Par ELLIOTT KENNETH. Edited by Kenneth Elliott. A transcription of the ms. Panmure 10 in the National Library of Scotland, known as 'Duncan Burnett's Book' c. 1610. 10 keyboard pieces by William Kinloch, Duncan Burnett and others, together with a short selection of Scots airs for cittern and for violin. CONTENTS ANONYMOUS (Almayne; Coranto; Galliard; Green grows the rushes (Violin); Ile of Rea (Cittern); Jhon come kisse me noue (Cittern); Kathren Oggie (Violin); Last time I came over the mure (Violin); Laydie Louthian's lilte (Cittern); Pavan: The queine of Inglands Lessoune; Sueit smylling Katie loves me (Cittern)) BURNETT, Duncan (Pavan) JOHNSON, Edward (Pavan: Jhonstounisdelyt) KINLOCH, William (Galliard of the Lang paven; Kinloche his Fantassie; Kinloch his Lang pavane) LASSO, Orlando di (Sussanna (Un Jour))/ Recueil / Piano

Here is a setting of the anonymous 16th-century Spanish carol with a secular English text. Available: 2-Part 3-Part Mixed. Performance Time: Approx. 2:00.

Dvorák, Antonín Concerto for Piano and Orchestra G minor op. 33 B 63 - New Urtext edition of Dvorák's only piano concerto - Commentary on performance practice by Czech pianist Ivo Kahánek (Eng/Cz/Ger) - Piano reduction by Karel 'olc adapted to fit this new edition Edition no. BA 10420-90 ISMN 9790260108394 Composed in 1876, Dvorák's only piano concerto has been overshadowed by his other two concertos, for violin and violoncello, respectively. Performers and editors have often attempted to upgrade this pianistically unassuming work by adding stylisations of their own. Our Urtext edition revaluates the sources, frees the work from subsequent interventions and presents it to full advantage in its authentic form. The principal source of our new edition is the first complete print issued by the publisher Hainauer in 1883, which has been meticulously collated with the autograph. The anonymous original piano reduction is so full of mistakes that editor Robbert van Steijn decided instead to present the version by Karel 'olc.

For Solo Voice and Piano.There are various versions of this anonymous ballad that has its own traditionalmelody. Berkeley provided a folk-like setting in this song for Sophie Wyss (1897-1983) the Swiss sopranoliving in England who gave important premieres of Britten.Wyss and Berkeley gave the first performance in a BBC broadcast on 13 July 1947.He had already dedicated ‘Tant que mes yeux’ Op. 14 No.2/6 to her and withhimshe gave the first performance of that song as well as ‘Ode du premier jour de mai’ Op. 14 No.2/7 at the Fyvie Hall London on 20 February 1945. Those two songswere published performed and recorded but ‘The LowLands of Holland’ has beenneglected. It comes as close as Berkeley ever got to the English folk song tradition.This edition is based on the copyist’s score at the British Library and includes thecorrections thecomposer provided with it.

Harlan uses the hymn tune Hyfrdol a gentle rolling accompaniment and a choice of an anonymous Christmas text or a Charles Wesley text for Easter or general use.Easily prepared would be a good warm up piece.

Arrgt: Michel Trux. Formation : Musique de Chambre, Orchestre - Instrumentation : Violons 1 (6 partitions) Violons 2 (6 partitions) Altos (4 partitions) Violoncelles (3 partitions) Contrebasses (2 partitions) Piano (optionnel) (1 partition) Glockenspiel (optionnel) (1 partition) - Niveau de Difficulté : 2/6 - Facile - Durée : 1 mn 20 s - Style Musical : Classique - Catégorie : Arrangement - Compositeur : ANONYMOUS - Arrangeur : Michel TRUX / Niveau : Facile / Classique / Recueil / Violon 1 (6 parts) Violon 2 (6 parts) Alto (4 part

The Romance Anonimo (Anonymous Romance) is a simple familiar and well-loved work that is in one version or another in the repertoire of virtually every classical Guitarist. As with many seemingly simple works a good level of technical ability and musicianship is required to create a performance worthy of the music.The piece is known by many names Spanish Romance Romance de Espana Romance of the Guitar and Study in E by Rubira. Similarly the authorship is unsettled though Miguel Llobet is one of the names to which the piece is credited. The earliest known recording was a wax cylinder made sometime around 1900. Whoever wrote Romance Anonimo it is a lovely piece beloved of audiences and Guitarists alike.

The First Volume of Duets for Flute and Clarinet by Himie Voxman. With numbers 1 to 55 and featuring duets of easy to medium difficulty this collection gives budding developing Clarinet and Flute players plenty of exciting and enjoyable material to play together improving technique tone quality intonation and giving experience and confidence in an intimate ensemble environment. It is a tremondous selection with pieces by the master composers and lesser known or anonymous composers. Volume 2 contains advanced duets numbers 56 to 78.

