Moeran: When Icicles Hang By The Wall for SA Chorus with Piano acc.

When Icicles Hang By The Wall is a poem by Shakespeare, taken from Love's Labour's Lost, Act V . It was set to music by Moeran and published in 1940 in a collection entitled four Shakespeare Songs (R76). It is scored for Female Voices (SA) with Piano accompaniment. Ernest J Moeran (1894-1950) was an English composer, who followed the tradition of R. Vaughan Williams and John Ireland by collecting, preserving, and using many folk songs, mainly from Norfolk, Suffolk, and Ireland.

A James Hook Album

Twenty-two easy keyboard pieces from Guida di Musica.

Thomas Arne: When Icicles Hang By The Wall

For Voice and Piano.

Chandler When Icicles Hang By The Wall Satb

publisher are included in the catalogue.

Macfarren When Icicles Hang By The Wall Sstb

Tremain When Icicles Hang By The Wall Sab

Hook, J Rub-a-dub-dub Sa/Piano Arranged By Dorothy Hogben

Tarik O'Regan: Now Fatal Change

Now Fatal Change by Tarik O'Regan. 5 short duets for countertenor and violin.First performance by Ryland Angel and Lara St John on 28 December 2012, Trinity Wall Street, New York, USA.Duration: ca. 9 minutes

Moeran, E When Icicles Hang By The Wall Tb/Piano

Walter W.. Brooks: When Icicles Hang By The Wall Satb/Piano

Debbie Campbell: Ocean Commotion (Pupil?s Book)

Debbie Campbell's wonderful environmental musical with 12 memorable songs tells the tale of Bottlenose the dolphin who is taken into captivity. The sea creatures, including the ?Godfather? Great White Shark and his godson Hammerhead join together with some caring humans and succeed in getting Bottlenose released back into the sea. Songs include ?Look Out For The Hook?, ?On With The Show? and ?Stranger In The Sea? and are in a wide range of styles from country and western to rock ?n? roll and rap.Published in association with the World Wide Fund for Nature: performances of this work will benefit the WWF.You will require a license to perform this work at your school/youth theatre; please click here for more information and our application form.

Martin Creed: Variations For String Quartet

The full score and parts for artist and musician Martin Creed 's Variations For String Quartet , composed in 2013 for Violin, Viola, Cello and Double Bass. Martin Creed  is perhaps best known for his daring and undoubtedly innovative art pieces, the most controversial of which, Work No. 227: The lights going on and off won the Turner prize in 2001. Lesser-known but equally as interesting are his musical endeavours, playing and composing with his band, as well as composing a piece commissioned for the 2012 Olympic Games opening ceremony. This work, Variations For String Quartet is an exciting and multi-layered piece that shows off the best of this artist of many talents.

Tarik O'Regan: Lamentation (TTBB)

For men's voices unaccompanied. Commissioned by Matti Hyökki and the YL Helsinki Male Voice Choir, Lamentation uses extracts from one of six laments by Peter Abelard (1079 – 1142) which were found in a manuscript that was only discovered in 1830 in the Vatican. Helen Waddell, in the accompanying notes to her translation of the text, suggests that in this searing meditation on one of the most controversial and multi-faceted Biblical passages (II Samuel 1:17-27), 'Abelard's passion, that never escaped in his strange, remote letters to Heloise, for once awakes and cries’. Although written with particular reference to David, slayer of Goliath, and Jonathan, son of King Saul, it is the ecumenical sentiment of loss felt by persons of any faith or none that pervades Abelard's beautiful Latin text and, indeed, my rendering of his words.

Edward Gregson: Make A Joyful Noise

This work was commissioned by St Dunstan's College, South-East London, for the celebration of its centenary in 1988. It is an anthem, and uses a setting of Psalm 100. The work has three main sections (fast-slow-fast) and is essentially jubilant in nature. After a brief instrumental introduction the choir enters, using as its text the first two verses of the Psalm. This reaches a climax on the word singing after which the music subsides into the serene key of C major for female voices only to sing a reflective tune on the words Know ye, surrounded by various counter melodies on solo horn and trumpet. Male voices then take over this tune (inverted) and the final comment is left to unaccompanied choir, leaving sopranos on a held low D. At this point the last section begins. The mood is set by Organ and Percussion, the style takes off its hat to minimalism, with multi-layered textures underpinning the choral unison on the word Enter. Eventually the tonality heads towards G major and a reprise of the opening music, with a coda full of energetic exuberance.