SKU: A0.1292837

I introduced a soprano to our choir conductor. She joined the choir ... and the two of them married quite soon afterwards! 
Things sometimes move quickly in London city churches!  
I wrote this epithalamium for them and sang it at their wedding.

You may hear the flutter of tiny wings 
and it's not the white-eyed angel above the organ. 
watch my wings flutter 
It's not the angelic soprano in the days of her youth 
and it's not the big burly bass 
and it's not the gloria in excelsis Rector 
'Cos ev'ry body knows that Cupid sings alto 
Watch my wings flutter 
Now this Cupid brought a soprano in 
and he introduced her for an audition 
watch her heart flutter! 
She sang very sweetly and purely in the days of her youth 
and found favour with the maestro 
and the gloria in excelsis Rector said 
Well I never knew that Cupid sang alto. 
Watch his wings flutter!
You may hear the flutter of tiny wings tiny wings tiny wings...

SKU: A0.1299102

ALL PURCHASES COME WITH SCORE AND PARTS

2009 – Sea Shanty Dance, for String Orchestra.  Duration: 4 minutes.

This short piece began life as a piece of incidental music by the same title in a children’s musical, Sea Shanty For A King, for which I wrote the tunes to the songs. The Musical was the brainchild of Phil Bennett, the head mistress of Herne Hill Primary School in London, and I had the wonderful privilege of writing the music for it in the early 1990s. The show was performed four times to parents of the children of the school and was a huge success at the time.  I decided that many of the melodies could be incorporated into my concert pieces and this piece is one such example. It can be enjoyed by both professionals and students alike. It is rhythmic and tuneful, with  a Russian folk song flavour.

There are two arrangements available:

No. 1 – School arrangement:  for Violins 1, 2 and 3, cellos 1 and 2 

No. 2 – Standard:  for Violins 1 and 2, viola, cello and Double Bass.

SKU: A0.632947

An excellent arrangement of famous Song Circus Theme With Improvisation for Cello and Piano (Jazz/Pop Version). This piece (for Piano) is featured on the Trinity College London (Australia) Grade 5 Piano Syllabus 2018-2020.The composition is easy to read, fun to play and sound professional when performed. Arranged by Fishel Pustilnik, very well known as Composer/Publisher. His books Jazz & Pop Piano Paradise (Volumes 1-5) have become a commercial success and a hit with music teachers and students in Canada. (Thousands books already sold in Canada). They are also starting to enter the US, Brazil, Norway, Russia, Holland, Israel, Belgium, Sweden, Finland, Greece, Latvia and UK markets. This is a wonderful new publication. These pieces offer much appeal for the young pianist and excellent choice for a supplementary book for students from Grade 3 to 8. Lore Ruschiensky, Editor, (from review in The Canadian Music Teacher) Yesterday I spent at least two pleasure filled hours playing through your imaginatively inventive compositions. Congratulations! I trust students will decide to program your well crafted and entertaining works on recitals and examinations. Review from Dr. Jack Behrens, B.Sc. (Julliard), PH.D (Harvard), Director of Academic Studies, The Glenn Gould School I liked this book the best so far. Great work! You have a gift for melody and your arrangements are very playable. Congratulations on the 3rd Volume. Mark Carlstein, Hal Leonard, Keyboard Publications.

SKU: A0.1299106

ALL PURCHASES COME WITH SCORE AND PARTS

2009 – Sea Shanty Dance, for String Orchestra.  Duration: 4 minutes.

This short piece began life as a piece of incidental music by the same title in a children’s musical, Sea Shanty For A King, for which I wrote the tunes to the songs. The Musical was the brainchild of Phil Bennett, the head mistress of Herne Hill Primary School in London, and I had the wonderful privilege of writing the music for it in the early 1990s. The show was performed four times to parents of the children of the school and was a huge success at the time.  I decided that many of the melodies could be incorporated into my concert pieces and this piece is one such example. It can be enjoyed by both professionals and students alike. It is rhythmic and tuneful, with  a Russian folk song flavour.

There are two arrangements available:

No. 1 – School arrangement:  for Violins 1, 2 and 3, cellos 1 and 2 

No. 2 – Standard:  for Violins 1 and 2, viola, cello and Double Bass.

SKU: S9.Q23832

Feldman's was a music shop in London in the early 20th century.They sold collections of popular music for playing at home, and some of these were called 'Feldman's Sixpenny Editions'. Collections like these were among my first feverish encounters with music as a boy. I fell in love with pieces like 'Martial Steps' and 'The dog barks, the caravan passes On'. I entered into them completely, becoming one not only with the music, but with the paper they were printed on, and the advertisements on the back. I pored over these, laying my face on them, waiting for signs of my future direction. The piano plays a significant role in the music. The last piece in the collection, 'The Innermost Secret', refers to the lunches Satie had with Debussy. Satie said that Debussy cooked pork chops 'with the innermost secret'. (Gerald Barry).

