSAA choir and piano. Words in Hungarian and English.|9790222248847|NEAUM|Michael Neaum|Two Hungarian Folk Songs|Choir - 4 part upper voices|?4.00|63
75435|||9790222248854|GILBERT J|John Gilbert|'Lord''s Prayer'|Choir - Unison voices|?1.50|13
75436|||9790222248861|ROBERTON|Hugh S. Roberton|'Ballad of Yarrow/Broom O''Cowdenknow'|Choir - 2 part upper voices|?1.50|13
75437|||9790222248878|ROTHERY|Kenneth Rothery|Christ-Child in the Manger|Choir - 3 part upper voices|?2.00|25
75438|Tom Cunningham
THE DUKE OF PERTH and other Scottish reels
for upper voice choir|This is a typical sequence of Scottish reel tunes with a traditional "vamp" piano accompaniment. The tunes are arranged for two parts and nonsense sounds added for the words. This is based on the well-established practice known in Gaelic as puirt-a-beul (mouth-music) where dance music originally written for instruments is adapted for voices. This tradition is thought to have originated as a means whereby the Highland people perpetuated their favourite tunes after the banning of instruments following the Jacobite rebellion. The tunes used are: The Duke of Perth, Lady Mackenzie of Coul, Caddam Woods & Barren Rocks. Great fun!|9790222258839|CUNNINGHAM|Tom Cunningham|Duke of Perth|Choir - 2 part upper voices|?2.75|38
75439|Michael Neaum
ALL MY TRIALS
for upper voice choir
Roberton 75439||9790222248885|NEAUM|Michael Neaum|All My Trials|Choir - 3 part upper voices|?2.75|38
75440|Michael Neaum
GRAIH MA CHREE for upper voice choir
Roberton 75440|Manx folk song arranged for SSAA choir and solo voice (unaccompanied).|9790222248892|NEAUM|Michael Neaum|Graih Ma Chree|Choir - 4 part upper voices|?2.00|25
75441|||9790222248908|LANE P|Philip Lane|Song of Love|Choir - 4 part upper voices|?2.75|38
75442|||9790222248915|LANE P|Philip Lane|Game of Fives|Choir - 4 part upper voices|?2.00|25
75443|||9790222248922|DAVIES JAYNE|Jayne Davies|Y Deryn Pur (The Gentle Dove)|Choir - 4 part upper voices|?2.75|38
75444|||9790222248939|DAVIES JAYNE|Jayne Davies|Y March Glas (The Grey Horse)|Choir - 4 part upper voices|?3.50|50
75445|||9790222248946|BROWN G|Gerald Brown|Jesu Son of God Most High|Choir - 2 part upper voices|?1.50|13
75446|||9790222248953|BROWN G|Gerald Brown|When Gabriel To Mary Came|Choir - 2 part upper voices|?2.00|25
75447|Michael Neaum
TWO SONGS OF THE ISLES
for female voice choir|'Two fine arrangements for two-part (SA) choir with soloists and piano accompaniment of "Morag''s Cradle Song" and "Air Falalalo".'|9790222252189|NEAUM|Michael Neaum|Two Songs of the Isles|Choir - 2 part upper voices|?2.75|38
75448|Jayne Davies
Y GOG LWDLAS (The Cuckoo)
for female voice choir|'This is one of a collection of twelve Welsh folksongs arranged by Jayne Davies for SSAA choir and piano. All can be sung in Welsh or an English text (by Rhian Davies) is also given.
The twelve songs are:-
Y Deryn Pur (The Gentle Dove) No.75443
Y March Glas (The Grey Horse) No.75444
Y Gog Lwydlas (The Cuckoo) No.75448
Hen Ferchetan (Poor Old Maid) No.75449
Suo-gan (Lullaby) No.75450
Dacw ''Nghariad i Lawr yn y Berllan (See My Love) No.75451
Y G''loman (The Dove) No.75452
Deryn y Bwn o''r Banna'' (The Bittern) No.75453
Bugeilio''r Gwenith Gwyn (Watching the White Wheat) No.75454
Lisa Lan (Lisa Fair) No.75455
Y Gelynnen (The Holly) No.75456
Ar Gyfer Heddiw''r Bore''n Faban Bach (For us this Christmas Morning) No.75457'|9790222252196|DAVIES JAYNE|Jayne Davies|Y Gog Lwydlas (The Cuckoo)|Choir - 3 part upper voices|?2.75|38
75449|Jayne Davies
HEN FERCHETAN (Poor old maid)
for female voice choir|'This is one of a collection of twelve Welsh folksongs arranged by Jayne Davies for SSAA choir and piano. All can be sung in Welsh or an English text (by Rhian Davies) is also given.
The twelve songs are:-
Y Deryn Pur (The Gentle Dove) No.75443
Y March Glas (The Grey Horse) No.75444
Y Gog Lwydlas (The Cuckoo) No.75448
Hen Ferchetan (Poor Old Maid) No.75449
Suo-gan (Lullaby) No.75450
Dacw ''Nghariad i Lawr yn y Berllan (See My Love) No.75451
Y G''loman (The Dove) No.75452
Deryn y Bwn o''r Banna'' (The Bittern) No.75453
Bugeilio''r Gwenith Gwyn (Watching the White Wheat) No.75454
Lisa Lan (Lisa Fair) No.75455
Y Gelynnen (The Holly) No.75456
Ar Gyfer Heddiw''r Bore''n Faban Bach (For us this Christmas Morning) No.75457'|9790222252202|DAVIES JAYNE|Jayne Davies|Hen Ferchetan (Poor Old Maid)|Choir - 3 part upper voices|?3.50|50
75450|Jayne Davies
SUO GAN (Lullaby)
for female voice choir|'This is one of a collection of twelve Welsh folksongs arranged by Jayne Davies for SSAA choir and piano. All can be sung in Welsh or an English text (by Rhian Davies) is also given.
The twelve songs are:-
Y Deryn Pur (The Gentle Dove) No.75443
Y March Glas (The Grey Horse) No.75444
Y Gog Lwydlas (The Cuckoo) No.75448
Hen Ferchetan (Poor Old Maid) No.75449
Suo-gan (Lullaby) No.75450
Dacw ''Nghariad i Lawr yn y Berllan (See My Love) No.75451
Y G''loman (The Dove) No.75452
Deryn y Bwn o''r Banna'' (The Bittern) No.75453
Bugeilio''r Gwenith Gwyn (Watching the White Wheat) No.75454
Lisa Lan (Lisa Fair) No.75455
Y Gelynnen (The Holly) No.75456
Ar Gyfer Heddiw''r Bore''n Faban Bach (For us this Christmas Morning) No.75457'|9790222252219|DAVIES JAYNE|Jayne Davies|Suo Gan (Lullaby)|Choir - 3 part upper voices|?2.75|38
75451|'Jayne Davies
DACW ''NGHARIAD (see my love)
for female voice choir'|'This is one of a collection of twelve Welsh folksongs arranged by Jayne Davies for SSAA choir and piano. All can be sung in Welsh or an English text (by Rhian Davies) is also given.
The twelve songs are:-
Y Deryn Pur (The Gentle Dove) No.75443
Y March Glas (The Grey Horse) No.75444
Y Gog Lwydlas (The Cuckoo) No.75448
Hen Ferchetan (Poor Old Maid) No.75449
Suo-gan (Lullaby) No.75450
Dacw ''Nghariad i Lawr yn y Berllan (See My Love) No.75451
Y G''loman (The Dove) No.75452
Deryn y Bwn o''r Banna'' (The Bittern) No.75453
Bugeilio''r Gwenith Gwyn (Watching the White Wheat) No.75454
Lisa Lan (Lisa Fair) No.75455
Y Gelynnen (The Holly) No.75456
Ar Gyfer Heddiw''r Bore''n Faban Bach (For us this Christmas Morning) No.75457'|9790222252226|DAVIES JAYNE|Jayne Davies|'Dacw ''Nghariad (See My Love)'|Choir - 3 part upper voices|?3.50|50
75452|'Jayne Davies
Y G''LOMAN (The Dove)
for female voice choir'|'This is one of a collection of twelve Welsh folksongs arranged by Jayne Davies for SSAA choir and piano. All can be sung in Welsh or an English text (by Rhian Davies) is also given.
The twelve songs are:-
Y Deryn Pur (The Gentle Dove) No.75443
Y March Glas (The Grey Horse) No.75444
Y Gog Lwydlas (The Cuckoo) No.75448
Hen Ferchetan (Poor Old Maid) No.75449
Suo-gan (Lullaby) No.75450
Dacw ''Nghariad i Lawr yn y Berllan (See My Love) No.75451
Y G''loman (The Dove) No.75452
Deryn y Bwn o''r Banna'' (The Bittern) No.75453
Bugeilio''r Gwenith Gwyn (Watching the White Wheat) No.75454
Lisa Lan (Lisa Fair) No.75455
Y Gelynnen (The Holly) No.75456
Ar Gyfer Heddiw''r Bore''n Faban Bach (For us this Christmas Morning) No.75457'|9790222252233|DAVIES JAYNE|Jayne Davies|'Y G''loman (The Dove)'|Choir - 3 part upper voices|?2.75|38
75453|'Jayne Davies
DERYN Y BWN O''R BANNA (The Bittern)
for female voice choir'|'This is one of a collection of twelve Welsh folksongs arranged by Jayne Davies for SSAA choir and piano. All can be sung in Welsh or an English text (by Rhian Davies) is also given.
The twelve songs are:-
Y Deryn Pur (The Gentle Dove) No.75443
Y March Glas (The Grey Horse) No.75444
Y Gog Lwydlas (The Cuckoo) No.75448
Hen Ferchetan (Poor Old Maid) No.75449
Suo-gan (Lullaby) No.75450
Dacw ''Nghariad i Lawr yn y Berllan (See My Love) No.75451
Y G''loman (The Dove) No.75452
Deryn y Bwn o''r Banna'' (The Bittern) No.75453
Bugeilio''r Gwenith Gwyn (Watching the White Wheat) No.75454
Lisa Lan (Lisa Fair) No.75455
Y Gelynnen (The Holly) No.75456
Ar Gyfer Heddiw''r Bore''n Faban Bach (For us this Christmas Morning) No.75457'|9790222252240|DAVIES JAYNE|Jayne Davies|'Deryn Y Bwn o''r Banna (The Bittern)'|Choir - 3 part upper voices|?3.50|50
75454|'Jayne Davies
BUGEILIO''R GWENITH GWYN (Watching the white wheat)
for female voice choir'|'This is one of a collection of twelve Welsh folksongs arranged by Jayne Davies for SSAA choir and piano. All can be sung in Welsh or an English text (by Rhian Davies) is also given.
The twelve songs are:-
Y Deryn Pur (The Gentle Dove) No.75443
Y March Glas (The Grey Horse) No.75444
Y Gog Lwydlas (The Cuckoo) No.75448
Hen Ferchetan (Poor Old Maid) No.75449
Suo-gan (Lullaby) No.75450
Dacw ''Nghariad i Lawr yn y Berllan (See My Love) No.75451
Y G''loman (The Dove) No.75452
Deryn y Bwn o''r Banna'' (The Bittern) No.75453
Bugeilio''r Gwenith Gwyn (Watching the White Wheat) No.75454
Lisa Lan (Lisa Fair) No.75455
Y Gelynnen (The Holly) No.75456
Ar Gyfer Heddiw''r Bore''n Faban Bach (For us this Christmas Morning) No.75457'|9790222252257|DAVIES JAYNE|Jayne Davies|'Bugeilio''r Gwenith Gwyn (Watching.)'|Choir - 3 part upper voices|?3.50|50
75455|Jayne Davies
LISA LAN (Fair Lisa)
for female voice choir|'This is one of a collection of twelve Welsh folksongs arranged by Jayne Davies for SSAA choir and piano. All can be sung in Welsh or an English text (by Rhian Davies) is also given.
The twelve songs are:-
Y Deryn Pur (The Gentle Dove) No.75443
Y March Glas (The Grey Horse) No.75444
Y Gog Lwydlas (The Cuckoo) No.75448
Hen Ferchetan (Poor Old Maid) No.75449
Suo-gan (Lullaby) No.75450
Dacw ''Nghariad i Lawr yn y Berllan (See My Love) No.75451
Y G''loman (The Dove) No.75452
Deryn y Bwn o''r Banna'' (The Bittern) No.75453
Bugeilio''r Gwenith Gwyn (Watching the White Wheat) No.75454
Lisa Lan (Lisa Fair) No.75455
Y Gelynnen (The Holly) No.75456
Ar Gyfer Heddiw''r Bore''n Faban Bach (For us this Christmas Morning) No.75457'|9790222252264|DAVIES JAYNE|Jayne Davies|Lisa Lan (Lisa Fair)|Choir - 3 part upper voices|?2.75|38
75456|Jayne Davies
Y GELYNNEN (The Holly)
for female voice choir|'This is one of a collection of twelve Welsh folksongs arranged by Jayne Davies for SSAA choir and piano. All can be sung in Welsh or an English text (by Rhian Davies) is also given.
The twelve songs are:-
Y Deryn Pur (The Gentle Dove) No.75443
Y March Glas (The Grey Horse) No.75444
Y Gog Lwydlas (The Cuckoo) No.75448
Hen Ferchetan (Poor Old Maid) No.75449
Suo-gan (Lullaby) No.75450
Dacw ''Nghariad i Lawr yn y Berllan (See My Love) No.75451
Y G''loman (The Dove) No.75452
Deryn y Bwn o''r Banna'' (The Bittern) No.75453
Bugeilio''r Gwenith Gwyn (Watching the White Wheat) No.75454
Lisa Lan (Lisa Fair) No.75455
Y Gelynnen (The Holly) No.75456
Ar Gyfer Heddiw''r Bore''n Faban Bach (For us this Christmas Morning) No.75457'|9790222252271|DAVIES JAYNE|Jayne Davies|Y Gelynnen (The Holly)|Choir - 3 part upper voices|?2.75|38
75457|'Jayne Davies
AR GYFER HEDDIW''R BORE''N FABAN BACH (For us this Christmas morning)
for female voice choir'|'This is one of a collection of twelve Welsh folksongs arranged by Jayne Davies for SSAA choir and piano. All can be sung in Welsh or an English text (by Rhian Davies) is also given.
The twelve songs are:-
Y Deryn Pur (The Gentle Dove) No.75443
Y March Glas (The Grey Horse) No.75444
Y Gog Lwydlas (The Cuckoo) No.75448
Hen Ferchetan (Poor Old Maid) No.75449
Suo-gan (Lullaby) No.75450
Dacw ''Nghariad i Lawr yn y Berllan (See My Love) No.75451
Y G''loman (The Dove) No.75452
Deryn y Bwn o''r Banna'' (The Bittern) No.75453
Bugeilio''r Gwenith Gwyn (Watching the White Wheat) No.75454
Lisa Lan (Lisa Fair) No.75455
Y Gelynnen (The Holly) No.75456
Ar Gyfer Heddiw''r Bore''n Faban Bach (For us this Christmas Morning) No.75457'|9790222252288|DAVIES JAYNE|Jayne Davies|Ar Gyfer (For Us This Christmas..)|Choir - 3 part upper voices|?2.75|38
75458|Antony Le Fleming
TWO CAROLS
for female voice choir|Not an arrangement of the traditional tunes but "I saw three ships" and "Away in a manger" set to completely new music by Antony Le Fleming. These excellent, very approachable settings send the choir and the audience away still humming the tunes. Try some fresh versions of old favourites this Christmas! (Total duration 3? minutes)
Also available in a version for mixed voice choir.|9790222252516|LE FLEMING A|Antony le Fleming|Two Carols|Choir - 2 part upper voices|?2.75|38
75459|'Tom Cunningham
THE BOATMAN (Fear a''bhata) for upper voice choir
Roberton 75459'|A beautiful traditional Gaelic air adapted and arranged for upper voice choir and piano. English verses with the chorus in Gaelic (a note on pronunciation is given for all us non-Gaelic speakers!)
Duration 3? minutes
Also available in a version for SA+Men - see 62010|9790222258846|CUNNINGHAM|Tom Cunningham|'Boatman (Fear a''bhata)'|Choir - 3 part upper voices|?2.75|38
75460|Michael Neaum
TWO SONGS OFHENRY VIII
for female voice choir|Two melodies written by Henry VIII arranged for unaccompanied female choir with tambour and tambourine accompaniment. (A piano reduction of the choral parts is provided for rehearsal purposes). Duration 3 minutes|9790222258891|NEAUM|Michael Neaum|Two Songs of Henry VIII|Choir - 3 part upper voices|?2.00|25
75461|Michael Neaum
THE BELLS OF PARADISE
for female voice choir|A female choir arrangement (with piano accompaniment) of a lovely, but perhaps lesser-known, traditional Derbyshire carol.
(Duration 2? minutes)|9790222258907|NEAUM|Michael Neaum|Bells of Paradise (Carol)|Choir - 3 part upper voices|?2.00|25
75462|Michael Neaum
LOWLANDS AWAY
for female voice choir|Arranged for female voice choir with soloist and piano, based on the words of an old shanty ballad this is a wonderful setting in the style of the old sea shanties.|9790222258914|NEAUM|Michael Neaum|Lowlands Away|Choir - 3 part upper voices|?2.75|38
75463|Michael Neaum
CHERRY TREE CAROL
for female voice choir|Another excellent Michael Neaum arrangement of this traditional Christmas Carol for female voice choir with soloists and piano. Both the sopranos and altos each divide into as many as four parts on occasions and several soloists are featured.|9790222258921|NEAUM|Michael Neaum|Cherry Tree Carol|Choir - 4 part upper voices|?2.00|25
75464|Michael Neaum
DE VIRGIN MARY HAD A BABY BOY
for female voice choir|An arrangement for three-part female voice choir and piano of this popular carol of West Indian origin.
Duration 2? minutes |9790222258938|NEAUM|Michael Neaum|Virgin Mary Had A Baby Boy|Choir - 3 part upper voices|?2.00|25
75465|Michael Neaum
TWO FRENCH FOLKSONGS
for female voice choir|The two French folksongs are "A la Claire Fontaine" and "Aupres de ma Blonde", arranged for female voice choir (SSA) with soloists and a piano accompaniment. The two songs can be sung separately or linked together.
Duration 6 minutes|9790222258945|NEAUM|Michael Neaum|Two French Folksongs|Choir - 4 part upper voices|?3.50|50
75466|Michael Neaum
OFT IN THE STILLY NIGHT
for female voice choir|This lovely traditional Irish song is here arranged for female voice choir (SSA) with a soloist and piano accompaniment.
Duration 3 minutes |9790222258952|NEAUM|Michael Neaum|Oft in the Stilly Night|Choir - 3 part upper voices|?2.00|25
75467|'Michael Neaum
SHE''S LIKE THE SWALLOW
for female voice choir'|Another excellent Michael Neaum arrangement for SSAA choir and piano of this lovely traditional Newfoundland song.
Duration c.3 minutes|9790222258969|NEAUM|Michael Neaum|'She''s Like the Swallow'|Choir - 4 part upper voices|?2.00|25
75468|Rosseter arr.Michael Neaum
WHAT THEN IS LOVE
for female voice choir|An arrangement for unaccompanied female voice choir (SSAA) of this beautiful song by Philip Rosseter (1567-1623)
Duration nearly 2 minutes|9790222258976|ROSSETER|Philip Rosseter|What Then Is Love (arr.Neaum)|Choir - 4 part upper voices|?1.50|13
75469|'Michael Neaum
MY LOVE''S AN ARBUTUS
for female voice choir'|Traditional Irish melody arranged for SSA choir, solo voice and piano
Duration 2? minutes|9790222258983|NEAUM|Michael Neaum|'My Love''s an Arbutus'|Choir - 3 part upper voices|?2.00|25
75470|Michael Neaum
JAPANESE LULLABY
for female voice choir|A setting of perhaps the best-known of all Japanese lullabies for soloists, female voice choir in three parts and piano. The words are in Japanese and are straightforward to sing phonetically.
Duration 2 minutes|9790222258990|NEAUM|Michael Neaum|Japanese Lullaby|Choir - 4 part upper voices|?2.00|25
75471|Michael Neaum
DUERME NEGRITO
for female voice choir|'Duerme Negrito - "Sleep, little black one" - a traditional Cuban song, partly a simple lullaby, but with overtones of the slave trade. The child is warned that the "white devil" will eat his foot if he doesn''t go to sleep; but he is also promised all sorts of wonderful things despite the plight of the sick, destitute mother. Arranged for SSAA choir and a soloist with piano accompaniment.
Duration nearly 3 minutes'|9790222259003|NEAUM|Michael Neaum|Duerme Negrito|Choir - 3 part upper voices|?2.75|38
75472|Michael Neaum
BE STILL, AND KNOW I AM WITH YOU
for female voice choir|An original setting for female voice choir, 2 soloists and organ/piano. Words from Psalm 46 set to original music by Michael provide this exceptionally beautiful piece suitable for use in church or the concert hall. The organ part is optional but preferable. (Duration 2? minutes)|9790222259010|NEAUM|Michael Neaum|Be Still and Know I Am With You|Choir - 4 part upper voices|?1.50|13
75473|'Vincent D''Indy (arr.David Patrick)
SANCTA MARIA SUCCURE MISERIS Op.49
for female voice choir'|'A two-part setting by D''Indy (1851-1931) with optional organ accompaniment. Can be sung with the original Latin words or in an English version by David Patrick. Duration 2 minutes.'|9790222259041|'D''INDY'|'Vincent D''Indy'|Sancta Maria Succurre Miseris Op.49|Choir - 2 part upper voices|?1.50|13
75474|David Patrick (arr.)
COME NOW CHILDREN, COME TO THE MANGER
for SA and/or TB choir|A carol for upper and lower voices arranged from a traditional Bulgarian folk melody with piano or organ and optional triangle. Something for Christmas with a different flavour. This can be sung SA, TB or SATB.|9790222259058|PATRICK|David Patrick|Come Now Children (SA and/or TB)|Choir - Mixed voices (SATB)|?2.00|25
75475|Gareth Walters
TO MUSIC
for female voice choir|A setting of a poem by Robert Herrick for an able two-part choir with a soloist and piano.|9790222259065|WALTERS G|Gareth Walters|To Music|Choir - 2 part upper voices|?2.00|25
75476|Gareth Walters
THE LAMB
for female voice choir|Many composers have done settings of these well-known words by William Blake. Here is an excellent example by Gareth Walters for a choir of sopranos and altos with piano.|9790222259072|WALTERS G|Gareth Walters|Lamb (The)|Choir - 2 part upper voices|?2.00|25
75477|'Paul Lewis
CHILD''S CAROL
for two-part choir or two solo voices
Roberton 75477'|A lovely Christmas carol for children with words by Helen Cresswell, either for a two-part choir or two solo voices, accompanied by harp or piano.
Duration c.3 minutes|9790222261280|LEWIS P|Paul Lewis|'Child''s Carol'|Choir - 2 part upper voices|?2.00|25
75478|'Paul Lewis
DEUX CHANSONS D''ENFANTS
for unison or solo voice and piano'|Two French songs for children - "Lucie cueille les fleurs des champs" and "Vilain garcon!" - original words by Genevieve Lewis set to music by Paul Lewis. Musically straightforward, these songs are excellent to help youngsters to sing in French. The words are not given in English though a free translation is shown so that the meaning can be understood by the singers!
Duration 3 minutes (in total)|9790222261297|LEWIS P|Paul Lewis|'Deux Chansons d''Enfants'|Choir - Unison voices|?2.00|25
75479|Vaughan Williams (arr.Lane)
GREENSLEEVES or THE KING OF LOVE
for female voice choir|'This is a choral setting by Philip Lane of Vaughan Williams'' ever-popular Fantasia on Greensleeves. Two sets of words are given: either the traditional folk song words for "Greensleeves" can be used or alternatively "The King of Love my shepherd is" makes it suitable for church use. An SSA choir is accompanied by piano or this choral version can be sung with an orchestral accompaniment by using the original orchestral version of Fantasia on Greensleeves (arranged by Ralph Greaves) which is now published for sale in the Goodmusic Orchestral Series (Catalogue number GMCL128).
Also available in a version for SATB - number 63270
Duration 4 Minutes '|9790222261358|VAUGHAN WILL|Ralph Vaughan Williams|Greensleeves/King of Love arr.Lane|Choir - 3 part upper voices|?2.75|38
75480|||9790222263680|TUCAPSKY|Antonin Tucapsky|Before Trees Stir|Choir - 4 part upper voices|?5.50|88
75481|Max Bruch
FOUR SONGS Op.6 No.1
for female voice choir and piano
Roberton 75481|Four original songs by Max Bruch edited by Philip Lane. Originally set to German texts, this edition has English words by Philippa Frischmann. See also the THREE SONGS Op.6 No.2 (catalogue number 75482)
Duration: c.9 minutes|9790222264311|BRUCH|Max Bruch|Four Songs Op.6/1 Lane/Frischmann|Choir - 3 part upper voices|?3.50|50
75482|Max Bruch
THREE SONGS Op.6 No.2
for female voice choir and piano
Roberton 75482|Three original songs by Max Bruch edited by Philip Lane. Originally set to German texts, this edition has English words by Philippa Frischmann. See also the FOUR SONGS Op.6 No.1 (catalogue number 75481)
Duration: c.8 minutes|9790222264328|BRUCH|Max Bruch|Three Songs Op.6/2 Lane/Frischmann|Choir - 2 part upper voices|?3.50|50
75483|Michael Short
THREE BURNS SONGS for female voice choir
Roberton 75483|'Wandering Willie, Bessie at her spinnin'' wheel and Up in the morning arranged for female voice choir (SSA) with accompaniment of harp or piano. The three songs may be sung as a sequence (they link together) or as individual items.
Total duration: 8 minutes'|9790222264335|SHORT M|Michael Short|Three Burns Songs|Choir - 3 part upper voices|?4.75|75
75484|SPRINGTHORPE, Nigel
LUTE BOOK LULLABY for female voice choir
Roberton 75485|A setting for female voice choir and organ of anonymous words from the 16th century.
Duration 2 minutes|9790222267350|SPRINGTHORPE|Nigel Springthorpe|Lute-Book Lullaby|Choir - 3 part upper voices|?2.00|25
75485|SPRINGTHORPE, Nigel
A LITEL CHILDE THERE IS IBORE for female voice choir
Roberton 75485|A setting for female voice choir and organ of anonymous words from the 14th century.
Duration nearly 2 minutes|9790222267343|SPRINGTHORPE|Nigel Springthorpe|Litel Childe Thereis Ibore|Choir - 4 part upper voices|?2.00|25
75486|JEPSON, David W
THE LEAVING OF LIVERPOOL for female voice choir
Roberton 75486|A setting of a sea song with Liverpudlian origin, arranged for female choir with piano accompaniment. This song is also available arranged for mixed voice choir along with three other Liverpool Sea Songs (Catalogue number 03114).
Duration 4 minutes|9790222267367|JEPSON D|David Jepson|Leaving of Liverpool|Choir - 3 part upper voices|?2.00|25
75487|'Michael Neaum (arr)
O WON''T YOU SIT DOWN?
for female voice choir and piano
Roberton 75487'|Spiritual arranged for solo voices(s) and female voice choir (SSA) with piano accompaniment.
Duration 2 minutes|9790222269798|NEAUM|Michael Neaum|'O Won''t You Sit Down?'|Choir - 3 part upper voices|?2.75|38
75488|Michael Neaum (arr)
TWO SHORT SPIRITUALS
for female voice choir and piano
Roberton 75488|'"Over my head I hear music in the air" followed by "Didn''t my Lord deliver Daniel" arranged for female voice choir with solos and piano accompaniment.
Duration 2 minutes'|9790222269804|NEAUM|Michael Neaum|Two Short Spirituals|Choir - 3 part upper voices|?2.00|25
75489|Michael Neaum (arr)
RISE UP SHEPHERD AND FOLLOW
for female voice choir
Roberton 75489|Arrangement for female voice choir (divides into 4 parts) and 3 solo voices unaccompanied of this well-loved Christmas spiritual.
Duration 2 minutes|9790222269811|NEAUM|Michael Neaum|Rise Up Shepherd and Follow|Choir - 4 part upper voices|?1.50|13
75490|Michael Neaum (arr)
CAROL OF THE BIRDS
for female voice choir
Roberton 75490|The Carol of the Birds arranged for solo voice(s), female voice choir (sopranos and altos - the altos divide occasionally) and piano.
Duration 2? minutes|9790222269828|NEAUM|Michael Neaum|Carol of the Birds|Choir - 3 part upper voices|?2.00|25
75491|Michael Neaum (arr)
RIU RIU CHIU
for female voice choir, piano and percussion
Roberton 75491|A Spanish traditional song arranged for SSA choir, tambourine, triangle and piano.
Duration 2? minutes|9790222269835|NEAUM|Michael Neaum|Riu Riu Chiu|Choir - 3 part upper voices|?2.75|38
75492|David Stone
WINTER for SSA choir and piano
Roberton 75492|No.1 of FOUR SONGS OF WINTER, settings of four poems on the theme of winter without any mention of Christmas! The four poems are "Winter" by Walter de la Mare, "Sleighing" by Edgar Allen Poe, "A widow bird sate mourning" by Percy Bysshe Shelley and "Up in the morning" by Robert Burns. The four songs can be sung separately or as a set. They are published for sale individually (catalogue numbers 75492, 75493, 75494 and 75495) or complete (catalogue number 3116).
Duration 2? minutes|9790222271494|STONE|David Stone|Winter No.1 of Four Songs|Choir - 3 part upper voices|?2.00|25
75493|David Stone
SLEIGHING for SSA choir and piano
Roberton 75493|No.2 of FOUR SONGS OF WINTER, settings of four poems on the theme of winter without any mention of Christmas! The four poems are "Winter" by Walter de la Mare, "Sleighing" by Edgar Allen Poe, "A widow bird sate mourning" by Percy Bysshe Shelley and "Up in the morning" by Robert Burns. The four songs can be sung separately or as a set. They are published for sale individually (catalogue numbers 75492, 75493, 75494 and 75495) or complete (catalogue number 3116).
Duration 1? minutes|9790222271500|STONE|David Stone|Sleighing No.2 of Four Songs|Choir - 3 part upper voices|?2.00|25
75494|David Stone
A WIDOW BIRD SATE MOURNING for SSA choir and piano
Roberton 75494|No.3 of FOUR SONGS OF WINTER, settings of four poems on the theme of winter without any mention of Christmas! The four poems are "Winter" by Walter de la Mare, "Sleighing" by Edgar Allen Poe, "A widow bird sate mourning" by Percy Bysshe Shelley and "Up in the morning" by Robert Burns. The four songs can be sung separately or as a set. They are published for sale individually (catalogue numbers 75492, 75493, 75494 and 75495) or complete (catalogue number 3116).
Duration 1? minutes|9790222271517|STONE|David Stone|Widow Bird Sate No.3 of Four Songs|Choir - 3 part upper voices|?1.50|13
75495|David Stone
UP IN THE MORNING for SSA choir and piano
Roberton 75495|No.4 of FOUR SONGS OF WINTER, settings of four poems on the theme of winter without any mention of Christmas! The four poems are "Winter" by Walter de la Mare, "Sleighing" by Edgar Allen Poe, "A widow bird sate mourning" by Percy Bysshe Shelley and "Up in the morning" by Robert Burns. The four songs can be sung separately or as a set. They are published for sale individually (catalogue numbers 75492, 75493, 75494 and 75495) or complete (catalogue number 3116).
Duration 1? minutes|9790222271524|STONE|David Stone|Up in the Morning No.4of Four Songs|Choir - 3 part upper voices|?2.00|25
75497|||9790222271951|COOMBES|Douglas Coombes|Psalm 149 from Psalms for Dancing|Choir - 3 part upper voices|?2.75|38
75498|||9790222274297|ANDERSON|William Henry Anderson|Gay Is the Rose+By a Clear Fountain|Choir - Unison voices|?1.50|13
75500|Michael Neaum (arr)
AFTON WATER
for female voice choir and piano
Roberton 75500|Scottish song arranged for SSA choir and piano.
Duration 3 minutes|9790222275157|NEAUM|Michael Neaum|Afton Water|Choir - 3 part upper voices|?2.00|25
75501|Robert Johnson arranged by Michael Neaum
HAVE YOU SEEN BUT A WHITE LILY GROW?
for female voice choir and piano
Roberton 75501|Song by Robert Johnson (1583 - 1633) arranged for solo voice, SSA choir and piano.
Duration 3 minutes|9790222275164|NEAUM|Michael Neaum|Have You Seen But A White Lily Grow|Choir - 3 part upper voices|?2.00|25
75502|Michael Neaum (arr)
SHE MOVED THROUGH THE FAIR
for female voice choir and piano
Roberton 75502|Traditional Irish song arranged for SSAA choir and piano.
Duration 2? minutes|9790222275171|NEAUM|Michael Neaum|She Moved Through the Fair|Choir - 4 part upper voices|?2.00|25
75503|Michael Neaum (arr)
SIUIL A RUIN
for female voice choir and piano
Roberton 75503|Traditional Irish song in English and Gaelic arranged for SSAA choir and piano.
Duration 3? minutes|9790222275188|NEAUM|Michael Neaum|Siuil a Ruin|Choir - 4 part upper voices|?2.00|25
75504|Michael Neaum (arr)
SWING LOW, SWEET CHARIOT
for female voice choir and piano
Roberton 75504|Spiritual arranged for SSAA choir and piano.
Duration 2? minutes|9790222275195|NEAUM|Michael Neaum|Swing Low Sweet Chariot|Choir - 4 part upper voices|?2.00|25
75505|Michael Neaum
TAKE, O TAKE THOSE LIPS AWAY
for female voice choir and piano
Roberton 75505|Words by Shakespeare set to music by Michael Neaum for unaccompanied SSAA choir.
Duration 1? minutes|9790222275201|NEAUM|Michael Neaum|Take O Take Those Lips Away|Choir - 4 part upper voices|?1.50|13
75506|Michael Neaum (arr)
THE TURTLE DOVE
for female voice choir and piano
Roberton 75506|English folk song arranged for solo voice with SSA choir and piano.
Duration 2? minutes|9790222275218|NEAUM|Michael Neaum|Turtle Dove|Choir - 3 part upper voices|?2.00|25
75507|Michael Neaum (arr)
TWO CANADIAN SONGS
for female voice choir and piano
Roberton 75507|'Two Canadian songs, "Mary Ann" and "Bonavist'' Harbour", arranged for female voice choir and piano.
Duration 6 minutes'|9790222275225|NEAUM|Michael Neaum|Two Canadian Songs|Choir - 4 part upper voices|?3.50|50
75508|Michael Neaum (arr)
TWO TRADITIONAL LOVE SONGS
for female voice choir and piano
Roberton 75508|Two traditional love-songs, "I will give my love an apple" and "If I were a blackbird", arranged for female voice choir and piano.
Duration 4 minutes|9790222275232|NEAUM|Michael Neaum|Two Traditional Love Songs|Choir - 3 part upper voices|?2.00|25
75509|Verdi arranged by Michael Neaum
VA PENSIERO
for female voice choir and piano
Roberton 75509|'The famous "Chorus of the Hebrew Slaves" from Verdi''s opera "Nabucco" arranged for SSAA choir and piano.
Duration 3? minutes'|9790222275249|VERDI G|Giuseppe Verdi|Va Pensiero (arr.Neaum)|Choir - 4 part upper voices|?2.00|25
75510|Michael Neaum (arr)
WHEN THE BOAT COMES IN - a sequence of five sea songs
for female voice choir and piano
Roberton 75510|'A sequence of five sea songs - Shenandoah, Blow the man down, When the boat comes in, The drunken sailor, The sailor''s hornpipe - arranged for female voice choir and piano.
Duration 6 minutes'|9790222275256|NEAUM|Michael Neaum|When the Boat Comes in (Sea Songs)|Choir - 2 part upper voices|?3.50|50
75511|SPRINGTHORPE, Nigel
LULLAY MY CHILD AND WEEP NO MORE for female voice choir
Roberton 75511|An original carol scored for SSA choir and organ with words taken from Musica Britannica Vol.IV. Also available in a version for mixed voice choir (Roberton 85360).
Duration c.3 minutes|9790222276284|SPRINGTHORPE|Nigel Springthorpe|Lullay My Child and Weep No More|Choir - 3 part upper voices|?2.00|25
75512|Nigel Springthorpe
JESUS CHRIST THE APPLE TREE for upper voices
Roberton 75512|This new musical setting by Nigel Springthorpe of now well-known words, is for upper voices in two parts with accompaniment of piano or organ.
Duration 2? minutes|9790222280144|SPRINGTHORPE|Nigel Springthorpe|Jesus Christ the Apple Tree|Choir - 2 part upper voices|?1.50|13
75513|BLOW THE WIND SOUTHERLY arr. Michael Neaum
for upper voice choir
Roberton 75513|A beautiful setting for unaccompanied upper voice choir (SSAA).
Duration 2? minutes|9790222281394|NEAUM|Michael Neaum|Blow the Wind Southerly|Choir - 4 part upper voices|?2.00|25
75514|CHRISTMAS OFFERINGS by Michael Neaum
for upper voice choir and piano
Roberton 75514|Two original songs by Michael Neaum - "Bring your offerings" and "The Christmas Tree" - for upper voice choir (SSA) with piano accompaniment.
Duration 3? minutes|9790222281400|NEAUM|Michael Neaum|Christmas Offerings (two songs)|Choir - 3 part upper voices|?2.75|38
75515|GUANTANAMERA arr. Michael Neaum
for upper voice choir and piano
Roberton 75515|This well known traditional Cuban song is arranged here for upper voice choir (SSA) and piano by Michael Neaum.
Duration 3? minutes|9790222281417|NEAUM|Michael Neaum|Guantanamera|Choir - 3 part upper voices|?2.00|25
75516|SKYE BOAT SONG arr. Michael Neaum
for upper voice choir and piano
Roberton 75516|One of the loveliest arrangements of this famous traditional Scottish song, here brilliantly arranged by Micahel Neaum for SSA choir with piano.
This is one of the pieces in the sequence of songs entitled "A Jacobite Legacy" (see catalogue number 3123).
Duration 3? minutes|9790222281424|NEAUM|Michael Neaum|Skye Boat Song|Choir - 3 part upper voices|?2.00|25
75517|NO WIND AT THE WINDOW arr. Michael Neaum
for upper voice choir and piano
Roberton 75517|Traditional Irish song arranged by Michael Neaum for upper voice choir (SSA) with piano.
Duration 3 minutes|9790222281431|NEAUM|Michael Neaum|No Wind At the Window|Choir - 3 part upper voices|?2.00|25
75518|THE TRUTH FROM ABOVE arr. Michael Neaum
for upper voice choir and piano
Roberton 75518|Traditional English song arranged by Michael Neaum for unaccompanied upper voice choir (SSAA).
Duration 2 minutes|9790222281448|NEAUM|Michael Neaum|Truth from Above|Choir - 4 part upper voices|?2.00|25
75519|WALY WALY arr. Michael Neaum
for upper voice choir and piano
Roberton 75519|A well-known traditional English song here beautifully arranged by Michael Neaum for upper voice choir (SSAA) with piano accompaniment.
Duration 4 minutes|9790222281455|NEAUM|Michael Neaum|Waly Waly|Choir - 4 part upper voices|?2.00|25
75520|SPRINGTHORPE, Nigel
UBI CARITAS for upper voice choir and organ
Roberton 75520|A new setting by Nigel Springthorpe of Ubi Caritas (Where charity is) for two-part female voice choir and organ.
Duration 2? minutes|9790222281844|SPRINGTHORPE|Nigel Springthorpe|Ubi Caritas|Choir - 2 part upper voices|?2.00|25
75521|SPRINGTHORPE, Nigel
BALULALOW for upper voice choir and harp or piano
Roberton 75521|A delightful new setting by Nigel Springthorpe of Balulalow for two-part upper voice choir, soprano solo (or semi-chorus) with harp or piano accompaniment.
Duration 1? minutes|9790222284593|SPRINGTHORPE|Nigel Springthorpe|Balulalow|Choir - 2 part upper voices|?2.00|25
75522|SPRINGTHORPE, Nigel
IL EST NE LE DIVIN ENFANT for upper voice choir and organ or piano
Roberton 75522|A new arrangement by Nigel Springthorpe of this traditional French carol. It is scored for two-part upper voice choir with organ (or piano) accompaniment.
Duration just over 2 minutes|9790222284609|SPRINGTHORPE|Nigel Springthorpe|Il Est Ne Le Divin Enfant|Choir - 2 part upper voices|?2.00|25
75600|BLACK IS THE COLOUR arr. Michael Neaum
for upper voice choir
Roberton 75600|Appalachian song arranged for SSAA choir unaccompanied.
Duration 2 minutes|9790222286399|NEAUM|Michael Neaum|Black Is the Colour|Choir - 4 part upper voices|?2.00|25
75601|CARRICKFERGUS arr. Michael Neaum
for upper voice choir and piano
Roberton 75601|Irish traditional song arranged for SSAA and piano.
Duration 5 minutes|9790222286405|NEAUM|Michael Neaum|Carrickfergus|Choir - 3 part upper voices|?2.00|25
75602|THE LASS FROM THE LOW COUNTREE arr. Michael Neaum
for upper voice choir and piano
Roberton 75602|Traditional American song arranged for SSA choir with piano accompaniment.
Duration 3 minutes|9790222286412|NEAUM|Michael Neaum|Lass from the Low Countree|Choir - 3 part upper voices|?2.00|25
75603|THE PARTING GLASS arr. Michael Neaum
for upper voice choir
Roberton 75603|Irish traditional song arranged for unaccompanied SSA choir.
Duration 2 minutes|9790222286429|NEAUM|Michael Neaum|Parting Glass|Choir - 4 part upper voices|?2.00|25
75604|GOUNOD - SANCTUS arr. Michael Neaum
for upper voice choir and piano
Roberton 75604|'An arrangement for soloist plus SSA choir and piano of Gounod''s famous Sanctus.
Duration 4? minutes'|9790222286436|GOUNOD|Charles Gounod|Sanctus arr.Neaum|Choir - 3 part upper voices|?2.75|38
75605|SUSANNI arr. Michael Neaum
for upper voice choir and piano
Roberton 75605|German traditional Christmas song arranged for SSA choir and piano (or organ) accompaniment.
Duration 3 minutes|9790222286443|NEAUM|Michael Neaum|Susanni|Choir - 3 part upper voices|?2.00|25
75606|WHENCE IS THAT GOODLY FRAGRANCE FLOWING? arr. Michael Neaum
for upper voice choir
Roberton 75606|Traditional French Christmas song arranged for SSA choir with piano.
Duration 3 minutes|9790222286450|NEAUM|Michael Neaum|Whence Is That Goodly Fragrance....|Choir - 3 part upper voices|?2.00|25
75607|HAIKU - SIX MINIATURES by Michael Neaum
for piano and upper voice choir
Roberton 75607|Six miniatures, piano ostinati with voices floating above the main musical material. Beautiful!
Duration 9 minutes|9790222286467|NEAUM|Michael Neaum|Haiku - Six Miniatures|Choir - 3 part upper voices|?4.00|63
75608|FAURE - APRES UN REVE arranged by Sue Harris
for piano and upper voice choir
Roberton 75608|'Faure''s beautiful Apres un Reve, originally for solo voice and piano, here arranged for SSAA choir and piano.
Duration 2? minutes'|9790222286559|FAURE G|Gabriel Faure|Apres Un Reve (arr.Harris)|Choir - 4 part upper voices|?2.00|25
75609|Tom Cunningham
PATAPAN for piano and upper voice choir
Roberton 75609|A traditional French carol text set to new music by Tom Cunningham for two part (SA) upper voice choir with accompaniment of piano or orchestra. Orchestra score and parts available to buy or hire on request.
Sung at the Royal Liverpool Philharmonic Christmas concerts in 2019 and gained the comment:"They all loved it, and the choir were going around singing it - it became their jingle - very catchy."
Duration c.3 minutes|9790222286566|CUNNINGHAM|Tom Cunningham|Patapan|Choir - 2 part upper voices|?2.00|25
75609FSC||||CUNNINGHAM|Tom Cunningham|Patapan Orchestral Score|Orchestral Score|?10.00|63
75609PART||||CUNNINGHAM|Tom Cunningham|Patapan Orchestral Part|Orchestral Part|?1.50|13
75610|'EL TESTAMENTA D''AMELIA arr. Michael Neaum
for upper voice choir and piano
Roberton 75610'|Traditional Catalan song with English words by John Neaum, arranged by Michael Neaum for SSA choir with piano accompaniment.
Duration 3? minutes|9790222290549|NEAUM|Michael Neaum|'El Testament d''Amelia'|Choir - 3 part upper voices|?2.00|25
75611|LOVE CAME DOWN AT CHRISTMAS by Michael Neaum
for upper voice choir and piano
Roberton 75611|Beautiful new setting by Michael Neaum of words by Christina Rosetti. Scored for SSA choir with piano accompaniment.
Duration 2 minutes|9790222290556|NEAUM|Michael Neaum|Love Came Down at Christmas|Choir - 3 part upper voices|?1.50|13
75612|REJOICE REJOICE by Michael Neaum
for upper voice choir and piano
Roberton 75612|Words and music by Michael Neaum for SSA choir with piano accompaniment. The text is based on an old Russian carol.
Duration 2? minutes|9790222290563|NEAUM|Michael Neaum|Rejoice, Rejoice!|Choir - 3 part upper voices|?2.00|25
75613|SILENT NIGHT - A STABLE BARE by Michael Neaum
for unaccompanied upper voice choir
Roberton 75613|A new Christmas song with words and music by Michael Neaum based on an anonymous text. Scored for unaccompanied SSA choir and featuring two soloists.
Duration 2? minutes|9790222290570|NEAUM|Michael Neaum|Silent Night (A Stable Bare)|Choir - 3 part upper voices|?2.00|25
75614|TWO LOVESONGS arr. by Michael Neaum
for upper voice choir
Roberton 75614|Two lovesongs: John Anderson my jo by Robert Burns arranged by Michael Neaum for two part (SA) unaccompanied voices; and Goldenhair - words by James Joyce set to music by Michael Neaum for two part (SA) choir with piano accompaniment. The two songs fit together rather well as a pair, though they could be sung separately.
Duration 3? minutes in total|9790222290587|NEAUM|Michael Neaum|Two Lovesongs (Anderson/Goldenhair)|Choir - 2 part upper voices|?2.00|25
75615|AIR FALALALO arr. by Ken Johnston
for upper voice choir
Roberton 75615|A wonderful arrangement by Ken Johnston of Air Falalalo the traditional Gaelic tune with words by Hugh Roberton. A mixed voice choir version also by Ken Johnston is also available - 63243.
Duration 3 minutes|9790222291843|JOHNSTON|Ken Johnston|Air Falalalo|Choir - 3 part upper voices|?2.75|38
75616|THE FLOWER OF MAHERALLY
arranged for upper voice choir by Michael Neaum
Roberton 75616|Traditional Irish song arranged for SSA choir with piano accompaniment. (Maherally is also sometimes written as Magherally)
Duration 3 minutes|9790222298064|NEAUM|Michael Neaum|Flower of Maherally|Choir - 3 part upper voices|?2.00|25
75617|STAR IN THE SOUTH
arranged for upper voice choir by Michael Neaum
Roberton 75617|Polish carol arranged by Michael Neaum for unaccompanied SSAA choir.
Duration 3 minutes|9790222298071|NEAUM|Michael Neaum|Star in the South|Choir - 4 part upper voices|?2.00|25
75618|Michael Neaum
THE SKYLARK
for upper voice choir and piano
Roberton 75618|'In 2014, Hereford Cathedral School''s Cantabile Girls'' Choir commissioned Michael Neaum to set to music, a poem by Digby Haseler, a former pupil of the school who served in the First World War. The Skylark premiered on 18th October 2014 in Hereford Cathedral at a charity concert to raise money for local military charities. Subsequently, the choir sung The Skylark when they won the BBC Songs of Praise "School Choir of the Year" in May 2015.
Duration 3? minutes
One lark sings over No Man''s Land.
The batteries roar on either hand,
And very angry guns are they,
Now the night turns into day . . . .'|9790222298309|NEAUM|Michael Neaum|Skylark|Choir - 3 part upper voices|?2.75|38
75619|Tom Cunningham
SONGS OF SOLOMON
for SSA choir with clarinet and piano
Roberton 75619|'New musical settings of texts taken from the King James version of the "Song of Solomon", for upper voice choir (SSA) with clarinet and piano accompaniment. A separate clarinet part is on sale; it is, of course, shown in the score.
The song of songs, which is Solomon''s.
Let him kiss me with the kisses of his mouth:
for thy love is better than wine.
My beloved spake, and said unto me,
Rise up, my love, my fair one, and come away.
For, lo, the winter is past, the rain is over and gone;
The flowers appear on the earth;
the time of the singing of birds is come,
and the voice of the turtle is heard in our land;
The fig tree putteth forth her green figs,
and the vines with the tender grape give a good smell.
Arise, my love, my fair one, and come away.
My beloved is mine, and I am his.
His head is as the most fine gold,
his locks are bushy, and black as a raven.
His eyes are as the eyes of doves by the rivers of waters,
washed with milk and fitly set.
His cheeks are as a bed of spices, as sweet as flowers:
his lips like lilies, dropping sweet smelling myrrh.
His hands are as gold rings set with the beryl;
his belly is as bright as ivory overlaid with sapphires.
His legs are as pillars of marble, set upon sockets of fine gold:
his countenance is as Lebanon, excellent as the cedars.
My beloved is mine, and I am his.
Duration 7 minutes'|9790222304222|CUNNINGHAM|Tom Cunningham|Songs of Solomon|Choir - 3 part upper voices|?4.75|75
75619CL|||9790222304239|CUNNINGHAM|Tom Cunningham|Songs of Solomon Clarinet Part|Choir - 3 part upper voices|?3.50|13
75620|Philip Lane
AMAZING GRACE for SSA choir and piano
Roberton 75620|An arrangement for a choir of upper voices (SSA with divisi) with piano accompaniment of this much loved hymn. This arrangement was originally published in 1982 by Fulcrum Music Publications. This new edition for the Roberton Catalogue has been newly typeset and has a revised layout. A number of alterations and amendments have also been made.
Duration 4 minutes|9790222304666|LANE P|Philip Lane|Amazing Grace|Choir - 3 part upper voices|?2.75|38
75621|Tom Cunningham
FOR UNTO US A CHILD IS BORN for upper voice choir and piano
Roberton 75621|'Words from Isaiah 9:6, well known from their use in a section of Handel''s Messiah, are here set to new music by Tom Cunningham for upper voice choir (SSA) and piano. There are also versions for mixed voice choir - either SATB (no. 63304) or SA+Men (no. 62007).
Duration 3 minutes
An orchestral accompaniment is available on hire from Goodmusic.'|9790222307513|CUNNINGHAM|Tom Cunningham|For Unto Us A Child Is Born|Choir - 3 part upper voices|?2.75|38
75631|Peter Lawson
A BED OF HAY for SSA choir
Roberton 75631|'This is the first carol in a sequence entitled A BED OF HAY, a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 2 minutes'|9790222310742|LAWSON|Peter Lawson|A Bed of Hay|Choir - 3 part upper voices|?2.00|25
75632|'Peter Lawson
SHEPHERDS'' CAROL for SSA choir
Roberton 75632'|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 2? minutes'|9790222310759|LAWSON|Peter Lawson|'Shepherds'' Carol'|Choir - 3 part upper voices|?2.00|25
75633|Peter Lawson
DOMINE TE ADORO for SSA choir
Roberton 75633|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 3 minutes'|9790222310766|LAWSON|Peter Lawson|Domine Adoro Te|Choir - 3 part upper voices|?2.00|25
75634|Peter Lawson
CHRIST IS HERE, HOLY YEAR for SSA choir
Roberton 75634|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 2? minutes'|9790222310773|LAWSON|Peter Lawson|Christ is here Holy Year|Choir - 3 part upper voices|?2.00|25
75635|Peter Lawson
THIS HAPPY NIGHT for SSA choir
Roberton 75635|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 3 minutes'|9790222310780|LAWSON|Peter Lawson|This Happy Night|Choir - 3 part upper voices|?2.75|38
75636|Peter Lawson
THE NIGHT WIND IS COLD for SSA choir
Roberton 75636|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 3 minutes'|9790222310797|LAWSON|Peter Lawson|The Night Wind is Cold|Choir - 3 part upper voices|?2.00|25
75637|Peter Lawson
HODIE! CHRISTUS NATUS EST for SSA choir
Roberton 75637|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 2? minutes'|9790222310803|LAWSON|Peter Lawson|Hodie! Christus Natus est|Choir - 3 part upper voices|?2.00|25
75638|Dvorak arr. Philip Lane
A NEW WORLD VOCALISE for SSA choir
Roberton 75638|'Taken from Dvorak''s famous "Largo", the second movement of his Symphony No.9 "From the New World", here arranged for unaccompanied wordless SSA choir.
Duration c.3 minutes'|9790222311831|DVORAK A|Antonin Dvorak|New World Vocalise arr.Lane|Choir - 3 part upper voices|?2.00|25
75639|Clive Jenkins
SWEET WAS THE SONG for two part voices
Roberton 75639|A Christmas song for soprano and alto voices with piano or organ accompaniment. Words are by William Ballet (early 17th Century).
Duration 2 minutes
Also available in a version for SSA - 75649|9790222313415|JENKINS C|Clive Jenkins|Sweet was the Song|Choir - 2 part upper voices|?1.50|13
75640|Hugh Roberton
DALMATIAN CRADLE SONG
Arranged for upper voice choir by Kerry Boyle
Roberton 75640|The Dalmatian Cradle Song is a song created by Hugh Roberton from "a tune noted from the singing of a peasant in Yugoslavia". Also available in its original form for solo (or unison voices) and piano (No.75012), this new arrangement by Kerry Boyle is for unaccompanied upper voice choir (SSA).
Duration 2 minutes|9790222313422|ROBERTON|Hugh S. Roberton|Dalmatian Cradle Song arr.Boyle|Choir - 3 part upper voices|?1.50|13
75641|Clive Jenkins
AVE MARIA for unison voices or mezzo-soprano solo
Roberton 75641|A lovely gentle setting of the Ave Maria for unison voices or a mezzo-soprano solo with organ accompaniment. Vocal range C-E.
Duration 2 minutes|9790222313453|JENKINS C|Clive Jenkins|Ave Maria|Choir - Unison voices|?1.50|13
75642|Philip Lane
AMERICAN LULLABY for upper voice choir
Roberton 75642|'"Hush little baby, don''t say a word....." in a setting by Philip Lane for unaccompanied upper voice choir (SSA).
Duration 2? minutes'|9790222320703|LANE P|Philip Lane|American Lullaby|Choir - 3 part upper voices|?2.00|25
75643|Tchaikovsky arr.Philip Lane
LEGEND for upper voice choir
Roberton 75643|'An arrangement by Philip Lane for unaccompanied upper voice choir (SSA) of Tchaikovsky''s "Legend".
Duration 2? minutes'|9790222320710|TCHAIKOVSKY|Pyotr Ilych Tchaikovsky|Legend arr.Lane|Choir - 3 part upper voices|?2.00|25
75644|Philip Lane
CARIBBEAN CHORALE for upper voice choir
Roberton 75644|"O little one sweet...." - 17th century text set to music in a Caribbean style by Phlip Lane, for two part upper voice choir (SA) and piano with optional flutes or recorders.
Duration 3 minutes|9790222320727|LANE P|Philip Lane|Caribbean Chorale|Choir - 2 part upper voices|?2.00|25
75645|Philip Lane
ANGELS FROM THE REALMS OF GLORY for upper voice choir
Roberton 75645|A lively and very rhythmic setting by Philip Lane for two part upper voice choir (SA) and piano.
Duration 3 minutes|9790222320734|LANE P|Philip Lane|Angels from the Realms of Glory|Choir - 2 part upper voices|?2.75|38
75646|Michael Neaum
BAILERO for upper voice choir and piano
Roberton 75646|'Traditional shepherds'' song from the mountains in the Auvergne region of France in a lovely arrangement for upper voice choir and piano.
Duration 3 minutes'|9790222322844|NEAUM|Michael Neaum|Bailero|Choir - 4 part upper voices|?2.00|25
75647|Michael Neaum
BOBBY SHAFTOE for upper voice choir and piano
Roberton 75647|A very original Michael Neaum arrangement for upper voice choir and piano of this favourite folk song.
Duration 2 minutes|9790222322851|NEAUM|Michael Neaum|Bobby Shaftoe|Choir - Upper voices|?2.00|25
75648|Michael Neaum
EARLY ONE MORNING for upper voice choir and piano
Roberton 75648|A gentle, soothing Michael Neaum arrangement for upper voice choir and piano. Just what you need early in the morning!
Duration 2? minutes|9790222322868|NEAUM|Michael Neaum|Early One Morning|Choir - 2 part upper voices|?2.00|25
75649|Clive Jenkins
SWEET WAS THE SONG for SSA
Roberton 75649|A Christmas song for 2 soprano and alto voices with piano or organ accompaniment. Words are by William Ballet (early 17th Century).
Duration 2 minutes
Also available in a two part version - 75639|9790222323933|JENKINS C|Clive Jenkins|Sweet was the Song|Choir - 3 part upper voices|?2.00|25
80405|||9790222248960|GOUNOD|Charles Gounod|'By Babylon''s Wave'|Choir - Mixed voices (SATB)|?2.75|38
80580|||9790222248977|NAYLOR E W|Edward Woodall Naylor|Magnificat and Nunc Dimittis in A|Choir - Mixed voices (2xSATB)|?3.50|50
85001|||9790222248984|NAYLOR B|Bernard Naylor|Invitation To Music|Choir - Mixed voices (SATB)|?2.75|38
85002|||9790222248991|NAYLOR B|Bernard Naylor|Missa Sine Credo|Choir - Mixed voices (SATB)|?3.50|50
85003|Jack Griffin
THE MOUNTAIN OF THE LORD
Roberton 85003|Anthem for SATB and organ|9790222249004|GRIFFIN|Jack Griffin|Mountain of the Lord|Choir - Mixed voices (SATB)|?2.00|25
85013|||9790222249011|NAYLOR B|Bernard Naylor|Come Holy Ghost Eternal God|Choir - Mixed voices (SATB)|?2.00|25
85014|||9790222249028|LE FLEMING C|Christopher Le Fleming|Two Motets for Christmas|Choir - Mixed voices (SATB)|?2.75|38
85015|||9790222249035|ELDRIDGE|Guy Eldridge|Hymn To God the Father|Choir - Mixed voices (SATB)|?2.00|25
85016|Adrian Beaumont
SPACIOUS FIRMAMENT ON HIGH
Roberton 85016|Anthem for SSATTB|9790222249042|BEAUMONT|Adrian Beaumont|Spacious Firmament On High|Choir - Mixed voices (SATB)|?2.75|38
85017|Heath Lees
TWO MEDIEVAL CAROLS for mixed voice choir
Roberton 85017|Two Medieval Carols - "Nowell, Nowell" and "Jesu, fili dei" - set to music by Heath Lees for unaccompanied mixed voice chori (SATB)
Duration 2 minutes and 3 minutes|9790222249059|LEES|Heath Lees|Two Medieval Carols|Choir - Mixed voices (SATB)|?2.00|25
85018|Neil Butterworth
BLESSED BE THE TIME
Roberton 85018|for SATB chorus unaccompanied|9790222249066|BUTTERWORTHN|Neil Butterworth|Blessed Be the Time|Choir - Mixed voices (SATB)|?1.50|13
85019|||9790222249073|LE FLEMING C|Christopher Le Fleming|I Sing of A Maiden|Choir - Mixed voices (SATB)|?2.00|25
85023|||9790222249080|CENTER|Ronald Center|Three Nativity Carols|Choir - Mixed voices (SATB)|?2.00|25
85026|||9790222249097|SAUNDERS|Neil Saunders|Benedic Anima Mea - Psalm 104|Choir - Mixed voices (SATB)|?5.50|88
85027|||9790222249103|SAUNDERS|Neil Saunders|Jubilate Deo|Choir - Mixed voices (SATB)|?3.50|50
85028|||9790222249110|SAUNDERS|Neil Saunders|Magnificat and Nunc Dimittis|Choir - Mixed voices (SATB)|?2.75|38
85029|||9790222249127|BROWN C|Christopher Brown|Hexham Mass Series 3|Choir - Mixed voices (SATB)|?5.50|88
85029C|||9790222249134|BROWN C|Christopher Brown|Hexham Mass Series 3 (congregation)|Choir - Mixed voices (SATB)|?2.00|25
85030|||9790222249141|WATERS|Charles F. Waters|Creator Spirit|Choir - Mixed voices (SATB)|?2.00|25
85031|||9790222249158|HANSON|Geoffrey Hanson|Two Harvest Carols|Choir - Mixed voices (SATB)|?1.50|13
85032|||9790222249165|HANSON|Geoffrey Hanson|Lute-Book Lullaby|Choir - Mixed voices (SATB)|?1.50|13
85033|||9790222249172|GIBBS D|Douglas Gibbs|In A Stable Bare|Choir - Mixed voices (SATB)|?2.00|25
85034|||9790222249189|GARDEN|Edward Garden|Angel Voices Singing|Choir - 4 part upper voices|?2.00|25
85035|||9790222249196|CAMILLERI|Charles Camilleri|Missa Brevis|Choir - Mixed voices (SATB)|?4.75|75
85037|||9790222249202|HANSON|Geoffrey Hanson|People Look East|Choir - Mixed voices (SATB)|?1.50|13
85038|||9790222249219|HANSON|Geoffrey Hanson|Let the Whole Creation Cry|Choir - Mixed voices (SATB)|?2.75|38
85039|||9790222249226|HANSON|Geoffrey Hanson|Down in Yon Forest|Choir - Mixed voices (SATB)|?1.50|13
85040|Healey Willan
GLORIA DEO PER IMMENSA SAECULA for choir
Roberton 85040|Motete for SSATB choir. Words from a Doxology c.1100, music by Healey Willan.|9790222249233|WILLAN|Healey Willan|Gloria Deo Per Immensa Saecula|Choir - Mixed voices (SATB)|?4.00|63
85041|||9790222249240|HANSON|Geoffrey Hanson|Venite Exultemus Domino|Choir - Mixed voices (SATB)|?2.00|25
85042|||9790222249257|HANSON|Geoffrey Hanson|Benedictus|Choir - Mixed voices (SATB)|?3.50|50
85043|||9790222249264|HANSON|Geoffrey Hanson|Te Deum Laudamus|Choir - Mixed voices (SATB)|?2.75|38
85044|||9790222249271|HANSON|Geoffrey Hanson|Magnificat and Nunc Dimittis|Choir - Mixed voices (SATB)|?3.50|50
85045|||9790222249288|HANSON|Geoffrey Hanson|Preces and Responses|Choir - Mixed voices (SATB)|?1.50|13
85046|||9790222249295|SMITH|Robert Smith|Star of Bethlehem (English/Welsh)|Choir - Mixed voices (SATB)|?7.00|113
85049|||9790222249301|ROSE|Bernard Rose|Behold, I Make All Things New|Choir - Mixed voices (SATB)|?2.00|25
85053|||9790222249318|BACH JS|Johann Sebastian Bach|Jesus Is the Loveliest Light|Choir - Mixed voices (SATB)|?1.50|13
85057|||9790222249325|COPLEY|Ian A. Copley|As Joseph Was A-walking|Choir - Mixed voices (SAMen)|?2.00|25
85058|||9790222249332|NAYLOR B|Bernard Naylor|Crown of Thorns|Choir - Mixed voices (SATB)|?3.50|50
85059|||9790222249349|NAYLOR B|Bernard Naylor|Easter Sequence|Choir - Mixed voices (SATB)|?4.00|63
85060|||9790222249356|NAYLOR B|Bernard Naylor|Ascension|Choir - Mixed voices (SATB)|?2.75|38
85061|||9790222249363|IVES G|Grayston Ives|Magnificat and Nunc Dim.(Edington)|Choir - Mixed voices (SATB)|?2.75|38
85062|||9790222249370|WILKINSON|Stephen Wilkinson|Galician Carol|Choir - Mixed voices (SATB)|?2.00|25
85067|||9790222249387|LE FLEMING C|Christopher Le Fleming|Since We Stay Not Here|Choir - Mixed voices (SATB)|?2.75|38
85068|||9790222249394|HEAD|Michael Head|I Will Magnify the Lord|Choir - Mixed voices (SATB)|?3.50|50
85069|||9790222249400|NAYLOR B|Bernard Naylor|Does the Day-star Rise?|Choir - Mixed voices (SATB)|?1.50|13
85070|||9790222249417|NAYLOR B|Bernard Naylor|Magnificat and Nunc Dimittis|Choir - Mixed voices (SATB)|?2.75|38
85071|||9790222249424|NAYLOR B|Bernard Naylor|O Be Joyful in the Lord|Choir - Mixed voices (SATB)|?2.00|25
85072|||9790222249431|NAYLOR B|Bernard Naylor|Service and Strength|Choir - Mixed voices (SATB)|?2.00|25
85073|||9790222249448|NAYLOR B|Bernard Naylor|Sonnet To the Trinity|Choir - Mixed voices (SATB)|?2.75|38
85074|||9790222249455|NAYLOR B|Bernard Naylor|Spacious Firmament On High|Choir - Mixed voices (SATB)|?2.00|25
85075|||9790222249462|NAYLOR B|Bernard Naylor|Star-song: A Carol To the King|Choir - Mixed voices (SATB)|?2.00|25
85084|||9790222249479|NAYLOR B|Bernard Naylor|9 Motets - No.1 (Advent)|Choir - Mixed voices (SATB)|?2.00|25
85085|||9790222249486|NAYLOR B|Bernard Naylor|9 Motets - No.2 (Christmas Day)|Choir - Mixed voices (SATB)|?2.00|25
85086|||9790222249493|NAYLOR B|Bernard Naylor|9 Motets - No.3 (Epiphany)|Choir - Mixed voices (SATB)|?2.75|38
85087|||9790222249509|NAYLOR B|Bernard Naylor|9 Motets - No.4 (Ash Wednesday)|Choir - Mixed voices (SATB)|?2.00|25
85088|||9790222249516|NAYLOR B|Bernard Naylor|9 Motets - No.5 (Good Friday)|Choir - Mixed voices (SATB)|?1.50|13
85089|||9790222249523|NAYLOR B|Bernard Naylor|9 Motets - No.6 (Easter Day)|Choir - Mixed voices (SATB)|?2.00|25
85090|||9790222249530|NAYLOR B|Bernard Naylor|9 Motets - No.7 (Ascension Day)|Choir - Mixed voices (SATB)|?2.75|38
85091|||9790222249547|NAYLOR B|Bernard Naylor|9 Motets - No.8 (Whitsunday)|Choir - Mixed voices (SATB)|?2.00|25
85092|||9790222249554|NAYLOR B|Bernard Naylor|9 Motets - No.9 (Trinity Sunday)|Choir - Mixed voices (SATB)|?2.00|25
85094|||9790222249561|NAYLOR B|Bernard Naylor|My Song Is Love Unknown|Choir - Mixed voices (SATB)|?2.00|25
85095|||9790222249578|NAYLOR B|Bernard Naylor|Creator Spirit|Choir - Mixed voices (SATB)|?1.50|13
85096|||9790222249585|GANGE|Kenneth Gange|Unto Us A Boy Is Born (suite)|Choir - Mixed voices (SATB)|?3.50|50
85097|||9790222249592|GIBBONS|Orlando Gibbons|Christmas Introit (ed.Beechey)|Choir - Mixed voices (SATB)|?1.50|13
85098|||9790222249608|BEECHEY|Gwilym Beechey|Linden Tree Carol|Choir - Mixed voices (SATB)|?1.50|13
85099|||9790222249615|PRAETORIUS|Michael Praetorius|Veni Redemptor Gentium arr.Beechey|Choir - Mixed voices (SATB)|?1.50|13
85100|||9790222249622|TAYLOR JWR|John W.R. Taylor|Birthday|Choir - Mixed voices (SATB)|?2.00|25
85101|||9790222249639|ROPER|Judeth Roper|Jesus Christ Is Born for Aye|Choir - Mixed voices (SATB)|?2.00|25
85102|||9790222249646|FISHER|David J. Fisher|Mary Laid Her Child|Choir - Mixed voices (SATB)|?1.50|13
85103|||9790222249653|ROBERTON|Hugh S. Roberton|O Brother Man|Choir - Mixed voices (SATB)|?1.50|13
85104|||9790222249660|ROBERTON|Hugh S. Roberton|Stracathro|Choir - Mixed voices (SATB)|?1.50|13
85105|||9790222249677|SWANN|Donald Swann|Praise the Lord Who Reigns Above|Choir - Mixed voices (SATB)|?1.50|13
85106|||9790222249684|CAMILLERI|Charles Camilleri|'Christ''s Birthday'|Choir - Mixed voices (SATB)|?1.50|13
85108|||9790222249691|LANGDON|Richard Langdon|'Lord''s Prayer'|Choir - Mixed voices (SATB)|?1.50|13
85110|||9790222249707|BARNBY|Joseph Barnby|Jesus the First and Last|Choir - Mixed voices (SATB)|?1.50|13
85111|||9790222249714|WESTBROOK|Francis Westbrook|Love Is His Name|Choir - Mixed voices (SATB)|?2.00|25
85114|||9790222249721|HEAD|Michael Head|Oxen|Choir - Mixed voices (SATB)|?2.00|25
85115|||9790222249738|ROBERTON|Hugh S. Roberton|Be With Us Lord This Eventide|Choir - Mixed voices (SATB)|?2.00|25
85116|||9790222249745|VIVALDI|Antonio Vivaldi|Gloria (from the Cantata)|Choir - Mixed voices (SATB)|?2.75|38
85117|||9790222249752|ROBERTON|Hugh S. Roberton|Martyrdom|Choir - Mixed voices (SATB)|?1.50|13
85118|||9790222249769|ROBERTON|Hugh S. Roberton|Belmont|Choir - Mixed voices (SATB)|?1.50|13
85119|||9790222249776|ROBERTON|Hugh S. Roberton|Ballerma|Choir - Mixed voices (SATB)|?1.50|13
85120|||9790222249783|ROBERTON|Hugh S. Roberton|Orlington|Choir - Mixed voices (SATB)|?1.50|13
85121|||9790222249790|ROBERTON|Hugh S. Roberton|Old 124th|Choir - Mixed voices (SATB)|?1.50|13
85122|||9790222249806|ROBERTON|Hugh S. Roberton|Kedron|Choir - Mixed voices (SATB)|?1.50|13
85123|||9790222249813|ROBERTON|Hugh S. Roberton|Martyrs|Choir - Mixed voices (SATB)|?1.50|13
85124|||9790222249820|ROBERTON|Hugh S. Roberton|Jackson|Choir - Mixed voices (SATB)|?1.50|13
85125|||9790222249837|ROBERTON|Hugh S. Roberton|Elgin|Choir - Mixed voices (SATB)|?1.50|13
85126|||9790222249844|ROBERTON|Hugh S. Roberton|Glasgow|Choir - Mixed voices (SATB)|?1.50|13
85127|||9790222249851|ROBERTON|Hugh S. Roberton|Abbey|Choir - Mixed voices (SATB)|?1.50|13
85128|||9790222249868|ROBERTON|Hugh S. Roberton|Hosanna|Choir - Mixed voices (SATB)|?1.50|13
85129|||9790222249875|ROBERTON|Hugh S. Roberton|Crimond|Choir - Mixed voices (SATB)|?1.50|13
85130|||9790222249882|ROBERTON|Hugh S. Roberton|Dennis|Choir - Mixed voices (SATB)|?1.50|13
85131|||9790222249899|GANGE|Kenneth Gange|Childing Slept|Choir - Mixed voices (SATB)|?1.50|13
85132|||9790222249905|GANGE|Kenneth Gange|Love Came Down At Christmas/O Litt.|Choir - Mixed voices (SATB)|?2.00|25
85135|||9790222249912|BLAKE L|Leonard Blake|'God''s Farm'|Choir - Mixed voices (SATB)|?2.00|25
85138|||9790222249929|HEWITT-JONES|Tony Hewitt-Jones|Welcome Yule|Choir - Mixed voices (SATB)|?2.75|38
85140|||9790222249936|BENGER|Richard Benger|Michaelmas|Choir - Mixed voices (SATB)|?2.00|25
85142|Mary Plumstead
EVENING PRAYER for mixed voice choir
Roberton 85142|Also known as EVENING HYMN this lovely short piece is for unaccompanied SATB choir.
Duration 1 minute|9790222249943|PLUMSTEAD|Mary Plumstead|Evening Prayer|Choir - Mixed voices (SATB)|?1.50|13
85145|||9790222249950|SAUNDERS|Neil Saunders|Plainsong Carol|Choir - Mixed voices (SATB)|?1.50|13
85149|||9790222249967|SHAW M|Martin Shaw|'God''s Grandeur'|Choir - Mixed voices (SATB)|?3.50|50
85150|||9790222249974|SHAW M|Martin Shaw|Come Rejoicing|Choir - Mixed voices (SATB)|?2.00|25
85157|||9790222249981|CAMILLERI|Charles Camilleri|Bless the Lord - Psalm 103|Choir - Mixed voices (SATB)|?2.00|25
85159|||9790222249998|CLARK H|Henry Clark|He Is Risen|Choir - Mixed voices (SATB)|?2.00|25
85160|||9790222250000|PATRICK|David Patrick|On This Day Is Born A Baby|Choir - Mixed voices (SATB)|?1.50|13
85161|||9790222250017|BROWN G|Gerald Brown|Make We Joy / Bye,By Lullaby|Choir - Mixed voices (SATB)|?2.75|38
85169|||9790222250024|STEPHENS|Howard Stephens|Osterley Service|Choir - Mixed voices (SATB)|?3.50|50
85169C|||9790222250031|STEPHENS|Howard Stephens|Osterley Service (congregation pt)|Choir - Mixed voices (SATB)|?2.75|38
85177|||9790222250048|GREENWAY|Kenneth Greenway|Dulcis Est Amor|Choir - Mixed voices (SATB)|?1.50|13
85180|||9790222250055|FISHER|David J. Fisher|Ave Regina Caelorum|Choir - Mixed voices (SATB)|?1.50|13
85187|William Henry Anderson
AS I WALKED IN BETHLEHEM for mixed voice choir
Roberton 85187|Christmas carol-anthem for mixed voice choir (SATB) a cappella. Words by Audrey Alexander Brown, music by W.H.Anderson.|9790222250062|ANDERSON|William Henry Anderson|As I Walked in Bethlehem|Choir - Mixed voices (SATB)|?1.50|13
85188|||9790222250079|GARLAND|Hugh Garland|Two Besancon Carols|Choir - Mixed voices (SATB)|?1.50|13
85189|||9790222250086|ANDERSON|William Henry Anderson|Two Christmas Carols|Choir - Mixed voices (SATB)|?1.50|13
85190|Michael Head
I WILL LIFT UP MINE EYES for mixed voice choir
Roberton 85190|'Michael Head''s lovely setting of Psalm 121 (originally for solo voice) is here arranged by Antonin Tucapsky for mixed voice choir with organ or piano.
Duration: 3 minutes'|9790222263222|HEAD|Michael Head|I Will Lift Up Mine Eyes (Tucapsky)|Choir - Mixed voices (SATB)|?2.00|25
85191|Michael Head
MAKE A JOYFUL NOISE UNTO THE LORD for mixed voice choir
Roberton 85191|'Michael Head''s lovely setting of Psalm 100 (originally for solo voice) is here arranged by Antonin Tucapsky for mixed voice choir with organ or piano.
Duration: 3 minutes'|9790222263239|HEAD|Michael Head|Make A Joyful Noise (Tucapsky)|Choir - Mixed voices (SATB)|?2.00|25
85192|James Kirkwood
FUM, FUM, FUM
Roberton 85192||9790222250093|KIRKWOOD|James Kirkwood|Fum, Fum, Fum|Choir - Mixed voices (SATB)|?2.75|38
85193|||9790222250109|THIMAN|Eric Thiman|Christmas Night|Choir - Mixed voices (SATB)|?2.00|25
85194|||9790222250116|THIMAN|Eric Thiman|My Little Son|Choir - Mixed voices (SATB)|?1.50|13
85195|||9790222250123|THIMAN|Eric Thiman|Christ Was Born At Bethlehem|Choir - Mixed voices (SATB)|?2.00|25
85196|||9790222250130|THIMAN|Eric Thiman|Father Most Holy|Choir - Mixed voices (SATB)|?2.00|25
85201|||9790222250147|BALDWYN|Rodney Baldwyn|Carol of the Trees|Choir - Mixed voices (SATB)|?1.50|13
85210|||9790222250154|BLAKE L|Leonard Blake|Offering of Praise|Choir - Mixed voices (SATB)|?2.00|25
85214|||9790222250161|CAREY|J. D. Carey|Seven Festival Introits|Choir - Mixed voices (SATB)|?2.75|38
85216|||9790222250178|WEBB|Evelyn Webb|Joseph Dearest|Choir - Mixed voices (SATB)|?2.00|25
85223|Knut Nystedt
MISSA BREVIS
for mixed voice choir
Roberton 85223|Missa Brevis by Knut Nystedt for unaccompanied mixed voice choir (SATB).
Kyrie; Gloria; Credo; Sanctus; Agnus Dei
Duration 15 minutes|9790222250185|NYSTEDT|Knut Nystedt|Missa Brevis|Choir - Mixed voices (SATB)|?4.75|75
85232|||9790222250192|BROWN P|Peter Brown|Who Lies in Yon Manger?|Choir - Mixed voices (SATB)|?1.50|13
85237|||9790222250208|THOMAS M|Mansell Thomas|Canodd y Ser|Choir - Mixed voices (SATB)|?1.50|13
85241|||9790222250215|NYSTEDT|Knut Nystedt|Wall Is Down|Choir - Mixed voices (SATB)|?4.00|63
85242|||9790222250222|COOPER|David Cooper|Come My Way My Truth.. SATB or Unis|Choir - Mixed voices (SATB)|?1.50|13
85243|||9790222250239|TUCAPSKY|Antonin Tucapsky|Veni Sancte Spiritus|Choir - Mixed voices (SATB)|?3.50|50
85246|||9790222250246|PATRICK|David Patrick|Out of the Orient Crystal Skies|Choir - Mixed voices (SATB)|?2.00|25
85249|||9790222250253|SWANN|Donald Swann|Canticles of the Eastern Church 1|Choir - Mixed voices (SATB)|?7.00|113
85250|||9790222250260|SWANN|Donald Swann|Canticles of the Eastern Church 2|Choir - Mixed voices (SATB)|?7.50|125
85251|||9790222250277|WHITBURN|Victor Whitburn|Advent Music for Choirs|Choir - Mixed voices (SATB)|?2.75|38
85253|||9790222250284|FRASER S|Shena Fraser|I Saw Three Ships|Choir - Mixed voices (SATB)|?2.00|25
85255|Knut Nystedt
AVE MARIA
for mixed voice choir and solo violin
Roberton 85255|Ave Maria set to music by Knut Nystedt for mixed voice choir (SATB) and violin.
Duration about 10 minutes
The violin part is available spearately under 85255VLN|9790222250291|NYSTEDT|Knut Nystedt|Ave Maria (mixed voices & violin)|Choir - Mixed voices (SATB)|?3.50|50
85255VLN|Knut Nystedt
AVE MARIA (VIOLIN PART)
Roberton 85255VLN|See under 85255 for the choral copy.|9790222250307|NYSTEDT|Knut Nystedt|Ave Maria (violin part)|Violin solo|?1.50|13
85256|||9790222250314|GRINDLE|Harry Grindle|What Is That Light?|Choir - Mixed voices (SATB)|?1.50|13
85257|||9790222250321|PRICE|Beryl Price|'Chesterton''s Carol'|Choir - Mixed voices (SATB)|?1.50|13
85258|||9790222250338|PRICE|Beryl Price|Small As A Bird|Choir - Mixed voices (SATB)|?1.50|13
85267|||9790222250345|HAWES J|Jack Hawes|Drop Drop Slow Tears|Choir - Mixed voices (SATB)|?1.50|13
85269|||9790222250352|FIELD G|Geoffrey Field|Sing We To This Merry Company|Choir - Mixed voices (SATB)|?2.00|25
85270|||9790222250369|JOHNSON R|Reginald Johnson|Stars Watch High|Choir - Mixed voices (SATB)|?1.50|13
85271|||9790222250376|MORGAN|Hilda Morgan|This Little Babe|Choir - Mixed voices (SATB)|?1.50|13
85272|||9790222250383|MORGAN|Hilda Morgan|As With Gladness|Choir - Mixed voices (SATB)|?1.50|13
85275|Eric Wetherell
YOUR GIFT TO MAN
Roberton 85275|For 6 part choir (SSATBB) unaccompanied. Words by Elizabeth Wetherell, music by Eric Wetherell.
