Ensemble

for violin, viola, cello, double bass, and piano. This stylish and approachable arrangement of Scarlatti's Sonata in D (K.119) (originally composed for keyboard) is vivacious and dance-like in charact...

for violin, viola, cello, double bass, and piano. This arrangement of Scarlatti's Sonata in E (K. 215), which was originally composed for keyboard, is restrained and melodic, as well as being stylish...

for flute, clarinet, violin, cello, piano. Phoenix is a series of interlinked, contrasting sections - by turns elegiac, radiant, and menacing - culminating in a luminous cantilena for the four melody...

This work for clarinet and string quartet is in three movements: a subdued prelude, an airy interlude, and a bluesy postlude.

Originally scored in D major for counter-tenor, with trumpet and strings, the work is here arranged by John Rutter for performance by soprano and organ (or strings and organ continuo), with or without...

A splendid curtain-raiser to Vivaldi's Gloria, Francesco Durante's artful Magnificat has long been misattributed to his pupil Pergolesi in a version for four voices, not five. Durante's vocally richer...

A splendid curtain-raiser to Vivaldi's Gloria, Francesco Durante's artful Magnificat has long been misattributed to his pupil Pergolesi in a version for four voices, not five. Durante's vocally richer...

for piano and string quartet Originally scored for solo piano and full orchestra, Skempton's Piano Concerto has been arranged by the composer for quintet, broadening its reach to smaller ensembles. Th...

for piano and string quartet. Originally scored for solo piano and full orchestra, Skempton's Piano Concerto has been arranged by the composer for quintet, broadening its reach to smaller ensembles. T...

The Moon is Flashing was originally scored for tenor solo and full orchestra, but has here been rescored for chamber ensemble, broadening its reach to smaller ensembles.

The Moon is Flashing was originally scored for tenor solo and full orchestra, but has here been rescored for chamber ensemble.This set of parts contains parts for clarinet, violin, cello, and piano. T...

for SATB, brass quintet, percussion, and organ Full score for the brass ensemble version of Gordon Thornett's exuberant carol, Noel!

for SATB, brass quintet, percussion, and organ Complete set of parts for the brass ensemble version of Gordon Thornett's exuberant carol, Noel!

Mini-Drama was commissioned for Chamber Music 2000. Chamber Music 2000 works were designed to be technically easy, but still retain the composer's own individuality and musical style.

for piano, clarinet, and vibraphone

for piano quintet with double bass Each of the four movements of the work concentrates on a tiny amount of highly-characterised musical material derived from the scales, gestures and performing practi...

Spring Rounds is a companion work to American Rounds, which Butler wrote for the Schubert Ensemble in 1998. It consists of the same type of folky material, organised throughout in canonic dialogue bet...

Bright Future ignoring Dark Past was commissioned for Chamber Music 2000. The Chamber Music 2000 works were designed to be technically easy, but still retain the composers own individuality and musica...

for piano trio Mathias's only piano trio is a concisely structured work in four movements, including pleasing sonorities and melodic main themes, ranging from the characteristically Celtic to twinges...

Sotto Voce consists of an intriguing interplay of isolated notes for the three instruments, with a good deal of pizzicato in the strings.

La gora di mulino was commissioned for Chamber Music 2000. The Chamber Music 2000 works were designed to be technically easy, but still retain the composers own individuality and musical style. La gor...

for piano and two Chinese opera gongs Pianogongs was inspired by the sonorities of the percussion section of the Beijing opera. The work is for one performer and features a combination of piano (funct...

If Ferdinand Herold owes his reputation largely to his operas, of which Zampa ou La Fiancée de marbre (1831) remains a reference until today, there are works from the beginning of his life that we sp...

If Ferdinand Herold owes his reputation largely to his operas, of which Zampa ou La Fiancée de marbre (1831) remains a reference until today, there are works from the beginning of his life that we sp...

If Ferdinand Herold owes his reputation largely to his operas, of which Zampa ou La Fiancée de marbre (1831) remains a reference until today, there are works from the beginning of his life that we sp...