Double Concerto In D Minor BWV 1043

Bach's Double Concerto In D Minor BWV 1043 for 2 Violins with Strings and Continuo is arranged here for Violins with Piano.

Shared Ground : Choral Suite for unaccompanied double choir SSATBB - SSATBB

Shared Ground Choral Suite for unaccompanied double choir SSATBB – SSATBB by Alec Roth.

True Light : Double Choir and Organ (or Chamber Orchestra) with opt. Tam-tam

The first kiss for double mixed voice choir and organ (or chamber orchestra) with optional Tam-tam, by Alexander Campkin.

Four Choral Seasons

Four Choral Seasons for double choir and orchestra by Roxanna Panufnik. Four Choral Seasons for double choir and orchestra by Roxanna Panufnik.

Three Popular Pieces

This collection of Three Popular Pieces comprises beautiful arrangements of Bach's popular works for Piano Duet, as arranged by Leonard Duck. The pieces included are: Jesu, Joy Of Man's Desiring, Sheep MaySafely Graze and Sleepers, Wake.

Lord Love-A-Duck: An Aylesbury Anthem

Quem pastores laudavere

Quem pastores laudavere arranged for double SATB choir by Ben Parry.

Journey To Nidaros

O Nata Lux arranged for double SSATB choir by Alexander Campkin.

Of Time And Passing

Of Time and Passing by Daniel Knaggs arranged for unaccompanied double choir.

The Passing of the Year

Jonathan Dove's The Passing Of The Year for Double SATB Chorus with Piano accompaniment.

Deus est Caritas

Deus est Caritas arranged for double-voice choir with organ accompaniment by Roxanna Panufnik.

The first kiss

The first kiss for double mixed voice choir and keyboard or strings by Alexander Campkin.

Double Concerto Op.3/8

For two Violins and Piano.

Coronation Sanctus : for Double Choir and Organ

Double Music (in collaboration with John Cage

Double Music (in collaboration with John Cage

Two Composers, Four Hands : for Double String Orchestra

Across the Line of Dreams : for Double Choir and Orchestra

Wild Musick : for Double Choir and optional Chamber Organ or Piano

When Twickenham Choral commissioned this work for their centenary celebrations it made sense to choose a local poet. Alexander Pope (16881744) is regarded as one of the UKʼs finest, and with the money he had made from his translation of Homer, he was able to purchase a magnificent villa in Twickenhamʼs Cross Deep, of which his famous grotto still survives, underneath St Catherineʼs and Radnor House Schools. He was 22 when he penned his epic Ode for Musick, on St Ceciliaʼs Day although it wasnʼt published for another 13 years. Iʼve used just the exuberant first verse here, and have relished word-painting his musical depictions, using the first two lines, which imitate celebratory church bells, as a refrain. I am hugely grateful to Twickenham Choral and their conductor Christopher Herrick for commissioning this work  it has been a huge joy to write, during this riotously sunny and colourful spring. Roxanna Panufnik

Mass E Flat Major D 950

Mass No. 6 in E flat major, D 950, is a mass composed by Franz Schubert. It was originally scored for two tenor soloists, soprano, alto and bass soloists, SATB choir with divisi, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2trumpets, 3 trombones, timpani, violin I and II, viola, cello, and double bass and is presented in this edition as a vocal score for SATB. It was Schubert's final setting of the order of Mass, and is classified as a missasolemnis.

Six Suites For Solo Cello BWV 1007-1012 - Vol.1 : Nos 1, 2 and 3 - Edition for Double Bass

Johann Sebastian Bach's 6 Solo Violoncello Suites BWV 1007–1012 - Vol.1 includes the works Cello Suite No. 1 in G major, BWV1007, Cello Suite No. 2 in D minor, BWV1008, Cello Suite No.3 in C major, BWV1009.

Journey

Ivor Novello Award winner and double Grammy Award winner Paul Phoenix teams up with a cappella ensemble Apollo5 and orchestra to share tracks on the latest recording from Edition Peters Sounds.Paul Phoenix, famous as a choirboy, former member of The King’s Singers and founder of Purple Vocals presents some of his favourite tracks, including Nunc Dimittis the theme-tune from BBC TV’s Tinker, Tailor, Soldier, Spy which propelled him tostardom in 1979. Other tracks include Pie Jesu by John Brunning and U2’s MLK, important pieces on his musical path. The Journey continues with the newly composed folksong arrangement Oh You Wide Steppe on this recording. Apollo5 has been praised forits engaging and entertaining performances. With repertoire ranging from retro jazz and pop arrangements to classical they are accomplished performers on the concert platform. A part of the VCM Foundation with their home at the Gresham Centre inLondon, they regularly collaborate with Paul Phoenix. With Andrea Haines, soprano; Craig Burnett, trumpet; Nicholas Riddle, organ; the British Film Orchestra, conducted by Barnaby Smith.

