Written for David Heyes as part of his "Fizz at 50" project. "Gerty Goat Scuffer" (in case you wondered) is one of many nick-names we had for a much loved family dog - officially named "Heavy Hetty" from a character in an imaginative children's book of that name. In my youth as a composition student at the RAM, I discovered that walking a dog for an hour a day is the anti-dote to the long hours required as a composer, "sat you yer bum" writing at a desk, and (in those pre-computer years) writing endless parts out by hand. First of these 'best friends' was a glorious Gordon Setter called "Sophie", (my first love), who accompanied Pat and I on our honeymoon across Scotland. Thirty years later, we were privileged to enjoy the company of three therapeutic beasts; "Merlin" (a prize winning Pyrenean Mountain Dog), "Gael" (an over energetic Scottish Border Collie) and "Hetty" (a unique cross between a Pyrenean Mountain Dog and a St. Bernard - something of a "kennel-maid's Accident"). Hetty (see picture) is unfortunately no longer with us now. She had an extraordinary puppy-hood that left her with titanium plates holding her back legs together. Hetty was surprisingly active though, right through to the age of nearly 10 - speciality: chasing Pheasants in the grounds at Strathmashie - but she became progressively hampered by arthritis, and 'scuffed along' on her vast hairy pads with a swagger. She also used to remind our children of a mountain goat. Songs have been written about her, but this is the first instrumental work that she has inspired! The pervading thematic motive of the piece (heard from the outset), cheekily alludes to an (over) famous Saint-Saëns work for double bass (but no insult is intended to Hetty!). The increasingly roving tonality and unusually sudden shifts of key, combined with the use of jazz chords, combines to present a short but heartfelt tribute to a unique animal that provided untold pleasure to all she came into contact with, simply by just being "herself".

String Festival Solos are economical collections of transcriptions by Samuel Applebaum. In two volumes for each instrument, the solos are in progressive order of difficulty. Each volume contains nine pieces -- all classic titles in the Applebaum teaching repertoire. Some of these have been hard to find. Volume I progresses from Level 1 to Level 2, Volume II progresses from Level 2 to Level 3. The solos are useful for teaching technique, dynamics, phrasing, and overall musicianship. String Festival Solos are excellent for recitals, auditions and performances for assemblies, concerts or festivals. Contains: Two Austrian Folk Tunes (Kohler) * Rigaudon (Lee) * First Sonatina (Drew) * Minuet (Pleyel) * March (Clarke) * Second Sonatina (Drew) * The Strange Man (Schumann) * Two Classical Pieces (Reinagle) * Adagio and Allegro (Galliard).

This overture is about the only work by Hamish MacCunn which is still performed, although he wrote operas, vocal, choral, and instrumental music as well as other orchestral works. It has a distinctly Scottish flavour and was used as the theme music to the BBC television series "Sutherland's Law" back in the 1970s.

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Uses: Epiphany Scripture: Matthew 2:1-12 This up tempo anthem is a stimulating admonition to seek the light of Christ and His illumination. Well suited for Epiphany, this rousing theme has touches of sadness suggesting the shadows that surround the young Messiah in the days and years following His birth. Using a well-known carol tune helps draw the listener close and aids the learning process. A crisp approach to diction and articulation will yield success in your presentation. Available separately: SATB, StudioTrax CD, Orchestration CD-rom (Score & parts for Flute 1&2, Oboe, Clarinet 1&2, Bassoon, Horn 1&2, Trumpet 1, Trumpet 2&3, Trombone 1&2, Bass Trombone/Tuba, Timp, Perc 1&2, Harp, Piano, Violin 1, Violin 2, Viola, Cello, Double Bass). Duration: ca. 3:11. New product for the week of May 7, 2012.

Uses: General, Advent, Revival, Praise Team, Youth Scripture: Acts 1:11; John 14:1-4; Jude 1:14; Revelation 16:15 This contemporary praise anthem celebrates the joyful anticipation of Christ's return. Enlivened by a high-energy syncopated theme, this festive acclamation soars with a memorable chorus and an uplifting text. The final ostinato is a great moment mixing traditional choral techniques with a purely modern musical vernacular. The results are stunning and a fitting finale to a truly praise-worthy new worship song. Available separately: SATB, StudioTrax CD, Orchestration CD-rom (Score & parts for Flute 1&2, Oboe, Clarinet 1&2, Bassoon, Horn 1&2, Trumpet 1-3, Trombone 1-3, Tuba, Violin 1&2, Viola, Cello and Double Bass). Duration: ca. 4:27. New product for the week of April 23, 2012.

Uses: General, Concert, Festival Scripture: Isaiah 6:3; Revelation 4:8-11; Philippians 2:11 Carl Czerny is known primarily for his piano music and for his instruction of Beethoven. Now for the first time in print, we present one of his important choral works of this notable classical composer. Soaring in glorious harmony, this hidden gem deserves to be heard. Choirs of distinction will welcome this powerfully effective addition to their repertoire. Available separately: SATB, Orchestration CD-rom (Score & parts for 2 Oboes, 2 Bassoons, 2 Trumpets in C, Bass Trombone, Timpani, 2 Violins, Viola, Cello and Double Bass). Duration: ca. 5:20. New product for the week of April 23, 2012.

