Edition Peters: Bestsellers Catalogue 2022 by Edition Peters

BESTSELLERS CATALOGUE 2022

Clara Schumann 30 Italian Songs and Arias

Penelope Roskell’s book demonstrates that she has a profound understanding of the obstacles – technical, musical, physiological or psychological – encountered by pianists of any age, and an ability to express that understanding in logical terms. With her words and countless examples, she helps the reader to see the wood for the trees. This renders her book invaluable for young artists, but also for pianists wishing to return to – or even to start – with the piano at a later stage. I wish I had access to her book when I was younger. Peter Donohoe CBE I have known and admired Penelope Roskell for more than forty years as both performer and teacher. A sensitive and insightful artist, she is a representative of modern pedagogy, as well as the leading authority on injury prevention for pianists at all stages of their development. Sulamita Aronovsky, Professor of Piano, Royal Academy of Music; Chairman, London International Piano Competition This book is a pragmatic and erudite summary of the experience of a working lifetime. It has been a privilege to work alongside Penelope in a joint clinic at the British Association for Performance Arts Medicine. I have learned how important looking at technique can be as a strategy for good musculoskeletal health in pianists. Mr Mark Phillips, hand and wrist surgeon

Clara Schumann (geb. Wieck) war zweifellos die bedeutendste Pianistin des 19. Jahrhunderts mit einer über 60 Jahre währenden Karriere als gefeierte Kla-

viervirtuosin. Schon in jungen Jahrento bereiste sie als Wunderkind ganz Europa. From healthy technique natural artistry

Ebenso beeindruckend, aber weniger bekannt ist die Komponistin Clara Schumann, die ihr Opus 1 bereits mit elf Jahren veröffentlichte. Ungeachtet ihrer gesellschaftlich auferlegten Pflichten als Frau schuf sie zahlreiche

die denen ihrer männlichen P EKlavierwerke N E LundOLieder, PE RO S K E Zeitgenossen L L in nichts nachstehen. Jedoch ließ es die Anschauung ihrer Zeit nicht zu, Frauen als vollwertige Komponistinnen anzusehen und ihre Werke angemessen zu würdigen.

In dem Bestreben, diese bedeutende Komponistin wieder ins rechte Licht zu rücken, präsentiert Edition Peters in Zusammenarbeit mit dem SchumannHaus Leipzig nun das vorliegende Jubiläums-Liederalbum anlässlich ihres 200. Geburtstages. Die 14 herausragenden Liedkompositionen entstanden vorwiegend in der Leipziger Zeit nach Claras Eheschließung mit Robert Schumann, der sich mehr als jeder andere für ihr Schaffen einsetzte. Dieser Band enthält: • 14 der schönsten Lieder Clara Schumanns in praktischer Neuausgabe • Werkeinführungen zu allen Stücken von Frances Falling, Schumann-Haus Leipzig • CD mit eingespielten Klavierbegleitungen

Clara Schumann (1819–1896) Jubiläums-Liederalbum / Anniversary Songbook Inhalt / Contents: 1. Walzer (Lyser) 2. Er ist gekommen in Sturm und Regen (Rückert) op. 12 Nr. 2

Clara Schumann (née Wieck) was undoubtedly the most important female pianist of the 19th century. As a young child she toured Europe as a prodigy: her entire career as a celebrated piano virtuoso spanned more than 60 years.

3. Liebst du um Schönheit (Rückert) op. 12 Nr. 4

Equally important, but less well known, is the composer Clara Schumann, who published her Opus 1 at the age of eleven. Despite the domestic duties expected of a woman at that time, she created numerous outstanding piano works and songs that are at least the equal of those of her male contemporaries. However, society at that time did not allow women to be regarded as fully-fledged composers or for their works to be appreciated adequately.

5. Am Strande (Gerhard, nach / after Burns)

To help give this important composer the recognition she deserves, Edition Peters, in collaboration with the Schumann-Haus Leipzig, is now, on the occasion of her 200th birthday, publishing this Anniversary Songbook. The 14 songs, representing the pinnacle of Clara’s art, were composed mainly in the period after her marriage in Leipzig to Robert Schumann – who was her greatest champion. This volume includes: • new practical editions of 14 of Clara Schumann’s greatest songs • introductions to each song, written by Frances Falling, Schumann-Haus Leipzig • new English translations of the song lyrics • a CD containing recordings of the piano accompaniments

4. Warum willst du and’re fragen (Rückert) op. 12 Nr. 11 6. Mein Stern (Serre; engl. Wray) 7. Ich stand in dunklen Träumen (Heine) op. 13 Nr. 1 8. Sie liebten sich beide (Heine) op. 13 Nr. 2 9. Liebeszauber (Geibel) op. 13 Nr. 3 10. Der Mond kommt still gegangen (Geibel) op. 13 Nr. 4

12. Die stille Lotosblume (Geibel) op. 13 Nr. 6 13. Loreley (Heine)

Ebenfalls erhältlich | also available:

www.editionpeters.com

in Zusammenarbeit mit dem | in partnership with

Schumann-Haus Leipzig Hohe Stimme (Originaltonarten) | High (Original) Voice EP 11570a

25.02.20 11:29

(1819–1896)

Jubiläums-Liederalbum | Anniversary Songbook

14. Beim Abschied (Serre)

Clara Schumann (1819–1896) Jubiläums-Liederalbum | Anniversary Songbook Ausgabe für mittlere-tiefe Stimme | medium-low voice edition EP 11570b | ISMN 979-0-014-13332-0

EP11570 Clara Schumann Songbook COV.indd 4-6

Clara Schumann

11. Ich hab’ in deinem Auge (Rückert) op. 13 Nr. 5

EP 73024

Umschlag_Roskell_The Complete Pianist.indd 1

mit / including CD

Edition Peters 11570a

Edition Peters 73024

Penelope Roskell is Professor of Piano and Piano Pedagogy at Trinity Laban Conservatoire of Music and Dance and at the Royal Welsh College of Music and Drama. As a soloist she has played in major concert halls in more than thirty countries. She is the leading UK specialist in healthy piano playing, and Piano Advisor to the British Association for Performing Arts Medicine, where she holds a clinic for pianists with tension or injuries.

selected and edited by/ Anniversary Roger Nichols Jubiläums-Liederalbum Songbook Hohe Stimme (Originaltonarten) / High (Original) Voice medium-high voice

Jubiläums-Liederalbum / Anniversary Songbook

The Complete Pianist: from healthy technique to natural artistry offers a new and unique approach to piano playing, in which Penelope Roskell shares a lifetime’s experience of teaching and performing, and of ground-breaking research into healthy piano playing. Her innovative approach to piano technique is based on the use of natural, ergonomic movement which achieves a rich range of sounds, allows greater artistic freedom and helps to prevent injury. The Complete Pianist features: n More than 500 pages of text and music examples, guiding pianists through technical challenges and interpretative choices n 250 newly-devised exercises, covering basic and more advanced techniques n More than 300 free online video demonstrations

The Complete Pianist

Clara Schumann

P EN EL O P E RO S K E L L

Roskell The Complete Pianist

The Complete Pianist: From healthy technique to natural artistry

einschließlich CD mit Klavierbegleitungen includes a CD of piano accompaniments

20.02.2019 15:49:17

BESTSELLERS CATALOGUE 2022 Selected highlights from the extensive range of music published by Edition Peters since 1800 from its three offices in Leipzig, London and New York.

The Edition Peters complete sales catalogue consists of more than 12,000 titles. Presenting an introductory overview to the complete sales catalogue, this Edition Peters Bestsellers Catalogue 2022 includes short articles on many of our key composers, editors and editions as well as blurbs, contents lists and key information for more than 2,500 sales titles.

www.editionpeters.com

“As far as my personal relationship with Edition Peters is concerned, it is as if on this occasion a complete picture unfolds before my mind’s eye, and this picture shows me afresh the deep sense of gratitude towards the firm, C.F. Peters, and its dear senior partner, which shall pervade me until my dying day.” Edvard Grieg

The relationship between publisher and composer is documented in over 400 letters.

The Edition Peters catalogue remains unrivalled in the range of repertoire it offers musicians: the most up-to-date Urtext editions and the most trusted technical studies sit alongside an extraordinarily diverse choice of works by many of the world’s leading contemporary composers. From early years, through advancing technical progress to a lifetime’s playing for pleasure or profession, the Edition Peters catalogue contains riches that are required personal library items for all musicians. Musicians the world over instantly recognize the iconic green covers of the Edition Peters Green Series, launched in Leipzig in 1867. At a fraction of the price of any other edition, it revolutionized the music industry, and quickly became a global phenomenon. It offered the chance for everyone to access music in excellent and reliable editions, beautifully typeset, and at affordable prices. Edition Peters was also one of the very first publishers to release Urtext editions, with the publication of Ludwig Landshoff’s ground-breaking edition of J.S. Bach’s Inventions and Sinfonias in 1933. The Green Series and the principles that created it now form the bedrock of our piano catalogue. Virtually all the core classical repertoire can be found in excellent Green Series editions, including famous classic editions such as Mendelssohn’s Songs Without Words, Bach’s Well-Tempered Clavier, Robert Schumann’s Kinderszenen and Beethoven’s Piano Sonatas. Edition Peters continues to rejuvenate this series, and works with many of the world’s leading scholars and practitioners to create cutting-edge modern editions, as exemplified by The Complete Chopin under Editor-in-Chief John Rink, or Leslie Howard’s series of Liszt editions. Our excellence in Urtext publishing has strengthened our catalogue with important recent editions of keyboard and works by Bach, Fauré, Mozart, Ravel and the complete works of Robert Schumann. Throughout its history Edition Peters has cultivated direct working relationships with the world’s leading composers. Edvard Grieg enjoyed a lifelong friendship with the owners of Edition Peters, Max Abraham and his nephew Henri Hinrichsen (who succeeded him as Managing Director of the company), and their association created the principles of modern composer/publisher relationships, with the signing of the first ever general contract. Edition Peters even paid for the land on which Grieg and Nina built their beloved home, Troldhaugen. A commitment to cutting-edge music was continued boldly in the 20th century. Edition Peters was, for example, the original publisher of new music by Gustav Mahler, Max Reger, Arnold Schoenberg and Richard Strauss. Today, the Edition Peters Group is proud to celebrate a list of thriving living composers working across the world. Our modern music catalogue includes much of the most important music of the late 20th and early 21st centuries; Edition Peters represents the complete works of the musical maverick John Cage, and voices as wide-ranging as Mark Andre, Milton Babbitt, Sally Beamish, George Crumb, Jonathan Dove, Brian Ferneyhough, Marc-André Hamelin, Mauricio Kagel, Roxanna Panufnik, Rebecca Saunders, Erkki-Sven Tüür and Errollyn Wallen among many others. Any inquisitive musician delving into this new repertoire will be rewarded with music that challenges, provokes and inspires.

Generations of musicians have begun or developed their techniques with our definitive editions of classic pedagogical works, such as Carl Czerny’s many piano tutors, Kreutzer's iconic violin studies and Vaccai's vocal exercises. Our commitment to education continues to the present day, most recently demonstrated by the publication of Penelope Roskell’s landmark methodology The Complete Pianist which has been lauded across the world as “an encyclopedic masterpiece of pianistic wisdom” and Simon Fischer's landmark series of violin tutors. The history of Edition Peters is a fascinating story, touched by tragedy. Geheimrat Dr. Henri Hinrichsen, former Chairman of the German Music Publishers Association, close friend of countless composers and owner of Edition Peters, was murdered in Auschwitz on 17th September 1942 and in total 13 members of the extended Hinrichsen family perished in the Holocaust. A proud German publishing house was thrown into existential crisis and survived as an international firm thanks to the courage and tenacity of Hinrichsen’s sons Max and Walter who set up firms in London and New York respectively after the War. More than 200 years after it was first established, Edition Peters is now unified into one Group, majority-owned by the Hinrichsen Foundation, alongside a direct Hinrichsen family heir. One of the few truly independent classical music publishers, Edition Peters Group remains committed to serving the needs of musicians at any level across the world. For more information on the remarkable history of Edition Peters, visit: www.editionpeters.com

Edvard Grieg, his wife Nina with Martha and Henri Hinrichsen, in Talstrasse 10, Leipzig.

A UK-based charity devoted to the promotion of new music

The Hinrichsen Foundation was founded in 1976 by Mrs Carla Eddy Hinrichsen. Her vision was to ensure the continued support of contemporary music by the Hinrichsen family, the proprietors of Edition Peters. As one of the leading independent music publishers in the world, Edition Peters has represented the great contemporary composers of each generation since it was established in 1800 in the German city of Leipzig up to the present day. The Hinrichsen Foundation is a major shareholder of the Edition Peters Group, and its income derives from the Group’s profits.

The Hinrichsen Foundation is principally concerned with providing support for the performance of contemporary music in the UK, which may include commissioning of new work, non-commercial recording or even publication. It will will occasionally provide funds for research projects not being conducted under the aegis of an academic institution. Since the Foundation was set up, over 1500 grants totalling more than £2.25 million have been awarded. Throughout this time the majority of awards have been made to subsidize the public performance of works by living composers – these have included performances in standard concert halls, churches, railway stations and other spaces. Awards have also been made to fund scholarships and bursaries at academic institutions or summer schools, and to support composition.

If you would like to make a donation to the Hinrichsen Foundation, or to find out more about their work, please contact: Email: hinrichsen.foundation@editionpeters.com The Hinrichsen Foundation 2-6 Baches Street London N1 6DN The Hinrichsen Foundation is a registered charity constituted by a Deed of Trust and numbered 272389.

Contents Bestsellers Catalogue, 2022 Keyboard Piano Piano Methodology...................................................8 Piano Studies..........................................................10 Piano Sight-Reading...............................................12 Grade 8 Piano Anthology........................................12 Aural Training...........................................................13 J.S. Bach Premium Editions....................................14 Solo Piano by Composer.........................................16 Solo Piano Albums..................................................43 Piano, 4 Hands.......................................................46 Piano, 4 Hands Albums...........................................48 Piano, 6 Hands.......................................................48 Two Pianos, 4 Hands..............................................49 Two Pianos, 8 Hands..............................................53

For a complete list of works for Piano, including all Contemporary works, please refer to the Edition Peters Complete Piano Catalogue. (German and English language editions available)

Organ..........................................................................53 Accordion....................................................................54 Strings Violin Violin Studies & Tutors.............................................55 Solo Violin by Composer.........................................59 Violin & Piano by Composer....................................60 Violin & Piano Albums..............................................67 Violin Duets.............................................................67 Two/Three Violins & Piano.......................................68 Violin & Viola............................................................68 Violin & Other Instruments.......................................68 Viola Viola Studies & Tutors..............................................69 Solo Viola by Composer..........................................70 Viola & Piano by Composer.....................................71 Viola Duets..............................................................72 Viola & Other Instruments........................................72 Violoncello Violoncello Studies & Tutors....................................73 Solo Violoncello by Composer.................................75 Violoncello & Piano by Composer............................76 Electric Cello...........................................................80 Double Bass...............................................................80 Harp............................................................................81 Guitar...........................................................................81 Woodwind Flute Flute/Piccolo Studies...............................................82 Flute Orchestral Excerpts........................................82 Solo Flute by Composer..........................................82 Flute & Piano by Composer.....................................84 Flute & Piano Albums..............................................86 Flute Duets..............................................................86 Flute Trio Sonatas....................................................86 Flute & Other Instruments........................................87

Oboe Oboe Studies..........................................................87 Oboe Orchestral Excerpts.......................................87 Oboe & Piano by Composer....................................88 Cor Anglais..................................................................89 Clarinet Clarinet Studies.......................................................89 Clarinet Orchestral Excerpts....................................89 Solo Clarinet............................................................90 Clarinet & Piano by Composer.................................90 Clarinet Duets..........................................................92 Bass Clarinet...........................................................92 Contrabass Clarinet.................................................93 2 Clarinets...............................................................93 Clarinet & Other Instruments....................................93 Saxophone..................................................................93 Bassoon Bassoon Studies.....................................................94 Bassoon Orchestral Excerpts..................................94 Solo Bassoon..........................................................94 Bassoon & Piano by Composer...............................94 Brass French Horn French Horn Orchestral Excerpts.............................95 Solo French Horn....................................................95 French Horn & Piano by Composer.........................96 French Horn & Other Instruments............................96 Trumpet Trumpet Studies & Tutors........................................97 Trumpet Orchestral Excerpts...................................97 Trumpet & Piano by Composer................................98 Trumpet & Solo Voice..............................................99 Trumpet & Choir.......................................................99 Trombone Trombone Orchestral Excerpts..............................100 Trombone & Piano by Composer...........................100 Tuba..........................................................................100 Percussion Percussion inc. Marimba............................................101 Chamber Music Strings String Trios............................................................103 String Quartets......................................................103 String Quintets.......................................................105 String Sextets........................................................106 String Octets.........................................................106 Piano Piano Trios.............................................................106 Piano Quartets.......................................................108 Piano Quintets.......................................................108 Ensemble Peters Concert Band (Woodwind).........................109 Peters Brass Band................................................111

Contents/Catalogue Key/Territorial Restrictions/Sales Contacts Choral Oratorios by Composer..............................................112 Contemporary by Composer.....................................123 Voces8......................................................................144 A capella as Performed by the Swingle Singers.........151 Yiddish Choral Series................................................154 Choral Anthologies....................................................155 Christmas Choral Anthologies...................................160 Choral Vivace............................................................163 Musica Baltica...........................................................165 Opera Opera Vocal Scores by Composer............................168 Vocal Vocal Studies...........................................................172 Audition Technique & Music for Exams....................173 Changing Voices......................................................174 Lieder Collections....................................................175 English Song Albums...............................................176 French Song Albums...............................................177 Jewish Song Album.................................................177 Songs for Special Occasions...................................177 Opera Aria Collections by Series.............................178 Opera Aria Collections by Voice..............................180 Opera Aria Collections by Composer.......................181 Single Opera Arias..................................................182 French Operatic Aria Series.....................................183 Russian Operatic Aria Series...................................184 Opera Aria Collections by Voice..............................182 Solo Vocal & Piano by Composer............................185 Solo Voice & Instruments........................................202 Vocal Duets ...........................................................204 Solo Voices in Ensemble.........................................206

Key • Edition Peters Urtext =

Normal delivery times and discount rates apply

• Peters on Demand = Average delivery time 2-4 weeks Available for dealers at specific discount levels • Peters East German Library = Average delivery time 2-4 weeks Available for dealers at specific discount levels

Your Sales Contacts Edition Peters UK Peters Edition Ltd 2-6 Baches Street London N1 6DN T +44 (0)20 7553 4000 F +44 (0)20 7490 4921 sales.uk@editionpeters.com www.editionpeters.com Edition Peters Germany C. F. Peters Ltd & Co. KG Talstraße 10 04103 Leipzig T +49 (0)341 98 97 92-10 F +49 (0)341 / 98 97 92-54 vertrieb@editionpeters.com www.edition-peters.de

Trade Distribution for UK, Mainland Europe, Asia & Africa:

Faber Music Distribution Burnt Mill Elizabeth Way Harlow CM20 2HX UK T +44 (0)1279 828989 trade@fabermusic.com www.fmdealers.com Edition Peters USA 70-30 80th Street Glendale, NY 11385

• Peters Contemporary Library = Average delivery time 2-3 weeks Available for dealers at specific discount levels

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Territorial Restrictions ▲ Not for sale in France until October 2022 ▼ Not for sale in France ◄ For sale in UK, Eire, Commonwealth, North & South America only

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Piano Methodology/Tutors Piano Methodology Pohl, Christian A. • Klaviermethodik (German)....................................................EP 11511 Christian A. Pohl's groundbreaking Klaviermethodik marks a new era of learning and practicing on the piano. The author sums up the quintessence of his decades of experience as a piano teacher and pianist in a comprehensive, multi-layered and inspiring way. The result is an almost inexhaustible fund of practical instructions for a wide variety of artistic, musical and pianistic learning goals, systematically compiled in numerous concepts, methods and practice models. For successful and enjoyable learning and making music on the piano - up to concert maturity.