Variations on an Old Folk Song-Commissioned by the Schott publishing house the present variations on the song Greensleeves were written in 2000 by Genzmer who seized on the suggestion to write a cycle of variations on this Old English melody which had often served as a theme for variations in music history as for example in the famous anonymous cycle 'Greensleeves to a ground' (around 1700). Genzmer keeps the theme simple yet with great virtuosity and original harmony. All parts are written in a linear fashion. The four variations observe almost in a classical manner the principle of increasing differentiation and acceleration of therhythm.Variation 1 uses crotchets and quavers as well as semiquaver triplets whereas Variation 2 uses semiquavers throughout and Variation 3 the somewhat faster semiquaver triplets. Variation 4 stays on this fast rhythmic level with semiquavers and semiquaver triplets. A rewarding piece for the 'Jugend musiziert' competition as well as for advanced lessons.

There is no rose of such virtue is an anonymous mediaeval text, already well known through beautiful settings by Britten (in his Ceremony of Carols), John Joubert and others. The poem is 'macaronic' (it presents a verse in English, followed by a varying Latin refrain). This new version follows the illustrious examples above by remaining strophic and presenting broadly the same music in a succession of slightly different guises. The first verse is a straightforward four-part setting, the second gives the melody to the tenors and surrounds them with hushed, wordless writing for the other parts, and the third explores a freely canonic relationship between the tenor and soprano lines before carrying the previous verse-endings to a higher, more exalted pitch and mood. The fourth verse then expands its texture in a free climactic passage evoking the songs of praise sung by the angels. This subsides towards the final verse, where the texture of the music attenuates again to four parts, and canonic writing (based on the first four notes of the original melody) permeates all of them. This slightly extended statement leads to a hushed final cadence. Francis Pott (b. 1957) began musical life as a chorister at New College, Oxford. He held open music scholarships at Winchester College and at Magdalene College, Cambridge, where he studied composition with Robin Holloway and Hugh Wood while pursuing piano studies privately in London with the distinguished British artist, Hamish Milne. Throughout the 1990s Francis was John Bennett Lecturer in Music at St Hilda's College, Oxford, and a lay clerk in the Choir of Winchester Cathedral. In 2001 he became Head of London College of Music, University of West London, later leading research across the University's Faculty of Arts and acceding in 2007 to its first Chair in Composition. Francis Pott has become recognised particularly for his sacred choral and organ music. This has been performed in concert and on radio in over three dozen countries worldwide, published by four major UK houses and released extensively on CD. Winner of four national composition awards, in 1997 he received first prize in the piano solo section of the S. S. Prokofiev Composing Competition, Moscow. In 2006 and 2011 he was a nominated finalist in the BASCA/BBC Annual Composer Awards. In summer 2012 he was winner of the international composing competition of the Cheltenham Festival, which sought new piano variations on the arioso song Bist du bei mir, well known in the arrangement by J. S. Bach. Francis lives with his wife and two children on the outskirts of Winchester. An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. / Choeur Mixte (SATB)

Par SAMUEL RHIAN. Music for SATB chorus occupies an important place in Rhian Samuel 's catalogue of works, from the early carols written in the USA, 'Jolly Wat the Shepherd' of 1970 and 'So Long Ago' (1st Prize, Greenwich Festival, 1979) to her most recent anthems for the Choir of New College Oxford. In her songs, vocal chamber music and choral compositions she has explored an impressive range of poetry, from anonymous 14th-century Welsh texts and traditional Japanese verse to Emily Dickinson, Samuel Beckett and contemporary poets including Anne Stevenson. Samuel 's three 'Jacobean Lyrics' of 1979 included a simple canonic account of George Herbert's 'I got me flowers'. Thisnew a cappella setting returns to the poet's sublime devotional verse, reflecting the dialogue structure of ' Love Bade Me Welcome ' through expressive contrasts of material and vocal ensemble./ Feuillet / SATB a Cappella

from Te Deum (Verba Domini cum verbis populi)-The anonymous Middle English text is a beautiful poignant contemplation of mortality and Argento's setting of it casts a quiet haunting spell. The men's chorus is occasionally joined by an insistent single chime note. The complete major work Te Deum (979-0-051-32380-7) was performed at the 2017 National ACDA Conference in Minneapolis.

The piece is itself a cabinet of curiosities: musical excerpts from Vigany's time plus material from Hook Lawes Mozart anonymous dance-tunes from mittal-Europa and folksongs from Italy. There is no fixed order although the performers are given illustrations to aid their imagination in a 21st century interpretation of these historical musical fragments.