Uses: General, Thanksgiving, Patriotic, Concert Scripture: Psalm 3:8; Proverbs 10:6; Psalm 106:3 A beloved American classic sings again in this richly set arrangement complete with a colorful orchestration and track. There are many occasions where this anthem of gratitude would be useful, but it has often been associated with the Thanksgiving season. Warm harmonies embrace the listener with glorious sound and the dynamic crescendo that crowns this evergreen is a memorable part of our national songbook. Available separately: SATB, StudioTrax CD, Orchestration CD-rom (Score & parts for Flute 1&2, Oboe, Clarinet 1&2, Bassoon, Horn 1&2, Trumpet 1, Trumpet 2&3, Trombone 1&2, Bass Trombone/Tuba, Timp, Perc 1&2, Harp, Piano, Violin 1, Violin 2, Viola, Cello, Double Bass). Duration: ca. 3:48. New product for the week of April 23, 2012.

Uses: Advent, Christmas Scripture: John 7:42; Micah 5:2; Luke 2:4-6 Twirling like a Hebrew dance and leaping from the pages of prophecy, this celebratory combination of folk song and carol is a jovial shout of praise for Advent. Unmistakable in its impact, the anthem sings itself while the rollicking accompaniment creates an engine of joy propelling this piece into the heart of the listener. Two well know melodies join in a ballet of sound celebrating the anticipation of the coming Messiah. Available separately: SATB, StudioTrax CD, Orchestration CD-rom (Score & parts for Flute 1&2 (Flt 2 dbl Piccolo), Oboe, Clarinet 1&2, Bassoon, Horn 1&2, Trumpet 1, Trumpet 2&3, Trombone 1&2, Bass Trombone/Tuba, Timp, Perc 1&2, Harp, Violin 1, Violin 2, Viola, Cello, Double Bass). Duration: ca. 3:56.New product for the week of April 16, 2012

Uses: Christmas, Communion Scripture: John 3:16; Isaiah 7:14; Galatians 4:4 The final words, Christ was born for this, from the traditional carol, Good Christian Men, Rejoice, form the foundational textural concept of this new carol. The carol's tune is realized in minor and expressively altered reminding the listener that Christ was born for a divine purpose. We find ourselves looking beyond the manger to the cross. The music is cinematic in character and brings a soundtrack aspect to this message of grace. The interweaving of In Dulci Jubilo and Carol of the Bells is masterful. Available separately: SATB, StudioTrax CD, Orchestration CD-rom (Score & parts for Flute 1&2, Oboe, Clarinet 1&2, Bassoon, Horn 1&2, Trumpet 1, Trumpet 2&3, Trombone 1&2, Bass Trombone/Tuba, Timp, Perc 1&2, Harp, Violin 1, Violin 2, Viola, Cello, Double Bass). Duration: ca. 3:26.New product for the week of April 16, 2012

2 solo violins, solo violoncello/contrabass, string orchestra and Basso continuo.New product for the week of March 26, 2012

Uses: Advent, Epiphany, General Scripture: John 10:3 This anthem is a sacred tone poem shining with the light of hope. Illuminated with the warmth of a rich harmonic syntax, this singular choral is refreshing to the ears and spiritually encouraging to the heart. The lush and colorful orchestration creates a sound track to this message of divine faithfulness. Available separately: SATB, Studiotrax CD, Orchestration (Score and parts for Piccolo, flute, oboe, Bb Clarinet, Bass Clarinet, Bassoon, Horns 1&2, Glock, Perc, Timp, Harp, Piano, Violin 1&2, Viola, Cello, Double Bass). Duration: ca. 2:49.New product for the week of March 26, 2012

String Bass Part Only

Unaccompanied.

Like every other great 19th-century solo concerto, Dvorák's famous Cello Concerto was a collaboration between composer and virtuoso. It has long been known that certain solo passages in Dvorák’s autograph score were actually written by the cellist Hanuš Wihan; but Bärenreiter's edition now reveals that some details in the orchestral parts are also in his writing, showing just how closely the two musicians were working together. The editor Jonathan Del Mar has painstakingly examined all the surviving sources, including two that have hitherto been either ignored or crucially undervalued, in order to produce an authoritative edition which restores – for the first time since the original edition was published in 1896 - Dvorák's final and definitive version of the solo cello part. This differs, in details, in almost every bar from the version found in all other modern editions, while hundreds of corrections have also been made to the orchestral parts. • With Dvorák’s final and definitive version of the solo cello part • With hundreds of corrections in the solo cello part as well as the orchestral parts • With hitherto unknown details regarding the collaboration between Dvorák and Wihan • With Feuermann's and Casals' alternatives to a passage in the first movement

Beethoven's "Romances" are performed all over the world, yet how many conductors, performers and listeners are aware that op. 50 which was incidentally composed before op. 40, comes down to us in an unfinished form? The autograph score contains little to no articulation or dynamics and to the present day the work has existed only in highly over-edited publications. The performer has no way of knowing what was originally intended by the composer. Bärenreiter's new Urtext edition of opp. 50 and 40 offers the score to op. 50 twice; the first score reflects the state of Beethoven’s autograph with editorial markings clearly indicated, the second score has been edited based on other works by Beethoven from that period. This manner of publishing remains true to the sources and at the same time offers musicians a reliable transparent score for performances.