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Arion and the Dolphin

Music runs through the story of Arion, which begins with a singing competition in Sicily. Arion wins the prize, and this puts his life in danger: his newfound wealth excites the greed of the sailors who are supposed to bebringing him back to Corinth, and they threaten to kill him. They allow Arion to sing one last song, and the power of his singing attracts dolphins to the ship.  At the end of his song, he jumps overboard, and one of thedolphins carries him to safety.  So Arion’s musical gift gets him into trouble, but it is also his salvation.   The idea of being rescued by a music-loving dolphin is very appealing. In RobertGraves’account of the myth, the dolphin could not bear to be parted from Arion, and accompanied him back to court, where “it soon succumbed to a life of luxury.”  However, Herodotus says that, after hisrescue and return to Corinth, Arion failed to return the dolphin to the sea, and it died there.  Apollo placed the dolphin among the stars, and next to it, Arion’s lyre, in recognition of his musical skill.  Thisis one of the mythical explanations of the origins of the constellations Delphinus and Lyra. It seems natural to sing a story that has singing at its heart. When I was asked by the Nicholas Berwin Charitable Trust to writea choral work for Making Music, something that would be within reach of many choirs, and involve children, this story struck me as ideal: the men of the chorus could be the bloodthirsty sailors, and the women could create anatmosphere of mystery for the arrival of the dolphins, represented by children’s voices. There would be one solo voice: Arion, the marvellous singer. Andrew Fardell, the conductor who was advisor to this commission, hadsuggested that I might use the same instrumentation as a popular arrangement of Orff’s Carmina Burana, a work that, as well as using children’s chorus, features a solo countertenor. I thought the magical, otherworldlyquality of this

Arion And The Dolphin : Full Score

St Hilda of Whitby : a Cantata for SATB Choir, soprano and baritone soloists and small chamber ensemble and piano/organ

St Hilda of Whitby Vocal Score by Nicola LeFanu. A cantata for SATB choir, soprano and baritone soloists and small chamber ensemble or piano/organ accompaniment.

Small Preludes

Small Piece for large chorus

Vox Balaenae for three Masked Players

George Crumb's Vox Balaenae For Three Masked Players arranged for small ensemble, Electric Flute, Electric Cello and Electric Piano.

Canon in D major

Pachelbel’s exuberant and justly famous Canon may well have been first heard at the wedding of Johann Christoph Bach. Originally for small ensemble, Mary Cohen’s new arrangement of the work for solo piano or keyboard will suit players moving from easy towards intermediate repertoire.

Hear the Angels Sing : 24 Carols for Concerts

Hear the Angels Sing is a collection of 24 Christmas carols composed and arranged by Jonathan Rathbone for choir and small orchestra. Primarily intended for choral society carol concerts, the selection ncludes both concert pieces and classiccongregation/audience-participation carols. Requiring only minimal rehearsal, this collection provides a highly practical means of delivering a full choir and orchestra carol concert or service within a sensible budget.-24 arrangements of favourite carols, -Scored for SATB and small orchestra (minimum 13 players), including woodwind, brass, percussion and strings, -Can also be performed with piano or organ accompaniment, -Orchestral scores and parts availableseparately.Orchestral parts are available to hire from www.editionpeters.com. Please contact rentals.uk@editionpeters.com for more information.

Children's Corner

Debussy's Children's Corner reflects the world of childhood fantasy and was once described as portaying the games, escapades and gestures of a small girl from Paris. His intention was to create moods and sensationsand, utilising his typical harmonic richness and mastery of the impressionistic style, he succeeds in a appealing and joyous fashion. This version has been edited by Hans Swarenski and is for SoloPiano.

The VOCES8 Method : Start the school day with a musical wake-up for voice, body and mind

The VOCES8 Method is an innovative new system which enhances neurological development, helping to deliver improved academic results. Based on research by the Institute of Education, it contains groupactivities based on rhythm and melody which are designed to develop key learning skills and improve students’ academic learning processes for all subjects. • Suitable for small groups or whole-schoolparticipation.• Requires no musical expertise or expensive equipment.• Supported by free online training videos.• Backed up by CPD training sessions led by members of VOCES8.•Aninteractive app enables students to explore the activities for themselves.