Duration 2? minutes|9790222250390|WETHERELL|Eric Wetherell|Your Gift To Man (SSATBB)|Choir - Mixed voices (SATB)|?2.75|38
85276|||9790222250406|VANN|Stanley Vann|I Sing of A Maiden|Choir - Mixed voices (SATB)|?1.50|13
85277|||9790222250413|GORDON-SMITH|Richard Gordon-Smith|Welcome Carol|Choir - Mixed voices (SATB)|?3.50|50
85288|||9790222250420|BRUCH|Max Bruch|'On Jordan''s Banks'|Choir - Mixed voices (SATB)|?2.00|25
85290|||9790222250437|TERRY|Richard Runciman Terry|Myn Lyking / Angel Gabriel|Choir - Mixed voices (SATB)|?1.50|13
85293|||9790222250444|WEBB|Evelyn Webb|Whence Is That Goodly Fragrance|Choir - Mixed voices (SATB)|?1.50|13
85296|||9790222250451|MEAKINS|Vaughan Meakins|De Virgin Mary Had A Baby Boy|Choir - Mixed voices (SATB)|?2.75|38
85297|||9790222250468|OXLEY|Harrison Oxley|Call of the Bells|Choir - Mixed voices (SATB)|?2.75|38
85298|||9790222250475|GRIFFIN|Jack Griffin|Nine Short Introits|Choir - Mixed voices (SATB)|?2.00|25
85299|||9790222250482|BERTALOT|John Bertalot|See the Baby Jesus|Choir - Mixed voices (SATB)|?2.00|25
85300|||9790222250499|ZERAFA|Benigno Zerafa|Magnus Dominus (ed.Camilleri)|Choir - Mixed voices (SATB)|?2.75|38
85302|||9790222250505|ROTHERY|Kenneth Rothery|Christ-Child in the Manger|Choir - Mixed voices (SATB)|?2.00|25
85304|||9790222250512|ELFYN-JONES|Richard Elfyn-Jones|Good King Wenceslas|Choir - Mixed voices (SATB)|?2.00|25
85306|||9790222250529|BUHAGIAR|Don Buhagiar|O Bone Jesu|Choir - Mixed voices (SATB)|?1.50|13
85307|||9790222250536|SCHUBERT|Franz Schubert|Salve Regina (arr.Camilleri)|Choir - Mixed voices (SATB)|?2.00|25
85308|||9790222250543|HEWITT-JONES|Tony Hewitt-Jones|Out of the Deep (Psalm 130)|Choir - Mixed voices (SATB)|?2.00|25
85309|||9790222250550|GREAVES|Terence Greaves|Rejoice and Be Merry|Choir - Mixed voices (SATB)|?4.00|63
85311CH|||9790222250567|TUCAPSKY|Antonin Tucapsky|Come Sing and Dance (chorus pt)|Choir - Mixed voices (SATB)|?2.00|25
85311SC|||9790222250574|TUCAPSKY|Antonin Tucapsky|Come Sing and Dance|Choir - Mixed voices (SATB)|?2.75|38
85312|||9790222250581|TUCAPSKY|Antonin Tucapsky|Child Is Born|Choir - Mixed voices (SATB)|?2.75|38
85313CH|||9790222250604|TUCAPSKY|Antonin Tucapsky|Sing All Ye Shepherds (chorus part)|Choir - Mixed voices (SATB)|?1.50|13
85313SC|||9790222250598|TUCAPSKY|Antonin Tucapsky|Sing All Ye Shepherds (perc+chorus)|Choir - Mixed voices (SATB)|?2.00|25
85314|||9790222250611|TUCAPSKY|Antonin Tucapsky|Balulalow (+sop solo/gtr)|Choir - Mixed voices (SATB)|?1.50|13
85315CH|||9790222250628|TUCAPSKY|Antonin Tucapsky|Let Us Go To Bethlehem (chorus pt)|Choir - Mixed voices (SATB)|?2.00|25
85315SC|||9790222250635|TUCAPSKY|Antonin Tucapsky|Let Us Go To Bethlehem|Choir - Mixed voices (SATB)|?3.50|50
85316|||9790222250642|TUCAPSKY|Antonin Tucapsky|Joseph and Mary|Choir - Mixed voices (SATB)|?2.00|25
85317CH|||9790222250659|TUCAPSKY|Antonin Tucapsky|Make We Merry (chorus pt)|Choir - Mixed voices (SATB)|?2.75|38
85317SC|||9790222250666|TUCAPSKY|Antonin Tucapsky|Make We Merry|Choir - Mixed voices (SATB)|?4.00|63
85318|||9790222250673|CAMILLERI|Charles Camilleri|Requiem|Choir - Mixed voices (SATB)|?2.00|25
85319|||9790222250680|PATRICK|David Patrick|Bethlehem Road|Choir - Mixed voices (SATB)|?2.75|38
85320|||9790222250697|BELYEA|Warren Herbert Belyea|Ballad of the Infant King|Choir - Mixed voices (SATB)|?1.50|13
85321|||9790222250703|HAWES J|Jack Hawes|Venite Exultemus Domino (Psalm 95)|Choir - Mixed voices (SATB)|?2.75|38
85322|||9790222250710|WILLS A|Arthur Wills|Christmas|Choir - Mixed voices (SATB)|?1.50|13
85323|||9790222250727|ANDERSON|William Henry Anderson|Come I Pray Thee|Choir - Mixed voices (SATB)|?1.50|13
85324|||9790222250734|PATRICK|David Patrick|Angel Gabriel from God Was Sent|Choir - Mixed voices (SATB)|?1.50|13
85325|||9790222250741|CLOVER|David Clover|Ukrainian Bell Carol|Choir - Mixed voices (SATB)|?1.50|13
85326|||9790222250758|TUCAPSKY|Antonin Tucapsky|5 Lenten Motets 1.Tristis Est Anima|Choir - Mixed voices (SATB)|?1.50|13
85327|||9790222250765|TUCAPSKY|Antonin Tucapsky|5 Lenten Motets 2.Pater Mi|Choir - Mixed voices (SATB)|?1.50|13
85328|||9790222250772|TUCAPSKY|Antonin Tucapsky|5 Lenten Motets 3.Filiae Jerusalem|Choir - Mixed voices (SATB)|?2.00|25
85329|||9790222250789|TUCAPSKY|Antonin Tucapsky|5 Lenten Motets 4.Eli, Eli|Choir - Mixed voices (SATB)|?1.50|13
85330|||9790222250796|TUCAPSKY|Antonin Tucapsky|5 Lenten Motets 5.Pater Meus|Choir - Mixed voices (SATB)|?1.50|13
85331|||9790222250802|BROWN P|Peter Brown|In Love He Came To Earth|Choir - Mixed voices (SATB)|?1.50|13
85332|||9790222250819|BROWN P|Peter Brown|Gentle Child of Mary|Choir - Mixed voices (SATB)|?2.00|25
85333|||9790222250826|BRADE A|Andrew Brade|Only God Knows|Choir - Mixed voices (SATB)|?2.00|25
85334|||9790222250833|OXLEY|Harrison Oxley|Rose Carol|Choir - Mixed voices (SATB)|?2.00|25
85335|||9790222250840|TIMMS|T. Arundel Timms|Lamb (The)|Choir - Mixed voices (SATB)|?2.00|25
85336|||9790222250857|LE FLEMING A|Antony le Fleming|Nunc Dimittis|Choir - Mixed voices (SATB)|?3.50|50
85336ORCH||||LE FLEMING A|Antony le Fleming|Nunc Dimittis score & parts|Orchestra|?25.00|500
85337|||9790222250864|OXLEY|Harrison Oxley|Carillon, Carilla|Choir - Mixed voices (SATB)|?2.00|25
85338|||9790222250871|BAILEY L|Leon Bailey|Thornless Rose|Choir - Mixed voices (SATB)|?2.00|25
85339|||9790222250888|BAILEY L|Leon Bailey|Cherry Tree Carol|Choir - Mixed voices (SATB)|?2.00|25
85340|||9790222250895|FAURE G|Gabriel Faure|Cantique De Jean Racine (Oxley)|Choir - Mixed voices (SATB)|?2.75|38
85341|||9790222250901|ROE|Betty Roe|O Praise the Lord|Choir - Mixed voices (SATB)|?2.75|38
85343|||9790222250918|LE FLEMING A|Antony le Fleming|'Lord''s My Shepherd'|Choir - Mixed voices (SATB)|?2.00|25
85344|||9790222250925|TIMMS|T. Arundel Timms|Come Thou Redeemer|Choir - Mixed voices (SATB)|?2.00|25
85345|||9790222250932|JEFFREYS J|John Jeffreys|Miserere Mei|Choir - Mixed voices (SATB)|?1.50|13
85346|||9790222250949|BROWN G|Gerald Brown|Fanfare and Vesper for Christmas|Choir - Mixed voices (SATB)|?1.50|13
85347|||9790222250956|BROWN G|Gerald Brown|May the Grace of Christ|Choir - Mixed voices (SATB)|?1.50|13
85348|||9790222250963|BROWN G|Gerald Brown|Noel Sing|Choir - Mixed voices (SATB)|?2.00|25
85349|||9790222250970|BROWN G|Gerald Brown|Easter Bells|Choir - Mixed voices (SATB)|?2.00|25
85350|Antony Le Fleming
TWO CAROLS
for mixed voice choir|Not an arrangement of the traditional tunes but "I saw three ships" and "Away in a manger" set to completely new music by Antony Le Fleming. These excellent, very approachable settings send the choir and the audience away still humming the tunes. Try some fresh versions of old favourites this Christmas! (Total duration 3? minutes)
Also available in a version for female voice choir.|9790222252509|LE FLEMING A|Antony le Fleming|Two Carols|Choir - Mixed voices (SATB)|?3.50|50
85351|John Jeffreys
AS DEW IN APRIL for mixed voice choir
Roberton 85351|"I sing of a maiden" in a beautiful setting for unaccompanied mixed voice choir (SATB).
Duration: 3? minutes|9790222264892|JEFFREYS J|John Jeffreys|As Dew in April|Choir - Mixed voices (SATB)|?1.50|13
85352|John Jeffreys
STABAT MATER for mixed voice choir
Roberton 85352|A short but beautiful setting of the Stabat Mater for unaccompanied mixed voice choir.
Duration: 3 minutes|9790222264908|JEFFREYS J|John Jeffreys|Stabat Mater|Choir - Mixed voices (SATB)|?1.50|13
85353|SPRINGTHORPE, Nigel
A LITEL CHILDE THERE IS IBORE for mixed voice choir
Roberton 85353|A setting for mixed voice choir and organ of anonymous words from the 14th century.
Duration nearly 2 minutes|9790222267336|SPRINGTHORPE|Nigel Springthorpe|Litel Childe Thereis Ibore|Choir - Mixed voices (SATB)|?2.00|25
85354|Philip Lane
EVENING CANTICLES (Short Service) for mixed voice choir and organ
Roberton 85354|Magnificat and Nunc Dimittis commissioned by the Charlton Kings Choral Society, Cheltenham.
Duration 4? minutes|9790222271142|LANE P|Philip Lane|Evening Canticles (short service)|Choir - Mixed voices (SATB)|?2.75|38
85355|Antony le Fleming
CAROL OF LIGHT
for mixed voice choir and organ
Roberton 85355|Wonderful setting of words by Peter Dale, this carol by Antony le Fleming is suitable for more advanced choirs.
Duration 3? minutes|9790222271487|LE FLEMING A|Antony le Fleming|Carol of Light|Choir - Mixed voices (SATB)|?2.75|38
85356|Antony le Fleming
REJOICE IN THE LORD
Roberton 85356|An anthem for S, A, T/B choir in three parts with keyboard.
The THREE SECTIONS of this anthem may be performed either as a whole or separately:
1. Rejoice in the Lord - Bars 1 to 36
2. Be Careful for Nothing - Bars 37 to 72 with alternative ending
3. The Peace of God - Bar 74 (with upbeat) to end.
The VOCAL LINES can be redistributed where appropriate, for example to incorporate T/B voices into the main tune from bar 96.
The ACCOMPANIMENT is for keyboard or organ (with pedals ad lib.).
Duration 4? minutes|9790222273962|LE FLEMING A|Antony le Fleming|Rejoice in the Lord|Choir - Mixed voices (SAMen)|?2.75|38
85357|Antony le Fleming
MASS OF ST.BARNABAS
Roberton 85357|Mass for unaccompanied mixed voice choir (SATB).
Duration 9? minutes |9790222273979|LE FLEMING A|Antony le Fleming|Mass of St.Barnabas|Choir - Mixed voices (SATB)|?5.50|88
85358|'Antony le Fleming
JOSEPH''S CAROL
for mixed voice choir and organ or keyboard
Roberton 85358'|'A setting of words by Peter Dale - the nativity from Joseph''s point of view - for mixed voice choir with organ or keyboard accompaniment.
The angels heralded the Saviour
From the realms of light.
And shepherds marvelled at the lamb''s behaviour
On that sparkling night.
Mute Joseph, lost in shadow, watching
Round the manger bed,
Was wondering at the birth, the make-do lodging;
What the shepherds said.
The Wise Men read the new star''s message,
Sought the future King.
They found a child, the Gift of God more precious
Than their wealth could bring.
And Joseph, lost in shadow, pondered
On the gifts they brought:
The frankincense, and myrrh, the gold they fondled;
What was in their thought.
Yet Mary held the angel''s forecast
Secret in her mind
And saw across the years a light that broadcast
Hope to all mankind.
Here we, like Joseph in the glimmers,
Watch that manger bed
And marvel at the light of love that shimmers
Round that lowly head.
? Peter Dale
Duration 2? minutes
See also Antony le Fleming''s MARY''S CAROL (85361)'|9790222276093|LE FLEMING A|Antony le Fleming|'Joseph''s Carol'|Choir - Mixed voices (SATB)|?2.00|25
85359|Antony le Fleming
GRANT US YOUR LIGHT, O LORD
for mixed voice choir and organ or keyboard
Roberton 85359|A short introit anthem for mixed voice choir and organ. Words from Adam Bede.
Duration 1 minute|9790222276109|LE FLEMING A|Antony le Fleming|Grant Us Your Light O Lord|Choir - Mixed voices (SATB)|?1.50|13
85360|SPRINGTHORPE, Nigel
LULLAY MY CHILD AND WEEP NO MORE for mixed voice choir
Roberton 85360|An original carol scored for SATB choir and organ with words taken from Musica Britannica Vol.IV. Also available in a version for female voice choir (Roberton 75511).
Duration c.3 minutes|9790222276291|SPRINGTHORPE|Nigel Springthorpe|Lullay My Child and Weep No More|Choir - Mixed voices (SATB)|?2.00|25
85361|'Antony le Fleming
MARY''S CAROL
for mixed voice choir unaccompanied
Roberton 85361'|'A setting of words by Peter Dale - the nativity from Mary''s point of view - for mixed voice choir without accompaniment.
Why do you give the baby gold?
The guiding star foretold a king.
A little child shall lead you, bring
No metal rich and cold.
Who brings my boy this frankincense?
The star foretold a priestly role.
A little child shall save your soul,
Not gifts of great expense.
What is this myrrh? What do you see?
The star foretold a bitter cup.
And I if I be lifted up
Shall draw all men to me
A child shall lead you from tonight.
The angel heralded his birth.
Our Saviour born to save the earth,
Our Way, our Truth, our Light.
Three gifts that far outweigh all gold
And gifts like frankincense and myrrh.
Sleep, child, my little comforter,
That no star has foretold.
? Peter Dale
Duration 2? minutes
See also Antony le Fleming''s JOSEPH''S CAROL (85358)'|9790222280120|LE FLEMING A|Antony le Fleming|'Mary''s Carol'|Choir - Mixed voices (SATB)|?2.75|38
85362|Mary Plumstead
A GRATEFUL HEART
for mixed voice choir
Roberton 85362|'Mary Plumstead''s original setting of these words by George Herbert was for solo or unison voices. (See catalogue number 75100)
Here is an arrangement by John Barnard for mixed voice choir. Two versions are included in the copy, one accompanied and one unaccompanied.
Each setting: Duration 1 minute'|9790222281240|PLUMSTEAD|Mary Plumstead|Grateful Heart|Choir - Mixed voices (SATB)|?2.00|25
85363|Antony le Fleming
FESTIVAL JUBILATE
for mixed voice choir and orchestra
Roberton 85363|An exciting setting of texts from Psalms 101 and 104 and Exodus 15, this Festival Jubilate by Antony le Fleming is scored for double SATB choir and orchestra though this vocal score shows a reduction for piano.
The orchestral score and parts are available on sale or on hire.
ORCHESTRATION
Flute*, Oboe*, Clarinet in Bb*, Bassoon*, 2 Horns in F,
2 Trumpets in C, 2 Trombones, Harp [could be played on a keyboard],
Percussion [2-3 players: Cymbals, Bass Drum, Snare Drum, Glockenspiel, Maracas, Triangle]
Strings (Violin 1, Violin 2, Viola, Violoncello, Bass)
(* The woodwind instruments could be optional, if necessary)
Duration 3? minutes|9790222281264|LE FLEMING A|Antony le Fleming|Festival Jubilate|Choir - Mixed voices (SATB)|?4.00|63
85363PART||||LE FLEMING A|Antony le Fleming|Festival Jubilate orchestral part|Choir - Mixed voices (SATB)|?1.50|13
85363SC||||LE FLEMING A|Antony le Fleming|Festival Jubilate full score|Choir - Mixed voices (SATB)|?5.00|75
85364|Philip Lane
THREE CAROLS for unaccompanied mixed voice choir
Roberton 85364|'Three carols: Herrick''s Carol; The rose that bare Jesu; Balulalow; for unaccompanied SATB choir.
Duration 6? minutes
"Balulalow" is also available in a version for SATB choir with organ accompaniment - Catalogue number 85365'|9790222293649|LANE P|Philip Lane|Three Carols|Choir - Mixed voices (SATB)|?3.50|50
85365|Philip Lane
BALULALOW for mixed voice choir and organ
Roberton 85365|A setting of the 16th century carol for SATB choir with organ.
Duration 2? minutes
An a cappella version of this carol is available as one of "Three Carols" by Philip Lane - Catalogue number 85364.|9790222293656|LANE P|Philip Lane|Balulalow (with organ)|Choir - Mixed voices (SATB)|?2.00|25
85366|Eric Wetherell
AWAY IN A MANGER
for mixed voice choir and piano
Roberton 85366|A lovely new setting of "Away in a Manger" to new music by Eric Wetherell for SATB choir with piano.
Duration 3 minutes|9790222293663|WETHERELL|Eric Wetherell|Away in a Manger|Choir - Mixed voices (SATB)|?2.00|25
902009|C.H.H.Parry
JERUSALEM for voice and piano
Roberton 902009|The original vocal version of Jerusalem in the key of D. This version can be used with either of the two orchestral versions available: The Parry Orchestration - GMCH006 or the Elgar Orchestration - GMCH011.|9790222250987|PARRY|C. Hubert H. Parry|Jerusalem (original in Key D)|Voice solo (with accompaniment)|?3.50|25
94056|||9790222250994|HAYDN J|Joseph Haydn|Larghetto (vln/fl/ob/cl & piano)|Violin and piano|?4.00|38
94058|||9790222251007|MOZART|Wolfgang Amadeus Mozart|Adagio from K.576 arr.Brearley|Clarinet and piano|?4.00|38
95001|||9790222251014|WISEMAN|Carlo Wiseman|Trio for 2 Flutes and Cello/Bassoon|Flute ensemble|?4.50|76
95002|||9790222251021|BLYTON|Carey Blyton|Pantomime|Cello and piano|?4.00|38
95008|||9790222251038|CAMILLERI|Charles Camilleri|String Quartet score|Full score|?6.00|112
95009|||9790222251045|SAUNDERS|Neil Saunders|Fantasia for Brass Quartet|Ensemble - Mixed brass|?7.50|136
95010|||9790222251052|JACQUES|Michael Jacques|Midsummer Suite (tr.rec or flute)|Flute and piano|?5.00|88
95013|||9790222251069|LYELL|Margaret Lyell|Barcarollina|Flute and piano|?3.50|25
95014|Charles Camilleri
FANTASIA CONCERTANTE No.6 for alto saxophone
Roberton 95014|Written for Paul Brodie and the 5th World Saxophone Congress, London 1976.|9790222251076|CAMILLERI|Charles Camilleri|Fantasia Concertante No.6|Saxophone|?4.50|76
95036|||9790222251083|COCKSHOTT|Gerald Cockshott|Three Pieces Appalachian Folk Tunes|Cello and piano|?4.00|50
95037|||9790222251090|CAMILLERI|Charles Camilleri|Two Classical Pieces|Violin and piano|?3.50|25
95038|Bernard Stevens
IMPROVISATION for solo viola
Roberton 95038|Improvisation Op.48 first performed by Catherine Stevens in October 1976 on BBC Radio Scotland.
Duration 10 minutes|9790222251106|STEVENS B|Bernard Stevens|Improvisation for Solo Viola|Viola solo|?4.00|63
95039|||9790222251113|NIEMAN|Alfred Nieman|Gavotte for a Latin Lady|Violin and piano|?3.50|25
95040|||9790222251120|NIEMAN|Alfred Nieman|Mountain Dance|Violin and piano|?4.00|38
95043|||9790222251137|CAMILLERI|Charles Camilleri|Fantasia Concertante No.5|Guitar|?4.00|38
95048|||9790222251144|CAMILLERI|Charles Camilleri|Images for 3 Clarinets|Clarinet ensemble|?4.00|38
95049|||9790222251151|CAMILLERI|Charles Camilleri|Percussion 1 - Solos Duos Trios|Percussion|?5.00|75
95050|||9790222251168|CAMILLERI|Charles Camilleri|Prelude and Dance for 3 Percusssion|Percussion|?5.00|63
95087|||9790222251175|WHITE A|Alexander White|Bagatelles|Clarinet and piano|?4.50|76
95103|Weber arr.Forbes
MARCH Op.3 No.5 for violin or viola or cello and piano
Roberton 95103|A march by Weber, No.5 from his "Six little pieces for piano duet" Op.3, arranged for either violin and piano, viola and piano or cello and piano by Watson Forbes.|9790222251182|WEBER|Carl Maria von Weber|March Op.3 No.5 (vln or vla or vc)|Violin and piano|?3.50|25
95109|||9790222251199|CAMILLERI|Charles Camilleri|'Sama''i'|Flute solo|?4.50|76
95121PTS|||9790222251205|BIBERIAN|Gilbert Biberian|Quartet No.4 parts|Guitar ensemble|?12.00|300
95121SC|||9790222251212|BIBERIAN|Gilbert Biberian|Quartet No.4 score|Guitar ensemble|?10.00|200
95294|||9790222251229|CAMILLERI|Charles Camilleri|Fantasia Concertante No.1|Cello solo|?4.00|63
95300|||9790222251236|QUINTON|Charles Quinton (= Charles Camilleri)|Homage a Bartok|Accordion|?3.50|13
95301|||9790222251243|QUINTON|Charles Quinton (= Charles Camilleri)|Scherzino|Accordion|?3.50|25
95302|||9790222251250|QUINTON|Charles Quinton (= Charles Camilleri)|Landscapes|Accordion|?3.50|13
95303|||9790222251267|CAMILLERI|Charles Camilleri|Deux Impressions (Maltese Folklore)|Accordion|?4.00|38
95304|||9790222251274|CAMILLERI|Charles Camilleri|Evening Hymn|Accordion|?3.50|13
95312|||9790222251281|BACH JS|Johann Sebastian Bach|Presto (Sonata 1) (tr.Camilleri)|Accordion|?3.50|25
95314|||9790222251298|CAMILLERI|Charles Camilleri|Romance|Accordion|?3.50|13
95315|||9790222251304|DELIBES L|Leo Delibes|Scarf Dance (Tr.camilleri)|Accordion|?3.50|25
95316|||9790222251311|METALLO|Gerardo Metallo|Sharpshooters March (Tr.camilleri)|Accordion|?3.50|25
95319|||9790222251328|MOZART|Wolfgang Amadeus Mozart|Turkish March (Trans.camilleri)|Accordion|?3.50|25
95320|||9790222251335|CHOPIN|Frederic Chopin|Valse Op.70 No.2 (Tr.camilleri)|Accordion|?3.50|25
95322|||9790222251342|VERDI G|Giuseppe Verdi|Waltz from Traviata Act 1/Camilleri|Accordion|?3.50|13
95380|||9790222251359|TUCAPSKY|Antonin Tucapsky|Soliloquies|Guitar|?4.50|76
95382|||9790222251366|TUCAPSKY|Antonin Tucapsky|Five Little Pieces|Violin and piano|?8.00|149
95394|||9790222251373|FEARING|John Fearing|Carol Duets from Europe|Recorder ensemble|?5.00|63
95395|||9790222251380|FEARING|John Fearing|Duets from the Masters|Recorder ensemble|?5.00|63
95396|||9790222251397|FEARING|John Fearing|Folk-song and Shanty Duets|Recorder ensemble|?5.00|75
95397|||9790222251403|DUNLOP|Isobel Dunlop|Suite for Cello and Piano|Cello and piano|?5.00|88
95398|||9790222251410|BACH JS|Johann Sebastian Bach|Bourree (from Cello Suite 3)|Accordion|?3.50|25
95406|Hugh S. Roberton
HEBRIDEAN SUITE arranged Brian Bonsor
Roberton 95406|'Suite for recorder ensemble of two descant and one treble recorder and piano.
The tunes included are Lewis Bridal Song (Mairi''s Wedding); Morag''s Cradle Song & Tiree Love Song (Ho-ree, ho-ro, my little wee girl). A score and one recorder playing score are included. Extra recorder playing scores are on sale.'|9790222251427|ROBERTON|Hugh S. Roberton|Hebridean Suite (arr.Bonsor) sc+pt|Recorder ensemble|?6.00|112
95406-PT|||9790222251434|ROBERTON|Hugh S. Roberton|Hebridean Suite (arr.Bonsor) rec.pt|Recorder ensemble|?2.00|25
95414|||9790222251441|DALE|Gordon Dale|Rhapsodie for Guitar|Guitar|?3.50|25
95415|||9790222251458|DALE|Gordon Dale|Variations On A Theme|Guitar|?3.50|25
95416|Michael Head
SUITE FOR RECORDERS OR PIPES
Roberton 95416|This work is written for descant, treble, tenor and bass instruments and may be performed by recorders or pipes. Sold as a score (95416) and, separately, a set of parts (95416-PTS).
The six movements are March; The Stranger; Cradle Song; Scherzo; Folksong Melody; A Negro Spiritual.|9790222251472|HEAD|Michael Head|Suite for Recorders or Pipes score|Recorder ensemble|?6.00|88
95416-PTS|||9790222251465|HEAD|Michael Head|Suite for Recorders or Pipes parts|Recorder ensemble|?5.00|75
95419|||9790222251489|FORBES|Watson Forbes|Scottish Fiddle Music|Violin and piano|?5.50|100
95423|||9790222251496|CAMILLERI|Charles Camilleri|Concertante for Violin & Strings|Miniature score|?5.00|40
95424|||9790222251502|CAMILLERI|Charles Camilleri|Fantasy Fugue for Strings|Miniature score|?5.00|40
95425|||9790222251519|CAMILLERI|Charles Camilleri|Overture Classique (string orch.)|Miniature score|?5.50|88
95430|||9790222251526|CAMILLERI|Charles Camilleri|Fantasia Concertante No.4|Violin solo|?4.00|38
95433|||9790222251533|NIEMAN|Alfred Nieman|Soliloquy for Solo Cello|Cello solo|?4.00|38
95434|Albert Sammons
THE SECRET OF TECHNIQUE IN VIOLIN PLAYING
Roberton 95434|"The Secret of Technique in Violin Playing - being an unique method of daily practice for soloists and advanced players" was originally published in 1916 by Hawkes & Son, London but had been out of print for many years when, in 1986, Kenneth Roberton, then owner of Roberton Publications, with the encouragement of a number of violinists, sought permission to re-issue it. All the legal formalities were completed by 1987 but then for some unknown reason the project stalled and the material lay undisturbed in the Roberton archives until this publication thirty years later!
Hugh Bean (1929-2003), the eminent English violinist, and a pupil of Albert Sammons, was one of those urging re-issue and he wrote this note for the preface of the new publication:
I am delighted that this unique work by Albert Sammons is once more available. Practical teacher as he was, with little formal instruction himself, his methods were simple and direct - eschewing impressionistic word pictures in favour of simple, down to earth advice, understood by all his pupils. He thus knew supremely well, not only how to develop a highly serviceable technique, but also, under practical, professional conditions (i.e. limited practise time available, often in highly unfavourable situations) how to maintain this technique under performing conditions. There are many works already which have this ideal, but none I feel, which guides the violinist in so practical and concise a manner.
28 pages - Facsimile edition.|9790222304185|SAMMONS|Albert Sammons|Secret of Technique in Vln Playing|Violin solo|?6.50|124
95436|||9790222251540|HOLST|Gustav Holst|Landler|Violin and piano|?3.50|25
95448PTS|||9790222251557|SIMPSON|Robert Simpson|Quartet 10 For Peace (1983) parts|String Quartet|?10.00|150
95448SC|||9790222251564|SIMPSON|Robert Simpson|Quartet 10 For Peace (1983) score|Study score|?8.00|149
95453|||9790222251571|CAMILLERI|Charles Camilleri|March of the Blues (concert band)|Wind band|?30.00|890
95454|||9790222251588|CAMILLERI|Charles Camilleri|Fantasia Concertante No.7|Piano - Solo|?5.00|63
95483|||9790222251625|HAWES J|Jack Hawes|Harp Suite|Harp|?5.00|75
95490|||9790222251649|TUCAPSKY|Antonin Tucapsky|Sonata Per Violino Solo|Violin solo|?5.50|100
95491|||9790222251656|TUCAPSKY|Antonin Tucapsky|Pod Ukvaly|Oboe and piano|?7.50|136
95494|||9790222251663|CAMILLERI|Charles Camilleri|Song of Olympus|Flute solo|?3.50|25
95499|Dame Ethel Smyth
TRIO in D minor
for violin, cello and piano|Although written in 1880, it was not until 1985 in the USA that this enchanting trio received a public performance. This is the first publication of the work and it has been edited by Terry King of the Mirecourt Trio who gave the first performance. A CD recording by the Chagall Trio, issued in 1995, is available on the Meridian label.
Duration 28 minutes|9790222252042|SMYTH E|Dame Ethel Smyth|Trio in Dm for violin cello & piano|Piano trio|?18.25|330
95501|||9790222251687|VANECEK|Jaroslav Vanecek|Spanish Rhapsody|Violin solo|?3.50|25
95502|||9790222251694|VANECEK|Jaroslav Vanecek|Set of Strauss Waltzes|Violin solo|?3.50|25
95503|GIBBS, C. Armstrong (1889-1960)
THREE PIECES for string quartet
Roberton 95503|Known principally for his solo songs, Armstrong Gibbs also wrote music for the stage, sacred works, three symphonies and a substantial amount of chamber music, much of which remains unpublished. Armstrong Gibbs was born near Chelmsford in Essex and spent much of his busy life there when he was not touring the country adjudicating at festivals, conducting and composing. He also lived for a time in the Lake District and these three pieces for string quartet are musical pictures of places that he must have known very well.
The three pieces are:-
1. Above Blea Tarn
2. Winster Valley
3. Loweswater: Calm after Storm
A full score and set of parts is included.
Duration about 8? minutes|9790222258860|GIBBS CA|C Armstrong Gibbs|Three Pieces (score & parts)|String Quartet|?9.50|173
95505|||9790222251717|CAMILLERI|Charles Camilleri|Scanzona|Violin and piano|?3.50|25
95506|||9790222251724|CAMILLERI|Charles Camilleri|Barcarolle|Trumpet and piano|?4.00|38
95508|Philip Lane
DIVERTISSEMENT
for clarinet and piano
Roberton Publications 95508|'Divertissement for clarinet was commisssioned by Verity Butler in 1994, and first performed by her that year in Cheltenham Town Hall. The work holds a similar place in the composer''s oeuvre as Elgar''s "The Music Makers" and Shostakovich''s 8th String Quartet in that there are literal quotations from earlier works, and in the last movement, a reworking of material heard in the first.
A recording of this work in a version with orchestral accompaniment "Divertissement for Solo Clarinet, Harp & Strings" is available on Marco Polo CD 8.225185
performed by Verity Butler and the Royal Ballet Sinfonia conducted by Gavin Sutherland. The music of the orchestral version is available in the
Goodmusic Orchestral Series - GMCO059'|9790222251748|LANE P|Philip Lane|Divertissement|Clarinet and piano|?8.50|160
95511|||9790222251786|TUCAPSKY|Antonin Tucapsky|Sonata Rhapsody|Violin and piano|?8.00|149
95512|||9790222251793|STEVENS B|Bernard Stevens|Improvisation for Solo Violin|Violin solo|?4.00|63
95513|||9790222251809|TUCAPSKY|Antonin Tucapsky|Sonata for Viola & Piano|Viola & Piano|?10.75|197
95514|Hugh S. Roberton
ALL IN THE APRIL EVENING for handbells
Roberton 95514|This arrangement is compatible with the vocal and choral versions of this work but has an additional introduction, interludes and ending bars.
It is arranged for 3,4 or 5 octave handbells and is sold as a single playing score.|9790222251816|ROBERTON|Hugh S. Roberton|All in the April Evening handbells|Handbells|?3.50|25
95515|Charles Camilleri
LITTLE SPACE SUITE
for violin and piano|'1.Still 2.Moon Hopping 3.Floating Clouds 4.Dancing Stars
A set of 4 genuinely contemporary pieces for early-grade violinists. In most new string music for children ". . the only somewhat innovative ideas lie in a dissonant piano accompaniment. The violin part keeps to the same norms as always and could well have been written a hundred years ago. There is never any attempt at some facet of the more contemporary notation, so that the gap between what the children really absorb and what they are supposed to be learning is forever widening. Little Space Suite by Charles Camilleri represents one attempt to bridge this gap and, considering that there is a dearth of such music, it is very likely to become a teachers'' favourite."
Antoine Frendo (Member of European String Teachers'' Association)'|9790222251823|CAMILLERI|Charles Camilleri|Little Space Suite|Violin and piano|?4.50|76
95516|Antonin Tucapsky
TOCCATA E CANZONE
for organ and piano|The combination of piano and organ is a very unusual one - both very individual and self-sufficient. When I was asked to compose some music for this fairly rare duet I was very reluctant but after continual pressure I accepted the challenge and in 1993 composed "Toccata e Canzone" - two very different movements. In the Toccata the piano dominates, but in the Canzone the organ takes the lead. There is no programme to this composition - I simply tried to capture the true character of these two very contrasting keyboard instruments. A.Tucapsky
(Duration c.10 minutes)
Two copies would be required for a performance.|9790222252097|TUCAPSKY|Antonin Tucapsky|Toccata e Canzone for organ & piano|Keyboard|?6.50|124
95517|Peter Lawson (1951- )
SONG OF THE MUSK ORCHID
for oboe and piano|'The Song of the Musk Orchid written in 1982 for David Presly and Reiko Isobe, is the fourth in a projected series of portraits by Peter Lawson, for solo, chamber and orchestral combinations of the forty-eight wild orchids of Great Britain and Ireland.
The Musk Orchid (Herminium monorchis) is a tiny, yellowish-green plant which inhabits short turf on chalk limestone from the Cotswolds in Britain - where it is becoming increasingly rare - eastwards throughout Europe into Asia and Japan. It is likely to be overlooked by all but the curious - even resembling a piece of grass to the casual observer - but on closer inspection, reveals itself as an altogether more attractive and intricate, if diminutive, member of the hugely varied and sophisticated orchid family. Particularly in the evening, it smells strongly - almost beguilingly - of honey, rather than of musk.
The Song of the Musk Orchid begins with a reference to the orchid''s downland habitat by alluding to the English folk music of Brigg Fair. There then follows an episode portraying, as it were in close-up, the many-flowered spike of the plant. Here, also, is a hint of its more oriental distribution. We then move even closer into the plant - a cadenza for the oboe. Finally we see the outside world from the point of view of the orchid itself: a calm, serene, dignified and spiritual world - and a very different one from our own.
Duration 10 minutes'|9790222252578|LAWSON|Peter Lawson|Song of the Musk Orchid|Oboe and piano|?6.00|112
95518|Peter Lawson (1951- )
THE GRAND DESIGN QUARTET
(Song of the Common Spotted Orchid)
for string quartet|'Written in 2002-4, The Grand Design Quartet is dedicated to Paul and Charlotte Houlton by way of thanks for a holiday in France. The title takes its name from their Graphic Design company in Croydon. The work is subtitled Song of the Common Spotted Orchid and is the 25th in a series of portraits by Peter Lawson of the 48 wild orchids of Great Britain and Ireland for chamber and orchestral resources.
The Common Spotted Orchid, Dactylorhiza fuchsii, is probably the most familiar, well-loved and widely-distributed orchid in Britain and Ireland, and is most reliably found in its favoured downland habitats of the South-East, where, in a good year, it can be almost abundant. It also favours railway-cuttings and even the verges of the older motorways, though it can often be found in damp woods and even non-acidic wetlands. The adjective ''common'' can only refer to its comparitive frequency, as the appearance of the flowering plant is distinctively and splendidly opulent and robust, even regal. The flowering spikes contain many small pink or lilac individual flowers with magenta markings. The leaves are fleshy and shiny and are spotted with distinctively bold, dark blotches.
Like many orchids of its type, the Common Spotted Orchid is extremely variable and liable to hybridize with its close relatives, particularly with the Marsh Orchid species, but it has been possible to categorise four subspecies in North-Western Europe - represented by the four movements of the quartet. These are the standard form (the first movement - in sonata form), the short and stocky, rosy-purple subspecies hebridensis, found in the Outer Hebrides and portrayed in the slow movement, a pure-white form with unspotted leaves, found in the Burren, County Clare and known as ssp. okellyi, forming the third movement (a scherzo) and the rare and recently-designated Southern-English dark-pink variation rhodochila, depicted in the finale.
Duration c.25 minutes'|9790222259447|LAWSON|Peter Lawson|Grand Design Quartet (sc+pts)|String Quartet|?30.00|445
95519|J.S. Bach (arranged & edited by Warwick Cole)
TRIO SONATA in D BWV.1028
for two violins* and continuo|'Bach''s Sonata for viola da gamba in D is one of his most attractive and accessible pieces of chamber music. This unique arrangement for its presumed original format makes a welcome addition to the trio sonata repertoire. An informative preface is included giving the origins and background to the work.
*The Violin 2 part can be played by flute or oboe. Parts are included for Violin 1, Violin 2 (or oboe or flute), cello continuo (with figured bass) and keyboard (realised by Warwick Cole).
Duration 10 minutes'|9790222261303|BACH JS|Johann Sebastian Bach|Trio Sonata in D Bwv 1028 (Cole)|Ensemble - Mixed|?10.00|184
95520|J.S. Bach (arranged & edited by Warwick Cole)
TRIO SONATA in G minor BWV.1029
for two violins* and continuo|'Bach''s Sonata for viola da gamba in G minor is one of his most dramatic and moving chamber works. Although scholars have long considered it to be an arrangement, it is presented here for the first time as a trio sonata in its original key. As such it makes another welcome addition to the trio sonata repertoire. An informative preface is included giving the origins and background to the work.
*The Violin 1 part can be played by flute or oboe. Parts are included for Violin 1 (or oboe or flute), Violin 2, cello continuo (with figured bass) and keyboard (realised by Warwick Cole).
Duration 11? minutes'|9790222261310|BACH JS|Johann Sebastian Bach|Trio Sonata in Gm Bwv 1029 (Cole)|Ensemble - Mixed|?10.00|184
95521|LEWIS, Paul (1943- )
SONATA POPPIFLORA for bassoon and piano
Roberton 95521|On May 30th 2004, a few days after completing my Concerto Burlesco for bassoon and small orchestra, I attended a concert given by bassoonist Alison Woodward, known to her friends as "Poppy". The ensuing friendship has been a source of great fun and inspiration, and Sonata Poppiflora was written in late summer 2004 as a celebration both of our friendship and of Poppy herself in all her Poppiness! (Paul Lewis)
Duration about 11 minutes|9790222261464|LEWIS P|Paul Lewis|Sonata Poppiflora|Bassoon and piano|?8.00|149
95522|TUCAPSKY, Antonin (1928- )
RONDO CAPRICCIOSO for bassoon and piano
Roberton 95522|Antonin Tucapsky is a Czech born composer who lives and works in London. In 1975 he was appointed Professor of Composition at Trinity College of Music, London and held this position for 21 years until his retirement. His compositions cover most spheres of music: instrumental, chamber and orchestral music, including a one-act opera "The Undertaker", but vocal and choral music dominates his creative output.
RONDO CAPRICCIOSO for bassoon and piano was completed in 2002. There is no special programme in this demanding work - the only programme the composer had in mind is rather simple: to write a piece of good music for this characteristic and beautiful instrument.
Duration 7? minutes|9790222261471|TUCAPSKY|Antonin Tucapsky|Rondo Capriccioso|Bassoon and piano|?5.50|100
95523|LAWSON, Peter (1951- )
SONG OF THE NORTHERN MARSH ORCHID for clarinet and piano
Roberton 95523|Written for Kei Itoh and Reiko Isobe for a concert in Japan in 2005, the Song of the Northern Marsh Orchid (a Sonatina for clarinet and piano) is the 26th in a series of musical portraits of the 48 wild orchids of Britain and Ireland, some for solo or chamber groups and some for orchestral forces.
The Northern Marsh Orchid (Dactylorhiza purpurella) is compact, but lush and usually rich magenta in colour. Marsh orchids are rapidly evolving and not easy to pin down and categorise as stable species, but a characteristic of this particular plant is its flat top - as if someone had cut the top third or so off the many-flowered spike. Like all marsh orchids, it has upward-pointing bracts amongst the flower head, which can appear to give it a distinctively eastern appearance. Although this is reflected at times in the music, the distribution of the orchid is, in fact, north-westerly - the furthest east it has been recorded is western Norway and it extends westwards through northern Britain (particularly Scotland) and Ireland to the Faroe Islands.
The music, which particularly owes a debt of gratitude to Poulenc, is in three short inter-connected movements, which are loosely based on a colour-coding scheme of harmonies. Sadly, at the height of its opulence (near the end of the third movement) the plant is pollinated, sets seed and dies down to shelter from the harsh winter. Peter Lawson, 2004
Duration: 8 minutes|9790222261501|LAWSON|Peter Lawson|Song of the Northern Marsh Orchid|Clarinet and piano|?8.00|149
95524|LAWSON, Peter (1951- )
SONG OF THE RED HELLEBORINE for viola and piano
Roberton 95524|'The Song of the Red Helleborine was written in 1981 for James Shenton and Elizabeth Dunn, who gave it its first performance. It was the first in an extended cycle of portraits of the forty-eight wild orchids of Britain and Ireland - of which twenty-six, to date, have been written - ranging from solo items to pieces for chamber and orchestral combinations.
In Britain, the Red Helleborine (Cephalanthera rubra) is an extremely rare and protected species, being confined to three localities in the Cotswolds, the Chilterns and in Hampshire, where it will typically only flower in beech woods when it has the exact degree of light and shade it needs. Its British outposts are at the western edge of its distribution, which extends through Europe and the Middle East, to Iran. The plant is stately, but discreet, about eighteen inches in height and bears a handful of medium-size pink flowers, which alternate up the stem amongst a few spear-shaped leaves.
An introduction for solo viola describes the orchid underground in winter, as it were, talking to itself. The entry of the piano heralds the emergence of the flowering spike, which eventually dies away. There then follows a further winter solo viola section followed by a second summer of flowering. The music, which pays more than lip-service to Messiaen''s Jardin du sommeil d''amour from his Turangalila Symphony, reflects the secretive peace and dappled sunlight of the cathedral-like canopy of the beech woods in which the orchid grows. (Peter Lawson, 2004)
Duration: 6 minutes'|9790222264243|LAWSON|Peter Lawson|Song of the Red Helleborine|Viola & Piano|?5.50|100
95525|TUCAPSKY, Antonin (1928- )
DUE PEZZI for violin, bassoon and piano
Roberton 95525|Antonin Tucapsky is a Czech born composer who lives and works in London. In 1975 he was appointed Professor of Composition at Trinity College of Music, London and held this position for 21 years until his retirement. His compositions cover most spheres of music: instrumental, chamber and orchestral music, including a one-act opera "The Undertaker", but vocal and choral music dominates his creative output.
Violin, bassoon and piano may not be a particularly common combination, but the instruments blend beautifully together in these two original pieces each lasting about 6 minutes.
Duration 12 minutes|9790222264298|TUCAPSKY|Antonin Tucapsky|Due Pezzi (violin/bassoon/piano)|Ensemble - Mixed|?11.25|209
95526|GRYSPEERDT, Michael (1927-2000)
TWO PIECES Op.26 for clarinet and piano
Roberton 95526|'Two original pieces "Prelude" and "Rondino" for clarinet and piano. Michael Gryspeerdt, who inherited his name from his Flemish grandfather, was born in London in 1927. He studied medicine at St. Thomas''s and after National Service, including a short spell in Egypt, was posted to Hereford and subsequently settled in Gloucestershire with his wife Colleen in 1959. They had four children and lived for over thirty years at the Leigh a few miles south of Tewkesbury.
Michael''s dedication to composition started at the age of nine, he also became a mainly self taught French horn player in his teens. He later had lessons in counterpoint from the late Dr Herbert Sumsion, the organist at Gloucester Cathedral, and took great pleasure in playing the horn with the Gloucestershire Symphony Orchestra (GSO) for forty years; informally he also played jazz trombone. Following retirement from a busy life as a doctor in 1987 he fulfilled his ambition to write music full-time. His compositions range from pieces for solo instrument and chamber ensembles, to choral and full orchestral works. His music has been performed frequently in the Gloucestershire area - for example in the Three Choirs Festival, has been broadcast on Radio Three, and has also has been played in Europe and America. Sadly Michael became seriously ill in early 2000. He retained his faculties just long enough to complete his first Symphony which he had started work on around a year before and which had been commissioned by the GSO for its centenary. A Tribute concert (which he attended in failing health) was given by the GSO in June 2000 when the symphony was given its first performance. He passed away two months later.
Duration 5? minutes'|9790222265592|GRYSPEERDT|Michael Gryspeerdt|Two Pieces Op.26|Clarinet and piano|?5.00|88
95527|LAWSON, Peter (1951- )
SONG OF THE DUNE HELLEBORINE for treble recorder and piano
Roberton 95527|The Song of the Dune Helleborine, for treble recorder and piano, was written for John Turner in 2005 and first performed by him in the Bridgewater Hall in 2006. It is the twenty-seventh in a projected series of musical portraits of the forty-eight wild orchids of Great Britain and Ireland.
The Dune Helleborine, Epipactis dunensis, is a very rare orchid with a North-West European distribution. In Great Britain, it is restricted to coastal regions of Anglesey, Lancashire and Northumberland. The plant grows in stabilised sand dunes and it is at its most lush and robust when growing under pine trees in Lancashire. Otherwise, it is a more stunted and less colourful version of its nearest relative, Epipactis helleborine (Common, or Broad (-leaved) Helleborine). The flowers (up to about twenty on each plant) tend to be greener, with less infusions of pink than Common Helleborine and the flowering period is about a month earlier.
The work opens with the juxtaposition of arpeggiated chords representing both the green and pink colours of the flowers and the nature of the habitat of the plant - the shifting sands of the dunes and the salty, windswept vista.
The short piece is loosely in sonata form - the first and second subjects respectively corresponding to our perception of the orchid in its environment and the song of the orchid itself, stripped of human connotations. Following a turbulent development section, the two elements fuse in recapitulation. The orchid, which has only been observed to self-pollinate, sets seed in the coda and withers as the summer fades and colder weather sets in.
Duration: 6? minutes|9790222266407|LAWSON|Peter Lawson|Song of the Dune Helleborine|Recorder and piano|?6.50|124
95528|LEWIS, Paul (1943- )
SENTIMENTAL SONGS basoon or cello and piano
Roberton 95528|The two sentimental songs hark back in style to the palm court music played in seaside hotels in days gone by. Paul Lewis writes "The bassoon is for me primarily an instrument of poetry and passion, and as such is ideally suited to the romantic nature of these songs without words".
Duration: 8 minutes|9790222269156|LEWIS P|Paul Lewis|Sentimental Songs bsn or vc|Bassoon and piano|?6.00|112
95529|LEWIS, Paul (1943- )
RUSSIAN SCENES alto flute and piano
Roberton 95529|Russian Scenes are pictures of the old Russia my forbears would have known. The melodies are simple and folk-like, the middle movement being a lament, something which the possession of Russian blood enables one to do with a certain thoroughness. This movement is dedicated to the memory of Phyllis, my ninety-three-year-old half-Russian violinist mother, recently deceased at the time of composing. Paul Lewis.
The three movements are entitled "Easter Bells", "Lament" and "Troika".
This work is also available in a version for Cor Anglais and Piano (95530) or Clarinet and Piano (95531)
Duration: 11 minutes|9790222269163|LEWIS P|Paul Lewis|Russian Scenes alto flute|Flute and piano|?6.50|124
95530|LEWIS, Paul (1943- )
RUSSIAN SCENES cor anglais and piano
Roberton 95530|Russian Scenes are pictures of the old Russia my forbears would have known. The melodies are simple and folk-like, the middle movement being a lament, something which the possession of Russian blood enables one to do with a certain thoroughness. This movement is dedicated to the memory of Phyllis, my ninety-three-year-old half-Russian violinist mother, recently deceased at the time of composing. Paul Lewis.
The three movements are entitled "Easter Bells", "Lament" and "Troika".
This work is also available in a version for Alto Flute and Piano (95529) or Clarinet and Piano (95531)
Duration: 11 minutes|9790222269170|LEWIS P|Paul Lewis|Russian Scenes cor anglais|Oboe and piano|?6.50|124
95531|LEWIS, Paul (1943- )
RUSSIAN SCENES clarinet and piano
Roberton 95531|Russian Scenes are pictures of the old Russia my forbears would have known. The melodies are simple and folk-like, the middle movement being a lament, something which the possession of Russian blood enables one to do with a certain thoroughness. This movement is dedicated to the memory of Phyllis, my ninety-three-year-old half-Russian violinist mother, recently deceased at the time of composing. Paul Lewis.
The three movements are entitled "Easter Bells", "Lament" and "Troika".
This work is also available in a version for Alto Flute and Piano (95529) or Cor Anglais and Piano (95530)
Duration: 11 minutes|9790222269187|LEWIS P|Paul Lewis|Russian Scenes|Clarinet and piano|?6.50|124
95532|John Joubert
IN RETROSPECT Op.159
for string quartet or string ensemble
Roberton 95532|'The theme on which "In Retrospect" is based comes from a work written in my teens and first performed in the early 1940s by the strings of Cape Town Municipal Orchestra. Since both my children have grown up to be professional string players, I have dedicated each variation to one of their own four children (as indicated in the score). The work, though retrospective in both style and content, can perhaps also be regarded as looking forwards not only in its involvement with younger people, but also in its suitability for students and amateurs of all ages. (John Joubert)
Commissioned by Mary Cohen for String Quartets from Scratch (SQFS) with funding from the Ida Carroll Trust, the first public performance took place on May 20th 2007 at the Bridgewater Hall, Manchester at a concert to celebrate the composer''s 80th birthday.
A pack containing a score and a set of parts (one of each) is on sale, but extra parts are available separately should you wish to perform this with an ensemble rather than a quartet.
Duration 12? minutes'|9790222269231|JOUBERT|John Joubert|In Retrospect Op.159 sc+pts|String Quartet|?12.00|221
95532-01|||9790222269248|JOUBERT|John Joubert|In Retrospect Op.159 Violin 1 part|String Quartet|?2.50|38
95532-02|||9790222269255|JOUBERT|John Joubert|In Retrospect Op.159 Violin 2 part|String Quartet|?2.50|38
95532-03|||9790222269262|JOUBERT|John Joubert|In Retrospect Op.159 Viola part|String Quartet|?2.00|25
95532-04|||9790222269279|JOUBERT|John Joubert|In Retrospect Op.159 Cello part|String Quartet|?2.00|25
95533|TUCAPSKY, Antonin (b.1928)
FOUR CAPRICIOUS PIECES
for clarinet and piano
Roberton 95533|Antonin Tucapsky is a Czech born composer who lives and works in London. In 1975 he was appointed Professor of Composition at Trinity College of Music, London and held this position for 21 years until his retirement. His compositions cover most spheres of music: instrumental, chamber and orchestral music, including a one-act opera "The Undertaker", but vocal and choral music dominates his creative output. This set of four pieces for clarinet in Bb and piano is made up of Impromptu; Nocturne; Blues; Rondino.
Duration 13 minutes|9790222269897|TUCAPSKY|Antonin Tucapsky|Four Capricious Pieces|Clarinet and piano|?7.50|136
95534|LEWIS, Paul (1943- )
SENTIMENTAL SONGS for palm court trio
Roberton 95534|Paul Lewis writes "The two Sentimental Songs were originally written for bassoon and piano following lunches in the beautiful cathedral city of Chichester with the original dedicatee, bassoonist Alison Woodward, and hark back in style to the palm court music I heard my violinist mother playing in seaside hotels when I was young. The present palm court trio arrangement was made for violinist Shelley van Loen and her husband, cellist Trevor Burley, whose monthly concerts at the Grand Hotel, Eastbourne, joyfully keep alive the musical tradition in which my mother excelled."
Scored for violin, cello and piano
Duration: 8 minutes|9790222270916|LEWIS P|Paul Lewis|Sentimental Songs Palm Court Trio|Piano trio|?6.00|112
95535|David Stone
MINIATURE STRING QUARTET No.4
for string quartet
Roberton 95535|'As in my earlier Miniature String Quartets the objective has been to write music that stems from the kinds of passage-work that will be familiar to players of an intermediate technical standard. This quartet may perhaps be a little more demanding than the earlier ones, but nonetheless should allow for intense listening to matters of ensemble and expressive playing. (David Stone)
A full score and a set of parts are included.
Duration 9? minutes
David Stone''s previous three Minature String Quartets are published by Novello (numbers 1 and 2), and Musicland (number 3).'|9790222271159|STONE|David Stone|Miniature String Quartet 4 sc+pts|String Quartet|?11.25|209
95536|Antonin Tucapsky
VIOLIN DUETS - Ten pieces for two violins
Roberton 95536|It started very modestly; years ago I composed a few pieces for two violins for students at Trinity College of Music in London. They enjoyed playing them and because my duets were very well received, I wrote a few more; then came a very long pause - the manuscript of my pieces was put aside and rested quietly in the drawer of my desk. Only a couple of years ago, I remembered them and composed two more duets, revised the older ones and formed this set of ten. I hope violin players will find them enjoyable. (Antonin Tucapsky - 2008)
Total duration about 22 minutes|9790222271449|TUCAPSKY|Antonin Tucapsky|Violin Duets 10 Pieces for 2 vlns|Violin ensemble|?6.00|112
95537|Paul Lewis
MERMAIDS AND MUSES for 2 flutes and piano
Roberton 95537|'"Mermaids and Muses" is the generic term for my closest friends and colleagues: those whose talent, beauty and friendship are a source of continual joy and inspiration to me. One such is Hispano-French poet Carole Lopes-Hak, to whom I once played a melody over the telephone from my home by the sea in Hove. That evening, by the River Seine in France, Carole wrote an enchanting poem, "Rond d''eau" ("Circle of Water"), and sent it to me. I immediately set it to music. "Mermaids" is an arrangement of that setting, and to complete the rond, or circle, "Muses" is the melody which inspired the poem. (Paul Lewis)
Duration 4? minutes'|9790222271456|LEWIS P|Paul Lewis|Mermaids and Muses 2 fls and piano|Flute and piano|?5.00|88
95538|Paul Lewis
A POTTLE OF FAGOTTS for bassoon quartet
Roberton 95538|'A suite of three movements for bassoon quartet. Score and parts are included.
POTTLE: An old English liquid measure, bassoon-like in pronunciation. If the sound of the bassoon could be converted into liquid, it might, I believe, be of the colour, consistency and taste of maple syrup.
FAGOTT: German for bassoon. Not to be confused with FAGGOT: a bundle of sticks, a liver ball, an irritating woman or, in America, a male homosexual!
SERPENT: An obsolete wind instrument sometimes found lurking in dusty cupboards in old churches where it provided an accompaniment to Sunday hymn-singing in the 18th and 19th centuries. Serpents have a similar range to that of the fagott, but are of uncertain and dangerous intonation.
Serpents on Sunday I imagined four serpents preaching from the pulpit to a congregation which becomes ever more restless and fidgety until called to order by the pontificating preachers.
Soulful Song Based on the bassoon theme from my score to Elizabeth Jane Baldry''s short film "Pottle o'' Brains". The bassoon soloist on the soundtrack was Alison Woodward, for whose highly personal performance style the melody was tailored.
Sixes and Sevens A condition frequently experienced on Sundays, with or without serpents. As befits the title, the music alternates between six and seven beats per bar. Paul Lewis
Duration c.10 minutes'|9790222271463|LEWIS P|Paul Lewis|Pottle of Fagotts quartet|Bassoon ensemble|?10.00|184
95539|Antonin Tucapsky
MEDITATION for cello solo
Roberton 95539|The Meditation is remotely based on an old Czech chorale. This chorale is a prayer to the national patron saint, Wenceslas. This ancient hymn has no connection with the well-known English carol "Good King Wenceslas". My Meditation uses only fragments of the old chorale and unfolds them in a varied way, displaying various instrumental effects. Antonin Tucapsky
Antonin Tucapsky is a Czech born composer who lives and works in London. In 1975 he was appointed Professor of Composition at Trinity College of Music, London and held this position for 21 years until his retirement. His compositions cover most spheres of music: instrumental, chamber and orchestral music, including a one-act opera "The Undertaker", but vocal and choral music dominates his creative output.
Duration: c.9 minutes|9790222274303|TUCAPSKY|Antonin Tucapsky|Meditation|Cello solo|?4.00|63
95540|Antonin Tucapsky
THREE PIECES for cello and piano
Roberton 95540|The Three Pieces are Impromptu, Legende and Rondello.
Antonin Tucapsky is a Czech born composer who lives and works in London. In 1975 he was appointed Professor of Composition at Trinity College of Music, London and held this position for 21 years until his retirement. His compositions cover most spheres of music: instrumental, chamber and orchestral music, including a one-act opera "The Undertaker", but vocal and choral music dominates his creative output.
Duration: c.15? minutes|9790222274310|TUCAPSKY|Antonin Tucapsky|Three Pieces|Cello and piano|?6.50|124
95541|Peter Lawson
SONG OF THE DENSE-FLOWERED ORCHID
for flute, bass clarinet and piano
Roberton 95541|'Written in 2007 for Mari Hikichi, Kei Ito and Reiko Isobe for a concert in Tokyo, the Song of the Dense-flowered Orchid - for flute, bass clarinet and piano - is the 28th in a series of musical portraits of the 48 wild orchids of Britain and Ireland - some for solo or chamber groups and some for orchestral forces.
The Dense-flowered Orchid, Neotinea intacta, (or N. maculata) is mainly confined to Mediterranean regions but there exists a strange pocket of the species in Western Ireland, where, presumably it is a relic from warmer times and where it evidently survived the ice-age, but became detached from the Mediterranean colonies. Here, it mainly grows in grassland with many other rarities - amongst the clints and grikes which make up the huge limestone pavement on the strange lunar landscape of the Burren, County Clare. It was also discovered in 1969 in the Isle of Man, growing in calcareous sand.
The Song of the Dense-flowered Orchid begins with a series of chords representing the pink, white and green petals, over which a plaintive Air in Irish folk-style is played - two octaves apart, this being the theme for a loose set of variations, the first being the theme set against rows of bell-like chords, like the spirals of flowers. The second variation is frolicsome and playful and the third is in the ''pink'' key. The fourth leads to a short development section and a triumphant recapitulation of the first variation. A sinister interlude represents the orchid underground in winter after which we cut to the following spring with more increasingly light-hearted variations as flowering time approaches. As the orchid sets seed, there are nostalgic echoes of the flowering period and finally a jovial glance forward to next-year''s fun and games.
Duration about 9? minutes'|9790222275027|LAWSON|Peter Lawson|Song of the Dense-flowered Orchid|Ensemble - Mixed|?10.75|197
95542|Antonin Tucapsky
SONATA SERIA
for violin and piano
Roberton 95542|A four movement sonata: Moderato; Lento; Adagio; Poco allegro, Rondo Rustico. For advanced players.
Duration c.25 minutes|9790222276062|TUCAPSKY|Antonin Tucapsky|Sonata Seria|Violin and piano|?10.00|184
95543|Antonin Tucapsky
CLARINETTISSIMO
for two and three clarinets
Roberton 95543|Five miniatures for two and three clarinets.
CLARINETTISSIMO - a very strange and unusual word! I invented this expression and I think it suggests very clearly that music under such a title is for clarinets. Some clarinet teachers asked me to write something suitable for them and while all music is educational, the five pieces here are not educational in its specific meaning, but are meant for advanced pupils and young clarinettists, though older musicians are not excluded and might enjoy playing them too! A.Tucapsky
Total duration c.10 minutes|9790222276079|TUCAPSKY|Antonin Tucapsky|Clarinettissimo Miniatures for 2/3|Clarinet ensemble|?4.50|76
95544|Paul Lewis
A FLIRTATION OF FLUTES for flute quartet
Roberton 95544|A Flirtation of Flutes (scored for three flutes plus alto flute) is a jazzy, fun work written as an antidote to all that beautiful, florid and impressionistic French flute music that I love! Flirtation has always been one of my favourite pastimes, so the piece is possibly, even probably, autobiographical.
"First Meeting" is playful and provocative, while "Getting Sentimental" is inspired by numerous pop ballads from my teenage years, the late 1950s and early 1960s. "That Old Infernal Triangle" is, of course, three-in-a-bar and depicts the muddle of moods likely to be experienced by those trapped within. If getting sentimental and that old infernal (eternal) triangle are the sometime consequences of a flirtatious first meeting, then moving on is often the only solution, so the final movement, "Moving On", although outwardly bright, has overtones of wistful melancholy.
This then is music with a moral: Beware! Flirtation can be dangerous - it may not always be as innocent as it seems! Paul Lewis
Score and set of parts included.
Duration c.10? minutes|9790222276086|LEWIS P|Paul Lewis|Flirtation of Flutes quartet|Flute ensemble|?14.25|257
95545|Paul Lewis
A FLIRTATION OF FIDDLES for 4 violins
Roberton 95545|A Flirtation of Fiddles is a jazzy, fun work written originally for flute quartet. Flirtation has always been one of my favourite pastimes, so the piece is possibly, even probably, autobiographical.
"First Meeting" is playful and provocative, while "Getting Sentimental" is inspired by numerous pop ballads from my teenage years, the late 1950s and early 1960s. "That Old Infernal Triangle" is, of course, three-in-a-bar and depicts the muddle of moods likely to be experienced by those trapped within. If getting sentimental and that old infernal (eternal) triangle are the sometime consequences of a flirtatious first meeting, then moving on is often the only solution, so the final movement, "Moving On", although outwardly bright, has overtones of wistful melancholy.
This then is music with a moral: Beware! Flirtation can be dangerous - it may not always be as innocent as it seems! Paul Lewis
Score and set of parts included.
Duration c.10? minutes|9790222279025|LEWIS P|Paul Lewis|Flirtation of Fiddles|Violin ensemble|?14.25|257
95546|Antonin Tucapsky
SONATA for cello and piano
Roberton 95546|Substantial three movement sonata for cello and piano.
Antonin Tucapsky is a Czech born composer who lives and works in London. In 1975 he was appointed Professor of Composition at Trinity College of Music, London and held this position for 21 years until his retirement. His compositions cover most spheres of music: instrumental, chamber and orchestral music, including a one-act opera "The Undertaker", but vocal and choral music dominates his creative output.
Duration c.18 minutes|9790222284555|TUCAPSKY|Antonin Tucapsky|Sonata|Cello and piano|?8.50|160
95547|SUITE for clarinet and guitar
by Antonin Tucapsky
Roberton 95547|A suite of 5 movements for Bb clarinet (optionally doubling bass clarinet in the 4th movement) and guitar.
Duration 14 minutes|9790222286351|TUCAPSKY|Antonin Tucapsky|Suite for Clarinet and Guitar|Clarinet and Guitar|?7.50|136
95548|DIALOGUES for violin and guitar
by Antonin Tucapsky
Roberton 95548|Four movements for violin and guitar.
Duration 12 minutes|9790222286368|TUCAPSKY|Antonin Tucapsky|Dialogues for Violin and Guitar|Violin and guitar|?7.50|136
98001|||9790222251830|CAMILLERI|Charles Camilleri|Invocation To the Creator|Organ Solo|?5.00|88
98003|||9790222251847|CAMILLERI|Charles Camilleri|Wine of Peace|Organ Solo|?3.50|13
98004|Geoffrey Hanson
THREE PIECES FOR ORGAN
Roberton 98004||9790222251854|HANSON|Geoffrey Hanson|Three Pieces for Organ|Organ Solo|?5.00|88
98005|||9790222251861|WILLAN|Healey Willan|Chorale Prelude No.2 (Andernach)|Organ Solo|?3.50|25
98006|||9790222251878|WHITE P|Peter White|Urbs Beata|Organ Solo|?4.50|76
98008|||9790222251885|CAMILLERI|Charles Camilleri|Battalja|Organ Solo|?5.00|75
98012|||9790222251892|CAMILLERI|Charles Camilleri|'L''Amour de Dieu'|Organ Solo|?4.00|63
98016|Tony Hewitt-Jones
MUSIC FOR JOYFUL OCCASIONS for organ
Roberton 98016|Intrada, Toccata, Fanfare & Processional.
Duration 8? minutes|9790222251908|HEWITT-JONES|Tony Hewitt-Jones|Music for Joyful Occasions|Organ Solo|?5.00|88
98017|||9790222251915|HERSCHEL HIL|Anthony Herschel-Hill|Toccata Eroica|Organ Solo|?4.50|76
98018|||9790222251922|PURCELL H|Henry Purcell|Five Movements (arr.Wolff)|Organ Solo|?4.00|50
98019|||9790222251939|CAMILLERI|Charles Camilleri|Concertino in Three Movements|Organ Solo|?4.50|76
98021|||9790222251946|STEVENSON R|Ronald Stevenson|Prelude and Fugue On Theme By Liszt|Organ Solo|?4.50|76
98029|Keith John
TIME AND MOTION
for organ|'1. Exordium 2. Interlude 3. Rhythmic energy
Dating from 1979, Time and Motion began life as improvisations in the church of St. Augustine''s, Queen''s Gate, South Kensington before progressing to a more permanent form on paper. The first performance was at St. Gabriel''s, Warwick Square with other important performances that year in Gloucester Cathedral and the Albert Hall. The latter is of note because on this occasion Jill Henderson''s choreography of contemporary dance entitled Clairon des Anges was performed to the last movement with an additional section preceding it. It is indeed Rhythmic Energy which seems to have acquired a certain reputation: it happily stands alone or, by using the short Interlude as a preparation for the coming onslaught, as a two movement unit. The atmospheric Exordium demands i) a certain ambience which allows the music to gradually unfold at will, and ii) on a practical level celestes which, despite their quiet dynamic, have a presence and resonant clarity.
This superbly atmospheric piece is suitable for advanced organists.
(Duration c.24 minutes)'|9790222252103|JOHN|Keith John|Time and Motion|Organ Solo|?6.50|124
98030|Brian Brockless
FANTASIA, ADAGIO & FUGUE
for organ|This was first performed at the 1969 Cheltenham Festival of Music played by the composer in a recital on the organ in the Chapel at Cheltenham College for which it was composed. It has since been revised and now appears in print for the first time.
Suitable for advanced organists.
(Duration c.16 minutes)|9790222252110|BROCKLESS B|Brian Brockless|Fantasia Adagio and Fugue|Organ Solo|?5.50|100
98031|Johann Sebastian Bach
SINFONIA TO CANTATA NO.29
Roberton 98031|Arranged for organ by David Patrick|9790222251953|BACH JS|Johann Sebastian Bach|Sinfonia To Cantata No.29|Organ Solo|?4.00|38
98032|||9790222251960|KOLOSS I|Istvan Koloss|Metamorphosis|Organ Solo|?5.50|100
98033|||9790222251977|BROCKLESS B|Brian Brockless|Toccata for an Occasion|Organ Solo|?5.00|88
98034|||9790222251984|BROCKLESS B|Brian Brockless|'Toccatina Upon Tallis'' 9th Tune'|Organ Solo|?4.00|51
98035|||9790222251991|BROCKLESS B|Brian Brockless|Prelude Toccata and Chaconne|Organ Solo|?5.00|88
98036|John Jeffreys
MUSIC FROM OTTEN
for organ|These twelve voluntaries were written in the summer of 1985 following a series of visits to the church of St.Ethelbert at Belchamp Otten in North Essex, to play the little chamber organ there.|9790222252004|JEFFREYS J|John Jeffreys|Music from Otten|Organ Solo|?6.00|112
98037|John Jeffreys
PASSAGES OF NIGHT
for organ|These three related works for organ are entitled In Limine, In Nubibus and Christ in Majesty. All are wonderfully atmospheric. Christ in Majesty is one of the works included on a CD of the organ works of John Jeffreys by Michel Bourcier at the Organ of Saint-Antoine des Quinze-Vingts, Paris available on the Somm-CD label.|9790222252011|JEFFREYS J|John Jeffreys|Passages of Night|Organ Solo|?5.00|88
98038|John Jeffreys
DUODECIMEDES
for organ|'A collection of twelve short works. Both this volume and John Jeffreys'' "Music from Otten" contain a wonderful selection of atmospheric pieces for use on organs large and small.'|9790222252028|JEFFREYS J|John Jeffreys|Duodecimedes|Organ Solo|?7.50|136
98039|John Jeffreys
FANTASIA
for organ|'Written for and dedicated to David Williams, the composer''s "master in all matters relating to the organ" this is a major piece of some considerable complexity and contrapuntal ingenuity based on quite simple motifs in clearly defined sections. It exploits the full range of a large organ and a resonant acoustic.
(Duration c.10 minutes)'|9790222252035|JEFFREYS J|John Jeffreys|Fantasia for the Organ|Organ Solo|?4.50|76
98040|John Jeffreys
FLOURISH & AFFIRMATION, MEDITATION & THREE VARIATIONS
for organ|'Useful service music suitable for modest organists! Also see John Jeffreys'' "Music from Otten" and "Duodecimedes".'|9790222252127|JEFFREYS J|John Jeffreys|Flourish & Affirmation etc|Organ Solo|?4.00|63
98041|Peter Lawson (1951- )
SONG OF THE BROAD HELLEBORINE
for organ|'The Song of the Broad Helleborine, written in 1987 for Nicolas Kynaston and first performed by him in the Royal Festival Hall, London, was the fourteenth to be written in a projected series of musical portraits of the forty-eight wild orchids of Britain and Ireland, for various instruments, chamber and vocal combinations and orchestral forces.
The Broad or Broad-leaved or Common Helleborine, Epipcatis helleborine, has a wide distribution in Europe and can also be found as far apart as Siberia, the Himalayas and North Africa. It is a tall, somewhat luxuriant orchid and grows in both deciduous and coniferous woodland, flowering, in Britain, in August. It is easily recognisable from its broad, oval-shaped leaves and its dense flower-spike, which may contain as many as one hundred blooms. These are unspectacular from a distance, but on closer inspection, reveal exciting combinations of green, red, pink and purple.
The music begins with an evocation of this - apparently - somewhat subdued, hardly flamboyant orchid growing in shade. There then follows an Allegro giocoso, the ''song'' of the orchid, as it were, from its own point of view, depicting the riot of kaleidoscopic colour in its inflorescence and the dappling interplay of shafts of sunlight and the shadows caused by the rich overhead canopy of trees.
Duration c.8 minutes'|9790222264250|LAWSON|Peter Lawson|Song of the Broad Helleborine|Organ Solo|?5.50|100
98042|Maurice Jacobson
ELEGY for organ
Roberton 98042|'This ELEGY was written in memory of E.Norman Hay.
Edward Norman Hay (1889-1943) was a composer and musicologist and a friend of Maurice Jacobson. Hay studied in Belfast and took a BMus at Oxford, and later a Doctorate in Music at Bailliol College, Oxford for composition (1919). He was also a fellow of the Royal College of Organists. In 1922-3 he served as Head of Music at Campbell College, Belfast, and from 1923-4 was the external examiner (degrees) at Trinity College, Dublin, and shortly before his death was lecturer in music at Queen''s University, Belfast.
On the last page of the manuscript of the Elegy, alluding to bars 78-79, Maurice Jacobson wrote "I shall always associate this Beethoven theme with Norman Hay; we once listened to it in the company of a Roman Catholic priest, and in the stillness which followed we sat silent - Catholic, Protestant and Jew. At last Norman broke the silence, saying quietly: ''Father, would you give us your blessing?''. In a short time he was dead."
Duration 4? minutes'|9790222280151|JACOBSON M|Maurice Jacobson|Elegy|Organ Solo|?4.00|63
98043|Maurice Jacobson
PROCESSIONAL for organ
Roberton 98043|In the mid 1930s, Maurice Jacobson was commissioned by the Markova-Dolin Ballet Company to compose the music for a new biblical ballet, David. The ballet was premiered in 1936 and a suite of four pieces from the ballet was first performed by the Scottish National Orchestra in 1950. This PROCESSIONAL is taken from the ballet and has been arranged for organ by Trevor Widdicombe.
Duration 3? minutes|9790222280168|JACOBSON M|Maurice Jacobson|Processional|Organ Solo|?4.00|63
99123|Hugh S Roberton
MEDITATION on ALL IN THE APRIL EVENING
for organ|'"All in the April Evening" is probably Hugh Roberton''s best known original work. We publish many different versions for voice, choir, orchestra etc but here is a re-issue of a solo organ version (arranged by Purcell J Mansfield) which had long been out of print.'|9790222263215|ROBERTON|Hugh S. Roberton|All in the April Evening Meditation|Organ Solo|?3.50|13
AESS008|A CENTURY OF ENGLISH SONG Volume 8
for voice and piano
AESS008|'A Century of English Song Volume 8
13 songs for medium/low female voice and piano - 56 pages
Arthur Somervell: Come to me in my dreams; Granville Bantock: Lament of Isis; Samuel Coleridge-Taylor: The Willow Song; Martin Shaw: Heffle Cuckoo Fair; Graham Peel: The early Morning; Roger Quilter: Wind from the South; Cyril Scott: Lullaby; Cecil Armstrong Gibbs: Why do I love?; Ivor Gurney: The Idlers; Robin Milford: So sweet love seemed; Deryck Cooke: The Dolls; Elaine Hugh-Jones: The Raven''s Tomb; Ronald Corp: The Garden of Love.
The first seven volumes of "A Century of English Song" were published by Thames Publishing. The new volumes 8, 9 and 10 are produced and sold by Goodmusic Publishing on behalf of The Association of English Singers & Speakers (AESS). All the music has been reset and newly edited by Michael Pilkington. Each volume contains notes on the composers of the songs.'|9790900298805|VARIOUS|Various|Century of English Song Volume 8|Voice solo (with accompaniment)|?11.00|221
AESS009|A CENTURY OF ENGLISH SONG Volume 9
for voice and piano
AESS009|'A Century of English Song Volume 9
12 songs for high voice and piano - 60 pages
Samuel Coleridge-Taylor: A Birthday; John Sykes: London; Geoffrey Bush: Echo''s Lament for Narcissus; Peter Wishart: Spring Sadness; Elaine Hugh-Jones: High Flight; Betty Roe: In a Garden; David Bedford: An Easy Decision; Trevor Hold: The Scholar''s Lament; Clive Pollard: Sweet Chance; Julian Grant: Street Music; Roderick Williams: Love; Michael Betteridge: Charity.
The first seven volumes of "A Century of English Song" were published by Thames Publishing. The new volumes 8, 9 and 10 are produced and sold by Goodmusic Publishing on behalf of The Association of English Singers & Speakers (AESS). All the music has been reset and newly edited by Michael Pilkington. Each volume contains notes on the composers of the songs.'|9790900298812|VARIOUS|Various|Century of English Song Volume 9|Voice solo (with accompaniment)|?11.00|221
AESS010|A CENTURY OF ENGLISH SONG Volume 10
for voice and piano
AESS010|'A Century of English Song Volume 10
Fourteen songs for medium/low voice and piano - 60 pages
Edward German: Of All the Tribe of Tegumai; Martin Shaw: Cargoes; Francis George Scott: Ane Sang of the Birth of Christ; Michael Head: The Lark; Edmund Rubbra: Nod; Constant Lambert: The Long-Departed Lover; John Sykes: On Another''s Sorrow; Deryck Cooke: I hear an army; Betty Roe: The Dream House; Patricia Williams: Love is a sickness; Dominic Muldowney: On Suicide; Clive Pollard: Pot and Kettle; Roderick Williams: Confessions of a Countertenor; Rose Miranda Hall; For Amber.
The first seven volumes of "A Century of English Song" were published by Thames Publishing. The new volumes 8, 9 and 10 are produced and sold by Goodmusic Publishing on behalf of The Association of English Singers & Speakers (AESS). All the music has been reset and newly edited by Michael Pilkington. Each volume contains notes on the composers of the songs.'|9790900298829|VARIOUS|Various|Century of English Song Volume 10|Voice solo (with accompaniment)|?11.00|221
GM002|||9790222218888|GRANT R|Robin Grant|Ebony VIbes|Clarinet and piano|?5.50|100
GM003|||9790222218895|GRANT R|Robin Grant|Jazz in the Air|Flute and piano|?5.50|100
GM004|||9790222218901|GRANT R|Robin Grant|Stamp It Out!|Trumpet and piano|?5.00|88
GM005|Adriano Banchieri (1568-1634)
CONTRAPPUNTO BESTIALE ALLA MENTE
Goodmusic GM005|"The animals improvise counterpoint" for mixed voices in 5 parts (SSATB) a capella. A short humorous work in latin and animal ( . . . . cuckoo / meow / bow-wow etc.) . . . . they knew how to have a good laugh at the start of the 17th century!
Duration c.1 minute|9790222218918|BANCHIERI A|Adriano Banchieri|Contrappunto Bestiale Alla Mente|Choir - Mixed voices (SATB)|?1.50|13
GM006|||9790222218925|FLIES B|Bernhard Flies|Wiegenlied|Voice solo (with accompaniment)|?3.50|13
GM007|SIGHT SINGING PRACTICE by Doris Jennings
Goodmusic GM007|A collection of 135 graded exercises to help all singers improve their sight-singing.
This 72 page book gives examples in major and minor keys and uses various time signatures as well as different notation (such as beamed notes and separate tails); in short, many things that you will come across in "real" music! It provides essential material for all singers who want to improve the accuracy of their sight reading. Doris Jennings was a singer and teacher who studied singing with a variety of teachers including John Carol Case. She taught singing both to private pupils and at schools in and around Buckinghamshire including Stowe. These exercises have been tried and tested on her pupils!|9790222218932|JENNINGS DOR|Doris Jennings|Sight Singing Practice|Voice solo (with accompaniment)|?14.25|257
GM008|FIVE CHRISTMAS ENCORES arranged by Philip Colls
Goodmusic GM008|Five popular Christmas songs arranged for unaccompanied mixed voice choir in close-harmony style. Winter Wonderland, Carol of the Drum [Little drummer boy], The Christmas Alphabet, The Christmas Song [Chestnuts roasting on an open fire] and Rudolph the Red-nosed Reindeer. Such fun!|9790222218949|COLLS P(ARR)|Philip Colls|Five Christmas Encores|Choir - Mixed voices (SATB)|?4.00|63
GM009|||9790222209602|SHORT M|Michael Short|Double Concerto (2 Violins & Piano)|Violin and piano|?12.75|233
GM010|||9790222221369|SHORT M|Michael Short|Apollo Concerto 1|Flute and piano|?8.00|149
GM011|||9790222226203|SHORT M|Michael Short|Apollo Concerto 2|Oboe and piano|?8.00|149
GM012|||9790222222434|SHORT M|Michael Short|Apollo Concerto 3|Clarinet and piano|?8.50|160
GM013|||9790222229549|SHORT M|Michael Short|Apollo Concerto 4|Bassoon and piano|?8.00|149
GM014|||9790222218956|GRANT R|Robin Grant|Iron Mad Wilkinson|Choir - Vocal score|?7.50|136
GM014ORCH|||9790222218987|GRANT R|Robin Grant|Iron Mad Wilkinson (Score & Parts)|Orchestra|?75.00|750
GM014PT||||GRANT R|Robin Grant|Iron Mad Wilkinson (Extra Part)|Orchestral Part|?2.50|38
GM014SC|||9790222218970|GRANT R|Robin Grant|Iron Mad Wilkinson (Full Score)|Orchestral Score|?25.00|290
GM014WDS|||9790222218963|GRANT R|Robin Grant|Iron Mad Wilkinson|Words only edition|?2.00|25
GM015|FOUR ANIMAL SONGS arranged by Philip Colls
Goodmusic GM015|Four amusing popular songs about animals arranged for unaccompanied mixed voice choir in close-harmony style. Nellie the Elephant, The Hippopotamus Song, The animals went in two by two and Little Red Monkey. Ideal individually as encores or have an "animal" section in your concert!|9790222218994|COLLS P(ARR)|Philip Colls|Four Animal Songs|Choir - Mixed voices (SATB)|?5.50|88
GM016|||9790222207158|FREWER G|Graham Frewer|Try A Trio!|Violin ensemble|?6.50|124
GM017|||9790222207165|FREWER G|Graham Frewer|Try A Trio!|Cello ensemble|?6.50|124
GM018|HEWITT-JONES, Tony (1926-1989)
CONCERTO FOR TRUMPET & STRINGS|'Orchestration
Solo trumpet in C or Bb
Strings (Violin 1, Violin 2, Viola, Cello, Bass)
This concerto is dedicated to the memory of the trumpet player Bernard Brown. This concerto was Tony Hewitt-Jones'' last major work before he died in 1989 at the age of 63. This is a trumpet and piano reduction of the concerto. The orchestral score and parts are also available to buy under catalogue number GMCO025.
Duration: 20 minutes'|9790222219526|HEWITT-JONES|Tony Hewitt-Jones|Concerto for Trumpet|Trumpet and piano|?12.00|221
GM020|||9790222271197|PARRY|C. Hubert H. Parry|Jerusalem arr.Lane|Wind band|?25.00|315
GM021|||9790222228405|BARRELL B|Bernard Barrell|Week of Pieces|Trumpet and piano|?6.00|112
GM022|||9790222236783|SHORT M|Michael Short|Apollo Concerto 5|Horn in F and piano|?8.00|149
GM023|||9790222229914|SHORT M|Michael Short|Apollo Concerto 6|Trumpet and piano|?10.00|184
GM024|LANE, Philip (1950- )
THREE SPANISH DANCES for oboe or clarinet and piano
Goodmusic GM024|Malaguena, Habanera and Tango make up this set of three Spanish Dances which is scored for solo oboe or solo clarinet and orchestra. This version has a piano reduction of the orchestral part. For details of the orchestral version see catalogue number GMCO040.
A recording of the clarinet and piano version played by Verity Butler and Gavin Sutherland is available on "Clarinet Kaleidoscope" on Campion Cameo CD2022.
Duration: 8? minutes
Malaguena is set on the Grade 5 clarinet syllabus of the Associated Board examinations for 2008 to 2013.|9790222230057|LANE P|Philip Lane|Three Spanish Dances (Ob or Cl)|Oboe and piano|?7.50|136
GM025|Peter Lawson
SONG OF THE LESSER TWAYBLADE
Goodmusic GM025|'Orchestration
Solo Treble Recorder
Harp
Strings (Violin 1, Violin 2, Viola, Cello, Bass)
The Lesser Twayblade is a type of orchid, a miniature plant, found in Britain almost exculsively in Scotland, unlike it''s much commoner and more robust relative the Twayblade Orchid which can be found plentifully throughout Great Britain. It is very dainty and sweet and discreet in colour. This work for treble recorder, harp and strings is in one movement and owes something to Debussy and Ravel and, like the plant, is dainty and sweet. This is a reduction for recorder and piano. The orchestral parts are also available (Catalogue number GMCO041).
An excellent performance, with the leading recorder soloist John Turner, is available on an ASV CD.
Duration: 6 minutes'|9790222230156|LAWSON|Peter Lawson|Song of the Lesser Twayblade|Recorder and piano|?6.00|112
GM026|Paul Lewis
VALSES for harp
Goodmusic GM026|'Three waltzes: Valse Nostalgique and Two Valses Pastiches - Valse Sentimentale and Valse Brave.
Also see Paul Lewis'' Saturday Night Jazz Suite and Slavic Dances for harp.'|9790222230163|LEWIS P|Paul Lewis|Valses for Harp|Harp|?4.50|76
GM027|Paul Lewis (1943- )
ENGLISH SUITE
for string quartet|'English Suite was originally written for string quartet but is also published in a version for string orchestra (GMCO042). The work reflects the composer''s love of the English countryside, uses folk song-like material and sits firmly in the tradition established by Holst and Vaughan Williams. Paul Lewis is of the opinion that every English composer should write a work for string orchestra.
This suite is in four movements: March, Meditation, Jig & Jaunt.
PAUL LEWIS was born in Brighton in 1943, avoided all formal musical training and worked during his teens in music publishing instead. He wrote his first score for a major TV drama at the age of 20, since when he has scored over 130 different TV plays and series, from high drama (Peter O''Toole in "The Dark Angel") to children''s comedy (the long-running series "Woof!"). Paul also enjoys composing concert and chamber works, all of them tonal and of a generally optimistic and romantic nature. Television, he says, has taught him to send the audience away whistling the tune, and he doesn''t see why he should do any differently in the concert hall!
Duration 10 minutes'|9790222230422|LEWIS P|Paul Lewis|English Suite for String Quartet|String Quartet|?11.25|209
GM028|Paul Lewis
SATURDAY NIGHT JAZZ SUITE for harp
Goodmusic GM028|'A suite of three pieces in light jazzy styles: 1.Jazzette 2.Blues for Harpo 3.Blue Fiver.
The final movement (a homage to Dave Brubeck) is included in the Associated Board Harp Examinations syllabus.
Also see Paul Lewis'' Valses for harp and Slavic Dances for harp.'|9790222252561|LEWIS P|Paul Lewis|Saturday Night Jazz Suite|Harp|?5.00|88
GM029|JEFFREYS, John (1927- )
VIOLIN CONCERTO in G minor
Violin & piano reduction GM029|'This is a violin and piano reduction of this concerto for violin and orchestra. The orchestral version is also available (as GMCO055).
Orchestration
Solo violin
Flute, Cor anglais, French horn
Strings (Violin 1, Violin 2, Viola, Cello, Bass)
The opening is a slow introduction recalling the wide span of the River Exe at Bickleigh. On the opposite west bank there is a green meadow and upon this imagine a fiddler and country dance in progress: the attention wanders and the fiddler fades as nature reveals a more gentle approach in the brief Allegretto where the violin dreams before the attention returns to the fiddler at the dance. The slow movement is the wide river itself, leisurely in summer. The third and final movement contains elements suggested by its predecessors with alternative moods of graceful nature and dark clouds providing contrast and the work ends slowly as it began with the introduction transformed into the concerto''s epilogue. The river flows on.
