Selected from Musica Britannica Volume 73. Edited by Robert Klakowich.Amateur and professional players with an interest in Baroque repertoire will welcome this generous selection of 25 harpsichord pieces by John Blow (1649-1708). Blow stands as the dominant figure of English harpsichord composition in the late seventeenth century the master of an individual school that merged continental influences into a vigorous native tradition of keyboard writing. There are preludes dances and grounds in this anthology which is selected from Volume 73 of Musica Britannica and also includes advice on ornamentation and a comprehensive editorial note. Along with its companionvolume of 16 organ pieces K43 this collection is an important addition to Stainer & Bell's landmark Early English Keyboard series.

John Blow a composé de superbes œuvres comme en témoigne ce Prelude simple sobre mais d?une infinie beauté arrangé pour quintette de cuivres par Peter Knudsvig.Le Quintette de Cuivres Rekkenze Brass a été fondé par des membres de l?Orchestre Symphonique d?Hof en Allemagne et reconnu internationalement comme un des meilleurs ensembles du genre. La devise de l?ensemble se résume par ?BRASSzination® : la fascination par les cuivres?. C?est avec grand plaisir que nous vous présentons la Collection Rekkenze Brass qui couvre un large éventail de styles. Chaque œuvre publiée dans cette collection est accompagnée d?un compact disc surlequel sont enregistrées les versions intégrales de la plupart des œuvres disponibles dans une interprétation unique du Rekkenze Brass. Instrumentation : 2 Trompettes Sib Cor en Fa/Mib Trombone en Ut BC Tuba

Edited by Barry CooperThe organ voluntaries double or cornet voluntaries and psalm-tune settings by John Blow form a substantial corpus of material - 48 pieces in all - that sheds much light on the developing keyboard style of the late 17th century. Predominantly serious and contrapuntal they bear witness to the technical mastery of their composer and to his role as an important influence in Restoration musical life.First published in 1996.

Edited by Robert KlakowichThe complete harpsichord music of John Blow is here made available for the first time including eleven doubtful works and incipits of spurious ones. In this collection there are dances such as almands corants minuets sarabands and jiggs as well as extensive ground bass compositions that demonstrate the growth of a distinctive formal and technical idiom for the instrument.First Published 1998. Hardback

Selected from Musica Britannica Volume 73. Edited by Robert Klakowich. Amateur and professional players with an interest in Baroque repertoire will welcome this generous selection of 25 harpsichord pieces by John Blow (1649-1708). Blow stands as the dominant figure of English harpsichord composition in the late seventeenth century, the master of an individual school that merged continental influences into a vigorous native tradition of keyboard writing. There are preludes, dances and grounds in this anthology, which is selected from Volume 73 of Musica Britannica, and also includes advice on ornamentation and a comprehensive editorial note. Along with its companion volume of 16 organ pieces, K43, this collection is an important addition to Stainer

The very cream of England's restoration-period composers are featured in this collection of devout songs and hymns all written for Voice and Piano. Featured composers include John Blow John Playford and Henry Purcell complete with foreword and performance suggections by editor Maurice Bevan.

God Is Gone Up With A Merry Noise is an anthem for six-part SSAATB choir. It sets a passage from Psalm 47 and is presented here in the original minim version with an Organ accompaniment by Vincent Novello.William Croft (1678-1727) was an English composer organist and choirmaster. He studied with John Blow at the Chapel Royal and later became organist at Westminster abbey. He is best remembered for the tune Saint Anne which was written for the hymn O God Our Help In Ages Past and also for his Funeral Sentences which have been sung at every British State Funeral since the 1700s.

Transcribed and edited by Thurston Dart from the publication of 1689 of 35 easy pieces mostly by John Blow and Henry Purcell.

This setting of the opening to Psalm 102 was composed in the early 1680s. Purcell, who was in his early twenties, had succeeded John Blow as organist of Westminster Abbey around the beginning of the decade and his star was in the ascendant as a court composer. In this piece he pulls off a remarkable compositional coup: a single, gradual climax, lasting over two minutes and culminating on the final repetition of the word 'come', is achieved through a sublime, freely developing eight-part weave of the opening material. The harmonies and nbsp - that result from the chromatic inflections on the word 'crying' all serve the mounting tension in this extraordinary miniature. Study of the autograph manuscript suggest that this anthem was intended to be the opening part of a larger work which was never completed. / SATB

For SSAATTBB and Organ. An offprint from the much-acclaimed The Restoration Anthem Vol. 1 a richly textured setting of verses from Psalm 46 displaying Blow's skilful handling of chromaticism.

Music played an enormous role in the works of William Shakespeare, while his own sonnets, poems and soliloquies have provided continuing inspiration for many composers through the years. The Novello Shakespeare Choral Collection, inspired by the 400th anniversary of the Bard's death in 2016, is an exciting anthology of choral works that are settings of Shakespeare's words. For choirs of all types and abilities, this collection has been edited by David Wordsworth so that all the pieces are fantastic both to sing and hear.The collection features some beautiful settings that have well and truly stood the test of time, such as Thomas Arne's Blow, Blow, Thou Winter Wind and Henry Leslie's How Sweet The Moonlight Sleeps. More recent settings from 20th century and contemporary composers include Ernest Moeran's Sigh No More, Ladies, Gary Carpenter's Lo, Here, The Gentle Lark and John Tavener's Fear No More and Look In Thy Glass.Not only this, the Shakespeare Choral Collection boasts several works that were specially commissioned, including John Joubert's Be Not Afeard, Richard Sisson's Light Thickens and Pawel Lukaszewki's Weary With Toil, I Haste Me To My Bed. Some pieces have never appeared before in print, such as those by Kevin Olsen, Bernard Hughes and John Gardner. These songs truly are a joy to perform, with some relatively simple arrangements that are purely fun to sing, while some more complex settings that will be thoroughly rewarding for choirs and audiences alike.A total of 26 fantastic works comprise The Novello Shakespeare Choral Collection, which would work as a wonderful concert programme on its own, or could provide a wealth of options for choirs looking to expand their repertoire with a range of unique settings. Also included is a fascinating introduction by editor David Wordsworth, and notes describing each piece.Words written by indisputably the greatest writer in the English language can only be matched with music by composers of talent and renown such as these. The Novello Shakespeare Choral Collection is an essential anthology of stunning settings of beautiful words which will be performed and enjoyed for many years to come. / Choeur Mixte (SATB)

John Rutter's Blow Blow Thou Winter Wind. Instrumental parts. This setting of a song from Act II of Shakespeare's 'As You Like It' was originally published as part of John Rutter's cycle of six Choral settings with small Orchestra 'When Icicles Hang'. This set contains: 1 x fl 1 1 x fl 2 1 x hp 1 x hpschd 4 x vln 1 4 x vln 2 3 x vla 2 x vc 1 x db.

John Rutter's Blow Blow Thou Winter Wind. Vocal score. This setting of a song from Act II of Shakespeare's 'As You Like It' was originally published as part of John Rutter's cycle of six Choral settings with small Orchestra 'When Icicles Hang'.