• 13 concepts, 27 methods, 13 practice models • Novel and extraordinarily detailed methodology - from the workshop of a pianist

• Inspirational and motivating for every practice phase • Graphically appealing designed for quick intuitive understanding • With numerous sheet music examples and pedagogical tips for today's teaching practice

• Over 300 practical flashcards for all chapters available for download

“In my opinion, Christian A. Pohl's systematic piano methodology is the valid piano methodology for the coming decades. A milestone in instrumental pedagogy!” (Jörg Schweinbenz, Professor at the Berlin University of the Arts)

Christian A. Pohl teaches as a professor for piano and piano methodology at the Felix Mendelssohn Bartholdy Academy of Music and Theatre in Leipzig. For more than 20 years he has been intensively involved in the development of systematic piano methodology. Master classes and seminars regularly take Christian A. Pohl to numerous European and Asian countries.

Piano Methodology/Tutors Roskell, Penelope

Winner - Presto Music Award Best New Publication 2020

• The Complete Pianist

From healthy technique to natural artisty.............................EP 73024

------------------------------

“An Encyclopaedic masterpiece of pianistic wisdom”

Piano Magazine

“A lifetime's experience of piano playing. The Complete Pianist will become a standard text for years to come.” Music Teacher Magazine, Review Fiona Lau -----------------------------“Without question, Penelope Roskell’s The Complete Pianist is the most monumental publication yet to arrive for review, and with 560 large format pages, 250 newly-devised exercises and more than 300 supporting online videos, I can well believe that it’s the most comprehensive book ever written on piano playing, as well as the most superbly presented.”

Pianodao.com

-----------------------------“This is an extraordinary, universal book...” EPTA Piano Journal May 2020

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Containing more than 500 pages of text, 300 videos and 250 exercises newly devised by the author, this is the most comprehensive book ever written on piano playing. The book has something new to offer to all pianists and keyboard players - student and teacher, professional and amateur. Roskell guides pianists through the early stages of learning a piece, through all the technical challenges and interpretative choices, towards inspired performance. Each new aspect of playing is addressed through a series of practical exercises which proceed, step-by-step, from the basics towards more advanced applications. Roskell demonstrates all the musical and technical points herself in videos accessible by smartphone, tablet or computer. Penelope Roskell is Professor of Piano and Piano Pedagogy at Trinity Laban Conservatoire of Music and Dance, London and at the Royal Welsh College of Music and Drama. As a soloist she has played in major concert halls in more than thirty countries. She is the leading UK specialist in healthy piano playing, and Piano Advisor to the British Association for Performing Arts Medicine, where she holds a clinic for pianists with tension or injuries.

“Penelope Roskell has created an encyclopedic masterpiece of pianistic wisdom, based on a fruitful performing and teaching career, and fueled by her quest for a healthy, injury-free approach to the piano.”

Piano Magazine, USA, Reviewer Julie Miller

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“I have known and admired Penelope Roskell for over forty years as both performer and teacher [...] I wholeheartedly recommend The Complete Pianist as valuable reading for any person interested in the art of piano playing.”

Sulamita Aronovsky - Professor of Piano, Royal Academy of Music; Chairman, London International Piano Competition -----------------------------

“This book is a pragmatic and erudite summary of a working lifetime spent considering how to keep healthy whilst playing piano.”

Mr Mark Phillips - British Association for Performing Arts Medicine, Hand surgeon -----------------------------“In sum, The Complete Pianist is a remarkable achievement, a comprehensive manual for pianists and teachers, packed with invaluable accumulated wisdom and intelligent advice, and excellent supporting materials. Penelope Roskell simplifies the craft and art of piano playing, without ever devaluing musical ability, talent and artistry, and provides pianists with the tools to practice and work independently, yet with the sense of a supportive, sympathetic teacher always at one’s side, encouraging one to continually develop one’s artistic skill.

Highly recommended.” Interlude.hk

Piano Studies Piano Studies Bertini, Henri (1798–1876) A child prodigy, French composer and performer Henri Bertini studied the piano with his father and with his half-brother Auguste—a student of Muzio Clementi, a virtuoso whose Henri’s own impeccable playing technique was favorably compared. His prolific oeuvre includes over 500 pedagogical etudes for the piano.

Cramer, Johann Baptist (1771–1832) Best known today for his compositions, Mannheim-born prodigy Johann Baptist Cramer was during his own lifetime renowned as one of Europe’s leading pianists. Arriving in London as a child, he studied briefly but significantly with Muzio Clementi and grew to champion composers from Bach—some of whose manuscripts he acquired on a tour of Europe—to his contemporary Beethoven, who praised his proficiency and musicality.

• 60 Studies..............................................................................EP 3814 (Bülow/Weinreich)

• Preliminary Studies Vol. 1: 24 Studies Op. 29.........................................................EP 182a Vol. 2: 24 Studies Op. 32.........................................................EP 182b

Beyer, Ferdinand (1803–1863) The Elementary Method of German pianist Ferdinand Beyer—best known during his own lifetime as a composer and arranger for the keyboard—was introduced to Asia not long after his death, helping to cement his posthumous reputation as a master of piano pedagogy.

• Elementary Method Op. 101..................................................EP 2721

Czerny, Carl (1791–1857) As a student of the keyboard, Carl Czerny’s teacher was none other than Ludwig van Beethoven. As a teacher himself, his own students included the prodigy Franz Liszt, and the books of piano studies that Czerny composed—along with hundreds of other opuses—remain the backbone of the educational repertoire. Not just a great pianist but a truly well-rounded musical talent, he edited a number of landmark publications: in 1867, his edition of The Well-Tempered Clavier became the first in publisher Max Abraham’s fledgling series of affordable classics, named “Edition Peters.”

Burgmüller, Friedrich (1806–1874) The son of a musical family, Burgmüller moved to Paris in 1832 and established himself as a piano teacher of some renown, as well as a composerof ballet music and piano studies intended for young players.

• 25 Études faciles et progressives Op. 100 (25 Easy Studies) ................................................................EP 3101 • 12 Études Op. 105 (12 Brilliant and Melodious Studies)......................................................EP 3102 • 18 Études de genre Op. 109 (18 Characteristic Studies) ...............................................EP 3103

• Art of Finger Dexterity Op. 740 (Complete)............................EP 2412 • 40 Daily Exercises Op. 337.....................................................EP 2409 • 100 Easy Progressive Pieces without Octaves Op. 139....................................................................EP 2403 • 160 Eight-Bar Exercises Op. 821...........................................EP 2405 • 125 Exercises for Passage Playing Op. 261..............................................EP 2404 • First Tutor Op. 599....................................................................EP 2402

Piano Studies • 24 Five-Finger Exercises Op. 777.........................................EP 2844

Lemoine, Henry (1786–1854)

• Preparatory School of Velocity Op. 636................................................................EP 2407

Heir to the publishing company that now bears his name, Lemoine studied with composer and music theorist Anton Reicha before going on to publish the music of Chopin, Berlioz’s treatise on orchestration, and his own piano • School of Velocity Op. 299 method book. Complete..................................................................................EP 2411 • Easy Progressive Studies Op. 37..........................................EP 2213 • School of Virtuosity Op. 365....................................................EP 2410

• Studies for the Left Hand Op. 399.........................................EP 2842 • Études de mécanisme Op. 849 (To Prepare for the School of Velocity)....................................EP 2611

Hanon, Charles-Louis (1819–1900) French composer, organist and teacher Charles-Louis Hanon wrote music exclusively for educational or liturgical use. His greatest legacy is Le Piano Virtuose, a book of technical studies taken up around the world shortly after its first publication.

• The Virtuoso Pianist................................................................EP 7357 (Eng. preface) with supplementary exercises by Weinreich

• The Virtuoso Pianist................................................................EP 4354 (Ger. preface) with supplementary exercises by Weinreich

Schmitt, Aloys (1788–1866) • Studies Op. 16 Vol. 1: Preparatory Exercises..............................................EP 2467a Vol. 2: ..................................................................................EP 2467b Vol. 3: ..................................................................................EP 2467c

Widmaier, Martin (*1960) • 24 Eight-Bar Studies after Chopin......................................EP 11230 Chopin’s seminal etudes Opp. 10 and 25 distilled into 24 eight-bar studies. Includes numerous exercises in harmony, rhythm, finger technique and improvisation. Based on traditional practice techniques and modern training concepts from exercise research.

Heller, Stephen (1813–1888) Like fellow Hungarian pianist Franz Liszt, Stephen Heller was sent as a child to study with Carl Czerny in Vienna—but Heller’s family was unable to afford Czerny’s services. A prolific composer, he enjoyed his greatest professional success in Paris, where he became an intimate friend of Hector Berlioz and published the etudes that made him famous: the virtuoso concert etudes that Liszt and others performed across Europe at that time, and the pedagogical etudes that are still performed today.

• 25 Melodious Studies Op. 45................................................EP 3561a • 30 Progressive Studies Op. 46...............................................EP 3562 • 25 Studies for Rhythm & Expression Op. 47.............................................................EP 3563

Wieck, Friedrich (1785–1873) Arguably, the greatest work of piano teacher Friedrich Wieck was the education of his daughter Clara, one of the most admired pianists and composers of her age. But he had a large number of student–including, briefly, Clara’s future husband, the composer Robert Schumann. Wieck’s inventive approach to piano pedagogy survives in his writings and in his etudes for the instrument.

• Pianoforte Studies.....................................................................EP 375

Piano Sight-Reading/Grade 8 Piano Anthology Piano Sight-Reading Right @ Sight

Johnson, T.A. (revised by Caroline Evans) Caroline Evans brings a refreshingly direct approach to the development of this vital musical skill. Each exercise takes as its starting point TRaK – Time, Rhythm and Key. Helpful and imaginativeguidance encourages the student to meet the various practical and interpretative challenges introduced in each new piece. Conveniently presented in 8 progressive volumes corresponding to examination grades, Right@Sight is the only sight-reading course you are likely to need. Grade 1.................................................................................EP 7539 Grade 2.................................................................................EP 7540 Grade 3.................................................................................EP 7541

• Grade 8 Piano Anthology for 2021/2022.....................................................................EP 73547 “A stroke of publishing genius … The strengths of this publication cannot be overstated” Pianodao.com Review June 2021 The Grade 8 Piano Anthology 2021/22 comprises a broad selection of examination pieces from lists A, B and C of the Associated Board syllabus. The anthology supports students preparing for the Practical Exam or for the new Performance Exam. Aural Notes, by Caroline Evans (author of the Edition Peters Aural Test Survival Books), draw upon music in the Anthology to provide preparation material for the type of discussion topics typically encountered in the Grade 8 Practical Exam aural test. Those preparing for the Grade 8 Performance Exam are aided by Performance Notes by Norman Beedie (Lecturer in Classical Improvisa tion, Piano and Conducting at the Royal Conservatoire of Scotland), which give advice on technique and interpretation for each piece, and guidance on preparing an effective programme.

Grade 4.................................................................................EP 7542 Grade 5.................................................................................EP 7543 Grade 6..................................................................................EP 7544 Grade 7..................................................................................EP 7545 Grade 8..................................................................................EP 7546

List A: J. S. Bach Fantasia in C minor, BWV 906 Haydn Allegro moderato (1st movement from Sonata in A-flat, Hob. XVI:46) C. Schumann Prelude and Fugue in B-flat (No. 2 from Three Preludes and Fugues, Op. 16) J. S. Bach Prelude and Fugue in G, BWV 884 (from The Well-Tempered Clavier, Part 2) Beethoven Allegro (1st movement from Sonata in E, Op. 14 No. 1) Handel Prelude and Allegro (Fuga) (1st and 2nd movts from Suite No. 8 in F minor, HWV 433) Martínez Allegro/Moderato (1st movement from Sonata No. 3 in A) Mozart Andante grazioso and Vars. 1–6 (1st movement from Sonata in A, K. 331) Rameau Les cyclopes ( from Pièces de clavecin) D. Scarlatti Sonata in D, K443 List B: Brahms Intermezzo in E (No. 6 from Fantasies, Op. 116) Arensky Nocturne in D-flat (No. 3 from 24 Characteristic Pieces, Op. 36) Chopin Mazurka in A minor, Op. 17 No. 4 Janácek Andante (No. 1 from In the Mists) Rachmaninoff Moment Musical in D-flat, Op. 16 No. 5 Schubert Impromptu in A-flat (No. 2 from Four Impromptus, Op. 142, D. 935) Schumann Romanze in F-sharp (No. 2 from Drei Romanzen, Op. 28) List C: Bartók Rondo (No. 1 from Three Rondos on Folk Tunes) Sculthorpe Snow, Moon and Flowers (from Night Pieces) Chaminade Pierette (Air de Ballet), Op. 41 Debussy Rêverie Khachaturian Toccata Cecilia McDowall Vespers in Venice (from Four Piano Solos) Villa-Lobos O polichinelo (from A prole do bebê no. 1)

Aural Training Aural Training Evans, Caroline • Aural Test Survival Books (Revised Edition)

How to succeed in Associated Board and other music exams

Each book contains: - a description of each test, telling you what to expect and how to respond - training sessions designed to help build confidence - quizzes and hints for further practice Book 1.................................................................................EP 72251 Book 2.................................................................................EP 72252 Book 3.................................................................................EP 72253 Book 4.................................................................................EP 72254 Book 5.................................................................................EP 72255 Book 6.................................................................................EP 72256 Book 7.................................................................................EP 72257 Book 8.................................................................................EP 72258

There are countless editions of the Notebook for Anna Magdalena Bach. Edition Peters has now published a complete edition for the first time, containing the complete material from Bach’s 1722 and 1725 notebooks. Christoph Wolff, renowned Bach specialist, professor at Harvard University and long-time director of the Bach Archive in Leipzig, is the editor of this bibliophile Urtext edition. Bibliophile is the right term here [...] the publication shows the company’s deep connection to Bach in several ways. In addition to a foreword, the inside pages contain all piano pieces from Bach’s books in a clean, very well-placed typesetting. Reproductions of Bach’s original manuscript make the bridge between the past and the present easy to understand. Close to the original and very beautifully realised, this Notebook is worthy of distinction. Deutscher Musikverleger-Verband (Best Edition 2020)

Johann Sebastian Bach: The Notebooks for Anna Magdalena Bach, 1722 & 1725 New Critical Edition · Edited by Christoph Wolff In 1721 a 20-year-old soprano employed at the princely court in Köthen married the court’s Kapellmeister, set to become the greatest composer of the age. As his second wife she married into a young family with four children, and a busy household filled with music. The music book that Johann Sebastian Bach presented to his new wife Anna Magdalena in 1722, and replaced more lavishly in 1725, treats us to a tantalizing glimpse inside this unique family, allowing us to sit beside Bach as a composer, teacher, husband and father. Over the years, these notebooks became a place for the family to share instructional exercises, favorite pieces – by Bach and other composers – to play or sing, early composition efforts from the children, and first versions of some of Bach’s more ambitious keyboard works. What is usually presented as ‘the’ Anna Magdalena Notebook is a set of excerpts from the 1725 collection. The scholarship that informed the New Bach Edition in 1957 has been greatly developed and expanded since then. Now, for the first time, Edition Peters presents a new Urtext edition of the Notebooks for Anna Magdalena Bach, containing all the material from the 1722 and 1725 books together in one volume, in the original landscape format. Edited by pre-eminent Bach scholar Christoph Wolff (Harvard Professor and former Director of the Leipzig Bach Archive), this new publication represents the very latest in Bach scholarship, reflecting up-to-the-minute research on texts, authorship and copyists. Premium Scholarly Edition EP 11500 · ISMN 979-0-014-12600-1

With an extensive preface, detailed critical commentary, and beautifully engraved notation, the hardcover clothbound edition with gold embossing offers a truly best-in-class publication.

Practical Student Edition EP 11501 · ISMN 979-0-014-12601-8

The practical edition of the volume draws from the scholarly edition, and presents a selection of the most popular pieces from the two notebooks, perfect for use by students of all ages and their teachers.

Welcome to Bach’s Home

Bach’s ‘notebooks’ provide a fascinating glimpse into the domestic music academy of the Bach family home. They contain original compositions, exercises, and model examples by other composers, all collected with a view to providing a rounded musical education to family members.

Johann Sebastian Bach et al. Notebook for Wilhelm Friedemann Bach, 1720 New Critical Edition · Edited by Christoph Wolff

J.S. Bach statue, St Thomas Church, Leipzig

The Notebook for Wilhelm Friedemann Bach was compiled for Johann Sebastian’s eldest son, who himself went on to become one of the leading organists, improvisers and composers of his day. The book contains systematic exercises, first or early versions of three of Bach’s most important keyboard cycles (some of the preludes from the Well-Tempered Clavier, Preambulums for the Two-part Inventions and Fantasias for the Three-part Sinfonias) and suites by Richter, Telemann and Stölzel among other items. This luxury linen-bound edition with gold-embossed cover lettering is in line with the quality of the production of the much-praised Notebooks for Anna Magdalena Bach. It is produced in the original landscape format, ideal for use on a keyboard stand, and contains illustrations, premium-quality new engravings and full critical commentary. This edition is the first new Urtext edition of the notebook in 60 years. It presents cutting-edge scholarship from the world’s leading Bach authority Professor Christoph Wolff including the most up to date research regarding attributions of authors and writers, new fragments brought to light by recently rediscovered manuscripts and the latest dating of sources.

