Vocal Score for the opera Arianna In Creta by G.F. Handel. Libretto prepared anonymously from Teseo in Creta by Pietro Pariati. Please note that this piano score does not contain a realisation of the figured bass. The left hand of the piano part is the figured basso continuo of the opera, with occasional octave transpositions and the incorporation of some of the viola part. The right hand is a reduction of the main orchestral material. Item numbering and bar numbering accord with the full score and parts.

Let's all sing, just for the fun of it! Be a POP star and sing some of the biggest hits by Bruno Mars, Taio Cruz, Adam Young, Black Eyed Peas, Bon Jovi and Justin Bieber! Perfect for group singing in the classroom, choir or community, these songs have been carefully arranged for young unison voices with some optional harmony. The Piano/Vocal Collection offers fully accompanied songs, and the Singer Edition comes in handy paks of ten and provides vocal parts only. Check out the professionally-produced recording available separately, for performance and accompaniment possibilities! Available separately: Piano/Vocal Collection (HL00112992), Singer 10-Pak (HL00112993), Performance/Accompaniment CD. Suggested for grades 5-8.

From the campfire to the concert hall, singing in rounds and canons is one of the most enjoyable experiences for singers of all ages. As music teachers, we know that successful harmony doesn't just happen. It occurs over time with lots of practice and encouragement.This collection of rounds and canons is a sequential repertoire of kid-tested, no-fail songs to guide students through that developmental process of “finding their voices” in successful harmony. It includes movement and percussion echoes, rounds and canons; speech canons; call and response songs; and song rounds and canons. ROUND the World is also a multicultural collection so that students can experience the music of their world brothers and sisters, and have a greater understanding of their cultural stories and traditions. The Teacher Edition features reproducible song melodies with chord symbols, song background, performance tips, piano/vocal arrangements and a variety of reproducible classroom instrument parts for accompanying options. The Performance/Accompaniment CD is available separately or in a Classroom Kit with the Teacher Edition for more budget-saving value! Available separately: Teacher Edition (HL09971739), Performance/Accompaniment CD (HL09971740), and Classroom Kit (Teacher and P/A CD). Suggested for grades 2-5.

From the campfire to the concert hall, singing in rounds and canons is one of the most enjoyable experiences for singers of all ages. As music teachers, we know that successful harmony doesn't just happen. It occurs over time with lots of practice and encouragement.This collection of rounds and canons is a sequential repertoire of kid-tested, no-fail songs to guide students through that developmental process of “finding their voices” in successful harmony. It includes movement and percussion echoes, rounds and canons; speech canons; call and response songs; and song rounds and canons. ROUND the World is also a multicultural collection so that students can experience the music of their world brothers and sisters, and have a greater understanding of their cultural stories and traditions. The Teacher Edition features reproducible song melodies with chord symbols, song background, performance tips, piano/vocal arrangements and a variety of reproducible classroom instrument parts for accompanying options. The Performance/Accompaniment CD is available separately or in a Classroom Kit with the Teacher Edition for more budget-saving value! Available separately: Teacher Edition (HL09971739), Performance/Accompaniment CD, and Classroom Kit (HL09971741) (Teacher and P/A CD). Suggested for grades 2-5.

The Glagolitic Mass, one of the 20th century masterpieces of sacred music, has a very complex genesis and constitutes an intricate editorial challenge. The recently published scholarly-critical edition presents two different versions of the work in two separate volumes: the “September 1927” version (BA 6863) which the composer completed before the first rehearsals and subsequent premiere in Brno and the version he partly reworked for the first Prague performance in April 1928 (BA 6862). This second version was then revised further and published after Janácek’s death by Universal Edition Wien in 1930. Known as the “final authorised version”, it has been newly edited for this publication which is based on the engraver’s copy of the score prepared by Janácek’s regular copyist Václav Sedlácek. The “final authorised version” is the significant version and most suited to performance purposes. The instrumentation is richer, it is more straightforward to rehearse and several important passages are more coherent than in the earlier version. It is the later version that is presented in the vocal score. The Old Church Slavonic text has been prepared by the slavicist Radoslav Vecerka. Urtext edition based on volume B/5-I of the “Complete Critical Edition of the Works of Leos Janácek” Translation of the Old Church Slavonic into three languages (Cz/Eng/Ger) New idiomatic piano reduction