Duration: 25? minutes'|9790222263093|JEFFREYS J|John Jeffreys|Violin Concerto|Violin and piano|?9.50|173
GM030|ARNOLD, Malcolm (1921- )
SAXOPHONE CONCERTO
Reduction for alto saxophone & piano|'Original orchestration
Solo Alto saxophone
Strings (Violin 1, Violin 2, Viola, Cello, Bass)
This work is an arrangement and orchestration of Malcolm Arnold''s Piano Sonata, which he wrote in 1942, produced for alto saxophone and strings by David Ellis in 1994 at the request of the composer. It was first performed by Gerard McChrystal and the Milton Keynes Orchestra conducted by Hilary Davan Wetton.
This is the saxophone and piano reduction of this concerto. The orchestral score and parts are available (GMCO065) and also the original Piano Sonata from which it is taken (Roberton Publications no.9524)
Duration: c.10 minutes'|9790222263000|ARNOLD M|Malcolm Arnold|Saxophone Concerto (arr.Ellis)|Saxophone and piano|?8.00|149
GM031|LEWIS, Paul (1943- )
CONCERTO BURLESCO for Bassoon & Small Orchestra
Reduction for bassoon & piano GM031|'This concerto was written for, and is dedicated to, Graham Salvage, the principle bassoonist of the Halle Orchestra. The first performance was given by Graham on March 4th 2005 in a concert in Turkey with the Izmir State Symphony Orchestra conducted by Marek Pijarowski.
The concerto is in three movements: 1. Burlesque; 2. Serenade; 3. Fandango.
The concerto takes its name from the first movement, which the composer feels is more a burlesque of first movement sonata form than the real thing. The middle movement gives the soloist an opportunity to serenade the audience in the most romantic manner, using the poetic and soulful upper register of the bassoon, and the finale is a fandango, an energetic dance from the Basque region of France and Spain. The concerto finishes with a rapid chromatic scale from the bottom to the top of the bassoon, ending on a trill on a high D.
The score and orchestral parts are also available from us (Catalogue no.GMCO066).
Orchestration
Solo Bassoon
Flute (doubling piccolo), Oboe, Clarinet in Bb, Horn in F, Timpani (doubling susp.cymbal), Percussion (one player: Susp.cymbal, Snare drum, Tambourine, Tam-tam, 3 Wood blocks, Triangle, Whip, Vibraslap, Glockenspiel, Vibraphone), Celeste, Harp
Strings (Violin 1, Violin 2, Viola, cello, Bass)
Duration: c.20 minutes
This work is included on the Associated Board''s 2005 syllabus for LRSM diploma'|9790222262355|LEWIS P|Paul Lewis|Concerto Burlesco|Bassoon and piano|?10.75|197
GM032|HANDEL, George Frideric (1685-1759)
CONCERTINO for trumpet (arr.A.W.Benoy)
Trumpet and piano reduction GM032|A suite for trumpet in four movements arranged from various sources.
1. Adagio ("Sorge nel petto" from Rinaldo )
2. Minuet (from Suite No.10 for Keyboard)
3. Sarabande (from Suite No.16 for Keyboard)
4. Finale ("Si spietata" from Julius Caesar )
Orchestral parts to accompany this work are also available on sale in the Goodmusic Concert Cameos Series (GMCA010). It is scored for Violin 1, Violin 2, Viola (or Violin 3) and Cello/Bass and may be performed with or without piano.
Solo Trumpet parts are included in Bb and C.
This work was originally published by Oxford University Press.
Duration: 11? minutes|9790222265615|HANDEL GF|George Frideric Handel|Concertino (arr.Benoy)|Trumpet and piano|?6.00|112
GM033|MAHLER, Gustav
SYMPHONY No.2 Choral Score
edited by Tom Cunningham
Goodmusic GM033|'The traditional choral scores of this work present many problems for both singers and director. This edition addresses and resolves each of these problems. As well as incorporating many corrections, the main points can be summarised as follows:
a) The tenor part in Mahler''s manuscript and in other editions is in tenor C-clef which today''s singers cannot easily read. In this edition it is transcribed to the usual tenor G-clef.
b) The tenor part often divides and the parts are sometimes difficult to distinguish in some editions. In this edition the tenor parts are on two staves throughout. The bass parts are also separated at one point where it is impossible to show Mahler''s intentions otherwise.
c) The text in some editions is not under every voice part which makes it difficult for the singers to read the notes and the text together. In this edition the text is under every voice part.
d) The page layout in some editions causes unfortunate page turns, such as at the quietest point in the opening phrase. The layout of this edition solves these problems.
e) One popular choral score contains many differences from the published full scores - one example is in the last two bars of the chorus parts where there is an erroneous decrescendo. Other differences involve misplaced or incorrect dynamics and markings.
f) A literal translation of the German text is given at the foot of each page.
This edition of the choral score is based on Mahler''s final 1910 full score. It is therefore completely compatible with the current full scores and orchestral material. It contains all necessary orchestral cues and can also be used by the soloists as the solo parts are given complete.
A similar score of Mahler Symphony No.3 is also available - GM034.'|9790222269699|MAHLER|Gustav Mahler|Symphony No.2 (ed.Cunningham)|Choir - Vocal score|?3.50|50
GM034|MAHLER, Gustav
SYMPHONY No.3 Choral Score
edited by Tom Cunningham
Goodmusic GM034|'This edition uses the same clear layout as the editor''s acclaimed score of Mahler''s 2nd symphony. The main points can be summarised as follows:
a) The score includes the soloist, the boys'' choir and the women''s choir using modern, clear presentation.
b) The parts are clearly divided onto separate staves using the layout from Mahler''s full score. Each staff is identified on every page. The women''s voices are given on three staves throughout.
c) The text in some editions is not under every voice part, which makes it difficult for the singers to read the notes and the text together. In this edition the text is under every staff.
d) All the composer''s directions are translated into English.
e) A literal translation of the German text is given at the foot of each page.
In addition, there are many corrections based on the full score. This edition of the choral score is based on the full score. It is therefore completely compatible with the current full scores and orchestral material. It contains all necessary orchestral cues and can also be used by the soloist.
A similar edition of the choral score of Mahler Symphony No.2 is also available - GM033.'|9790222269705|MAHLER|Gustav Mahler|Symphony No.3 (ed.Cunningham)|Choir - Vocal score|?3.50|50
GM035|Paul Lewis
SLAVIC DANCES for harp
Goodmusic GM035|'Magyar Dance; Maidens'' Dance; Peasant Dance; Lamentation; Gypsy Dance.
Paul Lewis''s mother, who died in 2005 aged 93, was a half-Russian violinist who, whilst in her twenties, led her own ensemble "Phyllis Burstein and her Bohemian Girls Band". This suite of five pieces for harp reflects some of her many moods!
Duration:c.23 minutes'|9790222271470|LEWIS P|Paul Lewis|Slavic Dances|Harp|?6.00|112
GM036|Paul Carr (b.1961)
VIOLA AIR for solo viola and piano
Goodmusic GM036|The Viola Air for solo viola and string orchestra, here with a piano reduction, is a heartfelt love song in the form of a long arching lament, built around a simple and passionate theme woven through the strings. The principal idea is first heard on the solo viola and passes through to the violins and then a solo cello before slowly building towards a climactic statement about half way through. The music then subsides leaving the theme exposed in a more relaxed setting before arriving at its conclusion in quiet, calm suspension. (Paul Carr)
It was written for and is dedicated to Peter Sulski.
The version for viola with string orchestra is available - catalogue number GMCO084.
There are also versions of this work for string orchestra without soloist (GMCO080) and also for full orchestra (GMCO081).
Duration: about 10 minutes|9790222271920|CARR P|Paul Carr|Viola Air|Viola & Piano|?5.00|88
GM037|Paul Carr
FORBIDDEN WALTZ
for bassoon and piano
Goodmusic GM037|Having watched the film Imagining Argentina which tells the plight of political refugees and the "missing persons" of Argentina, I felt moved to write this soulful waltz. I imagine two people in love, dancing alone, late at night and in secret, for fear of persecution against their political, religious, or sexual preference. (Paul Carr)
Duration about 4 minutes|9790222271937|CARR P|Paul Carr|Forbidden Waltz|Bassoon and piano|?4.50|76
GM038|Paul Carr (b.1961)
CONCERTO FOR OBOE for solo oboe and piano
Goodmusic GM038|'I have long wanted to write an Oboe Concerto and have made several false starts - I don''t know why, but somehow the work never seemed to take flight and those earlier attempts were abandoned. I''ve written concertos for flute, two for clarinet, bassoon, 4 guitars, piano, and trumpet, but have always loved the oboe and find it puzzling that I should have taken so long to write a work for it - perhaps the oboe calls for a certain maturity, at least in me.
The Concerto is in three movements: Allegro energico is a lively conversation where the oboe takes the lead, pitted against the strings, in a blended mix of boisterous eruptions and loftier linear lines. The unusual quietness of snow is a slow and poignant expression of sadness and loss. At a difficult time in my life, a few days before my Mother''s death, it seemed strange that a heavy, early morning snow fall in the first days of March could have provided a sense of calmness and unity at a time of extreme emotion. The final movement, September music is a spirited evocation of Summer''s end. Whilst the general feeling is still of warmth and lightness, there is a certain nostalgia in the central passages, hinting that Summer is on the way out and the season about to change. Paul Carr
The Concerto was written for, and is dedicated to Nicholas Daniel, who gave the first performance with the Southern Sinfonia conducted by Ronald Corp, in Dorchester Abbey, Dorchester-on-Thames on 27th May 2008 as part of the English Music Festival. The concerto has also been recorded by Nicholas Daniel and the Royal Ballet Sinfonia, conducted by Gavin Sutherland and is released on the Dutton Epoch label.
Duration 18 minutes
The version for oboe and strings is available - see catalogue number GMCO083'|9790222272989|CARR P|Paul Carr|Concerto for Oboe|Oboe and piano|?8.00|149
GM039|Paul Carr
SONATINA
for bassoon and piano
Goodmusic GM039|Commissioned by, and dedicated to "The Glens", Sonatina is in three movements and was written over the course of a few days in December, here on the island of Mallorca where I live. Trying to start a piece is always the most difficult thing and sometimes I have to search for inspiration - on this occasion a beautiful walk on our local beach with my partner and our three small dogs, started me off with the first movement, "Running with Dogs"; not that I do a lot of running these days, but you get the drift! In the summer months the beach is crowded, but during winter it is deserted save for a few locals, also with dogs. It is a heavenly spot, and in the fading golden sun of a December day, even more so. The slow movement, "Poetic, somewhat sad", has a rather nostalgic feel to it. Written in the form of a simple song, its gentle lyricism lends it an air of days gone by, a quiet lamenting song of memories and of thoughtfulness. To end with "Short impromptu dance" is just that! (Paul Carr)
The first performance was given by Ian Glen and Glen Capra ["The Glens"] at the Brighton Festival in the church of St. Michael and All Angels on 17th May 2008
Duration about 7 minutes|9790222272897|CARR P|Paul Carr|Sonatina for Bassoon|Bassoon and piano|?5.00|88
GM040|Paul Carr
I THANK YOU GOD FOR MOST THIS AMAZING DAY
for mixed voice choir and small orchestra
Goodmusic GM040|A setting of a poem by e e cummings, scored for Flute, Oboe, Clarinet in Bb, Horn in F, Trumpet in Bb, Percussion [2] (Triangle, Tubular Bells, Vibraphone, Glockenspiel, Suspended Cymbal, Crash Cymbals), Harp, Strings (Violin 1, Violin 2, Viola, Cello, Bass) and Mixed Voice Choir (SATB).
The setting is an essentially gentle song of praise, opening on high strings with percussion and harp, slowly falling to a warm B flat major for the opening line of the poem, "i thank You God for most this amazing day". The music follows with a series of panels as the poem unfolds, each interspersed with short orchestral interludes but always returning home, before finally building to a climax with the words ".... doubt unimaginable You?" The last lines of the poem are first heard unaccompanied, but are joined by the orchestra with the words "and now the eyes of my eyes are opened" modulating in transcendant reassurance to the key of D flat major, where the work eventually comes to rest in complete tranquillity.
Vocal Score, Full Score and all orchestral parts are available to purchase.
Duration 9 minutes
You can view the vocal score. The audio file is a computer-generated version of the full orchestral performance.|9790222275003|CARR P|Paul Carr|I Thank You God Vocal Score|Choir - Mixed voices (SATB)|?3.50|50
GM040-00|||9790222275591|CARR P|Paul Carr|I Thank You God Full Score|Orchestra|?6.00|88
GM040-01|||9790222275607|CARR P|Paul Carr|I Thank You God Violin 1|Orchestra|?1.50|13
GM040-02|||9790222275614|CARR P|Paul Carr|I Thank You God Violin 2|Orchestra|?1.50|13
GM040-03|||9790222275621|CARR P|Paul Carr|I Thank You God Viola|Orchestra|?1.50|13
GM040-04|||9790222275638|CARR P|Paul Carr|I Thank You God Cello|Orchestra|?1.50|13
GM040-05|||9790222275645|CARR P|Paul Carr|I Thank You God Bass|Orchestra|?1.50|13
GM040-06|||9790222275652|CARR P|Paul Carr|I Thank You God Flute|Orchestra|?1.50|13
GM040-07|||9790222275669|CARR P|Paul Carr|I Thank You God Oboe|Orchestra|?1.50|13
GM040-08|||9790222275676|CARR P|Paul Carr|I Thank You God Clarinet|Orchestra|?1.50|13
GM040-09|||9790222275683|CARR P|Paul Carr|I Thank You God Horn|Orchestra|?1.50|13
GM040-10|||9790222275690|CARR P|Paul Carr|I Thank You God Trumpet|Orchestra|?1.50|13
GM040-11|||9790222275706|CARR P|Paul Carr|I Thank You God Percussion|Orchestra|?1.50|13
GM040-12|||9790222275713|CARR P|Paul Carr|I Thank You God Harp|Orchestra|?1.50|13
GM041|Paul Carr
REQUIEM FOR AN ANGEL
for mixed voice choir and orchestra
Goodmusic GM041|Orchestration
2 Flutes, Oboe, 2 Clarinets (2nd db. Alto Sax), Bassoon, 2 Horns, 2 Trumpets, Timpani, Percussion, Harp
Strings (Violin 1, Violin 2, Viola, Cello, Bass)
Soprano and Baritone soloists, Mixed Voice Choir
Reduced Chamber Version Orchestration
Flute, Oboe db.Cor Anglais, Clarinet in Bb, Horn in F, Trumpet in C, Percussion [1 player], Violin, Cello, Harp, Piano, Soprano and Baritone soloists, Mixed Voice Choir
A beautiful work with instant appeal for choirs and audiences. A CD on the Stone Records label is available.
It is inevitable that at some point in our lives we are faced with situations and events which may alter our daily routines and so change the way we feel and think about our own existence. This certainly was the case with me following the death, in 2005, of my Mother. A few months prior, my brother Gavin suggested that I might like to write a work for his choir, the Athenaeum Singers of Warminster. Despite not being a religious person in the formal sense of the word, I felt strangely drawn to writing a Requiem as it gave me the opportunity to express my love and gratitude to a woman who gave me everything. I wished to avoid the terrors of the Last Judgement and preferred my work to be an intimate one, reflecting feelings of peace, love and compassion. Therefore, I chose not to follow the standard Requiem Mass but have included words from other literary sources; a poem by St.Teresa of Avila and a love poem by the American poet Jack Larson, a poem written to another man but with words applicable to anyone, and not least to God. Paul Carr
Vocal score (112 pages), Study score (A4 size), Full score (A3 size) and orchestral parts on sale or hire.
Reduced Chamber Version for small instrumental ensemble also available (listed below).
To see the VOCAL SCORE click the View score button.
Duration: 46 minutes|9790222275010|CARR P|Paul Carr|Requiem for an Angel|Choir - Vocal score|?13.00|370
GM041-00|||9790222276116|CARR P|Paul Carr|Requiem for an Angel A3 Full Score|Orchestral Score|?60.00|980
GM041-01|||9790222276123|CARR P|Paul Carr|Requiem for an Angel Violin 1|Orchestral Part|?4.00|50
GM041-02|||9790222276130|CARR P|Paul Carr|Requiem for an Angel Violin 2|Orchestral Part|?4.00|50
GM041-03|||9790222276147|CARR P|Paul Carr|Requiem for an Angel Viola|Orchestral Part|?4.00|63
GM041-04|||9790222276154|CARR P|Paul Carr|Requiem for an Angel Cello|Orchestral Part|?4.00|63
GM041-05|||9790222276161|CARR P|Paul Carr|Requiem for an Angel Bass|Orchestral Part|?4.00|50
GM041-06|||9790222276178|CARR P|Paul Carr|Requiem for an Angel Flute 1|Orchestral Part|?4.00|50
GM041-07|||9790222276185|CARR P|Paul Carr|Requiem for an Angel Flute 2|Orchestral Part|?4.00|38
GM041-08|||9790222276192|CARR P|Paul Carr|Requiem for an Angel Oboe|Orchestral Part|?4.00|50
GM041-09|||9790222276208|CARR P|Paul Carr|Requiem for an Angel Clarinet 1|Orchestral Part|?4.00|50
GM041-10|||9790222276215|CARR P|Paul Carr|Requiem for an Angel Clarinet 2|Orchestral Part|?4.00|38
GM041-11|||9790222276222|CARR P|Paul Carr|Requiem for an Angel Bassoon|Orchestral Part|?4.00|50
GM041-12|||9790222276239|CARR P|Paul Carr|Requiem for an Angel Horn 1+2|Orchestral Part|?4.00|50
GM041-13|||9790222276246|CARR P|Paul Carr|Requiem for an Angel Trumpet 1+2|Orchestral Part|?4.00|38
GM041-14|||9790222276253|CARR P|Paul Carr|Requiem for an Angel Timpani|Orchestral Part|?4.00|25
GM041-15|||9790222276260|CARR P|Paul Carr|Requiem for an Angel Percussion|Orchestral Part|?4.00|38
GM041-16|||9790222276277|CARR P|Paul Carr|Requiem for an Angel Harp|Orchestral Part|?6.50|113
GM041-17|||9790222279339|CARR P|Paul Carr|Requiem for an Angel A4 Score|Orchestral Score|?40.00|490
GM041-50|||9790222290419|CARR P|Paul Carr|Requiem for an Angel CHAMBER Score|Orchestral Score|?40.00|500
GM041-51|||9790222290426|CARR P|Paul Carr|Requiem for an Angel CHAMBER Parts|Orchestral Part|?70.00|680
GM042|G. F. Handel
MESSIAH (edited Clifford Bartlett)
Orchestral parts
Goodmusic GM042
on behalf of Oxford University Press|'for SATB soloists, SATB choir, and orchestra
A truly versatile and user-friendly edition - a practical approach for performers, informed by the very highest standard of scholarship. The vocal score presents with great clarity the standard version that we all know and love, complete with a new, practical piano reduction. The appendix contains Handel''s alternative movements and transpostions. The full score includes all the alternative movements and transpositions in their correct sequence and all material is signposted clearly and cross-referenced with the vocal score.
The orchestral parts to this wonderfully clear edition of Messiah are now reprinted and sold by Goodmusic Publishing on behalf of Oxford University Press.
Note that the parts are reproduced at A4 size which is smaller than the original copies sold by OUP.
The Vocal Score and the Full Score are still available from Oxford University Press though we can supply the full score too.
Orchestral parts available are:-
Violin 1
Violin 2
Viola
Cello/Bass/Bassoon
Harpsichord/Organ Continuo
Wind Set (comprising 1 each of Oboe 1, Oboe 2, Trumpet 1 in C+Bb, Trumpet 2 in C+Bb, Bassoon, Timpani)
The Continuo part is figured in the Full Score but the "Harpsichord/Organ Continuo" part is not and is fully realised.
The orchestral parts (but not the full score) are also now available as DOWNLOADS. The download versions are shown in the list below marked as DOWNLOAD. Should you need more than one copy of a part then you must purchase the number of copies you need; you will still only have one file to download but the licence will authorise the number of copies purchased. If you buy multiple copies you are allowed to print only up to that number of copies. Alternatively, you can share the file electronically instead; but the total number of prints and shared electronic copies must not exceed the number purchased.'|9780193366671|HANDEL GF|George Frideric Handel|Messiah (Bartlett) Full Score [OUP]|Orchestral Score|?62.95|875
GM042-01|G. F. Handel
MESSIAH (edited Clifford Bartlett)
Orchestral parts
Goodmusic on behalf of Oxford University Press|'for SATB soloists, SATB choir, and orchestra
A truly versatile and user-friendly edition - a practical approach for performers, informed by the very highest standard of scholarship. The vocal score presents with great clarity the standard version that we all know and love, complete with a new, practical piano reduction. The appendix contains Handel''s alternative movements and transpostions. The full score includes all the alternative movements and transpositions in their correct sequence and all material is signposted clearly and cross-referenced with the vocal score.
The orchestral parts to this wonderfully clear edition of Messiah are now reprinted and sold by Goodmusic Publishing.
The Vocal Score and the Full Score are still published by Oxford University Press, though we can supply those to retail customers as well.
Orchestral parts available are:-
Violin 1
Violin 2
Viola
Cello/Bass/Bassoon
Harpsichord/Organ Continuo
Wind Set (comprising 1 each of Oboe 1, Oboe 2, Trumpet 1 in C+Bb, Trumpet 2 in C+Bb, Bassoon, Timpani)'|9780193366657|HANDEL GF|George Frideric Handel|Messiah (Bartlett) Violin 1|Orchestral Part|?15.00|294
GM042-02|||9780193366664|HANDEL GF|George Frideric Handel|Messiah (Bartlett) Violin 2|Orchestral Part|?15.00|294
GM042-03|||9780193366695|HANDEL GF|George Frideric Handel|Messiah (Bartlett) Viola|Orchestral Part|?15.00|198
GM042-04|||9780193366701|HANDEL GF|George Frideric Handel|Messiah (Bartlett) Cello/Bass/Bsn|Orchestral Part|?15.00|294
GM042-05|||9780193366718|HANDEL GF|George Frideric Handel|Messiah (Bartlett) Org/Hpschd Cont.|Orchestral Part|?35.00|580
GM042-06|||9780193366725|HANDEL GF|George Frideric Handel|Messiah (Bartlett) Wind Set|Orchestral Part|?40.00|628
GM042-07||||HANDEL GF|George Frideric Handel|Messiah (Bartlett) Oboe 1|Orchestral Part|?6.00|88
GM042-08||||HANDEL GF|George Frideric Handel|Messiah (Bartlett) Oboe 2|Orchestral Part|?6.00|88
GM042-09||||HANDEL GF|George Frideric Handel|Messiah (Bartlett) Trumpet 1|Orchestral Part|?5.00|50
GM042-10||||HANDEL GF|George Frideric Handel|Messiah (Bartlett) Trumpet 2|Orchestral Part|?5.00|38
GM042-11||||HANDEL GF|George Frideric Handel|Messiah (Bartlett) Timpani|Orchestral Part|?3.00|25
GM043|Paul Carr
CONCERTO FOR CLARINET
Goodmusic GM043|The concerto (my second for clarinet) is in four linked movements which run through continuously. It opens with a sustained but passionate Paean, beginning gently and building to a climax, before settling into a more reflective section in which vibraphone and harp complement the rising and falling motif in the clarinet and strings. This leads quite naturally into the second movement, a short and thoughtful Contemplation in which, for the most part, the clarinet is left on its own. The third section, Rather fast and lively, is a robust "kitchen sink drama" in which the clarinet starts off in buoyant mood with a simple catchy tune, later becoming more agitated and demonstrative. The music passes between clarinet and strings almost as if they are trying to out-do one another and ending with a forceful outburst in the strings, with percussion and timpani having the last word. The clarinet cannot compete and, in a short accompanied cadenza, slowly relinquishes its position and returns the concerto to its harmonious conclusion with a Quiet ending of relaxed contentment. Paul Carr
Duration about 15 minutes
The CONCERTO FOR CLARINET is published in this edition for clarinet and piano and also for clarinet and orchestra (see under GMCO087):|9790222277663|CARR P|Paul Carr|Concerto for Clarinet|Clarinet and piano|?6.50|124
GM044|Paul Carr
RUNNING WITH DOGS for clarinet and piano
Goodmusic GM044|'Running with Dogs started life as the first movement to my Bassoon Sonatina and was later re-worked as the first movement to my string suite "A Gentle Music". It is a liltingly infectious piece that translates easily into other forms, none more so than in this arrangement I made for the clarinettist Sabine Grofmeier, who lives in the same village as me on the island of Mallorca. In the summer months our nearest beach at Canyamel is crowded, but during the winter it is deserted save for a few locals, mostly with dogs. It is a heavenly spot, and in the fading golden sun of a winter''s day, even more so. The dogs in question are my three little Mallorcan Rateros, a sort of miniature pincher, and totally adorable as they scuttle across the sands, leaping into my arms should any larger dog approach. Paul Carr
Duration 3 minutes'|9790222276413|CARR P|Paul Carr|Running With Dogs|Clarinet and piano|?4.50|76
GM045|Tom Cunningham
THE OKAVANGO MACBETH
Goodmusic GM045|'A chamber opera with a libretto by Alexander McCall Smith. Set in the Botswana Okavango Delta, it tells a story of the struggle for power among competing baboons in their matriarchal society - thus drawing parallels with the Macbeth story.
Cast:
Male Primatologist (baritone),
Assistant (baritone, can also sing Duncan),
Female Primatologist (soprano),
Lady Macbeth (soprano),
Lady Macbeth''s friend (mezzo-soprano),
Macbeth (tenor),
Duncan (baritone),
Chorus (with solos).
Piano accompaniment OR Nine-piece chamber group (comprising 2 x violins, viola, violoncello, bass/bass guitar, piano/harmonium, saxophone, horn in F and percussion).
The idea for this opera came when Alexander McCall Smith was on a wildlife safari holiday with friends in Botswana''s Okavango Delta. He says: "I knew that there were two distinguished American primatologists, Dorothy Cheney and Robert Seyfarth, in the region who had spent some years researching baboon behaviour. I asked our river guide if he could take our boat across to where they worked. I had read their remarkable book (Baboon Metaphysics) which looks at how baboons view the world. I was struck by the hierarchical nature of baboon society and by the status and role of powerful females. It seemed to me that the essential elements of the Macbeth story could well be told in the context of baboon society. I sounded out the composer, Tom Cunningham, and we decided that this was a theme worthy of opera."
First performed on 3rd October 2009 at the No.1 Ladies'' Opera House, Gaborone, Botswana
Vocal scores and the full score and parts for the chamber group accompaniment are also available on hire from Goodmusic.
Before staging this work, a performing licence must be obtained from Goodmusic.
Duration 90 minutes
CLICK HERE to visit Tom Cunningham''s website
A selection of songs from the opera is also available - see GM135
A CD recording of the opera is available on Delphian DCD34096'|9790222277656|CUNNINGHAM|Tom Cunningham|Okavango Macbeth|Choir - Vocal score|?20.00|620
GM046|Paul Carr
SILENT NIGHT for mixed voice choir
Goodmusic GM046|A beautiful new carol setting for unaccompanied mixed voice choir. Not an arrangement but new music that nods to the traditional tune and uses the traditional words. First performances by the Bath Minerva Choir and the Bournemouth Symphony Chorus in their Christmas 2009 concerts.
Duration c.5 minutes|9790222277991|CARR P|Paul Carr|Silent Night|Choir - Mixed voices (SATB)|?2.75|38
GM047|Beethoven (arr.Peter Lawson)
MOONLIGHT for mixed voice choir
Goodmusic GM047|'Here is Beethoven''s most famous piano piece, the first movement of his Moonlight Sonata, in an arrangement for choir with a soloist. The piece can be accompanied by piano or by an orchestra. For full details of the orchestral version see under catalogue number GMCL169.
The choir can be either a mixed voice choir (SATB) [this version], a choir of upper voices (SSA) [GM048] or a male voice choir (TTBB) [GM049].
There is also a version for mixed voice choir of S/A/Men [Roberton 62004].
The lyrics have been written specially by Jason Pimblett.
Duration 5? minutes'|9790222278615|BEETHOVEN|Ludwig van Beethoven|Moonlight (arr.Lawson)|Choir - Mixed voices (SATB)|?2.75|38
GM048|Beethoven (arr.Peter Lawson)
MOONLIGHT for upper voice choir
Goodmusic GM048|'Here is Beethoven''s most famous piano piece, the first movement of his Moonlight Sonata, in an arrangement for choir with a soloist. The piece can be accompanied by piano or by an orchestra. For full details of the orchestral version see under catalogue number GMCL169.
The choir can be either a mixed voice choir (SATB) [GM047], a mixed voice choir of S/A/Men [Roberton 62004], a choir of upper voices (SSA) [this version] or a male voice choir (TTBB) [GM049].
The lyrics have been written specially by Jason Pimblett.
Duration 5? minutes'|9790222278622|BEETHOVEN|Ludwig van Beethoven|Moonlight (arr.Lawson)|Choir - 3 part upper voices|?2.75|38
GM049|Beethoven (arr.Peter Lawson)
MOONLIGHT for male voice choir
Goodmusic GM049|'Here is Beethoven''s most famous piano piece, the first movement of his Moonlight Sonata, in an arrangement for choir with a soloist. The piece can be accompanied by piano or by an orchestra. For full details of the orchestral version see under catalogue number GMCL169.
The choir can be either a mixed voice choir (SATB) [GM047], a mixed voice choir of S/A/Men [Roberton 62004], a choir of upper voices (SSA) [GM048] or a male voice choir (TTBB) [this version].
The lyrics have been written specially by Jason Pimblett.
Duration 5? minutes'|9790222278639|BEETHOVEN|Ludwig van Beethoven|Moonlight (arr.Lawson)|Choir - Male voices|?2.75|38
GM050|Peter Lawson
MUSIC HALL MEDLEY for mixed voice choir (SATB)
Goodmusic GM050|'A splendid medley of songs made famous in the music halls comprising "Put on your tat-ta little girlie", "I''ll be your sweetheart", "Danny Boy", "After the ball", "She was one of the early birds", "Somebody stole my gal", "I do like to be beside the seaside", "Oh, Oh, Antonio", "Daisy Bell", "Daddy wouldn''t buy me a bow-wow", "Let''s all go down the Strand", "Lily of Laguna" and "It''s a long way to Tipperary" . . . . . . . Phew!
This medley can be performed by mixed voice choir with a piano accompaniment or, if you just happen to have a full concert orchestra hanging around, they can accompany you instead. The orchestral score and parts are available in our Goodmusic Concert Pops series (see under GMCP016 for full details).
Your audience, should you be lucky enough to have one, can join in all the choruses they know and love!
There are two short instrumental sections in this medley (bars 21 to 52 and bars 99 to 130) which may be cut if you are performing it with just a piano and you want to deny your accompanist a bit of a solo spot and a little glory.
A version of this medley for male voice choir is also available (Catalogue number GM051) as well as a version for mixed voice choir of S/A/Men (Roberton 62005) and upper voice choir (GM148) .
Duration 12 minutes'|9790222278646|LAWSON|Peter Lawson|Music Hall Medley|Choir - Mixed voices (SATB)|?7.00|113
GM051|Peter Lawson
MUSIC HALL MEDLEY for male voice choir
Goodmusic GM051|'A splendid medley of songs made famous in the music halls comprising "Put on your tat-ta little girlie", "I''ll be your sweetheart", "Danny Boy", "After the ball", "She was one of the early birds", "Somebody stole my gal", "I do like to be beside the seaside", "Oh, Oh, Antonio", "Daisy Bell", "Daddy wouldn''t buy me a bow-wow", "Let''s all go down the Strand", "Lily of Laguna" and "It''s a long way to Tipperary" . . . . . . . Phew!
This medley can be performed by male voice choir with a piano accompaniment or, if you just happen to have a full concert orchestra hanging around,
they can accompany you instead. The orchestral score and parts are available in our Goodmusic Concert Pops series (see under GMCP016 for full details).
Your audience, should you be lucky enough to have one, can join in all the choruses they know and love!
There are two short instrumental sections in this medley (bars 21 to 52 and bars 99 to 130) which may be cut if you are performing it with just a piano and you want to deny your accompanist a bit of a solo spot and a little glory.
A version of this medley for mixed voice choir (SATB) is also available (Catalogue number GM050) as well as a version for mixed voice choir of S/A/Men (Roberton 62005) and upper voice choir (GM148).
Duration 12 minutes'|9790222278653|LAWSON|Peter Lawson|Music Hall Medley|Choir - Male voices|?7.00|113
GM052|Paul Carr
NOW COMES BEAUTY for mixed voice choir
Goodmusic GM052|"Now comes beauty" was originally composed in the Summer of 2009 as a song for solo voice and piano. At the suggestion of my brother Gavin, I then made this arrangement for unaccompanied mixed voice choir and also an instrumental version for string orchestra. Written at a time of great change in my life, it is essentially a song about reluctantly saying farewell to an idyllic, though sometime solitary life on the beautiful island of Mallorca, where I lived from 2004 to 2009 - the ending of a long relationship and the need to move on in a new direction. Death and re-birth if you like; painfully lost, but accepting and open at the same time. Paul Carr
For the solo voice version see GM055. For the string orchestra version see GMCO090.
Also available as part of "Three Motets" see GM128
Duration 5 minutes|9790222279650|CARR P|Paul Carr|Now Comes Beauty|Choir - Mixed voices (SATB)|?2.00|25
GM053|Paul Carr
HOLDING THE STARS for mixed voice choir
Goodmusic GM053|'In November 2009 I attended a concert in the church of St. Mary Redcliffe in Bristol, given by the Bristol Bach Choir, conducted by my brother Gavin. It was an inspired programme of contemporary American music and included works by Morten Lauridsen, Eric Whitacre and Samuel Barber. Among the Barber pieces was his timeless setting of the James Agee poem "Sure on this shining night". I thought it beautiful and felt I wanted to set the words myself for unaccompanied choir and did so straight away. I assumed, foolishly, that the works of James Agee would be in the public domain, but I was wrong. As Eric Whitacre discovered with his now famous choral piece "Sleep" - which he originally set to words by Robert Frost, but was then denied publishing rights - obtaining permission from publishers to set words still under copyright can be painfully problematic, as I have now found out. In the end Whitacre commissioned a friend and poet to write new words to his already composed music and the piece went on to become a modern choral classic. So, I have followed suit, only in this case I found it cheaper to commission myself! I''m no poet, but anyone can write words, and mine are a simple reverie to the solitude of thoughts and feelings that we all feel from time to time. Lost in the beauty of a summer''s night - in contemplation of oneself and the world. Paul Carr
Also available as part of "Three Motets" see GM128
Duration about 5? minutes'|9790222279667|CARR P|Paul Carr|Holding the Stars|Choir - Mixed voices (SATB)|?2.00|25
GM054|Paul Lewis
TAURANGA CONCERTO for clarinet and piano
Goodmusic GM054|'It was in Tauranga, New Zealand, that I bought my friend Ian Scott''s CD of British clarinet concertos, listened to it, and spontaneously began this work.
1. PERAMBULATION
This movement reflects the contentment of domestic life in a quiet suburb of Tauranga with my partner, soprano Sharon Elizabeth, and the serene happiness of our early morning walks in the local nature reserve.
2. KAIMAI SUNSET
The Kaimais are nearby mountains; we often watched the sun setting behind them. A romantic melody is allowed to develop and increase in passion with the intensity of the colours of a Kaimai sunset - here a metaphor for the surgings that passionate love is prone to.
3. BAYCOURT JITTERBUG
We saw a musical show at Tauranga''s Baycourt Theatre containing a dance number entitled "Jitterbug", which gave me the idea for the concerto''s finale - a jazzy movement reminiscent of the Swing music of the 1920s and 30s. In the unaccompanied cadenza the soloist muses on the tunes he has just played, like a dancer left alone on the dance floor after the band stops playing who carries on dancing to the music in his head, tentatively at first but with growing confidence until he runs out of energy. A bluesy moment ensues, leading to a wistful recollection of the lyrical second theme of the first movement, before the band strikes up again and the dance resumes. In an unexpected coda the "Kaimai Sunset" melody returns in the guise of a fast rumba! Paul Lewis
The TAURANGA CONCERTO is published in for clarinet and orchestra (GMCO089) and also for clarinet with piano reduction (GM054).
A PACK comprises one full score, parts for clarinet, percussion and strings 4/4/3/4/2.
Duration about 20 minutes'|9790222279827|LEWIS P|Paul Lewis|Tauranga Concerto|Clarinet and piano|?11.25|209
GM055|Paul Carr
NOW COMES BEAUTY for solo voice and piano
Goodmusic GM055|"Now comes beauty" was originally composed in the Summer of 2009 as this song for solo voice and piano. Written at a time of great change in my life, it is essentially a song about reluctantly saying farewell to an idyllic, though sometime solitary life on the beautiful island of Mallorca, where I lived from 2004 to 2009 - the ending of a long relationship and the need to move on in a new direction. Death and re-birth if you like; painfully lost, but accepting and open at the same time. At the suggestion of my brother Gavin, I then made an arrangement for unaccompanied mixed voice choir (see GM052) and also an instrumental version for string orchestra (see GMCO090). Paul Carr
Duration about 4? minutes
Two keys are shown in the same copy: Key A (range E to G#) and Key G (range D to F#)|9790222280106|CARR P|Paul Carr|Now Comes Beauty|Voice solo (with accompaniment)|?3.50|25
GM056|Paul Carr
THE UNUSUAL QUIETNESS OF SNOW
for oboe and string quartet
Goodmusic GM056|'Elegy for oboe & string quartet. This work is an arrangement of the slow movement from Paul Carr''s Concerto for Oboe. Score and parts included.
The unusual quietness of snow is a slow and poignant expression of sadness and loss. At a difficult time in my life, a few days before my Mother''s death, it seemed strange that a heavy, early morning snow fall in the first days of March could have provided a sense of calmness and unity at a time of extreme emotion. It was a snow fall and a quietness I shall never forget, and I remember thinking how comforting and beautiful it was - the large heavy flakes falling slowly and silently, as if out of a mark of respect. Opening with quiet sustained chords in the strings the oboe enters with an expressive theme that continually rises and falls, deepening in emotional intensity. Eventually the theme is taken up by the strings and joined by the oboe as it reaches its highest point - leaving the movement to subside into calm, quiet, and eventual rest. Paul Carr
The Concerto was written for, and is dedicated to Nicholas Daniel, who gave the first performance with the Southern Sinfonia conducted by Ronald Corp, in Dorchester Abbey, Dorchester-on-Thames on 27th May 2008 as part of the "English Music Festival". The concerto has also been recorded by Nicholas Daniel and the Royal Ballet Sinfonia, conducted by Gavin Sutherland and is released on the Dutton Epoch label.
At the request of Nicholas Daniel, Paul made this arrangement for oboe and string quartet for the Leicester International Festival of Music. The first performance was given at the Festival on 18th September 2009 by Nicholas Daniel, Priya Mitchell, Alexander Sitkovetsky, Guy Ben-Ziony & Natalie Clein.
Duration 6? minutes'|9790222280137|CARR P|Paul Carr|Unusual Quietness of Snow Ob+str.qu|Ensemble - Mixed|?6.50|124
GM057|Paul Carr
SONATINA for violin and piano
Goodmusic GM057|'I have always wanted to write a short work for violin and piano but have never had anyone to write it for. I once wrote a Violin Concerto, but it weren''t so good (!), except for the slow movement which I subsequently used elsewhere. I''ve written a series of SONATINAS, for Flute (two), Oboe (for Nicholas Daniel), Clarinet, Bassoon, and Viola and am delighted finally to have added one for Violin at the suggestion of Rupert Luck.
Written within the course of a week in early June at my family home outside Bath, a perfect summer''s day instills the opening movement with warmth and contentment - followed by "Falls the rain", a slow piece of quiet reflection, sadness perhaps, as a light evening rain falls on lush leaves and warm pathing stones, like an accompaniment to tears from within. The final movement is written in homage to the distinguished opera director, John Copley, with whom I have worked and laughed for many years - an invitation to his Birthday lunch provided me the opportunity of setting him to music; I even managed to include a favourite Poulenc progression of mine from his opera "Dialogue of the Carmelites".
I was delighted when Rupert asked me to write him something, otherwise I''d still be waiting to write that Violin piece - to be asked is often the only real inspiration a composer needs. Paul Carr
Duration 9 minutes'|9790222280298|CARR P|Paul Carr|Sonatina for Violin|Violin and piano|?6.50|124
GM058|Paul Lewis
JANE AUSTEN SUITE for harp
Goodmusic GM058|In 1998, inspired by close acquaintance with two antique gilded harps, I decided to compose a work in a style that would remind them of their younger days! To think myself into a thoroughly Regency frame of mind I played through antique music books until I was so immersed in the style of the period that I could close the books and continue playing in the same vein without any anachronistic intrusions. The books were a leather-bound volume of popular piano salon pieces by long-forgotten composers, written out in a neat copperplate ink script: "The Manuscript Books of Mary Heberden, Datchett Lodge, 1819 & 1826" and a similar collection of harp pieces compiled by one Eliza Euphrosina Saris at about the same time. By these means I hope to have produced music of the kind which Jane Austen might have imagined her fictional heroines playing, the sort of music that all well-bred young Regency ladies would have wanted to perform before an admiring audience, no doubt silhouetted with their harps before the French windows, making the most of the opportunity to display their slender fingers upon the strings and their delicate ankles as they moved the pedals. (Paul Lewis)
Four movements: Prologue; Country Dance; Romance; Ride away.
Duration 10 minutes|9790222281257|LEWIS P|Paul Lewis|Jane Austen Suite|Harp|?4.50|76
GM059|David Wilde
THE CELLIST OF SARAJEVO for solo cello
Goodmusic GM059|'A lament in rondo form for solo ''cello
During the conflict in Bosnia-Herzegovina, on May 27th 1992, a bakery in the pedestrian precinct Vase Miskina in Sarajevo, happened to have a supply of flour and was making bread. A long line of customers stretched down the street when a mortar shell landed in their midst. Twenty-two people were killed. Close by lived Vedran Smailovic who had been a ''cellist with the Sarajevo Opera. After the tragedy, he went daily to the spot in full evening dress and risked his own life by playing in memory of the dead, regardless of mortar and machine-gun fire and the risk of further grenade attacks.
The report by John Burns of the New York Times of this heroic musical declaration made an impact more immediate than any political statement about the Bosnian catastrophe before or since. It was quoted by many newspapers including the Herald Tribune who, in an editorial, directly challenged President Bush to match the ''cellist''s courage.
"I first read about it in a copy of the Herald Tribune that I bought prior to boarding a train from Nurnberg to Hannover. As I sat in the train, greatly moved, I listened, and somewhere deep within me a ''cello began to play a circular melody like a lament without end . . . . ." David Wilde
"The ''Cellist of Sarajevo" was immediately taken up by many distinguished ''cellists, and repeatedly played in America, Britain, Australia, New Zealand, Thailand and Germany. Alexander Baillie gave the first performance, in the Queen Elizabeth Hall in London, and Matthew Barley the first broadcast performance, on the UK broadcasting network, Classic FM.
Yo Yo Ma has recorded "The ''Cellist of Sarajevo" for Sony Classical on his CD "Solo", and has played it worldwide, as have many other distinguished ''cellists.
Duration 8? minutes'|9790222281387|WILDE D|David Wilde|Cellist of Sarajevo|Cello solo|?7.50|75
GM060|'SONG OF THE CREEPING LADY''S TRESSES by Peter Lawson
for violin and piano
Goodmusic GM060'|'The Song of the Creeping Lady''s Tresses Orchid for violin and piano was written in 1990 and was extensively re-written in 2015. It is the eighteenth in a projected series of musical portraits of the forty-eight wild orchids of Great Britain and Ireland - for various instrumental and orchestral combinations.
The Creeping Lady''s Tresses, Goodyera repens, is typically found growing amongst sphagnum moss in ancient cathedral-like pinewoods, where there is enough space between the pines to let in shafts of sunlight.
Apart from one colony in North Norfolk, it has a distinctly Northerly distribution in Britain, being found in the border counties of Northern England up to the Inverness area of Scotland. It is entirely absent from Ireland, but occurs in most European countries and the temperate regions of the northern hemisphere, in Asia, North America and North Africa.
Unusually for orchids, the bulbs are replaced by fleshy rhizomes which creep under the moss and send up occasional spikes of about twenty creamy-white, sweetly-scented, hairy flowers arranged in single spirals, fancifully looking like tresses of a lady''s hair. Although propagation can result from pollination by insects, resulting in seeds as fine as dust which can establish new colonies, most plants within colonies result from the mesh of creeping rhizomes. There is a rosette of pointed oval, heavily-veined leaves at the base of the stem.
The Song of the Creeping Lady''s Tresses Orchid is in the form of three short movements - a colour-coding of harmonies is employed, as in other orchid portraits. The first movement, Introduction, sets the scene in the ancient pinewoods, with the orchid creeping around the sphagnum moss amongst dappled shafts of sunlight. This leads, without a break, to a Minuet, referring to the dainty nature of the flowering spike. The final movement, The Ancient Pinewood, reflects the mystery and beauty of the surroundings of the orchid.
Duration 7 minutes'|9790222281486|LAWSON|Peter Lawson|'Song of the Creeping Lady''s Tresses'|Violin and piano|?5.50|100
GM061|SONG OF THE DARK RED HELLEBORINE by Peter Lawson
for piano
Goodmusic GM061|The Song of the Dark Red Helleborine is the seventeenth in a projected cycle of musical portraits of the forty-eight wild orchids of Britain and Ireland, and was first performed on January 4th, 1991 in the Wigmore Hall, London, by James Kirby, for whom it was written.
The Dark Red Helleborine is a rather rare, attractive and distinctive orchid, which grows on limestone pavements and cliffs in Northern England, North Wales, Scotland and Western Ireland. It is distributed widely throughout Europe and in Asia it is even found in Siberia. Although it may attain a height of two feet, it is more commonly much more stunted in exposed positions.
The harmony of the slow introduction attempts to invoke the colour of the orchid, the ensuing Allegretto its grace and charm. An Allegro leads to its pollination it finally dies back down to over-winter - on its windswept, lunar landscape - such as the Burren in County Clare.
Duration 5? minutes|9790222281493|LAWSON|Peter Lawson|Song of the Dark Red Helleborine|Piano - Solo|?4.50|76
GM062|SONG OF THE GREEN WINGED ORCHID by Peter Lawson
for flute and piano
Goodmusic GM062|'The Song of the Green-Winged Orchid was written in 1986 for Simon Desorgher who gave the first performance in Putney Parish Church later that year. It was the eleventh to be written in a projected series of 48 portraits of the wild orchids of Britain and Ireland, with instrumentation ranging from solo piano to orchestral music.
The Green-winged or Green-veined orchid, Orchis morio (from the Greek moros, meaning fool, clown, crazy, so named in Renaissance times when its hooded, green-veined lateral sepals evidently invoked imagery of clowns) is rather short and stocky - usually 6-15cms high - and has a loose spike of generally 6-12 rich purple flowers, with the central lobe of the three-lobed lower lip lighter in colour with dark mauve spots. It is distinctly local and favours open dampish meadows in May, particularly on chalk, though it can tolerate a slightly acid soil - and when conditions are right, it can be abundant, though modern farming techniques and the use of fertilisers has led to a drastic reduction in plant numbers in the last fifty years. In large colonies, about one per cent are albinos, ie pure white, but there is considerable range in flower colour otherwise, from dark purple to carmine pink. The scent of the flowers is sweeter in lighter-coloured forms. It is widely distributed throughout Ireland, Wales and England (but strangely not Scotland), westward as far as the Faroe Islands, eastwards to Western Siberia and to the south, as far as the Mediterranean region, where there are two subspecies.
The Song of the Green-Winged Orchid contrasts (sometimes violently) the craziness of the outward appearance of the orchid with the beauty and sadness of the ''inner song'' of the plant itself. As with other orchid portraits in the cycle, colour-coded harmonies denote the plant and its environment.
Duration 10 minutes
The YouTube video is of a concert at the London New Wind Festival 2020 at Burgh House, Hampstead on Monday 9th November 2020 in which this piece was played by its dedicatee, Simon Desorgher. The video should start at around 29''50" at the beginning of the Song of the Green Winged Orchid.'|9790222281509|LAWSON|Peter Lawson|Song of the Green Winged Orchid|Flute and piano|?6.00|112
GM063|SONG OF THE PYRAMID ORCHID by Peter Lawson
for harp
Goodmusic GM063|'Song of the Pyramid Orchid was written in 1990 and revised in 2015 for Bryn Lewis, then the principal harpist of the Philharmonia Orchestra, now the principal harpist of the London Symphony Orchestra and a Professor of Harp at the Guildhall School of Music and Drama. It was the sixteenth to be composed in a projected series of musical portraits of the forty-eight wild orchids of Britain and Ireland, of which there are currently thirty-one written, scored for various instrumental and orchestral forces.
The Pyramid (or Pyramidal) Orchid, Anacamptis pyramidalis, is a familiar sight on chalk and limestone grassland in Southern England, extending upwards to Western Scotland and Ireland and South-East to Eastern Asia, the Mediterranean and North Africa. The orchid takes its name from its neat, conical spike of closely-packed flowers, which range from rich red or cerise to pink - very rarely pure white. The lower labellum is three-lobed with its two upper petals having evolved to be so angled as to act as a guide for the nectar-seeking proboscis of a butterfly.
Taking its cue from the Egyptian Pyramids, the Song of the Pyramid Orchid employs Middle-Eastern type scales as well as referring to a colour coding scheme of harmonies used in all of the orchid portraits. An arch-like melodic fragment heard at the beginning refers to both the faint, sweet perfume of the flowers and the mysteries of the ancient Pyramids. This is expounded upon, but gives way to a chorale-like passage, using harmonies taken from the opening pyramid figuration''s ''scale''. Increasingly animated sections fancifully lead up to the flower''s pollination, after which the music revisits the more reflective chorale-like passage. Finally, the pyramid figuration makes an appearance which is intended to represent the flower dying back for the winter - ready to flower again the following year. So there is an arch-like structure in the piece, complementing the arch-like pyramid motif.
Duration 7? minutes'|9790222281516|LAWSON|Peter Lawson|Song of the Pyramid Orchid|Harp|?5.00|88
GM064|SONG OF THE VIOLET HELLEBORINE by Peter Lawson
for piano
Goodmusic GM064|The Song of the Violet Helleborine, written in 1987 for Philip Fowke, is the thirteenth in a projected cycle of musical portraits of the forty-eight wild orchids of Britain and Ireland, for various solo, chamber and orchestral combinations.
The Violet Helleborine, Epipactis purpurea, is a very localised plant, confined in Britain to South East England, mainly in clumps in beech woods. In Europe, it has a central and Northern distribution and has been reported as far East as Western Siberia. The plant, which can grow up to a metre tall, while unspectacular from a distance, is most attractive at closer range - the flowers are reddish-green, in a tightly-packed raceme with long bracts, giving the spike a leafy appearance. The leaves and stems are suffused with violet, a distinguishing feature from which the plant takes its name. It flowers about two weeks later, in August, than its commoner close relative, the Broad Helleborine and has adapted itself to be pollinated by wasps, which are prevalent in the late summer. Its nectar contains a yeast fungi which causes the wasp to be intoxicated with alcohol and less able to scrape off pollen, thus facilitating pollination when the wasp moves to another plant.
The music uses the same colour-coding of harmonies as in the other orchid portraits. The piece is in binary form, the first section depicting the outward appearance of the plant to ourselves, a riot of subtle colours - delicate and tender at times, becoming increasingly intoxicated as pollination takes place. A chorale-like transition leads to the song of the orchid itself, in which motifs from the first section can be heard again, but serenely this time, as it were through the eyes of the orchid.
Duration 12 minutes|9790222281523|LAWSON|Peter Lawson|Song of the Violet Helleborine|Piano - Solo|?6.00|112
GM065|'SONG OF THE IRISH LADY''S TRESES ORCHID by Peter Lawson
for flute, oboe, viola and piano
Goodmusic GM065'|'The Song of the Irish Lady''s Tresses Orchid, written in 1987 for Maura and David Presly and Simon Desorgher, was the twelfth to be written in a projected cycle of musical portraits of the forty-eight wild orchids of Britain and Ireland for solo, chamber and orchestral resources.
The Irish Lady''s Tresses Orchid, Spiranthes romanzoffiana, is present in Europe only in Western Scotland, Dartmoor (possibly now extinct there) and in Western and Northern Ireland. It''s main distribution, however, is in the Northern states of the US and in Southern Canada - yet more evidence that Europe and North America were once joined up. There are also uncorroborated reports of it growing in the far East of Russia. The plant has three spiral rows of about seven creamy flowers on each row (the ''tresses''), which have a vanilla or hawthorn scent. It grows in wet ground by lochs and in wettish meadowland on slightly acid soils, flowering in late July and throughout August. Its principal threat appears to be the drainage of potential sites by humans and being eaten by cattle, sheep and particularly horses, who appear to regard it as a tasty delicacy.
The piece is in binary form, the first part being a representation of the Irish and Scottish habitats (with references to an Irish hornpipe, which many will remember as the theme to ''Captain Pugwash'' and to the air ''Slieve na mon''). At one point, the flute, oboe and viola launch into a slightly eerie representation of the three rows of flowers. The second part is, as it were, the ''Song'' of the orchid itself and is a tranquil paean to the beautiful surroundings in which the orchid is invariably found.
Duration 10 minutes'|9790222281530|LAWSON|Peter Lawson|'Song of the Irish Lady''s Tresses Or'|Ensemble - Mixed|?12.00|221
GM066|Havelock Nelson
TWO PIECES for flute and piano
Goodmusic GM066|Two lovely pieces "Eirie Cherie" and "In Venzuela" for flute and piano.
EIRIE CHERIE was written for Kenneth Smith (flute) and Paul Rhodes (piano) and is based on a Trinidadian folk song. It captures much of the spirit of Jamaican music through its laid-back, langorous melody and its infectious rhythms.
IN VENEZUELA is subtitled "Improvisation on a South American theme", this work started out as a piece for cello and harp. Havelock Nelson subsequently arranged it for flute and piano and dedicated it to Kenneth Smith and Paul Rhodes (for whom "Eirie Cherie", above, was written). The piece opens with a haunting melody in the minor key on the flute which is taken up and developed by the piano. A contrasting section of a more reflective character appears before the opening theme returns once again for the conclusion.
Duration 2 minutes and 3 minutes
A CD recording of these pieces played by Kenneth Smith and Paul Rhodes is available on Divine Arts DDA25069.|9790222281547|NELSON H|Havelock Nelson|Two Pieces: Eirie Cherie+Venezuela|Flute and piano|?5.00|88
GM067|Paul Carr
THERE IS NO ROSE for mixed voice choir and piano
Goodmusic GM067|A carol for SATB choir and piano. A lovely setting of this old English carol with new music by Paul Carr. Just beautiful . . . . .
Duration 6 minutes|9790222281745|CARR P|Paul Carr|There Is No Rose|Choir - Mixed voices (SATB)|?2.00|25
GM068|SONG OF THE LATE SPIDER ORCHID by Peter Lawson
for two pianos
Goodmusic GM068|'The Song of the Late Spider Orchid was the tenth to be written in a series of musical portraits - for various instrumental combinations - of the wild orchids of Great Britain and Ireland, of which there are forty-eight. It was first performed by its dedicatees, Stephen Coombs and Christopher Scott, in the Purcell Room, London, on October 23rd 1986.
The Late Spider Orchid is a member of the exotic Ophrys section of the orchid family. Ophrys orchids imitate insects and in some instances the male insect is tricked into believing the flower to be a female - inducing pollination by a process known as pseudo-copulation. Although widely found in the Mediterranean region and as far North and East as Germany and Syria, the Late Spider Orchid, Ophrys fuciflora (or O. holoserica) is now extremely rare in Britain, being confined to short chalk turf in two small areas of Kent.
The Song of the Late Spider Orchid commences with a passacaglia-like sequence of chords - representing our impression of the orchid and fancifully depicting the brown, gold, pink and green colours of the plant: this is basically harmony and rhythm without melody. Later we hear the ''song'' of the orchid itself - melody without much of a rhythmic shape. In the final section, the two elements are ultimately fused, the melody of the ''song'' being given the passacaglia''s rhythm - a musical pollination, as it were.
Two copies are required for performance
Duration 10 minutes'|9790222281851|LAWSON|Peter Lawson|Song of the Late Spider Orchid|Piano - 2 players on 2 pianos|?7.50|136
GM069|SONG OF THE MILITARY ORCHID by Peter Lawson
for five flutes
Goodmusic GM069|'The Song of the Military Orchid, for five flutes, was written in 1982 for Simon Desorgher, who subsequently broadcast it on Radio 3, playing the first flute against the other four flutes, which he had pre-recorded. It was the second to be written in a series of musical portraits of the forty-eight wild orchids of Britain and Ireland for various combinations from solo instruments to orchestral forces.
The Military or Soldier Orchid, Orchis militaris, is widely distributed from Sweden and Southern Siberia in the North to the Mediterranean region in the South. In England, it was, in the mid nineteenth century fairly frequent in the Chiltern Hills, with sites in Kent and Surrey. Because of its robust, flamboyant appearance, it suffered from picking and changes in land usage and techniques, became increasingly rare and was thought to be extinct for about twenty years until a colony was found in a Buckinghamshire wood in 1947, followed by a large colony in Suffolk in 1954. The orchid''s name derives from the lower lip with its two rows of reddish-purple spots on a pink background resembling a soldier''s buttoned-up tunic, with two lobes for ''arms'' and the sepals and two upper petals forming a helmet-like ''hood''. It prefers half shade and typically grows in clearings and at the edges of woods.
In the first part of the Song of the Military Orchid, we hear military-like fanfares on the flutes, which intensify to something of a cacophony. A short cadenza leads to the ''Song'' of the orchid itself - rather than our perception of it. The short piece ends with a brief reference to the military motif.
Duration 5? minutes'|9790222281868|LAWSON|Peter Lawson|Song of the Military Orchid (5xFls)|Flute ensemble|?6.50|124
GM070|SUITE FOR UNACCOMPANIED VIOLA by Imogen Holst
for solo viola
Goodmusic GM070|'Imogen Holst, the daughter of Gustav Holst, wrote this suite for viola in 1930, though the exact date is unknown. It was first performed on 14th December 1931 at the Ballet Club Theatre, 2a Ladbroke Road, London W11, by Violet Brough who was the viola player with the Macnaghten String Quartet. In this concert the Quartet and others performed Elizabeth Maconchy''s Quintet for Strings, a Haydn String Quartet, songs by Patrick Hadley and Philip Rosseter and also gave the first performance of a string quartet by Betty Lutyens.
In June 1932, Imogen Holst specially wrote out a fair copy of the work and gave it to her schoolfriend Leila Andrews as a wedding present. It bore the dedication "For Leila with love from Imo. June 1932". It seems as though it was the copy of the work that was given as the gift, rather than the work itself. With her solo suite for violin, Imogen Holst appears to have given a number of copies of the work to different people with individual dedications on each. However, with the Suite for Viola, only Leila Andrews'' copy has come to light with a dedication so it is that dedication that appears on this published edition.
Virtually all bowings and fingerings are editorial. The work is in four movements: Prelude, Cinquepace, Saraband & Gigue and is published here for the first time.
Duration 8? minutes'|9790222281837|HOLST I|Imogen Holst|Suite for Unaccompanied Viola|Viola solo|?4.50|76
GM071|Wilhelm Friedrich Ernst Bach
DAS DREYBLATT for three players on one piano
Goodmusic GM071|'Wilhelm Friedrich Ernst Bach was born on 23rd May 1759 and died on Christmas Day 1845. He was the son of Johann Christoph Friedrich Bach and the grandson of Johann Sebastian Bach. He received training in music from his father and from his uncle, Carl Philipp Emanuel Bach, and from another uncle in England, Johann Christian Bach. He held several musical posts during his life including Music Director to King Friedrich William II, Kapellmeister of Minden in 1786, and from 1788 to 1811 Kapellmeister in Berlin.
Wilhelm''s compositions were certainly less remarkable than those of his esteemed grandfather or his uncles, but he did at least have a sense of humour. Das Dreyblatt for three players on one piano was written in such a way that it was to be performed with one large male in the middle and two petite females on either side of him. He indicated that the man was to stretch his arms around the ladies to play the outside parts, while the ladies performed the middle parts.
In these enlightened times, there is no reason why these roles should be confined to the genders he suggested - though the middle (outer) player does need to have reasonably long arms . . . . . . . . . .
Duration 2 minutes'|9790222281875|BACH WFE|Wilhelm Friedrich Ernst Bach|Das Dreyblatt|Piano - 3 players on 1 piano|?4.50|76
GM072|SONG OF THE SLENDER-LIPPED HELLEBORINE by Peter Lawson
for violin and guitar
Goodmusic GM072|The Song of the Slender-Lipped Helleborine, for violin and guitar, was written in 1983 for the violinist Stephen Bentley-Klein, who took part in its first performance. It was the third to be written in a series of musical portraits - for various instrumental combinations - of the wild orchids of Great Britain and Ireland, of which there are forty-eight.
The Slender-Lipped (or Narrow-Lipped) Helleborine, Epipactis leptochila, was first separated out from its commoner relative, Broad-Leaved (or Common) Helleborine, in 1921, though it is still regarded by some as a subspecies of it. However, the plant differs from its relative by being largely self-pollinating and visually in having a long, sharply-pointed lower lip. It usually lacks the rosy hue of Broad-Leaved Helleborine, but sometimes retains a pink flush; generally, though, it is entirely green. Like its close relative, it is robust - up to 60 cms in height, grows in clumps of up to six spikes and one spike can bear as many as twenty-five flowers. It is rather rare in all of its locations and grows in deciduous woods on calcareous or sandy soils, favouring beechwoods. Its distribution in the British Isles is generally confined to the South East, but has been found as far West as Devon. Abroad, it appears to be confined to Europe but has been recorded widely from Denmark to Greece.
The Song of the Slender-Lipped Helleborine is in ternary form with the outer sections representing the cathedral-like serenity of its typical beechwood habit. The middle section, with its more animated dialogue between the violin and the guitar, represents the detailed physiognomy of the plant.
Duration 8 minutes|9790222281882|LAWSON|Peter Lawson|Song of the Slender-lipped Hellebor|Violin and guitar|?6.00|112
GM073|SONG OF THE BIRDS-NEST ORCHID by Peter Lawson
for piano
Goodmusic GM073|'The Song of the Bird''s-Nest Orchid was written in 1982 for Reiko Isobe. It was the fifth to be written in a series of musical portraits of the 48 species of wild orchids in Britain and Ireland.
The Bird''s-Nest Orchid, Neottia nidus-avis, so named because of the resemblance of its root system to a magpie''s nest, is a saprophtye, living off decayed material from plants and animals. The roots are heavily infected with a mycorrhizal fungus which helps it absorb food from the rotting material (usually dead leaves). This robust orchid - up to 40cm high - is widely distributed throughout Northern regions of Europe and Asia - as far East as Siberia. It is a strange plant, to be found in deep shade in woodland, where practically nothing else will grow. It has virtually no chlorophyll and is therefore completely lacking in the greenness which one associates with normal plants. There are no true leaves, only brown, translucent scales up the stem. In fact the whole plant is honey-brown in colour and from a distance, looks as if it is dead. On closer inspection it is rather subtle and beautiful and has up to a hundred flowers with large yellow pollen masses, smelling pleasantly of honey. These attract small insects which pollinate them, though the plant also self-pollinates.
The Song takes us on a journey from initially noticing what looks like a dead plant, through to closer inspection of its finer details and realisation of the wider beauty of the plant in relation to its environment, to finally hearing the orchid''s own song. We begin with a gloomy passacaglia. This is embroidered and eventually gathers pace and is developed to a powerful climax. We then - in a transitional section - reflect on the orchid in relation to the overhead canopy of trees with distant shafts of sunlight penetrating through it, before we finally hear the song of the orchid itself - as if from its own point of view.
Duration 14 minutes'|9790222281899|LAWSON|Peter Lawson|Song of the Birds-nest Orchid|Piano - Solo|?6.00|112
GM074|Paul Carr
THE CLOTHS OF HEAVEN for mixed voice choir
Goodmusic GM074|'A new, very moving, beautiful setting for unaccompanied mixed voice choir of W. B. Yeats'' poem "He wishes for the Cloths of Heaven". Although much of the piece is in four parts, all of the voice parts divide at some stage, the sopranos and altos each into 3 parts at one point, where it is necessary for some delicious chordal effects. You can view the score here and your computer will attempt to play it - the result may be quite a long way from a real performance with the subtlety that voices can bring, but it might give you a rough idea of the notes!
Also available as part of "Three Motets" see GM128
Duration 5? minutes'|9790222281912|CARR P|Paul Carr|Cloths of Heaven|Choir - Mixed voices (SATB)|?2.00|25
GM075|SONG OF THE FROG ORCHID by Peter Lawson
for trombone and piano
Goodmusic GM075|'The Song of the Frog Orchid, completed in 1983 for Paul Nieman, who gave it it''s first performance in London, was the sixth to be written in a cycle of instrumental and orchestral depictions of the forty-eight wild orchids of Britain and Ireland, of which twenty-eight have been completed to date.
The Frog Orchid, Coeloglossum viride, though widely distributed throughout Britain and Ireland, is local and often overlooked, being camouflaged by its greenish inflorescence, which is sometimes tinged red or brown. It derives its name from the likeness of its hooded upper petals and divided lower petals to the ''bulging eyes'' and legs of a frog. It varies greatly in size (tiny to robust) and habitat (from stabilised sand dunes to the height of 3,300 feet in the Grampians of Scotland and to 13,000 feet on the Turkestan plateau). In the south of England it is generally associated with calcareous pastures, ancient workings and battlefields.
The orchid''s links to human antiquity account for the first part of the work; the second part is the ''Song'' of the orchid ''from its own point of view''. The piano commences a lugubrious narrative, leading to a somewhat Mahlerian funeral march. The latter becomes the subject of a couple of loose variations - the one referring to an ancient conflict and the other to its fusty and ''fossilised'' remains. A more lyrical interval leads to a ghoulish cadenza, after which the piano returns with a birdsong-line diversion from the gloom, which misleadingly heralds an even more bloody reference to the funeral march, ending the first part of the piece. The ''Song'', itself the subject of two loose variants, follows without a break and is totally unrelated to the human perception of the plant: the orchid basks in the warmth of its cushion of short grass and enjoys the tranquillity of its downland surroundings - so sadly disappearing nowadays.
Duration 17 minutes'|9790222282179|LAWSON|Peter Lawson|Song of the Frog Orchid|Trombone and piano|?7.50|136
GM076|Giovanni Battista Pergolesi / John Barbirolli
CONCERTO for oboe and piano
Goodmusic GM076|'This transcription was originally made and intended for oboe, but is also playable by flute in which case the 8va markings and the ossia at the end of the last movement should be used.
The sources of the themes used in the Concerto are: Movement 1) Stabat Mater, 2) & 4) Twelve Sonatas for two violins and bass, and 3) Song "Se tu m''ami".*
This edition was originally published in 1937 by Oxford University Press. This new edition has been re-typeset but is otherwise unchanged.
The orchestral score and parts are also available - see catalogue number GMCA020 (where you can also hear the Concerto).
Pergolesi was born in Iesi, Italy and studied there under a local musician before going to Naples in 1725 where he studied under Gaetano Greco and Francesco Feo. He was an important early composer of opera as well as writing sacred choral works and secular instrumental works. He died of tuberculosis at the age of 26.
*There is now some doubt as to whether the song "Se tu m''ami" was actually written by Pergolesi and it is now more often attributed to Alessandro Parisotti (1853-1913).
Duration 12 minutes'|9790222283633|PERGOLESI|Giovanni Baptista Pergolesi|Concerto for Oboe (Barbirolli)|Oboe and piano|?5.00|88
GM077|G. F. HANDEL transcribed John Barbirolli
CONCERTO for viola and piano
Goodmusic GM077|'This work was dedicated by John Barbirolli (1899-1970) to the Scottish born virtuoso violist and teacher William Primrose (1904-1982) who provided the fingering and bowing in the viola part. This transcription uses the following sources for the five movements:-
1. "Herakles" Act 1, Iole''s aria
2. "Rinaldo" Act 3, Almira''s last aria
3. "Alcina", Musette from the Overture
4. Introduction to "Delmiro amoroso", no.12 of Cantate con strumente Vol.1
5. Second movement of Sonata VI from Nine Sonatas or Trios for two violins, flutes or hautboys.
This edition was originally published in 1950 by Oxford University Press. This new edition has been re-typeset but is otherwise unchanged.
The orchestral score and parts are on sale (see GMCA022 where you can also hear the work) apart from this reduction for viola and piano. There are several passages in the solo viola part which are to be played only when accompanied by piano, but not when there is an orchestra present. These passages are cued in the orchestral full score and the solo viola part.
Duration 15 minutes'|9790222283817|HANDEL GF|George Frideric Handel|Concerto for Viola (Barbirolli)|Viola & Piano|?6.50|124
GM078|SONG OF THE FRAGRANT ORCHID by Peter Lawson
for soprano, clarinet and piano
Goodmusic GM078|'The Song of the Fragrant Orchid was completed in 1986. It is dedicated to Frances Ann Brookes and Damaris Wollen who took part in its first performance in London, which was accompanied by myself. It was the eighth to be written in a cycle of instrumental and orchestral depictions of the forty-eight wild orchids of Britain and Ireland, of which twenty-nine have been composed to date. It also exists, in a slightly more eccentric version, for soprano, violin and piano as the Song of the Marsh Fragrant Orchid (GM079), which is a more localised variant which is arguably not fragrant at all, as it smells of cloves. In both versions, the soprano sings without words, at times indulging in a degree of vocal acrobatics.
The Fragrant Orchid (Gymnadenia conopsea) is a familiar sight in meadows and downs and has a fairly loose spike of sweetly-scented pink, sometimes white, flowers. The downland connotations with England inspired the Elgarian germ from which the piece grows. It consists of two continuous sections. The first of these is intended to evoke, to some extent, our impressions of the orchid and the second is, fancifully, the ''song'' of the orchid itself - intoxicated, as it were, in its own perfume. Peter Lawson
Duration 7 minutes'|9790222284562|LAWSON|Peter Lawson|Song of the Fragrant Orchid +cl/pf|Voice solo (with accompaniment)|?6.50|124
GM079|SONG OF THE MARSH FRAGRANT ORCHID by Peter Lawson
for soprano, violin and piano
Goodmusic GM079|'The Song of the Marsh Fragrant Orchid is a slightly eccentric variant of the Song of the Fragrant Orchid (for soprano, clarinet and piano - see GM078) incorporating elements of music theatre and an even greater degree of vocal acrobatics from the soprano, whose part is basically a song without words.
It was dedicated to Frances Ann Brookes, Stephen Bentley Klein and James Kirby, who gave its first performance in North Thoresby Parish Church, Lincolnshire on April 4th, 1986 - and was the eighth to be written in a cycle of instrumental and orchestral depictions of the forty-eight wild orchids of Britain and Ireland, of which twenty-nine have been written to date.
Although the Fragrant Orchid (Gymnadenia conopsea) is a familiar sight in meadows and downs, the later-flowering form known as the Marsh Fragrant Orchid, var. densiflora, is much more localised and can be found in fens and wetter limestone areas such as the Burren district of County Clare. It is more robust, darker pink in colour, has a denser flower spike and smells - somewhat unpleasant when one expects to be intoxicated with the sweetness of the perfume of the ''standard'' relative - of cloves.
The downland connotations with England inspired the Elgarian germ from which the piece grows, the first of the two continuous sections being intended to evoke, to some extent, our impressions of the orchid - and the second being, fancifully, the ''song'' of the orchid itself, which, of course, knows nothing of unpleasant smells! Peter Lawson
Duration 7 minutes'|9790222284579|LAWSON|Peter Lawson|Song of the Marsh Fragrant Orchid|Voice solo (with accompaniment)|?6.50|124
GM080|'SONG OF THE TWAYBLADE ORCHID by Peter Lawson
for oboe, oboe d''amore and cor anglais
Goodmusic GM080'|'The Song of the Twayblade Orchid, completed in 1983 and dedicated to David Presly, who took part in its first performance in London, was the seventh to be written in a cycle of instrumental and orchestral depictions of the forty-eight wild orchids of Britain and Ireland, of which twenty-nine have been written to date.
The Twayblade Orchid, Twayblade, or Common Twayblade (Listera ovata) is by far the most common European Orchid and is widely distributed throughout Britain and Ireland, only being missing from the Shetlands. Despite its comparative frequency, it is often overlooked, owing to its yellow-green flowers tending to merge into the surrounding grassland. It typically has two large oval leaves opposite each other - hence the name, Twayblade - and these are some way up the stem. The stem continues upwards for some distance on taller plants. After this gap come some 20 to100 or so flowers, which look, fancifully, like little green men with arms and legs created from the perianth segments and the deeply-divided lower lip of the flower. It is pollinated by small flies, beetles and ichneumons who, attracted by the musk-like scent, crawl up the ''legs'' of the flower, following a nectar channel, only to find that the rostellum explodes on contact, gluing the pollinia to their heads. The frightened insect immediately flies off to another flower and pollination thereby takes place.
The plant has a rather top-heavy, almost comical appearance and it is this somewhat humorous aspect which playfully dominates the first part of the Song of the Twayblade Orchid. After a chorale like interlude, there follows the ''Song'' of the orchid itself, which takes itself much more seriously. As far as the orchid is concerned, its beauty is unquestioned as it languidly reflects in its idyllic surroundings. Peter Lawson
Duration 10 minutes'|9790222284586|LAWSON|Peter Lawson|Song of the Twayblade Orchid|Oboe ensemble|?9.50|173
GM081|HOLST, Gustav (arranged by Peter Lawson)
FOUR HOLST CAROLS for mixed voice choir
Goodmusic GM081|IN THE BLEAK MIDWINTER [5 minutes], PERSONENT HODIE [3 minutes], LULLAY MY LIKING [3 minutes], MASTERS IN THIS HALL [3? minutes].
These four carols, written or originally arranged by Gustav Holst, have all become well-known as congregational carols. Peter Lawson has arranged them so that they are more of a choir concert item with optional orchestral accompaniment. Rather than keeping each verse and chorus the same, the carols have been "through arranged", often with key changes which also enables the melody to be passed to other voices, adding more interest to some wonderful old favourites. In Personent hodie there is a new singable English translation by Peter Lawson. The Four Holst Carols can be performed as a set or individually.
There are four different choral versions of this work available separately, all fit the orchestral accompaniment though the orchestral score shows the SATB version.
For details of the Orchestral parts see Catalogue number GMCH012 where you can also hear a computer generated performance with orchestra. No choral copies are included with the orchestral pack.
These carols can be performed without orchestra with either piano or organ accompaniment using the vocal scores listed below.
Mixed Voice Choir (SATB) see Catalogue number GM081
Upper Voice Choir (SSA) see Catalogue number GM082
Male Voice Choir (TTBB) see Catalogue number GM083
Mixed Voice Choir (SA+Men) see Catalogue number GM084
Duration 15 minutes|9790222285347|LAWSON|Peter Lawson|Four Holst Carols|Choir - Mixed voices (SATB)|?7.50|125
GM082|HOLST, Gustav (arranged by Peter Lawson)
FOUR HOLST CAROLS for female voice choir
Goodmusic GM082|IN THE BLEAK MIDWINTER [5 minutes], PERSONENT HODIE [3 minutes], LULLAY MY LIKING [3 minutes], MASTERS IN THIS HALL [3? minutes].
These four carols, written or originally arranged by Gustav Holst, have all become well-known as congregational carols. Peter Lawson has arranged them so that they are more of a choir concert item with optional orchestral accompaniment. Rather than keeping each verse and chorus the same, the carols have been "through arranged", often with key changes which also enables the melody to be passed to other voices, adding more interest to some wonderful old favourites. In Personent hodie there is a new singable English translation by Peter Lawson. The Four Holst Carols can be performed as a set or individually.
There are four different choral versions of this work available separately, all fit the orchestral accompaniment though the orchestral score shows the SATB version.
For details of the Orchestral parts see Catalogue number GMCH012 where you can also hear a computer generated performance with orchestra. No choral copies are included with the orchestral pack.
These carols can be performed without orchestra with either piano or organ accompaniment using the vocal scores listed below.
Mixed Voice Choir (SATB) see Catalogue number GM081
Upper Voice Choir (SSA) see Catalogue number GM082
Male Voice Choir (TTBB) see Catalogue number GM083
Mixed Voice Choir (SA+Men) see Catalogue number GM084
Duration 15 minutes|9790222285354|LAWSON|Peter Lawson|Four Holst Carols|Choir - 3 part upper voices|?7.50|125
GM083|HOLST, Gustav (arranged by Peter Lawson)
FOUR HOLST CAROLS for male voice choir
Goodmusic GM083|IN THE BLEAK MIDWINTER [5 minutes], PERSONENT HODIE [3 minutes], LULLAY MY LIKING [3 minutes], MASTERS IN THIS HALL [3? minutes].
These four carols, written or originally arranged by Gustav Holst, have all become well-known as congregational carols. Peter Lawson has arranged them so that they are more of a choir concert item with optional orchestral accompaniment. Rather than keeping each verse and chorus the same, the carols have been "through arranged", often with key changes which also enables the melody to be passed to other voices, adding more interest to some wonderful old favourites. In Personent hodie there is a new singable English translation by Peter Lawson. The Four Holst Carols can be performed as a set or individually.
There are four different choral versions of this work available separately, all fit the orchestral accompaniment though the orchestral score shows the SATB version.
For details of the Orchestral parts see Catalogue number GMCH012 where you can also hear a computer generated performance with orchestra. No choral copies are included with the orchestral pack.
These carols can be performed without orchestra with either piano or organ accompaniment using the vocal scores listed below.
Mixed Voice Choir (SATB) see Catalogue number GM081
Upper Voice Choir (SSA) see Catalogue number GM082
Male Voice Choir (TTBB) see Catalogue number GM083
Mixed Voice Choir (SA+Men) see Catalogue number GM084
Duration 15 minutes|9790222285361|LAWSON|Peter Lawson|Four Holst Carols|Choir - Male voices|?7.50|125
GM084|HOLST, Gustav (arranged by Peter Lawson)
FOUR HOLST CAROLS for mixed voice choir of SA+Men
Goodmusic GM084|IN THE BLEAK MIDWINTER [5 minutes], PERSONENT HODIE [3 minutes], LULLAY MY LIKING [3 minutes], MASTERS IN THIS HALL [3? minutes].
These four carols, written or originally arranged by Gustav Holst, have all become well-known as congregational carols. Peter Lawson has arranged them so that they are more of a choir concert item with optional orchestral accompaniment. Rather than keeping each verse and chorus the same, the carols have been "through arranged", often with key changes which also enables the melody to be passed to other voices, adding more interest to some wonderful old favourites. In Personent hodie there is a new singable English translation by Peter Lawson. The Four Holst Carols can be performed as a set or individually.
There are four different choral versions of this work available separately, all fit the orchestral accompaniment though the orchestral score shows the SATB version.
For details of the Orchestral parts see Catalogue number GMCH012 where you can also hear a computer generated performance with orchestra. No choral copies are included with the orchestral pack.
These carols can be performed without orchestra with either piano or organ accompaniment using the vocal scores listed below.
Mixed Voice Choir (SATB) see Catalogue number GM081
Upper Voice Choir (SSA) see Catalogue number GM082
Male Voice Choir (TTBB) see Catalogue number GM083
Mixed Voice Choir (SA+Men) see Catalogue number GM084
Duration 15 minutes|9790222285378|LAWSON|Peter Lawson|Four Holst Carols|Choir - Mixed voices (SAMen)|?7.50|125
GM085|SONG OF THE SOUTHERN MARSH ORCHID by Peter Lawson
for violin, cello and piano
Goodmusic GM085|'The Song of the Southern Marsh Orchid (1997-8) was the 21st to be written in a projected cycle of musical portraits of the 48 wild orchids of Britain and Ireland. It is dedicated to the Barbican Piano Trio, who first performed it in Uzbekistan in 1998.
The Southern Marsh Orchid (Dactylorhiza majalis, ssp. praetermissa) is a robust, spectacular plant, bearing a large spike of pinkish-mauve flowers. In Britain, it is least uncommon in southern England, but sadly in decline, as are so many wetland species. Abroad, it is rarer, primarily being confined to central Western Europe.
References to French, Austrian and German music reflect the orchid''s distribution in its ''song'', which comes, as it were, from the orchid itself. The piece begins with a depiction of its surroundings, followed by a capricious flowering section, reaching a climax as pollination occurs. This rapidly leads to the setting of seed and the dying down of the plant as it over-winters - a slower, rather still section. The return of the capricious mood heralds another year of flowering, cut short in its prime by the lowering of the water table due to farming activities and the consequent destruction of the colony. To conclude, there follows a short epilogue, with a reference to the Venusberg music from Wagner''s Tannhauser, fancifully transporting the orchid back to a sweet but sadly receding time when the orchid colony was alive and untroubled by human intervention. Peter Lawson
Duration 10 minutes'|9790222286290|LAWSON|Peter Lawson|Song of the Southern Marsh Orchid|Piano trio|?8.50|160
GM086|SONG OF THE LIZARD ORCHID by Peter Lawson
for four players on two pianos [score and parts]
Goodmusic GM086|'The Song of the Lizard Orchid , written in 2012 for the double piano duet team Piano 40 for a Purcell Room concert, is the 29th to be written of a projected cycle of musical portraits of the 48 wild orchids of the British Isles and Ireland for various chamber and orchestral ensembles.
The Lizard Orchid (Himantoglossum hircinum) is extremely rare in Britain. The plant is tall - with a raggle-taggle spike of dozens of opulent greenish-white flowers which have a long twisted lower lip resembling a lizard''s tongue, marked with lines and dots of a pinkish or reddish purple. The flowers have a positively foul smell of old billy goats. The leaves quickly turn brown and make the plant look half dead from a distance.
Throughout the music, the colours are depicted by colour-coded harmonies: green for the leaves and parts of the flowers, blue for the sky above, white for the clouds and the whitish-green of the tongue of the lizard, purple, red and pink for the markings on the tongue, gold for the pollinia and brown for the dead leaves. These eight colours are heard together to form a huge black discord at the outset (the smell of billy goat!) and are then introduced one by one in layers by the eight hands of the players as tongue-like rhythmic motifs. When they are all playing together, they are at their most discordant (and foetid!) but they one by one change into blue. There is a short interruption for a lizard motif and then the blue layers continue, changing gradually to green, white, purple and red, suddenly becoming pink, then gold and brown. The return of the lizard motif ushers in a short, calmer, second movement, once again layered, with echoes of the first movement creeping back in. The lizard motif reoccurs for the third and final time, heralding a spirited dance-like finale culminating in the reappearance of the black (smelly!) chord at which the orchid dies back for the winter. Peter Lawson
Duration 8 minutes'|9790222286306|LAWSON|Peter Lawson|Song of the Lizard Orchid|Piano - 4 players on 2 pianos|?17.00|305
GM087|SONG OF THE CORALROOT ORCHID by Peter Lawson
for mezzo-soprano or tenor and piano
Goodmusic GM087|'The Song of the Coralroot Orchid, written in 1988 for Frances Ann Brooks for a concert in Putney - and revised in 2012 - was the fifteenth to be written in a projected series of musical portraits of the 48 wild orchids of Britain and Ireland for various solo, chamber and orchestral forces.
The Coralroot Orchid (Corallorhiza trifida) is difficult to spot as it is small - often tiny - and has a greenish-yellow appearance which tends to camouflage it against a background of pine needles and sphagnum moss. It does not have any leaves and although there is some chlorophyll in the stem, it is entirely dependent on a saphrophytic relationship with a mycorrhizal fungus, which its branched, coral-like ''roots'' foster. It has a distinct Northerly distribution and in Britain it is mainly restricted to ancient Scottish pinewoods, heaths and dune slacks where it is distinctly rare. The flowers vary from a pinkish-cream to a greenish white and are often flecked with reddish-purple. The side petals resemble a bird in flight.