• • • • • •

First new Urtext Edition for 60 years Highest possible level of scholarship Follows acclaimed publication of The Notebooks for Anna Magdalena Bach 1722 & 1725 Landscape format, optimal for piano and keyboard players Premium linen binding Bibliophile edition

Premium Scholarly Edition EP 11502 · ISMN 979-0-014-12707-7 15

Solo Piano by Composer Solo Piano by Composer Albéniz, Isaac (1860–1909)

• España Op. 165 (Weitzmann)...................................................EP 4946 Prelude, Tango, Malagueña, Serenata, Capricho Catalan, Zortzico

Albright, William (1944–1998) • The Dream Rags.....................................................................EP 6611

Bach, Johann Sebastian (1685–1750) • Air in D

from the Orchestral Suite No. 3 BWV 1068.............................EP 7110 Arranged for Piano (Johnson)

• The Notebooks for Anna Magdalena Bach 1722 & 1725 (Christoph Wolff)

Complete Hardcover Premium Edition

...........................................EP 11500 Sleepwalker’s Shuffle; The Nightmare Fantasy Rag (A Night on Rag Mountain); In 1721 a 20-year-old soprano employed at the princely court in Köthen Morning Reveries married the court’s Kapellmeister, set to become the greatest composer

• Three Original Rags............................................................EP 66920 On the Lamb; The Queen of Sheba; Onion Skin

Aldridge, Robert Livingston (*1954) • Three Waltzes.......................................................................EP 68347

Armstrong, Kit (*1992)

• 3 Impressionen for piano, left hand.....................................EP 14009 • Snowfall Fading

.......................................................EP 12867

Bach, Carl Philipp Emanuel (1714–1788) • Solfeggio

............................................................EP 11635

C.P.E. Bach’s Solfeggio (also commonly known as Solfeggietto) provides a thrilling sprint for the fingers around the keyboard in 60 seconds of pure musical energy.

The title, referring to the solfège exercises commonly given to singers, indicates a piece that is designed to develop technique. But the panache with which Bach flies through the scales and arpeggios of this piece make it both a satisfying and highly-effective practice piece as well as a reliable concert showstopper for pianists moving past the first stages of learning.

This new Urtext edition has been produced by the internationally renowned C.P.E. Bach expert Wolfram Enßlin and brings together the highest level of musicology with a beautifully prepared and practical edition.

of the age. As his second wife she married into a young family with four children, and a busy household filled with music. The music book that Johann Sebastian Bach presented to his new wife Anna Magdalena in 1722, and replaced more lavishly in 1725, treats us to a tantalizing glimpse inside this unique family, allowing us to sit beside Bach as a composer, teacher, husband and father. Over the years, these notebooks became a place for the family to share instructional exercises, favourite pieces – by Bach and other composers – to play or sing, early composition efforts from the children, and first versions of some of Bach’s more ambitious keyboard works. What is usually presented as ‘the’ Anna Magdalena Notebook is a set of excerpts from the 1725 collection. The scholarship that informed the New Bach Edition in 1957 has been greatly developed and expanded since then. Now, for the first time, Edition Peters presents a new Urtext edition of the Notebooks for Anna Magdalena Bach.

Contains a preface and critical commentary in German, English and French.

This premium edition offers a truly best-in-class publication. • Contains all the material from the 1722 and 1725 notebooks together in one volume, in the original landscape format • Edited by pre-eminent Bach scholar Christoph Wolff, Harvard Professor and former Director of the Leipzig Bach Archive • Represents the very latest in Bach scholarship, reflecting up-to-theminute research on texts, authorship and copyists • Extensive preface, detailed critical commentary, and beautifully engraved notation • Hardcover clothbound edition with gold embossing

Solo Piano by Composer • The Notebooks for Anna Magdalena Bach 1722 & 1725 (Christoph Wolff)

Selections

.........................................................EP 11501

Drawn from Christoph Wolff’s new and cutting-edge scholarly edition of the complete Anna Magdalena Notebooks, Edition Peters is proud to present a new volume of shorter and easier pieces from the notebooks, perfect for practical use by students of all ages and their teachers. • Urtext edition by pre-eminent Bach scholar Christoph Wolff, Harvard Professor and former Director of the Leipzig Bach Archive • Represents the very latest in Bach scholarship, reflecting up-to-theminute research on texts, authorship and copyists • A selection of the most popular pieces from the two notebooks in a practical student edition • Contains works for keyboard and vocal pieces, following the practice of musical education and performance in Bach’s home

• Brandenburg Concerto No. 3 in G BWV 1048............................................................EP 7889 Arranged for Piano (Johnson)

• 16 Concertos based on works by Other Composers BWV 972–987 (Czerny / Griepenkerl)........................................EP 217 Vivaldi, Telemann, Marcello etc..

• English Suites BWV 806–811..................................................EP 4580 A, A min, G min, F, E min, D min

• French Suites BWV 812–817 & French Overture BWV 831 ...........................................EP 11443 (Bartels)

This new edition of Bach’s French Suites (BWV 812–817) pairs these works with the large-scale French Overture in B minor (BWV 831) from the second part of the Clavier-Übung. It brings together on the one hand six essentially small-format keyboard suites of moderate difficulty and on the other the most extensive and substantial of Bach’s sets of suites

The player is provided with as clear and comprehensible a score as pos sible, and makes it easier to approach the work, while those of an aca demic bent can refer to the Editorial Report for a documentation of sources, editorial additions and ornaments of a comprehensiveness otherwise found only in critical complete editions.

• Goldberg Variations..................................................................EP 4462 BWV 988 (Soldan)

• Inventions & Sinfonias (2 & 3-part Inventions) BWV 772–801 (Bartels)

Bach, Johann Sebastian et al. (1685–1750) • Notebook for Wilhelm Friedemann Bach 1720 (Christoph Wolff) Complete Hardcover Premium Edition

..........................................EP 11502

• First new Urtext Edition for 60 years • Landscape format, optimal for piano and keyboard players • Premium linen binding • Bibliophile edition

Complete ..............................................................EP 11422 15 Two-part Inventions BWV 772–786 ....................................................................EP 11242 15 Three-part Sinfonias BWV 787–801......................................................................EP 11420 Bach’s two-part Inventions and three-part Sinfonias (BWV 787–801) have come down to us in an autograph fair copy dated 1723. The Inventions in particular are of merely moderate difficulty and occupy an important place in piano teaching to this day. In terms of their overall organization, the 15 pieces can be seen as leading on to the Wohltemperiertes Klavier. In keeping with normal practice, they were initially distributed in the form of handmade copies, with regular reference to the autograph. The present Urtext edition is based on Bach’s autograph as well and has been compared against the NBA. In some of the pieces, the composer himself added additional ornaments at a later stage but did not otherwise undertake significant alterations. In every respect, this new edition of the collection therefore represents an authoritative musical text, without amendments or additions deriving from contemporarysecondary sources. The Editorial Report gives details regarding textual criticism, the nature of the manuscript and the later additions.

Solo Piano by Composer • Italian Concerto BWV 971 (Bartels)

.....................................EP 11240

Johann Sebastian Bach’s “Concerto in the Italian Style” has been one of his most popular works ever since its publication in 1735. It surprises by its clarity and architectural mastery without posing inordinate demands on the player’s technique.

Bach, Johann Sebastian / Ferruccio Busoni • Chaconne in D minor

..........................................EP 7436 from Partita No.2 for Solo Violin Bach transcribed Busoni (Banks) This edition is truly indispensable for everyone engaging with this most monumental of transcriptions.

No original manuscript sources survive, but we do have Bach’s personal copies of both versions of the original printed copies.

The location of Busoni’s autograph is not known, and so our editor, Paul Banks, makes a meticulous assessment of all the earlier printed editions.

Our new urtext edition replaces the previous Edition Peters volume and is based on the second impression of the original printed copy, corrected by Bach himself.

Crucially, this edition also presents variant readings in accordance with Busoni’s own piano roll recording, which reveal some substantial deviations from the standard printed text.

• “Jesu Joy of Man’s Desiring” ................................................EP 264b from the Cantata BWV 147 Arranged for Piano (Mansfield)

• Partitas BWV 825–830 (Soldan)

In his editorial commentary Paul Banks also points out that, although piano roll recrodings cannot gie any certainty about tempo in absolute terms, they do give instructive insights into the tempo relationships between sections as adopted by Busoni.

Vol. 1: Nos. 1–3 BWV 825–827.............................................EP 4463a B-, C min, A min Vol. 2: Nos. 4–6 BWV 828–830.............................................EP 4463b D, G, E min

• The Well-Tempered Clavier (48 Preludes & Fugues) Vol. 1: Nos.1–24 BWV 846–869..........................................EP 4691a (Kreutz)

Vol. 2: Nos.25–48 BWV 870–893...........................................EP 4691b (Keller)

• Prelude and Fugue in C BWV 846........................................EP 73151 Series: more than the score... A series of classic piano music, covering much of the essential repertoire from Bach through Mozart, Schubert, Mendelssohn, Chopin and Debussy, right up to John Cage.

Each volume focuses on one piece, with written masterclasses and back ground information encouraging an exploration of the music – beyond the printed score.

Beethoven, Ludwig van (1770–1827) • Concerto No. 3 in C minor Op. 37.....................................EP 2894cc Arranged for piano, simplified and abridged (Fisher)

• Concerto No. 4 in G Op. 58................................................EP 2894dd Arranged for piano, simplified and abridged (Fisher)

• Concerto No. 5 in E- Op. 73 ‘Emperor’..............................EP 2894ee Arranged for piano, simplified and abridged (Fisher)

• Diabelli Variations Op. 120.....................................................EP 4476 • 6 Ecossaises WoO 83; 12 German Dances WoO 8..................................................EP 4336 • 24 Short Preludes & Fugues ...............................................EP 200a BWV 895, 899–900, 924–930, 933–942, 952–953, 961, 999 (Keller)

• Toccata & Fugue in D minor BWV 565.................................EP 7109 Arranged for Piano (Johnson)

• ‘Für Elise’ WoO 59 (Album Leaf)...............................................EP 7097

Solo Piano by Composer • Musical Souvenirs for Piano..............................................EP 11634 Für Elise in A minor WoO 59; Piano Sonata No. 14 in C# minor Op. 27; No. 2 (‘Moonlight Sonata’), 1st movement; Symphony No. 5 in C minor Op. 67, 1st movement (arr. Otto Singer); Piano Concerto No. 3 in C minor Op. 37, 2nd movement (arr. NoelFisher); Piano Concerto No. 4 in G major Op. 58, 1st movement (arr. Noel Fisher); Piano Concerto No. 5 in Eb major Op. 73, 3rd movement (arr. Noel Fisher); Overture to the opera ‘Fidelio’ Op. 72 (arr. Richard Kleinmichel); Ode ‘To Joy’ after theSymphony No. 9 in D minor Op. 125, 4th movement (arr. after Otto Singer)

Specially produced in association with the Beethoven-Haus Bonn for the 250th Anniversary of Ludwig van Beethoven’s birth, this souvenir collection of some of his most famous pieces and movements allows us to rediscover the joy of experiencing the full range of his music in the home and through our fingers, just as millions of amateur musicians got to know and love this music in the days before recordings. The volume contains original works for piano, such as the ever-popular Für Elise, and expert arrangements of orchestral movements, such as the first movement of the Fifth Symphony and the Ode to Joy from the Ninth Symphony. Beautifully illustrated, and with introductions to all pieces, this handsome book comes in a practical landscape format. Edition Peters enjoyed a close working relationship with Beethoven, as the original publisher of his First Symphony among other works.

The book also tells the fascinating story of the connection between Edition Peters and the most famous portrait of Beethoven by Joseph Karl Stieler.

• Sonatas (Arrau / Hoffmann-Erbrecht) This remarkable edition contains the insights of one of the most revered Beethoven pianists of modern times, Claudio Arrau. Beethoven’s own fingering is indicated, where extant. Otherwise, Arrau offers his own instructive and sometimes unusual solutions. Vol. 1: Nos. 1–15 Opp. 2–28..................................................EP 8100a Vol. 2: Nos. 16–32 Opp. 31–111.............................................EP 8100b

• Sonata No. 1 in F minor Op.2 No.1 (Fischer) ............................................................EP 4001a

• Sonata No. 8 in C minor Op. 13 “Pathétique”

(Fischer)...........................................EP 4008a

• Sonatas No. 9 in E & No. 10 in G

Op. 14 (Fischer)...............................................................EP 4009&10

• Sonata No. 14 in C sharp minor Op. 27 No. 2 “Moonlight” (Fischer)........................................EP 4014

• Sonata No.17 in D minor Op. 31 No. 2 ‘Tempest’ (Fischer)..........................................EP 4017

• Sonatas No. 19 in G minor & No. 20 in G Op. 49 (Fischer)...............................................................EP 4019/20 These two “little” sonatas were composed much earlier than their high opus number might suggest, roughly at the same time as the Sonatas Opp. 7 and 10. Both are laid out in two movements, lightweight in their compositional fabric, and relatively easy to play.

Walter Hinrichsen and staff of C.F. Peters Corporation, in downtown 1950's New York, discussing the original world famous Stieler portrait of Beethoven, hanging in their office. The portrait now proudly hangs in the Beethoven Haus in Bonn.

As Beethoven composed both works for teaching purposes, they are an ideal introduction to his music for student pianists, both young and old. In his informative preface, Johannes Fischer chronicles the interesting publication circumstances of these Sonatas. He goes on to consider why the first published edition of Op. 49 No. 2, presumably authorised by the composer, had a somewhat puzzling and unwonted paucity of dynamic markings.

Solo Piano by Composer Brahms, Johannes (1833–1897)

• Sonata No. 31 in A flat Op. 110 Op. 110 (Fischer)..................................................................EP 4031a

• 6 Sonatinas (Köhler / Ruthardt).................................................EP 1231

E-, F min, D, C, G, F

• Sonatinas & Easy Sonatas

Sonatas Op. 49 Nos. 1 & 2; Op. 79; 6 Sonatinas in E-, F min, D, C, G, F; 2 Sonatina movements WoO 50

....................................EP 9420

• Symphony No. 5 in C minor Op. 67 ....................................EP 7419 (arr. Singer)

• Complete Variations

(Hauschild / Erber)

Vol. 1:.....................................................................................EP 298aa Opp. 34, 35, 76, 120; WoO 71, 65, 80 Vol. 2:.....................................................................................EP 298bb WoO 63, 69, 70, 68, 72, 73, 75, 76, 66, 77, 64, 78, 79

• Variations Op. 120 ‘Diabelli’......................................................EP 4476

Bizet, Georges (1836–1875) • Chants du Rhin.........................................................................EP 3599

Blake, Eubie (1887–1983) • Capricious Harlem.................................................................EP 68339 (William Bolcom)

“Capricious Harlem, from the mid-thirties of the last century, fits into the genre of American salon pieces, like Signorelli’s Park Avenue Fantasy, or de Rose’s Deep Purple, which were popular at that time. Eubie Blake wrote it out in a much simpler version than he actually played it, and my version is largely a reflection of his own performance. Eubie always said it was incumbent on a musician to make his own version of a piece like Capricious Harlem - not just to play ‘THE notes’, as he always said but I added extremely little to his own version, and when I played it for him he heartily approved: ‘It’s your piece now, kid!’ I dedicate my transcription of Capricious Harlem to his memory.” (William Bolcom)

Piano Works (Seeman / Stephenson)

Vol. 1: Sonatas......................................................................EP 8200a Sonatas in C Op. 1; F# min Op. 2; F min Op. 5

Vol. 2: Variations...................................................................EP 8200b ‘Schumann’ Variations Op. 9; Variations on an Original Theme Op. 21 No. 1; Variations on a Hungarian Song Op. 21 No. 2; Variations & Fugue on a Theme by Handel Op. 24; Paganini Variations Op. 35 Vol. 3: Collected Shorter Pieces.........................................EP 8200c Scherzo in E- min Op. 4; 4 Ballades Op. 10; 16 Waltzes Op. 39; 8 Pieces Op. 76 Vol. 4: Collected Shorter Pieces.........................................EP 8200d 2 Rhapsodies Op. 79; 7 Fantasies Op. 116; 3 Intermezzi Op. 117; 6 Pieces Op. 118; 4 Pieces Op. 119 Vol. 5: Miscellaneous Works...............................................EP 8200e Variations in D min on an Original Theme (from Sextet for Strings Op. 18); 2 Sarabandes & 2 Gigues; Waltzes Op. 39 Nos. 1–16 (simplified version); Hungarian Dances Nos. 1–10; Gavotte after Gluck; 5 Studies (Bach, Chopin, Weber); 51 studies

• 4 Ballades Op. 10....................................................................EP 8973 (Seemann / Stephenson)

• Eight Piano Pieces Op.76.......................................................EP 8941 (Seemann / Stephenson)

• 7 Fantasies Op. 116.................................................................EP 8943 3 Capriccios & 4 Intermezzi (Seemann / Stephenson)

• 3 Intermezzi Op. 117................................................................EP 8944 E-, B- min, C+ min (Seemann / Stephenson)

• 6 Pieces Op. 118.......................................................................EP 8945

4 Intermezzi, Ballade, Romance (Seemann / Stephenson)

• 4 Pieces Op. 119.......................................................................EP 8946 3 Intermezzi, Rhapsody (Seemann / Stephenson)

• 2 Rhapsodies Op. 79................................................................EP 8942 (Seemann / Stephenson)

Bach, Johann Sebastian / Ferruccio Busoni • Chaconne in D minor

...........................................EP 7436 from Partita No.2 for Solo Violin Bach transcribed Busoni (Banks)

Borodin, Alexander Porfiryevich (1833–1887) • Petite Suite............................................................................EP 4320

Bortkiewicz, Sergei (1887–1952) • Ballade Op. 42; Elegy Op. 46..............................................EP 8543

Solo Piano

John Cage

Solo Piano by Composer Cage, John (1912–1992) • Piano Works 1935–1948.....................................................EP 67830 Quest; Two Pieces (1935); Metamorphosis; A Room; Ophelia; Two Pieces (1946); In A Landscape; Dream

• Chess Pieces.........................................................................EP 68110 Deciphered and transcribed by eminent pianist Margaret Leng Tan from the 1944 painting--held since then by a private collector--created by Cage for the Duchamp/Ernst exhibition, 'The Imagery of Chess.'

• Haiku.......................................................................................EP 68395 • In a Landscape....................................................................EP 73152 Series: more than the score... A series of classic piano music, covering much of the essential repertoire from Bach through Mozart, Schubert, Mendelssohn, Chopin and Debussy, right up to John Cage.

Each volume focuses on one piece, with written masterclasses and back ground information encouraging an exploration of the music – beyond the printed score.

• Prepared Piano Music 1940–1947 Vol.1................................................................................EP 67886a Bacchanale; And the Earth Shall Bear Again; In the name of the Holocaust; Primitive; Tossed As It is Untroubled; Our Spring Will Come; The Perilous Night

Vol.2..................................................................................EP 67886b Root of an Unfocus; Prelude for Meditation; The Unavailable Memory of; A Valentine Out of Season; Spontaneous Earth; Mysterious Adventure; Daughters of Lonesome Isle; Music for Marcel Duchamp

• Works for Piano, Prepared Piano

and Toy Piano, 1933–1952............................................EP 68030

Totem Ancestor; The Seasons; Suite for Toy Piano; Waiting The following pieces published for the first time: Three Easy Pieces; Jazz Study; Ad Lib; Triple Paced (First Version); Triple Paced (Second Version); Soliloquy

• 4’33” (Tacet Edition)..................................................................EP 6777 • 4’33” (Proportional Notation)...................................................EP 6777a • 4’33” Centennial Edition..........................................................EP 6777c A special edition produced to mark John Cage’s 100th birthday in 2012. Includes all published editions of 4’33” - both the typed and calligraphic TACET versions, as well as the proportional notation created for Irwin Kremen, to whom Cage had dedicated this ‘silent piece’.