“Almira”, Handel’s first opera, was well received when premiered in 1705 at the Theater am Gänsemarkt in Hamburg. The director was Reinhard Keiser, who, remarkably, had himself already set Friedrich Christian Feustking’s text to music. The role of Fernando was sung by Johann Mattheson. The translation used by Handel leaves several Italian arias in their original language, resulting in a delightful mixture of German and Italian. The opera which, after sundry entangled romances, ends in the wedding of three couples, is characterised by exuberant scenes: the procession at Almira’s crowning ceremony, a duel, a prison scene and a masked-ball involving the three continents Europe, Africa and Asia. The vocal score to “Almira” by George Frideric Handel brings about a small sensation: Whilst conducting a reenactment of this work in 1732, Georg Philipp Telemann removed the Aria no. 28 “Ingrato, spietato” from his conducting score. Since then this aria has been deemed lost. Due to necessity only the edited vocal text devoid of any music was presented in the 1994 volume of the “Halle Handel Edition”. Thanks to a recently discovered contemporary manuscript copy from the beginning of the 18th century which was found in the music library of the Mariengymnasium in Jever, this aria has now been made available to performers for the first time in this new vocal score edition. Previous to this the corresponding pages could only be seen as a facsimile in an article of the “Göttinger Händel-Beiträge”. Now the aria can be performed again. Furthermore, with the help of this new source, missing measures in the basso continuo which had initially been completed by the editor of the “Halle Handel Edition” volume, could be reconstructed from the basso continuo part of the Bellante aria “Ich brenne zwar” (no. 71). Urtext edition based on the “Halle Handel Edition” Original German and Italian text with a German translation of the Italian arias Comprehensive foreword (Ger/Eng) Clear, straightforward piano reduction

Return To Avalon is scored for two flutes, one doubling Piccolo, the other doubling Alto Flute. In the mid-thirteenth century over 200,000 Cathars were murdered in the South of France "Avalon" by forces of darkness and ignorance. The Cathars were European Buddhists who believed in loving each other, that we are all equal in the eyes of God, non-revenge, vegetarianism, and that women could be priests. They also believed in reincarnation. In answer to threats and bullying, many of them chose to be burnt alive rather than be forced to follow teachings they believed to be untrue. People say that the Cathars never came back. People say that they died in vain. But I believe that they are wrong, I believe that the Cathars did come back to create a Church of light outside the constricts of religion, but through the arts, through music, poetry and prose. "Return to Avalon" is the story of two great Cathar flute players who rise from the ashes of the Montsegur massacre, to return and baptize the world into the truth of the eternal through the beauty of sound and honesty of expression. I imagined these "Sons of the light," playing this piece, and letting its message of friendship and brotherhood echo out over the mountains. "Return to Avalon" begins with "The Last Song" a 13th century Cathar melody, echoed on alto flute, then explores an idea I first used in my 1993 flute concerto, the idea of orchestrated digital delay. The second movement "Human flame" on piccolo and alto is also based on a medieval theme but takes it further and further out until finally it burns up into a huge fireball. In the third movement "Sons of the light return to Avalon" the two flutes reappear Phoenix-like from the ashes leading and learning from each other. Eventually the flutes become inseparable as they interweave together at speed leading us to a higher truth – that we are all brothers and sisters equally loved by God. Phenomenal flautist Samuel Coles, recently appointed principal flute of the Philharmonia Orchestra, has been a quiet but persistent supporter of my music for many years acting in a selfless and generous way behind the scenes. Sam organized for several flute players to help with this commission: Michael Abrial, Julian Beaudiment, Richard Blake, Edward Beckett, William Bennett, Michie Bennett, Wissam Boustany, Simon Channing, Sabine Ducrot, Just Flutes, Kate Hill, Stina Wilson, Andy Findon, Gareth McLearnon, All Flutes Plus, Emmanuelle Reville, Trevor Wye, TopWind, Atarah bin Tovim, Robert Winn and Mathias Zeigler – so many thanks to all of them. Return To Avalon is dedicated to Sam Coles, a true friend of music and musicians.

Here is a delightful set of three popular selections from the Johann Strauss operetta Die Fledermaus that will be a joyful and effervescent finale or encore for community, college and professional concerts at Christmas, New Years or any gala occasion! Includes: Act II Entr'acte and Chorus (What a joy to be here), Adele's Laughing Song, Act II Finale New product for the week of October 08, 2012.

Reproduced from original art by Karen Cannon, these delightful music art cards cover a wide variety of music themes. Each card measures 5 inch. x 7 inch. and is blank inside, ready for any message or occasion. Purrfect Timing: Charming art card catches three aspiring keyboard artists hard at work! New product for the week of October 08, 2012.

The Fall of Lucifer was commissioned for the Silver Jubilee of the Tilford Bach Festival with funds provided by the Arts Council of Great Britain. The first performance was given on 13 May 1977. This work is a setting of the first play of the Chester Mystery Cycle, a cycle of 25 plays dating from the late 14th century. Arranged for Solo Bass (Baritone), Countertenor, Tenor and mixed voice choir SATB. Includes piano accompanimnet. Duration 26 minutes. New product for the week of October 08, 2012.