Grainger's extraordinary work, subtitled "music to an imaginary ballet," was prompted by a request from the English conductor Thomas Beecham to compose a ballet score for the Diaghilev company. The commission never materialized, but Grainger nevertheless proceeded to create a his most adventuresome work to date - employing a large orchestra with an expanded percussion section and three pianos, requiring three conductors for coordination. The world premiere for the now imaginary ballet took place in December 1919, with the composer on a piano plus the Chicago Symphony conducted by Frederick Stock. The new, digitally-enhanced study score offered here has been reproduced from the "compressed full score" issued in 1926 under the composer's name by B. Schott's Sohne, Mainz.

Percy Grainger, like his contemporary Bela Bartok, was intensely interested in folk music and became a member of the English Folk-Song Society soon after his arrival in London in the first decade of the 20th century. He produced numerous works based upon folk music from the British isles, with more than 45 items in his "British Folk-Music Settings" alone. As with many titles in the series, Moly on the Shore exists in multiple arrangements - "dished-up" by the composer himself. The first version (BFMS 1), composed in 1907, was for string quartet. The present orchestral ("full band or theatre band" in Grainger's parlace) setting was produced in 1914. This new, convenient-sized study score is a digitally restored reissue of the 1914 score first published in London by Schott & Co. In contrast to so many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly checked to make sure it is actually readable. As with all PLP scores a percentage of each sale is donated to the amazing online archive of free music scores and recordings, IMSLP - Petrucci Music Library.

Percy Grainger, like his contemporary Bela Bartok, was intensely interested in folk music and became a member of the English Folk-Song Society soon after his arrival in London in the first decade of the 20th century. He produced numerous works based upon folk music from the British isles, with more than 45 items in his "British Folk-Music Settings" alone. As with many titles in the series, Shepherd's Hey exists in multiple arrangements - "dished-up" by the composer himself. The first version (BFMS 3), composed between 1908-11, was for an ensemble of 12 players. The present orchestral ("full band" in Grainger's parlace) setting was produced two years later and published as No.16. This new, convenient-sized study score is a digitally restored reissue of the 1913 score first published in London by Schott & Co. In contrast to so many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly checked to make sure it is actually readable. As with all PLP scores a percentage of each sale is donated to the amazing online archive of free music scores and recordings, IMSLP - Petrucci Music Library.

Percy Grainger, much like his contemporary Bela Bartok, was intensely interested in folk music and became a member of the English Folk-Song Society soon after his arrival in London in the first decade of the 20th century. He produced numerous works based upon folk music from the British isles, with more than 45 items in his "British Folk-Music Settings" alone. As with many titles in the series, Shepherd's Hey exists in multiple arrangements - "dished-up" by the composer himself. This is the first version (BFMS 3), composed between 1908-11, scpred for an ensemble of 12 players. Grainger's original score was a "compressed full score" which did not precisely notate each part in detail. The score offered here is a newly edited and engraved edition prepared by Richard W. Sargeant Jr. based upon both the original score and the actual orchestral parts issued at the same time. Those interested in Grainger's unique orchestrational palette can now see in it full detail.

This is a new collection of six Grainger classics arranged for wind octet - five of his unique folksong settings plus his pseudo-baroque dance Handel in the Strand. The ensemble of 2 oboes, 2 clarinets, 2 bassoons and 2 horns is one with a history going back to the baroque era, and became extremely popular by Beethoven's time. While Grainger never arranged the works selected here for the ensemble, he arranged them for all manner of instrumental combinations ranging from string quartet to full orchestra.
1. Country Gardens, BFMS 22
2. Spoon River, AFMS 1
3. Molly on the Shore, BFMS 1
4. Irish Tune from County Derry, BFMS 6
5. Handel in the Strand, RMTB 2
6. Shepherd's Hey, BFMS 3

Percy Grainger, much like his contemporary Bela Bartok, was intensely interested in folk music and became a member of the English Folk-Song Society soon after his arrival in London in the first decade of the 20th century. He produced numerous works based upon folk music from the British isles, with more than 45 items in his "British Folk-Music Settings" alone. As with many titles in the series, Shepherd's Hey exists in multiple arrangements - "dished-up" by the composer himself. The first version (BFMS 3), composed between 1908-11, was for an ensemble of 12 players. The present orchestral ("full band" in Grainger's parlace) setting was produced two years later and published as No.16. Grainger's 1913 score was a "compressed full score" which did not precisely notate each part in detail as a conventional full score does. The score offered here is a newly edited and engraved edition prepared by Richard W. Sargeant Jr. based upon both the original 1913 score and the actual orchestral parts issued at the same time. Those interested in Grainger's unique orchestrational palette can now see in it full detail.

In a departure from his usual practice of setting traditional melodies, Grainger instead chose to set a traditional text to original music - in an English translation made with his mother Rose - of a Faroe Islands wedding verse originally collected by V. U. Hammershaimb in 1886. The result is a raucous celebration for 9 vocalists, chorus, and orchestra. This new vocal score is a digitally-enhanced reprint of the one originally issued in 1916 by Oliver Ditson.