• Opening Dance for Sue Laub.............................................EP 68139 • Sonatas & Interludes............................................................EP 6755 Prepared Piano

The Sonatas and Interludes are Cage’s masterwork for Prepared Piano. In the Composition Cage expresses his interpretation of the permanent emotions of Indian tradion: The Heroic, the Erotic, the Wondrous, the Comic, Sorrow, Fear, Anger, the Odious (the four dark moods) and their common tendency toward tranquility.It was Cage first composition using Hindu philosophy and he composed the Sonatas and Interludes in a period of reading the works of the Indian art historian and critic Ananda K. Coomaraswamy.

• Water Music

..............................................................EP 6770 [for a pianist using also radio, whistles, water containers, and a deck of cards]

FRÉDÉRIC CHOPIN

The Complete Chopin - A New Critical Edition Editor-in-chief: John Rink Series Editors: Jean-Jacques Eigeldinger, Christophe Grabowski, Jim Samson The Complete Chopin is based on two key premises: •

there can be no definitive version of Chopin’s works: variants form an integral part of the music

•

a permissive conflation of readings from several sources – in effect producing a version of the music that never really existed – should be avoided Accordingly, the editors’ procedure is to identify a single principal source for each work and to prepare an edition of that source (which they regard as ‘best’, even if it cannot be definitive). At the same time, important variants from other authorized sources are reproduced either adjacent to or, in certain instances, within the main music text, in footnotes or in the Critical Commentary, thus enabling scholarly comparison and facilitating choice in performance. Multiple versions of whole works are presented when differences between the sources are so abundant or fundamental that they go beyond the category of ‘variant’.

This is the Chopin edition for every serious pianist’s library.

Solo Piano by Composer Chopin, Frédéric (1810–1849) The Complete Chopin – A New Critical Edition Editor-in-Chief: John Rink Series Editors: John Rink, Jean-Jacques Eigeldinger, Jim Samson and Christophe Grabowski Chopin was a perpetual reviser, sometimes almost obsessively so. He was quite capable of sending radically differing versions of the same piece to his various publishers. The unique attribute of this new edition is that it follows scrupulously a ‘single best source’ for each piece, so that the piece is presented exactly as Chopin would have known it at a particular juncture. Only Chopin’s own fingering, as authenticated by the sources, is indicated. Sometimes unorthodox, these fingerings afford us a compelling insight into Chopin’s own expressive intentions and performance style.

• Ballades

(Samson)...................................................EP 7531 Opp. 23, 38, 47, 52

Both stylistic and paper evidence suggests that the first Ballade began life in 1835, and not 1830–1 as often reported. When Chopin published the work in 1836, it represented a new title for piano music. In general, he abandoned the genres of popular concert music (variations, rondos, ‘brilliant’ polonaises, concertos), just as he abandoned the concert platform, during the early 1830s. Instead he established his own genres, giving new clarity to some existing titles (nocturne, etude, mazurka), redefi ning others (scherzo, impromptu, polonaise), and—in the case of the ballade— appropriating a title from vocal music and literature. Before Chopin employed it, the musical connotations of the term ‘ballade’ were exclusively vocal, and it is no doubt significant that early advertisements for Op.23 included the description ohne Worte (without words). Perhaps the most signifi cant of the cyclic links between the ballades concerns their tonal organization. All four conspicuously rethink the tonal practice of the classical sonata, avoiding the double reprise— tonal and thematic—of the classical sonata-allegro, and the conventional tonal schemata of the classical exposition. Their preference is for third-related regions, and for a studied postponement of the more conventional dominant; thus, the overall progression is towards a structural dominant that follows rather than precedes the restatement of the main themes. It is apparent, then, that the foreground parallels between the ballades are strengthened by a more fundamental background parallel. Each ballade transforms the sonata-form archetype in such a way that the resolution of tonal tension is delayed until the last possible moment, usually after the thematic reprise. And each finds its way to that resolution by a strikingly similar harmonic route. The bravura closing sections function then as a catharsis, releasing in a torrent of virtuosity all the tension that has been steadily mounting throughout the piece. Extracts from the Edition Preface by Jim Samson

• 3 Nouvelles Etudes

(Howat)................................EP 73229

Edition Peters is now delighted to present Roy Howat’s new edition for The Complete Chopin of Chopin’s Trois Nouvelles Études. Originally published in 1840 in the multi-composer Méthode des Méthodes, the Trois Nouvelles Études are Chopin’s least overtly virtuoso studies, but arguably they are the most quietly sophisticated of all in terms of how they train the pianist’s sensitivity to sound, rhythm and texture. Debussy once said he had ‘worn his fingers down’ playing the second of them.

After 180 years it seems extraordinary that new details can still be found in the pieces, but Howat’s edition prints some for the first time, notably a number of melodic variants in the first Etude, plus notes in the second Etude that all previous editions ‘bowdlerized’. Acting literally as a pivot in the second Etude’s structure, these authentic notes – sensitively restored here – alter our perception of the music’s texture and voicing just as the piece takes wing on one of Chopin’s most breathtaking strings of modulation.

The edition also confirms some authentic fingering still unfamiliar to most pianists, including whimsical thumb ‘hops’ down the black keys at the end of the third Etude. In keeping with the editorial procedure of this series, the edition is based on a principal source, the manuscript Chopin carefully prepared for his friend Ignaz Moscheles; in addition, some changes that Chopin introduced after publication feature here as variants, allowing pianists to choose options in performance in full awareness of where they come from.

• This authoritative critical edition based on Chopin’s autograph restores Chopin’s original text and corrects important pitches wrongly presented in previous editions • Includes only Chopin’s authentic fingerings • Variants clearly presented as ossias within the main text of each Etude • Preface by Roy Howat in English, French and German • Thorough critical commentary

• Etudes Op. 10

(Howat)..........................................EP 73227

in preparation

• Impromptus

(Grabowski/Irving).............................EP 71906

Chopin’s four impromptus originated in 1834–35 (Op. posth. 66), 1837 (Op. 29), 1840 (Op. 36) and 1843 (Op. 51). Their sources are quite numerous, comprising, as was usual for Chopin, not only parallel French, German and English editions (sometimes in more than one impression) but also autograph manuscripts, copies and annotated scores belonging to former pupils which reveal refinements to chord spacing and articulation that arose in the course of Chopin’s teaching (see the Critical Commentary to this volume for a more detailed description of the sources). The most popular of these works, the C-sharp minor Impromptu, was never published during Chopin’s lifetime; in fact, the firrst edition dates from some twenty years after the work was composed. Chopin’s impromptus come as close as any of his compositions to a unity of the mental and the physical: within their local gestures and outward form they appear to capture and to coalesce the spontaneous physical action of the composer’s fi ngers straying across the keyboard in tandem with the flow of his thoughts. Their material is a trace, in other words, of what was once a mental impulse emerging as a gesture, a contour, a texture, a particular spacing of a chord, an embellishment, a striking contrast (of local idea, or tonality), a reprise – every one of which had its birth in the moment of performance. In the impromptus, we recapture Chopin the performer-composer, possessed by the spirit of inspiration. Extracts from the Edition Preface by John Irving

Solo Piano by Composer • Nocturne Op. 9 No. 2

(Rink)...................................................................in prep.

• Waltzes, complete EP 73577a

Chopin's early Nocturne in E-flat major is one of his most popular works. First published in 1832, it has a charming, vocally-inspired melody in the treble with a serenade-like accompaniment in the left hand. This volume presents two versions of the Nocturne: one based on the most definitive impression of the French first edition released during Chopin’s lifetime, the second a pioneering compilation of all the variants to have flowed from Chopin’s pen after the work was first completed. This second text allows pianists to create their own versions of the Nocturne by combining variants as they wish, thereby drawing inspiration directly from Chopin's boundless imagination. This ground-breaking format, presents both an Urtext reading and a version with all variants attributable to Chopin, and allows pianists to create their own version.

(Grabowski).............................EP 7575

There is evidence to suggest that waltzes featured among Chopin’s very fi rst and last compositions alike. He inscribed his earliest waltzes in the album of Countess Izabella Grabowska some time before 1825. That album no longer survives, however, nor do seven waltzes composed between 1826 and 1830 which are known only from the incipits prepared by Chopin’s sister Ludwika Je ˛drzejewicz shortly after the composer’s death in 1849. As for his final waltz, which Chopin presented to Katherine Erskine in October 1848, only a reproduction of its title page still exists. According to various eyewitness accounts, Chopin improvised mazurkas and other dances – including waltzes – at private soirées in Warsaw and Paris. He performed some of his finished waltzes at his last concert in Paris in 1848 and also during his public appearances in England and Scotland later that year. As for the performance of works reproduced here in multiple versions and also those for which a single composite version has been proposed, the performer is strongly encouraged to adhere to a single source as far as possible. The variants unique to each one form an integrated whole whose internal logic may reveal itself only after prolonged contact. Combining elements from the different versions is to be recommended only to experienced performers with a sophisticated and ramified understanding of Chopin’s creative process. Extracts from the Edition Preface by Christophe Grabowski

• Concerto No. 1 in E minor Op. 11......................................EP 2895aa Arranged for piano, simplified and abridged (Fisher)

• Preludes

Opp. 28 & 45

(Eigeldinger).............................................EP 7532

The twenty-four Preludes can also be seen as a kind of catalogue of the characteristics each key held for Chopin. The B-flat minor and E-flat minor respectively of Nos. 16 and 14 evoke the tonal world of the contemporary Sonata Op. 35. The ecstatic F-sharp major in No. 13 is certainly that of the later Barcarolle, while the discursive left-hand ﬁ guration in No. 3, set in a translucent G major, is anticipated in the Andante spianato Op. 22. The D-flat major / C-sharp minor relationship of No. 15 informs a number of works, such as the two Nocturnes Op. 27, the Polonaise Op. 26 No. 1 and the posthumous Impromptu Op. 66. The pivotal modulations of Nos. 9 and 17 – preludes which occupy symmetrical positions in Op. 28 – revolve around the polar axes of E major/A-flat major, as in the Polonaise Op. 53, the Etude Op. 10 No. 10, the Polonaise-Fantasy Op. 61, the Waltz Op. 64 No. 3 and so on. Thus the Preludes constitute a kind of concentric mirror reﬂ ecting the quintessential image of Chopin’s works. At his public concerts in Paris (1841, 1842, 1848) and Britain (1848), Chopin usually played a selection of his Preludes, but he never played them as a set. That may not have been true of his private recitals, however. In October 1839, Moscheles noted in his diary that ‘Chopin played me his Etudes and his most recent work, the Preludes’. Nevertheless, the ‘complete performance’ of such collections as the Preludes was alien both to the spirit of the time and to that of Chopin in particular. Extracts from the Edition Preface by Jean-Jacques Eigeldinger

• Etudes (Scholtz / Pozniak).........................................................EP 1907 Op. 10 Nos. 1–12; Op. 25 Nos. 1–12; 3 Nouvelles Etudes

• Fantaisie-Impromptu in C sharp minor (Badura-Skoda/Imai) Op. posth. 66 ........................................................................EP 9901a Includes practical fold-out pages, allowing for convenient page-turns.

• Mazurkas (Scholtz)...................................................................EP 1902 • Nocturnes (Scholtz / Pozniak)....................................................EP 1904 • Polonaises (Scholtz / Pozniak)..................................................EP 1903 Opp. 26 Nos. 1, 2; 40 Nos. 1, 2; 44; 53; 61; 71 Nos.1–3

Solo Piano by Composer • Prélude in E minor Op. 28 No. 4...........................................EP 73153 Series: more than the score... A series of classic piano music, covering much of the essential repertoire from Bach through Mozart, Schubert, Mendelssohn, Chopin and Debussy, right up to John Cage. Each volume focuses on one piece, with written masterclasses and back ground information encouraging an exploration of the music – beyond the printed score.

Couperin, François (1668–1733) • Les Baricades Mistérieuses (Les Barricades Mystérieuses)........................................EP 11636 (Catherine Massip)

What is hidden behind the seductively hypnotic repeating theme of Couperin’s Les Baricades Mistérieuses? The original allusion of the title is long forgotten, though tantalizing theories abound, but the piece has lost none of its evocative beauty.

This new Urtext Edition from Edition Peters by eminent Couperin scholar Catherine Massip provides young pianists of advancing abilities, enthusiasts and professional pianists with a beautifully engraved and reliable scholarly text. In addition to the notation itself, this edition contains a preface in French, German and English and a critical commentary.

• Preludes & Rondos.................................................................EP 1908 (Scholtz / Pozniak)

• Scherzos; Fantasy in F minor...............................................EP 1906 Opp. 20, 31, 39, 49, 54 (Scholtz / Pozniak)

• Sonatas (Scholtz / Pozniak).......................................................EP 1909

C min Op.4; B- min Op. 35; B min Op. 58 Studies: see Etudes

• Album of Easy Original Pieces............................................EP 7569 (Rowley)

Prélude A major Op. 28/ 7;Prélude C min Op. 28/ 20; Mazurka F min Op. 63/ 2; Cantabile B major Op.ph.; Prélude E min Op. 28/ 4; Waltz Ab major Op. 69/ 1; Prélude B min Op. 28/ 6; Albumblatt E major Op.ph.; Mazurka A min Op. 67/ 4; Waltz (Piano Piece) Eb major Op. ph.; Prélude Db major Op. 28/ 15; Nocturne G minOp. 37/ 1; Mazurka B major Op. 7/ 1; Waltz B min Op. 69/ 2

Crumb, George (1929–2022) • Eine kleine Mitternachtmusik (A Little Midnight Music).....................................................EP 68044 Ruminations on Round Midnight by Thelonious Monk for Amplified Piano • A Little Suite for Christmas, A.D.1979.................................EP 66833 • Makrokosmos

Twelve Fantasy-Pieces after the Zodiac for Amplified Piano

Vol. I...................................................................................EP 66539a Vol. II..................................................................................EP 66539b

• Metamorphoses Book 1

Chou, Wen-chung (1923–2019) • The Willows are New

(After Wang Wei’s Yang Kuan).................................................EP 6169

Clementi, Muzio (1752–1832) • Sonatinas (Ruthardt)..................................................................EP 145 Opp. 36 Nos. 1–6; 37 Nos. 1–3; 38 Nos. 1–3

• Sonatinas Op. 36 (Ruthardt)....................................................EP 3346

......................................................................EP 68581

Solo Piano by Composer Cziffra, Georges (1921–1994)

• Transcriptions (Grandes Études de Concert) Among the lives of legendary 20th-century pianists, that of Georges Cziffra (1921-1994) was certainly one of the most draatic: from performing prodigy in a circus in his native Hungary at the age of five, to serving on the Russian Front during the Second World War, to his time in a Soviet prison camp. Through all of this trauma, Cziffra's extrordinary pianistic and musical talent survived intact, and he emerged in the late 1950s as one of the greatest pianists. Owing to injuries sustained during his time in captivity, Cziffra performed with a leather wrist

• Suite bergamasque

.............................................EP 7261 Prélude, Menuet, Clair de lune, Passepied

• Arabesque No. 1....................................................................EP 73154 Series: more than the score... more than the score… is a series of classic piano music, covering much of the essential repertoire from Bach through Mozart, Schubert, Mendelssohn, Chopin and Debussy, right up to John Cage. Each volume focuses on one piece, with written masterclasses and background information encouraging an exploration of the music – beyond the printed score.

band to support the damaged ligaments in his hand. Vol. 1...............................................................................................CF 1 Brahms (Hungarian Dances), Rimsky-Korsakov, Johann Strauss etc. Vol. 2.............................................................................................CF 2a Liszt, Rossini, Johann Strauss, Falla, Khatchaturian and original works by Cziffra

Debussy, Claude (1862–1918) Piano Works (Hans Swarsenski) This is a well-established series in which the editor, Hans Swarsenski, corrects obvious errors in previous editions and draws our attention to other instances of potential ambiguity.

• 2 Arabesques

.........................................................EP 7259

• Clair de lune

...........................................................EP 7251 (from Suite bergamasque)

• Études, Books 1 and 2

..........................................EP 71796 In the original preface to his Etudes, Debussy states his general belief that fingering suggestions in a printed edition are not helpful,and goes on to exclaim, “Cherchons nos doigtés!” (“Let us find our own fingering!”). In accordance with his wishes, our edition does not add fingerings or indeed any thing else extraneous to the composer’s original musical texts.

Diabelli, Anton (1781–1858) • Sonatinas (Ruthardt).................................................................EP 2439 Op.151 Nos.1–4; Op.168 Nos.1–7

Elgar, Edward (1857–1934) • Salut d’amour Op. 12 (Burrows)

.............................................EP 7369

• Pour le piano

..........................................................EP 7274 Prélude, Sarabande, Toccata

• Préludes Book 1 ..................................................................EP 7255a Danseuses de Delphes; Voiles; Le vent dans la plaine; ‘Les sons et les parfums tournent dans l’air du soir’; Les collines d’Anacapri; Des pas sur la neige; Ce qu’a vu le vent d’ouest; La fille aux cheveux de lin; La sérénade interrompue; La cathédrale engloutie; La danse de Puck; Minstrels Book 2 .................................................................EP 7255b Brouillards; Feuilles mortes; La puerta del vino; ‘Les fées sont d’exquises danseuses’; Bruyères; Général Lavine – eccentric; La terrasse des audiences du clair de lune; Ondine; Hommage à S. Pickwick Esq. P.P.M.P.C.; Canope; Les tierces alternées; Feux d’artifice

Solo Piano by Composer Fauré, Gabriel (1845–1924) In these days of multiple fine editions of most musical masterpieces, it is rare indeed for a new edition to make a substantial difference to how a major composer’s music might actually sound. However, this has hap pened in the case of Fauré. In common with many composers, Fauré’s relationships with his original publishers were often less than satisfactory. Given the general precision of his written intentions, this can to some extent be ascribed to his publish ers’ shortcomings. However, in certain aspects, Fauré set considerable challenges for his editors, notably regarding tempo and metronome indica tions – a fact he came to acknowledge. The longevity of copyright protection militated against the proper evaluation of such textual ambiguities, some of them crucial to the essence of a per formance, until many years after the composer’s death. Since the mid-1990’s, however, Fauré aficionados have had significant cause to be grateful to the renowned French music specialist, Roy Howat, for his painstaking and pioneering work in equipping us with the range of informa tion required for cohesive and convincing interpretations. Each edition features a preface in French. All original pieces are presented in fully critical Urtext editions, with no unspecified editorial accretions. This even extends to fingering; any such indications are by the composer him self. Although Fauré was by no means a purist regarding arrangements of his music, the arrangements and transcriptions in some some of these volumes are also presented with due fidelity to all extant sources.