The music - for wordless mezzo-soprano (or tenor) and piano - opens with a ''misterioso'' passage intended to evoke the habitat and the plant''s mainly subterranean existence. There follows a faster section depicting the orchid''s outward appearance and using a harmonic ''colour-coding'' technique. Finally, we hear, fancifully, the ''song'' of the orchid itself, - its ''inside story'', as it were, reflecting the majesty and beauty of its surroundings. As the music finally winds down, the orchid appears to die, but remains alive underground and will perhaps pop up again next year. Peter Lawson
Duration 8 minutes'|9790222286313|LAWSON|Peter Lawson|Song of the Coralroot Orchid|Voice solo (with accompaniment)|?4.50|76
GM088|SEVEN LAST WORDS FROM THE CROSS by Paul Carr
for baritone solo, chorus and orchestra
Goodmusic GM088|'A new 40 minute work in seven sections for mixed voice choir with baritone solo and orchestra accompaniment. Settings of the Seven Last Words from the Cross but also utilising other texts from, amongst others, the Good Friday Antiphon and Reproaches and including in No.3 With Me in Paradise, a stunningly beautiful setting of Phineas Fletcher''s Drop, drop, slow tears.
The orchestra required is Harp, Organ, Percussion [2 players] and strings.
The vocal score can be viewed here. Vocal scores, the full score (at A4 and larger A3 size) and the orchestral parts are available to purchase or can be hired from Goodmusic.
The computer generated audio sample is of the third section No.3 With Me in Paradise
Total Duration 40 minutes
A CD recording is available on the Stone Records label.'|9790222286320|CARR P|Paul Carr|Seven Last Words|Choir - Vocal score|?10.00|184
GM088-00|||9790222286597|CARR P|Paul Carr|Seven Last Words Full Score (A3)|Orchestral Score|?50.00|500
GM088-01|||9790222286603|CARR P|Paul Carr|Seven Last Words Full Score (A4)|Orchestral Score|?20.00|256
GM088-02||||CARR P|Paul Carr|Seven Last Words Violin 1|Orchestral Part|?3.00|38
GM088-03||||CARR P|Paul Carr|Seven Last Words Violin 2|Orchestral Part|?3.00|25
GM088-04||||CARR P|Paul Carr|Seven Last Words Viola|Orchestral Part|?3.00|25
GM088-05||||CARR P|Paul Carr|Seven Last Words Cello|Orchestral Part|?3.00|38
GM088-06||||CARR P|Paul Carr|Seven Last Words Bass|Orchestral Part|?3.00|25
GM088-07||||CARR P|Paul Carr|Seven Last Words Harp|Orchestral Part|?3.00|38
GM088-08||||CARR P|Paul Carr|Seven Last Words Organ|Orchestral Part|?3.00|38
GM088-09||||CARR P|Paul Carr|Seven Last Words Percussion|Orchestral Part|?3.00|50
GM089|Paul Carr
NOW COMES BEAUTY for violin and piano
Goodmusic GM089|Now Comes Beauty was originally composed as a song for voice and piano (GM055), but I have since made versions of it for unaccompanied mixed voice choir (GM052) and for string orchestra (GMCO090). In August 2011, Em Marshall, director of the English Music Festival and chairman of the Ralph Vaughan Williams Society, married violinist Rupert Luck, in the Church of St. Levan in the far western reaches of Cornwall. In celebration of this occasion, I arranged this simple but passionate song for violin and piano, as a quiet reflection on love and new beginnings. Paul Carr
Duration about 4? minutes|9790222286337|CARR P|Paul Carr|Now Comes Beauty|Violin and piano|?4.00|63
GM091|EVENSONG and REQUIEM by Philip Henderson
for unaccompanied mixed voice choir
Goodmusic GM091|'Two beautiful and original settings of poems by Robert Louis Stevenson - Evensong (The embers of the day are red . . . . ) and Requiem (Under the wide and starry sky . . . . ). Listen to the sample recording [which is an actual performance by The Clothworkers Consort of Leeds, not a computer-generated one!] and you will appreciate how lovely these settings are.
Duration 3? and 2 minutes
Philip Henderson started composing in 1969 when he joined Radio Luxembourg to write station jingles. Carlin Music Corporation of America then signed him as a contract songwriter. During that period he co-composed and conducted two choral works recorded by the Ambrosian Singers. He orchestrated Genesis guitarist Steve Hackett''s Prizefighters performed by Bonnie Tyler on Steve''s Feedback 86 album. With Michael Ward providing the lyric their song Symphony for My Love went Platinum in Denmark in 1998. In 2005 Philip composed the musical score for The Far Pavilions which ran for six months in London''s West End at the Shaftesbury Theatre. A CD of the score featuring The City of London Sinfonia conducted by Philip was released on Stage Door Records in 2009. A concert of Philip''s classical music held at Cadogan Hall, London in 2010 featured his string quartet The Hop-picker''s Daughter and two works for ten solo strings The Magic Wood and Sea Voices.'|9790222286375|HENDERSON P|Philip Henderson|Evensong and Requiem|Choir - Mixed voices (SATB)|?2.75|38
GM092|TRANSATLANTIC TRUMPET
Six pieces arranged for trumpet and piano
Goodmusic GM092|An excellent new collection of six pieces from Europe and America arranged by Philip Lane for Bb trumpet and piano. Pieces with a military flavour and some that are bit more laid back make this an interesting mixture. Probably best suited to trumpeters around UK grade 4 to 6.
The pieces are Dukas - Fanfare "La Peri", Pierne - Entry of the Fauns + March of the Little Lead Soldiers, Gershwin - Walking the Dog + Prelude No.2, Jessel - Parade of the Tin Soldiers.|9790222286382|LANE P|Philip Lane|Transatlantic Trumpet|Trumpet and piano|?7.50|136
GM093|DO NOT STAND AT MY GRAVE AND WEEP by Philip Henderson
for unaccompanied mixed voice choir
Goodmusic GM093|'The well-known very moving poem beautifully set to music for unaccompanied mixed voice choir (SSAATB).
Duration 2 minutes
Philip Henderson started composing in 1969 when he joined Radio Luxembourg to write station jingles. Carlin Music Corporation of America then signed him as a contract songwriter. During that period he co-composed and conducted two choral works recorded by the Ambrosian Singers. He orchestrated Genesis guitarist Steve Hackett''s Prizefighters performed by Bonnie Tyler on Steve''s Feedback 86 album. With Michael Ward providing the lyric their song Symphony for My Love went Platinum in Denmark in 1998. In 2005 Philip composed the musical score for The Far Pavilions which ran for six months in London''s West End at the Shaftesbury Theatre. A CD of the score featuring The City of London Sinfonia conducted by Philip was released on Stage Door Records in 2009. A concert of Philip''s classical music held at Cadogan Hall, London in 2010 featured his string quartet The Hop-picker''s Daughter and two works for ten solo strings The Magic Wood and Sea Voices.
The audio sample is an actual performance by The Clothworkers Consort of Leeds, not a computer-generated one!'|9790222286474|HENDERSON P|Philip Henderson|Do Not Stand At My Grave and Weep|Choir - Mixed voices (SATB)|?2.00|25
GM094|ADLESTROP by Philip Henderson
for unaccompanied mixed voice choir
Goodmusic GM094|'The well-known very evocative poem by Edward Thomas in a new setting by Philip Henderson for unaccompanied mixed voice choir (SATB with divisi). Taken from "The Edward Thomas Quartet", four settings comprising "Adlestrop", "So we lay, all night", "The Cherry Trees" and "Lights out - Here love ends". The Quartet is available complete (GM100) and "Lights out..." is also published separately (GM099).
Adlestrop: Duration 2? minutes
Philip Henderson started composing in 1969 when he joined Radio Luxembourg to write station jingles. Carlin Music Corporation of America then signed him as a contract songwriter. During that period he co-composed and conducted two choral works recorded by the Ambrosian Singers. He orchestrated Genesis guitarist Steve Hackett''s Prizefighters performed by Bonnie Tyler on Steve''s Feedback 86 album. With Michael Ward providing the lyric their song Symphony for My Love went Platinum in Denmark in 1998. In 2005 Philip composed the musical score for The Far Pavilions which ran for six months in London''s West End at the Shaftesbury Theatre. A CD of the score featuring The City of London Sinfonia conducted by Philip was released on Stage Door Records in 2009. A concert of Philip''s classical music held at Cadogan Hall, London in 2010 featured his string quartet The Hop-picker''s Daughter and two works for ten solo strings The Magic Wood and Sea Voices.
The audio sample is an actual performance by The Clothworkers Consort of Leeds, not a computer-generated one!'|9790222286481|HENDERSON P|Philip Henderson|Adlestrop|Choir - Mixed voices (SATB)|?2.00|25
GM095|AVE MARIA by Paul Carr
for mixed voice choir and orchestra
Goodmusic GM095|A new setting by Paul Carr of the Ave Maria for mixed voice choir (SATB) and orchestra or piano. It was commissioned by Matthew Hopkins and the Nottingham Trent University Choir and first performed by them with the City of Birmingham Symphony Orchestra in March 2013.
There are two versions of the orchestral accompaniment.
The full version is scored for: 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 2 Horns, 2 Trumpets, 3 Trombones, Percussion (2 players: Tubular Bells, Crotales, Glockenspiel, Bass Drum, Triangle), Harp [optional] and Strings.
The reduced version is scored for: Harp, Percussion (1 or 2 players: Tubular Bells, Glockenspiel, Crotales [optional]) and Strings.
It may also be performed with only a piano accompaniment.
Duration 8 minutes|9790222286504|CARR P|Paul Carr|Ave Maria|Choir - Mixed voices (SATB)|?2.75|38
GM095-00||||CARR P|Paul Carr|Ave Maria Full Score (A3)|Full score|?15.00|130
GM095-01||||CARR P|Paul Carr|Ave Maria Set of Orchestral Parts|Orchestral Part|?35.00|400
GM095-02||||CARR P|Paul Carr|Ave Maria Full Score (A4)|Full score|?6.00|50
GM095-50||||CARR P|Paul Carr|Ave Maria string version Full Sc.|Orchestral Score|?6.00|63
GM095-99||||CARR P|Paul Carr|Ave Maria Extra Orchestral Part|Orchestral Part|?1.50|13
GM096|MAGNIFICAT by Paul Carr
for mixed voice choir with organ, brass and percussion
Goodmusic GM096|Commissioned by the Reigate and Redhill Choral Society, this 8 minute work is for mixed voice choir with an accompaniment of organ, 2 trumpets in C, Horn in F, Tenor Trombone, Bass Trombone and Percussion (Bass Drum, Glockenspiel, Tubular Bells). The organ plays from a copy of the full score.
The work can also be performed with just an organ accompaniment in which case the organ part shown in the vocal score is used.
On sale:
Vocal Score (all chorus parts with organ accompanment)
Pack (2 copies of the full score [1 for the conductor, 1 for the organist] plus all of the brass and percussion parts)
Extra Full Score
Duration 8 minutes|9790222286511|CARR P|Paul Carr|Magnificat|Choir - Mixed voices (SATB)|?4.00|63
GM096-00|||9790222286535|CARR P|Paul Carr|Magnificat Full Score|Full score|?8.50|160
GM096-01|||9790222286542|CARR P|Paul Carr|Magnificat Pack (2xFsc+inst.parts)|Ensemble - Mixed|?25.00|338
GM097|Paul Carr
BEATITUDES for mixed voice choir
Goodmusic GM097|ORCHESTRATION
Mixed voice choir (SATB)
String orchestra: Violin 1, Violin 2, Viola, Violoncello, Double Bass
A very moving new setting of the Beatitudes. May also be performed accompanied only by organ.
THE BEATITUDES OF JESUS (From the Gospel of St. Matthew 5:3-10)
Blessed are the poor in spirit,
for theirs is the kingdom of heaven.
Blessed are they who mourn,
for they shall be comforted.
Blessed are the meek,
for they shall inherit the earth.
Blessed are they who hunger and thirst for righteousness,
for they shall be satisfied.
Blessed are the merciful,
for they shall obtain mercy.
Blessed are the pure of heart,
for they shall see God.
Blessed are the peacemakers,
for they shall be called the children of God.
Blessed are they who are persecuted for the sake of righteousness,
for theirs is the kingdom of heaven.
Duration about 10 minutes
A vocal score (with organ accompaniment), full score and orchestral parts are available. The score that you can view here is the full score from which the audio sample is also taken.|9790222286528|CARR P|Paul Carr|Beatitudes|Choir - Mixed voices (SATB)|?2.75|38
GM097-00|||9790222288553|CARR P|Paul Carr|Beatitudes Full Score|Orchestral Score|?6.00|63
GM097-99||||CARR P|Paul Carr|Beatitudes Orchestral Parts (each)|Orchestral Part|?1.50|13
GM098|RHAPSODY IN BLUE by George Gershwin
arranged for piano duet by Yukie Smith
Goodmusic GM098|This favourite piece which was originally for piano and orchestra is here arranged for one piano with two players of intermediate standard (around grade 4 to 6).
This is an abridged arrangement lasting around 5? minutes. The two parts are of a similar standard and both have their fair share of technical challenges including cross-hand playing, long and rapid arpeggio passages, fast repeated notes, wide ranges of dynamic control, various tone colour production and articulation as well as capturing the essence of tempo changes together with effective ensemble playing. As the original was for piano and orchestra, in this arrangement quite a few of the orchestral instrument cues are marked so that the pianists will know what sort of instrument they are trying to emulate! Tempo indications are only a guide and can be varied according to the ability and interpretation of the players.
Duration 5? minutes|9790222286580|GERSHWIN G|George Gershwin|Rhapsody in Blue arr.Yukie Smith|Piano - 2 players on 1 piano|?6.00|112
GM099|LIGHTS OUT - HERE LOVE ENDS by Philip Henderson
for mixed voice choir and piano
Goodmusic GM099|'A new setting by Philip Henderson for mixed voice choir (SATB with divisi) and piano of words by Edward Thomas (1878-1917). Taken from "The Edward Thomas Quartet", four settings comprising "Adlestrop", "So we lay, all night", "The Cherry Trees" and "Lights out - Here love ends". The Quartet is available complete (GM100) and "Adlestrop" is also published separately (GM094).
Duration 4 minutes
Philip Henderson started composing in 1969 when he joined Radio Luxembourg to write station jingles. Carlin Music Corporation of America then signed him as a contract songwriter. During that period he co-composed and conducted two choral works recorded by the Ambrosian Singers. He orchestrated Genesis guitarist Steve Hackett''s Prizefighters performed by Bonnie Tyler on Steve''s Feedback 86 album. With Michael Ward providing the lyric their song Symphony for My Love went Platinum in Denmark in 1998. In 2005 Philip composed the musical score for The Far Pavilions which ran for six months in London''s West End at the Shaftesbury Theatre. A CD of the score featuring The City of London Sinfonia conducted by Philip was released on Stage Door Records in 2009. A concert of Philip''s classical music held at Cadogan Hall, London in 2010 featured his string quartet The Hop-picker''s Daughter and two works for ten solo strings The Magic Wood and Sea Voices.
The audio sample is an actual performance by The Clothworkers Consort of Leeds, not a computer-generated one!'|9790222286610|HENDERSON P|Philip Henderson|Lights Out - Here Love Ends|Choir - Mixed voices (SATB)|?2.00|25
GM100|THE EDWARD THOMAS QUARTET by Philip Henderson
for mixed voice choir and piano
Goodmusic GM100|'Four settings, comprising "Adlestrop", "So we lay, all night", "The Cherry Trees" and "Lights out - Here love ends", by Philip Henderson for mixed voice choir (SATB with divisi) and piano of words by Edward Thomas (1878-1917) and his wife Helen Thomas. The Quartet is available complete (GM100) and "Adlestrop" (GM094) and "Lights out...." (GM099) are also published separately.
Duration 10? minutes
Philip Henderson started composing in 1969 when he joined Radio Luxembourg to write station jingles. Carlin Music Corporation of America then signed him as a contract songwriter. During that period he co-composed and conducted two choral works recorded by the Ambrosian Singers. He orchestrated Genesis guitarist Steve Hackett''s Prizefighters performed by Bonnie Tyler on Steve''s Feedback 86 album. With Michael Ward providing the lyric their song Symphony for My Love went Platinum in Denmark in 1998. In 2005 Philip composed the musical score for The Far Pavilions which ran for six months in London''s West End at the Shaftesbury Theatre. A CD of the score featuring The City of London Sinfonia conducted by Philip was released on Stage Door Records in 2009. A concert of Philip''s classical music held at Cadogan Hall, London in 2010 featured his string quartet The Hop-picker''s Daughter and two works for ten solo strings The Magic Wood and Sea Voices.
The audio sample is an actual performance by The Clothworkers Consort of Leeds, not a computer-generated one!'|9790222286627|HENDERSON P|Philip Henderson|Edward Thomas Quartet|Choir - Mixed voices (SATB)|?4.75|75
GM101|SERGEI RACHMANINOV (1873-1943)
VOCALISE Op.34 No.14 arranged for soloist and piano or orchestra
Goodmusic GM101|'For voice or solo instrument (Flute, Oboe, Clarinet, Bassoon, Sop/Ten Sax, Alto/Bar Sax, Horn, Trumpet, Trombone, Violin, Viola or Cello) and piano.
Rachmaninov''s Vocalise is the last in his set of Fourteen Songs Op.34 published in 1912. It is wordless and was written for soprano and piano but there have been numerous arrangements made by the composer and others. Rachmaninov''s own arrangements were for orchestra alone and for voice and orchestra.
The soloist''s part has a two octave range and the original version is in a high key, which results in a top C# so a medium key version, a third lower, is also printed here - a top A being a little more achievable for many!
Instead of a vocal soloist, many different instruments can be used as listed above and parts are included for all of these options. An orchestral accompaniment is also available (see GMCA023)
Duration 4 minutes'|9790222286634|RACHMANINOV|Sergei Rachmaninov|Vocalise Piano Accomp.with solo pts|Piano accompaniment|?7.50|127
GM102|David Jennings
PIANO SONATA Op.1 for solo piano
Goodmusic GM102|'My Piano Sonata Op.1 was begun in 1988 and completed in its original form in 1995. Further work on the piece was carried out subsequently at various times until the Sonata was finally finished in 2009. I think it is fair to say that none of my other pieces have troubled me for so long! The opening of the first movement, Ballade, is deceptively serene but becomes increasingly combative. By the end of the recapitulation, the original material has been bent and distorted both melodically and harmonically. The jazzy Scherzo that forms the second movement explores the contrasts of time signature and is a test of the dexterity of the pianist. The third movement, entitled Romance, is the emotional kernel of the whole work. The outer sections are consolatory, the inner portion being more playful. The fiery Finale shows the influence of jazz and has an unusual structure. It begins as a rondo with a brief development section. This is followed by a contrasting quiet section that gives the music a moment of much needed calm. A transition passage leads directly to the coda, which begins in a mood of elation but winds down to a calm and reflective close. The work is dedicated to the distinguished Lancaster-based pianist Phillip Fawcett, who gave the first performance on 12th June 2009 at the University of Cumbria, Lancaster.
Duration about 21 minutes - 32 pages - Difficulty: Advanced/Recital level
A recording of David Jennings'' piano music is available on Divine Art CD DDA25110'|9790222287839|JENNINGS DAV|David Jennings|Piano Sonata Op.1|Piano - Solo|?7.50|136
GM103|David Jennings
SONATINA Op.2 No.1 for solo piano
Goodmusic GM103|'The Three Sonatinas Op.2 were originally written in the mid to late 1980s. Some of these pieces are more or less unchanged from this time, having received the mildest of editorial handling. Other movements have retained their original themes but have undergone a certain amount of rewriting. I view my Three Sonatinas as belonging to the tradition of Schumann''s Kinderscenen. These pieces offer an innocence that is rare in music today; my aim was to make them simple but not simplistic, nostalgic but never sentimental. After having been tucked away in a drawer for many years, the Sonatinas were revised in 2007. They were then given their premiere by Phillip Fawcett on 27th June 2008 at the University of Cumbria, Lancaster.
Duration about 4? minutes - 8 pages - Difficulty: Elementary/Intermediate
A recording of David Jennings'' piano music is available on Divine Art CD DDA25110'|9790222287846|JENNINGS DAV|David Jennings|Sonatina Op.2 No.1|Piano - Solo|?4.00|63
GM104|David Jennings
SONATINA Op.2 No.2 for solo piano
Goodmusic GM104|'The Three Sonatinas Op.2 were originally written in the mid to late 1980s. Some of these pieces are more or less unchanged from this time, having received the mildest of editorial handling. Other movements have retained their original themes but have undergone a certain amount of rewriting. I view my Three Sonatinas as belonging to the tradition of Schumann''s Kinderscenen. These pieces offer an innocence that is rare in music today; my aim was to make them simple but not simplistic, nostalgic but never sentimental. After having been tucked away in a drawer for many years, the Sonatinas were revised in 2007. They were then given their premiere by Phillip Fawcett on 27th June 2008 at the University of Cumbria, Lancaster.
Duration about 9 minutes - 16 pages - Difficulty: Intermediate/Advanced
A recording of David Jennings'' piano music is available on Divine Art CD DDA25110'|9790222287853|JENNINGS DAV|David Jennings|Sonatina Op.2 No.2|Piano - Solo|?5.00|88
GM105|David Jennings
SONATINA Op.2 No.3 for solo piano
Goodmusic GM105|'The Three Sonatinas Op.2 were originally written in the mid to late 1980s. Some of these pieces are more or less unchanged from this time, having received the mildest of editorial handling. Other movements have retained their original themes but have undergone a certain amount of rewriting. I view my Three Sonatinas as belonging to the tradition of Schumann''s Kinderscenen. These pieces offer an innocence that is rare in music today; my aim was to make them simple but not simplistic, nostalgic but never sentimental. After having been tucked away in a drawer for many years, the Sonatinas were revised in 2007. They were then given their premiere by Phillip Fawcett on 27th June 2008 at the University of Cumbria, Lancaster.
Duration about 7 minutes - 12 pages - Difficulty: Advanced
A recording of David Jennings'' piano music is available on Divine Art CD DDA25110'|9790222287860|JENNINGS DAV|David Jennings|Sonatina Op.2 No.3|Piano - Solo|?4.50|76
GM106|David Jennings
PRELUDE AND FUGUE Op.6 for solo piano
Goodmusic GM106|'This is strikingly different in style to all my other piano music to date. Employing twelve-note procedures throughout, it is to some degree a response to newer musical influences encountered at university. The Prelude was composed in 1992 and was originally intended to stand on its own. In 1999 I decided to add a Fugue, having been impressed by Bach''s Prelude and Fugue in A minor from Book 2 of his "48 Preludes and Fugues". Unfortunately, however, I had to put the work to one side in order to concentrate on other projects. The Fugue remained unfinished until 2010, when, having found it amongst my papers, I finally added the last two pages!
The Prelude explores the sonority of the instrument, especially with regard to the sustaining pedal. This movement combines twelve-note procedures with jazz-inflected harmony and juxtaposes lyrical ideas with more aggressive ones. The Fugue has a tense, slightly ironic feel about it and ends with a strongly assertive stretto section (where the fugal entries overlap). The work is dedicated to the composer Gary Higginson, a pupil of Edmund Rubbra.
Duration about 5? minutes - 12 pages - Difficulty: Recital level
A recording of David Jennings'' piano music is available on Divine Art CD DDA25110'|9790222287877|JENNINGS DAV|David Jennings|Prelude and Fugue Op.6|Piano - Solo|?4.50|76
GM107|David Jennings
THREE LYRICAL PIECES Op.17 for solo piano
Goodmusic GM107|'1. Evening Twilight: Andante tranquillo
2. Cavatina: Andante tranquillo
3. Waltz: Allegretto grazioso
These three pieces were composed in 2010. "Cavatina" was the first to be written and was composed in response to a commission to write a short piece for the Lancaster and the Lakes 2010 Piano Competition. Having felt that this work was too brief to stand on its own, I added the other two movements shortly afterwards. "Evening Twilight" is named after a watercolour by the artist George Barret Junior (1767-1842) and aims to transfer his poetic qualities into sound. The straightforward language of the "Cavatina" recalls the sound world of my earlier Sonatinas. The "Waltz" is faster in tempo than the preceding two movements and is generally straightforward despite occasional harmonic twists and several unexpected forays into four time. The Three Lyrical Pieces are dedicated to the composer Robin Field and his wife Jean. They were first performed at the University of Cumbria on 26th March 2010 with the composer at the piano.
Duration about 7 minutes - 12 pages -Difficulty: Advanced
A recording of David Jennings'' piano music is available on Divine Art CD DDA25110'|9790222287884|JENNINGS DAV|David Jennings|Three Lyrical Pieces Op.17|Piano - Solo|?4.50|76
GM108|David Jennings
MINIATURE SUITE Op.18 for solo piano
Goodmusic GM108|'1. Prelude: Allegro con brio
2. Air: Largo tranquillo
3. Invention: Allegro moderato
4. Romance: Adagio ma con moto
5. Fugue: Allegro con brio
This suite was written in 2010. Squeezing five brief movements into an eight minute span, the work is an affectionate (if slightly irreverent!) homage to Bach, recreating aspects of Baroque style in an updated form. The "Prelude" opens with a three-note flourish reminiscent of Bach''s Toccata and Fugue in D minor and proceeds to lay out a ''table of contents'' that musically prefigures material that will appear in subsequent movements. The second movement, "Air", was inspired by watching a remarkably lazy cat going in and out of slumber! The music is suitably expansive in manner. The third movement, "Invention", takes a Bach-like C major idea but twists it through some distinctly un-Bachian modulations before abruptly cutting off. The initial idea is then heard again, but at double speed. The lyrical fourth movement, "Romance", was inspired by a walk along the Lancaster Canal. The final movement, "Fugue", provides a spirited close to the suite. As the opening and closing ideas relate back to the first movement, there is a feeling that the work has come full circle.
Phillip Fawcett gave the first performance at a Lakeland Composers Concert in St. Peter''s Church, Scorton, on 6th November 2010 and the piece is dedicated to his two sons, Kyle and David.
Duration about 8 minutes - 16 pages - Difficulty: Advanced
A recording of David Jennings'' piano music is available on Divine Art CD DDA25110'|9790222287891|JENNINGS DAV|David Jennings|Miniature Suite Op.18|Piano - Solo|?5.00|88
GM109|David Jennings
HARVEST MOON SUITE Op.19 for solo piano
Goodmusic GM109|'1. Stags in Knole Park: Andante con moto
2. Aira Force: Andante con moto
3. The Haunted Abbey:Presto con moto
4. Harvest Moon:Largo
5. Harlech Castle: Andante maestoso
6. Innisfallen Lake: Andante sostenuto
This suite was composed between 2009 and 2010 and was inspired by six 19th century English watercolours. The work is unashamedly romantic in nature, though this does not preclude moments of darker introspection. The first piece was prompted by "Stags in Knole Park" by Robert Hills, an artist who specialised in depicting animals in picturesque landscape settings. A striking watercolour by Edward Richardson of Aira Force, an imposing waterfall in the Lake District, suggested the next piece. The third movement, "The Haunted Abbey", attempts to represent an early 19th century picture by William Payne, a world of exaggerated ''Gothic'' gloom, famously lampooned in Jane Austen''s "Northanger Abbey". "Harvest Moon" was inspired by a watercolour by George Barret Junior which depicts the night sky illuminated by the moon at its brightest, while workers toil in the fields below. On the right of the picture are some curiously distorted-looking trees, which look rather twisted and sinister. These elements are all featured with material in different registers of the piano suggesting different parts of the picture. Thomas Miles Richardson Senior''s stark and compelling watercolour of Harlech Castle is represented in music that uses uncompromisingly dissonant harmonies and melodic fragments that allude to the musical style of the 13th century. George Fennel Robson''s glorious picture of Innisfallen Lake, a scene of the utmost tranquillity in the Lakes of Killarney in south-west Ireland, was the inspiration for the final movement.
Duration about 15 minutes - 20 pages - Difficulty: Advanced
A recording of David Jennings'' piano music is available on Divine Art CD DDA25110'|9790222287907|JENNINGS DAV|David Jennings|Harvest Moon Suite Op.19|Piano - Solo|?5.50|100
GM110|Peter Lawson
BRING BACK CHRISTMAS CHEER for mixed voice choir
Goodmusic GM110|'A merry original song for the Christmas season for choir and orchestra or orchestra alone or choir and piano, with words by Anthony Pritchard set to music by Peter Lawson.
This song is available in four different choral versions:
Mixed Voice Choir (SATB) - GM110
Upper Voice Choir (SSA) - GM111
Male Voice Choir (TTBB) - GM112
or if you have a mixed voice choir but a shortage of men . . . .
Mixed Voice Choir (SA+Men) - Roberton 62008
The orchestral score and parts (for details see under GMCH013) are the same for all versions.
The computer-generated audio sample is the version for SATB choir and piano as is the score shown here.
You can hear the other choral versions with piano accompaniment and the orchestral version (with SATB choir) and see their associated scores by looking on the "details" page under the respective catalogue numbers.
Duration c.5 minutes
To give you a flavour of the humour the first (of four) verses and choruses is:-
We think we had better
Write Santa a letter
And tell him that Christmas
Is cancelled this year,
The shops barely close
And as it hardly ever snows,
Rudolph''s cold is better
So there''s no more red nose.
And Prancer and Dancer
Have taken up ballet,
They live by the coast
In a very nice chalet;
They''re really quite neat
And they have very light feet
And watching them plie
Is really a treat!
Oh bring back, Oh bring back,
Oh bring back the spirit of Christmases past!
We hadn''t much money, But the jokes are still funny,
Oh how we so wanted those good times to last!'|9790222287921|LAWSON|Peter Lawson|Bring Back Christmas Cheer|Choir - Mixed voices (SATB)|?4.75|75
GM111|Peter Lawson
BRING BACK CHRISTMAS CHEER for upper voice choir
Goodmusic GM111|'A merry original song for the Christmas season for choir and orchestra or orchestra alone or choir and piano, with words by Anthony Pritchard set to music by Peter Lawson.
This song is available in four different choral versions:
Mixed Voice Choir (SATB) - GM110
Upper Voice Choir (SSA) - GM111
Male Voice Choir (TTBB) - GM112
or if you have a mixed voice choir but a shortage of men . . . .
Mixed Voice Choir (SA+Men) - Roberton 62008
The orchestral score and parts (for details see under GMCH013) are the same for all versions.
The computer-generated audio sample is the version for SSA choir and piano as is the score shown here.
You can hear the other choral versions with piano accompaniment and the orchestral version (with SATB choir) and see their associated scores by looking on the "details" page under the respective catalogue numbers.
Duration c.5 minutes
To give you a flavour of the humour the first (of four) verses and choruses is:-
We think we had better
Write Santa a letter
And tell him that Christmas
Is cancelled this year,
The shops barely close
And as it hardly ever snows,
Rudolph''s cold is better
So there''s no more red nose.
And Prancer and Dancer
Have taken up ballet,
They live by the coast
In a very nice chalet;
They''re really quite neat
And they have very light feet
And watching them plie
Is really a treat!
Oh bring back, Oh bring back,
Oh bring back the spirit of Christmases past!
We hadn''t much money, But the jokes are still funny,
Oh how we so wanted those good times to last!'|9790222287938|LAWSON|Peter Lawson|Bring Back Christmas Cheer|Choir - 3 part upper voices|?4.75|75
GM112|Peter Lawson
BRING BACK CHRISTMAS CHEER for male voice choir
Goodmusic GM112|'A merry original song for the Christmas season for choir and orchestra or orchestra alone or choir and piano, with words by Anthony Pritchard set to music by Peter Lawson.
This song is available in four different choral versions:
Mixed Voice Choir (SATB) - GM110
Upper Voice Choir (SSA) - GM111
Male Voice Choir (TTBB) - GM112
or if you have a mixed voice choir but a shortage of men . . . .
Mixed Voice Choir (SA+Men) - Roberton 62008
The orchestral score and parts (for details see under GMCH013) are the same for all versions.
The computer-generated audio sample is the version for TTBB choir and piano as is the score shown here.
You can hear the other choral versions with piano accompaniment and the orchestral version (with SATB choir) and see their associated scores by looking on the "details" page under the respective catalogue numbers.
Duration c.5 minutes
To give you a flavour of the humour the first (of four) verses and choruses is:-
We think we had better
Write Santa a letter
And tell him that Christmas
Is cancelled this year,
The shops barely close
And as it hardly ever snows,
Rudolph''s cold is better
So there''s no more red nose.
And Prancer and Dancer
Have taken up ballet,
They live by the coast
In a very nice chalet;
They''re really quite neat
And they have very light feet
And watching them plie
Is really a treat!
Oh bring back, Oh bring back,
Oh bring back the spirit of Christmases past!
We hadn''t much money, But the jokes are still funny,
Oh how we so wanted those good times to last!'|9790222287945|LAWSON|Peter Lawson|Bring Back Christmas Cheer|Choir - Male voices|?4.75|75
GM113|Paul Lewis
BALLADE ROMANTIQUE for solo harp
Goodmusic GM113|'I have always loved the harp. My first TV score, written in 1963 when I was twenty, contained an extensive harp part, and I have recorded with many wonderful harpists, including Marie Goossens, Jean Bell, Sheila Bromberg, Frances Kelly, Skaila Kanga, Gabriella Dall''Olio, Elizabeth Jane Baldry and David Snell. "Ballade Romantique" is my love song to the harp. (Paul Lewis)
Duration 5? minutes'|9790222288249|LEWIS P|Paul Lewis|Ballade Romantique|Harp|?4.00|63
GM114|Paul Lewis
MUSINGS ON A MAORI LULLABY for solo harp
Goodmusic GM114|The subject of these musings, "Hine e Hine", is a simple but tender lullaby written in New Zealand by Fanny Rose Howie, 1868-1916. Renaming herself Princess Te Rangi Pai after her Maori mother, she enjoyed a successful singing career in England for several years until, with failing health, she returned to New Zealand. Her family life having disintegrated, she spent her last years living in isolation writing songs, the most famous of which is "Hine e Hine".
As accompanist to my soprano wife, I have performed "Hine e Hine" many times, and my "Musings" are written both in fond memory of time spent living and working in New Zealand, and as a gift of gratitude to the dedicatee, Margaret Harper, who played the harp so beautifully in my concerts in Rotorua. Paul Lewis
Duration 18 minutes|9790222288256|LEWIS P|Paul Lewis|Musings on a Maori Lullaby|Harp|?6.00|112
GM115|Paul Lewis
POSTCARDS FROM PARIS for solo harp
Goodmusic GM115|'Three musical postcards from the city of love, culture and expensive shops.
1. Moonlight in Montmartre: Montmartre, a village within a city - artists, singers of chanson, cafes and the bells of Sacre Coeur.
2. Left Bank Nocturne: The Left Bank and Latin Quarter - haunt of students, intellectuals and jazz musicians.
3. Shopping in the Champs Elysees: The Champs Elysees - a shopper''s paradise - if you can afford it!
Duration 12 minutes'|9790222288263|LEWIS P|Paul Lewis|Postcards from Paris|Harp|?6.00|112
GM116|Paul Lewis
PINK AND WHITE TERRACES for flute and harp
Goodmusic GM116|'The Pink and White Terraces near Rotorua, with their thermal pools, were known as the eighth wonder of the world and were New Zealand''s most famous beauty spot and tourist attraction in the nineteenth century.
"Set in a basin of pure white silica, delicately carved and fretted, lay a pool of pale blue water, so pure in colour, so opaque in substance." (Mrs. Howard Vincent, tourist)
The terraces were reached by a three-hour canoe ride across Lake Tarawera, followed by an hour''s walk. On May 31st 1886, at different times of day, the occupants of two canoes, both Maori and non-Maori alike, saw an extraordinary sight.
"We were startled by a cry from an old Maori woman. We distinctly saw a Maori war canoe gliding along, apparently racing us." (George Sise, tourist)
"The Maoris said it was a phantom canoe and predicted that it would be the end of the world. No such canoe as we had seen now existed." (Louise Sise, tourist)
The mysterious sighting did indeed herald the end of their world, for after eleven days and many ominous tremors, Mount Tarawera erupted violently in the early hours of June 10th, 1886, burying several villages, killing around 120 people and destroying the Pink and White Terraces.
The music seeks to evoke the unearthly beauty of the Terraces. The old Maori woman''s cry on seeing the phantom canoe is heard in bar 64 and the piece ends uneasily as night falls on the eve of the fatal eruption.
Duration 8 minutes
Should a player be available, a taonga puoro (Maori native instruments) improvisation evoking the sighting of the waka wairua (spirit canoe) and the subsequent predictions of disaster may be inserted at bar 66.'|9790222288287|LEWIS P|Paul Lewis|Pink and White Terraces|Flute and Harp|?5.00|88
GM117|Rutland Boughton
STRING QUARTET No.1 in A based on Greek Folk-Songs
Goodmusic GM117|'Rutland Boughton (1878-1960) was born in Aylesbury, Buckinghamshire and was taught by Stanford and Walford Davies at the Royal College of Music. For a while he was professor of singing and taught music at the Birmingham Institute of Music under Granville Bantock, later moving to Glastonbury where, until 1926, he established his highly successful annual Festivals.
Each of Boughton''s two string quartets (see GM118 for No.2) was written in 1923 when he was enjoying great success in London and reflects his exuberant mood at his recent dramatic success and the union with his third wife, Kathleen. They were first performed at a series of three chamber music concerts which he presented at the Aeolian Hall, London in 1923, the ''Greek'' quartet on 12th October and the ''Welsh'' on 19th October. Boughton advertised the concerts as being " . . . not for high-brows, but for the general musical public who still believe in the common-chord and an occasional tune", compounding this by adding that there were to be "no free tickets even for ''the profession''." The critics were mixed in their reaction, so he presented for a second performance on 26th October the quartet which they had most disliked - the ''Greek''. The performances seem to have left something to be desired and the fact that he insisted that the audience hear the works for the first time in a darkened auditorium with the players behind a screen, did not add to the success of the occasion.
Quartet No.1: Boughton''s brief programme note for the performance on 26th October explains the ''Greek'' title: "The Summer School at Glastonbury last year was devoted to the study of Greek drama. One of the stage productions was The Trachiniae of Sophocles, in the English version of Plumtre. The choruses were sung to adaptations of Greek Folk Songs, unaccompanied. Those tunes haunted me, till last summer I managed to lay their ghosts by using some of them in the making of this quartet. It is fashioned with conventional form, so the listener need not be bothered with a pedantic analysis. The sub-titles of the movements have been added as key-words to their preponderant emotion; they have no further meaning or value."
The four movements are: Apollonian; Dionysian; Threnody; Aphrodisian
Duration 28 minutes
Score and parts included. The audio sample is of the first movement.'|9790222288294|BOUGHTON|Rutland Boughton|String Quartet 1 in A|String Quartet|?30.00|450
GM118|Rutland Boughton
STRING QUARTET No.2 in F "From the Welsh Hills"
Goodmusic GM118|'Rutland Boughton (1878-1960) was born in Aylesbury, Buckinghamshire and was taught by Stanford and Walford Davies at the Royal College of Music. For a while he was professor of singing and taught music at the Birmingham Institute of Music under Granville Bantock, later moving to Glastonbury where, until 1926, he established his highly successful annual Festivals.
Each of Boughton''s two string quartets (see GM117 for No.1) was written in 1923 when he was enjoying great success in London and reflects his exuberant mood at his recent dramatic success and the union with his third wife, Kathleen. They were first performed at a series of three chamber music concerts which he presented at the Aeolian Hall, London in 1923, the ''Greek'' quartet on 12th October and the ''Welsh'' on 19th October. Boughton advertised the concerts as being " . . . not for high-brows, but for the general musical public who still believe in the common-chord and an occasional tune", compounding this by adding that there were to be "no free tickets even for ''the profession''." The critics were mixed in their reaction, so he presented for a second performance on 26th October the quartet which they had most disliked - the ''Greek''. The performances seem to have left something to be desired and the fact that he insisted that the audience hear the works for the first time in a darkened auditorium with the players behind a screen, did not add to the success of the occasion.
Quartet No.2: The quartet was originally titled "The Snowdon Quartet" and is a loving souvenir of a holiday Boughton spent with his wife, Kathleen, at Beddgelert. Although he gave titles to each movement he warned that the music was not to be thought of as programmatic except in the sense that it was a personal reaction to "the emotional pleasure one has in natural beauty of a certain kind". The angry third movement, "Satire", mirrored his distress at finding that Snowdon had fallen victim to civilization - in particular to an undignified tin-hut ''hotel'' at the summit - and consequently has jagged themes and dissonant harmonies. Boughton declared that the form of the quartet is in accordance with Classical precepts and therefore is in need of no explanation!
The four movements are: Landscape: Purple and Grey - from the valleys; Landscape: Green and Gold - from the summits; Satire; Song of the Hills
Duration 28 minutes
Score and parts included. The audio sample is of the first movement.'|9790222288300|BOUGHTON|Rutland Boughton|String Quartet 2 in F|String Quartet|?30.00|515
GM119|CHRISTMAS BLESSING by Philip Henderson
for unaccompanied mixed voice choir
Goodmusic GM119|A lovely new setting for unaccompanied mixed voice choir of anonymous words.
The sample recording here is an actual performance by The Clothworkers Consort of Leeds, not a computer-generated one!
Loving Father,
Help us remember the birth of Jesus,
That we may share in the song of the angels,
The gladness of the shepherds and worship of the wise men.
Close the door of hate
And open the door of love all over the world.
Let kindness come with every gift
And good desires with every greeting.
Deliver us from evil by the blessing that Christ brings
And teach us to be merry with clear hearts.
May Christmas morning make us grateful to be Thy children
And Christmas evening bring us to our beds
With grateful thoughts, forgiving and forgiven!
Let us remember this Christmas morning the birth of Jesus.
Duration 2? minutes|9790222288522|HENDERSON P|Philip Henderson|Christmas Blessing|Choir - Mixed voices (SATB)|?2.00|25
GM120|TONIGHT IN THE SPINDRIFT SNOW by Philip Henderson
for unaccompanied mixed voice choir
Goodmusic GM120|'A wonderful new setting by Philip Henderson for unaccompanied mixed voice choir of a poem by Patrick Gordon-Duff-Pennington.
The sample recording here is an actual performance by The Clothworkers Consort of Leeds, not a computer-generated one!
Tonight in the spindrift snow
Spare a thought for the birds and the beasts in the fields.
Think, as you sit in the warmth of your room of the fear in glittering eyes of the sparrows -
As they perch in the creeper watching the pencils of light through the curtain chinks.
Cruel wind ruffles the down of the doves in the spruces,
Of the hares in their forms, facing the merciless night after the merciless day of starvation.
Spare a thought, spare a thought for the stirring life in the womb of the starving hind
In the drifts and the wind, in the rocks of the eagles.
You who are kind, will have heard the wind''s whisper,
"Have pity, have pity, on the birds and the beasts,
Spare a thought, spare a prayer for their night in the snow".
Text ? Patrick Gordon-Duff-Pennington. Used by permission.
Duration 4 minutes'|9790222288539|HENDERSON P|Philip Henderson|Tonight in the Spindrift Snow|Choir - Mixed voices (SATB)|?2.75|38
GM121|ENGLISH VIOLIN SOLOS arranged by Philip Lane
for violin and piano
Goodmusic GM121|A collection of five pieces by English composers, arranged for violin and piano by Philip Lane.
Intermezzo from The Crown of India Suite - Edward Elgar
Scene de Nuit from Suite de Ballet - Gustav Holst
Fiddle Dance - Percy Fletcher
Destiny Waltz - Sydney Baynes
Envoy from Nursery Suite - Edward Elgar (solo violin)
Total duration about 18 minutes|9790222288546|VARIOUS|Various|English Violin Solos (arr.Lane)|Violin and piano|?9.50|173
GM122|Philip Lane
MEDITATION ON A MEDIEVAL CAROL for harp
Goodmusic GM122|'This piece was originally designed to be the equivalent of the Interlude in Britten''s Ceremony of Carols in a similar type work which was later abandoned, leaving it artistically stranded. So it now stands on its own. It is a ''musing'' on the Carol of the Nuns of Chester, Qui creavit caelum, which dates from 1425 and was originally sung by the sisters in a procession which itself was part of an Advent Mystery play.
Duration 2 minutes'|9790222288799|LANE P|Philip Lane|Meditation on a Medieval Carol|Harp|?3.50|13
GM123|I WILL WADE OUT by Paul Carr
for mixed voice choir
Goodmusic GM123|'A setting of a poem by e.e.cummings for mixed voice choir (SATB), organ, harp and percussion (Tubular Bells and optional Vibraphone). This piece was commissioned and first performed by the choir of St.Giles-in-the-Fields, London (also commonly known as The Poets'' Church) in November 2013.
The choir would normally use the Vocal Score (which has a piano reduction of the instrumental parts). The Full Score and individual instrumental parts are available separately. The sample score available to view here is the Full Score.
Duration 10 minutes'|9790222289123|CARR P|Paul Carr|i will wade out Vocal Score|Choir - Vocal score|?4.00|63
GM123-00|||9790222289130|CARR P|Paul Carr|i will wade out Full score|Full score|?6.50|100
GM123-01|||9790222289147|CARR P|Paul Carr|i will wade out Organ part|Orchestral Part|?1.50|13
GM123-02|||9790222289154|CARR P|Paul Carr|i will wade out Harp part|Orchestral Part|?1.50|13
GM123-03|||9790222289161|CARR P|Paul Carr|i will wade out Percussion part|Orchestral Part|?1.50|13
GM124|Paul Lewis
DECOSPHERICS for solo harp
Goodmusic GM124|'Four Jazz Age Dances for harp.
Decospherics is the name of a circle of ebullient Art Deco enthusiasts revolving around the fabulous Art Deco Weekends in Napier, New Zealand. Every year devotees of the 1920s and 30s descend on Napier from all over the world, dressed to the nines in period style, to spend three riotous days attending fashion parades, shows, dances and vintage car parades and having a generally rollicking time amongst the Deco architecture of this iconic seaside resort. The members of Decospherics adopt a nom de guerre for the weekend and each of my dances is dedicated to a different member.
Charleston Chic - dedicated to ''Penelope'', aka Lee-Anne Freeman, proprietor of the colourful Charleston Chic boutique in Napier, a veritable Aladdin''s Cave of Deco attire.
Silent Movie Rag - dedicated to ''Charlie'', aka Max Patmoy, whose unexpectedly anarchic impersonations of Charlie Chaplin enliven the Napier Art Deco scene.
Cocktail Blues - a sultry serenade dedicated to ''Forget-Me-Not'', aka Sharon Elizabeth, cabaret artiste and composer''s wife, whose one-woman shows have been a highlight of many a Napier Art Deco Weekend.
Flapper''s Foxtrot - dedicated to ''Last-to-Leave Leigh'', aka Leigh Gillard, evergreen epitomy of latter-day Deco, reputed far and wide to be the last to leave a party and never to go to bed on the day she got up!
Two of the melodies were inspired by my wife''s and my participation as singer and pianist in the Napier Deco Weekends, and the other two were written for the 2010 National Jazz Festival to accompany vintage silent movie footage from the NZ Film Archive. By recasting them as harp solos I hope to provide harpists with a rare chance to let their musical hair down and recapture the spirit of the Roaring Twenties! Paul Lewis
Duration about 11 minutes
With thanks to harpist Gabriella Dall''Olio, not only for her generous editorial assistance, but also for premiering Decospherics in the Swiss Harp Festival, Ligerz, on May 6th 2017.'|9790222289178|LEWIS P|Paul Lewis|Decospherics (Four Jazz-Age Dances)|Harp|?5.50|100
GM125|Paul Lewis
TINTINNABULATIONS for solo harp
Goodmusic GM125|'"Scintillate the tintinnabulator" my maths master used to say when it was time to ring the school bell, adding his own take to Edgar Alan Poe''s beautiful word "tintinnabulations", devised to describe the after-sound of bells lingering in the air. The word has always fascinated me, and so have bells. These pieces are impressions of three memorable church bell experiences, but only the third makes use of the actual sequences and changes that were rung. Owing to the manner in which all the strings of the harp resonate no matter which notes have been played, it is an instrument uniquely capable of tintinnabulating in bell-like fashion.
1. Chimes at Chagford - In 1997 I spent the first of many a New Year''s Eve in the village of Chagford, Devon, at the home of harpist Elizabeth Jane Baldry. At midnight the bells of St. Michael the Archangel rang out across the valley, optimistically marking the start of the New Year.
2. Hand Bells at Bosham - One day in 1998 as Elizabeth Jane and I approached the picturesque Holy Trinity Church at Bosham, Sussex, the magical sound of hand bells wafted towards us on the afternoon air. We lingered in the church to watch the ringers, and as we left, the great church bells joined in, lending an element of majesty to this otherwise ethereal experience.
3. Westham Welcome - In August 2012 soprano Sharon Elizabeth and I, newly married, moved into a beautiful Tudor house next to the ancient church of St. Mary at Westham, Sussex. One afternoon shortly after, the church bells pealed out and an excited neighbour knocked on the door to tell us this was the first time they had been rung in ten years! I''m happy to say they have sounded regularly ever since, and though they were not rung because of our arrival, we like to think of their reawakening as a joyous welcome to our new home. Paul Lewis
Duration 16 minutes'|9790222289185|LEWIS P|Paul Lewis|Tintinnabulations|Harp|?5.00|88
GM126|Tom Cunningham
FIVE AUDEN SONGS for voice and piano
Goodmusic GM126|'Five of W.H.Auden''s poems on the theme of "love" set to music by Tom Cunningham for voice and piano. Due to the nature of Auden''s texts, these settings are more suited to an adult performer and audience.
The five titles are: The Willow-Wren and the Stare (Range:C-F#, 4? minutes); Make this night loveable (Nocturne II) (Range:D-F#, 2? minutes); Dear, though the night is gone (Range: D-F, 2 minutes); If I could tell you (but I can''t) (Range: Db-F, 2? minutes); The Love Feast (Range: C-Eb, 1? minutes).
28 pages - Duration 13 minutes in total
These can be performed as a set or individually.
Also available for upper voice choir and piano - see Roberton 03124.'|9790222289192|CUNNINGHAM|Tom Cunningham|Five Auden Songs|Voice solo (with accompaniment)|?6.50|124
GM127|Philip Lane
PIANO LOLLIPOPS for piano solo
Goodmusic GM127|'Eight pieces for piano solo.
Private Detective; Scene d''Amour; The'' ''eavy Mob; Happy Solitaire; Suburban Sunday; The Flapper; Solitude; Anaiis.
The first six pieces in this collection were originally published in 1982 under the title Leisure Lanes as fun pieces for piano. They were revised in 2014 to remove unneccessarily difficult corners to open them up to a wider range of players. The other two pieces were added for this album.'|9790222289208|LANE P|Philip Lane|Piano Lollipops|Piano - Solo|?5.50|100
GM128|Paul Carr
THREE MOTETS for mixed voice choir
Goodmusic GM128|'Three beautiful, very moving pieces for unaccompanied mixed voice choir: "Holding the Stars", "Now Comes Beauty" and "The Cloths of Heaven". These are also available separately - see GM053, GM052 and GM074.
Holding the Stars
The words by Paul Carr are a simple reverie to the solitude of thoughts and feelings that we all feel from time to time. Lost in the beauty of a summer''s night - in contemplation of oneself and the world. Duration 5? minutes
Now Comes Beauty
This was originally composed in the Summer of 2009 as a song for solo voice and piano. At the suggestion of my brother Gavin, I then made this arrangement for unaccompanied mixed voice choir and also an instrumental version for string orchestra. Written at a time of great change in my life, it is essentially a song about reluctantly saying farewell to an idyllic, though sometime solitary life on the beautiful island of Mallorca, where I lived from 2004 to 2009 - the ending of a long relationship and the need to move on in a new direction. Death and re-birth if you like; painfully lost, but accepting and open at the same time. Paul Carr Words by Paul Carr. Duration 5 minutes
The Cloths of Heaven
A new, very moving, beautiful setting for unaccompanied mixed voice choir of W. B. Yeats'' poem "He wishes for the Cloths of Heaven". Although much of the piece is in four parts, all of the voice parts divide at some stage, the sopranos and altos each into 3 parts at one point, where it is necessary for some delicious chordal effects. Duration 5? minutes
CD Recordings on Stone Records: "Holding the Stars" and "Now Comes Beauty" along with other choral music by Paul Carr is available on 5060192780048. "The Cloths of Heaven" appears on a second CD of Paul''s choral music - 5060192780376.'|9790222289246|CARR P|Paul Carr|Three Motets|Choir - Mixed voices (SATB)|?4.00|63
GM129|Philip Lane
BRIC-A-BRAC for piano solo
Goodmusic GM129|'Twelve short pieces for piano solo.
Victorian Lady; Mr. Punch; Ceremonial; Toy Soliders; Pagoda Garden; Circus Clowns; "Rag" Doll; Cakewalk; Lazy Old Joe; Flapper Girl; Cabbage White; Flapping About.
All of these pieces, apart from Lazy Old Joe & Flapping About, were originally published in 1992 as ''fun pieces'' for young pianists. More recently they have been revised to iron out a few technical points but they remain mostly untouched overall. Hopefully they instruct as they entertain!'|9790222289253|LANE P|Philip Lane|Bric-a-Brac|Piano - Solo|?5.50|100
GM130|Philip Lane
THREE LITTLE BITES AT THE BIG APPLE for piano solo
Goodmusic GM130|'Three pieces for piano solo with the flavour of New York.
Streets and Avenues; A Walk in the Park; Struttin'' at the Waldorf.
Duration 4? minutes
Two of these pieces are also available in a version for solo harp as "Two Little Bites at the Big Apple" (GM162).'|9790222289260|LANE P|Philip Lane|Three Little Bites at the Big Apple|Piano - Solo|?4.00|63
GM131|Peter Lawson
TUNES FROM THE TRENCHES - Songs from World War One
Goodmusic GM131|'For choir and orchestra or concert band, or choir and piano.
A non-stop medley of tunes from World War One from recruiting through to the Last Post. This arrangement can be performed by a choir with either an orchestra, band or piano accompaniment. There are different choral versions available for Mixed Voice Choir - both SATB (GM131) and, for those with a shortage of male voices, SA+Men (GM134) - for Upper Voice Choir (SSA - GM132) and for Male Voice Choir (TTBB - GM133). The orchestra score and parts (GMCP020) can be used either on its own or to accompany a choir.
The recruiting song "Your King and Country Want You" starts us off followed by "Goodbye, Dolly Gray" as the soldiers leave for war. "Belgium put the Kibosh on the Kaiser" is followed by some proper trench songs - various lyrics were improvised by the soldiers!! - "Three German Officers crossed the Rhine" and "They were only playing Leap-Frog". "The Bells of Hell go Ting-a-ling-a-ling" leads to strains of "Stille Nacht" recalling the Christmas truce. "When this Lousy War is Over" and "There''s no place like Home" are balanced by "Land of Hope and Glory" before the Americans arrive with "The Caissons go Rolling Along" and "Over There". "It''s a Long Way to Tipperary" brings us towards a rousing finish save for an optional "Last Post-lude" to end reflectively.
Duration 13? minutes
The audio sample here is the version with piano accompaniment. To hear the orchestral version see GMCP020.
To hear the concert band version see GM150.
CLICK HERE to see the other choral copies'|9790222290105|LAWSON|Peter Lawson|Tunes from the Trenches|Choir - Mixed voices (SATB)|?7.00|113
GM132|Peter Lawson
TUNES FROM THE TRENCHES - Songs from World War One
Goodmusic GM132|'For choir and orchestra or concert band, or choir and piano.
A non-stop medley of tunes from World War One from recruiting through to the Last Post. This arrangement can be performed by a choir with either an orchestra, band or piano accompaniment. There are different choral versions available for Mixed Voice Choir - both SATB (GM131) and, for those with a shortage of male voices, SA+Men (GM134) - for Upper Voice Choir (SSA - GM132) and for Male Voice Choir (TTBB - GM133). The orchestra score and parts (GMCP020) can be used either on its own or to accompany a choir.
The recruiting song "Your King and Country Want You" starts us off followed by "Goodbye, Dolly Gray" as the soldiers leave for war. "Belgium put the Kibosh on the Kaiser" is followed by some proper trench songs - various lyrics were improvised by the soldiers!! - "Three German Officers crossed the Rhine" and "They were only playing Leap-Frog". "The Bells of Hell go Ting-a-ling-a-ling" leads to strains of "Stille Nacht" recalling the Christmas truce. "When this Lousy War is Over" and "There''s no place like Home" are balanced by "Land of Hope and Glory" before the Americans arrive with "The Caissons go Rolling Along" and "Over There". "It''s a Long Way to Tipperary" brings us towards a rousing finish save for an optional "Last Post-lude" to end reflectively.
Duration 13? minutes
The audio sample here is the version with piano accompaniment. To hear the orchestral version see GMCP020.
To hear the concert band version see GM150.
CLICK HERE to see the other choral copies'|9790222290112|LAWSON|Peter Lawson|Tunes from the Trenches|Choir - 3 part upper voices|?7.00|113
GM133|Peter Lawson
TUNES FROM THE TRENCHES - Songs from World War One
Goodmusic GM133|'For choir and orchestra or concert band, or choir and piano.
A non-stop medley of tunes from World War One from recruiting through to the Last Post. This arrangement can be performed by a choir with either an orchestra, band or piano accompaniment. There are different choral versions available for Mixed Voice Choir - both SATB (GM131) and, for those with a shortage of male voices, SA+Men (GM134) - for Upper Voice Choir (SSA - GM132) and for Male Voice Choir (TTBB - GM133). The orchestra score and parts (GMCP020) can be used either on its own or to accompany a choir.
The recruiting song "Your King and Country Want You" starts us off followed by "Goodbye, Dolly Gray" as the soldiers leave for war. "Belgium put the Kibosh on the Kaiser" is followed by some proper trench songs - various lyrics were improvised by the soldiers!! - "Three German Officers crossed the Rhine" and "They were only playing Leap-Frog". "The Bells of Hell go Ting-a-ling-a-ling" leads to strains of "Stille Nacht" recalling the Christmas truce. "When this Lousy War is Over" and "There''s no place like Home" are balanced by "Land of Hope and Glory" before the Americans arrive with "The Caissons go Rolling Along" and "Over There". "It''s a Long Way to Tipperary" brings us towards a rousing finish save for an optional "Last Post-lude" to end reflectively.
Duration 13? minutes
The audio sample here is the version with piano accompaniment. To hear the orchestral version see GMCP020.
To hear the concert band version see GM150.
CLICK HERE to see the other choral copies'|9790222290129|LAWSON|Peter Lawson|Tunes from the Trenches|Choir - Male voices|?7.00|113
GM134|Peter Lawson
TUNES FROM THE TRENCHES - Songs from World War One
Goodmusic GM134|'For choir and orchestra or concert band, or choir and piano.
A non-stop medley of tunes from World War One from recruiting through to the Last Post. This arrangement can be performed by a choir with either an orchestra, band or piano accompaniment. There are different choral versions available for Mixed Voice Choir - both SATB (GM131) and, for those with a shortage of male voices, SA+Men (GM134) - for Upper Voice Choir (SSA - GM132) and for Male Voice Choir (TTBB - GM133). The orchestra score and parts (GMCP020) can be used either on its own or to accompany a choir.
The recruiting song "Your King and Country Want You" starts us off followed by "Goodbye, Dolly Gray" as the soldiers leave for war. "Belgium put the Kibosh on the Kaiser" is followed by some proper trench songs - various lyrics were improvised by the soldiers!! - "Three German Officers crossed the Rhine" and "They were only playing Leap-Frog". "The Bells of Hell go Ting-a-ling-a-ling" leads to strains of "Stille Nacht" recalling the Christmas truce. "When this Lousy War is Over" and "There''s no place like Home" are balanced by "Land of Hope and Glory" before the Americans arrive with "The Caissons go Rolling Along" and "Over There". "It''s a Long Way to Tipperary" brings us towards a rousing finish save for an optional "Last Post-lude" to end reflectively.
Duration 13? minutes
The audio sample here is the version with piano accompaniment. To hear the orchestral version see GMCP020.
To hear the concert band version see GM150.
CLICK HERE to see the other choral copies'|9790222290136|LAWSON|Peter Lawson|Tunes from the Trenches|Choir - Mixed voices (SAMen)|?7.00|113
GM135|Tom Cunningham
Songs from THE OKAVANGO MACBETH
Goodmusic GM135|A selection of seven songs from the chamber opera The Okavango Macbeth - Macbeth with baboons! - with music by Tom Cunningham and words by Alexander McCall Smith. This album for solo voice and piano was produced in response to requests for a collection of songs from the opera that could be used especially by students of Music Theatre. A synopsis of the opera is included to put the selected songs in context.
Vocal range: Bb up to Eb (with one optional F).
The full vocal score of the opera is also available - see GM045.|9790222290433|CUNNINGHAM|Tom Cunningham|Songs from The Okavango Macbeth|Voice solo (with accompaniment)|?6.50|124
GM136|Philip Henderson
ON THE BEACH WITH ALICE for cello and piano
Goodmusic GM136|'This work, a cello concerto in all but name, was inspired by an old black and white photograph taken on Sheerness beach with a very young Philip Henderson huddling up to Alice, his mother, at the waters edge. She had just been made a widow following the tragic death of Philip''s father, and she had taken her son and daughter for a trip to the seaside, despite their great loss.
There are four movements: Sunrise; Morning Delight; Dancing in the Midday Sun; Castles of Sand.
This is a reduction for cello and piano of the original for cello and orchestra. Orchestral parts are available - see GMCO108
Duration 18 minutes
On the beach with Alice received its World Premiere in Beijing on 3rd November 2013 played by the Beijing Youth Orchestra conducted by Shane O''Shea with Jacob Shaw as soloist. www.jacobshaw.de
The audio file is an actual performance (with orchestra accompaniment) played by Jacob Shaw and not a computer-generated one!'|9790222290594|HENDERSON P|Philip Henderson|On the Beach with Alice|Cello and piano|?8.50|160
GM137|SONG OF THE SMALL WHITE ORCHID by Peter Lawson
for recorders (one player) and string quartet
Goodmusic GM137|'The Song of the Small White Orchid, written in 2013 for John Turner in celebration of his seventieth birthday, is the thirtieth to be written in a projected cycle of musical portraits of the forty-eight wild orchids of Britain and Ireland, ranging from solo instruments to various combinations of chamber and orchestral ensembles.
It is a short, light-hearted piece which explores the wide range of pitches from the lowest note on the Bass recorder to the top notes of the tiny Sopranino via the Tenor, Treble and Descant instruments. The string quartet acts both in an accompanying mode and also as a completer of the musical argument of a stanza whilst the soloist changes recorder in readiness for the next stanza.
The Small White Orchid, Pseudorchis albida, has a distinctly Northerly distribution in Great Britain and is extremely rare and endangered in Northern England, Wales and Ireland. Most of its sites are in Scotland, but even here it is very local and decreasing - due to overgrazing in its typical habitat of rough pasture ground and to agricultural ''improvement'' of land in sites nearer to sea level. It has a wide distribution abroad and can be seen as far south as the Balkans, as far east as Siberia and as far west as Greenland and Eastern Canada.
It is a dainty plant, less than 15cm high, with long, lanceolate leaves wrapping around the stem. It has a relatively long, sweetly-scented, compact spike of often as many as thirty small white flowers with yellow-gold pollinia, which are pollinated by a variety of insects, particularly moths at twilight.
The neat, dainty nature of the plant is reflected in the music. A ''colour scheme'' of harmonies is employed for the green of the leaves, white of the petals, gold of the pollinia, blue of the sky above and brown of the fading plant. The harmony is often in the form of arpeggiated patterns, whose rhythmic figurations sometimes suggest birdsong which might be heard in the vicinity of the orchid.
Gradually, references to imaginary Scottish marching-band music, a reel, jigs and numerous Scottish and Irish folk-song-like airs creep in and as the conclusion approaches there are capricious, fleeting references to Richard Strauss''s "Till Eulenspiegel''s Merry Pranks" and the Irish air "Believe me, if all those endearing young charms". Peter Lawson
Duration 6? minutes
For the version with piano accompaniment see GM207.'|9790222290860|LAWSON|Peter Lawson|Song of the Small White Orchid|Ensemble - Mixed|?8.50|160
GM138|Judith Bailey
AQUAMARINE WALTZ for cello and piano
Goodmusic GM138|'This work was commissioned by Isabel Young in May 1999 and written in June of that year. She had commissioned a piece for ''cello and piano for her 75th birthday.
The composer''s first thoughts were to relate the title to her Cornish home, but she did not feel "The Haven" to be an appropriate name for a piece! However, because of its happy associations and spectacular sea view, the word "aquamarine" seemed an apt description of what turned into a light-hearted waltz.
Duration 5 minutes
A CD recording of this work is available on Metier Records (Divine Art) MSVCD92101 which contains a collection of instrumental music by Judith Bailey played by the Davey Chamber Ensemble.'|9790222290877|BAILEY J|Judith Bailey|Aquamarine Waltz|Cello and piano|?4.50|76
GM139|SONG OF THE BOG ORCHID by Peter Lawson
for flute (doubling bass flute), oboe (doubling cor anglais), clarinet (doubling bass clarinet) and trumpet
Goodmusic GM139|'Song of the Bog Orchid was originally composed in 1992 as a commission for the Nettlefold Festival, but was completely rewritten for the same resources in 2013. It is the nineteenth to be written in a projected cycle of musical portraits of the forty-eight wild orchids of Britain and Ireland, ranging from solo instruments to various combinations in chamber and orchestral ensembles.
The Bog Orchid, Hammarbya paludosa, is a rather rare and delicate little green-flowered plant, difficult to spot in boggy areas where water is fairly still and - unusually for orchids - prefers acidic conditions. Apart from a few sites in the New Forest, it is confined to the North of England, a few sites in Wales and Ireland and significantly more in Scotland, though still very uncommon there.
It has suffered a noticeable decline in recent decades, through loss of habitat due to drainage. Globally, it can be found all round the Northern hemisphere in more Northerly areas from Alaska and Canada, from Scandinavia to Siberia and Japan. It can be as tiny as the nail of a little finger and still be in flower, but is generally about as tall as between half of the width of a palm of a hand and the full width. The green flowers have, like the whole plant, a yellow-gold tinge and smell sweetly of cucumber and there are generally ten to twenty of them on a spike.
The Song of the Bog Orchid is in binary form - the first half being our impression of the orchid and its habitat and the second part being the song of the orchid itself, fancifully of course! A colour coding scheme of harmonies are used for the green and yellowish-gold, blue for sky and white for clouds, brown for dead vegetation. These first four colours mentioned are heard in arpeggiated patterns of harmony from the four instruments in overlapping layers - which then gradually change to brown.
This gives way to a sinister ''boggy'' theme heard first on the bass flute which occurs throughout the piece in various guises. There follows a scherzando section describing the delicate nature of the well-hidden plant, followed by the ''song'' of the plant itself - slower, sad and serene as it dies back for winter. A coda, referring back to the scherzando section, concludes the piece in a playful way as the orchid pops up again in the late spring of the following year. Peter Lawson
Duration 9 minutes'|9790222291188|LAWSON|Peter Lawson|Song of the Bog Orchid|Ensemble - Mixed|?8.00|149
GM140|SONG OF THE FEN ORCHID by Peter Lawson
for piano solo
Goodmusic GM140|'The Song of the Fen Orchid, was written for James Kirby in 1985-6 and revised in 1990 and again in 2012-3. It was the ninth to be written in a projected cycle of musical portraits of the 48 wild orchids of Great Britain and Ireland - for various soloists and for chamber and orchestral ensembles.
The Fen Orchid, Liparis loeselii, can be found - with some difficulty, due to its camouflaged colouring and dainty features - in fens and sand-dune slacks. It is, on closer inspection, a miniature orchid of considerable beauty, with its rather open spike of small creamy flowers clasped near the base of the stalk in a cluster of glossy leaves.
It is distributed widely from North America to Siberia, but is decreasing in many of its habitats, due to the drainage of boggy fenland and by the gradually-evolving nature of the terrain of semi-stabilised dune slacks. This trend is particularly prevalent in Britain, where the plant is now a threatened species in both its fenland haunts in Norfolk and its two maritime habitats in South Wales.
The South Wales form, (var. ovata), is significantly smaller and squatter than the more robust, fenland form. In fact, the Nature Reserve of Kenfig Burrows, near Port Talbot, which has a refreshingly open attitude to conservation - by education rather than secrecy with regard to its precious and vulnerable colony - became the inspiration for the final section of the music.
The Song of the Fen Orchid reflects - in the introduction - the challenges of finding the plant in the first place. This gives way to a scherzo-like section, portraying the delicate, almost intimate, features of the plant in close-up. Then comes the ''Song'' of the orchid itself, in which the listener is invited to experience the world as seen, as it were, from the orchid, culminating in an evocation of the majestic irony of the Port Talbot Steelworks - ever looming closer as the site of the orchid is approached. Peter Lawson
Duration 9 minutes
First performed in Almaty, Kazakhstan on 13th May 2015 by James Kirby'|9790222291195|LAWSON|Peter Lawson|Song of the Fen Orchid|Piano - Solo|?5.00|88
GM141|Paul Lewis
FANFARE FOR KING RICHARD III for brass and percussion
Goodmusic GM141|'Though scored for 3 trumpets, 3 trombones and 3 percussion (snare drum, tambourine, cymbals), the fanfare can be performed by trumpets or trombones without one another and with or without percussion.
Never was a king more greatly loved in his lifetime yet more grossly maligned after his death than Richard III.
This is a fanfare to celebrate the discovery of Richard III under a Leicester car park in 2013 and his re-interment in Leicester Cathedral in 2015.
At the age of twelve I was inspired to become a composer by Laurence Olivier''s film of Shakespeare''s Richard III with William Walton''s stirring score, but I never believed that Shakespeare''s view of the monarch as a murderous villain was anything other than character assassination performed by 16th century historians anxious to justify the presence of Tudors on the English throne. Happily this opinion is now widely held by historians. Paul Lewis
Duration 1? minutes
Score and set of parts included.
Also available in an arrangement for organ - Goodmusic GM143'|9790222291812|LEWIS P|Paul Lewis|Fanfare for King Richard III|Ensemble - Mixed brass|?9.50|173
GM142|GOBBLEDEGOOK THE TURKEY by Philip Lane
for unison voices
Goodmusic GM142|Words by Frances Button
Music by Philip Lane
A new Christmas song for unison voices (with an optional 2nd part) with piano or orchestra accompaniment.
It tells the story of Gobbledegook, a turkey with a very simple brain who is really looking forward to Christmas time as he has heard that he is being included in the "wonderful turkey dinner"! Some angels come to warn him and whisk him off to a Pacific land where the natives worship turkeys. He ends up happily living like a king.
Duration 5 minutes
The orchestral score & parts are available on hire from Goodmusic. Orchestration: Double woodwind, 2 Horns, Timpani, Percussion, Harp & Strings.|9790222291829|LANE P|Philip Lane|Gobbledegook the Turkey|Choir - Unison voices|?2.00|25
GM143|Paul Lewis
FANFARE FOR KING RICHARD III for organ
Goodmusic GM143|'Never was a king more greatly loved in his lifetime yet more grossly maligned after his death than Richard III.
This is a fanfare to celebrate the discovery of Richard III under a Leicester car park in 2013 and his re-interment in Leicester Cathedral in 2015.
At the age of twelve I was inspired to become a composer by Laurence Olivier''s film of Shakespeare''s Richard III with William Walton''s stirring score, but I never believed that Shakespeare''s view of the monarch as a murderous villain was anything other than character assassination performed by 16th century historians anxious to justify the presence of Tudors on the English throne. Happily this opinion is now widely held by historians. Paul Lewis
Duration 1? minutes
Also available in a version for brass and percussion - Goodmusic GM141'|9790222291836|LEWIS P|Paul Lewis|Fanfare for King Richard III|Organ Solo|?3.50|25
GM144|Henry Wood arr.Peter Lawson
FANTASIA ON BRITISH SEA SONGS for SATB choir
Goodmusic GM144|'The Fantasia on British Sea Songs was arranged by Sir Henry Wood in 1905 to mark the centenary of the Battle of Trafalgar. It is a medley of British sea songs and for many years has been seen as an indispensable item at the BBC''s Last Night of the Proms concert.
The complete work is made up of nine parts which follow the course of the battle from the point of view of a British sailor, starting with the call to arms, progressing through the death of a comrade, thoughts of home, and ending with a victorious return and the assertion that Britain will continue to ''rule the waves''. Individual sections can be omitted if required. The fantasia commences with a series of six naval bugle calls and their responses. These calls were traditionally used to convey orders on a naval warship.
1. Bugle Calls (Admiral''s Salute, Action, General Assembly, Landing Party, Prepare to Ram, Quick, Double, Extend and Close.)
2. The Anchor''s Weighed
3. The Saucy Arethusa
4. Tom Bowling
5. Jack''s The Lad (Hornpipe) (with optional encore)
6. Farewell and Adieu, Ye Spanish Ladies
Clarinet Cadenza
7. Home, Sweet Home
8. See, the Conqu''ring Hero Comes
9. Rule, Britannia! (A soloist can be used for the verses/choruses)
Originally for orchestra (with a singer in Rule Britannia), this new arrangement by Peter Lawson has added a choir throughout as all of the tunes used (except the bugle calls) started life as sea songs. The accompaniment can be provided either by an orchestra or just a piano. Four different choral versions are available and four different 48 page vocal scores are available: SATB - GM144 SSA - GM145 TTBB - GM146 SA+Men - GM147
The orchestra score and parts are the same for each and are available under the catalogue number GMCL200
Duration 19 minutes
The audio sample here is of the choir with piano version and begins after the Bugle Calls and omits the clarinet cadenza. Look under GMCL200 to hear the orchestral version.'|9790222291850|WOOD|Henry Wood|Fantasia on British Sea Songs|Choir - Mixed voices (SATB)|?9.00|148
GM145|Henry Wood arr.Peter Lawson
FANTASIA ON BRITISH SEA SONGS for SSA choir
Goodmusic GM145|'The Fantasia on British Sea Songs was arranged by Sir Henry Wood in 1905 to mark the centenary of the Battle of Trafalgar. It is a medley of British sea songs and for many years has been seen as an indispensable item at the BBC''s Last Night of the Proms concert.
The complete work is made up of nine parts which follow the course of the battle from the point of view of a British sailor, starting with the call to arms, progressing through the death of a comrade, thoughts of home, and ending with a victorious return and the assertion that Britain will continue to ''rule the waves''. Individual sections can be omitted if required. The fantasia commences with a series of six naval bugle calls and their responses. These calls were traditionally used to convey orders on a naval warship.
1. Bugle Calls (Admiral''s Salute, Action, General Assembly, Landing Party, Prepare to Ram, Quick, Double, Extend and Close.)
2. The Anchor''s Weighed
3. The Saucy Arethusa
4. Tom Bowling
5. Jack''s The Lad (Hornpipe) (with optional encore)
6. Farewell and Adieu, Ye Spanish Ladies
Clarinet Cadenza
7. Home, Sweet Home
8. See, the Conqu''ring Hero Comes
9. Rule, Britannia! (A soloist can be used for the verses/choruses)
Originally for orchestra (with a singer in Rule Britannia), this new arrangement by Peter Lawson has added a choir throughout as all of the tunes used (except the bugle calls) started life as sea songs. The accompaniment can be provided either by an orchestra or just a piano. Four different choral versions are available and four different 48 page vocal scores are available: SATB - GM144 SSA - GM145 TTBB - GM146 SA+Men - GM147
The orchestra score and parts are the same for each and are available under the catalogue number GMCL200
Duration 19 minutes
The audio sample here is of the choir with piano version and begins after the Bugle Calls and omits the clarinet cadenza. Look under GMCL200 to hear the orchestral version.'|9790222291867|WOOD|Henry Wood|Fantasia on British Sea Songs|Choir - 3 part upper voices|?9.00|148
GM146|Henry Wood arr.Peter Lawson
FANTASIA ON BRITISH SEA SONGS for TTBB choir
Goodmusic GM146|'The Fantasia on British Sea Songs was arranged by Sir Henry Wood in 1905 to mark the centenary of the Battle of Trafalgar. It is a medley of British sea songs and for many years has been seen as an indispensable item at the BBC''s Last Night of the Proms concert.
The complete work is made up of nine parts which follow the course of the battle from the point of view of a British sailor, starting with the call to arms, progressing through the death of a comrade, thoughts of home, and ending with a victorious return and the assertion that Britain will continue to ''rule the waves''. Individual sections can be omitted if required. The fantasia commences with a series of six naval bugle calls and their responses. These calls were traditionally used to convey orders on a naval warship.
1. Bugle Calls (Admiral''s Salute, Action, General Assembly, Landing Party, Prepare to Ram, Quick, Double, Extend and Close.)
2. The Anchor''s Weighed
3. The Saucy Arethusa
4. Tom Bowling
5. Jack''s The Lad (Hornpipe) (with optional encore)
6. Farewell and Adieu, Ye Spanish Ladies
Clarinet Cadenza
7. Home, Sweet Home
8. See, the Conqu''ring Hero Comes
9. Rule, Britannia! (A soloist can be used for the verses/choruses)
Originally for orchestra (with a singer in Rule Britannia), this new arrangement by Peter Lawson has added a choir throughout as all of the tunes used (except the bugle calls) started life as sea songs. The accompaniment can be provided either by an orchestra or just a piano. Four different choral versions are available and four different 48 page vocal scores are available: SATB - GM144 SSA - GM145 TTBB - GM146 SA+Men - GM147
The orchestra score and parts are the same for each and are available under the catalogue number GMCL200
Duration 19 minutes
The audio sample here is of the choir with piano version and begins after the Bugle Calls and omits the clarinet cadenza. Look under GMCL200 to hear the orchestral version.'|9790222291874|WOOD|Henry Wood|Fantasia on British Sea Songs|Choir - Male voices|?9.00|148
GM147|Henry Wood arr.Peter Lawson
FANTASIA ON BRITISH SEA SONGS for SA+Men choir
Goodmusic GM147|'The Fantasia on British Sea Songs was arranged by Sir Henry Wood in 1905 to mark the centenary of the Battle of Trafalgar. It is a medley of British sea songs and for many years has been seen as an indispensable item at the BBC''s Last Night of the Proms concert.
The complete work is made up of nine parts which follow the course of the battle from the point of view of a British sailor, starting with the call to arms, progressing through the death of a comrade, thoughts of home, and ending with a victorious return and the assertion that Britain will continue to ''rule the waves''. Individual sections can be omitted if required. The fantasia commences with a series of six naval bugle calls and their responses. These calls were traditionally used to convey orders on a naval warship.
1. Bugle Calls (Admiral''s Salute, Action, General Assembly, Landing Party, Prepare to Ram, Quick, Double, Extend and Close.)
2. The Anchor''s Weighed
3. The Saucy Arethusa
4. Tom Bowling
5. Jack''s The Lad (Hornpipe) (with optional encore)
6. Farewell and Adieu, Ye Spanish Ladies
Clarinet Cadenza
7. Home, Sweet Home
8. See, the Conqu''ring Hero Comes
9. Rule, Britannia! (A soloist can be used for the verses/choruses)
Originally for orchestra (with a singer in Rule Britannia), this new arrangement by Peter Lawson has added a choir throughout as all of the tunes used (except the bugle calls) started life as sea songs. The accompaniment can be provided either by an orchestra or just a piano. Four different choral versions are available and four different 48 page vocal scores are available: SATB - GM144 SSA - GM145 TTBB - GM146 SA+Men - GM147
The orchestra score and parts are the same for each and are available under the catalogue number GMCL200
Duration 19 minutes
The audio sample here is of the choir with piano version and begins after the Bugle Calls and omits the clarinet cadenza. Look under GMCL200 to hear the orchestral version.'|9790222291881|WOOD|Henry Wood|Fantasia on British Sea Songs|Choir - Mixed voices (SAMen)|?9.00|148
GM148|Peter Lawson
MUSIC HALL MEDLEY for upper voice choir (SSA)
Goodmusic GM148|'A splendid medley of songs made famous in the music halls comprising "Put on your tat-ta little girlie", "I''ll be your sweetheart", "Danny Boy", "After the ball", "She was one of the early birds", "Somebody stole my gal", "I do like to be beside the seaside", "Oh, Oh, Antonio", "Daisy Bell", "Daddy wouldn''t buy me a bow-wow", "Let''s all go down the Strand", "Lily of Laguna" and "It''s a long way to Tipperary" . . . . . . . Phew!
This medley can be performed by mixed voice choir with a piano accompaniment or, if you just happen to have a full concert orchestra hanging around, they can accompany you instead. The orchestral score and parts are available in our Goodmusic Concert Pops series (see under GMCP016 for full details).
Your audience, should you be lucky enough to have one, can join in all the choruses they know and love!
There are two short instrumental sections in this medley (bars 21 to 52 and bars 99 to 130) which may be cut if you are performing it with just a piano and you want to deny your accompanist a bit of a solo spot and a little glory.
A version of this medley for male voice choir is also available (Catalogue number GM051) as well as versions for mixed voice choir of SATB (Goodmusic GM050) and SA+Men (Roberton 62005).
Duration 12 minutes'|9790222291898|LAWSON|Peter Lawson|Music Hall Medley|Choir - 3 part upper voices|?8.25|138
GM149|Philip Henderson
17 poets form lines on the foot of Mt.Fuji
for tenor or baritone soloist, mixed voice choir and orchestra
Goodmusic GM149|An intriguing short work composed for the International Schools Choral Music Society to "nonsense" words by Douglas Macari. It is scored for tenor or baritone soloist, mixed voice choir (SATB) and orchestra of Piccolo, Flute, Oboe, Clarinet in A, Percussion [5 players: Finger cymbals, Wind chimes (mark tree), Triangle, Cymbals (suspended and clashed), Gong, Bass drum, Vibraphone) and Strings.
First performed at the Shanghai Oriental Arts Centre on February 7th 2015 conducted by the composer.
HAIKU: A 17-syllable verse form and one of the most important forms of Japanese poetry.
"17 poets form lines on the foot of Mt.Fuji - the perfect hike queue?"
Vocal score with piano reduction on sale, full score and orchestral parts available on hire from Goodmusic.
Duration 10 minutes|9790222292932|HENDERSON P|Philip Henderson|17 poets form lines on the foot....|Choir - Vocal score|?6.50|124
GM150|Peter Lawson
TUNES FROM THE TRENCHES - Songs from World War One
Goodmusic GM150|'For choir and concert band, or concert band alone (can also be performed by choir accompanied only by piano).
A non-stop medley of tunes from World War One from recruiting through to the Last Post. This arrangement can be performed by concert band alone as a concert piece or by various types of choir with either an orchestra, band or piano accompaniment. There are different choral versions available for Mixed Voice Choir - both SATB (GM131) and, for those with a shortage of male voices, SA+Men (GM134) - for Upper Voice Choir (SSA - GM132) and for Male Voice Choir (TTBB - GM133). The band score and parts can be used either on its own or to accompany a choir.
ORCHESTRATION
Piccolo, 2 Flutes, 2 Oboes, Eb Clarinet, 3 Bb Clarinets, Bass Clarinet, 2 Bassoons, 2 Alto Saxes, Tenor Sax, Baritone Sax, 4 Horns in F, 3 Trumpets in Bb, 3 Trombones, Baritone/Euphonium, Basses, String Bass, Timpani, Percussion (5 players: Triangle, Side Drum, Cymbals, Bass Drum, Temple Blocks, Whip, Tambourine, Tubular Bells, Sleigh Bells, Swanee Whistle, Glockenspiel, Xylophone, Vibraphone), Harp (or Keyboard)
Choir [optional]
The recruiting song "Your King and Country Want You" starts us off followed by "Goodbye, Dolly Gray" as the soldiers leave for war. "Belgium put the Kibosh on the Kaiser" is followed by some proper trench songs - various lyrics were improvised by the soldiers!! - "Three German Officers crossed the Rhine" and "They were only playing Leap-Frog". "The Bells of Hell go Ting-a-ling-a-ling" leads to strains of "Stille Nacht" recalling the Christmas truce. "When this Lousy War is Over" and "There''s no place like Home" are balanced by "Land of Hope and Glory" before the Americans arrive with "The Caissons go Rolling Along" and "Over There". "It''s a Long Way to Tipperary" brings us towards a rousing finish save for an optional "Last Post-lude" to end reflectively.