SKU: A0.632944

An excellent arrangement of famous Song Circus Theme With Improvisation for Guitar and Piano (Jazz/Pop Version). This piece (for Piano) is featured on the Trinity College London (Australia) Grade 5 Piano Syllabus 2018-2020.The composition is easy to read, fun to play and sound professional when performed. Arranged by Fishel Pustilnik, very well known as Composer/Publisher. His books Jazz & Pop Piano Paradise (Volumes 1-5) have become a commercial success and a hit with music teachers and students in Canada. (Thousands books already sold in Canada). They are also starting to enter the US, Brazil, Norway, Russia, Holland, Israel, Belgium, Sweden, Finland, Greece, Latvia and UK markets. This is a wonderful new publication. These pieces offer much appeal for the young pianist and excellent choice for a supplementary book for students from Grade 3 to 8. Lore Ruschiensky, Editor, (from review in The Canadian Music Teacher) Yesterday I spent at least two pleasure filled hours playing through your imaginatively inventive compositions. Congratulations! I trust students will decide to program your well crafted and entertaining works on recitals and examinations. Review from Dr. Jack Behrens, B.Sc. (Julliard), PH.D (Harvard), Director of Academic Studies, The Glenn Gould School I liked this book the best so far. Great work! You have a gift for melody and your arrangements are very playable. Congratulations on the 3rd Volume. Mark Carlstein, Hal Leonard, Keyboard Publications.

SKU: A0.1493039

Maria-Félicie-Clémence de Grandval (1828–1907) was born on January 28, 1828 at Saint-Rémy-des-Monts, France and died on January 15, 1907 in Paris.After the death of her mother, Louise Adèle du Temple de Mésières, her father the Baron de Reiset, a military officer remarried with an Englishwoman and moved his family to London. After beginning her musical studies privately, she studied the piano with the German composer Friedrich von Flotow, who was a family friend. Returning to France, she studied the piano briefly with Chopin and composition with Camille Saint-Saëns, who remember their first meeting: “I was 12 when I heard the vicomtesse de Grandval for the first time, who was 18. It was at a musical morning concert at the home of the violinist de Cuvillon. She sang a song of her own composition ‚La Source, in which she accompanied herself. I was struck by the fluidity of her playing, which purely and without useless inflections, was quite close to my way of viewing music. This unified and tranquil style came out of her studies with Chopin.” Camille Saint-Saëns: Quelques mots sur l’exécution des œuvres de Chopin, in: “Le courrier musical de Paris” 13 [1910], S. 386).  At first writing mostly sacred music, most of her public success was due to her comic operas: la Comtesse Eva, la Pénitente, Piccolino and Mazeppa. She also wrote orchestral music, chamber music, and over 60 songs (to poets such as Sully Prudhomme, Michel Carré, Henri Meilhac, Georges Hartmann, Charles Grandmougin and Louis Gallet.) She is chiefly known today for her music for wind instruments, especially for the oboe.

SKU: A0.1493036

Maria-Félicie-Clémence de Grandval (1828–1907) was born on January 28, 1828 at Saint-Rémy-des-Monts, France and died on January 15, 1907 in Paris.After the death of her mother, Louise Adèle du Temple de Mésières, her father the Baron de Reiset, a military officer remarried with an Englishwoman and moved his family to London. After beginning her musical studies privately, she studied the piano with the German composer Friedrich von Flotow, who was a family friend. Returning to France, she studied the piano briefly with Chopin and composition with Camille Saint-Saëns, who remember their first meeting: “I was 12 when I heard the vicomtesse de Grandval for the first time, who was 18. It was at a musical morning concert at the home of the violinist de Cuvillon. She sang a song of her own composition ‚La Source, in which she accompanied herself. I was struck by the fluidity of her playing, which purely and without useless inflections, was quite close to my way of viewing music. This unified and tranquil style came out of her studies with Chopin.” Camille Saint-Saëns: Quelques mots sur l’exécution des œuvres de Chopin, in: “Le courrier musical de Paris” 13 [1910], S. 386).  At first writing mostly sacred music, most of her public success was due to her comic operas: la Comtesse Eva, la Pénitente, Piccolino and Mazeppa. She also wrote orchestral music, chamber music, and over 60 songs (to poets such as Sully Prudhomme, Michel Carré, Henri Meilhac, Georges Hartmann, Charles Grandmougin and Louis Gallet.) She is chiefly known today for her music for wind instruments, especially for the oboe.

SKU: A0.1492428

As a former very keen flute player (I loved playing in the Singapore Youth Symphony Orchestra, and studied flute for several years at the Mozarteum in Salzburg before concentrating on keyboard instruments) I enjoy writing for the Flute. This collection starts off with 8 pieces using titles of René Magritte's surrealist paintings. The titles, which I found really inspiring, were thought up by Magritte's friend, the surrealist poet Louis Scutenaire: La sens de la nuit; La clef des songes; Les signes du soir, etc. There are 3 pieces inspired by Shakespeare characters: Juliet; Hotspur; Beatrice & Benedick; a few jazzy pieces : London Bridge Rag; We gotta Boogie; My favourite Time of day; and some VERY exciting encore pieces: Tango at 2 a.m., Folies d'Espagne, Rondo alla Tarantella...