• Barcarolles

(Howat).................................................EP 71904

This Urtext edition of Fauré’s Barcarolles, like that of the Nocturnes, draws on a very wide range of sources including piano rolls played by him and printed copies bearing his corrections. Along with other rare sources, these offer some variant textures in the First Barcarolle and throw important light on tempo and rhythmic treatment in (particularly) the first two Barcarolles. The Fifth Barcarolle shows a vital manuscript variant and some variant rhythmic notation, both of which impinge strongly on the piece’s tonal and rhythmic structure; in the Eighth Barcarolle a whole series of faulty or missing accidentals is corrected. A longstanding confusion of slurs and ties is resolved in the Tenth Barcarolle, along with a problem of continuity at one point. Some oft-debated textures in the Eleventh and Twelfth Barcarolles are clarified, along with the correction of an unusually large number of wrong notes in the Eleventh. The remaining pieces appear with many smaller but telling corrections, in all bringing a new clarity to this epoch-defining series of pieces spanning four decades.

• 13 Nocturnes

(Howat................................................EP 7659 Just as this remarkable series of works spanned virtually the whole of Fauré’s compositional career, so they can give us a lifetime of enrichment. One can only marvel at the source of inspiration which brought into being such profound utterances as the 6th or 10th Nocturnes, to name but two examples. The ‘Nocturnes’ had a particularly unfortunate publishing history. As a result, Howat identifies literally hundreds of corrections, amendments and alternatives deriving directly from Fauré’s own pen. Characteristically, Howat is also always alert to the restless, fecund spirit of Fauré’s creativity; as such, he tends to regard slight discrepancies in repeat or parallel passages as perfectly deliberate, rather than composer ‘errors’ to be standardized. Among the multiplicity of sources consulted are piano-roll recordings of three of the Nocturnes by the composer himself. “A new edition of Fauré’s Thirteen Nocturnes has long been needed, to clean up literally hundreds of old misprints and dubieties. Indeed, towards the end of his life Fauré prepared a corrected edition of his first eight Nocturnes, but this went so badly wrong that he tried, just before he died, to block its publication. Undeterred, the publisher concerned (Hamelle) issued it in that state in 1924, and that’s what’s been available since - cluttered since the 1950s by editorial fingering This new edition has compared all known manuscripts and prints from Fauré’s lifetime, along with some piano rolls recorded by Fauré and memoirs and scores marked up by pianists who worked with him. A few of Fauré’s own printed copies survive, showing numerous written corrections by him that never made it into the 1924 re-edition and which are now printed for the first time.The preface includes some performing advice that can be traced back to Fauré; it bears out his wish to have his music played in time and up to his dynamics, without sentimental rallentandi or soggy rubato.” Roy Howat

• Pavane Op. 50 (Howat).............................................................EP 7383 Fauré made a piano transcription of the ‘Pavane’, but subsequently he revised his original orchestral score. Howat’s new transcription is true to the spirit of Fauré’s arrangement. The preface quotes from Sir Adrian Boult’s recollection that Fauré preferred (and played the piece at) a tempo considerably faster than the rather doleful interpretations one often hears. In 1975, in letters to Robert Orledge, Sir Adrian Boult recalled meeting Fauré and hearing him play at the London home of Leo Frank Schuster in 1906 and 1908. Sir Adrian concludes: “May I ask you to do all you can to prevent the prevalent performances of the Pavane as if it were a piece of German Romanticism, written by someone like Schumann with a full measure of sentiment. The words are obviously a leg-pull, and the scene is a number of young people dancing and chaffing each other…” Extract from the Preface by editor Roy Howat

• Pièces brèves Op. 84

..............................................EP 7601

• 3 Romances sans paroles Op. 17

(Howat)..............................EP 7711

(Howat)

• Thème et Variations Op. 73 • Dolly Op. 56 (Howat).................................................................EP 7384 Roy Howat’s arrangement of ‘Dolly’, based on his Urtext revision of the original duet version, sits firmly within the French tradition of transcription, with its focus on elegance and clarity of texture. When appropriate, less essential notes are indicated by smaller noteheads

(Howat).....................EP 7956

• Piano Works (Klemm) Vol. 1:....................................................................................EP 9560a 9 Préludes Op. 103; 6 Impromptus Opp. 25, 31, 34, 91, 102, 86 bis

Solo Piano by Composer Feldman, Morton (1926–1987) • Solo Piano Works 1950–64................................................EP 67976 Edited by Volker Straebel Extensions 3; Two Intermissions; Intermissions 3, 4, 5 & 6; Intersections 2, 3 & 6; Last Pieces; Nature Pieces for Piano; Piano Pieces: 1952, 1955, 1956a, 1956b, 1964; Piano Piece (To Philip Guston); Three Pieces for Piano; Variations; Vertical Thoughts 4

Franck, César (1822–1890) • Prélude, Aria & Finale Op. 23 (Sauer)..................................EP 3740b • Prélude, Choral & Fugue Op. 21..........................................EP 3740a

Gjeilo, Ola (*1978) Ola Gjeilo (pronounced Yay-lo) was born in Norway in 1978, and moved to the United States in 2001 to begin his composition studies at the Juilliard School in New York City. Field, John (1782–1837) • Nocturnes. Complete (Köhler).................................................EP 491 The Irish composer/pianist John Field is best known as the inventor of the Nocturne, and was a big influence on Romantic composers including, most significantly, Chopin.

He especially enjoys writing music for choir, orchestra/symphonic winds, and the piano, while as a pianist, his main passion is improvisation, either solo or over his own ensemble works. Presently a full-time composer based in the US, Ola is also very interested in film, and his music draws a lot of inspiration from movies and cinematic music.

• Chorale.....................................................................................EP 72561 • Stone Rose: Five pieces for piano.......................................EP 72451 January; Sidewalks; Snow in New York; The Hudson; April

• Nocturne No. 5 in B flat........................................................EP 73155 Series: more than the score... A series of classic piano music, covering much of the essential repertoire from Bach through Mozart, Schubert, Mendelssohn, Chopin and Debussy, right up to John Cage. Each volume focuses on one piece, with written masterclasses and back ground information encouraging an exploration of the music – beyond the printed score.

Solo Piano by Composer Grieg, Edvard (1843–1907)

• Lyric Pieces

• Piano Works in 4 Volumes Vol. 1: Complete Lyric Pieces

...........................EP 3100aa

Opp. 12, 38, 43, 47, 54, 57, 62, 65, 68, 71 (Edvard Grieg Committee, Oslo) Vol. 2: Miscellaneous Piano Works..............................................EP 3100b 4 Pieces Op. 1; Poetic Tone Pictures Op. 3; 4 Humoresques Op. 6; Concerto in A min Op. 16; Pictures from Life in the Country Op. 19; Ballade in G min Op. 24; 5 Album Leaves Op. 28; Improvisations on Norwegian Folk Tunes Op. 29; Folksongs Op. 41; 6 Piano Pieces Op. 52; Stimmungen Op. 73; 3 Posthumous Pieces Vol. 3: Miscellaneous Piano Works....................................EP 3100c Norwegian Folk Tunes & Dances Op. 17; Elegiac Melodies Op. 34 (arr.); Norwegian Dances Op. 35; 2 Waltz-caprices Op. 37; Holberg Suite Op. 40; Peer Gynt Suite No. 1 Op.46 & No. 2 Op. 55; Scenes from Olav Trygvason Op. 50; 2 Melodies Op. 53 (arr.); 3 Orchestral Pieces from Sigurd Jorsalfar Op. 56; 2 Nordic Tunes Op. 63; 19 Norwegian Folk Tunes Op. 66; Funeral March

Complete Lyric Pieces ........................................EP 3100aa Opp. 12, 38, 43, 47,54, 57, 62, 65, 68, 71 (Edvard Grieg Committee, Oslo) Book 1 Op. 12..........................................................................EP 1269 Watchman’s Song; Elves’ Dance; Folk Tune; Norwegian Melody; Albumleaf; National Song; Arietta; Waltz Book 2 Op. 38..........................................................................EP 2150 Berceuse; Folk Melody; Melody; Halling; Spring Dance; Elegy; Waltz; Canon Book 3 Op. 43..........................................................................EP 2154 Butterfly; Solitary Traveller; In my Native Country; Little Bird; Erotikon; To the Spring

• Peer Gynt Suite No. 1 Op. 46

................................EP 11078 (arr. by the composer) (Edvard Grieg Committee, Oslo) Morgenstimmung; Åses Tod; Anitras Tanz; In der Halle des Bergkönigs

..............................................EP 3100dd Vol. 4: Supplement Sonata in E min; Slåtter Op. 72 – Norwegian Peasant Dances; Dance of the Mountain King’s Daughter Op. 55 No. 5; Larvikspolka EG 101; 23 Little Piano Pieces EG 104; Canon à 4 voci EG179; Seven Fugues for Piano EG184a–g; 3 Piano Pieces EG 105; Agitato EG 106; Six Norwegian Mountain Melodies; Album Leaf EG 109; At Halfdan Kjerulf’s Memorial Column EG 167

• Arietta Op. 12 No. 1...............................................................EP 73156 (from Lyric Pieces, Book 1) Series: more than the score... A series of classic piano music, covering much of the essential repertoire from Bach through Mozart, Schubert, Mendelssohn, Chopin and Debussy, right up to John Cage.

Each volume focuses on one piece, with written masterclasses and back ground information encouraging an exploration of the music – beyond the printed score.

• Peer Gynt Suite No. 2 Op. 55.................................................EP 2653 (arr. by the composer)

• Slåtter Op. 72.............................................................................EP 3097 17 Norwegian Peasant Dances

• Solveig’s Song Op. 55 No. 4 & Solveig’s Cradle Song.......................................................EP 3515 • Wedding Day at Troldhaugen Op. 65 No .6..............................................................................EP 2922 (from Lyric Pieces, Book 8)

Hamelin, Marc-André (*1961) • Cadenzas for the Beethoven Piano Concerti....................EP 68751

• Concerto in A minor Op. 16..................................................EP 2164b Arranged for piano, simplified and abridged (Weismann)

• Holberg Suite Op. 40...............................................................EP 2151

This edition collects virtuoso Marc-André Hamelin’s own cadenzas for the first four piano concerti of Beethoven. Each is dedicated to a different pianist: The cadenza for the First Concerto is inscribed to Bertrand Chamayou, the cadenza for the Second is dedicated to keyboardist and conductor Yannick Nézet-Séguin, and the cadenza for the Third Concerto is dedicated to Igor Levit, while Hamelin has dedicated his cadenzas for both the first and third movements of the Fourth Concerto to his wife, the pianist and presenter Cathy Fuller.

Solo Piano by Composer • Cadenzas for the Haydn Piano Concerti in F major and G major..........................................................................EP 68752 Widely admired for his performances of the core piano repertoire as well as his forays into obscure and hyper-virtuosic corners of the piano repertoire, composer–performer Marc-André Hamelin has received special praise for his sensitive and penetrating interpretations of the music of Franz Joseph Haydn. This volume collects both of Hamelin’s original cadenzas for the Haydn Piano Concerto in F major, Hob. XVIII:3 in addition to his three cadenzas for the Concerto in G major, Hob. XVIII:4, all of which put Hamelin’s own spectacular stamp onto the music of the Classical master.

• Arrival of the Queen of Sheba...............................................EP 7730 Arranged for piano (Müller-Hartmann)

• Water Music: Suite...................................................................EP 7345 Arranged for piano (Campbell)

Harrison, Lou (1917–2003) • A Waltz for Evelyn Hinrichsen............................................EP 66735k

Haydn, Joseph (1732–1809) • Sonatas (Martienssen) Vol. 1:......................................................................................EP 713a Hob. XVI:1, 19, 34, 35, 36, 37, 40, 46, 49, 52 Vol. 2:.....................................................................................EP 713b Hob. XVI:2, 5, 13, 14, 18, 21, 23, 27, 28, 29, 33, 39 Vol. 3:......................................................................................EP 713c Hob. XVI:12, 20, 24, 25, 26, 31, 41, 42, 45, 48 Vol. 4:......................................................................................EP 713d

Hob. XVI:6, 10, 22, 30, 32, 38,

43, 47, 50, 51

Hersch, Fred (*1955) • 12 Etudes in all the minor keys...........................................EP 68235 • On the Short Side..................................................................EP 68589 • Toccata on “L’homme armé”................................................EP 68577 • Variations on a Theme of Paganini....................................EP 68430 Händel, Georg Friedrich (1685–1759) • Keyboard Works (Serauky) Vol. 1: Suites (First Set) HWV 426-433.............................................EP 4981 Vol. 2:

• Valentine................................................................................EP 68328

Hovhaness, Alan (1911–2000) • Macedonian Mountain Dance..............................................EP 6199 Op. 144

Janáček, Leoš (1854–1928) • Piano Works

(Barvík/Zimmermann).........................EP 9867 Tema con variazioni – ‘Zdenka Variations’; On the Overgrown Path, 1st series; Sonata 1.x.1905; In the Mists; 2 pieces from On the Overgrown Path, 2nd series; In Remembrance; Memory

Suites (Second Set) HWV 434-442........................................EP 4982 Vol. 3: Suites and Other Keyboard Pieces........................................EP 4983 Vol. 4: Fugues & Fughettas...............................................................EP 4984 (Glasenapp) Vol. 5: Early Keyboard works....................................................EP 4985 Sonatina in D min; Partita; Suite; Sarabande; Menuett; Giga; 2 Fantasias; Sonata in A; Carillon

Joplin, Scott (1868–1917) • The Entertainer, slightly simplified.........................................EP 8687 • Ragtimes (Klemm) Vol. 1: 20 pieces from 1899–1906.........................................EP 9678a Vol. 2: 16 pieces from 1907–1917.........................................EP 9678b

• Air with Variations from Suite No. 5.........................................EP 71794 (The Harmonious Blacksmith) (Serauky)

Solo Piano by Composer Kawashima, Motoharu (*1972) • Hama-Con-Plex

.........................................................EP 73582

Commissioned as a test piece for the 11th Hamamatsu International Piano Competition, Motoharu Kawashima’s Hama-Con-Plex is a brilliant tour-de-force as well as a tour du repertoire. It is based on fragments from the ten most performed piano concertos from previous finals of the Hamamatsu Competition including concertos by Tchaikovsky, Liszt, Mozart, Prokofiev and Rachmaninov. Each fragment is limited to material in which the two hands form a single idiom, and therefore not necessarily the most famous parts of each piece, as they do not contain any structure of melody and accompaniment or any contrapuntal content. Performance score.

Liszt, Franz (1811–1886) New Critical Edition by Leslie Howard • Années de pèlerinage: Première Année (Suisse), Trois Morceaux suisses..................................................EP 72782 The three volumes of Années de pèlerinage (‘Pilgrim Years’) are among Liszt‘s most important compositions for piano solo. From dramatic-virtuoso to pensive-romantic music, the 29 ‘travel pieces’ represent the complete range of Liszt's compositional expression. For the first time, this first volume of the trilogy, Suisse (Switzerland) is published together with the Trois Morceaux suisses, in line with the composer’s original intention to combine all his Swiss-inspired character pieces into a single volume. The musical journey is supported by the inclusion of historical illustrations of the scenes and l andscapes that inspired the composer. Edited by world-renowned Liszt expert and concert pianist Leslie Howard, the edition also contains Liszt’s original fingerings.

Deuxième Année (Italie & Venezia e Napoli)...........................................................EP 72783 While the first volume of Liszt’s Années de pèlerinage (‘Pilgrim Years’) was inspired primarily by the landscape of Switzerland, the creative impetus for the second volume was the art and literature of Italy. Containing an extensive critical commentary and introductory notes, the edition (like its predecessor Première année – Suisse, (EP72782)) also contains reproductions of the half-tint illustrations by Robert Kretschmer that appeared in the first edition. Also included in this prestige volume, a must-have for any serious Liszt pianist, is the supplementary volume Venezia e Napoli, beautiful and ingenious revisions of earlier works based on Italian street music.

Khatchaturian, Aram (1903–1978)

• Sonatina in C ◄ .......................................................................EP 4758 • Toccata ◄..................................................................................EP 4734

Kuhlau, Friedrich (1786–1832) • Sonatinas (Köhler / Ruthardt) Vol. 1: Opp. 20, 55, 59...........................................................EP 715a Vol. 2: Opp. 60, 88.................................................................EP 715b

Troisième Année – Italie (S163); Trois Odes funèbres (S516, S516a, S517) ...................EP 72784 The genesis of the Troisième Année de pèlerinage is very different from that of its two predecessors. The first (Suisse) and the second (Italie) were brought into their published shape in the mid-1850s during Liszt’s time in Weimar, although most of the pieces actually originated during the period of his young wanderings in the company of Marie d’Agoult in the 1830s. They are both volumes of intensely passionate, essentially young man’s music, whatever refinements later accrued to them. The third volume (in later editions also published with the subtitle of ‘Italie’) is the product of a fundamentally solitary person, no matter how famous and once-fêted, written during the latter years of Liszt’s life, when he made an almost annual triangular trip through Rome, Weimar and Budapest. Five of the pieces date from 1877, but Liszt added two earlier works: Sunt lacrymae rerum, originally written in 1872, and Marche funèbre, composed at some time after June 1867 but revised for this set. All seven pieces were revised, some of them more than once, and the final versions were ready in 1882 and published in 1883. The process of revision allowed Liszt to make several tiny musical elements shared between the pieces to be more forcefully delineated. That said, the cyclical quality of the book is more a question of spirit than of letter.

FRANZ LISZT

Années de pèlerinage New Urtext Edition by Leslie Howard

The three volumes of Années de pèlerinage (‘Pilgrim Years’) are among Liszt’s most important compositions for piano solo. From dramatic-virtuoso to pensive-romantic, the 29 ‘travel pieces’ represent the complete range of Liszt’s compositional expression and originality. For the first time, the first volume of the trilogy, Suisse (Switzerland) is published together with the Trois Morceaux suisses, in line with the composer’s original intention to combine all his Swiss-inspired character pieces into a single volume. The musical journey is supported by the inclusion of the historical illustrations of the scenes and landscapes that inspired the composer. Edited by world-renowned Liszt expert and concert pianist Leslie Howard, the edition also contains Liszt’s original fingerings.

