Morton Gould's Dialogues for Piano and String Orchestra. This work was commissioned by the Little Orchestra Society of New York. The first performance took place on November 3 1958 by the LittleOrchestra Society with Thomas Scherman as musical director and Morton Gould on Piano.Born in Richmond Hill New York on 10 December 1913 Morton Gould was recognised early on as a child prodigy with theability to improvise and compose. At the age of six he had his first composition published. He studied at the Institute of Musical Art (now the Juilliard School) but his most important teachers were Abby Whiteside (Piano) andVincent Jones (composition).Gould enjoyed an illustrious career. In addition to gaining a Pulitzer Prize for 'Stringmusic' he was Musical America's 1994 Composer-of-the-Year and recieved a Kennedy Center Honor inrecognition of lifetime contributions to American culture.A long-time member of the American Society of Composers Authors and Publishers Gould was elected president of ASCAP in 1986 a post he held until 1994.In 1986 he was elected to the American Academy and Institute of Arts and Letters. He also served on the board of the American Symphony Orchestra League and on the National Endowment for the Arts music panel.

Herbert Howells wrote this Serenade in 1917 as the third and final movement of his Suite for Strings Op. 16 (Op 27 on the manuscript) the first two movements of which were re-used by the composer for his Concerto for String Orchestra (213) and Elegy (63) respectively. The Serenade remained unpublished until the present edition of 2011. It was first performed on 13th July 1917 at the Royal College of Music London by the RCM Orchestra conducted by Sir Charles Stanford

Chamber Concerto No.1 Op.17 (Kammerkoncert Nr.1) for Piano Strings and Timpani was composed by Vagn Holmboe in 1939. Dedicated to his wife Meta. Parts available on hire: hire@ewh.dk

Introducing New T3N Harmonic Chimes. The definitive text on playing harmonics (chimes) on the 5-string banjo in G tuning! In addition to traditional chiming methods, the author's new T3N technique for creating banjo harmonics will add new dimensions to your playing. While particularly useful in the three-finger style, T3N can be used in other banjo styles and on other stringed instruments. Most banjo players are familiar with playing open-string harmonics on the 5-string banjo over the 12th, 7th and 5th frets, or perhaps the 4th and 9th frets, so that in typical G-tuning, the open G-chord, D-chord, octave G-chord, and B-chord notes are chimed. With the T3N technique presented in this book, entire scales can be chimed, with other harmonic effects including choking and sliding possibilities! The first part of this book provides a review of traditional banjo harmonic chiming techniques, while the second part explores the exciting new T3Napproach. Written in tablature only, for 5-string banjo in GDGBD tuning./ Méthode / 5-String Banjo

Par POHJOLA SEPPO. According to Jouni Kaipainen, the fourth string quartet (2006) is one of key works of Seppo Pohjola (b. 1965) and holds a place as a landmark in Finnish quartet literature. Of the composer's five string quartets, it is the longest and has the widest thematic arcs of his quartets. Seppo Pohjola has gone through a variety of styles in his musical career. He began as a strict Modernist, progressed towards Expressionism and took on board Romantic influences before ending up in the early 2000s in (a reformed brand of) Modernism again. Osmo Tapio Räihälä describes the end result thus: “The ‘new' Pohjola often anchors his style in a frenetic pulse through which he builds musical processes.” Duration c. 33 minutes. Score (A4) and parts (B4)./ Répertoire / String Quartet

This String Quintet (with two Violas or three Violins) was composed in 1799. It is tuneful and straightforward and suitable for players who are not yet at the standard required to play the Mozart Dvorak or Brahms quintets with two Violas. This edition has the advantage of having a third Violin part included if two Viola players are not available. Johann Michael Haydn was the younger brother of his much more famous older brother Franz Joseph commonly regarded as the 'father' of the classical String Quartet format.

This edition of Onslow's fifteenth String Quintet has the advantage of being either a two Viola or a two Cello quintet as it is published with parts for two cellists or two violists. It is a major work with good parts for all players with the 1st Violin part having a particularly large numbers of fast semi quavers (sixteenths) in the outer movements.It is known as 'The Bullet' due to the circumstances of its composition: Onslow was boar hunting in the Auvergne when a theme occurred to him. He dismounted and sat on a nearby fallen tree trunk and wrote it down. A boar then burst from the bushes and his companions fired missing the boar and hitting Onslow.The quintet was completed on his recovery and graphically illustrates his sufferings. George Onslow an Anglo-French composer was born in Clermont-Ferrand in July 1784 and died there in October 1853.

Set of parts for The Black Waters for String Trio by Peter Bruun. Score: WH31595 Programme note The initial and prevailing theme is from the song 'Det Fagreste Træ' with lyrics by Ursula Andkjær Olsen and music by me. To this song I also owe the title of the piece. The melody in bar 187-217 is quoted from a pearl diver song from Bahrain recorded by the composer and music ethnologist Poul Rovsing-Olsen. Peter Bruun

The Black Waters for String Trio was composed by Peter Bruun in 2012. Parts are available: WH31595A Programme note The initial and prevailing theme is from the song 'Det Fagreste Træ' with lyrics by Ursula Andkjær Olsen and music by me. To this song I also owe the title of the piece. The melody in bar 187-217 is quoted from a pearl diver song from Bahrain recorded by the composer and music ethnologist Poul Rovsing-Olsen. Peter Bruun