Requiem in C minor : Messa d'morti

The Requiem in C minor by Francesco Durante (1684–1755) is one of the most important works of this genre written in the first half of the 18th century. In his Messa de’ morti, Durante shows great creativity in combining traditional elements of church music with new ideas originating from instrumental writing and opera. The quality and originality of his Requiem make it an exciting rediscovery with the potential to establish itself as a core repertoire work of sacred choral music. Mainly known today as the teacher of Pergolesi and Paisiello, Durante spent much of his life working as music director at various conservatories in Naples and enjoyed great renown as achurch composer well into the 19th century. Despite its widespread popularity, indicated by the number of manuscript copies to be found across Europe, his Requiem never appeared in print. For this first publication, editor and leading British choral director Stephen Darlington has consulted many of the approximately 50 surviving sources of the work, presenting a critical edition which for the first time makes Durante’s Requiem available to a wider musical audience. •First publication •Urtext edition •Particularly suitable for smaller choirs and ensembles: soprano and alto solo, double choir (SSATB ATB) and strings (plus 2 horns in the Tuba mirum) •Full score and orchestral material also available (EP73044) The Requiem in C minor by Francesco Durante (1684–1755) is one of the most important works of this genre written in the first half of the 18th century. In his Messa de’ morti, Durante shows great creativity in combining traditional elements of church music with new ideas originating from instrumental writing and opera. The quality and originality of his Requiem make it an exciting rediscovery with the potential to establish itself as a core repertoire work of sacred choral music. Mainly known today as the teacher of Pergolesi and Paisiello, Durante spent much of his life working as music director at various conservatories in Naples and enjoyed great renown as achurch composer well into the 19th century. Despite its widespread popularity, indicated by the number of manuscript copies to be found across Europe, his Requiem never appeared in print. For this first publication, editor and leading British choral director Stephen Darlington has consulted many of the approximately 50 surviving sources of the work, presenting a critical edition which for the first time makes Durante’s Requiem available to a wider musical audience. •First publication •Urtext edition •Particularly suitable for smaller choirs and ensembles: soprano and alto solo, double choir (SSATB ATB) and strings (plus 2 horns in the Tuba mirum) •Full score and orchestral material also available (EP73044).

Panis Angelicus - Voice/Piano

Includes versions for High, Medium or Low Voice (G, F or E flat) with Piano accompaniment. Performance note by Gordon Stewart.Preface:The words for Panis Angelicus are from a longer hymn text, SacrisSolemnis, written by St Thomas Aquinas in the thirteenth century for the newly established Feast of Corpus Christi, and would originally have been sung to a plainchant. César Franck set this verse of seven lines in1872. His deep religious feelings fashioned a memorable melody, one which is within the scope of all singers - its range is only a seventh and, if you follow the word patterns, the breathing sits comfortably. It is, in itsway,simple and direct, but with the chance to use the voice to its full. The Latin words are not hard to sing, but if you prefer to perform it in English, the translation conveys the essential meaning. Franck originally wrotePanis Angelicus for Tenor, Cello, Harp, Organ and Double Bass, but it slips easily into the Keyboard arrangement. The colours of the original scoring are evident the Organ's sustained chords, the semi-staccato notes forthe Harp and the Cello's countermelody beginning in bar 38 (which could be transferred to another melodic instrument if that suits the occasion). Some discreet repetition of the long tied notes and doubling of the bass at theoctave can give the Piano more resonance. The accompaniment probably works best with a minimum pedalling and an Organist's style of fingering. The dynamics ask for a triumphant final statement of the words 'pauper, servus' in bar53. It makes complete musical sense to make a diminuendo for the word 'humilis' in bar 56, leading to a thoughtful postlude.

My Song is Love Unknown

Francis Pott’s My song is love unknown sets all of Samuel Crossman’s famous verses but one (commonly omitted when the poem is sung metrically as a hymn). The music begins with offbeat repeatedchords prompted—not inappropriately—by the opening to Richard Strauss’s tone poem, Death and transfiguration. In its early stages only trebles and altos are heard. The sequential flow ofCrossman’s poem is soon disrupted with particular dramatic ends in mind. After a seemingly anxious harmonic distortion of the opening chords, the word ‘crucify’ arises initially as a mere mutter from thelowervoices, so timed as to afford assonance with other words in the upper parts and thus remain barely discernible, as if only imagined. In due course, however, cries of ‘Hosanna’ find themselves on a collision coursewith a rising tide of ‘Crucify’, during which the ‘Hosanna’ faction gradually loses heart and, sheep-like, defects until a single treble voice—plaintively daring to repeat the ‘offending’word—is swept aside by a murderous outcry. In due course ‘Crucify’ recurs as a further angry climax before the opening music returns, this time expanding into an extended polyphonic final section for double choirand SATB soloists. The principal climax of the work subsides into a form of epilogue, crowned sorrowfully by a treble soloist to whom the music in toto has by now presented many challenges. The anthem ends in the key and mood ofits opening. The character of its demanding organ part reflects the possibility that it may one day be orchestrated.   My song is love unknown was composed in memory of Michael Renton, a craftsmanand largely self-taught ‘Renaissance’ man who was not only a member of the Winchester cathedral congregation but also the cathedral’s stonemason. He was beloved of many in the Cathedral community; a true and