Solo Piano by Composer • Consolations and Liebesträume

................................................EP 7820 ......................................EP 72780

• Trois Études de concert

The Trois Études de Concert date from the beginning of Liszt’s time as Kapellmeister in Weimar and appeared in 1849 in three separate volumes. Meanwhile, the original manuscript - whereabouts unknown until recently - can now be seen at the Bibliothèque Musical François-Lang in Royau mont (north of Paris). The autograph reveals many details that were missed or not corrected. Therefore in the present new Urtext edition, the original manuscript has been taken to be the superior authoritative source; secondary sources are the German and the French first editions from 1849. The edition also contains Liszt’s short cadenzas to the Etude No. 3 and his alternative version of the Coda, which might also be interesting for the performance practice of our time

• Mephisto Waltz No. 1 / The Procession by Night ...................................................EP 7987 • Sonata in B minor

.................................................EP 71900

One of the great strengths of the Peters edition of Liszt’s piano music is that it was edited by Emil von Sauer - perhaps Liszt’s most famous pupil. Dr Leslie Howard, one of the greatest modern-day exponents of Liszt’s piano music, has embarked upon a project to update our editions of these great works, utilising this valuable link to Liszt’s musical and pianistic intentions via his pupil. We are delighted to offer this landmark new edition of arguably his greatest work, the ‘Grand Sonate pour le Pianoforte’ according to the manuscript, now known habitually as the ‘Sonata in B minor’. Superlatives abound when describing this monumental masterpiece, and they are fully justified. Given the radical nature of this music, the composition date of 1853 might seem surprisingly early. Its astonish ing formal ingenuity keeps analysts perpetually occupied, but from the listener’s perspective equally important is surely the immense emotional power of the work in all its multifaceted glory. ____________________________________________________________

Vol. 7: Fantasias on Wagner’s Operas.............................EP 3601c (13 extracts) Rienzi: Santo spirito cavaliere; Tannhäuser: O du mein holder Abendstern; Einzug der Gäste auf Wartburg; Lohengrin: Elsas Brautzug zum Münster; Festspiel und Brautlied; Elsas Traum; Lohengrins Verweis an Elsa; Der fliegende Halländer: Ballade; Spinnerlied; Tristan und Isolde: Isoldens Liebestod; Die Meistersinger von Nürnberg: Am stillen Herd; Der Ring des Nibelungen: Walhall; Parsifal: Feierlicher Marsch Vol. 8: Fantasias on Operas.................................................EP 3601d by Mozart, Gounod, Verdi, Bellini, Auber, Mendelssohn, Donizetti & Rossini Mozart. Don Juan-Phantasie; Gounod. Faust-Walzer; Verdi. Rigoletto: Konzert-Paraphrase; Trovatore:Miserere Bellini. Norma-Phantasie; Auber. Stumme von Portici: Tarantelle; Mendelssohn. Sommernachtstraum: Hochzeitsmarsch; Donizetti. Lucia di Lammermoor-Phantasie; Rossini. Stabat mater: Cuius animam Vol. 9: Transcriptions of Songs..........................................EP 3602a by Schubert, Schumann, Beethoven, Chopin, Lassen, Liszt & Mendelssohn Vol. 10: Miscellaneous Transcriptions...................................................................EP 3602b Schubert – Soirées de Vienna; Bach – 6 Preludes & Fugues, Fantasia & Fugue in G min, Variations on ‘Weinen Klagen’; Rossini – Soirées Musicales Nos.2 & 9 Vol. 11: Concertos; Transcriptions Concertos in E-, A;..............................................................EP 3602c Totentanz; Hungarian Fantasia; Schubert - Wanderer Fantasia; Weber – Polonaise Brilliante Op.72 Vol.12: Supplementary Volume..........................................EP 3602d

Gretchen (from Faust Symphony); Scherzo & March;

Fantasia & Fugue on B–A–C–H; 3 Schubert Marches; Wagner – Tannhäuser Overture; Meyerbeer – Skaters’ Waltz

Litolff, Henry (1818–1891)

• Scherzo from Concerto Symphonique No. 4 Op. 102...........................................................................H 1462

• Piano Works in 12 Volumes (Sauer) Vol. 1: Hungarian Rhapsodies

Nos. 1–8............................................................................EP 3600a Vol. 2: Hungarian Rhapsodies Nos. 9–16........................................................................EP 3600bb Vol. 3: 12 Etudes d’exécution transcendante..................................................................EP 3600c Vol. 4: Paganini Studies; 5 Concert Studies............................................................EP 3600d Il lamento, La leggierezza, Un sospiro, Waldesrauschen, Gnomenreigen Vol. 5: Original Piano Works.............................................EP 3601a Polonaises in C min, E; 2 Ballades; Mephisto Waltz No. 1; Valse-Impromptu; Première Valse Oubliée; Grand Galop Chromatique; Consolations; 2 Légendes Vol. 6: Original Piano Works.............................................EP 3601b Liebesträume (3 Nocturnes); Bénédiction de Dieu; Funérailles; Cantique d’Amour; Berceuse; Selection from Années de pèlerinage; Sonata in B min

Mahler, Gustav (1860–1911) • Adagietto from Symphony No. 5..............................................EP 7477 Arranged for piano (Flint)

Solo Piano by Composer Massenet, Jules (1842–1912) • Méditation from Thaïs...........................................................EP 7821 Arranged for piano (Nichols)

Thaïs, Massenet's tenth completed opera, had its première at the Paris Opéra on 16 March 1894. The libretto by Louis Gallet was based on Anatole France's novel of the same name, serialized in the Revue des deux mondes in 1889 and published in book form the following year.

Vol.5: Supplementary Volume...........................................EP 1704e Sonatas in E Op. 6, G min Op. 105, B- Op. 106; Fantasia on ‘Last Rose’ Op. 15; 3 Preludes Op. 104a; Album Leaf Op. 117; Capriccio Op. 118; Perpetuum Mobile Op. 119; Prelude & Fugue in E min; Gondellied; 2 Klavierstücke in B-, G min

The story tells of the conversion to Christianity of the courtesan Thaïs by • Rondo Capriccioso Op. 14 (Kullak)........................................EP 1704f the holy man Athanael, and his parallel but opposite conversion to a life dominated by lust for her. The "Méditation" for solo violin and orchestra, • Songs Without Words............................................................EP 1704a joining the two scenes of Act II, describes the beginning of Thaïs's • Songs Without Words Op. 19 No. 1......................................EP 73157 conversion. Series: more than the score... The work was not received well initially; by 1897, but the "Méditation" was A series of classic piano music, covering much of the essential an instant success with violinists, and its religious association also repertoire from Bach through Mozart, Schubert, Mendelssohn, encouraged church organists to play it at Mass during the Communion. Chopin and Debussy, right up to John Cage. Even Pope Pius X's motu proprio of 1903, specifically demanding that the music heard in church should "not include reminiscences of those Each volume focuses on one piece, with written masterclasses and employed in the opera house", could not prevail against it. back ground information encouraging an exploration of the music – beyond the printed score.

Mendelssohn, Felix (1809–1847) • Complete Piano Works in 5 Volumes (Kullak) Vol.1: Songs Without Words................................................EP 1704a

Moszkowski, Moritz (1854–1925) • Spanish Dances Op. 12 (Ulrich).........................................EP 2126 Arranged for Piano Solo

Mozart, Wolfgang Amadeus (1756–1791) • Andante from Concerto No. 21 in C Major K467........................................................EP 7704 Arranged for piano solo (Flint)

Vol.2: Miscellaneous Piano Works.................................EP 1704b Capriccio Op. 5; 7 Characteristic Pieces Op. 7; Rondo Capriccioso Op. 14; 3 Fantasias Op. 16; 3 Caprices Op. 33; Andante Cantabile & Presto Agitato in B min; 6 Children’s Pieces ‘Christmas Pieces’ Op. 72 Vol.3: Miscellaneous Piano Works.....................................EP 1704c Fantasia Op. 28; 6 Preludes & Fugues Op. 35; Variations Sérieuses Op. 54; Andante & Variations Op. 82; Variations Op. 83; 3 Studies Op. 104; Scherzo in B min; Study in F min; Scherzo à Capriccio in F+ min

• Serenade in G major K525 “Eine kleine Nachtmusik”.....................................................EP 3957

Arranged for piano (Singer)

Vol.4: Works for Piano & Orchestra...................................EP 1704d (Piano Solo version) Concertos in G min Op. 25, D min Op. 40; Capriccio Brillant in B min Op. 22; Rondo Brillant in E- Op. 29; Serenade & Allegro Giocoso Op. 43

Solo Piano by Composer • Sonatas (Martienssen / Weismann)

Vol. 1.....................................................................................EP 1800a K279, 280, 281, 282, 283, 284, 309, 310, 311, 330

Vol. 2.....................................................................................EP 1800b K331, 332, 333, 457 (with Fantasia K475), 533 (with Rondo K494), 545, 547a, 570, 576

• Sonata A major K331(300i)

....................................EP 11506

New edition based on the recently-discovered partial autograph from Országos Széchényi Könyvtár Budapest This new Urtext edition of Mozart’s Piano Sonata in A major K331 (300i), with the famous final Rondo ‘Alla turca’, draws on a recently-discovered autograph source to create a version which has substantial differences – particularly in the six variations and the Menuetto – to earlier editions. In the preface, the editor, Klaus Burmeister, considers this new edition within the history (dating back to 1784) of printed editions of the sonata, particularly at Edition Peters. The editor also pays particularly attention to the specific use of articulation marks, as Mozart learned to use them from his father Leopold. This critically revised edition brings all the latest musicological research into the Edition Peters catalogue.

• Complete Variations..................................................................EP 273 K24, 25, 54, 179, 180, 264, 265, 352–254, 398, 460, 500, 573, 613, K.Anh.137 (Köhler / Ruthardt)

• 12 Variations K265 (300e) on ‘Ah! Vous dirai-je, Maman’..................................................EP 8685

(‘Twinkle, twinkle little star’)

• Viennese Sonatinas.................................................................EP 4615 6 Sonatas after K439b. Based on the first Viennese edition

(Volger)

• Album of Piano Pieces ...........................................................EP 4240 Prelude & Fugue in C K394; Suite in C K399; Fantasias in C min K396, D min K399; Rondos in D K485, A min K511; Adagio in B min K540; Minuet in D K355 (Weismann)

Mussorgsky, Modest (1839–1881) • Pictures at an Exhibition (Hellmundt)

.........................................EP 9585

• Sonata in C K545 “Sonata facile”...........................................EP 73158 Series: more than the score... A series of classic piano music, covering much of the essential repertoire from Bach through Mozart, Schubert, Mendelssohn, Chopin and Debussy, right up to John Cage. Each volume focuses on one piece, with written masterclasses and back ground information encouraging an exploration of the music – beyond the printed score.

Pachelbel, Johann (1653–1706) • Canon in D..............................................................................EP 68704

Arranged for Piano Solo (Cohen) Pachelbel’s exuberant and justly famous Canon may well have been first heard at the wedding of Johann Christoph Bach. Originally for small ensemble, Mary Cohen’s new arrangement of the work for solo piano or keyboard will suit players moving from easy towards intermediate repertoire.

• Symphonies.................................................................................EP 198 Arranged for piano (Gustav Horn) Nos. 35 ‘Haffner’; 36 ‘Linz’; 38 ‘Prague’; 39; 40; 41 ‘Jupiter’

• Symphony No. 40 in G minor K550.......................................EP 7398 Arranged for piano (Gustav Horn)

Rachmaninov, Sergei (1873–1943) • Préludes Op. 3 No. 2 & Op. 23...............................................EP 66900 • Préludes Op. 32......................................................................EP 66901 • Prelude in C+ minor Op. 3 No. 2...........................................EP 71785

Solo Piano by Composer Satie, Erik

Ravel, Maurice (1875–1937)

(1866–1925)

• Music for Piano

Edition by Roger Nichols Ravel presents serious challenges to editors of his music. In the autograph of Ondine from Gaspard de la nuit, for example, the right hand pattern as initially established from bars 1 to 3 is changed in bars 4 to 7. However in Ravel’s corrected copy of the first edition the pattern set up in the first three bars is continued. This is characteristic of the dilemmas faced by French music specialist Roger Nichols in his prepration of our Urtext edition of Ravell’s piano music. On this occasion he has reasons to favour the composer’s corrected version, but this and all other instances of ambiguity between the sources are clearly documented in the critical commentaries to each volume.

Edition by Roger Nichols

Vol.1 ........................................................................EP 7342 3 Gymnopédies; Je te veux; 3 Sarabandes; 3 Pièces froides (Airs à faire fuir) .......................................................................EP 7343 Vol.2 3 Gnossiennes; 3 Avant-dernières pensées; Sonatine bureaucratique; 5 Nocturnes

Consulting no fewer than 14 sources (including some sound recordings by Ravel himself and other pianists with whom the composer worked). Roger Nichols is uniquely qualified to evaluate their complexities, enabling us to make well-informed assessments in approaching this formidable yet infinitely rewarding repertoire.

• Gaspard de la nuit ▲ • Jeux d’eau • Miroirs

▲

...............................................EP 7378 .............................................................EP 7373

......................................................................EP 7374

• Pavane pour

une Infante défunte ▲ • Sonatine

▲

...........................................EP 7371

.................................................................EP 7375

• Piano Works (Klemm)

Vol.1......................................................................................EP 9620a 4 Ogives, 3 Sarabandes, 3 Gymnopédies, 7 Gnossiennes, Pièces Froides, 5 Nocturnes, Menuet

Vol.2......................................................................................EP 9620b Véritables Préludes flasques (pour un chien); Descriptions automatiques; Embryons desséchés; ▲ • Valses nobles & sentimentales ........................EP 71000 Croquis & Agaceries d’un gros bonhomme en bois; • Album of shorter pieces ▲ ......................................EP 7372 Chapitres tournés en tous sens; Vieux sequins et vielles cuirasses; Menuet sur le nom d’Haydn; Prélude; Les trois valses distinguées du précieux dégoûté; A la manière de Borodine; Heures séculaires & instantanées; A la manière d’Emmanuel Chabrier Avant-dernières pensées; Sonatine bureaucratique

• Le tombeau de Couperin ▲

.....................................EP 7376

• L’Enfance de Ko-Quo

.............................................EP 7538 Published for the first time (Volta)

• Gnossienne No. 3.................................................................EP 73159 Series: more than the score... A series of classic piano music, covering much of the essential repertoire from Bach through Mozart, Schubert, Mendelssohn, Chopin and Debussy, right up to John Cage. Each volume focuses on one piece, with written masterclasses and back ground information encouraging an exploration of the music – beyond the printed score.

Saint-Saëns, Camille (1835–1921) • Selected Piano Works (Arens)................................................EP 9295 Album pour Piano Op. 72; Allegro appassionato Op. 70; Les cloches du soir Op. 85; 6 Bagatelles Op. 3; Suite Op. 90

Solo Piano by Composer Scarlatti, Domenico (1685–1757)

• Sonatas (Weismann / Erber)

Vol. 1........................................................................................EP 488c Sonatas in A min Op.42 / D845; D Op.53 / D850; A Op. 120 / D664; E- Op. 122 / D568; A min Op. 143 / D784; B Op. 147 / D575

• 150 Sonatas (Selected) (Keller / Weismann)

Vol. 1: 50 Sonatas.................................................................EP 4692a K4, 8, 9, 11, 19, 63, 67, 69, 70, 78, 87, 106, 118, 123, 129, 135, 149, 200, 206, 213, 226, 235, 245, 247, 259, 268, 270, 274, 278, 283, 284, 318, 375, 394, 397, 402, 406, 412, 420, 426, 429, 430, 434,

Vol. 2........................................................................................EP 488d Sonatas in G Op. 78 / D894; A min Op. 164 / D537; C min D958; A D959, B- D960

446, 451, 471, 499, 513, 518, 544 Vol. 2: 50 Sonatas................................................................EP 4692b K1, 3, 15, 16, 25, 31, 33, 46, 49, 51, 52, 64, 84, 104, 110, 125, 126, 127, 133, 140, 145, 146, 159, 173, 183, 202, 203, 244, 246, 269, 319, 356, 371, 373, 380, 387, 388, 390, 405, 419, 438, 461, 470, 476, 514, 524, 525, 533, 537, 553

Schumann, Clara (1819–1896) Clara Schumann (née Wieck) was undoubtedly the most important female pianist of the 19th century. As a young child she toured Europe as a prodigy: her entire career as a celebrated piano virtuoso spanned more than 60 years. Equally important, but less well known, is the composer Clara Schumann, who published her Opus 1 at the age of eleven.

Vol. 3: 50 Sonatas................................................................EP 4692c

K12, 13, 18, 20, 22, 24, 26, 28, 29, 30, 44, 54, 65, 72, 96, 98, 108, 113, 114, 119, 120, 130, 131, 132, 139, 141, 169, 175, 193, 261, 299, 348, 366, 367, 377, 386, 427, 435, 445, 447, 450, 477, 487, 502, 519, 523, 529, 545, 548, 551

Despite the domestic duties expected of a woman at that time, she created numerous outstanding piano works and songs that are at least the equal of those of her male contemporaries. However, society at that time did not allow women to be regarded as fully-fledged composers or for their works to be appreciated adequately.

Schubert, Franz (1797–1828) • Impromptus & Moments Musicaux.....................................EP 3235 Op. 90 / D899, Op. 142 / D935, Op. 94 / D780 (Niemann)

• Cadenzas to Piano Concertos

...........................EP 11571 Beethoven (Op. 37, Op. 58) and Mozart (K 466)

Originally published in 1917 by J. Rieter-Biedermann (now Edition Peters), Clara Schumann’s cadenzas tare published in this new Urtext edition in revised versions, including the initial version of the cadenzas for Mozart’s piano concerto No. 20 in D minor from 1855 that was recently discovered by the Canadian editor and pianist Ludwig Sémerjian in the Library of Congress in Washington DC.

• Impromptu in G flat

Op. 90 (D899) No. 3.............................................................EP 73160

Series: more than the score... A series of classic piano music, covering much of the essential repertoire from Bach through Mozart, Schubert, Mendelssohn, Chopin and Debussy, right up to John Cage. Each volume focuses on one piece, with written masterclasses and back ground information encouraging an exploration of the music – beyond the printed score.

The history of these cadenzas also gives an insight into the relationship between Clara Schumann and Johannes Brahms which is described in detail in the preface. Illustrations of the sources are added, and detailed comments can be found in the critical commentary.

ROBERT SCHUMANN

Works for Solo Piano in 30 Volumes Urtext Edition by Hans Köhler

The Robert Schumann Urtext series from Edition Peters, edited by Schumann specialist Hans Joachim Köhler, is undoubtedly one of the most remarkable research achivements in the over 220 year history of the publishing house. The remarkable concluding essay within each volume also puts this edition in a class of its own. Packed with a wealth of fascinating historical information and analytical detail, these essays offer us an important new dimension in defining or enhancing interpretations of this perennially intriguing body of works.

Hans Joachim Kohler was born in Leipzig in 1936 - the city that was home for Robert and Clara Schumann in the early years of their marriage, and where Clara was born. He is one of the most profound experts on the life and work of Robert Schumann, and was a professor until his retirement at the Hochschule for Musik und Theater Felix Mendelssohn Bartholdy in Leipzig. He is the author of numerous papers and articles on Robert and Clara Schumann.

Solo Piano by Composer Schumann, Robert (1810–1856) Works for Solo Piano (Köhler) The Peters survey of Schumann’s piano music, prepared by Hans Köhler, is the most comprehensive Urtext edition in existence, presenting not only all the established favourites but also some comparitive rarities, many of which deserve to be more widely known. The remarkable concluding essay within each volume also puts this edition in a class of its own. Packed with a wealth of fascinating historical information and analytical detail, these essays offer us an important new dimension in defining or enhancing interpretations of this perennially intriguing body of works.

