Arranged by Alexander L'Estrange. Choir Secular. For with Piano (SAB). Choral Octavo. Faber Choral Singles. Secular. Published by Faber Music

Concert band (Piccolo, 1st Flute, 2nd Flute, 1st/2nd Oboes*, Eb Clarinet*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet*, Bb Bass Clarinet, 1st/2nd Bassoon, 1st Eb Alto Saxophone, 2nd Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone*,) - grade 5

SKU: CN.R10018

Composed by J. Curnow. Arranged by James Curnow. Band Music. Score and parts. Duration 11:15. Published by G & M Brand Music Publishers (CN.R10018).

The melodies in Songs of the West differ in styles, keys, and tempos. The nautical nature of the coastal region is evident in many of the melodies.

Gustav Holst did not have much success in getting his early compositions published. In 1905, he began a career as a gifted teacher when he was appointed Director of Music at St. Paul's Girls School in Hammersmith. It was also a time when he developed the friendship of Ralph Vaughan Williams and the two developed an interest in English folk music. This became a turning point in Holst's style as he left behind the heaviness of the Wagnerian style for the simplicity of folk melodies. Vaughan Williams wrote 'we were dazzled, we wanted to preach a new gospel, we wanted to rhapsodise on these tunes just as Liszt and Grieg had done on theirs - we simply were fascinated by the tunes.' Enthusiastic archivist Cecil Sharp, of the Folk Song Society, encouraged Holst to write 'Two Selections of Folk Songs' based on material Sharp had collected in the West of England. Songs of the West was the first of the pair noted as Opus 22 was written in 1906; A Somerset Rhapsody was completed the following year. The melodies in Songs of the West differ in styles, keys, and tempos. The nautical nature of the coastal region is evident in many of the melodies. Originally written for orchestra, noted composer James Curnow was commissioned in 1986 to arrange the work for concert band.

SSA Choir

SKU: BT.MUSM570366057

Composed by Sarah Dacey. Classical. Vocal Score. 8 pages. University of York Music Press #MUSM570366057. Published by University of York Music Press (BT.MUSM570366057).

English.

Cruel Mother for three voices (SSA), a traditional ballad arranged by Sarah Dacey . Duration: 4 minutes Composed: 2008 Also published as part of UYMP's Songspin Songbook, ISMN M 57036 603 3. This is a very old cautionary ballad that, like many folk tales, has no definite origin, there being many different versions from around Europe. I shifted the tonality of the melody from the Cecil Sharp arrangement to something slightly less cheery. First performed by Juice Vocal Ensemble in December 2008 at St. James Piccadilly, London.

Picc. 2 Fl. Afl. Bfl (piccolo, 2 flutes, alto flute, bass flute) - Intermediate-Advanced

SKU: FT.FM557

Composed by James d'Angelo. Flute Quintet - Piccolo, 2 flutes, Alto Flute, Bass Flute. Score and parts. Forton Music #FM557. Published by Forton Music (FT.FM557).

ISBN 9790570484560.

The Wounded Angel (2013) is written for piccolo, two flutes, alto flute and bass flute, and is dedicated to Christine Turellier, a professor of flute at the Lille Conservatory of Music (France) where the work was premiered. These pieces were inspired by a painting entitled The Wounded Angel (1967) by the visionary British artist Cecil Collins (1908-1990). His works have been the basis for a number of D'Angelo's compositions. For example, one of his latest pieces for orchestra takes its inspiration from Collins' painting The Angel of the Flowing Light (1968). In his extensive output the artist often used angels and fools as symbols of purity and wisdom. In the painting, the earthbound, winged, wounded angel is lying on its side with its eyes closed. Its colours blend in with the purplish colours of the earth. In the distance is a mountain shaped like a pyramid while the sky is filled with shades of orange. Just at the point where the mountain meets the bleak landscape we see the sun just rising. This angel has been injured and fallen to Earth and in its distress has to find a way of healing itself and ascending to its spiritual home. In this highly impressionistic piece the piccolo stands for the wounded angel. It has a three note motif and its wound is suggested by the semitone difference of the second note each time the motif is repeated. The piece is a voyage through all the states of mind the angel experiences. For example, there are moments of contemplation and peace where the alto and bass flutes play rocking rhythms in open fifths. The final bars of The Wounded Angel portray the gentle power of the angel to heal itself and return to the heavens. Here, following the motif of the gently rocking rhythms the piccolo plays two ascending fourths leading to a G sharp which has its resolution in the angels keynote A.