Duration 13? minutes
For the orchestral version see GMCP020
CLICK HERE to see the choral copies'|9790222292949|LAWSON|Peter Lawson|Tunes from the Trenches BAND ScPts|Wind band|?75.00|1370
GM150-99||||LAWSON|Peter Lawson|Tunes from the Trenches - Extra Pts|Wind band|?2.00|25
GM151|Tom Cunningham
A SCOTTISH FOUR SEASONS for voice and piano
Goodmusic GM151|Poems by Alexander McCall Smith on the four seasons from a Scottish point of view, set to music by Tom Cunningham.
Spring (Range: Eb-F), Summer (Range: D-E), Autumn (Range: E-E), Winter (Range: C-F).
Also available in a version for upper voice choir and piano - 03125
Duration 8 minutes|9790222292963|CUNNINGHAM|Tom Cunningham|Scottish Four Seasons|Voice solo (with accompaniment)|?5.00|88
GM152|Paul Lewis
FOUR ANTICKE DANCES for harp
Goodmusic GM152|'These pieces are evocations of 16th and 17th century dance forms by a composer long fascinated by the period. The melodies are new and no genuine anticke (old English for antique) tunes are used.
MONSIEUR LEO''S BASSEDANSE was inspired by accounts of masques in the grounds of the royal chateau at Amboise in the Loire Valley, for which Leonardo da Vinci, living nearby, devised sets and costumes. The Bassedanse was popular in France and Italy - a dance in which couples moved in a processional manner.
MASTER WILL''S SARABAND was originally written to accompany a reading of "Music Ho! Music such as charmeth sleep!" from William Shakespeare''s "A Midsummer Night''s Dream" at Petworth House in Sussex. The Saraband was a slow dance in three-time with the emphasis on the second beat.
MISTRESS NELL''S PAVAN is named after King Charles II''s favourite mistress, Nell Gwynn, and describes her not as the boisterous Covent Garden orange seller but as the luscious court beauty painted nude and recumbent by Sir Peter Lely. The Pavan was a slow courtly dance.
MASTER KIT''S BRAWL. Brawl was Shakespeare''s Anglicization of the almost unpronounceable French Bransle, a lively dance suited to tavern and village green. "Kit" was the nickname of Christopher Marlowe, playright and spy, whom some believe was the author of Shakespeare''s plays, and who died in a tavern brawl, though not of the dancing kind! Paul Lewis
Duration 12? minutes'|9790222292970|LEWIS P|Paul Lewis|Four Anticke Dances|Harp|?5.00|88
GM153|Paul Lewis
TWO LAMENTS for harp
Goodmusic GM153|'Lament for a King (in memoriam Richard III, slain 1485)
Lament for a Castle (in memoriam Cathcart Castle, demolished 1980)
In September 2014 I discovered that Cathcart Castle in Scotland, which I had visited and sketched in 1964, had been demolished in 1980 after decades of neglect on the part of its owners, Glasgow City Council. Such was my fondness for the castle and for my sketch that I felt bereft, as if I had lost an old friend, and immediately decided to compose a lament. Two days later I read the newly published analysis of the horrific battle wounds to Richard III''s skull. Having previously, in celebratory mood, written my Fanfare for King Richard III to celebrate the discovery of the king''s skeleton in a Leicester car park, I now, deeply saddened at what I had read, felt I must write a lament for him too. (Paul Lewis)
Duration 5? minutes
Version also available for solo horn - GM154.'|9790222292987|LEWIS P|Paul Lewis|Two Laments for Harp|Harp|?4.00|63
GM154|Paul Lewis
TWO LAMENTS for horn
Goodmusic GM154|'Lament for a King (in memoriam Richard III, slain 1485)
Lament for a Castle (in memoriam Cathcart Castle, demolished 1980)
In September 2014 I discovered that Cathcart Castle in Scotland, which I had visited and sketched in 1964, had been demolished in 1980 after decades of neglect on the part of its owners, Glasgow City Council. Such was my fondness for the castle and for my sketch that I felt bereft, as if I had lost an old friend, and immediately decided to compose a lament. Two days later I read the newly published analysis of the horrific battle wounds to Richard III''s skull. Having previously, in celebratory mood, written my Fanfare for King Richard III to celebrate the discovery of the king''s skeleton in a Leicester car park, I now, deeply saddened at what I had read, felt I must write a lament for him too. (Paul Lewis)
Duration 5? minutes
Version also available for solo harp - GM153.'|9790222292994|LEWIS P|Paul Lewis|Two Laments for Horn|Horn in F solo|?4.00|63
GM155|Paul Lewis
LULLABY and MUSIC BOX WALTZ for harp
Goodmusic GM155|Lullaby and Music Box Waltz were commissioned by Graham and Jenny Pay as a gift for their daughter, harpist Camilla Pay, upon the birth of her first child, Rosanna Chloe Knight, on September 23rd, 2014.
It was with great joy that I accepted the commission to compose a new work for a harpist whose heartfelt interpretations of my music always move me.
With the pieces go my congratulations to Camilla and her husband Bob Knight on the creation of such a beautiful daughter. Paul Lewis
Duration 6 minutes|9790222293007|LEWIS P|Paul Lewis|Lullaby and Music Box Waltz|Harp|?4.00|63
GM156|Philip Lane
DIVERSIONS ON A THEME OF PAGANINI
for brass quintet
Goodmusic GM156|'These ''fun variations'' on the famous Paganini Caprice No.24 were commissioned by the Three Choirs Festival and first performed on August 21st 1989 by the London Gabrieli Brass Ensemble in St.Catherine''s Church, Gloucester.
Score and parts included.
Duration 12 minutes
A version for orchestra is also published by Goodmusic - Catalogue number GMCO045 - and has been recorded by the Royal Ballet Sinfonia conducted by Gavin Sutherland on the Marco Polo label - 8.225185'|9790222293014|LANE P|Philip Lane|Diversions on a theme of Paganini|Ensemble - Mixed brass|?12.75|233
GM157|Philip Lane
FOUR AMERICAN MINIATURES for saxophone or clarinet and piano
Goodmusic GM157|Four short pieces in different styles, all with an American flavour, for Eb or Bb saxophone or Bb clarinet and piano.
The four pieces are: Just for Starters; Chat Show Host; Late Night Ballad; Cheeky Little Charleston.
Total duration 7 minutes|9790222293021|LANE P|Philip Lane|Four American Miniatures|Saxophone and piano|?6.50|124
GM158|PARRY, C Hubert H (1848-1918)
BLEST PAIR OF SIRENS
Goodmusic GM158|'In 1886 Parry was commissioned by Charles Villiers Stanford to compose a piece for the Bach Choir of London, of which Parry was a member. Stanford, one of the first British musicians to recognise Parry''s talent, called him the greatest English composer since Purcell. Asked to write a new piece, Parry turned, at the suggestion of his colleague George Grove, to Milton''s ode "At a solemn musick" which he had been considering setting for many years.
Reviewing the concert, The Times said of Blest Pair of Sirens: The choral writing is in eight parts and abounds in contrapuntal devices. At the same time the spirit and the accent of the words are carefully attended to, as befits a work in which "sphere-born harmonious sisters, voice and verse" are invoked to "wed their divine sounds, and mix''d power employ". An excellent rendering contributed to the brilliant success of the ode.
The work was an immediate success, and was quickly taken up by other choirs. The following year it was included in the Three Choirs Festival. Recognised as "one of the outstanding English choral works", it has remained a standard in the choral repertory.
This new edition has been prepared from the first published score. Besides being much clearer than the original, certain mistakes and anomalies have also been corrected.
All of the orchestra material is also available in this new edition - see catalogue number GMCH014.
Duration 9? minutes
The audio sample is of the choir and piano version. See catalogue number GMCH014 to hear the version with orchestra.'|9790222293304|PARRY|C. Hubert H. Parry|Blest Pair of Sirens|Choir - Vocal score|?7.00|149
GM159|VIOLIN CONCERTO by Paul Carr
Reduction for violin and piano
Goodmusic GM159|'I have often found that being asked to write a particular work can be the greatest source of inspiration, and this work is no exception. At the time Em Marshall-Luck (founder and director of the English Music Festival) suggested I might like to write a concerto for her husband, violinist Rupert Marshall-Luck, I had in fact been suffering a period of creative depression and hadn''t written anything for about nine months. So this invitation couldn''t have come at a better time and feeling challenged, but inspired by the idea, I completed the work in just five weeks.
Taking three words which best summed up my emotional state at the time "Lonely, thoughtful, passionate" the 1st movement opens very quietly with a mysterious music of empitness. Slowly gaining in tempo and dynamic this leads to a more dramatic section where the violin seems to almost outrun itself, before returning to the rather sparse ambiguity of the opening.
The central slow movement is one of deep emotion and was written following a visit to my mother''s grave in Penzance and gives the piece its title, "Beside a grave in Cornwall". It is a stark reflection on love, life, loss, and the ultimate journey we must all undertake, and while there is a strong underlying pain to the music, I also feel there is a beauty and acceptance within its sadness.
In contrast to the first two movements, the final one has no agenda. Marked "Continuously running" it merely conveys a general feeling of energy and joy, although it is interspersed with quiet sections of a dream-like-nursery-rhyme quality. However, with a sudden twist to the proceedings the main key of G major suddenly shifts to E minor and the work ends with a nod to the starkness of the slow movement. Paul Carr
The orchestral material is also available - see GMCO113
Duration 20 minutes'|9790222300729|CARR P|Paul Carr|Violin Concerto|Violin and piano|?9.50|173
GM160|Paul Carr
PSALM 23 for mixed voice choir, solo cello and organ
Goodmusic GM160|A lovely setting of The Lord is my shepherd for SATB choir with solo cello and organ accompaniment.
Originally written in 2014, Paul revised this setting in March 2017 to make it even lovelier!
The cello part (although shown in the score) is sold separately.
Duration 7 minutes|9790222293618|CARR P|Paul Carr|Psalm 23|Choir - Mixed voices (SATB)|?4.00|63
GM160-01|||9790222293625|CARR P|Paul Carr|Psalm 23 Solo cello part|Cello solo|?3.50|13
GM161|Paul Carr
THE LAMB (2015) for unaccompanied mixed voice choir
Goodmusic GM161|'A beautiful setting for unaccompanied SATB choir of William Blake''s famous text. This is the second setting of these words by Paul Carr. The earlier version (from 1985) also for unaccompanied mixed voice choir is also available (Roberton 63144).
Duration 4? minutes
This work can also be performed with string orchestra accompaniment (plus optional harp and organ).'|9790222293632|CARR P|Paul Carr|Lamb (Second setting 2015)|Choir - Mixed voices (SATB)|?4.00|63
GM161-00||||CARR P|Paul Carr|Lamb Full Score|Orchestral Score|?5.00|88
GM161-01||||CARR P|Paul Carr|Lamb Violin 1|Orchestral Part|?1.50|13
GM161-02||||CARR P|Paul Carr|Lamb Violin 2|Orchestral Part|?1.50|13
GM161-03||||CARR P|Paul Carr|Lamb Viola|Orchestral Part|?1.50|7
GM161-04||||CARR P|Paul Carr|Lamb Cello|Orchestral Part|?1.50|7
GM161-05||||CARR P|Paul Carr|Lamb Bass|Orchestral Part|?1.50|7
GM161-06||||CARR P|Paul Carr|Lamb Harp|Orchestral Part|?1.50|13
GM161-07||||CARR P|Paul Carr|Lamb Organ|Orchestral Part|?1.50|13
GM162|Philip Lane
TWO LITTLE BITES AT THE BIG APPLE for harp solo
Goodmusic GM162|Two pieces with the flavour of New York for harp solo - Streets and Avenues; A Walk in the Park. Edited for harp by Danielle Perrett, these are two of the "Three Little Bites at the Big Apple", a set of pieces by Philip Lane for piano solo (see GM130).
Duration c.4 minutes|9790222293670|LANE P|Philip Lane|Two little bites at the Big Apple|Harp|?4.00|63
GM163|Clive Jenkins
PASTORALE AND ALLEGRO for violin and piano
Goodmusic GM163|'''A tuneful piece for baroque string orchestra but with a modern sound'' was the brief. The Chamber Ensemble of London first played the result at St Martin-in-the-Fields in 2005 and later recorded it. However, its actual premiere was in Plymouth Museum & Art Gallery the year before in this violin and piano reduction suggested by CEOL''s director, Peter Fisher, who was the soloist.
The Pastorale was inspired by the gentle countryside of the South Hams, where Clive Jenkins now lives. The Allegro theme came to him when, out walking on Dartmoor, he saw a herd of ponies suddenly gallop off across the horizon.
Duration 7 minutes
The orchestral material is available - catalogue number GMCO123.'|9790222294271|JENKINS C|Clive Jenkins|Pastorale and Allegro|Violin and piano|?6.00|112
GM164|Paul Lewis
ON PEVENSEY LEVELS for solo and piano
Goodmusic GM164|'The solo part may be played either by harmonica or violin or flute (doubling piccolo).
Whilst walking ''twixt castle and coast on Pevensey Levels one sunny winter''s day a melody played incessantly in my head, leaving me no option on my return home but to write it down and compose this piece.
In all seasons and all weathers the Levels are an area of great beauty and abundant wildlife and are haunted by the ghosts of history. They were once under water and it was at Pevensey that the Romans built their great fortress of Anderitum and here that William the Conqueror landed some 800 years later. In Tudor times Pevensey was a bustling seaport and the castle was re-armed in anticipation of the Spanish Armada, but by the 18th century the sea had receded and the area had become the natural home of smugglers. The coastline today is dominated by the Martello Towers that once guarded against the threatened Napoleonic invasion, and the castle was refortified with military pill boxes and occupied by Allied Forces during World War II. The Levels are now a place of peace and solitude, shared by walkers with all manner of birdlife including swans and herons, and the inevitable rabbits, foxes and grazing livestock, not to mention other walkers and their dogs. Paul Lewis
Duration 4? minutes
A version of this piece with string orchestra accompaniment is also available - Goodmusic GMCO124.'|9790222294370|LEWIS P|Paul Lewis|On Pevensey Levels Solo & Piano|Instrument and piano|?4.50|76
GM165|Peter Lawson
SONG OF THE BEE ORCHID for piano and orchestra
Goodmusic GM165|'Orchestration: 2 Flutes (2nd db.Piccolo & Alto Flute), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 4 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba,
Timpani, Percussion (3 players: Snare Drum, Triangle, Maracas, Wood Block, Cymbals, Football Rattle (or Guiro), Tambourine, Tam-tam, Bass Drum, Guiro, Glockenspiel, Tubular Bells, Xylophone, Marimba, Vibraphone)
Harp, Celesta, Solo Piano
Strings (Violin 1, Violin 2, Viola, Cello, Bass)
The Song of the Bee Orchid is the twentieth to be completed in a cycle of musical portraits of the 48 wild orchids of Britain and Ireland, originally written in 1991-5 and substantially revised in 2014-5. It is a Piano Concerto in three movements, written for James Kirby.
Bee Orchids are a part of the Ophrys group of orchids, which imitate insects. In Britain there are also Fly and Spider orchids which look equally convincing.
The first movement of the concerto is somewhat pastoral in mood and deals with the standard Bee Orchid, Ophrys apifera, with a reverie-like middle section depicting the beautiful but rare variation chlorantha,. The movement begins and ends with a pre-echo of the ''nobilmente'' theme from the second movement.
The second movement is one of colourful and violent contrasts, depicting two of the genetic mutations of the standard Bee Orchid, including the variation trollii, known as the ''Wasp Orchid''. The outer sections are themselves in three distinct sections. The first, reflecting the shock of seeing a Bee Orchid without the bee, is discordant, violent and rather weird. The second section, by contrast, is an appreciation of the beauty of the orchid mutation and is much sweeter and concordant. The third section is military and marching in style, leading to a nobilmente climax reflecting the onward march of genetic mutations.
The final movement starts with a portrait of the subspecies jurana,. This leads to a depiction of the rare subspecies bicolor. The music starts exuberantly, becoming more astringent. Finally we return to the normal bee orchid, reviewing previous material and adding new motifs as the orchid begins to self-pollinate. The mood darkens as the flowers wither as winter approaches, before a coda depicts the orchid''s thousands of dust-like seeds dispersing.
The A4 score and the Piano Solo (two piano copy) part are on sale. Orchestral material is available on hire from Goodmusic.
Duration 30 minutes'|9790222294387|LAWSON|Peter Lawson|Song of the Bee Orchid - Piano Part|Piano - 2 players on 2 pianos|?15.00|266
GM165-00|||9790222294394|LAWSON|Peter Lawson|Song of the Bee Orchid - Score|Orchestral Score|?25.00|435
GM166|Edward Elgar
THE SERIOUS DOLL for solo and piano
Goodmusic GM166|'"The Serious Doll" is the second movement taken from Elgar''s Nursery Suite for orchestra (also published by Goodmusic - GMCL201).
Elgar had been appointed "Master of the King''s Musick" in 1924 and the Nursery Suite, written in 1931, was prompted by the birth in August 1930 of Princess Margaret. The work is dedicated to "The Duchess of York and the Princesses Elizabeth and Margaret Rose". In the original "The Serious Doll" features a flute solo. This has been adapted by Peter Lawson for various solo instruments.
The solo part can be played by: Flute, Oboe, Clarinet in Bb, Saxophone in Eb, Saxophone in Bb, Bassoon, Horn in F, Trumpet in Bb, Trombone, Tuba, Violin, Viola or Cello here with piano accompaniment. Parts are included for all solo instruments.
The orchestral version is also available - Goodmusic GMCA024.
Duration 2? minutes'|9790222293861|ELGAR|Edward Elgar|Serious Doll (arr.Lawson)|Instrument and piano|?8.00|149
GM167|Paul Carr
SONATINA for solo violin
Goodmusic GM167|Sonatina "on the reburial of King Richard III" for solo violin.
When Em Marshall-Luck of the English Music Festival asked me to write a work for solo violin on the subject of King Richard III I had no idea where to start. However, watching the documentaries surrounding his reburial in Leicester Cathedral in March of 2015, and then seeing the rather powerful and moving ceremony itself on Channel 4, I found writing this piece surprisingly spontaneous.
Having composed a number of sonatinas for various instruments with piano accompaniment, it was a change and much less of a challenge than I had initially thought, in writing this one for solo violin. Although related to the subject of King Richard III (as was stipulated in the commission) I also wanted this piece to stand alone as four short movements in a familiar format to join my growing collection of sonatinas. The two outer movements and the Dance are mostly brisk and dramatic in mood, and relate to my thoughts on Richard as both a king and a man of the people, and the suspicions surrounding his rule through historic documentation, however accurate they may or may not be. The slow third movement was written as a direct response to the ceremony itself, and in particular the solemn procession as the coffin was carried to its final resting place within the Cathedral. This was then followed by the eulogy, a moving poem by Carol Ann Duffy, beautifully given by Benedict Cumberbatch. Paul Carr
Duration 12 minutes|9790222294585|CARR P|Paul Carr|Sonatina for solo violin|Violin solo|?5.00|88
GM168|Paul Lewis
THRENODY for solo violin
Goodmusic GM168|'Threnody: The Most Famous Prince of Blessed Memory
Threnody: a song of lamentation. "The most famous prince of blessed memory": a description of the late King Richard III in the minutes of the Corporation of the City of York, October 14th 1485.
Ever since I saw Laurence Olivier''s film of Shakespeare''s "Richard III", which made me decide to become a composer at the age of twelve, I have been fascinated by the real Richard III and appalled by the character assassination carried out by the Tudors in order to justify their presence on the English throne. The discovery of Richard''s bones beneath a car park in Leicester in 2012 inspired my celebratory "Fanfare for King Richard III", and the resulting analysis of the horrific wounds to the skull received by Richard at the Battle of Bosworth brought forth my "Lament for a King".
This work is in eight sections to be played without a break: Lament; Richard the Soldier; Richard the Husband; Richard the Father; Richard the King; Richard the Devout; Richard Betrayed (The exiled Henry Tudor had long plotted to invade England and seize the throne. Richard confronted him at the Battle of Bosworth but was deserted by the notoriously unreliable Lord Stanley. The 9/8 "Furioso" section depicts Richard''s heroic final charge and ends as the violin cries out the last words he uttered as he was slain: "Treason! Treason!"); Epilogue.
"Threnody for Violin: The Most Famous Prince of Blessed Memory" was commissioned by the English Music Festival for a concert in Richard III''s honour given by violinist Rupert Marshall-Luck in Middleham Church, Yorkshire, on September 12th 2015, and is dedicated with respect to the founder-members of the team who discovered Richard III''s remains. Paul Lewis
Duration 23 minutes'|9790222294974|LEWIS P|Paul Lewis|Threnody for Violin|Violin solo|?5.00|88
GM169|Clive Jenkins
ROMANCE for viola or clarinet and piano
Goodmusic GM169|This piece, with string orchestra accompaniment, was composed in 1987 for Jonathan Mallalieu, now artistic director of Beauville Arts in France, then a gifted viola player at Plymouth College, where Clive Jenkins was director of music. Jonathan recorded the piece with the South East Cornwall String Orchestra under Hans Kassier for BBC Radio Cornwall. Its first professional performance was by Steve Gleed with the South West Sinfonietta under Derek Kitt. This Viola (or Clarinet) and Piano version was made at the suggestion of Jeanie Moore MVO, concert organiser for Plymouth Museum and Art Gallery, for a lunchtime recital by Keith Lovell of the Dartington String Quartet with the pianist John Bryden.
Duration 5 minutes
The version with string orchestra is also available - GMCO127.
The audio sample is with viola. The clarinet version can be heard on the orchestral edition|9790222295896|JENKINS C|Clive Jenkins|Romance (Viola or Clarinet)|Viola & Piano|?5.50|100
GM170|Clive Jenkins
COLOGNE for solo instrument and piano
Goodmusic GM170|'A memorable piece in slow swing style. 4, 7, 11 - Counting the number of bars in the introduction, the main theme and the episodes reminded the composer of Germany''s best-known house number, 4711 in Glockengasse, Cologne, home of the world-famous perfumery; hence the title. The piece (with string orchestra accompaniment) was written for the distinguished British harmonica player, Chris Shrimpton. Apart from the harmonica, the solo part is suitable to be played by violin, flute, clarinet or alto sax. Alternative solo parts are included for clarinet and sax.
Duration 5 minutes
The version with string orchestra accompaniment is also available - GMCO128.
The audio sample is with sax. The harmonica version can be heard on the orchestral edition'|9790222296008|JENKINS C|Clive Jenkins|Cologne|Instrument and piano|?5.50|100
GM171|'SONG OF THE YOUNG''S HELLEBORINE by Peter Lawson
for violin and piano
Goodmusic GM171'|'The Song of the Young''s Helleborine is associated with a cycle of musical portraits of the 48 wild orchids of Britain and Ireland. It is not so much a portrait of one of the numbered separate species, but an arrangement of parts of the Song of the Broad Helleborine, for organ, incorporating parts of Song of the Slender-Lipped Helleborine, for violin and guitar. It is dedicated to Patrick Wastnage and Elizabeth Dunn.
Young''s Helleborine, Epipactis Helleborine var. youngiana, was once thought by some to be a new species but it is now regarded as a variant of Broad Helleborine. The two plants look very similar in that they are robust in stature, with many flowers on the tall spike. However, the leaves of var. youngiana are rather more yellowish in colour and the lower labellum of each flower is suffused with a rose rather than a red tint. This has led many to speculate that these are merely colour variations due to the effects of pollution - the orchid has always been found on or near spoil heaps from old lead mines. It flowers slightly earlier than Broad Helleborine, in July rather than August.
It appears to be endemic to Britiain and is found in Northumberland, the area near the South Tyne and in the industrial belt of Southern Scotland. It was first discovered by the late Tony Porter, who showed me a colony of plants in a wood near an old lead mine near Hexham. He and the botanist AJ Richards named it in tribute to D.P.Young, who had carried out much research into Helleborines.
The Song of the Young''s Helleborine begins in the peaceful world of a deep wood and quotes the opening of the Song of the Slender-Lipped Helleborine. The latter, although having slightly different characteristics as a plant, shares a similar sylvan habitat. There follows a more energetic and jocular section, taken from the Song of the Broad Helleborine, referring to the exciting jumble of colours in the flowering spike - greens, reds , creams and the yellow of the pollinia. We gradually return to the opening tranquillity before revisiting the excitement and colour of the world of the orchid itself - to end in a playful manner. Peter Lawson
Duration 10? minutes'|9790222297555|LAWSON|Peter Lawson|'Song of the Young''s Helleborine'|Violin and piano|?6.50|124
GM172|SONG OF THE EARLY SPIDER ORCHID by Peter Lawson
for piano duet
Goodmusic GM172|'The Song of the Early Spider Orchid, for piano duet, was planned in 1988 as the 23rd to be written in a cycle of musical portraits of the 48 wild orchids of Britain and Ireland, but remained very much in embryonic form until rewritten from the start in 2015. It is dedicated to James Kirby and Alan MacLean.
The Early Spider Orchid, Ophrys sphegodes, although it can grow to a height of almost half a metre on the continent, is a small plant from 5cm to 20cm in height in Britain, where it is only found regularly in Kent, Sussex and Dorset on short turf on chalk or limestone grassland. As the name suggests, it flowers much earlier than its much rarer and showy relative, the Late Spider Orchid - from late April until the end of May, as opposed to July in the case of the Late Spider Orchid. On the continent it is in flower from February onwards in the favoured Mediterranean region and can be found as far north as Germany and as far east as Iran.
The Song of the Early Spider Orchid is divided into four movements, which all musically hark back to earlier music such as Bach, in the case of the first two movements, or to the world of earlier piano duet music such as Faur?''s Dolly Suite or Debussy''s Petite Suite. A personal colour scheme of harmonies is employed as in other orchid portraits.
The first movement, Prelude and Fughetta, sets the scene of pastoral downland, the second, a Minuet in Eb minor (a ''dark-brown'' colour) describes the ''spider'' from our point of view. The third movement is a Jig using a recurring pattern of 3-in-the-bar followed by two bars of two-in-the bar. This movement is intended to be, fancifully, the actual ''Song'' of the Orchid from its own point of view - and at the beginning, seven colours from the orchid itself and its surroundings are heard in quick succession. As the movement develops, there is a stuttering section of pauses as various insects are unsuccessful in pollinating the plant. Finally one is successful! The fourth movement, Finale, a gallop alternating with a waltz, depicts the thousands of orchid seeds being merrily scattered for the wind to carry off to pastures new. Peter Lawson
Duration 8? minutes'|9790222297562|LAWSON|Peter Lawson|Song of the Early Spider Orchid|Piano - 2 players on 1 piano|?6.50|124
GM173|John Jeffreys
ELEGY FOR ANDRE MANGEOT for string quartet
Goodmusic GM173|'Andre Louis Mangeot was born in Paris in 1883 but settled in London and became a British citizen. He was a leading violinist and impresario and played in the Queen''s Hall Orchestra under Henry Wood. He founded the International String Quartet (Andre Mangeot, Harry Berly, Boris Pecker and John Barbirolli) which specialised in British works and contemporary music. They gave the first performance of Faure''s String Quartet in 1925.
He became a good friend of the young composer John Jeffreys and supported and encouraged his work. John wrote his Serenade for Strings for Andre Mangeot on the occasion of his 76th birthday in 1959. Andre Mangeot died in London in 1970.
Some years later, in 1984, John Jeffreys wrote this Elegy for string quartet, which is based on the second theme from the Serenade for Strings.
Duration 4 minutes'|9790222297579|JEFFREYS J|John Jeffreys|Elegy for Andre Mangeot|String Quartet|?5.50|100
GM174|SONG OF THE BURNT-TIP ORCHID by Peter Lawson
for oboe and piano
Goodmusic GM174|'The Oboe Concertino was originally started in about 1980 as an Oboe Concerto for Gordon Hunt, whilst the Song of the Burnt-Tip Orchid was originally started in1990 as the 24th to be written in a cycle of musical portraits of the 48 wild orchids of Britain and Ireland, but scored for (wordless) Mezzo-soprano, Oboe and Harp. Both pieces remained untouched and very much incomplete for many years until 2015, when they were both totally rewritten and combined as a Concertino for Oboe and Orchestra with the subtitle Song of the Burnt-Tip Orchid. It is a miniature concerto in three short movements - about a miniature orchid.
The Song of the Burnt-Tip Orchid employs a colour-code for harmonies throughout, as in the other musical portraits. The first movement, Introduction, sets the scene of the orchid in its downland habitat. In its coda, the music fancifully follows the orchid''s long rhizome and root - going down into the ground. The second movement, Romance, is, as it were, the ''song'' of the orchid itself, tranquil but impassioned. The third, Dance, could be entitled ''the dance of the seeds'' - orchid seeds are as fine as dust and can be whisked away in the wind and storms to land in other countries. Here, the colour-coded chords form a 5/4 rhythm and melodic shapes suggest Greek music. Contrasting orchestral tutti outbursts juxtapose the interplay of 3/4 and 6/8 rhythms so typical of Spanish music. This movement reflects the orchid''s apparent affection for these two countries, where it can be most commonly found. Peter Lawson
Duration 7? minutes
The piano part is a reduction of the orchestral accompaniment but the work may be performed with piano as an alternative to orchestra, in which case it should be titled "Song of the Burnt Tip Orchid" rather than "Oboe Concertino". The orchestral version is also available in the Goodmusic Concert Originals series - GMCO135'|9790222297715|LAWSON|Peter Lawson|Song of the Burnt-Tip Orchid|Oboe and piano|?6.50|124
GM175|SONG OF THE AUTUMN LADIES TRESSES ORCHID by Peter Lawson
for piano solo
Goodmusic GM175|'This work was written for the pianist Yuki Matsuzawa in November 2015. It is the thirty-second to be composed in a projected series of musical portraits of the forty-eight wild orchids of Great Britain and Ireland - for various instrumental and orchestral combinations.
The Autumn Lady''s Tresses, Spiranthes spiralis, is the last to flower of the orchids of Britain and Ireland and can be found on ancient pastureland in short turf on chalk and limestone, on infrequently-mown lawns and near the sea - in mid-August to the end of September. It is the daintiest of the three of its genus, normally up to 15cms high and has up to twenty white flowers on each spike arranged in a tight spiral resembling plaits of lady''s hair. It has bluish-green, shiny leaves in a basal rosette, which is withered at the time of flowering, but next to the flowering spike is next year''s rosette. The stem, also bluish-green, is covered with silvery hairs.
The Song of the Autumn Lady''s Tresses Orchid uses a colour-coded scheme of harmonies, as in other orchid portraits. It is in three short movements, the first, Study in Spirals, was inspired not only by the spiralling inflorescence of the orchid, but by Yuki Matsuzawa''s brilliant recordings of Chopin''s Etudes - where one particular figuration can dominate an individual piece. Here, the figurations are a short upward arpeggio with a wiggle or spiral-shaped downward path, a bit like a tendril. The second movement is a simple air, mainly pentatonic and therefore suggestive of the music of Ireland, where the orchid luxuriates on the Burren, in County Clare. Harmonisation is more chromatic in nature and has a whiff of the America of the cowboy era, whose music-making was heavily influenced by the folk songs of the Irish settlers. After the opening stanza, the melody is accompanied by spiral figurations. The third movement, Minuet, refers to the dainty nature of the plant, with its frills and spirals and harmonies more French in nature - the orchid is particularly frequent in coastal areas of Brittany and Provence. Peter Lawson
Duration 7 minutes'|9790222299160|LAWSON|Peter Lawson|'Song of the Autumn Lady''s Tresses'|Piano - Solo|?4.50|76
GM176|PAVANE by Paul Lewis
for organ
Goodmusic GM176|'Whilst scoring a TV play starring actor Robert Hardy, I was asked by him to write a short organ piece in memory of his recently deceased mother-in-law, the famous star of stage and screen Gladys Cooper. I accordingly composed this Pavane to provide a time of contemplation and remembrance during Miss Cooper''s Memorial Service at St. Paul''s, Covent Garden on December 18th, 1971.
Pavane has subsequently been arranged for flute, piano and optional cello, and also forms the slow movement of Norfolk Concerto for flute, harp and strings since it was in Norwich that Robert Hardy commissioned the piece. Paul Lewis
Duration 4 minutes'|9790222300743|LEWIS P|Paul Lewis|Pavane|Organ Solo|?4.00|63
GM177|PAVANE by Paul Lewis
for flute and piano with optional cello
Goodmusic GM177|'Whilst scoring a TV play starring actor Robert Hardy, I was asked by him to write a short organ piece in memory of his recently deceased mother-in-law, the famous star of stage and screen Gladys Cooper. I accordingly composed this Pavane to provide a time of contemplation and remembrance during Miss Cooper''s Memorial Service at St. Paul''s, Covent Garden on December 18th, 1971.
Pavane has subsequently been arranged for flute, piano and optional cello, and also forms the slow movement of Norfolk Concerto for flute, harp and strings since it was in Norwich that Robert Hardy commissioned the piece. Paul Lewis
Duration 4 minutes'|9790222300750|LEWIS P|Paul Lewis|Pavane|Flute and piano|?4.50|76
GM178|NORFOLK IDYLL by Paul Lewis
for flute and harp
Goodmusic GM178|'Norfolk Idyll is based on my score for the celebrated 1972 BBC TV documentary The Vanishing Hedgerows, presented by author and naturalist Henry Williamson. The film was Williamson''s reaction to modern farming methods which had changed the face of the Norfolk countryside he had previously farmed, and was the first ever hard-hitting conservationist TV documentary. Director David Cobham unforgettably counterpointed the argument with idyllic recreations of traditional farming and montages of threatened wildlife, which inspired me to compose a nostalgic flute and harp score based on a folk song-like melody of my own creation. The 13th century English song Sumer is Icumen In puts in an appearance, heard in the film under a montage of summer birds.
The score was performed on the soundtrack by flautist Chris Taylor and the celebrated harpist Marie Goossens. With the addition of string orchestra, Norfolk Idyll forms the first movement of my Norfolk Concerto for flute, harp and strings. Paul Lewis
Duration 7 minutes'|9790222300767|LEWIS P|Paul Lewis|Norfolk Idyll|Flute and Harp|?5.00|88
GM179|Paul Lewis
LYRIC SUITE for flute and piano
Goodmusic GM179|Lyric Suite is dedicated to Sharon my wife and is inspired by the happiness of married life in our Tudor home near the South Downs. Sharon grew up north of the Downs within sight of Chanctonbury Ring and I grew up on the southern slopes of the Downs in Hove. When we met we discovered that as youngsters we both used to watch skylarks and listen to their song as they hovered above the hills.
The three-movement suite begins with Contemplation, a peaceful minor key pastorale; the central movement, Joy, is an expression of rural happiness in Morris dance style, and the the final movement, Contentment, is melodically related to the opening pastoral movement, but being in a major key is of a positively smiling demeanor.
Contentment, which was never my prevailing state of mind during the 64 years that elapsed before I met Sharon, is the inescapable result of the contemplation and joy expressed in the previous two movements.
Paul Lewis
Duration 10 minutes|9790222300774|LEWIS P|Paul Lewis|Lyric Suite|Flute and piano|?5.00|88
GM180|Hubert Parry
JERUSALEM orchestrated Elgar
arranged for wind band by David Cole.
Goodmusic GM180|'ORCHESTRATION: Piccolo, 2 Flutes, 2 Oboes, Cor Anglais, Eb Clarinet, 3 Clarinets in Bb, Bass Clarinet, 2 Bassoons, Contrabassoon, 2 Alto Saxophones, Tenor Saxophone, Baritone Saxophone, 4 Horns in F, 3 Trumpets in Bb, 3 Trombones, Euphonium, Tubas, Double Bass, Timpani, Percussion (2 players: Snare Drum, Bass Drum), 2 Harps, Organ, Unison Voices
Parry''s Jerusalem was well known in his original orchestration when Elgar came along with a more florid arrangement scored for a larger orchestra. It is the Elgar version that is usually played at the Last Night of the Proms concerts. Here the Elgar orchestration has been arranged for wind band by David Cole. Some instruments may be omitted if a full band is not available.
A full score and complete set of parts is included.
Duration 2? minutes'|9790222301122|PARRY|C. Hubert H. Parry|Jerusalem orch Elgar arr David Cole|Wind band|?40.00|296
GM181|Paul Carr
PRAYER OF SAINT FRANCIS
for mixed voice choir and orchestra or organ
Goodmusic GM181|Commissioned by Reigate & Redhill Choral Society to mark their 75th anniversary and inspired by Julia Nelson and the people of Shere village.
First performance: 13th November 2016 in Dorking Halls, Surrey by the Reigate & Redhill Choral Society with the Redhill Sinfonia conducted by Peter Farrant.
Orchestration: 2 Flutes, 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 4 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Glockenspiel, Snare Drum, Bass Drum, Crash Cymbals, Suspended Cymbal, *Tubular Bells, *Tam-Tam [* optional])
Strings (Violin 1, Violin 2, Viola, Cello, Bass)
Mixed Voice Choir (SATB)
Orchestral score and parts available from Goodmusic.
The orchestral accompaniment can be replaced with organ alone. The choir should use the standard vocal score but an organ score is on sale for the organist.
Duration about 10 minutes|9790222301672|CARR P|Paul Carr|Prayer of Saint Francis|Choir - Vocal score|?5.00|88
GM181-00|||9790222301689|CARR P|Paul Carr|Prayer of Saint Francis|Orchestral Score|?25.00|220
GM181-50|||9790222301696|CARR P|Paul Carr|Prayer of Saint Francis (Organ Ed)|Choir - Vocal score|?5.00|88
GM181-99||||CARR P|Paul Carr|Prayer of Saint Francis Orch Pt|Orchestral Part|?1.50|20
GM182|Philip Lane
SANTAS CHRISTMAS CEILIDH
for unison voices and orchestra or piano
Goodmusic GM182|'A new unison song for Christmas with piano or orchestra accompaniment. Words by Frances Button and music by Philip Lane.
Christmas Day has just arrived and Santa has finished work after a long night delivering presents. Now it''s time to celebrate and he is ready for a party!
Just leave your reindeer at the door,
And bring your ukulele,
And dance your way around the floor
At Santa''s Christmas Ceilidh!
Duration 3 minutes
The orchestral score & parts are available on hire from Goodmusic.
Orchestration: 2 flutes (2nd db.Piccolo), oboe [opt.], 2 clarinets (2nd db alto sax [opt]), bassoon, 2 horns, 2 trumpets, 2 trombones, percussion[2], Piano[opt] & Strings with optional Ukulele.
It can be performed accompanied by strings & piano.'|9790222301702|LANE P|Philip Lane|'Santa''s Christmas Ceilidh'|Choir - Unison voices|?2.00|25
GM183|Paul Carr
SONATINA for alto sax and piano
Goodmusic GM183|This Sonatina for Alto Saxophone and Piano joins a series of Sonatinas I have written over the years for various instruments. I first met George Hewett at the Dorset Opera Festival where I have directed a number of productions and where George has been a member of the chorus since he was 17. Each festival, following one of the opera dress rehearsals, an informal Cabaret Night is held in the impressive mansion house at Bryanston School, at which various members of the cast and chorus offer up a variety of entertainments. This has always been one of the highlights of this summer-school festival for me, and more often than not, George either sings or plays his sax, and play it he certainly can, usually something more jazz inspired. So this piece is inspired by George himself - his popularity and charm, his handsome good looks, and his effervescent sense of fun! Paul Carr
The three movements are headed: Let Beauty Awake; As she walks by; Oh George!
Duration 10? minutes|9790222302075|CARR P|Paul Carr|Sonatina for alto sax and piano|Saxophone and piano|?7.50|136
GM184|John Jeffreys
PEACEFUL ARE THE MEADOWLANDS
and other pieces for organ
Goodmusic GM184|'A selection of short original pieces all composed in 1991-2 and published here for the first time; gentle, pastoral pieces plus a Wedding March. Two of the pieces were written for the small organ in the Parish of Brockley, Suffolk, near to where John Jeffreys lived.
The pieces are:- Peaceful are the Meadowlands (1''45"); Air - In Green Pastures (2''30"); Air from Cheshunt Marsh (3''00"); Wedding March - Bridal Procession (2''30"); Brockley Wedding March (2''15"); Prelude for the Brockley Church Organ (2''00").
Total duration c.14 minutes'|9790222302365|JEFFREYS J|John Jeffreys|Peaceful are the Meadowlands etc.|Organ Solo|?4.50|76
GM185|Antony le Fleming
ELEGY AND SCHERZO
for cello and piano
Goodmusic GM185|'Among the disturbing number of World War One casualties listed in the old church of St.Michael''s, East Peckham, Kent are the following, to whose memory this Elegy is dedicated: Hugh Robert Lachlan (Organist), Harry Bell (Choir), William Honey (Ringer)
A work for more advanced cellists. The cello part has been edited by Naomi Butterworth.
Duration 9? minutes'|9790222302617|LE FLEMING A|Antony le Fleming|Elegy and Scherzo|Cello and piano|?8.50|160
GM186|Peter Lawson
SONG OF THE SMALL TONGUE ORCHID
for bassoon and piano
Goodmusic GM186|The Song of the Small Tongue Orchid is the thirty-fourth to be written in a cycle of musical portraits of the forty-eight wild orchids of Great Britain and Ireland - for various instrumental and orchestral combinations.
The Serapias or Tongue orchids, named after the Greek-Egyptian god, Serapis, have a strangely middle-eastern look to them with the sepals forming a hood above each flower on the spike, resembling Arabic head-gear. Moreover the keeled nature of these hoods on the flower-cluster fancifully look as if they are, performing some sort of dance. The lower lip of each flower is triangular, rather large and pointing downwards, like a tongue. The flowers range from orange to vermillion to magenta and the sepals are pink to red to magenta, with dark magenta stripes down them. The arrangement of the pollinia is such as to give the appearance of two dark magenta eyes and a nose looking out of a slit not unlike that on an organ pipe - from which one can make a tenuous link to the bassoon! Although the distribution of Serapias orchids in general is strongly Mediterranean, they extend southwards to the Canary Islands and north-east to the Caucasus region. Serapias parviflora has a more Westerly distribution but is spreading fairly quickly, so it may well one day reach south-western Russia.
The Song of the Small Tongue Orchid consists of four short movements which, in places, employ a colour-coding system, used in the other orchid portraits, whereby certain colours are represented by certain harmonies. The first movement, Misterioso, starts with these colours, but soon there are mysterious hints of the middle-east in melodic shapes. This is very much more pronounced in the second movement, Intermezzo: Dance of the Seeds, which builds gradually to an almost manic degree as the pace quickens and the key-centres rise chromatically. The third movement, Minuetto, is a wistful reference to the plant extending northwards up the French coast to Britain and maybe one day to Russia, with a hint of Borodin as well as Debussy. The fourth movement, Scherzo, returns to the colour-coded harmonies and brings the work to a rumbustious conclusion in jovial mood. Peter Lawson
Duration 7 minutes|9790222302907|LAWSON|Peter Lawson|Song of the Small Tongue Orchid|Bassoon and piano|?6.00|112
GM187|Paul Carr
AGNUS DEI for choir and strings or organ
Goodmusic GM187|'A beautiful setting of the "Agnus Dei" to a choral arrangement by Gavin Carr (Paul''s brother) of Paul''s well-loved "Air for Strings".
The SATB choir can be accompanied by organ (or piano) or strings. On sale is the Vocal Score (which includes the organ/piano part), a Full Score (for the choir and strings version) and the individual string parts.
Duration 8 minutes'|9790222302914|CARR P|Paul Carr|Agnus Dei Vocal Score (rev.2018)|Choir - Mixed voices (SATB)|?4.50|76
GM187-00|||9790222307162|CARR P|Paul Carr|Agnus Dei Full Score|Orchestral Score|?6.50|124
GM187-01|||9790222307179|CARR P|Paul Carr|Agnus Dei Violin 1|Orchestral Part|?1.50|13
GM187-02|||9790222307186|CARR P|Paul Carr|Agnus Dei Violin 2|Orchestral Part|?1.50|13
GM187-03|||9790222307193|CARR P|Paul Carr|Agnus Dei Viola|Orchestral Part|?1.50|13
GM187-04|||9790222307209|CARR P|Paul Carr|Agnus Dei Cello|Orchestral Part|?1.50|13
GM187-05|||9790222307216|CARR P|Paul Carr|Agnus Dei Bass|Orchestral Part|?1.50|13
GM188|Peter Lawson
SONG OF THE MARSH HELLEBORINE
for horn and piano
Goodmusic GM188|'The Song of the Marsh Helleborine is the thirty-fifth to be written in a cycle of musical portraits of the forty-eight wild orchids of Great Britain and Ireland - for various instrumental and orchestral combinations.
The Marsh Helleborine, Epipactis palustris, is one of the showiest of the native orchids of the region, with a large white frilled labellum with yellow and magenta stripes and spots, magenta and green sepals and a number of flowers on a one-sided raceme which can reach 60 cms high. As it prefers alkaline marshes, where it likes to be submerged in the winter, its possible sites are fairly limited, but where it does grow, it can be abundant, such as at Newborough Warren National Nature Reserve on Anglesey. In Scotland, it has a more southerly preference, but this is probably more to do with the lack of suitable alkaline habitat rather than the climate, as it can be found as far away as Eastern Siberia as well as in the Middle East and Europe.
The Song of the Marsh Helleborine is in three movements and, like the other orchid portraits, employs a colour-coding of harmonies representing the colours found on the plant. These colours can be heard at the outset of the first movement, Aria, in which the horn''s lyrical qualities are on show, with coloratura-like decorations exploiting the instrument''s perhaps surprising nimbleness and agility. The second movement, Palustris Waltz, is in ternary form, with the middle section and coda referring to the variation ochroleuca, where the reddish or magenta colour is largely absent in favour of white, yellow and green. The third movement starts with a lament to the number of sites lost to marsh and fenland drainage in recent decades. This gives way to a more resolute section, depicting the tireless work of conservationists successfully to preserve the plant''s habitat. The writing at this juncture is somewhat Bach-like in flavour, a nod to the almost classical beauty of the flower. The movement gradually picks up in optimism, to end in good humour. Peter Lawson
Duration 8 minutes'|9790222302921|LAWSON|Peter Lawson|Song of the Marsh Helleborine|Horn in F and piano|?5.50|100
GM189|Peter Lawson
SONG OF THE HEATH SPOTTED ORCHID
for trumpet and piano
Goodmusic GM189|The Song of the Heath Spotted Orchid is the thirty-sixth to be written in a cycle of musical portraits of the forty-eight wild orchids of Great Britain and Ireland - for various instrumental and orchestral combinations.
The Heath Spotted Orchid, Dactylorhiza maculata ssp. ericetorum, is a short, daintier version of the main species. Subspecies ericetorum is only found in Western Europe, but is most plentiful on the acidic moors of Scotland, Ireland, Wales and western England. It is a subspecies of the Heath or Moorland Spotted orchid, Dactylorhiza maculata, ssp maculata, which is usually found on alkaline soils, from Morocco to Eastern Siberia, sometimes growing with Common Spotted Orchid, Dactylorhiza fuschii,.
Subspecies ericetorum has white or pinkish flowers in roundish clusters. Each flower has a wide frilly-edged, three-lobed lower lip with the central lobe being the least significant, more like a small tooth. The lobes are marked with magenta dots and lines and the long, narrow, pointed leaves are marked with dark, brownish spots or stains, hence the botanical name maculata, meaning spotted.
The Song of the Heath Spotted Orchid has four short movements and employs a colour-coding scheme of harmonies, which can heard in the piano accompaniment at the outset of the first movement, Folk Song, a ternary movement in which the middle section is in the magenta colour. The second movement, in the light blue key, refers not to any colour in the orchid but the sky above and is entitled Air: Blue Skies Over the Heath. Its melody line mainly uses the pentatonic variant of the light-blue key, pentatonic scales being a characteristic mode used in Gaelic music. The third movement, Intermezzo, again in ternary form, is largely in the green key. The final movement, Gavotte and Jig, is a light-hearted dance-like affair in binary form with a nautical flavour in the opening Gavotte, referring to heathland in Western Britain. It also refers (during abrupt key changes) to the struggle of the orchid to survive in its natural environment, having to contend with the drainage of moorland, being eaten by sheep, being trampled on or picked by humans and, in a short frosty section, the unpredictable winter weather. This gives way to the re-emergence of the plant in the spring, where the melody is turned into a lively, exuberant jig. Peter Lawson
Duration 8 minutes|9790222302938|LAWSON|Peter Lawson|Song of the Heath Spotted Orchid|Trumpet and piano|?6.00|112
GM190|Peter Lawson
SONG OF THE BROAD LEAVED MARSH ORCHID
for tuba and piano
Goodmusic GM190|The Song of the Broad-Leaved Marsh Orchid is the thirty-seventh to be written in a cycle of musical portraits of the forty-eight wild orchids of Great Britain and Ireland - for various instrumental and orchestral combinations.
The Broad-Leaved Marsh Orchid, Dactylorhiza majalis, is widely distributed, occurring throughout Europe. In Britain it is very rare, probably because of drainage of marshes and improvement of land for cultivation - it has a low tolerance of nitrogen and any human interference to this effect will destroy the orchid. For the same reason it is common in parts of Western Ireland where it flourishes in particular in the limestone pavements of the Burren region of County Clare.
The Broad-Leaved Marsh Orchid is a robust, imposing plant with up to forty purplish-red flowers on its spike. It has broad, lanceolate leaves, which are heavily covered in dark spots. Each flower consists of three tepals and a convex, three-lobed lower lip. The outer tepals are fairly erect and the middle one curves down to form a helmet. The lower lip is covered in dark purplish lines and loops, guiding insects under the helmet to achieve pollination.
The Song of the Broad-Leaved Marsh Orchid is in three movements, all in ternary form. The first, Majalis, starts with a dramatic representation of the imposing nature of the plant, giving way in the middle section to a more romantic evocation of the beauty of the flowers.
The second movement, Hebridean Air, describes the subspecies ebudensis, which can only be found on the northern coastal machair of North Uist, in the outer Hebrides. These plants are shorter, magenta in colour and the markings on the leaves are absent near the base of the leaves but merge for the remainder of the leaf into a dark purplish stain. The gaelic pentatonic scale is much to the fore in this movement, which, like the first movement, exploits the rich, singing qualities of the instrument.
The third movement, Jig, refers to the other subspecies to be found in Britain and Ireland, traunsteinerioides, or Irish Marsh Orchid. In this subspecies the leaves are generally unspotted and narrower and the central lobe of the lower lip is more pointed. Peter Lawson
Duration 8 minutes|9790222302945|LAWSON|Peter Lawson|Song of the Broad-Leaved Marsh Orch|Tuba and piano|?6.00|112
GM191|Peter Lawson
SONG OF THE WHITE HELLEBORINE
for cello and piano
Goodmusic GM191|'This is the thirty-eighth to be written in a cycle of musical portraits of the forty-eight wild orchids of Great Britain and Ireland for various instrumental and orchestral combinations.
The White Helleborine, Cephalanthera Damasonium is a delight to see in May or June, often growing in deep shade where no other plants grow, chiefly in beechwoods on calcareous soils. It has a preference for young or coppiced beechwoods, where there is a little more light and perhaps a chance of pollination by insects. Its elegant, creamy-white flowers often do not fully open, particularly if self-pollination is taking place, but if one is lucky enough to spot a flower which has opened up, the lower lip of the inflorescence is golden yellow - hence the alternative name of ''Poached-Egg Plant''.
The Song of the White Helleborine is cast in two contrasting movements. The first, Damasonium, opens with a cadenza for the cello, using harmonies from a colour-coding scheme employed in the other orchid portraits, in this case, white, golden-yellow and green. There follows a warm interplay between the cello and piano, chiefly utilising these three colours, with hints of Romantic, Classical and Baroque styles intended to reflect the elegant beauty of the flowers.
The second movement, Poached-Egg Plants in the Beechwood, is an imagined walk through a beechwood - somewhat sombre, awesome and cathedral-like at first. The music employs a passacaglia-like repeated sequence of colour-coded chords - not only the orchid''s colours this time, but also the blue sky above and the brown carpet of dead leaves below. As one''s eyes get carried upwards to the canopy of leaves, the cello weaves a melody over the chord sequence, building in intensity. Conversely, as the eyes drop down again, the music darkens to fall on the leaf-mould and the mycorrhizal fungus underground on which all orchids depend for their nutrition. We arrive at something of a clearing, where coppicing has taken place and discover a colony of White Helleborines in the dappled shade. The music becomes more playful and we get drawn into the inner world of the orchid and its environment. Eventually we walk on through the beechwood: the passacaglia returns, but in a short coda we remember the uplifting experience of seeing the plants? at this point, the music briefly returns to conclude in the jovial, scherzo-like mode. Peter Lawson
Duration 9 minutes'|9790222303430|LAWSON|Peter Lawson|Song of the White Helleborine|Cello and piano|?6.00|112
GM192|Peter Lawson
SONG OF THE FLY ORCHID for contrabass and piano
Goodmusic GM192|'The Song of the Fly Orchid is the thirty-ninth to be written in a cycle of musical portraits of the forty-eight wild orchids of Great Britain and Ireland.
The Fly Orchid, Ophrys insectifera, is arguably the most successful of the Ophrys genus in its imitation of insects, in this case, the common fly, which it so perfectly copies that the plant really does look as if it has a number of flies resting on it. It completes the job by imitating the fly''s pheremones, so that the male fly is deceived into pollinating the plant - a process known as pseudo-copulation. The mimicry of the flowers is quite fascinating: the flower''s lateral petals look like the fly''s antennae, there are two glossy humps at the rear end of the lower lip which look like the eyes of a fly, near to which there is a rectangular-shaped, violet-bluish mirror-like area resembling the fly''s folded wings. The plant prefers calcareous soils, where, though never common, it can be fairly plentiful in the first half of June. Although it has a penchant for beechwoods, particularly where there is dappled sunlight filtering through the branches, it can also flower out in open grassland or on limestone pavements.
The Song of the Fly Orchid is in three short movements, the first of which, Insectifera, exploits the buzzing effects which a double bass is particularly able to make, despite it being very much greater in size than the humble fly!
The second movement, The Edge of the Beechwood, is in ternary form, with the outer sections referring to the plant''s preferred habitat of dappled shade. The central section depicts the ssp. ochroleuca. A colour-coding scheme of harmonies is employed and this central section uses green and yellow chords, with the outer sections employing violet and dark-brown/magenta hues.
The third movement, Perpetuum Mobile, refers not only to the fly''s tendency to buzz around continuously but also to the never-ending cycle of flowering, deceiving flies and producing hundreds of tiny seeds which are carried off into the atmosphere like dust. The music is fugue-like - half-way through which the bass comes up with a second melodic idea, which is confidently pronounced as if launching into a double-fugue, but just at that very moment it is invaded by flies and the music goes completely haywire for a while, before resuming the fugue and ending in jovial spirit. Peter Lawson
Duration 8 minutes'|9790222303447|LAWSON|Peter Lawson|Song of the Fly Orchid|Double bass and piano|?6.00|112
GM193|Peter Lawson
SONG OF THE GREEN-FLOWERED HELLEBORINE for percussion
Goodmusic GM193|Requirements (One player): Temple Blocks (5 different pitches), Wood Blocks (high & low), Bongos (high & low), Tam-tam, Gong (large), Bass Drum, Glockenspiel, Crotales, Vibraphone, Marimba.
The Song of the Green-flowered Helleborine is the fortieth to be written in a cycle of musical portraits of the forty-eight wild orchids of Great Britain and Ireland - for various instrumental and orchestral combinations.
The Green-flowered (or Pendulous) Helleborine, Epipactis phyllanthes, is a fairly robust orchid, particularly when growing out of deep shade, when it can reach 45 cm in height. It has 3 to 6 oval leaves arranged in two rows up the stem and has a spike of up to 30 green, drooping flowers, flushed with white and sometimes pink or violet, which often do not fully open or even open at all. As the flowers usually self-pollinate, opening up seems unnecessary and sometimes flowers self-pollinate when completely closed. It is very localised and reclusive - and though not present in Scotland, has a wide distribution , mainly in beechwoods in England (in Dorset, Hampshire, Kent, Norfolk and Cumbria) and in Ireland (in Co. Dublin, Leitrim and Fermanagh). In both North and South Wales, it appears to favour coastal dunes. Abroad, it is only found in Western Europe, from Spain up to Denmark.
The Song of the Green-flowered Helleborine, like the other orchid portraits, employs a colour-coding scheme of harmonies, which is chiefly green in the outer of the three movements. The first, Prelude, features a florid cadenza-like role for the Marimba. The second, a somewhat hypnotic Woodland Reverie, is based on a colour-coded passacaglia, moving in sequence continually through green, white, pink, violet and the yellow-gold (the colour of the pollinia), first of all on the Vibraphone, then the Crotales, Glockenspiel and Marimba, before returning to the Vibraphone.
The third movement, Dance of the Phyllanthes, is a more light-hearted affair and has concertino-like roles for some of the tuned percussion instruments, the Temple and Wood Blocks, which are punctuated by repetitive comments from the bongos, the whole gaining in acrobatic virtuosity as the speed gathers towards the end. Peter Lawson
Duration 9 minutes|9790222303454|LAWSON|Peter Lawson|Song of Green-Flowered Helleborine|Percussion|?6.50|124
GM194|Clive Jenkins
FIVE PIECES FOR CLARINET QUINTET
for clarinet and string quartet
Goodmusic GM194|'To mark ten years of lunchtime recitals in the International Series at Plymouth Museum & Art Gallery in 2003, concert organiser Jeanie Moore MVO commissioned Clive Jenkins to write "fairly light music to run fifteen minutes including a spoken introduction". She asked for Tamarside, originally an orchestral piece, to be included; she liked the tune. The budget wouldn''t stretch to the clarinet quintet originally planned so a version for clarinet and piano was produced.
Peter Cigleris premiered the work with the composer accompanying and in 2013 recorded it on English Fantasy (Cala CD77015) with the pianist Antony Gray. The Chamber Ensemble of London took up the work which resulted in the string orchestra arrangement. The version with string quartet had to wait until 2014 when it was played by Colin Parr with members of the Taunton Sinfonietta Ensemble.
The Five Pieces have been given names for the three published editions, all connected with Plymouth:
Richmond Walk is a promenade by the sea.
Plym Valley has woods and a boulder-strewn river with weirs.
Tamarside is the broad estuary between Devon and Cornwall.
The Barbican is Plymouth''s bustling old quarter.
Drake Circus is its very busy hub.
Score and set of parts included
Duration 14 minutes
Three versions of this work are available:
FIVE PIECES FOR CLARINET QUINTET - Goodmusic GM194
FIVE PIECES FOR CLARINET & PIANO - Goodmusic GM195
FIVE PIECES FOR CLARINET & STRINGS - Goodmusic GMCO151
The orchestral version of TAMARSIDE is available - Goodmusic GMCO150'|9790222303461|JENKINS C|Clive Jenkins|Five Pieces for Clarinet Quintet|Ensemble - Mixed|?14.25|257
GM195|Clive Jenkins
FIVE PIECES for clarinet and piano
Goodmusic GM195|'To mark ten years of lunchtime recitals in the International Series at Plymouth Museum & Art Gallery in 2003, concert organiser Jeanie Moore MVO commissioned Clive Jenkins to write "fairly light music to run fifteen minutes including a spoken introduction". She asked for Tamarside, originally an orchestral piece, to be included; she liked the tune. The budget wouldn''t stretch to the clarinet quintet originally planned so a version for clarinet and piano was produced.
Peter Cigleris premiered the work with the composer accompanying and in 2013 recorded it on English Fantasy (Cala CD77015) with the pianist Antony Gray. The Chamber Ensemble of London took up the work which resulted in the string orchestra arrangement. The version with string quartet had to wait until 2014 when it was played by Colin Parr with members of the Taunton Sinfonietta Ensemble.
The Five Pieces have been given names for the three published editions, all connected with Plymouth:
Richmond Walk is a promenade by the sea.
Plym Valley has woods and a boulder-strewn river with weirs.
Tamarside is the broad estuary between Devon and Cornwall.
The Barbican is Plymouth''s bustling old quarter.
Drake Circus is its very busy hub.
Duration 14 minutes
Three versions of this work are available:
FIVE PIECES FOR CLARINET QUINTET - Goodmusic GM194
FIVE PIECES FOR CLARINET & PIANO - Goodmusic GM195
FIVE PIECES FOR CLARINET & STRINGS - Goodmusic GMCO151
The orchestral version of TAMARSIDE is available - Goodmusic GMCO150'|9790222303478|JENKINS C|Clive Jenkins|Five Pieces for Clarinet|Clarinet and piano|?8.50|160
GM197|Peter Lawson
SONG OF THE SWORD-LEAVED HELLEBORINE
for alto sax and piano
Goodmusic GM197|'The Sword-leaved (or Narrow-leaved) Helleborine, Cephalanthera longifolia, is a fairly substantial orchid, growing up to 60 cms in height. It can easily be distinguished from its nearest relative, the White Helleborine, by its very long, erect and narrowly-tapering, dark-green leaves which collectively appear in the shape of a fan. The slightly whiter flowers, with the ''poached-egg''-like, yellow-gold markings on the lower lip, are seen more clearly than in the White Helleborine, as nearly all the flowers open up, being only pollinated by small bees, rather than the plant''s mainly self-pollinating relative. Each spike has up to twenty flowers, each one''s anther being hinged so as to spring back into place when the insect retreats.
The Sonatina of the Sword-leaved Helleborine is in four movements and, as in the other orchid portraits, a colour-coded harmonic scheme is employed. The white, yellow-gold and green chords of the plant are dramatically intoned at the outset of the first movement, Introduction and Longifolia Song, with suitably striking flourishes from the saxophone giving way to a simple melody above the colour chords'' sequence. The second movement, Below the Boughs of the Beech, likewise spins a tranquil tune above the pattern of colour-coding. The third movement is lighter in mood, once again using the colour chords as its starting-off point. As its title, A Visit from Small Bees, suggests, there are hints of pollination and indeed of flirtation!
The fourth movement is entitled Hornpipe and Sword-Leaved Fugue. The Hornpipe (a characteristic dance from Britain and Ireland) has a hint of Ragtime and suddenly gives way to a fugue, whose subject is long and is fancifully intended to resemble the running of one''s finger along one of the sword-like leaves. Rather than a Hornpipe, there is a resemblance to the last movement of Mozart''s 3rd Horn concerto. Gradually the Hornpipe infiltrates the Fugue until the point of irritation at which point the piano quotes the last movement of the 4th Concerto instead. The ensuing chaos can be likened to a musical sword-fight with the right and left hands in two different keys suggesting the Laurel and Hardy theme above the mocking augmentation of the fugue subject in a third key from the saxophone. The hornpipe cheerfully returns and, apart from a sinister taunt from the fugue near the end, all is well at last! Peter Lawson
Duration 10 minutes'|9790222304642|LAWSON|Peter Lawson|Sonatina of the Sword-Leaved Helleb|Saxophone and piano|?6.50|124
GM198|Paul Carr
OCCASIONAL SERENADE
for flute, viola and cello
Goodmusic GM198|'Occasional Serenade was a commission for a private family occasion, where three members of the family were instrumentalists, playing flute, viola and cello. There are three short movements with the final one using Schubert''s famous song "Der Erlkonig" as a starting point. (Schubert was a family favourite).
Score and parts included.
Duration 10 minutes'|9790222304000|CARR P|Paul Carr|Occasional Serenade (Fl/Vla/Vc)|Ensemble - Mixed|?10.00|184
GM199|Clive Jenkins
FOUR PIANO PIECES for solo piano
Goodmusic GM199|'Berceuse; Scherzo; Intermezzo; Finale
These Four Piano Pieces were composed for the Italian pianist Giorgio Vercillo following a 2004 recital at St James''s Piccadilly with the violinist Peter Fisher which featured Clive Jenkins''s Pastorale & Allegro (also published by Goodmusic - GM163).
Since then, British pianists have taken an interest. Margaret Fingerhut wrote: "They are absolutely delightful, full of character and charm." They are published at the suggestion of Mark Bebbington after his recital at the Tavistock Festival in 2017.
Standard: Grade 5 to 8
Duration 10 minutes'|9790222304567|JENKINS C|Clive Jenkins|Four Piano Pieces|Piano - Solo|?5.00|88
GM200|Paul Carr
STABAT MATER
for choir and orchestra
Goodmusic GM200|Scored for SATB choir and orchestra, this lovely new setting of the Stabat Mater was commissioned by the English Arts Chorale. It is in six sections.
The Stabat Mater is my third large-scale religious choral work, following on from my 2012 setting of the Seven Last Words from the Cross, and tells of the painful grieving of the Mother Mary for her dying son. As someone who struggles with a belief in God, I have, nonetheless, always had an underlying fascination, a love, in fact, of Jesus Christ and the journey leading to his eventual demise; I feel a passionate response to him as a unique and individual man.
The poem, Stabat Mater Dolorosa, is considered by many to be one of the seven greatest Latin hymns of all time. Its origins stem from the peak of Franciscan devotion to the crucified Jesus and attributed to either Pope Innocent III, Saint Bonaventure (the 7th Minister General of the Order of Friars Minor), or more commonly, Jacapone da Todi (a Franciscan Friar from Umbria, 1230-1306), who is considered by most to be its true author.
I have divided the Latin poem into six sections and scored the work for choir, with 2 oboes (with the 2nd doubling Cor Anglais in No.3) harp and strings. This somewhat baroque influenced orchestration is a direct response to my recent fascination with the baroque period and the works of Handel and Bach in particular. Having grown up listening to the likes of Stravinsky, Britten, Richard Strauss and Wagner etc., I am surprised, though not disappointed, to find myself, in later years, embracing early music in a way I never truly did before, and this enjoyment and evocation can unashamedly be heard in this Stabat Mater. Paul Carr
Duration 33 minutes
The orchestral material is available to buy or hire from Goodmusic.
A version with organ only accompaniment is also available. Choirs should still use the standard vocal score.|9790222303904|CARR P|Paul Carr|Stabat Mater|Choir - Vocal score|?9.50|173
GM200-00|||9790222303911|CARR P|Paul Carr|Stabat Mater Full Score|Orchestral Score|?30.00|285
GM200-01|||9790222303928|CARR P|Paul Carr|Stabat Mater Violin 1|Orchestral Part|?2.50|38
GM200-02|||9790222303935|CARR P|Paul Carr|Stabat Mater Violin 2|Orchestral Part|?2.50|38
GM200-03|||9790222303942|CARR P|Paul Carr|Stabat Mater Viola|Orchestral Part|?2.50|38
GM200-04|||9790222303959|CARR P|Paul Carr|Stabat Mater Cello|Orchestral Part|?2.50|38
GM200-05|||9790222303966|CARR P|Paul Carr|Stabat Mater Bass|Orchestral Part|?2.50|38
GM200-06|||9790222303973|CARR P|Paul Carr|Stabat Mater Oboe 1|Orchestral Part|?2.00|25
GM200-07|||9790222303980|CARR P|Paul Carr|Stabat Mater Oboe 2/Cor Anglais|Orchestral Part|?2.00|25
GM200-08|||9790222303997|CARR P|Paul Carr|Stabat Mater Harp|Orchestral Part|?3.00|50
GM200-50|||9790222311848|CARR P|Paul Carr|Stabat Mater ORGAN VERSION|Full score|?10.00|169
GM200-51|||9790222311855|CARR P|Paul Carr|Stabat Mater ORGAN VERSION Org Part|Organ Solo|?7.50|136
GM201|Paul Carr
UBI CARITAS
for choir and orchestra
Goodmusic GM201|'A setting of Ubi Caritas for mixed voice choir (SATB) with Cor Anglais and String Orchestra, commissioned by and dedicated to Janet Haney and the Jubilate Choir.
Ubi caritas et amor, Deus ibi est.
Congregavit nos in unum Christi amor.
Exsultemus et in ipso jucundemur.
Timeamus et amemus Deum vivum.
Et ex corde diligamus nos sincero.
Amen.
Where charity and love are, God is there.
Christ''s love has gathered us into one.
Let us rejoice and be pleased in Him.
Let us fear, and let us love the living God.
And may we love each other with a sincere heart.
Amen.
It can be performed with an organ accompaniment instead of string orchestra, though this still requries the cor anglais. A separate organ score is available for this version; the choir should use the standard vocal score whichever accompaniment is used.
Duration 9 minutes'|9790222304093|CARR P|Paul Carr|Ubi Caritas|Choir - Vocal score|?5.00|88
GM201-00|||9790222304109|CARR P|Paul Carr|Ubi Caritas Full Score|Orchestra|?10.00|131
GM201-01|||9790222304116|CARR P|Paul Carr|Ubi Caritas Violin 1|Orchestral Part|?1.50|13
GM201-02|||9790222304123|CARR P|Paul Carr|Ubi Caritas Violin 2|Orchestral Part|?1.50|13
GM201-03|||9790222304130|CARR P|Paul Carr|Ubi Caritas Viola|Orchestral Part|?1.50|13
GM201-04|||9790222304147|CARR P|Paul Carr|Ubi Caritas Cello|Orchestral Part|?1.50|13
GM201-05|||9790222304154|CARR P|Paul Carr|Ubi Caritas Bass|Orchestral Part|?1.50|13
GM201-06|||9790222304161|CARR P|Paul Carr|Ubi Caritas Cor Anglais|Orchestral Part|?1.50|13
GM201-50|||9790222304178|CARR P|Paul Carr|Ubi Caritas Organ Score|Organ Solo|?4.50|76
GM202|Paul Lewis
FAMILY ALBUM for piano solo
Goodmusic GM202|Three light and tuneful pieces for solo piano - around grade 4 standard.
For Nina Marie; For Rowena; For Mike - Three musical gifts to my granddaughter, daughter and son-in-law.
For Nina Marie was my instinctive reaction on first receiving photos of my baby granddaughter. The melody liltingly repeats the rhythm of her name.
For Rowena was composed following a re-union with my daughter after a lengthy separation, and expresses my feelings of love and contentment on that occasion. The final three notes suggest her name.
For Mike. To complete the family album I wrote this piece for my son-in-law who is of Indian extraction. The music accordingly attempts to suggest an exotic Indian scale and the rhythmic bass drone of my favourite Indian instrument, the sitar, alternating with sections of syncopated western harmony as befits one born and brought up in London! Paul Lewis
Duration 9? minutes|9790222304192|LEWIS P|Paul Lewis|Family Album|Piano - Solo|?4.50|76
GM203|Paul Lewis
RHAPSODY ON SCARBOROUGH FAIR for flute and harp
Goodmusic GM203|'Listening in England to harpist Alessandra Ziveri''s recording of Luigi Perracchio''s Sonata on popular Italian folk songs, I decided as a gesture of international musical friendship to thank her for the enormous pleasure her recording gives me by sending her a work based on an English folk song. I had long harboured a desire to write a piece based on Scarborough Fair, a traditional song made world famous by Simon and Garfunkel in the 1960s, and Alessandra Ziveri''s playing at last provided the inspiration and the impetus to fulfil this ambition.
The resulting Rhapsody is, in effect, a set of variations in romantic-pastoral style, an idyll evocative of the English countryside of a faraway age. The melody of Scarborough Fair, being in the archaic Dorian mode, a minor scale of sorts distinguished by the haunting sharpened sixth, i.e. D to D on the white notes of the piano, suggests mediaeval origins, and indeed bears a remarkable similarity to the 15th century composer Guillaume Dufay''s setting of Je veuil chanter de cuer joyeux, the lyrics of which already existed, raising the possibility that Dufay used a pre-existing melody too. The words of Scarborough Fair, though bearing similarities to the 17th century Scottish ballad The Elfin Knight, are sometimes said to refer to the Great Plague of the 14th century, all of which accords well with my love of pre-18th century history. Paul Lewis
Duration 6 minutes'|9790222304208|LEWIS P|Paul Lewis|Rhapsody on Scarborough Fair|Flute and Harp|?5.00|88
GM204|Paul Lewis
THREE VALENTINES for violin and piano
Goodmusic GM204|'Three latter-day salon pieces: A Rapture of Roses; A Shimmer of Champagne; Rhapsody in Chocolate
The third of my Three Valentines, Rhapsody in Chocolate was composed in 2007, ever since when I had thought whimsically of writing two companion pieces to represent the other traditional Valentine''s Day gifts, Champagne and roses, as an offering to the violin, an instrument I love and grew up with, since my mother, her brother and his wife were busy professional violinists.
The catalyst for the composing of the other movements came in the form of the brilliant virtuoso violinist Nazrin Rashidova, whose performance of my Rosa Mundi with her string orchestra FeMusa moved me like no other had.
Additionally, there were connections that struck a deep chord. Nazrin is of Azerbaijani origin and plays with a wonderful Eastern European sensitivity - my mother was half-Russian and also deeply passionate in her playing. Nazrin directs her own all-female orchestra, the first in Britain for sixty years, and my mother, in her twenties, also had her own all-female ensemble, Phyllis Burstein and Her Bohemian Girls Band, playing the kind of Eastern European gypsy music that was popular at the time.
There was obviously no choice: the two new pieces had to be written for Nazrin. Happily she not only enthusiastically accepted the dedication of Three Valentines and premiered them with pianist Daniel Grimwood at St. James''s Church, Piccadilly, London, on August 9th 2017, but also commissioned me to arrange them for FeMusa, premiering them in this version in the Gabala International Music Festival, Azerbaijan, on August 1st 2017. Paul Lewis
Duration about 9 minutes
Suggestions for bowing and fingering the solo violin part kindly supplied by Nazrin Rashidova
Also available:
THREE VALENTINES for violin, Strings & Harp or Piano: Goodmusic GMCO154'|9790222304215|LEWIS P|Paul Lewis|Three Valentines|Violin and piano|?6.00|112
GM205|FIRST CLARINET SOLOS arranged by Philip Lane
for clarinet in Bb and piano
Goodmusic GM205|'A collection of ten pieces for early grade clarinettists with a piano accompaniment.
CONTENTS:
The Hen (La Gallina) - Louis Moreau Gottschalk
Romance - French Traditional
La Cinquantaine - Gabriel Marie
Recuerdos de la Alhambra - Francisco Tarrega
La Paloma - Sebastian Yradier
The Grasshoppers'' Dance - Ernest Bucalossi
Kalinka - Russian Folksong
Moscow Nights - Russian Folksong
Victorian Dream Waltz - Philip Lane
Jamaican Dance - Philip Lane
'|9790222304550|LANE P|Philip Lane|First Clarinet Solos|Clarinet and piano|?8.50|160
GM206|Peter Lawson
SAXOPHONE QUARTET OF THE LADY AND MAN ORCHIDS
Goodmusic GM206|'The Lady Orchid, Orchis purpurea, grows up to a metre high with broad oblong-to-lanceolate, bright-green, fleshy, shiny leaves up to 15 cms long with up to fifty inflorescences on the flower spike. The sepals and upper petals are violet, with a pale pink or white, three-lobed labellum, which is spotted with purple - the flower resembles a lady in a poke bonnet.
The Man Orchid, Orchis anthropophora, is smaller and harder to spot, as the flowering spike is predominantly yellow-green, which, on closer inspection is usually marked with magenta, but the overall shape of the flowers and petals resembles little greenish-yellow men, with a head formed from the petals and sepals and the labellum forming the arms and the legs.
The Saxophone Quartet of the Lady and Man Orchids is in four movements, the first two being in sonata form and being two musical portraits of the two respective orchids. The first, Fanfare and March of the Queen of Orchids, resembles a Pomp and Circumstance March preceded by a dramatic introduction intoning the colours of the Lady Orchid, using a colour-coded scheme of harmonies used throughout the orchid portraits. It is as if the Queen of Orchids is making a flamboyant ''look-at-me!'' entry.
The second movement, Song of the Man Orchid, is more wistful and delicate in nature, with an introduction using the colour coding harmonies and a more classical first subject, as if to point out that this man is well turned-out, almost dapper, but has a stronger, sterner side, exhibited in the second subject, which in recapitulation has an almost triumphant, swashbuckling feel.
The third movement, Downland and Woodland, is pastoral in mood. Imagine walking across downland. Suddenly a man orchid is spotted and the mood becomes more scherzo-like. On reaching the edge of the wood you can hardly fail to see Lady Orchids and go up to each one, noting their beauty and subtlety. The differences between them are fascinating, reflected in the quizzical nature of the music. The fourth movement, Double Fugue of the Man and Lady Orchids, begins with the Man Orchid theme which gradually becomes more adventurous until the Lady Orchid bursts in. A domestic squabble ensues, but everything ends in harmony and jollity! Peter Lawson
Duration 18 minutes
Score and parts included.'|9790222304659|LAWSON|Peter Lawson|Sax Quartet of Lady & Man Orchids|Saxophone quartet|?18.25|330
GM207|SONG OF THE SMALL WHITE ORCHID by Peter Lawson
for recorders (one player) and piano
Goodmusic GM207|'The Song of the Small White Orchid, written in 2013 for John Turner in celebration of his seventieth birthday, is the thirtieth to be written in a projected cycle of musical portraits of the forty-eight wild orchids of Britain and Ireland, ranging from solo instruments to various combinations of chamber and orchestral ensembles.
Originally written with string quartet accompaniment, this version is with piano.
It is a short, light-hearted piece which explores the wide range of pitches from the lowest note on the Bass recorder to the top notes of the tiny Sopranino via the Tenor, Treble and Descant instruments. The string quartet/piano acts both in an accompanying mode and also as a completer of the musical argument of a stanza whilst the soloist changes recorder in readiness for the next stanza.
The Small White Orchid, Pseudorchis albida, has a distinctly Northerly distribution in Great Britain and is extremely rare and endangered in Northern England, Wales and Ireland. Most of its sites are in Scotland, but even here it is very local and decreasing - due to overgrazing in its typical habitat of rough pasture ground and to agricultural ''improvement'' of land in sites nearer to sea level. It has a wide distribution abroad and can be seen as far south as the Balkans, as far east as Siberia and as far west as Greenland and Eastern Canada.
It is a dainty plant, less than 15cm high, with long, lanceolate leaves wrapping around the stem. It has a relatively long, sweetly-scented, compact spike of often as many as thirty small white flowers with yellow-gold pollinia, which are pollinated by a variety of insects, particularly moths at twilight.
The neat, dainty nature of the plant is reflected in the music. A ''colour scheme'' of harmonies is employed for the green of the leaves, white of the petals, gold of the pollinia, blue of the sky above and brown of the fading plant. The harmony is often in the form of arpeggiated patterns, whose rhythmic figurations sometimes suggest birdsong which might be heard in the vicinity of the orchid.
Gradually, references to imaginary Scottish marching-band music, a reel, jigs and numerous Scottish and Irish folk-song-like airs creep in and as the conclusion approaches there are capricious, fleeting references to Richard Strauss''s "Till Eulenspiegel''s Merry Pranks" and the Irish air "Believe me, if all those endearing young charms". Peter Lawson
Duration 6? minutes'|9790222305236|LAWSON|Peter Lawson|Song of the Small White Orchid|Recorder and piano|?6.00|112
GM208|Paul Lewis
JUBILATE for brass ensemble and timpani
Goodmusic GM208|'Instrumentation: Horn in F, 4 Trumpets in Bb, 4 Trombones, Tuba, Timpani.
Jubilate was commissioned in 2016 by the Restoration Committee of St. Nicolas Church Parochial Church Council, Pevensey, to commemorate the 800th anniversary restoration of the church.
Being a mediaevalist, obsessed since childhood with ancient buildings, I find the restoration of any historic building - if done properly - a source of excitement and joy, hence the jubilant nature of this piece. The music, largely modal after the fanfare-like introduction, has deliberately archaic overtones and may at times suggest the presence of mounted knights, due to the close proximity of Pevensey Castle, which was besieged twice during the church''s lifetime and which saw the imprisonment in the 15th century of the future King James I of Scotland and of Joan of Navarre by her stepson Henry V. A quiet, contemplative passage transforms the principal motif to suggest the chanting of plainsong echoing through the centuries. Paul Lewis
The first performance was given by the dedicatees, Harvey''s Brass, in St. Nicolas Church, Pevensey, on April 21st, 2018.
A full score and set of parts is included.
Duration 8 minutes'|9790222305229|LEWIS P|Paul Lewis|Jubilate for brass & timpani|Ensemble - Mixed brass|?13.50|245
GM209|Paul Carr
SUMMER MUSIC
Trio for Clarinet, Cello and Piano
Goodmusic GM209|Summer Music was composed during the month of August, 2017; a particularly bad summer here in the UK with much rain and rather less than normal amounts of warm sunshine for this time of year. However, the work is still infused for the most part with a warm summery feel and the enjoyment of summer is evident, with the slow central movement being the exception - a quiet and reflective night, with the gentle rain outside complementing the stillness of the mood.
Originally begun as a trio for the less well-known combination of Clarinet, Cello & Piano, I soon realised that this piece would also suit the more familiar ensembles of Violin, Cello & Piano, and Oboe, Bassoon & Piano; and not wanting to miss the opportunity of presenting it to as wide an audience as possible, I added a version for Flute, Cello & Piano. I worked on all four versions simultaneously with none taking precedence over the other, and a most rewarding venture it turned out to be too!
There is no reason why the various combinations should not also be mixed up: Flute, Violin or Clarinet with Bassoon & Piano, or Oboe with Cello & Piano. Paul Carr
The three movements are titled:
One weekend in August
The softness of rainfall at night
Bicycles on Sunday morning
Four different versions are available:
Clarinet, Cello & Piano - GM209
Flute, Cello & Piano - GM210
Oboe, Bassoon & Piano - GM211
Violin, Cello & Piano - GM212
Duration 13 minutes|9790222305182|CARR P|Paul Carr|Summer Music - Clarinet/Cello/Piano|Piano trio|?9.50|173
GM210|Paul Carr
SUMMER MUSIC
Trio for Flute, Cello and Piano
Goodmusic GM210|Summer Music was composed during the month of August, 2017; a particularly bad summer here in the UK with much rain and rather less than normal amounts of warm sunshine for this time of year. However, the work is still infused for the most part with a warm summery feel and the enjoyment of summer is evident, with the slow central movement being the exception - a quiet and reflective night, with the gentle rain outside complementing the stillness of the mood.
Originally begun as a trio for the less well-known combination of Clarinet, Cello & Piano, I soon realised that this piece would also suit the more familiar ensembles of Violin, Cello & Piano, and Oboe, Bassoon & Piano; and not wanting to miss the opportunity of presenting it to as wide an audience as possible, I added a version for Flute, Cello & Piano. I worked on all four versions simultaneously with none taking precedence over the other, and a most rewarding venture it turned out to be too!
There is no reason why the various combinations should not also be mixed up: Flute, Violin or Clarinet with Bassoon & Piano, or Oboe with Cello & Piano. Paul Carr
The three movements are titled:
One weekend in August
The softness of rainfall at night
Bicycles on Sunday morning
Four different versions are available:
Clarinet, Cello & Piano - GM209
Flute, Cello & Piano - GM210
Oboe, Bassoon & Piano - GM211
Violin, Cello & Piano - GM212
Duration 13 minutes|9790222305199|CARR P|Paul Carr|Summer Music - Flute/Cello/Piano|Piano trio|?9.50|173
GM211|Paul Carr
SUMMER MUSIC
Trio for Oboe, Bassoon and Piano
Goodmusic GM211|Summer Music was composed during the month of August, 2017; a particularly bad summer here in the UK with much rain and rather less than normal amounts of warm sunshine for this time of year. However, the work is still infused for the most part with a warm summery feel and the enjoyment of summer is evident, with the slow central movement being the exception - a quiet and reflective night, with the gentle rain outside complementing the stillness of the mood.