French Suites : French Overture BWV 831

This new edition of Bach’s French Suites (BWV 812–817) pairs these works with the large-scale French Overture in B minor (BWV 831) from the second part of the Clavier-Übung. It brings together on the one hand six essentially small-format keyboard suites of moderate difficulty and on the other the most extensive and substantial of Bach’s sets of suites. The player is provided with as clear and comprehensible a score as possible, and makes it easier to approach the work, while those of an academic bent can refer to the Editorial Report for a documentation of sources, editorial additions and ornaments of a comprehensiveness otherwise found only in critical complete editions.

Hands Across the Darkness

This work was commissioned by the Hanover Girls’ Choir in 2014, a year marking not only the centenary of the Great War (1914–1918) but also the 300th anniversary of the Hanoverian Succession to the throne of Englandupon the death of Queen Anne in 1714. While the latter circumstance prompted a desire for a work reflecting upon friendship and unity, faint but abiding resonances of the former suggested that the theme might be viewed in moreuniversal terms, especially since the music was commissioned with a view to collaborative harmony between distinguished German and English performers. It was with this in mind that Charles Bennett provided his libretto whichgoingyet further afield, listens to the still, small voice of peace and humanity as it insistently reaches us from the oppressed of any time and place.

Chanson de matin- Chanson de nuit

In the earlier part of Elgar's career as a composer, he wrote several short pieces which became very popular. Chanson de Nuit and Chanson de Matin both carried his name far and wide before he composed hislarger orchestral works. These two pieces, which, together, complete Op.15, were published in several versions at once: for string orchestra, for small orchestra, for violin and piano and so on - so it is almost impossible to say,with any degree of certainty, which was the original version. However Elgar himself was a good violinist and so it may well be that he would have played this tune through to himself on the violin, before adding a piano partandsending it off to his publishers for their consideration. In any event, it remains a beautiful theme of considerable character and style.This Urtext edition provides you with an accurate representation of thecomposer’s original intentions and thoroughly detailed editorial marking and suggestions, with commentary, as edited by Donald Burrows.This is the version for Solo Violin with Piano Accompaniment. The solo violinpart is also included on a separate insert.

At First Light

At First Light was commissioned by Eric Bruskin, a resident of Philadelphia, USA, in memory of his mother. Eric had a longstanding enthusiasm for my work, and I was touched to be the person he approached for a task which is both a privilege and a daunting responsibility. In a sense, no music can ever measure up to the weight of love or the hope of consolation vested in it under such circumstances – but in memory I carry the deaths of both my own parents, and I was able to draw upon that. Eric’s fondness for my Cello Sonata (itself written in memoriam) led him to ask that I include a solo ‘cello part in the new work – but his attachment also to my polyphonic sacred choral writing meant that he wanted a centrepiece which would be both a showcase of that approach and the celebration of a life well lived. Therefore, the seven movements of At First Light arrange themselves as a series of slow meditations surrounding an exuberant 9-minute motet in which the lamenting cello falls temporarily silent. Eric’s Jewish faith meant that approaching an agnostic humanist brought up within the Anglican tradition was hardly free of problems! Gradually, though, I was able to win his approval for a collated mosaic of texts. This embraces some liturgical Latin (necessary for the motet) as the shared preserve of broad western culture in general, but balances it with a secular approach to loss, celebration, remembrance and the many shades of our mourning those whom we see no longer. Eric was adamant that he did not want the title Requiem; but what has emerged is still a form of semi-secular Requiem in all but name, taking its title instead from a phrase in the poem by Thomas Blackburn set as the third movement. This seemed to suggest succinctly how the loss of one very close to us is an awakening into an unfamiliar world where everything is changed. Following the exuberant central movement, the texts by the Lebanese-born Kahlil Gibran and the US, Kentuckian poet Wendell Berry first address the departed loved one directly, then place us within an imaginary funeral cortège, where the perennial and universal in human experience become personal without subscribing explicitly to any particular faith (or lack of it). The final text of all is a translation of a Hebraic prayer, requested and provided by Eric Bruskin, which serves to mirror its Latin counterpart heard at the outset. Throughout, the lamenting cello represents a commentary on the experience articulated in the text. It evokes and, in a sense, tries to embrace and sanctify the individual existential journeys of the bereft, as they in turn seek to make their own sense of what the short-lived Second World War poet Alun Lewis called ‘the unbearable beauty of the dead’ (movement 5). In a modern world hostage to ever greater menace, displacement, bloodshed and anguish, I hope fervently that this music not only brings a measure of solace to the person who commissioned it, but also makes its own small contribution to bailing out the sinking ship of humanity.