• Nachtstücke Op. 23

.................................................EP 9520

• Novelletten Op. 21

....................................................EP 9511

• Papillons Op. 2

.........................................................EP 9506

• 4 Piano Pieces Op. 32

.............................................EP 9522 Scherzo, Gigue, Romanze, Fughetta

• 3 Romances Op. 28

.................................................EP 9521

• Scenes from Childhood Op. 15 • Sonatas ‘For the Young’ Op. 118

.............................EP 9500b ...........................EP 9525

• Sonatas in F+ minor Op. 11; G minor Op. 22

......................................................EP 9509

• Sonata No. 3 in F minor Op. 14 ‘Concerto without Orchestra’

............................EP 9519

• Toccata in C Op. 7

....................................................EP 9518

• Waldszenen Op. 82

..................................................EP 9526

____________________________________________________ • Piano Concerto in A minor Op. 54 .......................................EP 2898a Arranged for piano, simplified and abridged (Fisher)

• Reverie (Träumerei) from “Scenes from Childhood”...................................................EP 73161 • Abegg Variations in F Op. 1

...................................EP 9501

• Album for the Young Op. 68

.................................EP 9500a

• Album for the Young Op. 68; Scenes from Childhood Op. 15

...........................EP 9500

• Album Leaves Op. 124; Bunte Blätter Op. 99

.............................................EP 9505

• Allegro in B minor Op. 8

..........................................EP 9524

• Arabesque in C Op. 18; Blumenstück Op. 19 • Carnaval Op. 9

.............................................EP 9508 .........................................................EP 9503

• Carnival of Vienna / Faschingsschwank aus Wien Op. 26 ...................................................EP 9516 • Concert Studies Opp. 3, 10 after Caprices by Paganini

....................................EP 9517

• Davidsbündlertänze Op. 6

......................................EP 9502

• Etudes Symphoniques Op. 13 • Fantasy in C Op. 17

...............................EP 9515

.................................................EP 9510

• Fantasy Pieces Op. 12

............................................EP 9512

• 3 Fantasy Pieces Op. 111

.......................................EP 9513

Shostakovich, Dmitri (1906–1975) • 24 Preludes & Fugues Op. 87 Vol. 1: Nos. 1–12 ◄.................................................................EP 4716a Vol. 2: Nos. 13–24 ◄...............................................................EP 4716b

• 4 Fugues Op. 72; 7 Fughettas Op. 126

.............................................EP 9527

• Gesänge der Frühe Op. 133 • Humoresque in B- Op. 20

...................................EP 9528 ......................................EP 9514

• 10 Impromptus on a theme by Clara Wieck Op. 5

.........................................................................EP 9523

• 6 Intermezzi Op. 4

Kinderszenen: see Scenes from Childhood

• Kreisleriana Op. 16 • 4 Marches Op. 76

...................................................EP 9507 .................................................EP 9504 ...................................................EP 9529

• 24 Preludes Op. 34 ◄...............................................................EP 4773

Solo Piano by Composer Sinding, Christian (1856–1941) • Rustle of Spring Op. 32 No. 3................................................,EP 2870

Strauss, Richard (1864–1949)

Skryabin, Alexander (1872–1915)

• Also sprach Zarathustra: Opening Theme.....................................................................EP 7537

• Piano Works in 6 Volumes (Philipp)

As featured in the film ‘2001: A Space Odyssey’ Arranged for Easy / Intermediate Piano

Vol. 1: Studies......................................................................EP 9077a Opp. 8, 42, 65 Vol. 2: Preludes & Other Pieces.........................................EP 9077b Preludes Opp. 11, 27, 74; 2 Poèmes Op. 32; Quasi-valse Op. 47; 4 Pieces Op. 56; Vers la flamme Op. 72; 2 Dances Op. 73 Vol. 3: Preludes & Other Pieces.........................................EP 9077c Preludes Opp.1 3, 16, 48, 67; Valse Op. 38; Pieces Opp. 45, 51, 52, 57, 59; Scherzo Op. 46; Feuillet d’album Op. 58; Poème-nocturne Op. 61; Poèmes Opp. 63, 69, 71 Vol. 4: Mazurkas...................................................................EP 9077d Op. 3 Nos. 1–10; Op. 25 Nos. 1–9; Op. 40 Nos. 1–2 Vol. 5: Sonatas Nos. 1–5......................................................EP 9077e Opp.6, 19, 23, 30, 53

• Also sprach Zarathustra Op.30............................................EP 4193d

Vol. 6: Sonatas Nos. 6–10.....................................................EP 9077f Opp. 62, 64, 66, 68, 70

• Don Juan Op.20......................................................................EP 4193a

• Fantasie in B minor Op. 28

(Philipp).....................EP 11103

Arranged for piano (Schmalz)

Arranged for piano (Singer)

• Till Eulenspiegels lustige Streiche Op. 28.......................................................EP 4193c Arranged for Piano (Singer)

• Tod und Verklärung Op.24....................................................EP 4193b Arranged for Piano (Singer)

Tchaikovsky, Pyotr llyich (1840–1893) • Selected Piano Works in 3 Volumes (Weitzmann) Vol. 1.....................................................................................EP 4652 Scherzo à la Russe Op. 1 No. 1; Capriccio Op. 8; Theme & Variations Op. 19 No. 6; 6 Pieces on a Theme Op. 21; Dumka – Russian Rustic Scene Op. 59

• 12 Studies Op. 8 ...................................................................EP 9287a • Trois Morceaux Op. 2 • Prélude in C+ minor & Nocturne in D- Op. 9 (Both for left-hand alone)

(Philipp)................................EP 11070 (Philipp)........................EP 11065

• 24 Préludes Op. 11.................................................................EP 9287b • Vers la Flamme Op. 72..........................................................EP 9287f

Vol. 2....................................................................................EP 4653 Ruines d’un château Op. 2 No. 1; Chants sans paroles Op. 2 No. 3 & Op. 40 No. 6; Romance Op. 5; Valse-scherzo Op. 7; Polka de salon Op. 9 No. 2; Mazurka de salon Op. 9 No. 3; Nocturne Op. 10 No. 1; Humoresque Op. 10 No. 2; Rêverie du soir Op. 19 No. 1; Feuillet d’album Op. 19 No. 3; Nocturne Op. 19 No. 4; Chanson triste Op. 40 No. 2; Valse Op. 40 No. 9; Danse russe Op. 40 No. 10; Impromptu-caprice; Valse-scherzo in A (No. 2); Impromptu in A-; Aveu passioné Vol. 3....................................................................................,,,EP 4654 Polka peu dansante Op. 51 No. 2; Natha-valse Op. 51 No. 4; Romance Op. 51 No. 5; Valse sentimentale Op. 51 No. 6; Dialogue Op. 72 No. 8; Berceuse Op. 72 No. 2; Impromptu Op. 72 No. 1; Tendres reproches Op. 72 No. 3; L’espiègle Op. 72 No. 12; Danse caractéristique Op. 72 No. 4; Un poco di Schumann Op. 72 No. 9; Echo rustique Op. 72 No. 13; Un poco di Chopin Op. 72 No. 15; Valse à cinq temps

Solo Piano by Composer • Album for the Young Op. 39...................................................EP 3782 "A while ago I thought that it would not be a bad idea to make a small contribution to the stock of children's musical literature, which is very modest. I want to create a series of little individual pieces just for children, and with an attractive title, like Schumann's." So wrote Tchaikovsky about his charming collection of short pieces for young pianists. Walter Niemann's classic edition for Edition Peters is a perfect resource for teachers and early-years pianists, a high-quality book designed with the needs of the practical musician foremost in mind.

• June from “The Seasons” Op. 37a.......................................EP 73162 Series: more than the score... A series of classic piano music, covering much of the essential repertoire from Bach through Mozart, Schubert, Mendelssohn, Chopin and Debussy, right up to John Cage. Each volume focuses on one piece, with written masterclasses and back ground information encouraging an exploration of the music – beyond the printed score.

Morning Prayer; Winter Morning;The Little Rider; My little Mother; Soldiers march; The Ill Doll; The Doll's Funeral; Waltz; The New Doll; Mazurka; Russian Song; Song of the Peasant; Folk Song; Russian Dance (Folk Song); Polka; Italian Song Old French Song German Song Neapolitan Dance Tune; Old wives' tale; The Witch; Sweet Reverie; Song of the Lark; TheHurdy-Gurdy Man; In Church

Waldteufel, Émile (1837–1915) • Skaters’ Waltz Op. 183...........................................................EP 5100

• Concerto No. 1 in B- minor Op. 23.....................................EP 3775a Arranged for piano, simplified and abridged (Fisher)

• The Seasons Op. 37a

.............................................EP 8968

Tchaikovsky's cycle of short piano works, The Seasons, was written in response to a commission from a journal La Nouvelliste whose editor wanted a new piano piece for each month of 1876. This Edition Peters publication is ideal for the practical musician in search of a reliable text. With elegantly laid out notation, the edition also includes practical fingering suggestions, and includes the poetic epigraph at the head of each piece in Russian and German. Am Kamin – January; Karneval – Feburary; Lied der Lerche – March; Schneeglöckchen – April; Helle Nächte – May; Barkarole – June; Lied des Schnitters – July; Die Ernte – August; Die Jagd – September; Herbstlied – October; Troika-Fahrt – November; Weihnachten – December

Solo Piano Albums Solo Piano Albums • Bach’s Sons – 12 selected pieces..................................................H 8 Wilhelm Friedemann Bach, Carl Philipp Emanuel Bach, Johann Christoph Friedrich Bach, Johann Christian Bach

• Celtic Piano Book: 13 Irish Songs.......................................EP 11087 The Star of the County Down; John Ryan’s Polka; Johnny, I hardly knew yeh; Sally Gardens; Red is the Rose; Give me your hand; Carolan’s Welcome; Fanny Power; Miss Murphy; The Foggy Dew; Fisher’s Hornpipe; The Basket of Turf; Musical Priest

20 Favourite Carols and Christmas Songs.................EP 73551 European Edition

Away in a manger (Kirkpatrick); Away in a manger (Murray); Carol of the Bells; Deck the halls with boughs of holly; Ding dong, merrily on high; The first Nowell; God rest ye merry, gentlemen; Good King Wenceslas; Hark! the herald angels sing; The holly and the ivy; In the bleak midwinter; Jingle bells; O Christmas tree; O come, all ye faithful; O Holy Night; O litte town of Bethlehem; Once in royal David’s city; Silent night; We wish you a merry Christmas; While shepherds watched their flocks by night

• Christmas Carols for Easy Piano: Bring some festive cheer to your piano-playing with this collection of 20 favourite carols and Christmas songs, ranging from O Holy Night to O come all ye faithful. Designed for elementary piano students, and including lyrics, the carols in this collection are arranged by Mary Cohen, a long-established teacher of piano and strings, and a highly experienced composer and arranger with more than sixty publications to her name. 16 Favorite Carols and Holiday Songs.........................EP 68720 USA Edition Away in a manger Carol of the Bells Deck the halls with boughs of holly Ding dong, merrily on high The first Nowell God rest ye merry, gentlemen Good King Wenceslas Hark! the herald angels sing The holly and the ivy Jingle bells O Christmas tree O Holy Night O come, all ye faithful Once in royal David’s city Silent night We wish you a merry Christmas

• Crossing Borders a progressive introduction to popular styles Remo Vinciguerra Arranged by Anne Aplin/Geoffrey Pratley

Crossing Borders is a progressive series of volumes designed to introduce the developing pianist to a broad range of popular music, including jazz, blues, rock and pop. Most of the pieces are original, written by Remo Vinciguerra, and the series as a whole is intended to be used as a livelyand entertaining parallel to the standard classical training. The rhythmic, melodic andharmonic fingerprints of a wide range of popular styles are gradually introduced, yet a classical spirit or framework can also be recognised in much of the music. In accordance with the relative freedom typical of popular music, many interpretative decisions, especially concerning dynamics and pedalling, are left to the players. Tempo indications are for guidance only, and need not be taken too literally. Book 1...................................................................................EP 7640 Book 2....................................................................................EP 7641 Book 3....................................................................................EP 7642 Book 4....................................................................................EP 7643 Book 5....................................................................................EP 7644 Book 6....................................................................................EP 7645

Solo Piano Albums • Grade 8 Piano Anthology for 2021/2022.......................................................................EP 73547

• Das Meisterbuch (Famous Piano Pieces)

Vol. 1:......................................................................................EP 4901

“A stroke of publishing genius … The strengths of this publication cannot be overstated” Pianodao.com Review June 2021 The Grade 8 Piano Anthology 2021/22 comprises a broad selection of examination pieces from lists A, B and C of the Associated Board syllabus. The anthology supports students preparing for the Practical Exam or for the new Performance Exam. Aural Notes, by Caroline Evans (author of the Edition Peters Aural Test Survival Books), draw upon music in the Anthology to provide preparation material for the type of discussion topics typically encountered in the Grade 8 Practical Exam aural test. Those preparing for the Grade 8 Performance Exam are aided by Performance Notes by Norman Beedie (Lecturer in Classical Improvisa tion, Piano and Conducting at the Royal Conservatoire of Scotland), which give advice on technique and interpretation for each piece, and guidance on preparing an effective programme.

List A: J. S. Bach Fantasia in C minor, BWV 906 Haydn Allegro moderato (1st movement from Sonata in A-flat, Hob. XVI:46) C. Schumann Prelude and Fugue in B-flat (No. 2 from Three Preludes and Fugues, Op. 16) J. S. Bach Prelude and Fugue in G, BWV 884 (from The Well-Tempered Clavier, Part 2) Beethoven Allegro (1st movement from Sonata in E, Op. 14 No. 1) Handel Prelude and Allegro (Fuga) (1st and 2nd movts from Suite No. 8 in F minor, HWV 433) Martínez Allegro/Moderato (1st movement from Sonata No. 3 in A) Mozart Andante grazioso and Vars. 1–6 (1st movement from Sonata in A, K. 331) Rameau Les cyclopes ( from Pièces de clavecin) D. Scarlatti Sonata in D, K443 List B: Brahms Intermezzo in E (No. 6 from Fantasies, Op. 116) Arensky Nocturne in D-flat (No. 3 from 24 Characteristic Pieces, Op. 36) Chopin Mazurka in A minor, Op. 17 No. 4 Janácek Andante (No. 1 from In the Mists) Rachmaninoff Moment Musical in D-flat, Op. 16 No. 5 Schubert Impromptu in A-flat (No. 2 from Four Impromptus, Op. 142, D. 935) Schumann Romanze in F-sharp (No. 2 from Drei Romanzen, Op. 28) List C: Bartók Rondo (No. 1 from Three Rondos on Folk Tunes) Sculthorpe Snow, Moon and Flowers (from Night Pieces) Chaminade Pierette (Air de Ballet), Op. 41 Debussy Rêverie Khatchaturian Toccata Cecilia McDowall Vespers in Venice (from Four Piano Solos) Villa-Lobos O polichinelo (from A prole do bebê no. 1)

Bach, J. S. : Prelude in C major BWV 846, Prelude and Fugue in B flat minor BWV 867; Bach, C. P. E. : Solfeggio No. 2 in C minor, Wq 117; Bach, W. F. : Lamento in E minor from Sonata in G major Falck-Verz. No. 7; Bartók: Allegro barbaro; Beethoven: Minuet No. 2 in G major WoO 10, Bagatelle No. 6 in D major op.33, Für Elise in a minor WoO 59, Rondo a capriccio (The rage over the lost penny) Op. 129; Brahms: Intermezzo No. 1 in E flat major Op. 117, Ballad No. 3 in G minor Op. 118, Waltz No. 15 in A flat major Op. 39, Rhapsody No. 2 in G minor Op. 79; Chopin: Prélude No. 15 in D flat major Op. 28, Mazurka No. 1 in B flat major Op. 7, Marche funèbre from Sonata in B flat minor Op. 35, Nocturne No. 2 in E flat major Op. 9, Valse (Minute Waltz) No. 1 in D flat major Op. 64, Polonaise No. 1 in A major Op. 40, Etude No. 3 in E major, Op. 10; Daquin: Le Coucou; Dvorák: Humoresque No. 7 in G flat major Op. 101; Fibich: Poem No. 4 in D flat major Op. 41; Grieg: Erotik from Lyric Pieces Vol. 3 No. 5 Op. 43, Wedding Day at Troldhaugen No. 6 Op. 65 from: Lyric Pieces, Vol. 3; Handel: Sarabande from: Suite in D minor HWV 437, Aria con Variazioni (The harmonious blacksmith) from Suite E major HWV 430; Haydn: Arietta con Variazioni No. 3 in E flat major Hob. :XVII 3; Heller: Tarantelle No. 1 in A flat major Op. 85; Jensen, Adol: The mill from: Wanderbilder Op. 17; Liszt: Liebesträume No. 3 in A flat major; Mendelssohn Bartholdy: Song without Words No. 6 in A major Op. 62 Frühlingslied; Mozart: Menuetto in D major K355, Gigue in G major K574, Fantasy [fragment] in D minor K397 (385g); Niemann; Kocheler Lander No. 1 in C major Op. 135; Mussorgsky: The Great Gate from Kiev from Pictures at an Exhibition; Prokofiev: March in C major from Kindermusik Op. 65; Rachmaninov: Prelude No. 2 in C sharp minor Op. 3; Reger: Dreams by the Fireplace No. 3 Op. 143; Rubinstein: Melody No. 1 in F major Op. 3; Scarlatti: Sonata in G minor K 30; Schubert: Two German Dances: D major op.33 no.2 / B major Op. 33 No. 7 D783, Moment musical No. 3 in F minor Op. 94 D780, Scherzo No. 2 in B flat major D593, Two waltzes No. 1 & 2 in A flat major Op. 9a D265, Impromptu No. 2 in A flat major Op. 142 D935; Schumann: Träumerei from Scenes from Children Op. 15, Soaring from Fantasiestücke Op. 12; Sinding: The Rustle of Spring Op. 32 No. 3; Smetana: Polka poétique No. 2 in G minor Op. 8; Tchaikovsky: Chanson triste No. 2 in G minor Op. 40, Chant sans paroles No. 3 in F major Op. 2; Weber: Invitation to Dance Op. 65