Originally begun as a trio for the less well-known combination of Clarinet, Cello & Piano, I soon realised that this piece would also suit the more familiar ensembles of Violin, Cello & Piano, and Oboe, Bassoon & Piano; and not wanting to miss the opportunity of presenting it to as wide an audience as possible, I added a version for Flute, Cello & Piano. I worked on all four versions simultaneously with none taking precedence over the other, and a most rewarding venture it turned out to be too!
There is no reason why the various combinations should not also be mixed up: Flute, Violin or Clarinet with Bassoon & Piano, or Oboe with Cello & Piano. Paul Carr
The three movements are titled:
One weekend in August
The softness of rainfall at night
Bicycles on Sunday morning
Four different versions are available:
Clarinet, Cello & Piano - GM209
Flute, Cello & Piano - GM210
Oboe, Bassoon & Piano - GM211
Violin, Cello & Piano - GM212
Duration 13 minutes|9790222305205|CARR P|Paul Carr|Summer Music - Oboe/Bassoon/Piano|Piano trio|?9.50|173
GM212|Paul Carr
SUMMER MUSIC
Trio for Violin, Cello and Piano
Goodmusic GM212|Summer Music was composed during the month of August, 2017; a particularly bad summer here in the UK with much rain and rather less than normal amounts of warm sunshine for this time of year. However, the work is still infused for the most part with a warm summery feel and the enjoyment of summer is evident, with the slow central movement being the exception - a quiet and reflective night, with the gentle rain outside complementing the stillness of the mood.
Originally begun as a trio for the less well-known combination of Clarinet, Cello & Piano, I soon realised that this piece would also suit the more familiar ensembles of Violin, Cello & Piano, and Oboe, Bassoon & Piano; and not wanting to miss the opportunity of presenting it to as wide an audience as possible, I added a version for Flute, Cello & Piano. I worked on all four versions simultaneously with none taking precedence over the other, and a most rewarding venture it turned out to be too!
There is no reason why the various combinations should not also be mixed up: Flute, Violin or Clarinet with Bassoon & Piano, or Oboe with Cello & Piano. Paul Carr
The three movements are titled:
One weekend in August
The softness of rainfall at night
Bicycles on Sunday morning
Four different versions are available:
Clarinet, Cello & Piano - GM209
Flute, Cello & Piano - GM210
Oboe, Bassoon & Piano - GM211
Violin, Cello & Piano - GM212
Duration 13 minutes|9790222305212|CARR P|Paul Carr|Summer Music - Violin/Cello/Piano|Piano trio|?9.50|173
GM213|SONG OF THE LESSER BUTTERFLY ORCHID by Peter Lawson
for sopranino recorder (or piccolo) and piano
Goodmusic GM213|'The Song of the Lesser Butterfly Orchid, for the tiny (and remarkably agile!) Sopranino Recorder (or alternatively, Piccolo) and piano, is the forty-third to be written in a cycle of musical portraits of the forty-eight wild orchids of Great Britain and Ireland for various instrumental and orchestral combinations. The work also exists as Concertino of the Lesser Butterfly Orchid, with orchestra accompaniment.
The Song of the Lesser Butterfly Orchid is in three dance-like movements, which in places, as in the other orchid portraits, employs a colour-coding scheme of harmonies and these chords are heard at the outset of the first movement, Introduction and Butterfly Rumba, on the piano - light-green suffusing the white of the petals, the yellow of the anthers and the darker green of the two shiny, spoon-shaped basal leaves and bract-like leaves sheathing the stem. The Rumba and indeed the last movement, Jig of the Moths and Butterflies, reflect the dedicatee, Miguel Lawrence, who is half Mexican and half Northern-Irish. His virtuosity and sense of fun are amply catered for in these outer movements as well as in a cadenza in the middle of the second movement, Butterfly Minuet, which, in its outer sections, is more reflective of the pastoral habitats of the orchid. The Jig''s opening melody is rather weirdly tempered by the juxtaposition of the colour-coded harmonies, portraying the pollinating moths. The dancing butterflies are portrayed in less eccentric harmonic manoeuvres, the music gathering pace towards a breathless conclusion. Peter Lawson
Duration 7 minutes
A CD recording is available on Tremula Records (TREM106) played by Miguel and Jeremy Lawrence. A review of the disc says "It bubbles and floats in a brisk breeze. It''s always melodious but cuts a toe-tapping velocitous and felicitous path across the three little movements".'|9790222306035|LAWSON|Peter Lawson|Song of the Lesser Butterfly Orchid|Recorder and piano|?7.50|136
GM214|Paul Carr
DROP, DROP, SLOW TEARS
for unaccompanied mixed voice choir
Goodmusic GM214|A lovely new setting of the text by Phineas Fletcher (1580-1650) for SATB choir unaccompanied.
Drop, drop, slow tears,
And bathe those beauteous feet
Which brought from Heaven
The news and Prince of Peace:
Cease not, wet eyes,
His mercy to entreat;
To cry for vengeance
Sin doth never cease.
In your deep floods
Drown all my faults and fears;
Nor let His eye
See sin, but through my tears.
Duration 4 minutes|9790222305243|CARR P|Paul Carr|Drop Drop Slow Tears|Choir - Mixed voices (SATB)|?2.00|25
GM215|Paul Carr
A LITANY for organ
arranged by Richard Sharpe
Goodmusic GM215|'A lovely arrangement for organ solo of Paul''s unaccompanied choral setting of Drop, drop, slow tears (see GM214).
Duration 4 minutes'|9790222305441|CARR P|Paul Carr|A Litany|Organ Solo|?4.00|63
GM216|Clive Jenkins
IN ROSELAND
for Brass Quintet
Goodmusic GM216|'A piece for brass quintet (2 Trumpets in Bb, Horn in F, Trombone and Tuba) which features the trombone. Score and parts included.
The first four notes of the trombone solo came to me out of the air.
Years ago, my wife Sheila and I were weekending on the Roseland Peninsula. We had arrived late in the evening. When we woke up next morning, fog had blotted out sight but not sound. From the sea we could hear ships'' foghorns and, more distantly, on land, the horn of a diesel locomotive. These combined to suggest a tune which formed in my head as I took in the beautiful scenery after the fog lifted. Clive Jenkins
Duration 4? minutes
Also available in a version for Trombone and Piano - GM217.
Front cover image: St.Anthony Head, looking towards the lighthouse, Roseland Peninsula, Cornwall
Photo by Thomas Tolkien / www.thomastolkien.wordpress.com / ? CC by 2.0'|9790222305892|JENKINS C|Clive Jenkins|In Roseland (Brass Quintet)|Ensemble - Mixed brass|?7.50|136
GM217|Clive Jenkins
IN ROSELAND
for Trombone and Piano
Goodmusic GM217|'A piece for trombone and piano.
The first four notes of the trombone solo came to me out of the air.
Years ago, my wife Sheila and I were weekending on the Roseland Peninsula. We had arrived late in the evening. When we woke up next morning, fog had blotted out sight but not sound. From the sea we could hear ships'' foghorns and, more distantly, on land, the horn of a diesel locomotive. These combined to suggest a tune which formed in my head as I took in the beautiful scenery after the fog lifted. Clive Jenkins
Duration 4? minutes
Also available in a version for Brass Quintet - GM216.
Front cover image: St.Anthony Head, looking towards the lighthouse, Roseland Peninsula, Cornwall
Photo by Thomas Tolkien / www.thomastolkien.wordpress.com / ? CC by 2.0'|9790222305908|JENKINS C|Clive Jenkins|In Roseland|Trombone and piano|?4.50|76
GM218|Clive Jenkins
FOUR FOR FLUTE
for Flute and Piano
Goodmusic GM218|'These four pieces were all recorded for light music sessions in the early days of BBC Radio London.
1. Autumn Gold: The tune came to me when walking in Ashridge Forest one autumn.
2. Blue Flute: My very first broadcast piece.
3. Prisoner: This was originally written as the main title music for a TV film but not used.
4. Sheila''s Tune: My wife, Sheila, liked this (long before the days of "liking" on social media!) hence the attribution.
Clive Jenkins
Autumn Gold: 2? minutes
Blue Flute: 2 minutes
Prisoner: 2? minutes
Sheila''s Tune: 2 minutes
Total duration about 9 minutes'|9790222305915|JENKINS C|Clive Jenkins|Four for Flute|Flute and piano|?5.50|100
GM219|Philip Lane
BARDSONG - Nine Shakespeare Lyrics
for High Voice and Piano
Goodmusic GM219|'Nine songs - music by Philip Lane set to texts by William Shakespeare. These songs have been adapted from Philip Lane''s Four Shakespeare Lyrics and Five Shakespeare Lyrics originally composed for choir and piano.
1. Where the bee sucks (Range D-G)
2. Tell me where is fancy bred (C-F)
3. Under the greenwood tree (E-A)
4. Sigh no more (B-A)
5. Fear no more the heat of the sun (F#-B)
6. Full fathom five (C-G)
7. Blow, blow, thou winter wind (B-E)
8. Come away death (Eb-Ab)
9. It was a lover and his lass (B-G)
Total duration 18 minutes, each song around 1? to 2 minutes
Also available for LOW voice GM220.'|9790222305922|LANE P|Philip Lane|Bardsong High Voice|Voice solo (with accompaniment)|?7.50|136
GM220|Philip Lane
BARDSONG - Nine Shakespeare Lyrics
for Low Voice and Piano
Goodmusic GM220|'Nine songs - music by Philip Lane set to texts by William Shakespeare. These songs have been adapted from Philip Lane''s Four Shakespeare Lyrics and Five Shakespeare Lyrics originally composed for choir and piano.
1. Where the bee sucks (Range Bb-D#)
2. Tell me where is fancy bred (Bb-Eb)
3. Under the greenwood tree (C-F)
4. Sigh no more (G-F)
5. Fear no more the heat of the sun (D-G)
6. Full fathom five (Bb-F)
7. Blow, blow, thou winter wind (B-E)
8. Come away death (C-F)
9. It was a lover and his lass (A-F)
Total duration 18 minutes, each song around 1? to 2 minutes
Also available for HIGH voice GM219.'|9790222305939|LANE P|Philip Lane|Bardsong Low Voice|Voice solo (with accompaniment)|?7.50|136
GM221|SONG OF THE GHOST ORCHID by Peter Lawson
for mixed voice choir and piano (or organ)
Goodmusic GM221|'The Song of the Ghost Orchid is the forty-fifth to be written in a cycle of musical portraits of the forty-eight wild orchids of Great Britain and Ireland - for various instrumental, vocal and orchestral combinations.
The Ghost Orchid, or Spurred Coralroot, Epipogium aphyllum, is Britain''s rarest orchid, not in the sense that it has the fewest potential sites, but in the number of sightings seen. It has many times been proclaimed to be extinct, having not been seen for decades, only to confound the notion by popping up again. It has been found in two distinct areas, both in England, firstly in oak woods in Herefordshire and Shropshire, from 1854; secondly in beech woods in Oxfordshire and Buckinghamshire, from 1923 onwards. Because of its long system of coral-like roots (stolons), stretching out for sometimes as many as a hundred yards, it can survive underground for long periods without throwing up a flower spike. Because of its complete lack of chlorophyll and leaves, it being parasitic on fungus in leaf-mould, it grows generally in dark woods, where nothing else will grow.
The Song of the Ghost Orchid is the only orchid portrait to contain actual words. I considered the history of sightings to be so extraordinary, that I decided to write a poem, in Iambic Pentameter, with thirty four-line stanzas, chronicling the remarkable tale. I set it for mixed chorus with piano or organ accompaniment, though soloists from the choir have the lion''s share of conveying the story. A colour-coding scheme of harmonies is employed throughout the orchid portraits and is used at times during this piece, which is in two parts, each ending with a choral number. Part One has eleven verses and deals with the westerly orchids near the Welsh border and Part Two has nineteen verses and deals with the Oxfordshire and Buckinghamshire sites and sightings.
In between the two parts is a substantial chorus, Red Faces, referring to some botanical authors'' tendency to pronounce the plant extinct, only to be disproved. At the end of Part Two, there is a shorter, lighter choral movement, resembling a Morris Dance, Mum''s the Word! The orchid''s increasing popularity caused orchid hunters to trample through woods, potentially damaging the orchid''s root system. Nowadays a culture of secrecy has tended to prevail! Peter Lawson
Duration 17? minutes'|9790222305946|LAWSON|Peter Lawson|Song of the Ghost Orchid|Choir - Mixed voices (SATB)|?11.25|209
GM222|Paul Lewis
ECHOES OF OLDEN TIMES for Lever Harp
Goodmusic GM222|'A collection of pieces evocative of an age of wandering minstrels, kings and castles, by a composer with a lifelong fascination for all things mediaeval. Having composed many works for pedal harp, Paul Lewis was inspired to write these pieces when his wife, Sharon Elizabeth, took up the lever harp, an instrument very much at home among the oak beams of their Tudor house.
MONASTERY BELLS: Solemn bells call the monks to prayer. A gentle introduction to slow right hand scale passages.
TROUBADOUR: Troubadours were mediaeval minstrels who travelled from court to court, singing of romance and chivalry. The melody is evocative of the middle ages.
TIBBY TELOR by Sharon Elizabeth:Telor is the Welsh name for the warbler bird, and is also the name of a lever harp made in Wales by Teifi Harps. Sharon Elizabeth is Paul Lewis''s wife and plays a Telor. The day the harp arrived she named it Tibby and composed this charming piece in ancient style to welcome him to his new home. Hints of warbling can occasionally be heard!
GREENSLEEVES: Contrary to popular belief, this is one of the songs that Henry VIII didn''t write as it is thought to date from 1580, 37 years after his death! Greensleeves was popular in Shakespeare''s time and is mentioned more than once in A Midsummer Night''s Dream. This arrangement gives the left hand a chance to play the melody.
SARABAND FOR SHAKESPEARE: The Saraband was a slow dance, popular in the 16th and 17th centuries. Paul Lewis wrote this one in the 20th century to accompany a reading from Shakespeare''s A Midsummer Night''s Dream.
LAMENT FOR A KING: Richard III made headlines in 2012 when his skeleton was found beneath a car park in Leicester where it had lain since the king was killed at the Battle of Bosworth in 1485.
LAMENT FOR A CASTLE: After standing deserted for three hundred years, the remains of Cathcart Castle were demolished in 1970. Horn calls introduce a melody in the style of a Scottish Strathspey, quiet at first but growing stronger as we approach the castle standing proudly on its hill.
HUNTING HORNS: Huntsmen sound their horns, calling to one another through the forest as they pursue their prey. French huntsmen still play music like this, keeping up their ancient traditions.
BLOW THE TRUMPETS: Echoing trumpets on castle walls announce the approach of a royal party.'|9790222305953|LEWIS P|Paul Lewis|Echoes of Olden Times|Lever Harp|?5.50|100
GM223|Paul Lewis
CONTEMPLATION AND COMEDY for Lever Harp
Goodmusic GM223|'A collection of pieces from the contemplative to the downright silly, with a choice of local takeaway for added sustenance! Paul Lewis was inspired to write these pieces when his wife, Sharon Elizabeth, took up the lever harp.
THOUGHTFUL MOMENT: A wistful, lyrical melody - a study in legato playing.
GENTLE INTERLUDE: A dreamy, romantic piece with passages of consecutive thirds.
CONTEMPLATION: Inspired by a distant view of the hilltop town of Vezelay in Burgundy. Centuries-old plainsong can still be heard in the abbey. Chords in contrary motion contrast with celestial triplets to portray an atmosphere of ancient devotion.
BELLS OF WESTHAM: The bells of St. Mary''s Church, Westham, Sussex, rang out shortly after Paul Lewis and Sharon Elizabeth moved into the village in what seemed like a joyous welcome to their new home. The opening and closing sections are transcriptions of some of the actual sequences rung.
MAORI LULLABY (HINE E HINE): This lullaby, beloved of all New Zealanders, was written by the self-styled Princess Te Rangi Pai, 1868-1916, a Maori singer who enjoyed a successful career in oratorio in England but died in lonely isolation in New Zealand.
CHINESE TAKEAWAY: Jolly jolly chopsticks! The woks are sizzling in the kitchen of the local Chinese takeaway! This piece uses the Oriental pentatonic scale, which, when in the key of C consists of the notes C,D,E,G and A.
INDIAN TAKEAWAY: The apparently double key signature will tune the harp to an Indian scale - (D,Eb,F#,G,A,Bb,C#) - in order to sound like the Indian sitar and add exotic spice to the music!
CHARLIE CHAPLIN: Charlie, the little tramp with battered bowler hat, cane, and a heart of gold - hero of countless black and white silent slapstick movies. The piece ends with a vibrato for comic effect, made by wobbling the lever while the note is ringing.
LAUREL AND HARDY: Simple-minded Stan Laurel and bumbling, bombastic Oliver Hardy: famous comedy double-act of silent cinema and early talkies with their catch-phrase: "Another fine mess you''ve got me into!" This musical portrait exploits something the lever harp can do that the pedal harp cannot: i.e. play with each hand tuned to a different key, in this case to portray the antics of two chaotic characters constantly at loggerheads with one another - interspersed with comments which can be spoken aloud whenever you have an audience!'|9790222305960|LEWIS P|Paul Lewis|Contemplation and Comedy|Lever Harp|?5.50|100
GM224|Paul Lewis
JAZZ-N-JIVE for Lever Harp
Goodmusic GM224|'A sometimes quirky collection of jazzy little numbers and reminiscences of the vintage rock-n-roll era from the composer of the well-known Saturday Night Jazz Suite for pedal harp. Paul Lewis was inspired to write these pieces when his wife, Sharon Elizabeth, took up the lever harp.
ROCK-A-BYE BOOGIE: Boogie-woogie time! Memories of the rock-n-roll years of the late 1950s and 60s.
LARGO IN JAZZ: A gentle jazz take on the famous Largo from Dvorak''s New World Symphony.
WALTZIN'' TIME: Time for a jazzy waltz! Paul Lewis enjoys composing jazz waltzes. One of them, composed in the ''60s, was broadcast several times a day for a very long time indeed as accompaniment to a BBC Television test card. This piece is in the same style.
FOUR BUT NOT SQUARE!: Four-square the left hand walking bass may be, but the syncopated right hand melody is anything but!
JIVE IN FIVE: Overtones of jive in an unlikely five-beat rhythm, leaving the would-be dancer with a spare foot at the end of each bar! The melody makes use of characteristic jazz blue notes: the flattened third and seventh of the major scale, i.e. E flat and B flat in the key of C, while the accompanying harmony has E natural - something easily achieved on lever harp as, unlike the pedal harp, the left and right hands can be tuned differently.
LOPSIDED RUMBA: An even more unlikely rhythm for this rumba - seven quavers to the bar instead of eight! In the absence of the bongos that traditionally accompany this Cuban dance, the fingers of both hands tap out the rhythm on the soundboard to begin and end the piece.
BOSTON''S BLUES: Not Boston the city in America but Boston the Boxer dog in Tauranga, New Zealand! He is owned by the composer''s friends Pete and Janet O''Shea, who posted a picture on the internet of Boston looking rather disgruntled. As Paul began composing this piece the photo of Boston sprang to mind and inspired the main melody. With some nifty lever changes and bluesy lever slides.
ROMANCE IN ROCK: A gently rocking melody in the style of a love song from the era of the first teenagers in the modern sense: the ''50s and ''60s. Built on the 1-6-4-5 chord sequence beloved of pop song writers of the twentieth century.
HARPING ON: A bright minor key number to end the collection, contradicting the belief, widely-held by non-musicians, that music in a minor key has to be sad!'|9790222305977|LEWIS P|Paul Lewis|Jazz-n-Jive|Lever Harp|?6.00|112
GM225|Paul Lewis
CELTIC DREAMS for Lever Harp
Goodmusic GM225|'Music evocative of a far-off realm of mists and magic where our ancestors lived close to nature and pagan beliefs were still strong. Paul Lewis was inspired to write music for the lever harp when his wife, Sharon Elizabeth, took up the instrument.
STONE CIRCLE: Standing remote and weather-beaten, nothing evokes the mysteries of a far-distant age more than stone circles. Echoes of Druids abound, and there is the tantalising possibility that as well as places of worship they may have been cosmic calendars that measured the movement of the sun and the passing of the seasons, aligned as many are with the rising solstice sun.
CELTIC JOURNEY: Travelling through time to a simpler, more spiritual age that lingers in our ancestral memory.
HOLY WELL: Often known to this day as Holy wells, natural springs were revered for their healing properties and were thought to be home to benevolent spirits.
CORACLE: Rowing gently along a stream in a wicker coracle.
SKYLARK LULLABY: Having moved to New Zealand, Sharon Elizabeth was surprised one day to hear a lark. Realising how much she missed home she wrote Skylark Lullaby. When Sharon and Paul Lewis met they discovered that as youngsters they both used to lie in the grass listening to skylarks singing above the Sussex Downs, so it was with love that Paul made this harp arrangement of the song for Sharon to play. The skylark has been a source of wonder since time immemorial, hanging motionless in the air while it sings. Its voice is always the first to usher in the dawn chorus.
SOLSTICE DANCE: A bright dance of welcome for a solstice dawn.
THE BARD PLAYS: Bards were the tellers of tales and the keepers of ancestral memories. They were often harpers too, playing their instruments to accompany their storytelling. This piece was originally composed for the 1972 TV series Arthur of the Britons.
BALLAD FOR A MAIDEN: A new arrangement of a melody also known as The Fair Rowena, another theme from Arthur of the Britons. Dedicated to the composer''s daughter.
THE GLASTONBURY THORN: Glastonbury is the focus of many an ancient legend. It is said that Joseph of Arimathea visited, some believe bringing the infant Jesus with him. He is supposed to have planted his hawthorn staff in the ground on Wearyall Hill, where it took root and has flowered twice a year ever since, including at Christmas, which no other species of hawthorn does.'|9790222305984|LEWIS P|Paul Lewis|Celtic Dreams|Lever Harp|?5.50|100
GM226|Paul Lewis
MELODIC MOMENTS for Lever Harp
Goodmusic GM226|'An album of gentle, relaxing pieces with the emphasis on melody. Nothing too difficult and only one lever change while playing! Paul Lewis was inspired to write these pieces when his wife, Sharon Elizabeth, took up the lever harp.
BLUE SKY AND LONG GRASS: Meandering past the rushes on the riverbank, alone but for an occasional heron fishing in the stream.
LAZY SUNDAY: Relaxing in the garden on a sunny Sunday afternoon.
WONDERING AS I WANDER: Walking along a country lane thinking of this, that and the other, but nothing too serious!
LUCIE: Lucie picks wild flowers in the meadow and puts them in her basket bedecked with ribbons. This is based on the first of Deux Chansons pour Enfants for children''s voices and piano, published by Roberton/Goodmusic No.75478.
BLOSSOM TIME: A delicate waltz for a garden full of scented blossom.
SHEPHERD''S TUNE: A shepherd on a hillside plays his pipe as he watches his sheep.
GOATHERD''S DANCE: A merry rustic dance.
RIPPLES: Floating arpeggios suggestive of mesmerizing ripples on a pond.
MUSICAL EVENING: A slow but elegant piece in classical style for an old-fashioned musical evening.'|9790222307223|LEWIS P|Paul Lewis|Melodic Moments|Lever Harp|?5.50|100
GM229|Paul Lewis
CHRISTMAS SONGS for Lever Harp
Goodmusic GM229|'Five of Paul Lewis''s favourite Christmas carols arranged as miniature tone poems for intermediate players, some with tongue-in-cheek scenarios of his own invention, and an easier medley of a further seven carols for seasonal background music, plus a new piece, Fireside Carol, written by Paul for his wife Sharon who was inspired to take up the lever harp when a friend brought hers to a Christmas party.
Contents:
I Saw Three Ships
Christmas Waltz (The First Nowell)
Fireside Carol
God Rest You Merry
Ding Dong Merrily
Silent Night
Yuletide Medley.'|9790222306028|LEWIS P|Paul Lewis|Christmas Songs|Lever Harp|?5.50|100
GM230|Tom Cunningham
TARTAN TERRORS
for Voice(s) and Piano
Goodmusic GM230|'A set of five amusing songs for either unison voices or a solo voice, with piano accompaniment, about the "Tartan Terrors". Words by Derek Roberts set to music by Tom Cunningham. Commissioned by the National Youth Choir of Scotland.
The five songs are:
The Wild Haggis
The Loch Ness Monster
Bogle Boogie (A Bogle is a Scottish sprite that loves to play tricks on humans, especially children)
The Wee Gigelorum (an insect of Scottish folklore, believed to be the smallest creature)
The Kelpie (a shape-shifting water spirit that often appears as a horse)
"Never take a selfie with a kelpie,
This river horse just isn''t man''s best friend,
When a kelpie starts to smile
It is time to run a mile,
Or you''ll come to a very sticky end!"
Total duration 10 minutes
Apart from the audio file, for teaching use or as an accompaniment (if you don''t have a pianist) you can find separate recordings of each song with a clarinet on the vocal line on Tom Cunningham''s website. CLICK HERE'|9790222306578|CUNNINGHAM|Tom Cunningham|Tartan Terrors|Voice solo (with accompaniment)|?6.00|112
GM231|Paul Lewis
A LA FRANCAISE
for Violin and Piano
Goodmusic GM231|'Two easy pieces in French folk song style for violin and piano.
Lucie Lucie picks flowers in the meadow.
Naughty boy! He makes his mother cry, pulls his old grandfather''s beard and empties the salt into the mashed potato!
These pieces are arrangements of Deux Chansons d''Enfants, two children''s songs in French by Paul and Genevieve Lewis (Roberton 75478).'|9790222306585|LEWIS P|Paul Lewis|A La Francaise|Violin and piano|?4.50|76
GM234|Peter Lawson
CHORALES AT CHRISTMAS for mixed voice choir (SATB)
GM234|'Chorales at Christmas is, in essence, three Chorale Preludes based on well-known carols arranged for choir and orchestra. There is a Mixed Voice Choir (SATB) Vocal Score with Piano (or organ) accompaniment [GM234] either for rehearsal purposes or for performance without orchestra and also a Mixed Voice Choir (SA+Men) version with one stave of male voices, for choirs with a shortage of men, with the male voices in the baritone range [GM235]. Either version may be performed just with piano (or organ) accompaniment. For details of the orchestral version see GMCO161.
Chorale Preludes date back to Bach and his contemporaries, probably the best known of these being Jesu, Joy of Man''s Desiring and Wachet Auf (Sleepers Awake) - the organ weaving a melody around the chorale, which is expounded a line at a time. This methodology is carried out in all three of the Chorales at Christmas but in three different contexts.
The first Chorale Prelude is a Baroque-like melody woven around O Holy Night, Adolphe Adam''s well-known carol being written a century later than the Baroque period, so it could be thought of as the musical equivalent of a barn conversion in reverse - an antiquated Baroque gloss on something from the early Romantic era.
For the second Chorale Prelude, Berlioz''s Shepherds'' Farewell, from L''enfance du Christ, the prelude melody is a more of a dream-like evocation of distant bells, perhaps the musical equivalent of the scene being painted by a French impressionist.
The third Chorale Prelude, O Little Town / I Saw Three Ships, treats two old favourites together, I Saw Three Ships Come Sailing In being treated as the Prelude and O Little Town of Bethlehem as the chorale. The two carols fit together with only minor adjustments and bring the whole to a rousing conclusion.
Duration 10 minutes'|9790222307230|LAWSON|Peter Lawson|Chorales at Christmas|Choir - Mixed voices (SATB)|?7.00|113
GM235|Peter Lawson
CHORALES AT CHRISTMAS for mixed voice choir (SA+Men)
GM235|'Chorales at Christmas is, in essence, three Chorale Preludes based on well-known carols arranged for choir and orchestra. There is a Mixed Voice Choir (SATB) Vocal Score with Piano (or organ) accompaniment [GM234] either for rehearsal purposes or for performance without orchestra and also a Mixed Voice Choir (SA+Men) version with one stave of male voices, for choirs with a shortage of men, with the male voices in the baritone range [GM235]. Either version may be performed just with piano (or organ) accompaniment. For details of the orchestral version see GMCO161.
Chorale Preludes date back to Bach and his contemporaries, probably the best known of these being Jesu, Joy of Man''s Desiring and Wachet Auf (Sleepers Awake) - the organ weaving a melody around the chorale, which is expounded a line at a time. This methodology is carried out in all three of the Chorales at Christmas but in three different contexts.
The first Chorale Prelude is a Baroque-like melody woven around O Holy Night, Adolphe Adam''s well-known carol being written a century later than the Baroque period, so it could be thought of as the musical equivalent of a barn conversion in reverse - an antiquated Baroque gloss on something from the early Romantic era.
For the second Chorale Prelude, Berlioz''s Shepherds'' Farewell, from L''enfance du Christ, the prelude melody is a more of a dream-like evocation of distant bells, perhaps the musical equivalent of the scene being painted by a French impressionist.
The third Chorale Prelude, O Little Town / I Saw Three Ships, treats two old favourites together, I Saw Three Ships Come Sailing In being treated as the Prelude and O Little Town of Bethlehem as the chorale. The two carols fit together with only minor adjustments and bring the whole to a rousing conclusion.
Duration 10 minutes'|9790222307247|LAWSON|Peter Lawson|Chorales at Christmas|Choir - Mixed voices (SAMen)|?6.25|100
GM237|Brian Hughes
ON THE BANKS OF ALLAN WATER
for flute and piano
Goodmusic GM237|An eighteenth century Scottish melody (composer unknown) in a beautiful arrangement for flute and piano by Brian Hughes.
Also available in versions for solo voice (02580), male voice choir (53218) and mixed voice choir (63309).
Duration 2? minutes|9790222307520|HUGHES|Brian Hughes|On the Banks of Allan Water|Flute and piano|?4.00|50
GM238|'Peter Lawson
SONG OF THE LADY''S SLIPPER ORCHID
for piano
Goodmusic GM238'|'The Lady''s Slipper Orchid, Cypripedium calceolus, is immediately recognisable by its large, yellow lip, resembling a slipper. It attracts small burrowing bees, who fall into it. The slipper''s walls are impossibly slippery but have hairs which act as footholds to guide the insect up a narrow passage where it rubs up against a mass of sticky pollen. It leaves and, exhausted, tends to land on a nearby flower. The process is repeated and this time the sticky pollen from the first flower pollinates the second flower.
This orchid''s exotic beauty caused it to be picked, dug up, hunted for and eventually declared extinct in Britain in 1917. However, in the 1930s a solitary plant was found in Yorkshire, which was kept secret but had a warden on 24-hour guard, sleeping in a tent by it, with a trip-wire around it to stop orchid collectors from digging it up. This single plant remains to this day, but in the 1990s scientists at Kew Gardens started a programme of producing seedlings from it by cross-pollinating it with a plant in cultivation that had been taken from the wild. After a worrying start, where only four out of a hundred such plants actually flowered, nowadays there are many successfully flowering plants in Cumbria, Lancashire, Yorkshire, Derbyshire and County Durham.
The Song of the Lady''s Slipper Orchid is in four continuous movements. There is also an orchestrated version with optional narrator The Lady''s Slipper Orchid.
The first movement, A little Pollination Subterfuge, refers to the trick the orchid plays on the poor insect as described above.
The second movement, Legend of the Lady''s Slipper Orchid, describes Venus, the Goddess of Beauty and Love, walking through a wood one day, when she heard thunder. She found herself running for shelter, only to find she had lost one of her golden slippers. The next day, a shepherdess was walking through the wood when she espied the slipper and ran to it, but in front of her very eyes, it turned into a flower, now known as Lady''s Slipper Orchid.
The third movement, A Drastic Decline in Population, describes the orchid''s demise and the fourth movement, The Programme of Reintroduction, describes the scientists'' endeavours in a fugue, which takes unexpected twists as the programme temporarily went wrong, only to end triumphantly. Peter Lawson
Duration 7? minutes'|9790222307568|LAWSON|Peter Lawson|'Song of the Lady''s Slipper Orchid'|Piano - Solo|?4.50|76
GM239|Paul Lewis
SONGS OF ISRAEL
for Harp and String Quintet
Goodmusic GM239|'Scored for harp, two violins, viola, cello and bass, this suite is in three movements: Shalom Chaverim Fantasia; Hava Nagila Rumba; Mevo Hama Nocturne.
A full score and set of parts is included.
When Israeli harpist Rachel Talitman suggested that I might write a work for harp and string quintet the subject matter sprang immediately to mind. Both she and I had a Russian Jewish grandfather; mine spawned a generation of musicians whose offspring includes two composers. Though not of the Jewish faith my violinist mother was sentimental about all things Jewish and would have been deeply satisfied to know that this composition celebrates not only the heartfelt playing of Rachel Talitman but also her own Jewish heritage.
There is Jewish blood in my wife''s family too, in fact her Aunt Helen moved to Israel to live in a kibbutz, only to die there a few years later. Songs of Israel could be said to follow Helen''s story from her farewell to friends and family in England in the first movement and her enthusiastic espousal of life in the kibbutz in the second to the final gentle nocturne in her memory. This was not my intention when I set out to write the piece, the storyline only occurring to me as the sequence of movements revealed itself. Such are the mysteries of the creative process. Paul Lewis
Duration 17 minutes'|9790222307865|LEWIS P|Paul Lewis|Songs of Israel for Harp+Str.Quint.|Ensemble - Mixed strings|?25.00|346
GM240|Philip Lane
JOY TO THE WORLD
for Upper Voice Choir accompanied
Goodmusic GM240|A Nativity Sequence of Five Carols for upper voice choir (SSA) with accompaniment of either piano or organ or piano and strings.
1. The Angel Gabriel
2. O Holy Night
3. The Last Sleep of the Virgin
4. Sleep, Little Prince
5. Joy to the World
This is a new revised edition of this delightful Christmas sequence originally published in 1977. The accompaniment can be played either on the piano or organ or alternatively a string orchestra or ensemble with piano can be used. The separate piano part on sale is only for the "strings and piano" version. If the accompaniment is solely piano (or organ) then the vocal score should be used.
Orchestration for string version:
Violin 1, Violin 2, Viola, Cello, Bass, Piano
The individual parts and an A4 sized full score for the string version are on sale.
Duration 15 minutes|9790222308084|LANE P|Philip Lane|Joy to the World|Choir - 3 part upper voices|?5.50|88
GM240-00|||9790222308091|LANE P|Philip Lane|Joy to the World Full Score|Orchestral Score|?6.00|88
GM240-01|||9790222308107|LANE P|Philip Lane|Joy to the World Violin 1|Orchestral Part|?1.50|13
GM240-02|||9790222308114|LANE P|Philip Lane|Joy to the World Violin 2|Orchestral Part|?1.50|13
GM240-03|||9790222308121|LANE P|Philip Lane|Joy to the World Viola|Orchestral Part|?1.50|13
GM240-04|||9790222308138|LANE P|Philip Lane|Joy to the World Cello|Orchestral Part|?1.50|13
GM240-05|||9790222308145|LANE P|Philip Lane|Joy to the World Bass|Orchestral Part|?1.50|13
GM240-06|||9790222308152|LANE P|Philip Lane|Joy to the World Piano|Orchestral Part|?2.50|38
GM241|Paul Lewis
PERFUME NOTES
for Soprano vocalise or Flute or Violin and Piano
Goodmusic GM241|'Three melodies that leave the listener with memories which, like a perfume, waft in and out of the mind.
Jasmine, a youthful, bright and fresh fragrance bringing with it memories of spring and the promise of summer.
Musk, a powerful fragrance that has presence and a passionate character.
Rose, a timeless scent that evokes nostalgia. The rose is the eternal flower of romance and love.
Without the essence of pure love, what we create can have no soul. Sharon Elizabeth
Paul and Sharon Elizabeth Lewis''s interest in the ancient art of blending and distilling perfume began with a visit to the Chateau de Chamerolles, France, where recreations of ancient perfumes made from plants grown in the chateau''s renaissance gardens can be enjoyed. It was the parfumier''s terminology for the layers of scents known as high, base and the heart notes, which when combined create a perfume by making a perfect "accord" or chord, that suggested this musical evocation of heady olfactory delights.
The three arias that make up Perfume Notes were composed in 2008 and premiered on October 30th that year by the dedicatee Sharon Elizabeth and the composer in a gala concert to celebrate the first anniversary of the opening of the Tauranga Art Gallery, Tauranga, New Zealand.
Duration 7? minutes'|9790222308053|LEWIS P|Paul Lewis|Perfume Notes (Voice/Vln/Fl+Pno)|Voice solo (with accompaniment)|?5.00|88
GM242|Peter Lawson
FLUTE SONATA
for Flute and Piano
Goodmusic GM242|Subtitled A Portrait of the Greater Butterfly Orchid, this sonata is the forty-seventh to be written in a cycle of musical portraits of the forty-eight wild orchids of Great Britain and Ireland for various instrumental and orchestral combinations. There is an orchestrated version with an identical solo part, published separately as Flute Concerto (GMCO164).
The Greater Butterfly Orchid, Platanthera chlorantha, is a robust plant, up to half a metre tall. It has two large, oval leaves on opposite sides of the stem, slightly staggered in height. Higher up, its leaves are more like sheathing bracts. The lateral petals spread out, like the wings of a butterfly, with the lower lip vaguely resembling the abdomen. It is pollinated in the evening by moths brushing the anthers on to both sides of their backs and in the process pollinating the next flower visited.
The Flute Sonata has three movements, the first, The Song of the Greater Butterfly Orchid, is in modified Sonata form, with new material, in the form of a Reverie, replacing the first part of the development section. This leads to a recapitulation of the second subject (march-like) before, rather than after, the first subject. A cadenza leads to a brief coda. The second movement, Woodland Glades, in ternary form, is rhapsodic in nature, with moments of birdsong filtering through the trees into the music. The third movement, Toccata of the Butterfly Seeds, is something of a light-hearted perpetuum mobile, with fugal elements representing the dust-like seeds being dispersed by the wind, some falling on stony ground and in odd places, where the harmonic language briefly becomes more unpredictable. Just before the end, there is an interval of respite and repose, in a brief Andantino grazioso section, before the hustle and bustle resumes and leads to a rousing finish. Peter Lawson
Duration 16? minutes|9790222308060|LAWSON|Peter Lawson|Flute Sonata|Flute and piano|?10.00|184
GM243|Paul Lewis
LUX ET OMBRA for Brass Quintet
Goodmusic GM243|'Lux et Ombra: light and shadow - for brass quintet of two trumpets in Bb (or Cornet and Flugelhorn), Horn in F, Trombone and Tuba.
The music suggests an interplay between the forces of light and darkness, though the latter seems to have the upper hand and light only manages to break through temporarily before subsiding uneasily back into the gloom. Is this a reflection of the composer''s mood or a meditation upon the state of the world at the time of writing? Neither! The piece is a concert version of the score to Edward D.Hoch''s The Vorpal Blade, an episode of the iconic British TV series Tales of the Unexpected which Paul Lewis scored in 1982. In 2017 trombonist Tony Turner saw a repeat of the programme on daytime television and commissioned Lewis to write a concert work based on the score for his Yorkshire Wolds Brass Quintet.
An alternative title might well be Fencing and Wenching, since the drama takes place in Heidelberg before the First World War and concerns deadly rivalry among aristocratic students in a university fencing fraternity and a duel over a bierkeller barmaid. A wistful opening theme introduces the ageing German prisoner-of-war who recounts the story. The music of the fencing school supplies the dark and dangerous element and a landler-style theme for the blonde femme fatale provides the light. After a fatal duel a funeral march literally tramples the landler, heard briefly on the tuba, underfoot, and the barmaid who fleetingly brought the only light to the story is left to mourn in emotional darkness.
Footnote
Shortly after writing the above notes I received the following from Tim Priestley, tuba player in the Yorkshire Wolds Quintet: "I have today returned from a river cruise down the Rhine where I was taken on a walking tour of Heidelberg on the feast of Corpus Christi. The guide stood us outside the pub on the cobbled street running down to the river and told the story of the duelling students and the barmaid''s loss. I have just read the Lux et Ombra programme notes. Spooky!!"
I had always believed the story to be total fiction, but this revelation adds a final twist worthy in itself of the plot of an episode of Tales of the Unexpected! Paul Lewis
Duration 8 minutes
Score and parts included.'|9790222308077|LEWIS P|Paul Lewis|Lux et Ombra (Brass Quintet)|Ensemble - Mixed brass|?8.00|149
GM244|Peter Thorogood
HARLEQUIN SUITE for piano
Goodmusic GM244|'A sequence of six short movements composed for Peter Thorogood''s own scenario, Harlequin at the Fair.
Overture: Pantaloon is chasing Columbine in the hope of a kiss but the ugly Brighella spoils his fun with a comical prancing-hopping dance which makes everybody laugh.
Pastoral Waltz: Pierrot is searching for Pierrette. They dance soulfully, moving in every direction but towards each other. Pierrot, inconsolable, drifts away.
Aquarelle: The impish Water Sprite emerges from the magic waterfall and immediately gets up to his roguish tricks by teasing Pierrette, who is saved by Columbine from falling into the pool.
Valse-Caprice: Harlequin appears, disguised as the handsome Capitano, and beguiles Columbine into dancing with him. In the end, she unmasks him and escapes his clutches.
Passepied: Denied the attentions of Columbine, the cruel Polichinelle (Punch) pursues her mistress, the matronly Pandolfina. He tries to impress her by pretending to be a soldier but she gives him a box of the ears and everyone slips quietly away.
Polka: The vigorous Harlequin dances a quasi-polka to show off his physical prowess. He chases off the wicked Sprite, grabs hold of Columbine and they disappear into the magic cave together.
Duration 12 minutes'|9790222308169|THOROGOOD|Peter Thorogood|Harlequin Suite|Piano - Solo|?5.50|100
GM245|Peter Thorogood
SUITE FRANCAISE for piano
Goodmusic GM245|'This suite was composed in the 1970s when Peter Thorogood came under the influence of the ''Groupe des Six'', in particular Germaine Tailleferre. The work is dedicated to Robert Plowright, with whom Peter was studying at the time.
Aquarelle etude is a rippling watery piece which requires the pianist to make considerable leaps, crossing over with the left hand.
Serenade interrompue depicts a hesitant lover serenading a maiden who waits impatiently for him to finish playing and take her in his arms.
Chanson douce is a simple song of joy for soprano voice. A version, Angel Carol, with words by Neil Jenkins, is often performed at Christmas time.
Valse oubliee. Two young lovers return to life in the deserted ballroom where they once danced together.
Reverie en bleu is a dream-like piece in the ''blues'' tradition.
Danse champetre is a joyful country dance.
Duration 18 minutes'|9790222308176|THOROGOOD|Peter Thorogood|Suite Francaise|Piano - Solo|?6.00|112
GM246|Peter Thorogood
HALCYON DAYS for piano
Goodmusic GM246|Halcyon Days recalls the pleasures of youth and is an earlier suite revised in 1949 while Peter Thorogood was studying at the Royal Irish Academy of Music in Dublin. It consists of five pieces:
By the Rippling Stream
Halcyon Days
In the Rose Garden
Trotting to the Fair
Evening by the Lake
Duration 12 minutes|9790222308183|THOROGOOD|Peter Thorogood|Halcyon Days|Piano - Solo|?5.00|88
GM247|Peter Thorogood
SCENES FROM MY CHILDHOOD for piano
Goodmusic GM247|'In these five scenes, Peter Thorogood recalls the pleasant days of his childhood on the family farm, running through the meadows, playing in his father''s rose garden, chasing butterflies and enjoying listening to his mother at the piano.
Through the Meadows We ran through the meadows, bright with buttercups and daisies - we in our innocent joy, delighting in all that was beautiful and good in our little world.
Marionette On Christmas morning we came down to discover our treasures under the Christmas Tree, so lovingly decorated by Mother and Father. Among the games and puzzles and train-sets and flying-tops was a comical marionette.
Butterfly Sometimes we scampered about Father''s rose-garden, chasing after butterflies that fluttered to and fro among the fragrant flowers and on out-of-reach in the dark ivy that grew over the old apple tree.
Musical Box I remember one of my school friends bringing a musical box to class. None of us had ever set eyes on such a magical toy. We listened and watched in wonder as, at the touch of a lever, a small mechanical doll, dressed in Spanish costume, pirouetted on the lid to a tinkling tune.
Skipping On a warm summer afternoon, one of us brought out a skipping rope and we raced about the lawn, jumping, leaping and skipping by turns, while Father was trying to mow. Through the window we could hear, at intervals, the sound of Aunt Cissie''s beautiful soprano voice. She was singing a sentimental song, with Mother sweetly accompanying her at the piano.
Duration 12 minutes'|9790222308190|THOROGOOD|Peter Thorogood|Scenes from My Childhood|Piano - Solo|?5.00|88
GM248|Paul Lewis
TWO FOR FI for harp
Goodmusic GM248|'Two short pieces for harp with a gentle jazz inflection.
Sunday Morning Meander:
One Sunday morning Fiona Hosford, my wife''s harp teacher, emailed her a chord she''d discovered and taken a liking to. Intrigued, I played it and meandered around it to see where it led me. The result is this piece, which starts with the chord, wanders dreamily off and wends its way back to the chord four bars from the end.
Memory Lane:
Having meandered around a chord in the morning and feeling that a companion piece was needed, I decided to saunter down Memory Lane in the afternoon, building on an idea I''d had previously for a piece to reflect Fi''s relaxed performance style. Paul Lewis
Duration 4 minutes'|9790222308206|LEWIS P|Paul Lewis|Two for Fi|Harp|?4.00|63
GM249|Paul Carr
DO I LOVE YOU
for female voice choir and piano
Goodmusic GM249|'This is an arrangement for female voice choir (SSAA) and piano of one of the movements from Paul Carr''s "Requiem for an Angel". The words are by Jack Larson (1928-2015)
Do I love you more than a day?
Days used to be faint hours to endure.
Now, through our love,
I feel each hour on this spinned world about the sun.
Embodied time, I live creation.
Through you. And I love you more than a day.
. . . . . . . .
Duration 4? minutes
Also available in a version for mixed voice choir and piano - GM254 and the original solo song - GM275.'|9790222308213|CARR P|Paul Carr|Do I Love You|Choir - 4 part upper voices|?4.00|63
GM250|Paul Carr
GLORIA
for choir and orchestra
Goodmusic GM250|'Orchestration: Flute, 2 Oboes (2nd db Cor Anglais), Bassoon, Horn in F, Trumpet in C, Bass Trombone
Strings (Violin 1, Violin 2, Viola, Cello, Bass)
Soprano solo, Mixed Voice Choir (SATB)
In 2014 the Brian Kay selected my Requiem for an Angel for performance at the Leith Hill Music Festival in Surrey, with my brother Gavin Carr as baritone soloist. Gavin took with him a handful of leaflets promoting his forthcoming choral trip to Cyprus where my Three Motets were on the programme. Rosemary Scott and Sheila Nye, singers at Leith Hill and with the English Arts Chorale took up this invitation and I met them for the first time in Cyprus. Both were keen to acknowledge the contribution that Ian Le Grice had made to the life of English Arts Chorale as their accompanist and commissioned a short piece from me in dedication to him. The result was a setting of William Blake''s poem, The Lamb. So started my association with EAC.
In 2017, EAC then commissioned me to compose a setting of the Stabat Mater for choir and orchestra and in October that year the work was premiered in St.Mary''s Church, Reigate, with a 2nd performance a week later in the magnificent chapel of St.John''s College, Cambridge, directed by their founding conductor, Leslie Olive. Both works have now been recorded and are released on the EM Records label.
So imagine my delight, when in 2018 the choir commissioned me a third time, to compose this Gloria. For me, as a composer, nothing is more rewarding than being asked to write a specific piece and forming a relationship with a conductor and choir as I have with Leslie Olive and English Arts Chorale. As with my Stabat Mater, I have again taken inspiration in the music of baroque and classical composers; in this instance Vivaldi, whose Gloria I first encountered as a teenager at school and whose energetic key of D major formed a starting point for my own work; and Mozart, the exquisite Adagio from his Gran Partita which forms the harmonic basis of the Domine Deus. There is also a nod towards Bach in using a chorale from the St.Matthew Passion in the final pages.
The Gloria is in five movements lasting approximately 30 minutes.
Paul Carr
Duration 30 minutes'|9790222309098|CARR P|Paul Carr|Gloria|Choir - Vocal score|?11.25|209
GM250-00|||9790222309104|CARR P|Paul Carr|Gloria Full Score|Orchestral Score|?35.00|381
GM250-01|||9790222309111|CARR P|Paul Carr|Gloria Violin 1|Orchestral Part|?2.50|38
GM250-02|||9790222309128|CARR P|Paul Carr|Gloria Violin 2|Orchestral Part|?2.50|38
GM250-03|||9790222309135|CARR P|Paul Carr|Gloria Viola|Orchestral Part|?2.50|38
GM250-04|||9790222309142|CARR P|Paul Carr|Gloria Cello|Orchestral Part|?3.00|50
GM250-05|||9790222309159|CARR P|Paul Carr|Gloria Bass|Orchestral Part|?3.00|50
GM250-06|||9790222309166|CARR P|Paul Carr|Gloria Flute|Orchestral Part|?2.00|25
GM250-07|||9790222309173|CARR P|Paul Carr|Gloria Oboe 1 & 2 (db.C.A.)|Orchestral Part|?3.00|50
GM250-08|||9790222309180|CARR P|Paul Carr|Gloria Bassoon|Orchestral Part|?2.50|38
GM250-09|||9790222309197|CARR P|Paul Carr|Gloria Horn|Orchestral Part|?2.00|25
GM250-10|||9790222309203|CARR P|Paul Carr|Gloria Trumpet|Orchestral Part|?2.00|25
GM250-11|||9790222309210|CARR P|Paul Carr|Gloria Trombone|Orchestral Part|?2.00|25
GM251|Peter Lawson
PIANO SONATA
for Piano and optional Narrator
Goodmusic GM251|'The Piano Sonata - A Portrait of the Monkey Orchid, with optional narrator, is the final piece to be written in a cycle of musical portraits of the forty-eight wild orchids of Great Britain and Ireland for various instrumental and orchestral combinations. This work exists also as an orchestral Tone Poem: The Monkey Orchid, orchestrated from the Sonata (GMCO167).
The Monkey Orchid, Orchis simia, has a raggle-taggle spike of pinkish-white flowers at the top of the stem, which is anything from ten centimetres to half a metre in height. On closer inspection, each individual flower bears a striking resemblance to a spider monkey, wearing long, dark-red gloves and socks on its slender arms and legs.
The music is in four continuous movements. The first of these is a Prelude in Sonata form called Song of the Monkey Orchid. At the end of the movement, the narrative begins, the second movement being entitled The Story of the Orchid''s Decline, chronicling the discovery of the orchid in the seventeenth-century in Oxfordshire and the much rarer appearances of the Orchid in Kent. In one secret Kent site, orchid enthusiasts'' joy in seeing the first Monkey Orchid for a century and a half, was short-lived, as the plant was subsequently eaten by a horse! If only the horse could have understood what it had done!
The third movement, Conservation and the Road Back, chronicles the hard work undertaken by naturalists in both counties with sites protected from the grazing of rabbits - and horses! The fourth movement, Celebrating with the Monkeys, is a short romp, incorporating a certain amount of ''monkeying about''! Peter Lawson
Duration 15 minutes'|9790222309555|LAWSON|Peter Lawson|Piano Sonata - The Monkey Orchid|Piano - Solo|?6.00|112
GM252|Paul Lewis
TWO SOLILOQUIES for harp
Goodmusic GM252|Two rhapsodic and improvisatory pieces composed in 1997 for harpist Elizabeth Jane Baldry and revised for publication in 2018.
The second makes use of two three-note motifs representing the initials of dedicatee and composer. Using an extended musical alphabet in which J equals the note C and R is the note D, EJB becomes ECB, the defining notes of a C major seventh chord, and PRL its near mirror image, BDE.
Duration 8? minutes
Also available in a version for Flute (or Violin), Viola and Harp (GM255)|9790222308787|LEWIS P|Paul Lewis|Two Soliloquies|Harp|?4.50|76
GM253|Paul Lewis
PARIS PARAPLUIE for harp
Goodmusic GM253|'A photo of harpist Maia Darme, smiling beneath her umbrella in the Paris rain, inspired this Parisian-style waltz.
S''il pleut a Paris, n''importe pas, c''est la pluie parisienne!
If it rains in Paris, no matter, it''s Parisian rain! Paul Lewis
Duration 4? minutes
A companion piece Paris Parasol (GM477) is also available.'|9790222308794|LEWIS P|Paul Lewis|Paris Parapluie|Harp|?4.50|76
GM254|Paul Carr
DO I LOVE YOU
for mixed voice choir and piano
Goodmusic GM254|'This is an arrangement for mixed voice choir (SATB) and piano of one of the movements from Paul Carr''s "Requiem for an Angel". The words are by Jack Larson (1928-2015)
Do I love you more than a day?
Days used to be faint hours to endure.
Now, through our love,
I feel each hour on this spinned world about the sun.
Embodied time, I live creation.
Through you. And I love you more than a day.
. . . . . . . .
Duration 4? minutes
Also available in a version for female voice choir and piano - GM249 and the original solo song - GM275.'|9790222309227|CARR P|Paul Carr|Do I Love You|Choir - Mixed voices (SATB)|?4.00|63
GM255|Paul Lewis
TWO SOLILOQUIES for trio
Goodmusic GM255|Two Soliloquies were originally composed in 1997 as solos for harpist Elizabeth Jane Baldry.
The composer made this trio arrangement (for Flute [or Violin], Viola and Harp) for the Aurora Trio in September 2018.
The soliloquies are rhapsodic and improvisatory in nature and the second makes use of motifs based on the initials of the original dedicatee and the composer, represented by means of an extended musical alphabet whereby the initials EJB become the notes ECB and PRL become BDE.
Paul Lewis
Duration 8? minutes
Also available in the original solo harp version - GM252.|9790222309234|LEWIS P|Paul Lewis|Two Soliloquies (Fl/Vla/Harp)|Ensemble - Mixed|?7.50|136
GM256|Paul Lewis
CRADLE SONG & MUSIC BOX POLKA for Harp
Goodmusic GM256|'Cradle Song & Music Box Polka were commissioned by Graham and Jenny Pay as a gift for their daughter, harpist Camilla Pay, upon the birth of her second daughter, Claudia Poppy Knight, on November 17th 2018.
They are companion pieces to Lullaby and Music Box Waltz (GM155), which were similarly commissioned for the birth of Camilla''s first daughter in 2014 - a musical sister for a sister in fact! Paul Lewis
Duration 6 minutes'|9790222309548|LEWIS P|Paul Lewis|Cradle Song and Music Box Polka|Harp|?4.00|63
GM257|Paul Lewis
CHAMEROLLES for flute or violin and guitar
Goodmusic GM257|'Chamerolles is a fairytale French renaissance chateau built by the romantically named Lancelot du Lac, (Lancelot of the Lake,) which has been restored and its ancient gardens replanted. It is bathed in the perfumes of fragrant flowers outside and of essences distilled from ancient recipes within. All this deeply moved the composer on his visit and inspired the music.
Danse Galante: Noblemen and their ladies dance in the courtyard on a summer evening.
Jardin d''Autrefois: Garden from another time - a place of contemplation and lovers'' trysts.
Parfum d''Antan: Scent of yesteryear - something lingers in the air evoking memories of past lives and loves.
Lancelot du Lac: Lancelot of the Lake returns in spirit, inspired by the rebirth of his ancient home. Paul Lewis
First performed by the dedicatees, Susanna Candlin, violin, and John Mills, guitar, at the Mediaeval Hall, Salisbury, on October 15th, 1994. Guitar fingering by John Mills.
Duration 12 minutes'|9790222309852|LEWIS P|Paul Lewis|Chamerolles (Vln+Gtr or Fl+Gtr)|Ensemble - Mixed|?8.50|160
GM258|Paul Lewis
ETUDES AMICALES for violoncello and guitar
Goodmusic GM258|A Paris & Tango Erotique - The two Etudes Amicales, or "Friendly Studies", were written for two pairs of friends and are spontaneous gestures of appreciation for their musicianship and friendship. A Paris was composed in 1991 as a musical thank-you for a happy day in Paris with the dedicatees, guitarist Erik Marchelie and his friend and colleague, the cellist Lucille Fauquet. In the style of a Parisian cafe-valse, it uses the first three notes of my Concerto Francais for guitar, cello and orchestra, a rehearsal of which had been the reason for my visit to Paris the previous day. Having performed A Paris several times, another pair of friends, guitarist Paul Gregory and cellist Rachel Firmager, suggested that the friendly study itself should have a friend in the form of a companion piece, so in 2003, inspired by their intensely romantic performance style, I composed the Argentinian-sounding Tango Erotique. Paul Lewis
Duration 7? minutes|9790222309869|LEWIS P|Paul Lewis|Etudes Amicales (cello+guitar)|Ensemble - Mixed|?6.50|124
GM259|Paul Lewis
TROIS PRELUDES for guitar and harp
Goodmusic GM259|'The Trois Preludes were composed in March 2006 to thank the dedicatees, guitarist Erik Marchelie and harpist Anne Mispelter, for their passionate performances of my music at the Journee avec le compositeur Paul Lewis, (Day with composer Paul Lewis), at the Ecole Nationale de Musique de Mantes en Yvelines on the outskirts of Paris on March 5th, 2006.
The day''s events, featuring performances of my music and an illustrated talk on my career, were conceived and organized by Erik Marchelie, himself a noted composer, guitarist and teacher, in a true sign of international musical friendship.
Duration 8 minutes'|9790222309876|LEWIS P|Paul Lewis|Trois Preludes (Harp+Guitar)|Ensemble - Mixed|?5.50|100
GM260|Paul Lewis
DANCES for guitar and string quartet
Goodmusic GM260|'In 1997 guitar virtuoso John Mills asked me to write a piece to conclude his 50th birthday concert that would "bring the house down". The result was this dance suite.
The first movement, Slow Waltz, was composed in the French countryside, which perhaps accounts for its languorous romanticism - a mood that comes over me whenever I so much as think of France.
Tango (Homage to Piazzolla) was the result of a long-held desire to write something in Brazilian style.
The work ends with a fiery and energetic Fandango. A rhythmic ostinato minor key drone propels the music forward, but the guitar twice breaks into uninhibited major key strumming with the characteristically Hispanic alternation of 6/8 and 3/4. The second time the lead violin joins in with a joyful tune in folk-dance style which is eventually dismissed by a 3-note motif, ECB, the defining notes of my favourite C major seventh chord and the initials of a secret amour at the time of composing. The motif is repeated obsessively until it drives the music to a thrilling conclusion which did, as John Mills had requested, bring the house down! Paul Lewis
First performed by John Mills with a string quartet led by Susanna Candlin at London''s Wigmore Hall on September 13th, 1997
Score and set of parts included. Guitar fingering by John Mills
Duration 12 minutes'|9790222309883|LEWIS P|Paul Lewis|Dances for Guitar & String Quartet|Ensemble - Mixed|?12.00|221
GM261|Paul Lewis
TROIS SERENADES for guitar, violin and violoncello
Goodmusic GM261|'Trois Serenades: three romantic pieces with a Mediterranean atmosphere, adapted from music composed in 1969 for film and TV and completed in France in April 1992 for guitar virtuoso John Mills. Paul Lewis
First performed by John Mills and friends at London''s Purcell Room on May 3rd 1992. Guitar fingering by John Mills.
Duration 6? minutes'|9790222309890|LEWIS P|Paul Lewis|Trois Serenades (Guitar+Vln+Cello)|Ensemble - Mixed|?6.00|112
GM262|Paul Carr
OLD-FASHIONED LOVE SONGS for solo voice and piano
Goodmusic GM262|'Three songs of love with gorgeous music by Paul Carr for solo voice and piano.
Devotion (Fain would I change that note To which fond Love hath charm''d me.....) [Anonymous 1605]
Range: C to G (opt E)
Now sleeps the crimson petal [Alfred, Lord Tennyson 1809-1892]
Range: B to F# (opt E)
I am not yours [Sara Teasdale 1844-1933]
Range: Bb to G (opt F)
Duration 11 minutes
Also available in a version for mixed voice choir and piano (GM263).'|9790222309906|CARR P|Paul Carr|Old-Fashioned Love Songs|Voice solo (with accompaniment)|?5.00|88
GM263|Paul Carr
OLD-FASHIONED LOVE SONGS for mixed voice choir
Goodmusic GM263|'Three songs of love with gorgeous music by Paul Carr for mixed voice choir (SATB) and piano.
Devotion (Fain would I change that note To which fond Love hath charm''d me.....) [Anonymous 1605]
Now sleeps the crimson petal [Alfred, Lord Tennyson 1809-1892]
I am not yours [Sara Teasdale 1844-1933]
Duration 11 minutes
Also available in a version for solo voice and piano (GM262).'|9790222309913|CARR P|Paul Carr|Old-Fashioned Love Songs|Choir - Mixed voices (SATB)|?6.00|112
GM264|Paul Carr
SOFT MUSIC
for mixed voice choir and piano
Goodmusic GM264|'Composed for the Guildhall Alumni Choir in dedication to Diana Bickley with words and music by Paul Carr. A beautiful setting for SATB and piano.
Soft music floats on waves of love, as flowers burn in praise of you.
Holding the sun''s soft embrace I leap into the warm air, eyes closed,
heart still, alive with memories and chorales.
My senses are caressed by light, perfumed by music, yet in the cold
silver of the moon I cry out in the darkness to you; love is laid bare
through my pain, its song a sea of tears.
My soul shall complete its course unseen, but true; and I will rise
from a thousand sighs to bathe in the love of you.
Duration 4? minutes'|9790222309920|CARR P|Paul Carr|Soft Music|Choir - Mixed voices (SATB)|?4.50|76
GM265|Peter Lawson
CARE-CHARMER SLEEP
for High Voice and Piano
Goodmusic GM265|'The song-cycle Care-Charmer Sleep was written, with funds from the Ralph Vaughan Williams Trust, for Alison Mary Sutton, who was accompanied by Alan Hazeldine, in its first performance in the Purcell Room on May 18th, 1978. It was subsequently given a live broadcast on BBC Radio 3 by Jane Manning and John McCabe. Jane Manning wrote a chapter about the work in her book New Vocal Repertory (MacMillan, 1986 - see below).
It comprises fairly straight-forward tonal and atonal settings of four poems, loosely connected in their different references to sleep, as being, in the first poem, a pre-birth to love; the second, from which the cycle takes its title, a relief from strife; the third, a shadow over waking life... and in the fourth, romance is seen as a youthful drowsiness for which the poet has now no time.
The first song, The Good Morrow, is a love poem by John Donne (1572-1631), where the poet wonders "what thou and I/Did till we loved? - were we not weaned till then?... And now good morrow to our waking souls". The piano part weaves a texture around the vocal line, sometimes reminiscent of birdsong.
The second poem, a Sonnet by Samuel Daniel (1562-1619), expresses a wish to sleep through the "day''s disdain". Here, the piano accompaniment is characterised by hypnotic repeated chords, which form a gigantic mirror canon. Rhythms and notes are reflected at the centre point, from which they are heard back in reverse order.
The third poem, The Morning Watch, by Henry Vaughan (1621-1695), expresses the joy of waking to the "Symphony of Nature" - sleep is a "curtained grave".
Finally comes Romance, by Edgar Allen Poe (1809-1849), typically dark, written some two centuries later. Romance is seen "with drowsy head and folded wing ... Far down within some shadowy lake", from the distance of "eternal Condor years"; the poet now has "no time for idle cares/Through gazing on the unquiet sky". Peter Lawson
Range (A - A). Duration 15 minutes
from Jane Manning''s New Vocal Repertory:
"substantial and strikingly original song cycle"..."this weighty and memorable song cycle would be an excellent choice for a standard mixed recital programme"..."audiences should be carried along by its dramatic sweep and intensity".'|9790222309944|LAWSON|Peter Lawson|Care-Charmer Sleep|Voice solo (with accompaniment)|?6.00|112
GM266|Paul Lewis
W.I. WALTZ for piano
Goodmusic GM266|'. . . . a piece of cake for an enthusiastic pianist!
For some years I have enjoyed giving regular talks to the East Sussex Federation of Women''s Institutes, travelling to different branches throughout the county and meeting many remarkable and inspiring women.
At an audition for the West Sussex Federation speakers'' list I was asked, albeit it in jest, whether if I were accepted I would compose a waltz for their centenary in 2019. Being extremely susceptible to suggestion, I had already started composing the piece in my head before I left the hall, and here is the finished result!
Since Sir Hubert Parry''s anthem Jerusalem has been synonymous with the W.I. since 1924 and is still often sung to open their meetings, I start the Waltz with a quote from the melody and use it as a link between sections.
I have dedicated my W.I. Waltz not just to the West Sussex Federation but to the entire National Federation of Women''s Institutes, for which I have the utmost admiration.
. . . . And incidentally I passed the West Sussex audition! Paul Lewis
Duration 3 minutes'|9790222309968|LEWIS P|Paul Lewis|WI Waltz|Piano - Solo|?4.00|63
GM267|Paul Lewis
GIRL WITH HARP AND ROSES for harp
Goodmusic GM267|In December 2018, browsing in an antique shop, I discovered a hand-coloured photographic print, dated 1900, of a loosely attired maiden with long wavy pre-Raphaelite hair bearing roses and gazing languidly into the air by a harp remarkably similar to the 1887 Erard Gothic harp I had recently purchased.
Is she Erato, the Muse of Love Poetry, more often portrayed with a lyre? Is she Ophelia contemplating a watery grave? Or is she the spirit of the harp itself? Whatever or whomsoever she is, she is made all the more alluring by the presence of the harp, that most seductive of musical instruments. Together, maiden and harp inspired this composition.
Girl with Harp and Roses is dedicated to harpist Alexander Rider because he loves the picture too. Paul Lewis
Duration 4? minutes
Also available in a version for harp and strings - GM362.|9790222309999|LEWIS P|Paul Lewis|Girl with Harp and Roses|Harp|?4.00|63
GM268|Paul Carr
AVE VERUM CORPUS for mixed voice choir
Goodmusic GM268|A stunningly beautiful and very moving setting by Paul Carr of the Ave Verum Corpus for mixed voice choir, soprano saxophone and accompaniment of either string orchestra or organ. It was commissioned by the Chancel Choir of the Centenary United Methodist Church in Winston-Salem, North Carolina, USA in memory of their former Director of Music & Arts, Dr. Robert Frazier who died in 2018 at the age of only 53.
Whichever accompaniment is used, the choir uses the Vocal Score (which gives a piano reduction of the saxophone and accompaniment).
For the version with organ, the organist will require the Organ Score.
For the string orchestra accompaniment, a Full Score and all the parts are on sale.
The Soprano Saxophone is required whatever accompaniment is used and a separate part is on sale.
Duration 6? minutes|9790222310001|CARR P|Paul Carr|Ave Verum Corpus|Choir - Vocal score|?4.50|76
GM268-00|||9790222310018|CARR P|Paul Carr|Ave Verum Corpus Full Score|Orchestral Score|?6.00|76
GM268-01|||9790222310025|CARR P|Paul Carr|Ave Verum Corpus Violin 1|Orchestral Part|?1.50|13
GM268-02|||9790222310032|CARR P|Paul Carr|Ave Verum Corpus Violin 2|Orchestral Part|?1.50|13
GM268-03|||9790222310049|CARR P|Paul Carr|Ave Verum Corpus Viola|Orchestral Part|?1.50|13
GM268-04|||9790222310056|CARR P|Paul Carr|Ave Verum Corpus Cello|Orchestral Part|?1.50|13
GM268-05|||9790222310063|CARR P|Paul Carr|Ave Verum Corpus Bass|Orchestral Part|?1.50|13
GM268-06|||9790222310070|CARR P|Paul Carr|Ave Verum Corpus Soprano Saxophone|Orchestral Part|?1.50|13
GM268-50|||9790222310094|CARR P|Paul Carr|Ave Verum Corpus Organ Score|Choir - Vocal score|?5.00|69
GM269|Peter Warlock
CAPRIOL Suite for Organ
Goodmusic GM269|'Warlock''s well-known Capriol, a six movement suite inspired by dances depicted in Arbeau''s "Orchesographie" of 1588 in a version newly arranged for organ by Malcolm Rudland. Includes detailed programme note by Fred Tomlinson.
The movements are:
Basse-Danse
Pavane
Tordion
Bransles
Pieds-en-l''air
Mattachins (Sword Dance).
Duration 10 minutes'|9790222310087|WARLOCK|Peter Warlock|Capriol arr. Rudland|Organ Solo|?5.50|100
GM270|Paul Lewis
SONATINA for Lever Harp
Goodmusic GM270|Unusually for a work of mine, the Sonatina is neither pictorial nor programmatic, but is simply about the music itself and the instrument it is written for; it is in fact an attempt to contribute a substantial work to the largely neglected area of higher grade compositions of a non-folk nature for the instrument.
Though of smaller range than the pedal harp and unable to play in as many keys, the lever harp has the ability to play in more than one key at a time by the tuning of groups of strings to different keys, something that is obviously impossible on the pedal harp. Thus the Sonatina is able to move from tonality in the first movement through atonality in the second to bitonality in the third.
1. Toccatina Allegro energico (fast and energetic.)
Rapid classical-sounding semiquaver passages in 4/4 repeatedly give way to a lyrical but jazzily syncopated melody that slips from key to key through an ever-changing succession of different time signatures. Quasi-classical 4/4 has the last say and the movement ends where it began with a flurry of C major semiquavers.
2. Intermezzo Largo mesto (slow and sad.)
An atonal-sounding melody is played by the right hand while the left bends notes by means of lever slides. The second time round, left hand minor key harmonies add poignancy to the melody and piquancy to its "wrong notes". The movement ends serenely, unambiguously and perhaps unexpectedly in F major.
3. Scherzetto Allegro non troppo (not too fast.)
The extrovert finale pitches two quavers per beat in the left hand against three in the right and starts in C major, changing to C minor and back again. Thereafter it is pervaded by bitonal ambiguities and "false relations". Finally the opening is re-stated but an attempt to end fairly and squarely in C major is foiled by a dissonant sting in the tail.
Sonatina is dedicated to Anna Dunwoodie who encouraged me to write more advanced music for the lever harp than I might otherwise have contemplated. Paul Lewis
Duration 9? minutes|9790222310100|LEWIS P|Paul Lewis|Sonatina for lever harp|Lever Harp|?4.50|76
GM271|Peter Lawson
A BED OF HAY Seven Carols for SATB choir
Goodmusic GM271|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 18 minutes'|9790222310230|LAWSON|Peter Lawson|A Bed of Hay - Seven Carols|Choir - Mixed voices (SATB)|?7.00|113
GM272|Peter Lawson
A BED OF HAY Seven Carols for SA+Men choir
Goodmusic GM272|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 18 minutes'|9790222310247|LAWSON|Peter Lawson|A Bed of Hay - Seven Carols|Choir - Mixed voices (SAMen)|?6.25|100
GM273|Peter Lawson
A BED OF HAY Seven Carols for SSA choir
Goodmusic GM273|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 18 minutes'|9790222310254|LAWSON|Peter Lawson|A Bed of Hay - Seven Carols|Choir - 3 part upper voices|?6.25|100
GM274|Peter Lawson
A BED OF HAY Seven Carols for TTBB choir
Goodmusic GM274|'A BED OF HAY is a set of Seven Carols for Christmas for choir and orchestra or piano with words by Katherine Hayes.
They are: A Bed of Hay; Shepherds'' Carol; Domine, Adoro Te; Christ is here, Holy Year; This Happy Night; The Night Wind is Cold; Hodie! Christus Natus est
This sequence of carols can be performed as a whole or separately, either with orchestral accompaniment or with piano (or organ). It is available as a complete Vocal Score with Piano (or organ) accompaniment in four different versions: Mixed Voice Choir (SATB), Mixed Voice Choir (SA+Men) with one stave of male voices for choirs with a shortage of men, with the male voices in the baritone range, Upper Voice Choir (SSA) or Male Voice Choir (TTBB).
All seven carols are also available singly in each of the different voice versions.
The orchestral score and parts (covering all seven carols) is the same for all versions.
Orchestration: 2 Flutes (2nd db. Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Sleigh Bells, Claves, Tambourine, Snare Drum, Glockenspiel, Tubular Bells, Cymbals), Harp (or Keyboard),
Strings (Violin 1, Violin 2, Viola, Cello, Bass) & Choir (SATB or SA+Men or SSA or TTBB).
In the early 1980s, I was teaching at the Guildhall School of Music, a comprehensive school in South-West London and a junior school in Stepney, all in the same week. At the junior school Katherine Hayes was teaching Drama and Poetry. We collaborated on many productions of musicals and Kath also wrote a few carols for the children to perform, with the music hurriedly scribbled down by me in spare moments and elaborated upon at a later date. The carols were put into storage and half-remembered (with affection!) by me until 2019 when I decided to arrange them for different choir combinations. These seven "new" carols are all approachable and memorable. I don''t take the credit for that: Kath''s lyrics always had the habit of immediately suggesting a tune to me. Her love of people and animals comes out warmly, the animals sometimes anthropomorphised into song! Peter Lawson
Duration 18 minutes'|9790222310261|LAWSON|Peter Lawson|A Bed of Hay - Seven Carols|Choir - Male voices|?7.00|113
GM275|Paul Carr
DO I LOVE YOU for voice and piano
Goodmusic GM275|'This song originally written for Paul''s brother, Gavin Carr, became one of the movements in Paul''s "Requiem for an Angel". Here it is in the original form (Range: Bb - Eb). It is suitable for male or female voice. The words are by Jack Larson (1928-2015)
Do I love you more than a day?
Days used to be faint hours to endure.
Now, through our love,
I feel each hour on this spinned world about the sun.
Embodied time, I live creation.
Through you. And I love you more than a day.
. . . . . . . .
Duration 4? minutes
Also available in a version for female voice choir and piano - GM249 and mixed voice choir - GM254.'|9790222310193|CARR P|Paul Carr|Do I Love You|Voice solo (with accompaniment)|?4.00|51
GM276|John Merrick
THE BEE CAROL for unaccompanied mixed voice choir
Goodmusic GM276|'This stunningly beautiful carol was the winning entry in the BBC Radio 3 Carol Competition in 2018. The words are by Scottish poet and playwright and Poet Laureate Carol Ann Duffy.
Silently on Christmas Eve,
the turn of midnight''s key;
all the garden locked in ice -
a silver frieze -
except the winter cluster of the bees.
Duration 2? minutes
To hear the BBC Singers peforming this carol, click below
'|9790222310209|MERRICK J|John Merrick|Bee Carol|Choir - Mixed voices (SATB)|?2.00|25
GM277|Paul Carr
IF EASTER BE NOT TRUE for SATB choir and organ
Goodmusic GM277|'A beautiful anthem for mixed voice choir and organ using a text by Henry H Barstow. The music is a version of the second of Paul Carr''s Old-Fashioned Love Songs (GM263)
Duration 4 minutes'|9790222310216|CARR P|Paul Carr|If Easter Be Not True|Choir - Mixed voices (SATB)|?2.00|25
GM278|Paul Lewis
TROIS PRELUDES for Two Harps
Goodmusic GM278|'The Trois Preludes were originally composed for guitarist Erik Marchelie and harpist Anne Mispelter in gratitude for their passionate performances in a day-long celebration of my music at the Ecole Nationale de Music at Mantes-en-Yvelines on the outskirts of Paris in March 2006.
The present two harp version was arranged in March 2019 for Alexander Rider and Fiona Hosford to perform on their Parisian Erard harps in a recital entitled From Paris with Love, thus continuing the music''s French connection. Paul Lewis
Two copies of the playing score are included.
Duration 8 minutes'|9790222310223|LEWIS P|Paul Lewis|Trois Preludes for Two Harps|Harp Duo|?8.50|160
GM279|Paul Lewis
FOUR ANTICKE DANCES for mixed voice choir and harp
Goodmusic GM279|'These pieces are evocations of 16th and 17th century dance forms by a composer long fascinated by the period. The melodies are new and no genuine anticke (old English for antique) tunes are used.
MONSIEUR LEO''S BASSEDANSE was inspired by accounts of masques in the grounds of the royal chateau at Amboise in the Loire Valley, for which Leonardo da Vinci, living nearby, devised sets and costumes. The Bassedanse was popular in France and Italy - a dance in which couples moved in a processional manner. The French text translates as "Monsieur Leonard, artist at the court of King Francois".
MASTER WILL''S SARABAND was originally written to accompany a reading of "Music Ho! Music such as charmeth sleep!" from William Shakespeare''s "A Midsummer Night''s Dream" at Petworth House in Sussex. The Saraband was a slow dance in three-time with the emphasis on the second beat.
MISTRESS NELL''S PAVAN is named after King Charles II''s favourite mistress, Nell Gwynn, and describes her not as the boisterous Covent Garden orange seller or the glittering star of the London stage, but as the luscious court beauty painted nude and recumbent by Sir Peter Lely. The king referred to Nell Gwynn as "Pretty witty Nell". The Pavan was a slow courtly dance.
MASTER KIT''S BRAWL. Brawl was Shakespeare''s anglicization of the almost unpronounceable French Bransle, a lively dance suited to tavern and village green. "Kit" was the nickname of Christopher Marlowe, playright and spy, whom some believe was the author of Shakespeare''s plays, and who died in a tavern brawl, though not of the dancing kind! Paul Lewis
Four Anticke Dances started life in 2015 as a solo harp work. This arrangement for choir and harp was made in 2019 for harpist Cecily Beer and the Choir of Royal Holloway, director Rupert Gough, with texts by the composer.
Duration 12? minutes'|9790222310810|LEWIS P|Paul Lewis|Four Anticke Dances|Choir - Mixed voices (SATB)|?7.00|114
GM279-01|||9790222310827|LEWIS P|Paul Lewis|Four Anticke Dances Harp Part|Choir - Mixed voices (SATB)|?4.00|50
GM280|Armstrong Gibbs
BRIDAL MARCH for Piano Duet
Goodmusic GM280|Armstrong Gibbs composed this Bridal March for the wedding of his daughter, Ann to Lyndon Rust. They married on 14th February 1948 in Danbury Church in Essex. The organ in the church had been damaged by wartime bombing and was out of action, hence the Bridal March had to be played on a piano. The pianists for the occasion were Armstrong Gibbs and Maurice Jacobson.
Gibbs was born in Great Baddow, a country village near Chelmsford in Essex on 10 August 1889. In the early 1920s, Gibbs and his family returned to Danbury, Essex, just a few miles from where he spent his childhood. Here, Vaughan Williams was their neighbour for a short time. Later, Gibbs had a house built in Danbury, named "Crossings", where he lived until World War II. In 1921 he founded the Danbury Choral Society, an amateur choir that he conducted until just before his death in 1960.
During World War II, "Crossings" was commandeered for use as a military hospital, so Gibbs and his wife, Honor, moved to Windermere in the Lake District. After the war, Gibbs and Honor returned to Essex to a small cottage near "Crossings" called "The Cottage in the Bush." At the foot of the last page of the manuscript of the Bridal March is written "C in the B 29.12.47" - expanded in this published version to aid understanding!
Duration 5 minutes
Had the organ in Danbury Church been available, it is certain that Gibbs would have composed the Bridal March for organ, so we have also published an organ arrangement of the work (arranged by Peter Lawson) - Goodmusic GM281.|9790222310834|GIBBS CA|C Armstrong Gibbs|Bridal March|Piano - 2 players on 1 piano|?4.50|76
GM281|Armstrong Gibbs arr. Peter Lawson
BRIDAL MARCH for Organ
Goodmusic GM281|Armstrong Gibbs composed this Bridal March for the wedding of his daughter, Ann to Lyndon Rust. They married on 14th February 1948 in Danbury Church in Essex. The organ in the church had been damaged by wartime bombing and was out of action, hence the Bridal March had to be played on a piano. The pianists for the occasion were Armstrong Gibbs and Maurice Jacobson.
Gibbs was born in Great Baddow, a country village near Chelmsford in Essex on 10 August 1889. In the early 1920s, Gibbs and his family returned to Danbury, Essex, just a few miles from where he spent his childhood. Here, Vaughan Williams was their neighbour for a short time. Later, Gibbs had a house built in Danbury, named "Crossings", where he lived until World War II. In 1921 he founded the Danbury Choral Society, an amateur choir that he conducted until just before his death in 1960.
During World War II, "Crossings" was commandeered for use as a military hospital, so Gibbs and his wife, Honor, moved to Windermere in the Lake District. After the war, Gibbs and Honor returned to Essex to a small cottage near "Crossings" called "The Cottage in the Bush." At the foot of the last page of the manuscript of the Bridal March is written "C in the B 29.12.47".
Had the organ in Danbury Church been available, it is certain that Gibbs would have composed the Bridal March for organ, so we have published this organ arrangement of the work. The piano duet version is also available - Goodmusic GM280.
Duration 5 minutes
|9790222310841|GIBBS CA|C Armstrong Gibbs|Bridal March arr.Lawson|Organ Solo|?4.50|76
GM282|Paul Carr
SAXOPHONE CONCERTO for soprano sax and piano
Goodmusic GM282|'In 2006 when I was living on the beautiful island of Mallorca I wrote an Oboe Concerto for Nicholas Daniel who gave the premiere in May 2008 at The English Music Festival. Nick also recorded the work on the Dutton label with Gavin Sutherland and the Royal Ballet Sinfonia. After a recent posting on YouTube in 2019 of the slow movement, The Unusual Quietness of Snow, Nick suggested that it would work very well on soprano saxophone, so I made this version of the Concerto for the young saxophonist, Robert Burton.
The first movement "Allegro energico" is a lively conversation where the saxophone takes the lead, pitted against the strings, in a blended mix of boisterous eruptions and loftier linear lines. The movement passes through various keys and while themes are not exactly developed they are spat out at each other, enjoying their playful correspondence.
In stark contrast the central elegy, "The unusual quietness of snow" is a slow and poignant expression of sadness and loss. At a difficult time in my life, a few days before my Mother''s death, it seemed strange that a heavy, early morning snowfall in the first days of March could have provided a sense of calmness and unity at a time of extreme emotion. It was a snowfall and a quietness I shall never forget, and I remember thinking how comforting and beautiful it was - the large heavy flakes falling slowly and silently, as if out of a mark of respect. Opening with quiet sustained chords in the strings the saxophone enters with an expressive theme that continually rises and falls, deepening in emotional intensity. Eventually the theme is taken up by the strings and joined by the saxophone as it reaches its highest point - leaving the movement to subside into calm, quiet, and eventual rest.
The final movement, "September music" is a spirited evocation of Summer''s end. Whilst the general feeling is still of warmth and lightness, there is a certain nostalgia in the central passages, hinting that Summer is on the way out and the season about to change. Paul Carr
Duration 16 minutes
This is a reduction for saxophone and piano of the original for saxophone and string orchestra. The orchestral parts are also available - GMCO171.'|9790222310858|CARR P|Paul Carr|Saxophone Concerto|Saxophone and piano|?8.50|160
GM283|Paul Carr
O MAGNUM MYSTERIUM for SATB choir and orchestra
Goodmusic GM283|A beautiful new setting of O Magnum Mysterium for mixed voice choir (SATB) and oboe, harp and string orchestra.
The Vocal Score contains a piano reduction for rehearsal purposes, the Full Score and orchestral parts are also on sale.
The work is dedicated to four different choirs (Egham Choral, English Arts Chorale, Jubilate Choir & Great Missenden Choral Society), all of whom have performed other choral works by Paul and have asked for more!
Duration 7? minutes|9790222310940|CARR P|Paul Carr|O Magnum Mysterium|Choir - Vocal score|?4.50|76
GM283-00|||9790222310957|CARR P|Paul Carr|O Magnum Mysterium Full Score|Orchestral Score|?6.00|112
GM283-01|||9790222310964|CARR P|Paul Carr|O Magnum Mysterium Violin 1|Orchestral Part|?1.50|13
GM283-02|||9790222310971|CARR P|Paul Carr|O Magnum Mysterium Violin 2|Orchestral Part|?1.50|13
GM283-03|||9790222310988|CARR P|Paul Carr|O Magnum Mysterium Viola|Orchestral Part|?1.50|13
GM283-04|||9790222310995|CARR P|Paul Carr|O Magnum Mysterium Cello|Orchestral Part|?1.50|13
GM283-05|||9790222311008|CARR P|Paul Carr|O Magnum Mysterium Bass|Orchestral Part|?1.50|13
GM283-06|||9790222311015|CARR P|Paul Carr|O Magnum Mysterium Oboe|Orchestral Part|?1.50|13
GM283-07|||9790222311022|CARR P|Paul Carr|O Magnum Mysterium Harp|Orchestral Part|?1.50|13
GM284|Peter Warlock
CAPRIOL Suite for Piano Duet
Goodmusic GM284|'A new clear edition of Warlock''s well-known piano duet version of Capriol, a suite inspired by dances depicted in Arbeau''s "Orchesographie" of 1588. This new 2019 edition has been taken from the original 1927 published edition but has corrected some minor anomalies between the two parts, such as missing staccato marks and accents. The two players here are shown one stave above the other rather than on opposite pages as was the custom at the time of the original edition.
Duration 10 minutes'|9790222311039|WARLOCK|Peter Warlock|Capriol Suite for Piano Duet|Piano - 2 players on 1 piano|?6.00|112
GM285|Clive Jenkins
FOUR MAYFLOWER PORTRAITS for organ
Goodmusic GM285|'Like Carson Cooman''s Plymouth Soundings (GM286), Clive Jenkins'' Four Mayflower Portraits were composed especially for performances as part of Mayflower 400 celebrations on both sides of the Atlantic.
The American organist-composer Carson Cooman found old organ music by Clive Jenkins in a second hand shop on a visit to London, liked it and later had it republished in the USA. Carson is organist-composer at the Memorial Church at Harvard University just up the coast from Plymouth Massachusetts. Plymouth Devon is Clive''s birthplace and the final starting point for the Pilgrim Fathers'' epic voyage, so it seemed fitting for Clive to suggest joint premieres in 2020 - and publication of Carson''s work in the UK.
The people in the Four Mayflower Portraits
1. Myles Standish was an English military officer hired by the Pilgrims as military adviser for Plymouth Colony. He accompanied them on the Mayflower journey and played a leading role in the administration and defence of Plymouth Colony from its inception.
2. Peregrine White was born after the Mayflower had anchored in what is now Provincetown Harbor, Cape Cod. He was the second baby born on the Mayflower''s historic voyage and the first known English child born to the Pilgrims in America. His cradle can be seen in the Pilgrim Hall Museum in Plymouth, Massachusetts.
3. Priscilla Mullins was the object of two men''s affections. Myles Standish wanted to marry her but, shy and awkward in romantic matters, he asked his friend John Alden to propose on his behalf. But her response to the proposal was "Why don''t you speak for yourself, John?" As Mrs Alden she bore eleven children.
4. John Howland came on the Mayflower as manservant to John Carver who later became governor of Plymouth Colony. During the voyage, Howland fell overboard in a storm, and was almost lost at sea but he managed to grab hold of the topsail halyards and was pulled back on board with a boat-hook. His many descendants include Mrs Theodore Roosevelt and Presidents George Bush and George W. Bush.
Promoted and supported by Plymouth Culture, Plymouth Music Accord and Plymouth & District Organists'' Association as part of Mayflower 400 with funding from the Mayflower 400 Cultural Fund, two West Country organists, Richard Line and Dr Sean Sweeney perform the pieces in recitals around the UK and Carson Cooman performs them in Boston assachusetts.
Duration 11? minutes'|9790222311046|JENKINS C|Clive Jenkins|Four Mayflower Portraits|Organ Solo|?6.50|124
GM286|Carson Cooman
PLYMOUTH SOUNDINGS for organ
Goodmusic GM286|'The American organist-composer Carson Cooman found old organ music by British composer Clive Jenkins in a second hand shop on a visit to London, liked it and later had it republished in the USA. Carson is organist-composer at the Memorial Church at Harvard University just up the coast from Plymouth Massachusetts. Plymouth Devon, UK is Clive''s birthplace and the final starting point for the Pilgrim Fathers'' epic voyage, so it seemed fitting for Clive to suggest joint premieres in 2020 - and publication of Carson''s work in the UK.
Plymouth Soundings (2019), like Clive Jenkins'' Four Mayflower Portraits (GM285), was composed for the Mayflower 400 celebrations (commemorating the voyage of the ship Mayflower in 1620 from Plymouth, England to establish Plymouth Colony in what is now Massachusetts). This festive work is dedicated to Clive Jenkins and Richard Line (originators of this project from Plymouth, England) and to Michael Eaton (organist at Church of the Pilgrimage, Plymouth, Massachusetts). The piece is a free fantasy on motives from psalm tunes found in the Ainsworth Psalter. This psalter, published in Amsterdam in 1612, was brought by the Pilgrims on their voyage. The collection proved seminal in the development of future American psalters and hymnody.
Promoted and supported by Plymouth Culture, Plymouth Music Accord and Plymouth & District Organists'' Association as part of Mayflower 400 with funding from the Mayflower 400 Cultural Fund, two West Country organists, Richard Line and Dr Sean Sweeney perform the pieces in recitals around the UK and Carson Cooman performs them in Boston Massachusetts.
Duration 5? minutes
'|9790222311053|COOMAN|Carson Cooman|Plymouth Soundings|Organ Solo|?4.00|63
GM287|Peter Lawson
FANTASIA ON THE TWELVE DAYS OF CHRISTMAS
for SATB choir and Piano
Goodmusic GM287|Have you ever wondered what happened to all those gifts or what the recipient thought about them?
Well, now you can hear the full story of how they were all put to use by the Mistress of the Manor whose true-love went a bit over the top with his generosity!
The traditional verses of The Twelve Days of Christmas are sung with subsidiary verses between. The recipient of the gifts from her true-love is the mistress of a manor house with extensive grounds, a resourceful and feisty lady who remains undaunted by the gifts which build up alarmingly during the twelve days of Christmas. The Mistress is a Soprano and her somewhat less enthusiastic Sister an Alto. The subsidiary verses are often sung by the Mistress and Sister.
This Fantasia is available for Mixed Voice Choir (SATB) [GM287], a Mixed Voice Choir with a shortage of male voices with just one male line in the baritone range (SA+Men)[GM288], or for Upper Voice Choir (SSA)[GM289]. The vocal scores are 52 pages long. The work can be performed either with orchestra or piano accompaniment. The orchestra parts [GMCH016] are available to buy or hire.
Duration 16 minutes|9790222311060|LAWSON|Peter Lawson|Fantasia on 12 Days of Christmas|Choir - Mixed voices (SATB)|?9.75|163
GM288|Peter Lawson
FANTASIA ON THE TWELVE DAYS OF CHRISTMAS
for SA+Men choir and Piano
Goodmusic GM288|Have you ever wondered what happened to all those gifts or what the recipient thought about them?
Well, now you can hear the full story of how they were all put to use by the Mistress of the Manor whose true-love went a bit over the top with his generosity!
The traditional verses of The Twelve Days of Christmas are sung with subsidiary verses between. The recipient of the gifts from her true-love is the mistress of a manor house with extensive grounds, a resourceful and feisty lady who remains undaunted by the gifts which build up alarmingly during the twelve days of Christmas. The Mistress is a Soprano and her somewhat less enthusiastic Sister an Alto. The subsidiary verses are often sung by the Mistress and Sister.
This Fantasia is available for Mixed Voice Choir (SATB) [GM287], a Mixed Voice Choir with a shortage of male voices with just one male line in the baritone range (SA+Men)[GM288], or for Upper Voice Choir (SSA)[GM289]. The vocal scores are 52 pages long. The work can be performed either with orchestra or piano accompaniment. The orchestra parts [GMCH016] are available to buy or hire.
Duration 16 minutes|9790222311077|LAWSON|Peter Lawson|Fantasia on 12 Days of Christmas|Choir - Mixed voices (SAMen)|?9.75|163
GM289|Peter Lawson
FANTASIA ON THE TWELVE DAYS OF CHRISTMAS
for SSA choir and Piano
Goodmusic GM289|Have you ever wondered what happened to all those gifts or what the recipient thought about them?
Well, now you can hear the full story of how they were all put to use by the Mistress of the Manor whose true-love went a bit over the top with his generosity!
The traditional verses of The Twelve Days of Christmas are sung with subsidiary verses between. The recipient of the gifts from her true-love is the mistress of a manor house with extensive grounds, a resourceful and feisty lady who remains undaunted by the gifts which build up alarmingly during the twelve days of Christmas. The Mistress is a Soprano and her somewhat less enthusiastic Sister an Alto. The subsidiary verses are often sung by the Mistress and Sister.
This Fantasia is available for Mixed Voice Choir (SATB) [GM287], a Mixed Voice Choir with a shortage of male voices with just one male line in the baritone range (SA+Men)[GM288], or for Upper Voice Choir (SSA)[GM289]. The vocal scores are 52 pages long. The work can be performed either with orchestra or piano accompaniment. The orchestra parts [GMCH016] are available to buy or hire.
Duration 16 minutes|9790222311084|LAWSON|Peter Lawson|Fantasia on 12 Days of Christmas|Choir - 3 part upper voices|?9.75|163
GM290|Paul Carr
SUMMER MUSIC
for Alto Saxophone and Piano
Goodmusic GM290|'Summer Music was originally composed in 2017 during the month of August; not a particularly good summer in the UK with rather too many days of windy wet weather. Perhaps this influenced my mood at the time, and although infused with a summer''s warmth at the start, there is a definite melancholy, almost a bluesy feel, pervading much of the first movement. The slow second movement which follows was written over the course of an evening, with a light summer rain setting the scene; an emotionally charged piece of reflection and thoughtfulness, and the stillpoint of the work. In stark contrast the final movement bounces with summer delights as I have taken to cycling along the river path which runs near my home in Bath - carefree joyousness on a perfect English summer''s day . . . at last!
Originally written as a Piano Trio and published in various combinations, I then made this arrangement two years later for Alto Saxophone and Piano for the brilliant young saxophonist, Rob Burton. Paul Carr
The three movements are titled:
One weekend in August
The softness of rainfall at night
Bicycles on Sunday morning
Duration 13 minutes'|9790222311091|CARR P|Paul Carr|Summer Music for alto sax|Saxophone and piano|?9.50|173
GM291|Paul Lewis
HOPE for Harp
Goodmusic GM291|'Artist George Frederick Watts'' famous personification of Hope (which appears on the cover) inspired mixed reactions when first exhibited in 1886 since it appeared to many to depict the exact opposite: sheer hopelessness. Watts'' message that whatever one''s circumstances one must never lose hope has been exemplified for me by a dear friend whose life recently took a turn that would have crushed many, though she herself remains an inspirational beacon of warmth and optimism. In her honour therefore I dedicate this piece to all who find themselves in circumstances far harder than they could possibly have imagined. Paul Lewis
Duration 3? minutes'|9790222311107|LEWIS P|Paul Lewis|Hope|Harp|?4.00|51
GM292|Paul Lewis
RELUCTANT HEROINES for Violin and Harp
Goodmusic GM292|'A suite in one movement based on characters from G.W.Pabst''s infamous 1929 silent film Pandora''s Box, an updating to 1920s Berlin of Frank Wedekind''s scandalous Lulu plays. The music is drawn from my 2007 orchestral score to the film. The Reluctant Heroines are three women who suffer heroically as a result of Lulu''s wayward lifestyle, including Lulu herself who pays the ultimate price for her peccadillos.
THE MISTRESS: Lulu as played in the film by Louise Brooks no mere Jazz Age flapper but goddess incarnate, naively innocent yet ever ready to use her seductive charms to her own ends. She is the mistress of Dr.Schon, a wealthy industrialist.
THE FIANCEE: Charlotte is the fiancee of Dr. Schon. Pale and beautiful, she is but a shadow beside Lulu''s vibrant sensuality and is trapped between Schon''s insatiable desire for his mistress and his desperate need for a socially acceptable marriage. She is publicly humiliated by Lulu who promptly marries Schon herself.
THE SUITOR: Countess Geschwitz is Lulu''s lesbian suitor. They dance a sensual waltz at Lulu''s wedding in full view of the other guests and after Lulu shoots her husband dead on their wedding night Geschwitz follows as she flees abroad to escape execution. Lulu is recognised and pursued to a French gambling ship where she loses everything. The infatuated Geschwitz attempts to settle Lulu''s debts and prevent her being turned over to the law but in the process suffers a violent heterosexual assault which sends her into raving insanity.
THE VICTIM: Lulu is her own final victim. Destitute and living in secret in a shabby London garrett she resorts to the streets to earn enough money for a meagre Christmas meal. She meets a disconsolate Jack the Ripper and takes him to her garrett, where for a while it seems that the love she offers may be the antidote to his murderous ways, but during a tender moment Jack sees a knife blade glint in the candlelight. He is powerless to control his demons and stabs Lulu to death, slipping away into the London fog.
Though the storyline is lurid to a degree, the music I have used for this suite is of a gentle nature that reflects my compassion for the characters. The solo violin is the voice of Lulu and her music dances with wayward capriciousness since I believe her to be incapable of malice in spite of the trail of ruined lives she leaves behind her. Paul Lewis
Score and parts for Violin and Harp included.
Duration 9? minutes'|9790222311190|LEWIS P|Paul Lewis|Reluctant Heroines (Vln & Harp)|Ensemble - Mixed|?8.50|160
GM293|Peter Lawson
HAPPY BIG BIRTHDAY
for SATB choir and Piano
Goodmusic GM293|'An original light-hearted song of celebration. Although suitable for any birthday with a zero on the end, it would perhaps be most appropriate for birthdays in the range 40-100 of a person, organisation or even a building (with perhaps the odd appropriate alteration in the words). Whatever the occasion, alter the number in the opening line if necessary and adapt the phrase ''Big Seven-O'' to ''Big Four-O'' up to ''Big Ten-O'', accordingly.
Available in four different versions for SATB, SA+Men, SSA or TTBB.
Duration 3? minutes'|9790222311206|LAWSON|Peter Lawson|Happy Big Birthday|Choir - Mixed voices (SATB)|?3.50|50
GM294|HAPPY BIG BIRTHDAY
for SA+Men choir and Piano
Goodmusic GM294|'An original light-hearted song of celebration. Although suitable for any birthday with a zero on the end, it would perhaps be most appropriate for birthdays in the range 40-100 of a person, organisation or even a building (with perhaps the odd appropriate alteration in the words). Whatever the occasion, alter the number in the opening line if necessary and adapt the phrase ''Big Seven-O'' to ''Big Four-O'' up to ''Big Ten-O'', accordingly.
Available in four different versions for SATB, SA+Men, SSA or TTBB.
Duration 3? minutes'|9790222311213|LAWSON|Peter Lawson|Happy Big Birthday|Choir - Mixed voices (SAMen)|?3.50|50
GM295|HAPPY BIG BIRTHDAY
for SSA choir and Piano
Goodmusic GM295|'An original light-hearted song of celebration. Although suitable for any birthday with a zero on the end, it would perhaps be most appropriate for birthdays in the range 40-100 of a person, organisation or even a building (with perhaps the odd appropriate alteration in the words). Whatever the occasion, alter the number in the opening line if necessary and adapt the phrase ''Big Seven-O'' to ''Big Four-O'' up to ''Big Ten-O'', accordingly.
Available in four different versions for SATB, SA+Men, SSA or TTBB.
Duration 3? minutes'|9790222311220|LAWSON|Peter Lawson|Happy Big Birthday|Choir - 3 part upper voices|?3.50|50
GM296|HAPPY BIG BIRTHDAY
for TTBB choir and Piano
Goodmusic GM296|'An original light-hearted song of celebration. Although suitable for any birthday with a zero on the end, it would perhaps be most appropriate for birthdays in the range 40-100 of a person, organisation or even a building (with perhaps the odd appropriate alteration in the words). Whatever the occasion, alter the number in the opening line if necessary and adapt the phrase ''Big Seven-O'' to ''Big Four-O'' up to ''Big Ten-O'', accordingly.
Available in four different versions for SATB, SA+Men, SSA or TTBB.
Duration 3? minutes'|9790222311237|LAWSON|Peter Lawson|Happy Big Birthday|Choir - Male voices|?3.50|50
GM297|Carson Cooman
FOUR PIECES for organ
Goodmusic GM297|Four Pieces: Plaint, Tuba Tune, Refrains & Toccata-Rondo.
Plaint (2013) was written for Murray Forbes Somerville in memory of his mother Brenda (1912-2013). It is a quiet, lyric meditation. To hear a performance CLICK HERE
Tuba Tune (2017) is dedicated to Ian Tracey. The work is a festive tuba tune in the spirit of the famous offering of the same name by C. S. Lang. To hear a performance CLICK HERE
Refrains (2016) is dedicated to Peter Clark. The piece is built from a series of related musical materials that are presented in blocks. The overall mood is spacious and ceremonial, with the atmosphere of a forgotten rite. To hear a performance CLICK HERE
Toccata-Rondo (2014) was written for Brazilian organist Cristiano Rizzotto who premiered it on his summer 2014 South American recital tour. The work is a toccata in a traditional French romantic style, but with a contemporary American harmonic vocabulary. Two intervening rondo episodes alternate with the main toccata texture. To hear a performance CLICK HERE
Total duration about 17 minutes|9790222311244|COOMAN|Carson Cooman|Four Pieces|Organ Solo|?5.50|100
GM298|Thomas Arne arr. Peter Lawson
RULE BRITANNIA!
for SA+Men choir and Piano
Goodmusic GM298|'The famous Rule Britannia! always heard at the Last Night of the Proms as the final part of Henry Wood''s Fantasia on British Sea Songs here arranged for a mixed voice choir of SA+Men and piano for choirs with a shortage of men. The verses could be sung by a soloist or soloists. Also available in a full SATB version (GM299).
Duration 3 minutes
Orchestral accompaniment is available - see GMCH017.'|9790222311251|ARNE|Thomas Arne|Rule Britannia! arr.Lawson|Choir - Mixed voices (SAMen)|?2.00|25
GM299|Thomas Arne arr. Peter Lawson
RULE BRITANNIA!
for SATB choir and Piano
Goodmusic GM299|'The famous Rule Britannia! always heard at the Last Night of the Proms as the final part of Henry Wood''s Fantasia on British Sea Songs here arranged for a mixed voice choir of SATB and piano. The verses could be sung by a soloist or soloists. Also available in a version for SA+Men (GM298) for choirs with a shortage of men.
Duration 3 minutes
Orchestral accompaniment is available - see GMCH017.'|9790222311268|ARNE|Thomas Arne|Rule Britannia! arr Lawson|Choir - Mixed voices (SATB)|?2.00|25
GM300|Gustav Holst
CLEAR AND COOL for choir and orchestra
Goodmusic GM300|'Orchestration: 3 Flutes (3rd optional), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 4 Horns in F, 2 Trumpets in Bb, 3 Trombones (optional), Tuba (optional), Timpani
Strings (Violin 1, Violin 2, Viola, Cello, Bass)
Mixed Voice Choir (SATB)
The first and only performance of Clear and Cool in Holst''s time took place on 26th March 1897 at the Athenaeum, Goldhawk Road, London, accompanied on the piano by Thomas Dunhill.
Reflecting his increased interest in politics, Holst had formed a Hammersmith Socialist Choir (where he met his future wife Isobel). The text is from The Water Babies by Charles Kingsley, widely read by generations of children. Here he describes the contrasting qualities of a river, symbolising good and evil, and the ABA structure of the poem is reflected in Holst''s musical setting. His earliest works were influenced by the music of Sullivan, but here there is more than a hint of Wagner in some of the harmonic progressions. Although Holst had prepared a full orchestral accompaniment, it remained dormant for 122 years!
Composed 1897, First publication 2020
First performance with orchestra 23rd November 2019 by the Charlton Kings Choral Society in Pittville Pump Room, Cheltenham conducted by John Wright.
Duration 8 minutes
Edition edited by John Wright. Scores and orchestral material available on sale or hire.'|9790222312012|HOLST|Gustav Holst|Clear and Cool|Choir - Vocal score|?6.00|112
GM300-00|||9790222312029|HOLST|Gustav Holst|Clear and Cool Full Score|Orchestral Score|?10.00|138
GM300-50||||HOLST|Gustav Holst|Clear and Cool Orch Part|Orchestral Part|?1.50|13
GM301|Erik Satie
TROIS GNOSSIENNES for solo instrument and piano
Goodmusic GM301|'An arrangement for a variety of solo instruments with piano accompaniment. Suitable for Violin, Viola, Violoncello, Flute, Oboe, Clarinet, Saxophone in Eb or Bb, Bassoon, Horn, Trumpet, Trombone or Tuba. Buy the piano accompaniment part plus whatever solo part you require.
This may also be performed with orchestral accompaniment. See GMCL211.
Erik Satie (1866-1925) composed his Trois Gnossiennes between 1890 and 1893. Although he wrote four other pieces in a similar vein for piano, who others subsequently named Gnossiennes, the first three are by far the best known of his piano output along with the Trois Gymnopedies. The word Gnossiennes was artificially invented by Satie. At that time, he was interested in ''Gnosticism'', or the seeking of wisdom as a result of helping others. Others attribute the title to the Cretan word ''knossos'' or ''gnossos''. The remains of the Palace of Knossos were first discovered in 1878 and there was much talk at the time of the connection to the myth of Theseus, Ariadne and the Minotaur.
Like the Gymnopedies, the Gnossiennes are dreamy, mysterious, harmonically modal and similar to each other in mood, with the Gnossiennes, being more Middle Eastern in their melodic construction. They were originally written in free time, without time signature and bar lines, the idea presumably being to invite freedom of interpretation. For this version, I have put in bar lines and time signatures, as it would clearly be confusing in rehearsal if there was no clarity to indicate where to stop and start! However, the bar lines should not be regarded as a constriction and I have indicated that each piece should be rather elastic (rubato) in tempo.
Throughout, Satie gave typically quirky instructions to the pianist and I have reproduced these in the score above the relevant instrumentalist''s phrase, with a translation from the French?not a literal one in some cases. For instance, at one point Satie instructs the performer to Ouvrez la tete (literally ''open your head''). I have altered the translation to open your mind, as this would be more likely to engender a slight difference in the way in which the performer interpreted the phrase, if only just! Peter Lawson
Duration 7? minutes'|9790222312685|SATIE|Erik Satie|Trois Gnossiennes Piano Accomp.|Piano accompaniment|?4.50|76
GM301-01|||9790222313996|SATIE|Erik Satie|Trois Gnossiennes Violin Part|Violin solo|?1.50|13
GM301-02|||9790222314009|SATIE|Erik Satie|Trois Gnossiennes Viola Part|Viola solo|?1.50|13
GM301-03|||9790222314016|SATIE|Erik Satie|Trois Gnossiennes Cello Part|Cello solo|?1.50|13
GM301-04|||9790222314023|SATIE|Erik Satie|Trois Gnossiennes Flute Part|Flute solo|?1.50|13
GM301-05|||9790222314030|SATIE|Erik Satie|Trois Gnossiennes Oboe Part|Oboe solo|?1.50|13
GM301-06|||9790222314047|SATIE|Erik Satie|Trois Gnossiennes Clarinet Part|Clarinet|?1.50|13
GM301-07|||9790222314054|SATIE|Erik Satie|Trois Gnossiennes Sax in Eb Part|Saxophone|?1.50|13
GM301-08|||9790222314061|SATIE|Erik Satie|Trois Gnossiennes Sax in Bb Part|Saxophone|?1.50|13
GM301-09|||9790222314078|SATIE|Erik Satie|Trois Gnossiennes Bassoon Part|Bassoon solo|?1.50|13
GM301-10|||9790222314085|SATIE|Erik Satie|Trois Gnossiennes Horn in F Part|Horn in F solo|?1.50|13
GM301-11|||9790222314092|SATIE|Erik Satie|Trois Gnossiennes Trumpet Part|Trumpet solo|?1.50|13
GM301-12|||9790222314108|SATIE|Erik Satie|Trois Gnossiennes Trombone Part|Trombone solo|?1.50|13
GM301-13|||9790222314115|SATIE|Erik Satie|Trois Gnossiennes Tuba Part|Tuba solo|?1.50|13
GM302|Paul Lewis
ADIEU MICHEL for solo harp
Goodmusic GM302|'Since my teenage years the music of French composer Michel Legrand has been a source of joy and inspiration. When I heard of his death in January 2019 I went straight to the piano and found this melody waiting beneath my fingertips. It is a gentle tribute to a musical hero, suggestive of a French ballad or movie theme from the 1960s when I first discovered Legrand''s music. Paul Lewis
Also available in versions for harp duet (GM320), harp ensemble or harp quartet (GM303) or voice and harp (GM385).
Duration 4 minutes'|9790222311275|LEWIS P|Paul Lewis|Adieu Michel (Solo)|Harp|?4.00|63
GM303|Paul Lewis
ADIEU MICHEL for harp quartet or ensemble
Goodmusic GM303|'Since my teenage years the music of French composer Michel Legrand has been a source of joy and inspiration. When I heard of his death in January 2019 I went straight to the piano and found this melody waiting beneath my fingertips. It is a gentle tribute to a musical hero, suggestive of a French ballad or movie theme from the 1960s when I first discovered Legrand''s music. Paul Lewis
Scored for two pedal harps and two lever harps though the lever harp parts can also be played on pedal harps. A score and one of each part is included. Individual extra parts are also available.
Duration 4 minutes
Adieu Michel is also available in versions for harp solo (GM302), harp duet (GM320) or voice and harp (GM385).'|9790222311282|LEWIS P|Paul Lewis|Adieu Michel (Ensemble version)|Harp|?6.50|124
GM303-01|||9790222311299|LEWIS P|Paul Lewis|Adieu Michel (Ensemble) Harp 1 part|Harp|?1.50|13
GM303-02|||9790222311305|LEWIS P|Paul Lewis|Adieu Michel (Ensemble) Harp 2 part|Harp|?1.50|13
GM303-03|||9790222311312|LEWIS P|Paul Lewis|Adieu Michel (Ensemble) Harp 3 part|Harp|?1.50|13
GM303-04|||9790222311329|LEWIS P|Paul Lewis|Adieu Michel (Ensemble) Harp 4 part|Harp|?1.50|13
GM305|Paul Lewis
MEDITATION AND DANCE for harp
Goodmusic GM305|'A gentle piece to induce reminiscence and memories of childhood, commissioned by harpist Margaret Watson for her mother Carol''s eightieth birthday celebrations in November 2019.
Using the English extended musical alphabet by which every letter of the alphabet is assigned a note, letter R becomes note D, O becomes A and L becomes E, thus the name Carol becomes the musical motif CADAE which is heard at the beginning and end of the work and which provides the basis for a free flow of musical thought. Paul Lewis
Duration 5 minutes'|9790222311763|LEWIS P|Paul Lewis|Meditation and Dance|Harp|?4.00|63
GM306|Paul Lewis
RYE RAMBLES for lever harp
Goodmusic GM306|'Rye Rambles is a tone poem in three continuous sections written in 2019 and based on material from Rye Festival Suite, a work for string orchestra and harp composed for the 40th anniversary Rye Arts Festival in 2011.
While walking through the cobbled streets for which the ancient town of Rye is famous and which, though now thronged with tourists, once echoed to the clatter of horse-drawn carriages, we encounter Morris Dancers whose presence unites past and present. We find ourselves on nearby Romney Marsh, a mystical landscape where isolated and redundant churches echo to the ghostly chanting of plainsong and Church of England hymns are sung in churches still in use. Rye was once a busy seaport and The Mermaid Inn was the haunt of notorious smuggling gangs. We eavesdrop across the centuries as a fiddler strikes up and an unruly nautical knees-up ensues. Paul Lewis
Rye Rambles was premiered by Alexander Rider in a concert at the composer''s home on June 21st 2019 and is dedicated to Alexander''s parents.
Duration 7? minutes'|9790222311756|LEWIS P|Paul Lewis|Rye Rambles|Lever Harp|?4.50|76
GM307|Franz Lehar
VILIA arranged by Peter Lawson for SATB
Goodmusic GM307|'Probably the best-known song from The Merry Widow arranged for choir and piano by Peter Lawson.
The Merry Widow is an operetta by the Austro-Hungarian composer Franz Lehar with libretto by Viktor Leon & Leo Stein and English words by Adrian Ross. The story concerns a rich widow of Pontevedro (a poverty-stricken Balkan state), and her countrymen''s attempt to keep her money in the principality by finding her the right husband. It was based on an 1861 comedy play, L''attache d''ambassade (The Embassy Attache) by Henri Meilhac.
Vilia (or Vilja) means "the maid of the woods" and is sung in Act 2 of the operetta by Hanna Glawari (the wealthy widow) at a party to celebrate the birthday of the sovereign, the Grand Duke.
This choral arrangement is available in four versions:
Mixed Voice Choir SATB - GM307
Mixed Voice Choir SA+Men - GM308
Upper Voice Choir SSA - GM309
Male Voice Choir TTBB - GM310
Duration 4? minutes'|9790222311787|LEHAR|Franz Lehar|Vilia arr.Lawson|Choir - Mixed voices (SATB)|?2.00|25
GM308|Franz Lehar
VILIA arranged by Peter Lawson for SA+Men
Goodmusic GM308|'Probably the best-known song from The Merry Widow arranged for choir and piano by Peter Lawson.
The Merry Widow is an operetta by the Austro-Hungarian composer Franz Lehar with libretto by Viktor Leon & Leo Stein and English words by Adrian Ross. The story concerns a rich widow of Pontevedro (a poverty-stricken Balkan state), and her countrymen''s attempt to keep her money in the principality by finding her the right husband. It was based on an 1861 comedy play, L''attache d''ambassade (The Embassy Attache) by Henri Meilhac.
Vilia (or Vilja) means "the maid of the woods" and is sung in Act 2 of the operetta by Hanna Glawari (the wealthy widow) at a party to celebrate the birthday of the sovereign, the Grand Duke.
This choral arrangement is available in four versions:
Mixed Voice Choir SATB - GM307
Mixed Voice Choir SA+Men - GM308
Upper Voice Choir SSA - GM309
Male Voice Choir TTBB - GM310
Duration 4? minutes'|9790222311794|LEHAR|Franz Lehar|Vilia arr.Lawson|Choir - Mixed voices (SAMen)|?2.00|25
GM309|Franz Lehar
VILIA arranged by Peter Lawson for SSA
Goodmusic GM309|'Probably the best-known song from The Merry Widow arranged for choir and piano by Peter Lawson.
The Merry Widow is an operetta by the Austro-Hungarian composer Franz Lehar with libretto by Viktor Leon & Leo Stein and English words by Adrian Ross. The story concerns a rich widow of Pontevedro (a poverty-stricken Balkan state), and her countrymen''s attempt to keep her money in the principality by finding her the right husband. It was based on an 1861 comedy play, L''attache d''ambassade (The Embassy Attache) by Henri Meilhac.
Vilia (or Vilja) means "the maid of the woods" and is sung in Act 2 of the operetta by Hanna Glawari (the wealthy widow) at a party to celebrate the birthday of the sovereign, the Grand Duke.
This choral arrangement is available in four versions:
Mixed Voice Choir SATB - GM307
Mixed Voice Choir SA+Men - GM308
Upper Voice Choir SSA - GM309
Male Voice Choir TTBB - GM310
Duration 4? minutes'|9790222311800|LEHAR|Franz Lehar|Vilia arr.Lawson|Choir - 3 part upper voices|?2.00|25
GM310|Franz Lehar
VILIA arranged by Peter Lawson for TTBB
Goodmusic GM310|'Probably the best-known song from The Merry Widow arranged for choir and piano by Peter Lawson.
The Merry Widow is an operetta by the Austro-Hungarian composer Franz Lehar with libretto by Viktor Leon & Leo Stein and English words by Adrian Ross. The story concerns a rich widow of Pontevedro (a poverty-stricken Balkan state), and her countrymen''s attempt to keep her money in the principality by finding her the right husband. It was based on an 1861 comedy play, L''attache d''ambassade (The Embassy Attache) by Henri Meilhac.
Vilia (or Vilja) means "the maid of the woods" and is sung in Act 2 of the operetta by Hanna Glawari (the wealthy widow) at a party to celebrate the birthday of the sovereign, the Grand Duke.
This choral arrangement is available in four versions:
Mixed Voice Choir SATB - GM307
Mixed Voice Choir SA+Men - GM308
Upper Voice Choir SSA - GM309
Male Voice Choir TTBB - GM310
Duration 4? minutes'|9790222311817|LEHAR|Franz Lehar|Vilia arr.Lawson|Choir - Male voices|?2.00|25
GM311|Paul Lewis
POSTCARDS FROM BOLOGNA for harp
Goodmusic GM311|'Bologna is known as la Dotta, la Grassa, la Rossa - the Learned, the Fat, the Red. These three musical postcards are evocations of these three facets and are dedicated to harpist Gabriella Dall''Olio, a native of Bologna, in celebration of her home town.
1. La Dotta - the Learned
Solemn and serious as befits this ancient seat of learning. Bologna University, founded in 1088, was soon renowned for its teaching of religious and civil law and led the way in European scientific research. A sombre note is struck by the survival of an ornate anatomical theatre with a marble slab on which human corpses were dissected while students watched from the surrounding banks of seats.
2. La Grassa - the Fat
All the happiness and hustle-bustle of cafe life in the city centre as local families and tourists enjoy Bologna''s famous cuisine! Street musicians stop at tables outside and a fiddler steps inside to serenade diners with a romantic ballad. The present melodies are all original and no genuine Italian tunes were harmed in the creation of this piece!
3. La Rossa - the Red
Le Due Torri, the famous Two Towers, and the splendid mediaeval buildings lining the Piazza Maggiore are built of the red bricks that lend their distinctive hue to this splendid city. Paul Lewis
Duration 12 minutes'|9790222311824|LEWIS P|Paul Lewis|Postcards from Bologna|Harp|?5.00|88
GM312|Paul Carr
I OFFER YOU LOVE for mixed voice choir and piano
Goodmusic GM312|'A setting of Mahatma Gandhi''s Prayer for Peace about love, compassion and a longing for peace. Composed as a gift for Jon L. Culpepper and Dallas Chamber Choir, who''s beautiful performance of my "Holding the Stars" last year, enthralled me. Paul Carr
GANDHI''S PRAYER FOR PEACE
I offer you peace.
I offer you love.
I offer you friendship.
I see your beauty.
I hear your need.
I feel your feelings.
My wisdom flows from the highest source.
I salute that source in you.
Let us work together.
For unity and peace.
Duration 5 minutes'|9790222311770|CARR P|Paul Carr|I Offer You Love|Choir - Mixed voices (SATB)|?4.50|76
GM313|Paul Carr
FOUR NEW SEASONS for choir and orchestra
Goodmusic GM313|'Orchestration: Flute, Oboe, Clarinet in Bb & A, Bassoon, Horn in F, Trumpet in C, Percussion (Triangle, Snare Drum, Tenor Drum, Cymbals, Crotales, Glockenspiel), Harp
Strings (Violin 1, Violin 2, Viola, Cello, Bass)
Mixed Voice Choir (SATB)
Vivaldi reimagined! Settings of poems depicting the four seasons. Each season is made up of three interlinked sections/poems.
Ever since I first encountered Vivaldi''s Four Seasons (it was set for my Music O Level exam) I have loved the imagery and variety these four concertos for violin and string orchestra conjure up. There have been many re-interpretations of this work by various composers over the years, a sure testament to its enduring popularity, but very few have involved voices, and I''ve long thought of using the original Vivaldi as a basis for a new choral work, setting poems suggested to me by the atmosphere created by the individual movements in each of the four concertos.
For the most part, I have taken the harmonic structure of each movement and formed new material of my own, adding in direct quotes here and there from the more popular and instantly recognisable sections of the Vivaldi; for example, the hunting motif Vivaldi uses in the 3rd movement of Autumn, I''ve used to evoke the fluttering of leaves as they fall to the ground, and the lyrical theme he uses in the 2nd movement of Winter to describe a day by the fireside, I''ve given to the oboe in accompanying Rossetti''s popular poem "In the Bleak Midwinter".
The poems all relate to the moods and atmosphere created by Vivaldi''s evocative music, and mostly belong to their respective seasons. Emily Dickinson''s famous love-poem "Wild Nights" does not directly mention Summer, but it''s passionate outpouring has always felt to me like an evocation of summer nights, and it suits the passionate warmth of this season. Paul Carr
Vocal Scores (100 pages), Full Scores and the orchestral material are all available on sale or on hire from Goodmusic.
Duration 45 minutes'|9790222312692|CARR P|Paul Carr|Four New Seasons|Choir - Vocal score|?15.00|334
GM313-00|||9790222312708|CARR P|Paul Carr|Four New Seasons Score A4|Full score|?60.00|615
GM313-01|||9790222312715|CARR P|Paul Carr|Four New Seasons Violin 1|Orchestral Part|?5.00|63
GM313-02|||9790222312722|CARR P|Paul Carr|Four New Seasons Violin 2|Orchestral Part|?5.00|75
GM313-03|||9790222312739|CARR P|Paul Carr|Four New Seasons Viola|Orchestral Part|?5.00|50
GM313-04|||9790222312746|CARR P|Paul Carr|Four New Seasons Cello|Orchestral Part|?5.00|63
GM313-05|||9790222312753|CARR P|Paul Carr|Four New Seasons Bass|Orchestral Part|?5.00|50
GM313-06|||9790222312760|CARR P|Paul Carr|Four New Seasons Flute|Orchestral Part|?5.00|50
GM313-07|||9790222312777|CARR P|Paul Carr|Four New Seasons Oboe|Orchestral Part|?5.00|50
GM313-08|||9790222312784|CARR P|Paul Carr|Four New Seasons Clarinet|Orchestral Part|?5.00|50
GM313-09|||9790222312791|CARR P|Paul Carr|Four New Seasons Bassoon|Orchestral Part|?5.00|50
GM313-10|||9790222312807|CARR P|Paul Carr|Four New Seasons Horn|Orchestral Part|?5.00|38
GM313-11|||9790222312814|CARR P|Paul Carr|Four New Seasons Trumpet|Orchestral Part|?5.00|38
GM313-12|||9790222312821|CARR P|Paul Carr|Four New Seasons Percussion|Orchestral Part|?5.00|38
GM313-13|||9790222312838|CARR P|Paul Carr|Four New Seasons Harp|Orchestral Part|?5.00|88
GM314|Peter Thorogood
FANTASY VARIATIONS for piano
Goodmusic GM314|'I began planning Fantasy Variations after hearing the simple tune from the clock on Copenhagen City Hall. I was studying with the Swiss pianist and musicologist Francis Engel at the Royal Irish Academy of Music. A gifted friend and fellow pupil, John Benson, was to go to London in the hope of studying with composer Herbert Howells; and everyone at the Academy wished him well and had high hopes for John''s future. Professor Engel, eager to help his star pupil, duly purchased the flight ticket on John''s behalf.
The bleak January day began with joy and ended with abject horror, as that evening news came that John''s plane had crashed in the Welsh mountains in heavy rain, and all on board were killed. Words could not describe the grief and shock of John''s family, fellow students and teachers. In due course, a concert was organised at the Academy to raise money for competitions in John''s name, and Francis Engel suggested that I should complete my Fantasy Variations for the occasion.
On the day of the concert, 9th June 1952, a deep gloom pervaded the corridors of the Academy; practice rooms were deserted and voices hushed. The unbearable silence continued into the evening and was made worse by the decision to dispense with applause. We had to walk silently on and off the platform. Professor Engel suffered unassuageable pangs of remorse at having given John the money to go to London, and eventually left Ireland for his home on the lake of Thun. Peter Thorogood
1. Encounter - a mood of foreboding dominates the first variation.
2. Dance expresses the joyful expectations and fulfilment of new friendships.
3. Pastoral brings a gentle Arcadian tone.
4. Polka - a time of merriment and good-fellowship.
5. Jig represents the more playful moods associated with happy friendship.
6. Carillon - a celebration of new friendship; the solitary bell in the final bars forshadows the brutal severance by sudden death.
7. Threnody - a song of sorrow as the funeral procession slowly approaches and passes by.
8. Retrospect brings a sense of repose and a note of remembered pleasures.
9. Parade is the remorseless passing of time and the acceptance of loss.
10. Lament - mourning and acceptance of the inevitable, and finally a philosophical calm.
11. Atonement begins with a quiet meditation which leads to a triumphant statement of faith, and the work ends with a tranquil coda.
Duration 19 minutes'|9790222313095|THOROGOOD|Peter Thorogood|Fantasy Variations|Piano - Solo|?6.00|112
GM315|Paul Carr
INTO THE LIGHT for choir and orchestra
Goodmusic GM315|'Orchestration: 2 Flutes, Oboe, Cor Anglais, 2 Clarinets in B Flat, 2 Bassoons, 2 Horns in F, 2 Trumpets in C, 2 Tenor Trombones, Bass Trombone
Percussion (2 players: Glockenspiel / Snare Drum / Tam-tam / Cymbal Roll / Clash Cymbals / Tubular Bells), Harp, Organ (optional)
Strings (Violin 1, Violin 2, Viola, Violoncello, Contrabass)
Tenor Solo, SATB Choir
In composing this large-scale choral work in celebration of the 1000 year anniversary of the founding of St Edmundsbury Cathedral, as a source of text, I have incorporated quotes from The Rule of Saint Benedict, under whose doctrine the original Benedictine Abbey was founded, and woven them through verses from three Psalms; Psalms that particularly appealed to me, and were a source of inspiration in praising a devotion and love for God.
I have used Handel''s beautiful "Ode for the Birthday of Queen Anne" (a work I only recently discovered) as the basis for the opening movement; its regal qualities here taken a step further with music that seems to embrace, and even enhance the splendour of devout belief. The work takes its title from the opening lines of Saint Benedict "Let us open our eyes to the light that comes from God", and is in three movements, with the second movement being the dramatic core of the piece ("Out of the depths I cry to you, O Lord"), flanked by two emotionally-charged paeans in praise to the glory of God. Paul Carr
Commissioned by and dedicated to Leslie Olive and Suffolk Philharmonic Orchestra, in celebration of the 1,000th anniversary of the founding of the Abbey of St Edmund, Bury St Edmunds, Suffolk.
Duration 23 minutes
Scores and orchestral material available on sale or hire.'|9790222313460|CARR P|Paul Carr|Into the Light|Choir - Vocal score|?8.50|160
GM315-00|||9790222313477|CARR P|Paul Carr|Into the Light A4 Score|Study score|?12.50|194
GM315-01|||9790222313484|CARR P|Paul Carr|Into the Light Violin 1|Orchestral Part|?2.00|25
GM315-02|||9790222313491|CARR P|Paul Carr|Into the Light Violin 2|Orchestral Part|?2.00|25
GM315-03|||9790222313507|CARR P|Paul Carr|Into the Light Viola|Orchestral Part|?2.00|25
GM315-04|||9790222313514|CARR P|Paul Carr|Into the Light Cello|Orchestral Part|?2.50|38
GM315-05|||9790222313521|CARR P|Paul Carr|Into the Light Bass|Orchestral Part|?2.00|25
GM315-06|||9790222313538|CARR P|Paul Carr|Into the Light Flute 1|Orchestral Part|?1.50|13
GM315-07|||9790222313545|CARR P|Paul Carr|Into the Light Flute 2|Orchestral Part|?1.50|13
GM315-08|||9790222313552|CARR P|Paul Carr|Into the Light Oboe|Orchestral Part|?2.00|25
GM315-09|||9790222313569|CARR P|Paul Carr|Into the Light Cor Anglais|Orchestral Part|?2.00|25
GM315-10|||9790222313576|CARR P|Paul Carr|Into the Light Clarinet 1|Orchestral Part|?2.00|25
GM315-11|||9790222313583|CARR P|Paul Carr|Into the Light Clarinet 2|Orchestral Part|?2.00|25
GM315-12|||9790222313590|CARR P|Paul Carr|Into the Light Bassoon 1|Orchestral Part|?1.50|13
GM315-13|||9790222313606|CARR P|Paul Carr|Into the Light Bassoon 2|Orchestral Part|?1.50|13
GM315-14|||9790222313613|CARR P|Paul Carr|Into the Light Horn 1|Orchestral Part|?1.50|13
GM315-15|||9790222313620|CARR P|Paul Carr|Into the Light Horn 2|Orchestral Part|?1.50|13
GM315-16|||9790222313637|CARR P|Paul Carr|Into the Light Trumpet 1|Orchestral Part|?2.00|25
GM315-17|||9790222313644|CARR P|Paul Carr|Into the Light Trumpet 2|Orchestral Part|?1.50|13
GM315-18|||9790222313651|CARR P|Paul Carr|Into the Light Trombone 1|Orchestral Part|?1.50|13
GM315-19|||9790222313668|CARR P|Paul Carr|Into the Light Trombone 2|Orchestral Part|?1.50|13
GM315-20|||9790222313675|CARR P|Paul Carr|Into the Light Trombone 3|Orchestral Part|?1.50|13
GM315-21|||9790222313682|CARR P|Paul Carr|Into the Light Percussion|Orchestral Part|?1.50|13
GM315-22|||9790222313699|CARR P|Paul Carr|Into the Light Harp|Orchestral Part|?2.50|38
GM315-23|||9790222313705|CARR P|Paul Carr|Into the Light Organ|Orchestral Part|?2.00|25
GM315-50|||9790222313712|CARR P|Paul Carr|Into the Light A3 Score|Full score|?25.00|390
GM316|Paul Lewis
PERFUME NOTES
for Soprano vocalise or Flute or Violin and Harp
Goodmusic GM316|'Three melodies that leave the listener with memories which, like a perfume, waft in and out of the mind.
Jasmine, a youthful, bright and fresh fragrance bringing with it memories of spring and the promise of summer.
Musk, a powerful fragrance that has presence and a passionate character.
Rose, a timeless scent that evokes nostalgia. The rose is the eternal flower of romance and love.
Without the essence of pure love, what we create can have no soul. Sharon Elizabeth
Paul and Sharon Elizabeth Lewis''s interest in the ancient art of blending and distilling perfume began with a visit to the Chateau de Chamerolles, France, where recreations of ancient perfumes made from plants grown in the chateau''s renaissance gardens can be enjoyed. It was the parfumier''s terminology for the layers of scents known as high, base and the heart notes, which when combined create a perfume by making a perfect "accord" or chord, that suggested this musical evocation of heady olfactory delights.
The three arias that make up Perfume Notes were composed in 2008 and premiered on October 30th that year by the dedicatee Sharon Elizabeth and the composer in a gala concert to celebrate the first anniversary of the opening of the Tauranga Art Gallery, Tauranga, New Zealand.
Harp adaptation of the original piano accompaniment, March 2020
Duration 7? minutes'|9790222313729|LEWIS P|Paul Lewis|Perfume Notes (Voice/Vln/Fl+Harp)|Voice solo (with accompaniment)|?5.00|88
GM317|Franz Schubert
MARCHES MILITAIRES for piano duet
Goodmusic GM317|'Edited by Peter Lawson, who has also done an orchestral arrangement of these three marches (Goodmusic GMCL213 and GMCL214), here is a new clear edition of these favourite pieces.
Schubert''s Trois Marches Militaires were written when the composer was in his early twenties, while teaching music to the daughters of Count Johann Karl Esterhazy at his summer home in Zseliz, then in Hungary. The French title may have been to deflect the performers from assuming that the marches were Austro-Hungarian in nature and, maybe, to appeal to a more international clientele when they were published in 1826. In this regard they do not stand alone, as the composer gave French titles to a number of piano pieces, such as the Moments Musicaux. Sadly, Schubert only lived for another two years and never achieved recognition in France until after his death.
The three marches are in ternary form, with the march sections recapitulated after a central Trio. The first one, in D major, is by far the best known - even Stravinsky quotes it in his Circus Polka. In fact, all three marches are equally tuneful and memorable. The second march is shorter and triumphal in nature. The third is longer and has an endearing ''swagger'', with a spectacular appearance of Schubert''s characteristic German 6th chord in the thirty-second bar. The central Trio sections, in particular, are full of Viennese finesse and will bring a smile of delight to the listener with their unexpected harmonic twists. They are charming, almost balletic in nature and it is no surprise that Isadora Duncan saw the choreographic potential of the first piece in 1909.
Above all, they are immense fun to play. Peter Lawson
Duration approx 17 minutes'|9790222314405|SCHUBERT|Franz Schubert|Marches Militaires|Piano - 2 players on 1 piano|?5.50|100
GM318|Paul Carr
LOVE SONG
for Cello and Piano
Goodmusic GM318|'An arrangement of Paul''s beautiful setting of "Now Sleeps the Crimson Petal", one of the "Old-Fashioned Love Songs" originally composed for solo voice. (Goodmusic GM262)
Duration 3 minutes'|9790222313989|CARR P|Paul Carr|Love Song|Cello and piano|?4.00|63
GM319|Paul Lewis
MEMORIES OF AMBOISE for solo harp
Goodmusic GM319|Amboise is my favourite Loire Valley city. Though it was the historic architecture that first attracted me, the memories I celebrate here are of a personal nature and reflect the heartfelt hospitality I have always received in the city.
Au Cheval Blanc (At The White Horse)
Le Cheval Blanc is a hotel and restaurant near the chateau. When I was a guest in 2002 the proprietress was a young Spanish woman whose warmth, allied with the animated gestures of a flamenco dancer, quite disarmed me. I began this piece on my return to England, but Teresa has subsequently sold the hotel and moved away I know not where, so she will never know about the music she inspired.
A la Patisserie Bigot (At the Bigot Patisserie)
La Patisserie Bigot is my favourite salon de the. I have paid many visits but still fondly recall the first one in 1978. Since its opening it has been presided over by successive Bigot family matriarchs, and I am lucky enough to have met the first three ladies to have fulfilled this role. In fact on my last visit in 2008 they were all were present and my wife and I have happy memories of sharing a table with the charming grand-mere who first welcomed me thirty years previously.
My Memories of Amboise are therefore dedicated to the four ladies whose hospitality was my inspiration, and after lying unfinished for eighteen years, the pieces were completed in 2020 at the request of harpist Rachel Talitman, for whose enthusiasm I am ever grateful. Paul Lewis
Duration 7 minutes|9790222314399|LEWIS P|Paul Lewis|Memories of Amboise|Harp|?4.50|76
GM320|Paul Lewis
ADIEU MICHEL for harp duet
Goodmusic GM320|'Since my teenage years the music of French composer Michel Legrand has been a source of joy and inspiration. When I heard of his death in January 2019 I went straight to the piano and found this melody waiting beneath my fingertips. It is a gentle tribute to a musical hero, suggestive of a French ballad or movie theme from the 1960s when I first discovered Legrand''s music. Paul Lewis
Two copies are included.
Also available in versions for harp solo (GM302), harp ensemble or quartet (GM303) or voice and harp (GM385).
Duration 4 minutes'|9790222314382|LEWIS P|Paul Lewis|Adieu Michel for Two Harps|Harp Duo|?5.00|88
GM321|Hubert Parry
JERUSALEM for SATB choir
Goodmusic GM321|'Arranged by Peter Lawson, this new four part SATB mixed voice choir arrangement of Parry''s Jerusalem is compatible with either the Parry orchestration (Goodmusic GMCH006) or the Elgar orchestration (Goodmusic GMCH011) whereas previously only a compatible unison version was available. It can also be performed with just piano or organ accompaniment. Also available are versions for three part mixed voice choir (SA+Men - GM322), upper voice choir (SSA - GM323) or male voice choir (TTBB - GM324).
Duration 2? minutes'|9790222314412|PARRY|C. Hubert H. Parry|Jerusalem arr.Lawson|Choir - Mixed voices (SATB)|?2.00|25
GM322|Hubert Parry
JERUSALEM for SA+Men choir
Goodmusic GM322|'Arranged by Peter Lawson, this new three part mixed voice choir (SA+Men) arrangement of Parry''s Jerusalem is compatible with either the Parry orchestration (Goodmusic GMCH006) or the Elgar orchestration (Goodmusic GMCH011) whereas previously only a compatible unison version was available. It can also be performed with just piano or organ accompaniment. Also available are versions for four part mixed voice choir (SATB - GM321), upper voice choir (SSA - GM323) or male voice choir (TTBB - GM324).
Duration 2? minutes'|9790222314429|PARRY|C. Hubert H. Parry|Jerusalem arr.Lawson|Choir - Mixed voices (SAMen)|?2.00|25
GM323|Hubert Parry
JERUSALEM for SSA choir
Goodmusic GM323|'Arranged by Peter Lawson, this new three part SSA upper voice choir arrangement of Parry''s Jerusalem is compatible with either the Parry orchestration (Goodmusic GMCH006) or the Elgar orchestration (Goodmusic GMCH011) whereas previously only a compatible unison version was available. It can also be performed with just piano or organ accompaniment. Also available are versions for four part mixed voice choir (SATB - GM321), three part mixed voice choir (SA+Men - GM322), or male voice choir (TTBB - GM324).
Duration 2? minutes'|9790222314436|PARRY|C. Hubert H. Parry|Jerusalem arr.Lawson|Choir - 3 part upper voices|?2.00|25
GM324|Hubert Parry
JERUSALEM for TTBB choir
Goodmusic GM324|'Arranged by Peter Lawson, this new four part TTBB male voice choir arrangement of Parry''s Jerusalem is compatible with either the Parry orchestration (Goodmusic GMCH006) or the Elgar orchestration (Goodmusic GMCH011) whereas previously only a compatible unison version was available. It can also be performed with just piano or organ accompaniment. Also available are versions for four part mixed voice choir (SATB - GM321), three part mixed voice choir (SA+Men - GM322) or upper voice choir (SSA - GM323).
Duration 2? minutes'|9790222314443|PARRY|C. Hubert H. Parry|Jerusalem arr.Lawson|Choir - Male voices|?2.00|25
GM325|Paul Lewis
SEAFORD SNAPSHOTS for horn and strings
Goodmusic GM325|This suite of six movements was commissioned by Brian Spiby to celebrate his adoptive home town of Seaford on the Sussex coast and its fascinating history. It is written for Horn and String Quartet with optional Double Bass and depicts various aspects of Seaford.
A full score and all parts are included.
Splash Point In mediaeval times Seaford was one of the most prosperous ports on the South Coast of England with a long history of attacks by the French. Horn calls echoing from ship to shore open the movement and are followed by a rousing melody in sea shanty-style symbolising the spirit of old Seaford.
The Seven Sisters Seven gentle hills slope down to white cliffs as the South Downs meet the sea. Magnificent and moody, these sentinels have guarded the entrance to the Cuckmere River for millennia and now try vainly to protect the fragile edges of our coastline, not from the French, but from the English Channel.
Corsica Hall Built in 1832 from the proceeds of imported Corsican wine, this was the residence of the local MP John Fitzgerald. Over the decades it saw many grand assemblies attended by the great and the good of Seaford, when writers, poets and politicians danced among the columns in the elegant panelled ballroom.
The Esplanade The 1920s and 30s saw Seaford in its heyday with the doubling of the railway line, the increase in the number of schools and its reputation for fresh air! A golf course encouraged an increase in the number of fashionable hotels, dance halls and roller skating rinks, all lending themselves to that very Edwardian habit: promenading.
The Beach Huts In 2018 Seaford re-created some of the atmosphere of the 50s and 60s with its new beach huts, so reminiscent of those candy-floss, kiss me-quick, Donald McGill saucy postcards days.
The Buckle In 1545 the French launched the last seaborne attack on Seaford but were roundly defeated when Sir Nicholas Pelham, (emblem a buckle) did, to quote his epitaph, "repell them back aboord." This love-hate relationship with the French has, thankfully, stabilised over the centuries and the entente is now generally cordiale, only one traditional enemy remaining - the sea.
Duration 18 minutes|9790222320079|LEWIS P|Paul Lewis|Seaford Snapshots (Hn+Strings)|Ensemble - Mixed|?25.00|0
GM326|Gustav Holst arr Richard Brasier
SCHERZO (Unfinished Symphony) for Organ Duet
Goodmusic GM326|'Gustav Holst started work on his second symphony on 30th July 1933. He decided to begin with a scherzo. He finished the first sketch on 18th August 1933. During the final eight months of his life, he managed to orchestrate the Scherzo (H192), through bouts of illness. Unfortunately, he never commenced work on the other two or three movements (whatever he intended). In the event, Holst never heard a live performance of the work.
The first performance was given on 6th February 1935 by the BBC Symphony Orchestra under its conductor, Adrian Boult. The concert took place at the Queen''s Hall in London.
As Michael Short states in his biography of Holst, because of its brevity and unfamiliarity, Boult suggested that it should be performed twice in the concert. He went on the say, "It is fiendishly difficult to play and I imagine not too easy to listen to and so I think a case for immediate repetition might be made."
The Musical Times later wrote, "As it stands, it sounds too inconclusive, but it is characteristically angular, rather chilly in temperature and European rather than national in style? as if Hindemith had taken a hand in a scherzo by Vaughan Williams."
Following comment by critics that it must have been intended as a work complete in itself, Vaughan Williams wrote to the Times on 11th February 1935 saying, "I remember well that when he (Holst) first showed it to me, he told me that he intended to write a symphony and that he had sketched the scherzo movement first."
The score was published by Boosey and Hawkes in 1947. There is also an arrangement for two pianos. Chris Cope, Holst Society
Background to this arrangement
This arrangement for organ duet of the Scherzo pushes the bounds of virtuosity on the organ to the very limit. The orchestral original transfers exceptionally well to the organ, so the task of re-committing to manuscript was not an onerous one. Rehearsing the work requires hours of slow practice, unnatural contortions of the human body, patience, and complete confidence in your performing partner. The work was premiered by Richard Brasier and Tom Bell on 7th March 2015 at Westminster Central Hall, as part of the annual London Organ Day. Richard Brasier
Duration c.7 minutes
A recording of the Scherzo, performed by Richard Brasier and Tom Bell, features on "Alpha & Omega - Gustav Holst, Christmas Music", on the EM Record label (EMR CD062)'|9790222314702|HOLST|Gustav Holst|Scherzo arr.Brasier|Organ duet|?7.50|136
GM327|Edward Elgar arr.Peter Lawson
POMP & CIRCUMSTANCE MARCH No.1 for Piano Duet
Goodmusic GM327|'This arrangement came about when I was making a harmonised choral version of Land of Hope and Glory, for various choir combinations to sing at the appropriate places when the famous tune occurs in Elgar''s Pomp and Circumstance March No 1. It first appears in the key of G (rather low for voices) and triumphantly returns near the end in D (rather too high for some voices). Instead of singing in unison, choirs could comfortably sing in harmony with the audience singing along in unison. This would solve the problem of choir members going off range as the tune either goes too low or too high for them. I thought of putting in cues from the orchestra or piano, but I came to the conclusion that a piano reduction would be the best idea. The problem with this is that the March sections are very busy and the piano reduction would either sound disappointingly simplified or would be almost impossibly difficult to play. It takes a good pianist to deal with an arrangement which tries to get too much in. The art of a good reduction is what to leave out as much as what to put in.
I then thought, "Pity I couldn''t make a piano duet arrangement of it", quickly followed by "What great fun that would be to play!" So this version, which may sound flashy, isn''t too difficult and, hopefully, will entertain performers and audience alike, in the absence of an orchestra. It could be used with the choir singing along in a Prom or Jubilee type concert. I would estimate that it could be played by two good grade 7 players.
Ironically, having done this, it was much easier to then, after all, make a one-player arrangement for a rehearsal pianist or performance, which is only a shade trickier than the duet version and could be played by a competent grade 7-8 pianist! But, obviously the duet arrangement is much more spectacular and faithful to the original with the four hands at one''s disposal. Peter Lawson
Duration 6 minutes'|9790222314788|ELGAR|Edward Elgar|Pomp & Circumstance 1 (arr.Lawson)|Piano - 2 players on 1 piano|?5.00|88
GM328|Edward Elgar arr.Peter Lawson
POMP & CIRCUMSTANCE MARCH No.1 for SATB choir
Goodmusic GM328|'In Elgar''s Pomp and Circumstance March No.1 the Land of Hope and Glory section first appears in the key of G (rather low for voices) and triumphantly returns near the end in D (rather too high for some voices). With this arrangement, instead of singing in unison, choirs could comfortably sing in harmony with the audience singing along in unison. This would solve the problem of choir members going off range as the tune either goes too low or too high for them.
As the choir is only involved for part of the work, the March does give an opportunity for the pianist to shine and could be played by a competent grade 7-8 pianist. There is also available a piano duet arrangement which could be used to accompany the choir, or, of course, if you have a full orchestra, that would do . . . . . Peter Lawson
Duration 6 minutes
This choral arrangement is available in four versions:
Mixed Voice Choir SATB - GM328
Mixed Voice Choir SA+Men - GM329
Upper Voice Choir SSA - GM330
Male Voice Choir TTBB - GM331
Piano duet arrangement - GM327'|9790222314795|ELGAR|Edward Elgar|Pomp & Circumstance 1 (arr.Lawson)|Choir - Mixed voices (SATB)|?2.75|38
GM329|Edward Elgar arr.Peter Lawson
POMP & CIRCUMSTANCE MARCH No.1 for SA+Men choir
Goodmusic GM329|'In Elgar''s Pomp and Circumstance March No.1 the Land of Hope and Glory section first appears in the key of G (rather low for voices) and triumphantly returns near the end in D (rather too high for some voices). With this arrangement, instead of singing in unison, choirs could comfortably sing in harmony with the audience singing along in unison. This would solve the problem of choir members going off range as the tune either goes too low or too high for them.
As the choir is only involved for part of the work, the March does give an opportunity for the pianist to shine and could be played by a competent grade 7-8 pianist. There is also available a piano duet arrangement which could be used to accompany the choir, or, of course, if you have a full orchestra, that would do . . . . . Peter Lawson
Duration 6 minutes
This choral arrangement is available in four versions:
Mixed Voice Choir SATB - GM328
Mixed Voice Choir SA+Men - GM329
Upper Voice Choir SSA - GM330
Male Voice Choir TTBB - GM331
Piano duet arrangement - GM327'|9790222314801|ELGAR|Edward Elgar|Pomp & Circumstance 1 (arr.Lawson)|Choir - Mixed voices (SAMen)|?2.75|38
GM330|Edward Elgar arr.Peter Lawson
POMP & CIRCUMSTANCE MARCH No.1 for SSA choir
Goodmusic GM330|'In Elgar''s Pomp and Circumstance March No.1 the Land of Hope and Glory section first appears in the key of G (rather low for voices) and triumphantly returns near the end in D (rather too high for some voices). With this arrangement, instead of singing in unison, choirs could comfortably sing in harmony with the audience singing along in unison. This would solve the problem of choir members going off range as the tune either goes too low or too high for them.
As the choir is only involved for part of the work, the March does give an opportunity for the pianist to shine and could be played by a competent grade 7-8 pianist. There is also available a piano duet arrangement which could be used to accompany the choir, or, of course, if you have a full orchestra, that would do . . . . . Peter Lawson
Duration 6 minutes
This choral arrangement is available in four versions:
Mixed Voice Choir SATB - GM328
Mixed Voice Choir SA+Men - GM329
Upper Voice Choir SSA - GM330
Male Voice Choir TTBB - GM331
Piano duet arrangement - GM327'|9790222314818|ELGAR|Edward Elgar|Pomp & Circumstance 1 (arr.Lawson)|Choir - 3 part upper voices|?2.75|38
GM331|Edward Elgar arr.Peter Lawson
POMP & CIRCUMSTANCE MARCH No.1 for TTBB choir
Goodmusic GM331|'In Elgar''s Pomp and Circumstance March No.1 the Land of Hope and Glory section first appears in the key of G (rather low for voices) and triumphantly returns near the end in D (rather too high for some voices). With this arrangement, instead of singing in unison, choirs could comfortably sing in harmony with the audience singing along in unison. This would solve the problem of choir members going off range as the tune either goes too low or too high for them.
As the choir is only involved for part of the work, the March does give an opportunity for the pianist to shine and could be played by a competent grade 7-8 pianist. There is also available a piano duet arrangement which could be used to accompany the choir, or, of course, if you have a full orchestra, that would do . . . . . Peter Lawson
Duration 6 minutes
This choral arrangement is available in four versions:
Mixed Voice Choir SATB - GM328
Mixed Voice Choir SA+Men - GM329
Upper Voice Choir SSA - GM330
Male Voice Choir TTBB - GM331
Piano duet arrangement - GM327'|9790222314825|ELGAR|Edward Elgar|Pomp & Circumstance 1 (arr.Lawson)|Choir - Male voices|?2.75|38
GM332|Paul Carr
THE LIGHT OF LOVE for choir and four instruments
Goodmusic GM332|'The Light of Love - A Requiem Mass for mixed voice choir with soprano saxophone, violoncello, harp and organ.
Commissioned by Ken & Stella Palmer to celebrate their 15th wedding anniversary, this second Requiem by Paul Carr uses the standard Latin Requiem text with additional words by Euan Tait.
Having already composed Requiem for an Angel in 2006 (now one of my most frequently performed works), it was a little daunting thinking about starting a second Requiem, and especially so, during the Coronavirus Lockdown period in 2020; although, I should add that this, in fact, kept me occupied and I found myself relishing the creative process, even though writing a Mass for the Dead during such a troubled time in the world. After initially talking through the project with Ken and Stella, I learned that their most favoured Requiem was the Mozart, a work they''ve both sung many times, and that gave me the key to starting, in using the Mozart as a model; in some movements I have used harmonic and thematic structures from the Mozart as a basis for my own. It was also Ken and Stella''s wish that I use my Air for Strings (which they often hear played on Classic FM) for the Agnus Dei. The commission was for choir and organ, with soprano saxophone and cello, but I also added in a harp, creating I feel, a rather beautiful quartet of instruments. I''ve always loved Euan Tait''s words and his emotional response to the Requiem texts have been the most vital part in creating this substantial, though intimate Requiem; and this being my second, we decided upon a different title, The Light of Love, as ''light'' and ''love'' are the two most prevalent themes in this work. Paul Carr
Duration 55 minutes
The Vocal Score, an A4 sized Study Score, an A3 sized Full Score and the set of instrumental parts are on sale.
All material is also available on hire from Goodmusic.
(The audio file gives excerpts of each of the 13 movements)'|9790222314832|CARR P|Paul Carr|Light of Love (Requiem)|Choir - Vocal score|?15.00|330
GM332-00|||9790222314849|CARR P|Paul Carr|Light of Love (Requiem) A4 score|Study score|?15.00|254
GM332-01|||9790222314856|CARR P|Paul Carr|Light of Love (Requiem) Instr.parts|Ensemble - Mixed|?25.00|330
GM332-50|||9790222314863|CARR P|Paul Carr|Light of Love (Requiem) A3 score|Full score|?40.00|520
GM333|Bach/Elgar/Brasier/Bell
FANTASIA & FUGUE in C minor BWV 537
for organ duet
Goodmusic GM333|'J.S.Bach''s Fantasia & Fugue in C minor as orchestrated by Elgar, then arranged for organ duet by Richard Brasier and Tom Bell.
There is a poignant story connected with this work. Edward Elgar had been hoping to write a new piece of his own for the Gloucester Three Choirs Festival in 1922, but following his wife''s death, he was finding it impossible to write original music, because, as he said "The upset has been too great". So, instead, he turned for solace and inspiration to the music of Bach, and Elgar''s magnificent orchestral showpiece was the result.
This arrangement was premiered by Richard Brasier and Tom Bell on 2nd March 2016 at Holy Trinity Sloane Square, London, UK
Duration 9? minutes'|9790222314870|BACH/ELGAR|Bach arr.Elgar|Fantasia & Fugue arr.Brasier & Bell|Organ duet|?8.00|149
GM334|Hubert Parry arr Joseph Wicks after Elgar
JERUSALEM for voices & organ
Goodmusic GM334|'An organ arrangement of the Elgar orchestration of the accompaniment to Parry''s Jerusalem. More florid than Parry''s original orchestration, Elgar''s version is a popular favourite particularly at the Last Night of the Proms. This organ version by Joseph Wicks includes all Elgar''s tricky bits!
Duration 2? minutes'|9790222314894|PARRY|C. Hubert H. Parry|Jerusalem (arr. Elgar/Joseph Wicks)|Organ Solo|?3.50|25
GM335|Polo Piatti
THE IMPOSSIBLE PIECES for soloists and piano
Goodmusic GM335|Piano reduction of the orchestral accompaniment with copies of the solo parts included:
Solo Trumpet in C (No.1 & 4)
Solo Clarinet in A (No.2 & 4)
Solo Violin (No.3 & 4)
The Impossible Pieces were conceived as four short individual pieces written for three world class soloists (clarinet, trumpet and violin), each leading the orchestra with a different melody while the orchestral accompaniment remains exactly the same. What makes the work unique is the surprise at the end, when all three soloists come together in a glorious finale with all three melodies slotting together seamlessly in the fourth piece. Constructed with a very elaborate counterpoint throughout, universally appealing, uplifting and with the flair and panache of a concerto but much shorter in length, The Impossible Pieces may be difficult to play (though not impossible!) making them true showcase works for virtuoso soloists.
The Impossible Piece No.1 for Trumpet in C & Orchestra
The Impossible Piece No.2 for Clarinet in A & Orchestra
The Impossible Piece No.3 for Violin & Orchestra
The Impossible Piece No.4 for Trumpet in C, Clarinet in Bb, Violin & Orchestra
The accompaniment is the same for each piece. All four pieces can be played one after the other with the three soloists coming together for No.4. Alternatively, Nos.1, 2 or 3 would make ideal solo encore pieces if played alone. It would also be possible to perform No.4 with only two of the three soloists.
Duration 3? minutes each piece - 14 minutes for all four one after the other
The computer-generated audio here is of No.4 with all three soloists playing together with the piano accompaniment.
For the orchestral version see GMCO177 where you can listen to a computer-generated performance of all four pieces; trumpet solo first, then clarinet solo, then violin solo followed by No.4 when all three soloists fit together. Amazing!!|9790222314887|PIATTI|Polo Piatti|The Impossible Pieces (Trp/Cl/Vln)|Instrument and piano|?7.50|136
GM336|Gustav Holst
THE VOYAGER (Twelve part-songs)
for mixed voice choir
Goodmusic GM336|'A collection of 12 previously unpublished part-songs by Gustav Holst for mixed voice choir (SATB), some are in 4 parts and others are for 6-part choir.
Contents:
The Stars are with the Voyager; Spring it is Cheery; O Lady, Leave thy Silken Thread; There''s a Voice in the Wind; Frank Leigh''s Song: A.D. 1586 (Ah Tyrant Love); Come Away, Death; It was a Lover and his Lass; In Youth is Pleasure; Now Rest Thee From All Care; Diverus and Lazarus; Playground Song; The Lover''s Complaint.
Edited by John Wright, Benedict Preece & Paul Sarcich. Includes notes on the part-songs by Chris Cope of the Holst Society.
52 pages. Total duration c.25 minutes
All of these part-songs (except "Playground Song") are also on sale separately, numbered GM403 to GM413'|9790222314900|HOLST|Gustav Holst|The Voyager (Twelve part-songs)|Choir - Mixed voices (SATB)|?10.75|197
GM337|Peter Warlock
A SOPRANO SONGBOOK
Goodmusic GM337|'A collection of 23 songs by Peter Warlock in an up-to-date edition by Michael Pilkington, published in association with the Peter Warlock Society. An 84 page book with photographs and extensive notes containing:-
Sleep; Sweet Content; A Sad Song; Late Summer; Autumn Twilight; My little sweet darling; Consider; Balulalow; Take, O take those lips away; Pretty Ring Time; Lullaby; The bayly berith the bell away; The Singer; The Lover''s Maze; Rest sweet nymphs; Cradle Song; The First Mercy; Jillian of Berry; Robin Good-fellow; Mourn no moe; Ha''nacker Mill; The Night; My Own Country.'|9790222315006|WARLOCK|Peter Warlock|Soprano Songbook|Voice solo (with accompaniment)|?16.25|294
GM338|Geoffrey Molyneux Palmer
CHAMBER MUSIC - 32 songs for high voice and piano
Goodmusic GM338|'32 songs by Anglo-Irish composer Geoffrey Molyneux Palmer (1882-1957) setting the text of James Joyce''s "Chamber Music". The cycle is a kind of Irish Winterreise that adds significantly to the history of Georgian song. Published for the first time, these songs have been edited by Peter Dickinson who provides extensive introductory and editorial notes about the songs. The 88 page volume also includes some samples of Palmer''s manuscripts as well as copies of letters from Joyce to Palmer. Joyce considered that of the many musical settings of his poetry, those by Palmer were the finest.
In exchanges with Palmer, Joyce urged that the songs be pitched in a high key and as a result the overall range of the songs is from D to high B, though only one song reaches B and two others Bb. In these three songs slightly lower alternatives are offered!
A complete recording is included on Heritage CD HTGCD175 (entitled "Joyce''s Favourite Songs") with Martyn Hill [tenor] and Peter Dickinson [piano].
Total duration around 45 minutes'|9790222314948|PALMER G M|G Molyneux Palmer|Chamber Music (Joyce) 32 Songs|Voice solo (with accompaniment)|?17.00|305
GM339|Paul Carr
YOU GOD ARE MY GOD for choir, trumpet & organ
Goodmusic GM339|A beautiful setting of words from Psalm 63, a Psalm of David, for SATB choir, trumpet and organ.
You, God, are my God, eagerly I seek you
I thirst for you, my whole being longs for you,
in a dry and parched land where there is no water.
I have seen you in the sanctuary and beheld your power and your glory.
Because your love is better than life, my lips will glorify you.
I will praise you as long as I shall live, and in your name I will lift up my hands.
I will be fully satisfied as with the richest of foods; with singing lips my mouth will praise you.
On my bed I remember you; I think of you through the watches of the night.
Because you are my help, I sing in the shadow of your wings.
I cling to you; your right hand holds me fast.
A separate trumpet part is available as well as the score.
Duration 7 minutes|9790222314917|CARR P|Paul Carr|You God are My God|Choir - Mixed voices (SATB)|?4.50|76
GM339-01|||9790222314924|CARR P|Paul Carr|You God are My God Trumpet Part|Choir - Vocal score|?1.50|13
GM340|Polo Piatti
THE BIRDS for flute and piano
Goodmusic GM340|This piece for flute and piano was inspired by the multitude of birds that could suddenly be heard once more when human activity came to a standstill during the global pandemic in spring of 2020.
It is dedicated to Daisy Noton, a BBC Young Musician of the year finalist, who premiered it in August 2020 (YouTube video available).
Duration 5? minutes|9790222314931|PIATTI|Polo Piatti|The Birds|Flute and piano|?5.00|88
GM341|Simon Hancock
GO TO THE CHILD for mixed voices
Goodmusic GM341|A finalist in the BBC Radio 3 Carol Competition 2019, this lovely carol for unaccompanied mixed voice choir is a setting of words by Imtiaz Dharker.
Rise and go on a bitter night
when hope lies frozen in the ground,
hushed and hidden out of sight,
no living thing for miles around.
........
Duration just under 3 minutes
This published copy has been slightly revised since the BBC Singers performance in the Carol Competition.
To hear the BBC Singers performing this carol, click below
|9790222314955|HANCOCK|Simon Hancock|Go to the Child|Choir - Mixed voices (SATB)|?2.75|38
GM342|'Clive Pollard
A RAINBOW AND A CUCKOO''S SONG
for high voice and piano
Goodmusic GM342'|'Seven Songs for High Voice & Piano with words by W.H.Davies and music by Clive Pollard.
Sweet Chance (Range D-F#)
April''s Charms (G-F)
A Young Thrush (F-D)
Pot and Kettle (D#-E)
Wild Blossoms (E-F)
The Cuckoo (G-G)
Leisure (F-F)
Total duration 12 minutes
The audio file is an actual recording sung by Richard Roddis with Clive Pollard accompanying.'|9790222314962|POLLARD|Clive Pollard|'Rainbow and a Cuckoo''s Song'|Voice solo (with accompaniment)|?6.00|112
GM343|Paul Lewis
ANYONE FOR TAKEAWAY? for piano
Goodmusic GM343|'Three easy pieces for piano.
Tasty foreign takeaway meals are a regular source of happiness and convenience in this busy modern world. Surveys show the most popular to be Chinese, Indian and Italian pizza. So great a part of British culture are they that they are often rated above good old British fish''n''chips!
Chinese Takeaway
The woks are sizzling in the kitchen of the local Chinese takeaway! This piece uses the Oriental pentatonic scale, which, when in the key of C consists of the notes C,D,E,G and A.
Indian Takeaway
The piano imitates a sitar with its drone bass. The second and sixth notes of the D major scale are flattened to imitate an Indian scale so as to add a touch of exotic spice to the music!
Pizza Delivery
A happy-go-lucky Italian tarantella for the pizza delivery bike with the shrill peep-peep of its hooter as it threads its way through the traffic. Paul Lewis
Duration 4 minutes'|9790222314986|LEWIS P|Paul Lewis|Anyone for Takeaway?|Piano - Solo|?4.00|63
GM344|Paul Carr
RUNNING WITH DOGS for tenor sax & harp
Goodmusic GM344|'RUNNING WITH DOGS was originally composed in 2007 on the beautiful island of Mallorca, where I was living at the time. The piece formed the first movement of my Bassoon Sonatina, but was later re-worked as a solo piece for Clarinet and Piano: it''s the sort of piece that lends itself well to a variety of instruments.
In 2020 the Spanish saxophonist, Vicent Bas Ibanez, asked if I''d ever written anything for Tenor Saxophone and Harp, a lovely combination, and as Vicent was studying at the Conservatori Superior de Musica in Palma, this re-working of Running With Dogs felt an obvious choice in responding to his request. I''ve basically re-written it for this combination, but the carefee, light-hearted feeling of the piece remains at it''s core.
When in Mallorca, I had three dogs, Mallorcan Rateros, all of them rescued when puppies - a very cute miniature Pincher type of breed. In the winter months when the majority of tourists had left and the beaches deserted, I used to let them run across the white sands of Canyamel Beach, watching them relish in the freedom of being out in this wild and beautiful setting. Paul Carr
Duration 5 minutes
The harp part can also be played on the piano.'|9790222314993|CARR P|Paul Carr|Running with Dogs (T.Sax & Harp)|Saxophone and piano|?5.00|88
GM345|Gustav Holst
HOLST SONGBOOK Volume 1 High Voice
Goodmusic GM345|'Gustav Holst composed solo songs for voice and piano at various stages of his career, but with an abundance from the late 1890s (towards the end of his student days) into the early 1900s. Richard Capell, writing in The Musical Times in January 1927, mentions that songs by Holst were appearing in the programmes of London recitals early in the 1900s and several early examples were heard in company with the first performances of Vaughan Williams'' Songs of Travel and The House of Life in 1904. Only a relatively small number of Holst''s songs were published and, of those that were, many have been out of print for some time. The Holst Songbook (in 4 volumes, published in versions for both high and low voice) brings together all the solo songs for the first time and presents a wonderful opportunity for these hitherto undiscovered gems to be performed and appreciated for the first time.
Volume 1 includes 13 songs dating from the late 1890s. Indeed, we know that the majority date from 1897/1898. Holst, born in 1874, would have been 23/24 years old at the time. Holst''s daughter Imogen was fairly dismissive of much of her father''s early output and refused to use her H numbering sequence to such early works. Nevertheless, as all the works in Volume 1 have been ascribed an H number so I think that we can safely assume that Imogen approved of these works.
CONTENTS: O Lady, Leave thy Silken Thread (Range: D-G)
Spring''s Message (Fruhlingsbotschaft) (C-E)
Awake, my heart (E-A)
Song to the Sleeping Lady (E-F#)
The Ballade of Prince Eric (C-G)
A Lake and a Fairy Boat (D-F)
Sing Heigh-Ho (D-G)
Airly Beacon (E-G)
A Hope (E-G#)
The Day of the Lord (E-A)
Not a Sound (E-F)
Whether We Die or We Live (C-F)
Autumn Song (C-F)
The audio sample is a computer-generated performance [no words!] with male soloist. See GM346 for the LOW voice version where the audio has a female voice.'|9790222316324|HOLST|Gustav Holst|Holst Songbook Volume 1 HIGH VOICE|Voice solo (with accompaniment)|?11.25|209
GM346|Gustav Holst
THE HOLST SONGBOOK Volume 1 Low Voice
Goodmusic GM346|'Gustav Holst composed solo songs for voice and piano at various stages of his career, but with an abundance from the late 1890s (towards the end of his student days) into the early 1900s. Richard Capell, writing in The Musical Times in January 1927, mentions that songs by Holst were appearing in the programmes of London recitals early in the 1900s and several early examples were heard in company with the first performances of Vaughan Williams'' Songs of Travel and The House of Life in 1904. Only a relatively small number of Holst''s songs were published and, of those that were, many have been out of print for some time. The Holst Songbook (in 4 volumes, published in versions for both high and low voice) brings together all the solo songs for the first time and presents a wonderful opportunity for these hitherto undiscovered gems to be performed and appreciated for the first time.
Volume 1 includes 13 songs dating from the late 1890s. Indeed, we know that the majority date from 1897/1898. Holst, born in 1874, would have been 23/24 years old at the time. Holst''s daughter Imogen was fairly dismissive of much of her father''s early output and refused to use her H numbering sequence to such early works. Nevertheless, as all the works in Volume 1 have been ascribed an H number so I think that we can safely assume that Imogen approved of these works.
CONTENTS: O Lady, Leave thy Silken Thread (Range: Bb-Eb)
Spring''s Message (Fruhlingsbotschaft) (C-E)
Awake, my heart (C-F)
Song to the Sleeping Lady (C-D)
The Ballade of Prince Eric (A-E)
A Lake and a Fairy Boat (B-D)
Sing Heigh-Ho (B-E)
Airly Beacon (C-Eb)
A Hope (C-E)
The Day of the Lord (B-E)
Not a Sound (C#-D)
Whether We Die or We Live (Bb-Eb)
Autumn Song (Bb-Eb)
The audio sample is a computer-generated performance [no words!] with female soloist. See GM345 for the HIGH voice version where the audio has a male voice.'|9790222316331|HOLST|Gustav Holst|Holst Songbook Volume 1 LOW VOICE|Voice solo (with accompaniment)|?11.25|209
GM347|Paul Carr
SUMMER MUSIC
for Piano Quartet
Goodmusic GM347|Scored for Violin, Viola, Violoncello and Piano. Score and Parts are included.
In the late Summer of 2017, I composed this Summer Music, originally for Clarinet, Cello and Piano, but I then also arranged it for a variety of instrumental combinations, and most recently, this one, for Piano Quartet; a more re-composed version of the original made especially for a concert presented by the English Music Festival in Cornwall, in July 2021. This version of the work is dedicated to Em Marshall-Luck, founder of the festival.
Although given the title of Summer Music and originally composed during the month of August, the music of the first two movements is instilled with a certain unease, a longing for happier times perhaps; it must have been my mood at the time as the late summer of 2017 was particularly wet and stormy - and now, here again in 2020, as I re-invent this piece for Piano Quartet, the world is a changed one as we try to live through the Coronavirus Pandemic. However, the final movement (Bicycles on Sunday Morning) returns us to summery optimism; in fact, during lockdown I bought a bike and as the weather in early Summer was surprisingly lovely, I took myself off on long bike rides along the River Avon, almost daily - losing myself in the quiet unspoilt beauty of this country. Paul Carr
The three movements are titled: One weekend in August; The softness of rainfall at night; Bicycles on Sunday morning.
Duration 15 minutes|9790222315013|CARR P|Paul Carr|Summer Music|Piano Quartet|?15.00|269
GM348|Paul Lewis
SUITE JAZZERESQUE for harp
Goodmusic GM348|'An inevitable consequence of a long career as a professional composer is a bottom drawer (and in my case several boxes) full of works begun and never finished and others finished but forgotten. Sifting through these recently I came upon sketches for an autobiographical suite begun in 1973 when I was renting a basement flat beneath a Greek greengrocer''s in the Fitzrovia district of Central London to work as musical adviser and sometime composer on the 26-part TV series Orson Welles Great Mysteries while simultaneously scoring Spring and Autumn, a popular TV comedy series. Seeing the music again after 47 years has brought back vivid memories of my 30 year-old self coping with an unusually frenetic year workwise and personally. With much revising and refurbishing, the pieces have been transformed into this jazzy little suite for harpist Maia Darme.
Charlotte Street A charming lane lined with 18th century houses, restaurants and the Fitzroy Tavern, famous haunt of artists, intellectuals and writers.
Fitzrovia Romance A composer in amorous mood. Fitzrovia was known from the 19th century onwards for the dubious morals and bohemian lifestyle of its inhabitants, notably the infamous Bloomsbury set in the 1920s. In retrospect it seems that in my own modest way I may have inadvertently contributed to the local tradition of louche living, dallying there with a Russian artist, an American ballet dancer and a children''s nanny from Kensington. Which one inspired this melody I cannot remember!
Cleveland Street The location of my flat, a long street lined with Georgian and Victorian buildings and cosmopolitan cafes beneath the gaze of the iconic Post Office Tower with its sky-high revolving restaurant. It was in this and neighbouring streets that I walked my dog every morning before the daily round of rehearsal rooms and recording studios. Paul Lewis
Duration 10 minutes
Edition amended with the invaluable assistance of Maia Darme, August 2023'|9790222315020|LEWIS P|Paul Lewis|Suite Jazzeresque|Harp|?5.00|88
GM349|Paul Lewis
WHATLINGTON WALTZES
for Theremin (or Violin or Flute) and Harp
Goodmusic GM349|'It was at Mrs.Yarrington''s Music Club in the village hall at Whatlington, East Sussex, that I first heard Stranger Strings: Charlie Draper on theremin and Holly Lowe on harp. I have always adored the harp and have long had a hankering for the theremin, so this mesmerising combination immediately set my compositional juices bubbling and the three Whatlington Waltzes are the result.
Since theremins are rare and exotic creatures and sightings of them few and far between, I have confined the solo part within the range of the flute (and consequently the violin) to increase the music''s chances of performance.
Wistful Waltz A chance encounter some twenty years ago with a young street performer on Brighton seafront led to a brief but touching friendship. Anna Neil, tall, slim and beautiful, stood motionless on a slowly revolving pedestal with a large golden key turning in the small of her back, convincing watching children that she was a life-size doll. I wrote this melody as a harp piece for her to revolve to but she had moved on to bestow her fairy dust elsewhere before I could play it to her. The combination of theremin and harp ideally conjures up the gentle other-worldliness of Anna''s persona.
Woeful Waltz A slow, mournful waltz, perhaps my hommage to film composer Bernard Herrmann in his less tempestuous moments.
Wilful Waltz Marked Brisk and belligerent, this is a waltz that, once in motion, doesn''t want to stop! Paul Lewis
Duration 6? minutes
Footnote The theremin was invented in Russia by Lev Theremin and first demonstrated publicly in 1920. It is in effect a radio receiver with protruding antenna and metal loop employing high frequency circuits and oscillating valves to enable the instrument to be played, without contact, by means of hand movements that resemble a surreal digital ballet. The unearthly, almost human voice-like quality of its sound made the instrument a sine qua non for science fiction film composers in the 1950s.'|9790222315037|LEWIS P|Paul Lewis|Whatlington Waltzes (Theremin+Harp)|Theremin +|?5.50|100
GM350|Peter Lawson
NESSIE - an opera for children
Goodmusic GM350|'Nessie is the story of the conflicting aspirations of naturalists and property-developers, with the Loch Ness monster, Nessie, caught between the opposing factions. The scene is the banks of Loch Ness, the deepest and most mysterious of the Scottish lochs. We first see the loch-side at dawn. Property developers are sizing up the area for development into a theme park - with plastic brontosauruses popping out of the loch by the dozen. The Naturalists are horrified to learn of the intentions of the developers and suggest the idea of a wildlife park instead, but the children decide that they can only convince the developers of this if the monster is sighted. They go off in search?.
The children are lost in the mist which has suddenly descended and are tired and hungry. Meanwhile, the worried parents are looking for them, bickering to each other all the while about their conflicting interests. Their mutual loss unites the parents and the idea of a wildlife park finally meets with the approval of the developers. While the parents continue their search, the children, tired and pathetic, curl up asleep beside the loch. The monster gradually rises from the water, the children waking to greet her as if in a dream. The monster subsides and the children go back to sleep.
The parents return and find the children. They are too overjoyed to pay attention to the fact that the children claim they have seen the monster. The parents begin taking their children home but return, saying that they''ve been discussing with each other that if there really is a monster, then it will be protected for ever by the Loch Ness Wildlife Park. This goes down well with the children and now all parties are happy!
The number of parents and children can be varied to suit the available resources. Tenor and Bass parts (Parents) can be regarded as optional if broken voices are not available, or adults could play the parts of the parents. It can be performed as a staged opera, semi-staged or given as a concert performance. An orchestral accompaniment is available but it can be performed just with piano. A full vocal score and also a chorus part is available on sale or hire.
Duration 60 minutes
The opera includes a "show-stopping" chorus entitled "Conservation" which is also available separately for mixed, male or female voice choirs (GM351, GM352, GM353, GM354)'|9790222315334|LAWSON|Peter Lawson|Nessie|Choir - Vocal score|?19.00|344
GM350-50|||9790222315341|LAWSON|Peter Lawson|Nessie Choral Score|Choir - Vocal score|?8.50|160
GM351|Peter Lawson
CONSERVATION! for SATB choir
Goodmusic GM351|'SATB choir with accompanmiment of piano or orchestra.
Conservation! is an adaptation of the "show-stopper" from my children''s opera, Nessie. Set on the banks of Scotland''s Loch Ness, the opera is the story of the conflicting aspirations of naturalists and property-developers, with the mysterious Loch Ness monster, Nessie, caught between the opposing factions. In the opera, the song is an uplifting entreatment by the naturalists to the property-developers, to turn their land - on the banks of the loch - into a wildlife park, rather than a theme park. The song captivates the property-developers and eventually inspires them to create "The Loch Ness Wildlife Park".
In this arrangement, the words relating directly to Loch Ness have been re-written, particularly in the short middle section, which reflects the dire warnings of climate change. The outer sections are up-beat and largely unchanged, but the messages throughout are even more relevant today, thirty years after the original version. Peter Lawson
This choral arrangement is available in four versions:
Mixed Voice Choir SATB - GM351
Mixed Voice Choir SA+Men - GM352
Upper Voice Choir SSA - GM353
Male Voice Choir TTBB - GM354
The orchestral accompaniment for "Conservation!" is the same for all choral versions.
Duration 3? minutes
Also available:-
The complete opera "Nessie" - GM350'|9790222315044|LAWSON|Peter Lawson|Conservation!|Choir - Mixed voices (SATB)|?4.00|63
GM351-00|||9790222315082|LAWSON|Peter Lawson|Conservation! Score|Orchestral Score|?7.00|113
GM351-01|||9790222315099|LAWSON|Peter Lawson|Conservation! Violin 1|Orchestral Part|?1.50|13
GM351-02|||9790222315105|LAWSON|Peter Lawson|Conservation! Violin 2|Orchestral Part|?1.50|13
GM351-03|||9790222315112|LAWSON|Peter Lawson|Conservation! Viola|Orchestral Part|?1.50|13
GM351-04|||9790222315129|LAWSON|Peter Lawson|Conservation! Violoncello|Orchestral Part|?1.50|13
GM351-05|||9790222315136|LAWSON|Peter Lawson|Conservation! Bass|Orchestral Part|?1.50|13
GM351-06|||9790222315143|LAWSON|Peter Lawson|Conservation! Flute 1|Orchestral Part|?1.50|13
GM351-07|||9790222315150|LAWSON|Peter Lawson|Conservation! Flute 2/Piccolo|Orchestral Part|?1.50|13
GM351-08|||9790222315167|LAWSON|Peter Lawson|Conservation! Oboe 1|Orchestral Part|?1.50|13
GM351-09|||9790222315174|LAWSON|Peter Lawson|Conservation! Oboe 2|Orchestral Part|?1.50|13
GM351-10|||9790222315181|LAWSON|Peter Lawson|Conservation! Clarinet 1|Orchestral Part|?1.50|13
GM351-11|||9790222315198|LAWSON|Peter Lawson|Conservation! Clarinet 2|Orchestral Part|?1.50|13
GM351-12|||9790222315204|LAWSON|Peter Lawson|Conservation! Bassoon 1|Orchestral Part|?1.50|13
GM351-13|||9790222315211|LAWSON|Peter Lawson|Conservation! Bassoon 2|Orchestral Part|?1.50|13
GM351-14|||9790222315228|LAWSON|Peter Lawson|Conservation! Horn 1|Orchestral Part|?1.50|13
GM351-15|||9790222315235|LAWSON|Peter Lawson|Conservation! Horn 2|Orchestral Part|?1.50|13
GM351-16|||9790222315242|LAWSON|Peter Lawson|Conservation! Trumpet 1|Orchestral Part|?1.50|13
GM351-17|||9790222315259|LAWSON|Peter Lawson|Conservation! Trumpet 2|Orchestral Part|?1.50|13
GM351-18|||9790222315266|LAWSON|Peter Lawson|Conservation! Trombone 1|Orchestral Part|?1.50|13
GM351-19|||9790222315273|LAWSON|Peter Lawson|Conservation! Trombone 2|Orchestral Part|?1.50|13
GM351-20|||9790222315280|LAWSON|Peter Lawson|Conservation! Trombone 3|Orchestral Part|?1.50|13
GM351-21|||9790222315297|LAWSON|Peter Lawson|Conservation! Tuba|Orchestral Part|?1.50|13
GM351-22|||9790222315303|LAWSON|Peter Lawson|Conservation! Timpani|Orchestral Part|?1.50|13
GM351-23|||9790222315310|LAWSON|Peter Lawson|Conservation! Percussion|Orchestral Part|?1.50|13
GM351-24|||9790222315327|LAWSON|Peter Lawson|Conservation! Harp|Orchestral Part|?1.50|13
GM352|Peter Lawson
CONSERVATION! for SA+Men choir
Goodmusic GM352|'SA+Men choir with accompanmiment of piano or orchestra.
Conservation! is an adaptation of the "show-stopper" from my children''s opera, Nessie. Set on the banks of Scotland''s Loch Ness, the opera is the story of the conflicting aspirations of naturalists and property-developers, with the mysterious Loch Ness monster, Nessie, caught between the opposing factions. In the opera, the song is an uplifting entreatment by the naturalists to the property-developers, to turn their land - on the banks of the loch - into a wildlife park, rather than a theme park. The song captivates the property-developers and eventually inspires them to create "The Loch Ness Wildlife Park".
In this arrangement, the words relating directly to Loch Ness have been re-written, particularly in the short middle section, which reflects the dire warnings of climate change. The outer sections are up-beat and largely unchanged, but the messages throughout are even more relevant today, thirty years after the original version. Peter Lawson
This choral arrangement is available in four versions:
Mixed Voice Choir SATB - GM351
Mixed Voice Choir SA+Men - GM352
Upper Voice Choir SSA - GM353
Male Voice Choir TTBB - GM354
The orchestral accompaniment for "Conservation!" is the same for all choral versions - see under GM351
Duration 3? minutes
Also available:-
The complete opera "Nessie" - GM350'|9790222315051|LAWSON|Peter Lawson|Conservation!|Choir - Mixed voices (SAMen)|?4.00|63
GM353|Peter Lawson
CONSERVATION! for SSA choir
Goodmusic GM353|'SSA choir with accompanmiment of piano or orchestra.
Conservation! is an adaptation of the "show-stopper" from my children''s opera, Nessie. Set on the banks of Scotland''s Loch Ness, the opera is the story of the conflicting aspirations of naturalists and property-developers, with the mysterious Loch Ness monster, Nessie, caught between the opposing factions. In the opera, the song is an uplifting entreatment by the naturalists to the property-developers, to turn their land - on the banks of the loch - into a wildlife park, rather than a theme park. The song captivates the property-developers and eventually inspires them to create "The Loch Ness Wildlife Park".
In this arrangement, the words relating directly to Loch Ness have been re-written, particularly in the short middle section, which reflects the dire warnings of climate change. The outer sections are up-beat and largely unchanged, but the messages throughout are even more relevant today, thirty years after the original version. Peter Lawson
This choral arrangement is available in four versions:
Mixed Voice Choir SATB - GM351
Mixed Voice Choir SA+Men - GM352
Upper Voice Choir SSA - GM353
Male Voice Choir TTBB - GM354
The orchestral accompaniment for "Conservation!" is the same for all choral versions - see under GM351
Duration 3? minutes
Also available:-
The complete opera "Nessie" - GM350'|9790222315068|LAWSON|Peter Lawson|Conservation!|Choir - 3 part upper voices|?4.00|63
GM354|Peter Lawson
CONSERVATION! for TTBB choir
Goodmusic GM354|'TTBB choir with accompanmiment of piano or orchestra.
Conservation! is an adaptation of the "show-stopper" from my children''s opera, Nessie. Set on the banks of Scotland''s Loch Ness, the opera is the story of the conflicting aspirations of naturalists and property-developers, with the mysterious Loch Ness monster, Nessie, caught between the opposing factions. In the opera, the song is an uplifting entreatment by the naturalists to the property-developers, to turn their land - on the banks of the loch - into a wildlife park, rather than a theme park. The song captivates the property-developers and eventually inspires them to create "The Loch Ness Wildlife Park".
In this arrangement, the words relating directly to Loch Ness have been re-written, particularly in the short middle section, which reflects the dire warnings of climate change. The outer sections are up-beat and largely unchanged, but the messages throughout are even more relevant today, thirty years after the original version. Peter Lawson
This choral arrangement is available in four versions:
Mixed Voice Choir SATB - GM351
Mixed Voice Choir SA+Men - GM352
Upper Voice Choir SSA - GM353
Male Voice Choir TTBB - GM354
The orchestral accompaniment for "Conservation!" is the same for all choral versions - see under GM351
Duration 3? minutes
Also available:-
The complete opera "Nessie" - GM350'|9790222315075|LAWSON|Peter Lawson|Conservation!|Choir - Male voices|?4.00|63
GM355|Clive Jenkins
THREE PIECES FOR OBOE
Goodmusic GM355|Reduction for oboe and piano.
Oboist Michael Stowe, prize-winner, first class graduate (Guildhall 2019), entered the music profession when the 2020 covid pandemic shut down all avenues of employment - with one exception. Peter Fisher, director of the Chamber Ensemble of London, had three recording sessions booked at the Henry Wood Hall and offered to squeeze Michael in as a soloist if there was any time spare. Re-using themes from an old oboe concerto, I hastily wrote three very short oboe solos on the understanding that not all might be recorded. Fortunately, all three were! Clive Jenkins
The oboe and strings version is also available (GMCO179).
Duration 8? minutes|9790222315433|JENKINS C|Clive Jenkins|Three Pieces for Oboe|Oboe and piano|?5.00|112
GM356|Paul Lewis
VALSE LENTE
for Theremin (or Violin or Flute) and Piano
Goodmusic GM356|This haunting melody came out of the ether one day as if tailor-made for the theremin with its other-worldly quality, and is therefore dedicated to the eminent theremin virtuoso Charlie Draper. Valse Lente also sounds well on flute or violin. Paul Lewis
It is also available for solo harp (GM387), for basson or cello and harp (GM423) or for guitar and harp (GM501)
Duration 4 minutes
Footnote The theremin was invented in Russia by Lev Theremin and first demonstrated publicly in 1920. It is in effect a radio receiver with protruding antenna and metal loop employing high frequency circuits and oscillating valves to enable the instrument to be played, without contact, by means of hand movements that resemble a surreal digital ballet. The unearthly, almost human voice-like quality of its sound made the instrument a sine qua non for science fiction film composers in the 1950s.|9790222316027|LEWIS P|Paul Lewis|Valse Lente|Theremin +|?4.50|76
GM357|Paul Carr
DOUBLE CONCERTO for two saxophones
Goodmusic GM357|'J.S.Bach''s Double Violin Concerto has been "reimagined" by Paul Carr (definitely reimagined rather than arranged!) for two saxophones and orchestra. This is a reduction for two saxes and piano. Written for the brilliant young saxophonists Rob Burton and Vicent Bas Ibanez - first performances are scheduled for 2021, circumstances permitting.
Orchestration: Solo Soprano Saxophone, Solo Alto Saxophone, Flute, Oboe, Clarinet in Bb, Bassoon, Horn in F, Trumpet in Bb, Bass Trombone, Percussion (2 players: Vibraphone, Glockenspiel, Triangle, Snare Drum, Tenor Drum, Bass Drum, Castanets, Bongos, Cymbals), Harp and Strings: (Violin 1, Violin 2, Viola, Cello, Bass)
Orchestral material is available under reference GMCO180 where you can also hear the orchestral version
Duration 20 minutes'|9790222317505|CARR P|Paul Carr|Double Concerto 2xSax+Piano|Saxophone and piano|?10.75|197
GM358|Paul Carr
MIDWINTER for unaccompanied choir
Goodmusic GM358|'An excellent new setting of Christina Rossetti''s well-known text "In the Bleak Midwinter".
For unaccompanied mixed voice choir (SATB).
Note that this is a different setting of Rossetti''s words to the version that appears as a movement in Paul''s work "Four New Seasons".
Duration 5 minutes'|9790222318380|CARR P|Paul Carr|Midwinter|Choir - Mixed voices (SATB)|?2.00|25
GM359|Gustav Holst
THE HOLST SONGBOOK Volume 2 High Voice
Goodmusic GM359|'Gustav Holst composed solo songs for voice and piano at various stages of his career, but with an abundance from the late 1890s (towards the end of his student days) into the early 1900s. Richard Capell, writing in The Musical Times in January 1927, mentions that songs by Holst were appearing in the programmes of London recitals early in the 1900s and several early examples were heard in company with the first performances of Vaughan Williams'' Songs of Travel and The House of Life in 1904. Only a relatively small number of Holst''s songs were published and, of those that were, many have been out of print for some time. The Holst Songbook (in 4 volumes, published in versions for both high and low voice) brings together all the solo songs for the first time and presents a wonderful opportunity for these hitherto undiscovered gems to be performed and appreciated for the first time. And, we hope, recorded too.
Volume 2 includes 13 songs dating from the period 1896 to 1905. By the latter date Holst, born in 1874, would have been about 30 years of age, approaching his maturity as a composer and creating his own distinctive style. Holst''s daughter, Imogen, was fairly dismissive of much of her father''s early output and refused to use her H numbering sequence to such early works. Nevertheless, as all the songs in Volume 2 have been ascribed an H number, I think that we can safely assume that Imogen approved of them.
CONTENTS: Love''s Gleaning-Tide (Range: D-E); Song from Heine (D-A); Bhanavar''s Lament (E-F#); Ah, come, Fair Mistress (Db-G); She who is dear to me (F-G[F]); A Prayer for Light (C#-A); To a Wild Rose (D-F); Invocation to the Dawn (F-G); Fain would I change that note (Db-Ab); In a Wood (G#[B]-F#); Between us now (C-F); I will not let thee go (D-G); Darest thou now, O Soul (Bb-G#).
The audio sample is a computer-generated performance [no words!] with male soloist. See GM360 for the LOW voice version where the audio has a female voice.'|9790222319448|HOLST|Gustav Holst|Holst Songbook Volume 2 HIGH VOICE|Voice solo (with accompaniment)|?10.75|197
GM360|Gustav Holst
THE HOLST SONGBOOK Volume 2 Low Voice
Goodmusic GM360|'Gustav Holst composed solo songs for voice and piano at various stages of his career, but with an abundance from the late 1890s (towards the end of his student days) into the early 1900s. Richard Capell, writing in The Musical Times in January 1927, mentions that songs by Holst were appearing in the programmes of London recitals early in the 1900s and several early examples were heard in company with the first performances of Vaughan Williams'' Songs of Travel and The House of Life in 1904. Only a relatively small number of Holst''s songs were published and, of those that were, many have been out of print for some time. The Holst Songbook (in 4 volumes, published in versions for both high and low voice) brings together all the solo songs for the first time and presents a wonderful opportunity for these hitherto undiscovered gems to be performed and appreciated for the first time. And, we hope, recorded too.
Volume 2 includes 13 songs dating from the period 1896 to 1905. By the latter date Holst, born in 1874, would have been about 30 years of age, approaching his maturity as a composer and creating his own distinctive style. Holst''s daughter, Imogen, was fairly dismissive of much of her father''s early output and refused to use her H numbering sequence to such early works. Nevertheless, as all the songs in Volume 2 have been ascribed an H number, I think that we can safely assume that Imogen approved of them.
CONTENTS: Love''s Gleaning-Tide (Range: D-E); Song from Heine (A-E); Bhanavar''s Lament (D-E); Ah, come, Fair Mistress (Cb-F); She who is dear to me (Eb-F[E]); A Prayer for Light (A-F); To a Wild Rose (B-D); Invocation to the Dawn (D-E); Fain would I change that note (B-F#); In a Wood (G#[B]-F#); Between us now (A-D); I will not let thee go (Bb-Eb); Darest thou now, O Soul (Ab-F#)
The audio sample is a computer-generated performance [no words!] with female soloist. See GM359 for the HIGH voice version where the audio has a male voice.'|9790222319455|HOLST|Gustav Holst|Holst Songbook Volume 2 LOW VOICE|Voice solo (with accompaniment)|?10.75|197
GM362|Paul Lewis
GIRL WITH HARP AND ROSES for harp and strings
Goodmusic GM362|In December 2018, browsing in an antique shop, I discovered a hand-coloured photographic print, dated 1900, of a loosely attired maiden with long wavy pre-Raphaelite hair bearing roses and gazing languidly into the air by a harp remarkably similar to the 1887 Erard Gothic harp I had recently purchased.
Is she Erato, the Muse of Love Poetry, more often portrayed with a lyre? Is she Ophelia contemplating a watery grave? Or is she the spirit of the harp itself? Whatever or whomsoever she is, she is made all the more alluring by the presence of the harp, that most seductive of musical instruments. Together, maiden and harp inspired this composition.
The original version of Girl with Harp and Roses for solo harp (GM267) is dedicated to harpist Alexander Rider because he loves the picture too.
The version with added string parts was made for Israeli harpist Rachel Talitman and the Hatikva Quartet for a recording due to be released in 2021. Paul Lewis
Duration 4? minutes
Score and all parts are included.|9790222319769|LEWIS P|Paul Lewis|Girl with Harp and Roses (Harp+Str)|Harp|?6.00|101
GM363|Paul Carr
GO, LOVELY ROSE for mixed voice choir and piano
Goodmusic GM363|A superb new setting by Paul Carr of "Go, Lovely Rose" by Edmund Waller (1606-1687) for SATB choir and piano.
Duration 5 minutes|9790222320062|CARR P|Paul Carr|Go Lovely Rose|Choir - Mixed voices (SATB)|?2.75|38
GM364|Paul Carr
MUSIC, WHEN SOFT VOICES DIE for mixed voice choir
Goodmusic GM364|Beautiful new setting by Paul Carr of "Music, when soft voices die" by Percy Bysshe Shelley(1792-1822) for unaccompanied SATB choir.
Duration 5 minutes|9790222320253|CARR P|Paul Carr|Music When Soft Voices Die|Choir - Mixed voices (SATB)|?2.00|25
GM365|Paul Carr
HOW DO I LOVE THEE? for mixed voice choir and piano
Goodmusic GM365|'"How do I love thee? Let me count the ways........"
A new setting of Elizabeth Barrett Browning''s poem for SATB choir and piano by Paul Carr.
Duration about 4 minutes'|9790222320758|CARR P|Paul Carr|How Do I Love Thee?|Choir - Mixed voices (SATB)|?2.75|38
GM366|Gustav Holst
THE HOLST SONGBOOK Volume 3 High Voice
Goodmusic GM366|'Thirteen songs for high voice.
Gustav Holst composed solo songs for voice and piano at various stages of his career, but with an abundance from the late 1890s (towards the end of his student days) into the early 1900s. Richard Capell, writing in The Musical Times in January 1927, mentions that songs by Holst were appearing in the programmes of London recitals early in the 1900s and several early examples were heard in company with the first performances of Vaughan Williams'' Songs of Travel and The House of Life in 1904. Only a relatively small number of Holst''s songs were published and, of those that were, many have been out of print for some time. The Holst Songbook (in 4 volumes, published in versions for both high and low voice) brings together all the solo songs for the first time and presents a wonderful opportunity for these hitherto undiscovered gems to be performed and appreciated for the first time. And, we hope, recorded too.
Volume 3 includes one song dating from the 1890s, another from the 1900s, nine from the period 1906 to 1914 (precise date unknown) and two from 1906/07. Most of these songs were composed when Holst, born in 1874, had reached his maturity as a composer and created his own distinctive style. Holst''s daughter, Imogen, was fairly dismissive of much of her father''s early output and refused to use her H-numbering sequence for such early works (namely anything dating from 1894 or before). Of course, by that date Holst had reached his 20th birthday. Although Imogen was probably correct in her dismissal of some of these early works, it is a pity that she was so dismissive of everything predating 1895. Nevertheless, as all the songs in Volume 3 have been allocated an H-number, I think that we can safely assume that Imogen approved of them.
CONTENTS: Now Sleep and Take Thy Rest (Range Db-Gb); To Hope (D-F); Sovay (C-C);The Seeds of Love (C-D); The Female Farmer (D-F); Thorneyfield Woods (C-D); Moorfields (D-G); I Love My Love (C-F); Claudy Banks (D-G); On the Banks of the Nile (D-F); Here''s Adieu (D-D); Stu Mo Run (Eb-F); Ratri (Night) (C-D).
The audio sample is a computer-generated performance [no words!] with female soloist. See GM367 for the LOW voice version where the audio has a male voice.'|9790222321717|HOLST|Gustav Holst|Holst Songbook Volume 3 HIGH VOICE|Voice solo (with accompaniment)|?7.50|136
GM367|Gustav Holst
THE HOLST SONGBOOK Volume 3 Low Voice
Goodmusic GM367|'Thirteen songs for high voice.
Gustav Holst composed solo songs for voice and piano at various stages of his career, but with an abundance from the late 1890s (towards the end of his student days) into the early 1900s. Richard Capell, writing in The Musical Times in January 1927, mentions that songs by Holst were appearing in the programmes of London recitals early in the 1900s and several early examples were heard in company with the first performances of Vaughan Williams'' Songs of Travel and The House of Life in 1904. Only a relatively small number of Holst''s songs were published and, of those that were, many have been out of print for some time. The Holst Songbook (in 4 volumes, published in versions for both high and low voice) brings together all the solo songs for the first time and presents a wonderful opportunity for these hitherto undiscovered gems to be performed and appreciated for the first time. And, we hope, recorded too.
Volume 3 includes one song dating from the 1890s, another from the 1900s, nine from the period 1906 to 1914 (precise date unknown) and two from 1906/07. Most of these songs were composed when Holst, born in 1874, had reached his maturity as a composer and created his own distinctive style. Holst''s daughter, Imogen, was fairly dismissive of much of her father''s early output and refused to use her H-numbering sequence for such early works (namely anything dating from 1894 or before). Of course, by that date Holst had reached his 20th birthday. Although Imogen was probably correct in her dismissal of some of these early works, it is a pity that she was so dismissive of everything predating 1895. Nevertheless, as all the songs in Volume 3 have been allocated an H-number, I think that we can safely assume that Imogen approved of them.
CONTENTS: Now Sleep and Take Thy Rest (Range Bb-Eb); To Hope (B-D); Sovay (C-C);The Seeds of Love (C-D); The Female Farmer (B-D); Thorneyfield Woods (C-D); Moorfields (B-E); I Love My Love (A-D); Claudy Banks (B-E); On the Banks of the Nile (C-Eb); Here''s Adieu (D-D); Stu Mo Run (C-D); Ratri (Night) (C-D).
The audio sample is a computer-generated performance [no words!] with male soloist. See GM366 for the HIGH voice version where the audio has a female voice.'|9790222321724|HOLST|Gustav Holst|Holst Songbook Volume 3 LOW VOICE|Voice solo (with accompaniment)|?7.50|136
GM368|Gustav Holst
THE HOLST SONGBOOK Volume 4 High Voice
Goodmusic GM368|'Thirteen songs for high voice. Gustav Holst composed solo songs for voice and piano at various stages of his career, but with an abundance from the late 1890s (towards the end of his student days) into the early 1900s. Richard Capell, writing in The Musical Times in January 1927, mentions that songs by Holst were appearing in the programmes of London recitals early in the 1900s and several early examples were heard in company with the first performances of Vaughan Williams'' Songs of Travel and The House of Life in 1904. Only a relatively small number of Holst''s songs were published and, of those that were, many have been out of print for some time. The Holst Songbook (in 4 volumes, published in versions for both high and low voice) brings together all the solo songs for the first time and presents a wonderful opportunity for these hitherto undiscovered gems to be performed and appreciated for the first time. And, we hope, recorded too.
Volume 4 includes four songs dating from Holst''s relatively mature years, between the 1910s and 1929, and these complete the higher H numbers allocated by Imogen (his daughter) to the songs she considered worthy of being performed and possibly published. Imogen was fairly dismissive of much of her father''s early output and refused to use her H-numbering sequence for works dating from 1894 or earlier. This volume concludes with these early songs, now allocated H App numbers as a means of cataloguing.
CONTENTS: A Vigil of Pentecost (Range: C-F); May Day Carol (Db-Gb); The Ballad of Hunting Knowe (B-F); Epilogue (D-F); The Harper (D-A); I Come from Haunts of Coot and Hern (C#-E#); Sing Heigh-Ho (D-B[G]); A Lake and a Fairy Boat (E-F#); There Sits a Bird (D-A); Anna-Marie (B-G); The White Lady''s Farewell (C-G); The Coquette/Die Strode (D-A); There is Dew for the Flow''ret (D-E).
The audio sample is a computer-generated performance [no words!] with female soloist. See GM369 for the LOW voice version where the audio has a male voice.'|9790222321731|HOLST|Gustav Holst|Holst Songbook Volume 4 HIGH VOICE|Voice solo (with accompaniment)|?8.50|160
GM369|Gustav Holst
THE HOLST SONGBOOK Volume 4 Low Voice
Goodmusic GM369|'Thirteen songs for high voice. Gustav Holst composed solo songs for voice and piano at various stages of his career, but with an abundance from the late 1890s (towards the end of his student days) into the early 1900s. Richard Capell, writing in The Musical Times in January 1927, mentions that songs by Holst were appearing in the programmes of London recitals early in the 1900s and several early examples were heard in company with the first performances of Vaughan Williams'' Songs of Travel and The House of Life in 1904. Only a relatively small number of Holst''s songs were published and, of those that were, many have been out of print for some time. The Holst Songbook (in 4 volumes, published in versions for both high and low voice) brings together all the solo songs for the first time and presents a wonderful opportunity for these hitherto undiscovered gems to be performed and appreciated for the first time. And, we hope, recorded too.
Volume 4 includes four songs dating from Holst''s relatively mature years, between the 1910s and 1929, and these complete the higher H numbers allocated by Imogen (his daughter) to the songs she considered worthy of being performed and possibly published. Imogen was fairly dismissive of much of her father''s early output and refused to use her H-numbering sequence for works dating from 1894 or earlier. This volume concludes with these early songs, now allocated H App numbers as a means of cataloguing.
CONTENTS: A Vigil of Pentecost (Range: A-D); May Day Carol (Db-Gb); The Ballad of Hunting Knowe (B-F); Epilogue (B-D); The Harper (A-E); I Come from Haunts of Coot and Hern (B-D#); Sing Heigh-Ho (Bb-G[E]); A Lake and a Fairy Boat (C-D); There Sits a Bird (B-F#); Anna-Marie (B-G); The White Lady''s Farewell (Ab-Eb); The Coquette/Die Strode (Bb-F); There is Dew for the Flow''ret (D-E).
The audio sample is a computer-generated performance [no words!] with male soloist. See GM368 for the HIGH voice version where the audio has a female voice.'|9790222321748|HOLST|Gustav Holst|Holst Songbook Volume 4 LOW VOICE|Voice solo (with accompaniment)|?8.50|160
GM370|Paul Carr
SONG WITHIN for SATB choir, soprano sax and organ
Goodmusic GM370|'In 2019, I attended a concert given in Bath, in which the opening work was Handel''s Ode for the Birthday of Queen Anne. Having never heard this work before, I was totally transfixed by the simplicity and extreme radiance of the first movement, ''Eternal Source of Light Divine''. During the second Coronavirus lockdown I entered a competition at Canterbury Cathedral for works based on an existing piece of music, and scored for choir and organ with a solo saxophone, and this was the result - but alas it didn''t get selected, so I slightly revised and extended the piece a few months later.
As I was using Handel''s music as a basis for something new, I asked my friend and librettist, Euan Tait, for a four-line stanza to mirror the passionate praise of Ambrose Phillips'' original text, and then wove his words into a reimagining of Handel''s exquisite music. Paul Carr
Song Within
Our longing cry of song within
will sound again, as love still sings,
for love remains as love has been:
a passing flock, then distant wings.
Euan Tait
Scored for SATB choir with organ plus solo soprano saxophone. A separate saxophone part is available.
Duration 7? minutes'|9790222320840|CARR P|Paul Carr|Song Within|Choir - Vocal score|?2.75|38
GM370-01|||9790222320857|CARR P|Paul Carr|Song Within (Sax Part)|Saxophone|?3.50|13
GM371|Peter Lawson
STAR OF BETHLEHEM for SATB choir
Goodmusic GM371|'"Star of Bethlehem" is a set of three carols for Christmas and is a tribute to the memory of the late Kath Hayes with whom I collaborated on a number of projects, notably the recent "A Bed of Hay - Seven Carols for Christmas". In this I had set to music poems by Kath but although I wrote the words for the three Star of Bethlehem carols, they are partly in a similar style to that of Kath Hayes - in particular, recalling her love of animals and anthropomorphising their thoughts into human speech.
The carols, which can be performed individually or as a twelve-minute-long sequence, begin with Star of Bethlehem, in which the eponymous member of the lily family is discovered by a little lamb. The lily begs the lamb not to eat it and explains that it is named after the star which the shepherds saw and which the three wise men followed to find the baby Jesus. The lambs and sheep gather round and eagerly listen to the flower''s tale and are moved henceforth to respect it and let it grow in peace.
The second carol, A Wond''rous Night, recalls the chorus of angels singing and events that followed, as described by the flower in the first carol. The third carol, Come, Let''s Gather Mistletoe! juxtaposes secular verses describing the gathering of mistletoe to welcome Christmas guests, with the sacred reasons for the celebration. Peter Lawson
The carols can be performed with an orchestra accompaniment (see GMCO200) or with piano.
Four different choral versions are available:
SATB (GM371), SA+Men (GM372), SSA (GM373) or TTBB (GM374).
The orchestral parts are the same for whichever choir version is used.
Duration 12 minutes'|9790222321120|LAWSON|Peter Lawson|Star of Bethlehem|Choir - Mixed voices (SATB)|?5.50|88
GM372|Peter Lawson
STAR OF BETHLEHEM for SA+Men choir
Goodmusic GM372|'"Star of Bethlehem" is a set of three carols for Christmas and is a tribute to the memory of the late Kath Hayes with whom I collaborated on a number of projects, notably the recent "A Bed of Hay - Seven Carols for Christmas". In this I had set to music poems by Kath but although I wrote the words for the three Star of Bethlehem carols, they are partly in a similar style to that of Kath Hayes - in particular, recalling her love of animals and anthropomorphising their thoughts into human speech.
The carols, which can be performed individually or as a twelve-minute-long sequence, begin with Star of Bethlehem, in which the eponymous member of the lily family is discovered by a little lamb. The lily begs the lamb not to eat it and explains that it is named after the star which the shepherds saw and which the three wise men followed to find the baby Jesus. The lambs and sheep gather round and eagerly listen to the flower''s tale and are moved henceforth to respect it and let it grow in peace.
The second carol, A Wond''rous Night, recalls the chorus of angels singing and events that followed, as described by the flower in the first carol. The third carol, Come, Let''s Gather Mistletoe! juxtaposes secular verses describing the gathering of mistletoe to welcome Christmas guests, with the sacred reasons for the celebration. Peter Lawson
The carols can be performed with an orchestra accompaniment (see GMCO200) or with piano.
Four different choral versions are available:
SATB (GM371), SA+Men (GM372), SSA (GM373) or TTBB (GM374).
The orchestral parts are the same for whichever choir version is used.
Duration 12 minutes'|9790222321137|LAWSON|Peter Lawson|Star of Bethlehem|Choir - Mixed voices (SAMen)|?5.50|88
GM373|Peter Lawson
STAR OF BETHLEHEM for SSA choir
Goodmusic GM373|'"Star of Bethlehem" is a set of three carols for Christmas and is a tribute to the memory of the late Kath Hayes with whom I collaborated on a number of projects, notably the recent "A Bed of Hay - Seven Carols for Christmas". In this I had set to music poems by Kath but although I wrote the words for the three Star of Bethlehem carols, they are partly in a similar style to that of Kath Hayes - in particular, recalling her love of animals and anthropomorphising their thoughts into human speech.
The carols, which can be performed individually or as a twelve-minute-long sequence, begin with Star of Bethlehem, in which the eponymous member of the lily family is discovered by a little lamb. The lily begs the lamb not to eat it and explains that it is named after the star which the shepherds saw and which the three wise men followed to find the baby Jesus. The lambs and sheep gather round and eagerly listen to the flower''s tale and are moved henceforth to respect it and let it grow in peace.
The second carol, A Wond''rous Night, recalls the chorus of angels singing and events that followed, as described by the flower in the first carol. The third carol, Come, Let''s Gather Mistletoe! juxtaposes secular verses describing the gathering of mistletoe to welcome Christmas guests, with the sacred reasons for the celebration. Peter Lawson
The carols can be performed with an orchestra accompaniment (see GMCO200) or with piano.
Four different choral versions are available:
SATB (GM371), SA+Men (GM372), SSA (GM373) or TTBB (GM374).
The orchestral parts are the same for whichever choir version is used.
Duration 12 minutes'|9790222321144|LAWSON|Peter Lawson|Star of Bethlehem|Choir - 3 part upper voices|?5.50|88
GM374|Peter Lawson
STAR OF BETHLEHEM for TTBB choir
Goodmusic GM374|'"Star of Bethlehem" is a set of three carols for Christmas and is a tribute to the memory of the late Kath Hayes with whom I collaborated on a number of projects, notably the recent "A Bed of Hay - Seven Carols for Christmas". In this I had set to music poems by Kath but although I wrote the words for the three Star of Bethlehem carols, they are partly in a similar style to that of Kath Hayes - in particular, recalling her love of animals and anthropomorphising their thoughts into human speech.
The carols, which can be performed individually or as a twelve-minute-long sequence, begin with Star of Bethlehem, in which the eponymous member of the lily family is discovered by a little lamb. The lily begs the lamb not to eat it and explains that it is named after the star which the shepherds saw and which the three wise men followed to find the baby Jesus. The lambs and sheep gather round and eagerly listen to the flower''s tale and are moved henceforth to respect it and let it grow in peace.
The second carol, A Wond''rous Night, recalls the chorus of angels singing and events that followed, as described by the flower in the first carol. The third carol, Come, Let''s Gather Mistletoe! juxtaposes secular verses describing the gathering of mistletoe to welcome Christmas guests, with the sacred reasons for the celebration. Peter Lawson
The carols can be performed with an orchestra accompaniment (see GMCO200) or with piano.
Four different choral versions are available:
SATB (GM371), SA+Men (GM372), SSA (GM373) or TTBB (GM374).
The orchestral parts are the same for whichever choir version is used.
Duration 12 minutes'|9790222321151|LAWSON|Peter Lawson|Star of Bethlehem|Choir - Male voices|?5.50|88
GM375|'Peter Lawson
MARY''S PRAYER for SATB choir
Goodmusic GM375'|'"Mary''s Prayer" for choir and orchestra or piano is an unusual and beautifully simple, direct carol, recalling the Angel Gabriel''s message to the Virgin Mary that she was chosen to bear God''s son, who would be named Jesus. Her prayer forms the chorus - Mary asks that her little son be kept safe from those whom would shun his teachings. The carol can be performed with an orchestra accompaniment (see GMCO201) or with piano.
Four different choral versions are available:
SATB (GM375), SA+Men (GM376), SSA (GM377) or TTBB (GM378).
The orchestral parts are the same for whichever choir version is used.
Duration 5 minutes'|9790222321366|LAWSON|Peter Lawson|'Mary''s Prayer'|Choir - Mixed voices (SATB)|?2.00|25
GM376|'Peter Lawson
MARY''S PRAYER for SA+Men choir
Goodmusic GM376'|'"Mary''s Prayer" for choir and orchestra or piano is an unusual and beautifully simple, direct carol, recalling the Angel Gabriel''s message to the Virgin Mary that she was chosen to bear God''s son, who would be named Jesus. Her prayer forms the chorus - Mary asks that her little son be kept safe from those whom would shun his teachings. The carol can be performed with an orchestra accompaniment (see GMCO201) or with piano.
Four different choral versions are available:
SATB (GM375), SA+Men (GM376), SSA (GM377) or TTBB (GM378).
The orchestral parts are the same for whichever choir version is used.
Duration 5 minutes'|9790222321373|LAWSON|Peter Lawson|'Mary''s Prayer'|Choir - Mixed voices (SAMen)|?2.00|25
GM377|'Peter Lawson
MARY''S PRAYER for SSA choir
Goodmusic GM377'|'"Mary''s Prayer" for choir and orchestra or piano is an unusual and beautifully simple, direct carol, recalling the Angel Gabriel''s message to the Virgin Mary that she was chosen to bear God''s son, who would be named Jesus. Her prayer forms the chorus - Mary asks that her little son be kept safe from those whom would shun his teachings. The carol can be performed with an orchestra accompaniment (see GMCO201) or with piano.
Four different choral versions are available:
SATB (GM375), SA+Men (GM376), SSA (GM377) or TTBB (GM378).
The orchestral parts are the same for whichever choir version is used.
Duration 5 minutes'|9790222321380|LAWSON|Peter Lawson|'Mary''s Prayer'|Choir - 3 part upper voices|?2.00|25
GM378|'Peter Lawson
MARY''S PRAYER for TTBB choir
Goodmusic GM378'|'"Mary''s Prayer" for choir and orchestra or piano is an unusual and beautifully simple, direct carol, recalling the Angel Gabriel''s message to the Virgin Mary that she was chosen to bear God''s son, who would be named Jesus. Her prayer forms the chorus - Mary asks that her little son be kept safe from those whom would shun his teachings. The carol can be performed with an orchestra accompaniment (see GMCO201) or with piano.
Four different choral versions are available:
SATB (GM375), SA+Men (GM376), SSA (GM377) or TTBB (GM378).
The orchestral parts are the same for whichever choir version is used.
Duration 5 minutes'|9790222321397|LAWSON|Peter Lawson|'Mary''s Prayer'|Choir - Male voices|?2.00|25
GM379|Peter Lawson
THIS BRIGHTEST OF DAYS! for SATB choir
Goodmusic GM379|"Christ is born, this brightest of days!"
A Carol for Christmas for choir and orchestra or piano.
This Brightest of Days! is a rousing, uplifting carol, rich in dramatic contrast of music in joyous praise of the events surrounding the holy birth that Christmas morning, alternating with tender sections referring to the serenity of the stable in Bethlehem.
The carol can be performed with an orchestra accompaniment (see GMCO202) or with piano.
Four different choral versions are available:
SATB (GM379), SA+Men (GM380), SSA (GM381) or TTBB (GM382).
The orchestral parts are the same for whichever choir version is used.
Duration 4 minutes|9790222321663|LAWSON|Peter Lawson|This Brightest of Days!|Choir - Mixed voices (SATB)|?2.75|38
GM380|Peter Lawson
THIS BRIGHTEST OF DAYS! for SA+Men choir
Goodmusic GM380|"Christ is born, this brightest of days!"
A Carol for Christmas for choir and orchestra or piano.
This Brightest of Days! is a rousing, uplifting carol, rich in dramatic contrast of music in joyous praise of the events surrounding the holy birth that Christmas morning, alternating with tender sections referring to the serenity of the stable in Bethlehem.
The carol can be performed with an orchestra accompaniment (see GMCO202) or with piano.
Four different choral versions are available:
SATB (GM379), SA+Men (GM380), SSA (GM381) or TTBB (GM382).
The orchestral parts are the same for whichever choir version is used.
Duration 4 minutes|9790222321670|LAWSON|Peter Lawson|This Brightest of Days!|Choir - Mixed voices (SAMen)|?2.75|38
GM381|Peter Lawson
THIS BRIGHTEST OF DAYS! for SSA choir
Goodmusic GM381|"Christ is born, this brightest of days!"
A Carol for Christmas for choir and orchestra or piano.
This Brightest of Days! is a rousing, uplifting carol, rich in dramatic contrast of music in joyous praise of the events surrounding the holy birth that Christmas morning, alternating with tender sections referring to the serenity of the stable in Bethlehem.
The carol can be performed with an orchestra accompaniment (see GMCO202) or with piano.
Four different choral versions are available:
SATB (GM379), SA+Men (GM380), SSA (GM381) or TTBB (GM382).
The orchestral parts are the same for whichever choir version is used.
Duration 4 minutes|9790222321687|LAWSON|Peter Lawson|This Brightest of Days!|Choir - 3 part upper voices|?2.75|38
GM382|Peter Lawson
THIS BRIGHTEST OF DAYS! for TTBB choir
Goodmusic GM382|"Christ is born, this brightest of days!"
A Carol for Christmas for choir and orchestra or piano.
This Brightest of Days! is a rousing, uplifting carol, rich in dramatic contrast of music in joyous praise of the events surrounding the holy birth that Christmas morning, alternating with tender sections referring to the serenity of the stable in Bethlehem.
The carol can be performed with an orchestra accompaniment (see GMCO202) or with piano.
Four different choral versions are available:
SATB (GM379), SA+Men (GM380), SSA (GM381) or TTBB (GM382).
The orchestral parts are the same for whichever choir version is used.
Duration 4 minutes|9790222321694|LAWSON|Peter Lawson|This Brightest of Days!|Choir - Male voices|?2.75|38
GM383|Paul Lewis
IMPROVISATIONS ON "THE ASH GROVE" for harp
Goodmusic GM383|Four short improvisations on the popular Welsh air, framed by an even briefer Introduction and Coda.
INTRODUCTION: In Celtic mythology the ash is associated with fairies. The Introduction, entirely in harmonics, sets an atmosphere of fairy magic.
IMPROVISATION 1: Lyrical and idyllic. The theme is decorated with triplets and grace notes.
IMPROVISATION 2: The ash was said to have healing properties for the very young. This extrovert waltz suggests children dancing happily through an ash grove.
IMPROVISATION 3: Lonely and pensive. A minor key movement, as of one seeking solace among the ash trees.
IMPROVISATION 4: Another waltz, this time in upbeat jazz style.
CODA: We return to the fairy world of the Introduction, with gentle bell-like harmonics.
The work is affectionately dedicated to harpist Sioned Williams. Paul Lewis
Duration about 5? minutes|9790222321700|LEWIS P|Paul Lewis|Improvisations on The Ash Grove|Harp|?4.50|76
GM384|Paul Lewis
AUBADE for two harps
Goodmusic GM384|A melody written long ago lies sleeping, unheard.
Morning sunlight glints across the seashore.
The friendship of two divinely talented harpists
Kisses the melody back to life.
Aubade is dedicated to Maia Darme and Alexander Rider. Paul Lewis
Duration 3? minutes
Harp 1 plays from the score, a separate Harp 2 part is included.|9790222321762|LEWIS P|Paul Lewis|Aubade for two harps|Harp Duo|?5.00|88
GM385|Paul Lewis
ADIEU MICHEL for voice and harp
Goodmusic GM385|'Since my teenage years the music of French composer Michel Legrand has been a source of joy and inspiration. When I heard of his death in January 2019 I went straight to the piano and found this melody waiting beneath my fingertips. It is a gentle tribute to a musical hero, suggestive of a French ballad or movie theme from the 1960s when I first discovered Legrand''s music. Paul Lewis
Duration 4 minutes
Adieu Michel, le grand maitre
Qui m''inspirait toute ma vie,
C''est pour vous que je compose
Cette petite melodie.
Also available in versions for solo harp (GM302), two harps (GM320) and for four-part harp ensemble (GM303).'|9790222321755|LEWIS P|Paul Lewis|Adieu Michel (Voice & Harp)|Voice solo (with accompaniment)|?4.50|76
GM386|Peter Lawson
WEDDING RHAPSODY - Hodsock Priory - for piano
Goodmusic GM386|'A rhapsody for solo piano around Grade 7-8 standard.
This was written for my niece, Charlotte Tobin, for her wedding to Liam Ward. It was composed to capture and embrace the wonder of love and marriage and also to reflect the long and illustrious history of the wedding venue, Hodsock Priory.
The Rhapsody begins with a theme depicting the Priory, with its noble grandeur and endearing past. After two minutes or so, a dramatic key change ushers in a second, interrelated theme for the bride and groom. A decorated variant of this love theme broadens out to a nobilmente depiction of the Tudor gatehouse and grand vista of the main building before concluding quietly with the return of the Hodsock theme. Just like the Priory itself, so does marriage mellow and endure. Peter Lawson
Duration 7 minutes
The audio here is a computer-generated performance. An actual (much better!) performance played by Peter Lawson is available to stream or download from Amazon Music, Apple Music, iTunes, Spotify and many other platforms.(Available August 2021)
Hodsock Priory, situated in north Nottinghamshire, near the border with South Yorkshire, is set in 800 acres of beautiful grounds. People were living at Hodsock over two thousand years ago. As a building, it was listed in the Domesday Book of 1086. It has been much added to over the years, notably the grand gatehouse in Tudor times, celebrating the visit of Henry VIII in 1541. It was handed down from generation to generation until 1765, when it was sold to William Mellish who also owned the nearby Blyth Hall. Major alterations and improvements were carried out by subsequent generations, notably from 1854, by William Leigh Mellish''s widow, Margaret. She was the wealthy Canadian daughter of Sir William Cunard of ocean liner fame and was responsible for substantial remodelling of the Priory, which has remained essentially the same until the present day. It is currently owned by Sir Andrew and Lady Belinda Buchanan, who, in 2006, invited George and Katharine Buchanan to open up Hodsock Priory as an esteemed and spectacular venue for weddings and corporate events.'|9790222321779|LAWSON|Peter Lawson|Wedding Rhapsody - Hodsock Priory|Piano - Solo|?4.00|63
GM387|Paul Lewis
VALSE LENTE for solo harp
Goodmusic GM387|Valse Lente was inspired by a film scenario by actor Tom Burke and was first published as a theremin (or violin or flute) solo with piano accompaniment (Goodmusic GM356). It is also available for guitar and harp (GM501) or for basson or cello and harp (GM423).
This solo harp version was made for harpist Alexander Rider. Paul Lewis
Duration 4 minutes|9790222321786|LEWIS P|Paul Lewis|Valse Lente|Harp|?4.00|63
GM388|Paul Lewis
CANTILENA for solo harp
Goodmusic GM388|'Cantilena is the love theme from the first and last movements of my Concerto Romantico for harp and strings. It is presented here as a solo piece for harpists who may wish to play it without the assistance of a string orchestra!
The melody was written in the mid 1990s when it was suggested that I might compose the score for a movie set during and after World War Two. The film was never made and a few years later I sketched improvisations on the theme for a harp and orchestra CD which in turn was never recorded. The melody haunted me thereafter and perfectly fitted harpist Rachel Talitman''s brief for a romantic concerto for her 2021 CD Paul Lewis - Romantic Music for Harp and Strings. Paul Lewis
Duration about 3? minutes'|9790222321793|LEWIS P|Paul Lewis|Cantilena|Harp|?4.00|63
GM389|Peter Lawson
WIZARD! Vocal Score
Goodmusic GM389|'Wizard! is a 45 minute cantata originally written in 1980 for year-six juniors in a school in the East End of London, at which I taught for many happy years. The words were written by Katherine Hayes, who taught drama and poetry there. The story line is based upon a Grimms'' Fairy Tale. In 1986, it was performed in the Fairfield Hall, Croydon, by the combined forces of twenty-three local school choirs. In 2021, I revised the piece for this new edition. Peter Lawson
Soloists: King Reckless, Merlin, Brangwyn, Miller''s Wife, Five Elves/Fairies, Charon
Plus: Courtiers, Wizards, Soldiers, Imps & Chorus (unison & two-part) with piano accompaniment.
SYNOPSIS
This is the story of a King Reckless, who, in the opening number, appears overjoyed at having a baby daughter, Sophia, but, as time goes on, reveals a truly wicked side to his character. When he hears, through one of his Wizards, that his daughter will eventually marry a common soldier, he decides to intervene, just after the birth of the soldier-to-be, by throwing the baby, Will, into the river.
Twenty years later, he discovers that Will did not drown, but was rescued by a childless couple, who brought him up as if he was their own. The King tricks Will into going to the palace with a sealed letter to take to the Queen as a reward. The message reads: "This man is dangerous. Have him put to death." On his way to the palace, Will is set upon by robbers. They open his letter, take pity on him and change it to: "This admirable man must be married to the Princess without delay".
Reckless returns to find that Will and Sophia have become husband and wife. He cunningly declares Will as King in place, providing he can perform a task, namely fetching three hairs from the Devil''s head. The King does not believe Will will return.
Will sets out across the river Styx into hell, ferried by Charon, condemned forever to ferrying sinners across the river. Will persuades the Devil''s Granny to snip three curls from the Devil''s head and manages to overhear the secret of the spell which prevents Charon escaping. Apparently, if Charon gives his cap to someone else, that person becomes the ferryman. The Devil let slip the secret of how to make a certain tree grow golden apples. Will returns with golden apples and tricks King Reckless into thinking that he, too, will have access to the apple tree if he asks for Charon''s cap ... so off he goes!
Chorus part GM389-C also available.'|9790222321809|LAWSON|Peter Lawson|Wizard!|Choir - Vocal score|?10.00|184
GM389-C|||9790222321816|LAWSON|Peter Lawson|Wizard! Chorus Score|Choir - Vocal score|?4.00|63
GM390|Ivor Novello
KEEP THE HOME FIRES BURNING for SATB choir
Goodmusic GM390|'Ivor Novello was born David Ivor Davies, the son of David Davies and Clara Novello Davies in Cardiff in 1893. His father worked for the rent-collecting department of Cardiff City Council, while his mother, whose parents were both musical, was a well-known singing teacher and formed what became the Royal Welsh Ladies'' Choir, which she conducted with considerable success, under the name of Madame Clara Novello Davies, sometimes with her son as pianist, now adopting the stage name Ivor Novello.
In 1910, Ivor had his first song published and after the outbreak of war in 1914, Clara tried to persuade her son to write a patriotic song. He refused at first, but Clara had other ideas and composed a song herself, which was so crass that Ivor decided he would write a better one, which was the precise reaction Clara had intended all along! Ivor scribbled a few lines to go with the tune and a family friend, an American lady writer, Lena Guilbert Ford, completed the words. A few weeks later, it was first performed at the Alhambra Theatre, Leicester Square, by Miss Sybil Vane, accompanied by Ivor Novello, to huge success, with the audience joining in and thus launching Ivor to immediate stardom. Mrs Ford had no business sense and never received any royalties - and with sad irony, died when a bomb from a Zeppelin raid dropped on her Maida Vale house in 1918.
"Till the Boys Come Home" was the original title, but it gradually became known by the first rather than the last line of its refrain, namely, "Keep the Home Fires Burning". In this arrangement for choir, the Soprano (or Tenor) Solo begins and is gradually joined by the chorus, at first in ''commenting'' phrases during gaps and held notes, before taking over. There were some alternative versions published to a few of the lines, which gave the song a more general appeal, rather than referring specifically to England and the Great War and it is these alternatives which are used in this arrangement. The song also enjoyed great popularity through many well-known artists such as John McCormack recording it and it retained its popularity throughout World War Two and onwards.
This is available in four different versions: SATB (GM390), SA+Men (GM391), SSA (GM392) or TTBB (GM393).Accompaniment is either by piano or with orchestra (see GMCP022)
Duration 4 minutes'|9790222322073|NOVELLO|Ivor Novello|Keep the Home Fires Burning|Choir - Mixed voices (SATB)|?2.75|38
GM391|Ivor Novello
KEEP THE HOME FIRES BURNING for SA+Men Choir
Goodmusic GM391|'Ivor Novello was born David Ivor Davies, the son of David Davies and Clara Novello Davies in Cardiff in 1893. His father worked for the rent-collecting department of Cardiff City Council, while his mother, whose parents were both musical, was a well-known singing teacher and formed what became the Royal Welsh Ladies'' Choir, which she conducted with considerable success, under the name of Madame Clara Novello Davies, sometimes with her son as pianist, now adopting the stage name Ivor Novello.
In 1910, Ivor had his first song published and after the outbreak of war in 1914, Clara tried to persuade her son to write a patriotic song. He refused at first, but Clara had other ideas and composed a song herself, which was so crass that Ivor decided he would write a better one, which was the precise reaction Clara had intended all along! Ivor scribbled a few lines to go with the tune and a family friend, an American lady writer, Lena Guilbert Ford, completed the words. A few weeks later, it was first performed at the Alhambra Theatre, Leicester Square, by Miss Sybil Vane, accompanied by Ivor Novello, to huge success, with the audience joining in and thus launching Ivor to immediate stardom. Mrs Ford had no business sense and never received any royalties - and with sad irony, died when a bomb from a Zeppelin raid dropped on her Maida Vale house in 1918.
"Till the Boys Come Home" was the original title, but it gradually became known by the first rather than the last line of its refrain, namely, "Keep the Home Fires Burning". In this arrangement for choir, the Soprano (or Tenor) Solo begins and is gradually joined by the chorus, at first in ''commenting'' phrases during gaps and held notes, before taking over. There were some alternative versions published to a few of the lines, which gave the song a more general appeal, rather than referring specifically to England and the Great War and it is these alternatives which are used in this arrangement. The song also enjoyed great popularity through many well-known artists such as John McCormack recording it and it retained its popularity throughout World War Two and onwards.
This is available in four different versions: SATB (GM390), SA+Men (GM391), SSA (GM392) or TTBB (GM393).Accompaniment is either by piano or with orchestra (see GMCP022)
Duration 4 minutes'|9790222322080|NOVELLO|Ivor Novello|Keep the Home Fires Burning|Choir - Mixed voices (SAMen)|?2.75|38
GM392|Ivor Novello
KEEP THE HOME FIRES BURNING for SSA choir
Goodmusic GM392|'Ivor Novello was born David Ivor Davies, the son of David Davies and Clara Novello Davies in Cardiff in 1893. His father worked for the rent-collecting department of Cardiff City Council, while his mother, whose parents were both musical, was a well-known singing teacher and formed what became the Royal Welsh Ladies'' Choir, which she conducted with considerable success, under the name of Madame Clara Novello Davies, sometimes with her son as pianist, now adopting the stage name Ivor Novello.
In 1910, Ivor had his first song published and after the outbreak of war in 1914, Clara tried to persuade her son to write a patriotic song. He refused at first, but Clara had other ideas and composed a song herself, which was so crass that Ivor decided he would write a better one, which was the precise reaction Clara had intended all along! Ivor scribbled a few lines to go with the tune and a family friend, an American lady writer, Lena Guilbert Ford, completed the words. A few weeks later, it was first performed at the Alhambra Theatre, Leicester Square, by Miss Sybil Vane, accompanied by Ivor Novello, to huge success, with the audience joining in and thus launching Ivor to immediate stardom. Mrs Ford had no business sense and never received any royalties - and with sad irony, died when a bomb from a Zeppelin raid dropped on her Maida Vale house in 1918.
"Till the Boys Come Home" was the original title, but it gradually became known by the first rather than the last line of its refrain, namely, "Keep the Home Fires Burning". In this arrangement for choir, the Soprano (or Tenor) Solo begins and is gradually joined by the chorus, at first in ''commenting'' phrases during gaps and held notes, before taking over. There were some alternative versions published to a few of the lines, which gave the song a more general appeal, rather than referring specifically to England and the Great War and it is these alternatives which are used in this arrangement. The song also enjoyed great popularity through many well-known artists such as John McCormack recording it and it retained its popularity throughout World War Two and onwards.
This is available in four different versions: SATB (GM390), SA+Men (GM391), SSA (GM392) or TTBB (GM393).Accompaniment is either by piano or with orchestra (see GMCP022)
Duration 4 minutes'|9790222322097|NOVELLO|Ivor Novello|Keep the Home Fires Burning|Choir - 3 part upper voices|?2.75|38
GM393|Ivor Novello
KEEP THE HOME FIRES BURNING for male voice choir
Goodmusic GM393|'Ivor Novello was born David Ivor Davies, the son of David Davies and Clara Novello Davies in Cardiff in 1893. His father worked for the rent-collecting department of Cardiff City Council, while his mother, whose parents were both musical, was a well-known singing teacher and formed what became the Royal Welsh Ladies'' Choir, which she conducted with considerable success, under the name of Madame Clara Novello Davies, sometimes with her son as pianist, now adopting the stage name Ivor Novello.
In 1910, Ivor had his first song published and after the outbreak of war in 1914, Clara tried to persuade her son to write a patriotic song. He refused at first, but Clara had other ideas and composed a song herself, which was so crass that Ivor decided he would write a better one, which was the precise reaction Clara had intended all along! Ivor scribbled a few lines to go with the tune and a family friend, an American lady writer, Lena Guilbert Ford, completed the words. A few weeks later, it was first performed at the Alhambra Theatre, Leicester Square, by Miss Sybil Vane, accompanied by Ivor Novello, to huge success, with the audience joining in and thus launching Ivor to immediate stardom. Mrs Ford had no business sense and never received any royalties - and with sad irony, died when a bomb from a Zeppelin raid dropped on her Maida Vale house in 1918.
"Till the Boys Come Home" was the original title, but it gradually became known by the first rather than the last line of its refrain, namely, "Keep the Home Fires Burning". In this arrangement for choir, the Soprano (or Tenor) Solo begins and is gradually joined by the chorus, at first in ''commenting'' phrases during gaps and held notes, before taking over. There were some alternative versions published to a few of the lines, which gave the song a more general appeal, rather than referring specifically to England and the Great War and it is these alternatives which are used in this arrangement. The song also enjoyed great popularity through many well-known artists such as John McCormack recording it and it retained its popularity throughout World War Two and onwards.
This is available in four different versions: SATB (GM390), SA+Men (GM391), SSA (GM392) or TTBB (GM393).Accompaniment is either by piano or with orchestra (see GMCP022)
Duration 4 minutes'|9790222322103|NOVELLO|Ivor Novello|Keep the Home Fires Burning|Choir - Male voices|?2.75|38
GM394|Ivor Novello
PERCHANCE TO DREAM SELECTION for SATB choir
Goodmusic GM394|'"We''ll Gather Lilacs", "Love is My Reason" and "Highwayman Love".
Of all of Ivor Novello''s hugely-successful musicals, "Perchance to Dream" received the longest run of performances, 1020 in all, at the London Hippodrome, starting in April 1945. The smash hit was "We''ll Gather Lilacs", which resonated with the feeling that the war in Europe was nearly over and that many were soon to be reunited with their loved ones after long absences. The song was published separately just before the musical was launched and Ivor was well aware that he might be able to match the success that "Keep the Home Fires Burning" had had in the Great War.
The story centres around a country house called Huntersmoon and the events happening there from the Regency period, (Act 1), the Victorian period (Act 2) and Modern Times, which ends Act 2. Some actors, Ivor Novello included, thus played three characters. "We''ll Gather Lilacs" appears in the Victorian period as a duet between Veronica (Muriel Barron) and Mrs Bridport (Olive Gilbert).
In this choral arrangement there are three alternatives given for performance, bearing in mind that the sheet music version has two verses, neither of which appear in the musical, but will be familiar to many. For this version, follow the instructions in the score. To keep with the cast recording from the musical, after the eight-bar introduction, omit the verses as instructed. However, a third alternative is to carry straight on throughout, omitting verse 2 - thus getting the best of both worlds!
In the second arrangement, "Love is my Reason", both the sheet music and the musical''s score begin and end with the refrain, with a solitary verse in the middle, but the original cast recording abridges the first refrain, as does this arrangement. The song appears near the beginning of Act 1, sung by Lydia Lyddington (Muriel Barron).
The third song is "Highwayman Love", sung, with suitable gusto, in Act 1 by Ernestine Flavelle (Olive Gilbert, augmented by a male chorus of Highwaymen). Love is compared to a Highwayman, holding hearts to ransom with his arrows and cries of "Stand and deliver!" Fanciful stuff!
Duration 12 minutes
This is available in four different versions: SATB (GM394), SA+Men (GM395), SSA (GM396) or TTBB (GM397).Accompaniment is either by piano or with orchestra (see GMCP023)
"We''ll Gather Lilacs" is also published separately - GMCP024, GM398/GM399/GM400/GM401.'|9790222322370|NOVELLO|Ivor Novello|Perchance to Dream|Choir - Mixed voices (SATB)|?6.25|100
GM395|Ivor Novello
PERCHANCE TO DREAM SELECTION for SA+Men choir
Goodmusic GM395|'"We''ll Gather Lilacs", "Love is My Reason" and "Highwayman Love".
Of all of Ivor Novello''s hugely-successful musicals, "Perchance to Dream" received the longest run of performances, 1020 in all, at the London Hippodrome, starting in April 1945. The smash hit was "We''ll Gather Lilacs", which resonated with the feeling that the war in Europe was nearly over and that many were soon to be reunited with their loved ones after long absences. The song was published separately just before the musical was launched and Ivor was well aware that he might be able to match the success that "Keep the Home Fires Burning" had had in the Great War.
The story centres around a country house called Huntersmoon and the events happening there from the Regency period, (Act 1), the Victorian period (Act 2) and Modern Times, which ends Act 2. Some actors, Ivor Novello included, thus played three characters. "We''ll Gather Lilacs" appears in the Victorian period as a duet between Veronica (Muriel Barron) and Mrs Bridport (Olive Gilbert).
In this choral arrangement there are three alternatives given for performance, bearing in mind that the sheet music version has two verses, neither of which appear in the musical, but will be familiar to many. For this version, follow the instructions in the score. To keep with the cast recording from the musical, after the eight-bar introduction, omit the verses as instructed. However, a third alternative is to carry straight on throughout, omitting verse 2 - thus getting the best of both worlds!
In the second arrangement, "Love is my Reason", both the sheet music and the musical''s score begin and end with the refrain, with a solitary verse in the middle, but the original cast recording abridges the first refrain, as does this arrangement. The song appears near the beginning of Act 1, sung by Lydia Lyddington (Muriel Barron).
The third song is "Highwayman Love", sung, with suitable gusto, in Act 1 by Ernestine Flavelle (Olive Gilbert, augmented by a male chorus of Highwaymen). Love is compared to a Highwayman, holding hearts to ransom with his arrows and cries of "Stand and deliver!" Fanciful stuff!
Duration 12 minutes
This is available in four different versions: SATB (GM394), SA+Men (GM395), SSA (GM396) or TTBB (GM397).Accompaniment is either by piano or with orchestra (see GMCP023)
"We''ll Gather Lilacs" is also published separately - GMCP024, GM398/GM399/GM400/GM401.'|9790222322387|NOVELLO|Ivor Novello|Perchance to Dream|Choir - Mixed voices (SAMen)|?6.25|100
GM396|Ivor Novello
PERCHANCE TO DREAM SELECTION for SSA choir
Goodmusic GM396|'"We''ll Gather Lilacs", "Love is My Reason" and "Highwayman Love".
Of all of Ivor Novello''s hugely-successful musicals, "Perchance to Dream" received the longest run of performances, 1020 in all, at the London Hippodrome, starting in April 1945. The smash hit was "We''ll Gather Lilacs", which resonated with the feeling that the war in Europe was nearly over and that many were soon to be reunited with their loved ones after long absences. The song was published separately just before the musical was launched and Ivor was well aware that he might be able to match the success that "Keep the Home Fires Burning" had had in the Great War.
The story centres around a country house called Huntersmoon and the events happening there from the Regency period, (Act 1), the Victorian period (Act 2) and Modern Times, which ends Act 2. Some actors, Ivor Novello included, thus played three characters. "We''ll Gather Lilacs" appears in the Victorian period as a duet between Veronica (Muriel Barron) and Mrs Bridport (Olive Gilbert).
In this choral arrangement there are three alternatives given for performance, bearing in mind that the sheet music version has two verses, neither of which appear in the musical, but will be familiar to many. For this version, follow the instructions in the score. To keep with the cast recording from the musical, after the eight-bar introduction, omit the verses as instructed. However, a third alternative is to carry straight on throughout, omitting verse 2 - thus getting the best of both worlds!
In the second arrangement, "Love is my Reason", both the sheet music and the musical''s score begin and end with the refrain, with a solitary verse in the middle, but the original cast recording abridges the first refrain, as does this arrangement. The song appears near the beginning of Act 1, sung by Lydia Lyddington (Muriel Barron).
The third song is "Highwayman Love", sung, with suitable gusto, in Act 1 by Ernestine Flavelle (Olive Gilbert, augmented by a male chorus of Highwaymen). Love is compared to a Highwayman, holding hearts to ransom with his arrows and cries of "Stand and deliver!" Fanciful stuff!
Duration 12 minutes
This is available in four different versions: SATB (GM394), SA+Men (GM395), SSA (GM396) or TTBB (GM397).Accompaniment is either by piano or with orchestra (see GMCP023)
"We''ll Gather Lilacs" is also published separately - GMCP024, GM398/GM399/GM400/GM401.'|9790222322394|NOVELLO|Ivor Novello|Perchance to Dream|Choir - 3 part upper voices|?6.25|100
GM397|Ivor Novello
PERCHANCE TO DREAM for male voice choir
Goodmusic GM397|'"We''ll Gather Lilacs", "Love is My Reason" and "Highwayman Love".
Of all of Ivor Novello''s hugely-successful musicals, "Perchance to Dream" received the longest run of performances, 1020 in all, at the London Hippodrome, starting in April 1945. The smash hit was "We''ll Gather Lilacs", which resonated with the feeling that the war in Europe was nearly over and that many were soon to be reunited with their loved ones after long absences. The song was published separately just before the musical was launched and Ivor was well aware that he might be able to match the success that "Keep the Home Fires Burning" had had in the Great War.
The story centres around a country house called Huntersmoon and the events happening there from the Regency period, (Act 1), the Victorian period (Act 2) and Modern Times, which ends Act 2. Some actors, Ivor Novello included, thus played three characters. "We''ll Gather Lilacs" appears in the Victorian period as a duet between Veronica (Muriel Barron) and Mrs Bridport (Olive Gilbert).
In this choral arrangement there are three alternatives given for performance, bearing in mind that the sheet music version has two verses, neither of which appear in the musical, but will be familiar to many. For this version, follow the instructions in the score. To keep with the cast recording from the musical, after the eight-bar introduction, omit the verses as instructed. However, a third alternative is to carry straight on throughout, omitting verse 2 - thus getting the best of both worlds!
In the second arrangement, "Love is my Reason", both the sheet music and the musical''s score begin and end with the refrain, with a solitary verse in the middle, but the original cast recording abridges the first refrain, as does this arrangement. The song appears near the beginning of Act 1, sung by Lydia Lyddington (Muriel Barron).
The third song is "Highwayman Love", sung, with suitable gusto, in Act 1 by Ernestine Flavelle (Olive Gilbert, augmented by a male chorus of Highwaymen). Love is compared to a Highwayman, holding hearts to ransom with his arrows and cries of "Stand and deliver!" Fanciful stuff!
Duration 12 minutes
This is available in four different versions: SATB (GM394), SA+Men (GM395), SSA (GM396) or TTBB (GM397).Accompaniment is either by piano or with orchestra (see GMCP023)
"We''ll Gather Lilacs" is also published separately - GMCP024, GM398/GM399/GM400/GM401.'|9790222322400|NOVELLO|Ivor Novello|Perchance to Dream|Choir - Male voices|?6.25|100
GM398|'Ivor Novello
WE''LL GATHER LILACS for SATB choir
Goodmusic GM398'|'Of all of Ivor Novello''s hugely-successful musicals, "Perchance to Dream" received the longest run of performances, 1020 in all, at the London Hippodrome, starting in April 1945. The smash hit was "We''ll Gather Lilacs", which resonated with the feeling that the war in Europe was nearly over and that many were soon to be reunited with their loved ones after long absences. The song was published separately just before the musical was launched and Ivor was well aware that he might be able to match the success that "Keep the Home Fires Burning" had had in the Great War.
The story centres around a country house called Huntersmoon and the events happening there from the Regency period, (Act 1), the Victorian period (Act 2) and Modern Times, which ends Act 2. Some actors, Ivor Novello included, thus played three characters. "We''ll Gather Lilacs" appears in the Victorian period as a duet between Veronica (Muriel Barron) and Mrs Bridport (Olive Gilbert).
In this choral arrangement there are three alternatives given for performance, bearing in mind that the sheet music version has two verses, neither of which appear in the musical, but will be familiar to many. For this version, follow the instructions in the score. To keep with the cast recording from the musical, after the eight-bar introduction, omit the verses as instructed. However, a third alternative is to carry straight on throughout, omitting verse 2 - thus getting the best of both worlds!
Such was the popularity of Ivor Novello, over ten thousand people, including Lady Churchill, lined the streets on the route from central London to the site of his funeral at Golders Green Cemetery, where Olive Gilbert sang "We''ll Gather Lilacs". The last two lines of the song were subsequently engraved on Ivor''s headstone.
Duration 6 minutes
This is available in four different versions: SATB (GM398), SA+Men (GM399), SSA (GM400) or TTBB (GM401).Accompaniment is either by piano or with orchestra (see GMCP024).'|9790222322684|NOVELLO|Ivor Novello|'We''ll Gather Lilacs'|Choir - Mixed voices (SATB)|?3.50|50
GM399|'Ivor Novello
WE''LL GATHER LILACS for SA+Men Choir
Goodmusic GM399'|'Of all of Ivor Novello''s hugely-successful musicals, "Perchance to Dream" received the longest run of performances, 1020 in all, at the London Hippodrome, starting in April 1945. The smash hit was "We''ll Gather Lilacs", which resonated with the feeling that the war in Europe was nearly over and that many were soon to be reunited with their loved ones after long absences. The song was published separately just before the musical was launched and Ivor was well aware that he might be able to match the success that "Keep the Home Fires Burning" had had in the Great War.
The story centres around a country house called Huntersmoon and the events happening there from the Regency period, (Act 1), the Victorian period (Act 2) and Modern Times, which ends Act 2. Some actors, Ivor Novello included, thus played three characters. "We''ll Gather Lilacs" appears in the Victorian period as a duet between Veronica (Muriel Barron) and Mrs Bridport (Olive Gilbert).
In this choral arrangement there are three alternatives given for performance, bearing in mind that the sheet music version has two verses, neither of which appear in the musical, but will be familiar to many. For this version, follow the instructions in the score. To keep with the cast recording from the musical, after the eight-bar introduction, omit the verses as instructed. However, a third alternative is to carry straight on throughout, omitting verse 2 - thus getting the best of both worlds!
Such was the popularity of Ivor Novello, over ten thousand people, including Lady Churchill, lined the streets on the route from central London to the site of his funeral at Golders Green Cemetery, where Olive Gilbert sang "We''ll Gather Lilacs". The last two lines of the song were subsequently engraved on Ivor''s headstone.
Duration 6 minutes
This is available in four different versions: SATB (GM398), SA+Men (GM399), SSA (GM400) or TTBB (GM401).Accompaniment is either by piano or with orchestra (see GMCP024).'|9790222322691|NOVELLO|Ivor Novello|'We''ll Gather Lilacs'|Choir - Mixed voices (SAMen)|?3.50|50
GM400|'Ivor Novello
WE''LL GATHER LILACS for SSA choir
Goodmusic GM400'|'Of all of Ivor Novello''s hugely-successful musicals, "Perchance to Dream" received the longest run of performances, 1020 in all, at the London Hippodrome, starting in April 1945. The smash hit was "We''ll Gather Lilacs", which resonated with the feeling that the war in Europe was nearly over and that many were soon to be reunited with their loved ones after long absences. The song was published separately just before the musical was launched and Ivor was well aware that he might be able to match the success that "Keep the Home Fires Burning" had had in the Great War.
The story centres around a country house called Huntersmoon and the events happening there from the Regency period, (Act 1), the Victorian period (Act 2) and Modern Times, which ends Act 2. Some actors, Ivor Novello included, thus played three characters. "We''ll Gather Lilacs" appears in the Victorian period as a duet between Veronica (Muriel Barron) and Mrs Bridport (Olive Gilbert).
In this choral arrangement there are three alternatives given for performance, bearing in mind that the sheet music version has two verses, neither of which appear in the musical, but will be familiar to many. For this version, follow the instructions in the score. To keep with the cast recording from the musical, after the eight-bar introduction, omit the verses as instructed. However, a third alternative is to carry straight on throughout, omitting verse 2 - thus getting the best of both worlds!
Such was the popularity of Ivor Novello, over ten thousand people, including Lady Churchill, lined the streets on the route from central London to the site of his funeral at Golders Green Cemetery, where Olive Gilbert sang "We''ll Gather Lilacs". The last two lines of the song were subsequently engraved on Ivor''s headstone.
Duration 6 minutes
This is available in four different versions: SATB (GM398), SA+Men (GM399), SSA (GM400) or TTBB (GM401).Accompaniment is either by piano or with orchestra (see GMCP024).'|9790222322707|NOVELLO|Ivor Novello|'We''ll Gather Lilacs'|Choir - 3 part upper voices|?3.50|50
GM401|'Ivor Novello
WE''LL GATHER LILACS for male voice choir
Goodmusic GM401'|'Of all of Ivor Novello''s hugely-successful musicals, "Perchance to Dream" received the longest run of performances, 1020 in all, at the London Hippodrome, starting in April 1945. The smash hit was "We''ll Gather Lilacs", which resonated with the feeling that the war in Europe was nearly over and that many were soon to be reunited with their loved ones after long absences. The song was published separately just before the musical was launched and Ivor was well aware that he might be able to match the success that "Keep the Home Fires Burning" had had in the Great War.
The story centres around a country house called Huntersmoon and the events happening there from the Regency period, (Act 1), the Victorian period (Act 2) and Modern Times, which ends Act 2. Some actors, Ivor Novello included, thus played three characters. "We''ll Gather Lilacs" appears in the Victorian period as a duet between Veronica (Muriel Barron) and Mrs Bridport (Olive Gilbert).
In this choral arrangement there are three alternatives given for performance, bearing in mind that the sheet music version has two verses, neither of which appear in the musical, but will be familiar to many. For this version, follow the instructions in the score. To keep with the cast recording from the musical, after the eight-bar introduction, omit the verses as instructed. However, a third alternative is to carry straight on throughout, omitting verse 2 - thus getting the best of both worlds!
Such was the popularity of Ivor Novello, over ten thousand people, including Lady Churchill, lined the streets on the route from central London to the site of his funeral at Golders Green Cemetery, where Olive Gilbert sang "We''ll Gather Lilacs". The last two lines of the song were subsequently engraved on Ivor''s headstone.
Duration 6 minutes
This is available in four different versions: SATB (GM398), SA+Men (GM399), SSA (GM400) or TTBB (GM401).Accompaniment is either by piano or with orchestra (see GMCP024).'|9790222322714|NOVELLO|Ivor Novello|'We''ll Gather Lilacs'|Choir - Male voices|?3.50|50
GM402|Paul Carr
BE STILL, MY SOUL
Goodmusic GM402|'Lovely setting for unaccompanied mixed voice choir (SATB).
Be still, my soul: the Lord is on thy side.
Bear patiently the cross of grief or pain.
Leave to thy God to order and provide;
In every change, He faithful will remain.
Be still, my soul: thy best, thy heav''nly Friend
Through thorny ways leads to a joyful end.
Duration 4 minutes'|9790222322417|CARR P|Paul Carr|Be Still My Soul|Choir - Mixed voices (SATB)|?2.00|25
GM403|Gustav Holst
THE STARS ARE WITH THE VOYAGER
Goodmusic GM403|For unaccompanied mixed voices (SATB).
A separate copy from the collection of previously unpublished Holst part-songs "The Voyager" - GM336.|9790222322721|HOLST|Gustav Holst|The Stars are with the Voyager|Choir - Mixed voices (SATB)|?1.50|13
GM404|Gustav Holst
SPRING IT IS CHEERY
Goodmusic GM404|For unaccompanied mixed voices (SSATBarB).
A separate copy from the collection of previously unpublished Holst part-songs "The Voyager" - GM336.|9790222322738|HOLST|Gustav Holst|Spring it is Cheery|Choir - Mixed voices (SATB)|?1.50|13
GM405|Gustav Holst
O LADY LEAVE THY SILKEN THREAD
Goodmusic GM405|For unaccompanied mixed voices (SSATBarB).
A separate copy from the collection of previously unpublished Holst part-songs "The Voyager" - GM336.|9790222322745|HOLST|Gustav Holst|O Lady Leave thy Silken Thread|Choir - Mixed voices (SATB)|?2.00|25
GM406|'Gustav Holst
THERE''S A VOICE IN THE WIND
Goodmusic GM406'|For unaccompanied mixed voices (SSATBarB).
A separate copy from the collection of previously unpublished Holst part-songs "The Voyager" - GM336.|9790222322752|HOLST|Gustav Holst|'There''s a Voice in the Wind'|Choir - Mixed voices (SATB)|?2.00|25
GM407|'Gustav Holst
FRANK LEIGH''S SONG: A.D.1586 (Ah Tyrant Love)
Goodmusic GM407'|For unaccompanied mixed voices (SATB).
A separate copy from the collection of previously unpublished Holst part-songs "The Voyager" - GM336.|9790222322769|HOLST|Gustav Holst|'Frank Leigh''s Song: A.D.1586'|Choir - Mixed voices (SATB)|?1.50|13
GM408|Gustav Holst
COME AWAY DEATH
Goodmusic GM408|For unaccompanied mixed voices (SSATTB).
A separate copy from the collection of previously unpublished Holst part-songs "The Voyager" - GM336.|9790222322776|HOLST|Gustav Holst|Come Away Death|Choir - Mixed voices (SATB)|?2.00|25
GM409|Gustav Holst
IT WAS A LOVER AND HIS LASS
Goodmusic GM409|For unaccompanied mixed voices (SATB).
A separate copy from the collection of previously unpublished Holst part-songs "The Voyager" - GM336.|9790222322783|HOLST|Gustav Holst|It Was a Lover and his Lass|Choir - Mixed voices (SATB)|?2.00|25
GM410|Gustav Holst
IN YOUTH IS PLEASURE
Goodmusic GM410|For unaccompanied mixed voices (SATB).
A separate copy from the collection of previously unpublished Holst part-songs "The Voyager" - GM336.|9790222322790|HOLST|Gustav Holst|In Youth is Pleasure|Choir - Mixed voices (SATB)|?1.50|13
GM411|Gustav Holst
NOW REST THEE FROM ALL CARE
Goodmusic GM411|For unaccompanied mixed voices (SATB).
A separate copy from the collection of previously unpublished Holst part-songs "The Voyager" - GM336.|9790222322806|HOLST|Gustav Holst|Now Rest Thee From All Care|Choir - Mixed voices (SATB)|?1.50|13
GM412|Gustav Holst
DIVERUS AND LAZARUS
Goodmusic GM412|For unaccompanied mixed voices (SATB).
A separate copy from the collection of previously unpublished Holst part-songs "The Voyager" - GM336.|9790222322813|HOLST|Gustav Holst|Diverus and Lazarus|Choir - Mixed voices (SATB)|?2.00|25
GM413|'Gustav Holst
THE LOVER''S COMPLAINT
Goodmusic GM413'|For unaccompanied mixed voices (SATB).
A separate copy from the collection of previously unpublished Holst part-songs "The Voyager" - GM336.|9790222322820|HOLST|Gustav Holst|'The Lover''s Complaint'|Choir - Mixed voices (SATB)|?2.00|25
GM414|Clive Jenkins
BASSOONER OR LATER for bassoon and piano
Goodmusic GM414|'Five pieces for bassoon and piano.
Publisher David Good''s suggestion for a title for this collection could not be more apt! For years I had been meaning to write something for bassoon. The pandemic emptied my diary; I had