Solo Piano Albums Vol. 2: ...................................................................................EP 9628 Bach, J.C. : Presto from: Sonata No. 5 in A major Op. XVII; Bach, J. S. : Minuet and Trio from: French Suite in B minor BWV 816, Polonaise from French Suite in E major BWV 817, Fantasy in C minor BWV 906, Prelude and Fugue in C minor BWV (from The Well-Tempered Clavier, Part 1); Bach, W. F. : Allegro in A major; Beethoven: Bagatelle No. 1 in E flat major Op. 33, Rondo No. 2 in G major Op. 51, Adagio sostenuto from Sonata for Piano No. 2 in C sharp minor Op. 27, Marcia funebre from Sonata for piano in A flat major Op. 26, Andante favori in F major WoO 57; Brahms: Intermezzo No. 6 in E major Op. 116, Intermezzo No. 2 in E minor Op. 119; Chopin: Preludes Op. 28 Nos. 4, 6, 20; Mazurka No. 2 in E minor Op.17, Mazurka No. 2 in A minor, Op. 68, Valse No. 1 A flat major Op. Post. 69, Polonaise No. 1 in C sharp minor Op. 26, Nocturne No. 1 in E minor Op. Post. 72; Debussy: Arabesque in E major, Clair de Lune from Suite berga masque; Grieg: Arietta No. 1 Op.12 from Lyric Pieces, Vol. 1, Butterfly No. 1 Op. 43 from Lyric Pieces, Vol. 3, Train of the Dwarfs No. 3 Op. 54 from Lyric Pieces Vol. 4; Handel: Fantasia in C major HWV 490, Chaconne in G major HWV 435; Haydn: Variations in F minor Hob. XVII:6, Divertimento in D major Hob. XVI:4; Joplin: The Entertainer; Liszt: Consolation No. 3 in D flat major, Consolation No. 4 D flat major; Mendelssohn Bartholdy: Song without words No. 4 in A major Op. 19, Song without Words No. 5 in F sharp minor Op. 19; Song without words No. 4 in G major Op. 62, Song without Words No. 3 in C major Op. 102; Mozart,: Alla turca from: Sonata for piano in A major K331, Adagio in B minor K540, Fantasy in C minor K475, Rondo in A minor K511; Mussorgsky: Promenade I and The Old Castle from Pictures at an Exhibition; Reger: Romance No. 2 from Leaves and Flowers, Melodie from Leaves and Flowers, Gavotte No. 3 Op. 82 from, From my diary Op. 82 Vol. 1; Scarlatti: Sonata in A major L. 345 K. 113; Scharwenka: Polish National Dance No. 1 in E flat minor Op. 3; Schubert: Scherzo No. 1 in D flat major D593, Valses sentimentales No. 1-5 Op. 50 D779, Adagio No. 1 in C major D459, Piano Piece No. 1 in E flat minor D946; Schumann: Fantasietanz No. 5 Op. 124 from: Album Blätter, Waltz No. 4 Op. 124 (from: Album Blätter), Why? No. 3 Op. 12 from Fantasiestücke, Arabesque Op. 18, Romance in F sharp major Op. 28 No. 2; Scriabin: Prelude No. 14 in E flat minor Op. 11, Prelude No. 22 in G minor Op. 11; Sibelius: Jean - Valse triste No. 3 Op. 44 from Kuolema; Tchaikovsky: Troika-Fahrt No. 11 Op. 37a from The Seasons; Telemann: Suite in A major

• Das Pianobuch / Piano Music for Discoverers Vol. 1...................................................................................EP 10906a 72 Easy to Intermediate Original Pieces from Couperin to Chick Corea Vol. 2...................................................................................EP 10906b 35 Intermediate to Advanced Original Pieces from Rameau to Friedrich Gulda

• Preparatory Sonatina Album................................................EP 3195

61 of the easiest sonatinas & pieces, in progressive order

• Purcell and his Contemporaries........................................EP 72621 Purcell, Henry: Prelude, Air, Trumpet Tune; Blow: Song Tune, Theatre Tune; Purcell, Daniel: Air, Hornpipe; Clarke, Jeremiah: Minuet, Ayre; Eccles: Minuet; Croft: Saraband; Barrett: The St Catherine (Rigaudon); Loiellet, J. B. : Minuet, Saraband, Cibel

• Sonatina Album (Köhler / Ruthardt)

Vol. 1.....................................................................................EP 1233a 17 Sonatinas & 13 other pieces Vol. 2.....................................................................................EP 1233b 15 Sonatinas & 15 other pieces

• Sonatina Album (New Series) (Volger)

Vol. 1: 45 Sonatinas..............................................................EP 4680a Vol. 2: 15 Selected Sonatinas...............................................EP 4680b

• 25 Waltzes by contemporary American composers ...................................................EP 66735

Alden Ashforth: Sentimental Waltz Milton Babbitt: Minute Waltz Gerald Busby: A Wedding Waltz John Cage: 49 Waltzes for the Five Boroughs Tom Constanten: Dejavalse Richard Felciano: Two Hearts Joseph Fennimore: Titleswaltz after Max Steiner Ross Lee Finney: Waltz Peter Gena: Valse Philip Glass: Modern Love Waltz Lou Harrison: A Waltz for Evelyn Hinrichsen Robert Helps: Valse Mirage Andrew Imbrie: Waltz Karl Kohn: Waltz

Solo Piano Albums/Piano, 4 Hands

Zygmunt Krause: Music Box Waltz Arne Mellnaes: Es Laval Robert Moran : Waltz - “In Memoriam Maurice Ravel” Roger Sessions: Waltz Seymour Shifrin: Waltz Alan Stout: Waltz Ivan Tcherepnin: Valse Perpetuelle (“The 45 R.P. M.”) Virgil Thomson: For a Happy Occasion Francis thorne - A Lovesong Waltz Joan Tower: Red Garnetwaltz Charles Wuorinen: Self-Similar Waltz

Debussy, Claude (1862–1918) • Petite Suite

( Swarsenski).....................................EP 7262

Piano, 4 Hands Bach, Johann Sebastian (1685–1750) • Three Popular Pieces.............................................................EP 7781

Diabelli, Anton (1781–1858) • Melodic Exercises Op. 149....................................................EP 2442

Arranged for Piano Duet (Duck) Jesu, Joy of Man’s Desiring; Sheep May Safely Graze; Sleepers, wake

• Melodic Exercises Op. 149......................................................Q 2442 CD includes two performances: one without primo, one without second

Beethoven, Ludwig van (1770–1827) • Overtures...................................................................................EP 136 Arranged for Piano Duet (Kleinmichel) Opp. 43, 62, 72, 72a, 72b, 84, 113, 138

• Symphonies

Arranged for Piano Duet (Ulrich)

• Sonatas

Vol. 1.....................................................................................EP 2443a F Op. 32; D Op. 33; C Op. 37 (Frey)

Vol.2......................................................................................EP 2443b B- Op. 38; F Op. 73 (Ruthardt)

• Sonatinas Opp. 24, 54, 58, 60...............................................EP 2440a

Vol. 1: Nos. 1–5..........................................................................EP 9 Vol. 2: Nos. 6–9........................................................................EP 10

Dvořák, Antonín (1841–1904) • Slavonic Dances (Eberhardt)

Brahms, Johannes (1833–1897) • Hungarian Dances (Singer)

Vol. 1: Nos.1–10....................................................................EP 2100a

Vol. 2: Nos.11–21...................................................................EP 2100b

• Waltzes Op. 39..........................................................................EP 3665

Vol. 1: Op. 46........................................................................EP 8752a

Vol. 2: Op. 72........................................................................EP 8752b

Fauré, Gabriel (1845–1924) • Dolly Op. 56 (Howat)

...............................................EP 7430

Fauré would have been delighted to know that this edition corrects the misguided feline associations in the titles for the second and fourth of these pieces. ‘Mi-a-ou’ should always have been known as ‘Messieu Auol’ (reflecting an infant pronunciation of the eponymous Dolly’s older brother, Raoul), and ‘Kitty-Valse’ should have been ‘Ketty-Valse’, inspired ironically not by a cat but by the family dog!

• Waltzes Op. 39...........................................................................Q 3665 CD includes two performances: one without primo, one without secondo

For such a cornerstone of the repertoire, Roy Howat - who personally knew Dolly Bardac, the suite’s dedicatee - finds a surprisingly high number of source discrepancies to evaluate in the comprehensive critical commentary, including an indication that Fauré conceived the famous opening ‘Berceuse’ at a more flowing tempo than has be come habitual over the decades. Based on his intimate knowledge of Fauré, he also urges the performers to keep rubato to a minimum, and keep the pedalling light. Fauré’s Dolly suite honours Hélène Bardac (1892-1985), second child of Fauré’s close friend Emma Bardac, the talented singer for whom he composed La bonne chanson.

Piano, 4 Hands The infant Hélène’s diminutive size, together with the contemporary anglomania, led to her being nicknamed “Dolly”, and this remained with her throughout her life. Fauré presented this young girl with a lullaby for piano duet (the ‘Berceuse’), possibly for her first birthday on 20 June 1893. Three more pieces followed: on her second birthday, on New Year’s Day 1895, and on her fourth birthday in June 1896.

Mendelssohn, Felix (1809–1847) • Original Works for Piano Duet..............................................EP 1715 (Andante &) Variations in B- Op. 83a; Allegro brillant in A Op. 92

• Nocturne and Wedding March.............................................EP 7464 (from “A Midsummer Night’s Dream”)

The final two movements were added that autumn to complete the suite on 17 November 1896. In fact the ‘Berceuse’ had been composed 30 years earlier, when Fauré was eighteen, for Suzanne Garnier, the young daughter of a family friend in Tarbes.

Arranged for Piano Duet (Ruthardt)

Roy Howat

• Spanish Dances Op. 12........................................................EP 2125

Moszkowski, Moritz (1854–1925)

Mozart, Wolfgang Amadeus (1756–1791) • Eine kleine Nachtmusik K525................................................EP 3078

Grieg, Edvard (1843–1907) • Norwegian Dances Op. 35 Nos. 1–4

(Andersen)

.......................................................EP 11307

A new Urtext edition, edited by the Edvard Grieg Committee, Oslo. includes Editorial Commentary and new Preface. The Primo and Secondo parts in have been neatly scored to provide easy page turns.

• Peer Gynt Suites

No. 1 Op. 46 & No. 2 Op. 55.....................................................EP 7779 Arranged for Piano Duet (Ruthardt)

• Wedding Day at Troldhaugen

Op. 65 No 6.............................................................................EP 3306 Arranged for Piano Duet (Ruthardt)

• Original Compositions.................................................................EP 12 Sonatas K381, K358, K497, K521; Fantasies K594, K608; Variations K501; Fugue in G min K401

• Overtures (arr. Kleinmichel).....................................................EP 135a Così fan tutte, Don Giovanni, Figaro, Idomeneo, Magic Flute, Il Seraglio, La Clemenza di Tito

• Six Viennese Sonatinas........................................................EP 7017 Based on the Divertimentos K. 439b (Arranged by Thomas A. Johnson)

Ravel, Maurice (1875–1937) • Ma mère l’Oye ▲

Händel, Georg Friedrich (1685–1759) • Arrival of the Queen of Sheba...............................................EP 7721 Arranged for Piano Duet (Weismann)

Joplin, Scott (1868–1917) • 14 Selected Ragtimes

(Nichols)..................................EP 71002

In preparing this Urtext edition of Ravel’s piano music, Roger Nichols consulted no fewer than 14 sources - including sound recordings by Ravel himself and other pianists with whom the composer worked. As a result he is uniquely qualified to evaluate the complexity of the sources and, with this edition, has provided today’s pianists with the tools to make their own well-informed performance choices about this infinitely rewarding repertoire.

Easy to medium difficulty Arranged for Piano Duet (Didion/Kirchgässner) Vol. 1: Nos. 1–7.....................................................................EP 8610a Vol. 1: Nos. 1–7.....................................................................Q 8610a

Inludes CD offering secondo accompaniment

Vol. 2: Nos. 8–14...................................................................EP 8610b

Pianos, 4 Hands/Albums/Piano, 6 Hands Saint-Saëns, Camille (1835–1921)

Wagner, Richard (1813–1883)

• Danse macabre.....................................................................EP 7955

• Siegfried Idyll............................................................................EP 3436

Arranged for Piano, 4 Hands( Hiscocks)

Saint-Saëns' Danse macabre has long been available in the composer's own sizzling transcription for two pianos. By contrast, the standard piano duet arrangement of the piece (by Ernest Guiraud) appears to have been derived from the orchestral score and is often disappointingly thin. An obvious solution was to make the present new duet arrangement, following the composer's two-piano version as closely as possible. As a symphonic poem Danse macabre was elaborated (in 1874) from Saint-Saëns' earlier song-setting of a poem by Henri Cazalis - a sort of French Tom O'Shanter without the chase, in which the devil, playing a mistuned fiddle, conjures skeletons from their graves at midnight into a macabre dance (Cazalis' profession as a doctor doubtless fed his imagination). Saint-Saëns' orchestral version was the first orchestral score to use a xylophone, in a tune that he later recycled for "Fossils" in Carnaval des animaux. Roy Howat

Schubert, Franz (1797–1828) • Fantasia in F minor Op. 103 / D940.......................................EP 155cc

Weber, Carl Maria von

(1786–1826)

• Invitation to the Dance............................................................EP 7460

Piano 4 Hands, Albums • Das vierhändige Pianobuch

Vol. 1....................................................................................EP 11081a Vol. 2....................................................................................EP 11081b

• Crossing Borders – a progressive introduction to popular styles Book One..............................................................................EP 7646 Book Two...............................................................................EP 7647 Book Three...........................................................................EP 7649

• Pianoforte Duet Album (Johnson)

Vol. 1......................................................................................EP 1978a 11 Original Duets by Beethoven, Haydn, Mozart, Schubert, Weber, Clementi, Schumann & Kuhlau

Piano, 6 Hands Luening, Otto (1900–1996) Sinding, Christian (1856–1941) • Rustle of Spring Op. 32 No. 3 ...............................................EP 2870f Arranged for Piano, 4 Hands (Johnson)

Suppè, Franz von (1819–1895) • Overture to ‘Light Cavalry’....................................................EP 7458

Tcherepnin, Alexander (1899–1977) • Exploring the Piano..............................................................EP 66629 12 duets for beginner & teacher

Townsend, Douglas (1921–2012) • Fantasies on Christmas Carols Vol. 1

.......................................................................EP 68102a God Rest Ye Merry, Gentlemen; Silent Night; The Coventry Carol

Vol. 2

.....................................................................EP 68102b Il Est Né; All Through the Night; Here We Go A-Wassailing

• The Bells of Bellagio............................................................EP 66012 2 easy pieces for 2 or 3 players at 1, 2 or 3 Pianos

Przystaniak, Peter (*1956) • More Hands - One Piano,.....................................................EP 11106 Pieces for 3 or 4 players at 1 Piano Au clair de la lune (Traditional); Sur le pont d’Avignon (Traditional); Swanee River; Guten Abend, gut Nacht (Brahms); Old Mac Donald (Traditional); Oh when the Saints (Traditional); Drei Chinesen mit dem Kontrabass (Traditional); Rainbow-Party; Greensleeves (Traditional); Tango di Mango; Jungle-Boogie

Two Pianos, 4 Hands Brahms, Johannes (1833-1897)

Two Pianos, 4 Hands Bach, Johann Sebastian (1685–1750) • Concerto for Harpsichord (Piano), Strings and Basso Continuo No. 1 in D minor BWV 1052 ............................................................EP 9980 (Schulze / K.Schubert)

• Piano Concerto No. 1 in D minor Op. 15

(Badura-Skoda).......................................EP 9827a

The gestation period of Brahms's first concerto for piano lasted for over seventeen years. Now, of course, an integral and permanent part of the repertoire, it surprisingly did not find initial favour with music critics of the time. This new edition by Paul Badura-Skoda is based on a previous edition by Johannes Gerdes and has been revised on the basis of additional source material.

• Piano Concerto No. 2 in BOp. 83

• Concerto for Harpsichord (Piano), Strings and Basso Continuo No. 1 in D minor BWV 1052 ..............................................................Q 9980 (Schulze / K.Schubert)

[includes play-along CD]

• Concerto for Harpsichord (Piano), Strings and Basso Continuo No. 2 in E BWV 1053 ............................................................EP 9981

Bach, Wilhelm Friedemann (1710–1784) • Sonata in F for Two Pianos...................................................EP 4284 (Brahms / Martienssen)

Beethoven, Ludwig van (1770–1827) • Piano Concerto No. 1 in C

Op. 15 (Pauer).......................................................................EP 2894a with Beethoven’s cadenzas

• Piano Concerto No. 2 in B-

Op. 19 (Pauer)......................................................................EP 2894b with Beethoven’s cadenzas

• Piano Concerto No. 3 in C minor

Op. 37 (Pauer)......................................................................EP 2894c with Beethoven cadenzas

• Piano Concerto No. 4 in G

Op. 58 (Pauer)......................................................................EP 2894d with Beethoven cadenzas

• Piano Concerto No. 5 in EOp. 73 ‘Emperor’ (Pauer)......................................................EP 2894e

(Badura-Skoda).......................................EP 11407

• Sonata in F minor Op. 34b.......................................................EP 3662 after the Quintet Op. 34

• St. Anthony Chorale & 4 Variations Op. 56b...........................................................EP 3892 ‘Haydn Variations’. Original. Two copies provided

Chopin, Frédéric (1810–1849) The Complete Chopin – A New Critical Edition Series Editors: John Rink, Jean-Jacques Eigeldinger, Jim Samson and Christophe Grabowski Editor-in-Chief: John Rink Chopin’s piano concertos emerged from two different nineteenth-century traditions – those of ‘serious’ art music and popular concert music. Although both concertos bear the stamp of his unique genius, they have much in common with the virtuoso concertos of his contemporaries. Most works of this type were meant to have a short shelf life, indulging in bravura display at the expense of sustained musical argument. The orchestra usually had a minor role and could be dispensed with altogether whenever solo or chamber performances were required. Chopin himself played a good many virtuoso concertos in his youth, including those of Gyrowetz, Ries, Hummel, Moscheles and Kalkbrenner, and possibly Weber and Field. To varying extents he drew inspiration from these models, even as he produced works of far greater sophistication and appeal. After a triumphant visit to Vienna in August 1829, Chopin returned to Warsaw and soon began writing his first concerto with a virtuoso career in mind. The F minor Concerto’s debut took place in March 1830, by which time the E minor Concerto was well underway. Chopin finished it by the end of August 1830, declaring on 22 September: ‘My second concerto . . . is far too original. . . The Rondo is effective and the first movement Allegro is impressive.’ Both the consistency of Chopin’s models and the remarkable speed with which the two concertos were written explain the parallels between them. Each has three movements: the first (‘Maestoso’ in the F minor, ‘Allegro maestoso’ in the E minor) follows the conventional alternation of tutti and solo sections described

Two Pianos, 4 Hands above, although within the solo sections the ‘passagework’ surrounding the themes is not virtuosic but expressive in function. The slow movements resemble Chopin’s nocturnes in their melodic and accompanimental figuration: the Larghetto from the F minor is in a ternary form, with an arresting recitative section at its heart, while the Romance (also designated ‘Larghetto’) from the E minor Concerto has a more complex formal scheme featuring three statements of the main theme interspersed by other material. Both concertos’ third movements alternate between thematic and episodic sections, with a brilliant ‘finale’ at the end. They also draw upon Polish dance idioms: the F minor’s Allegro vivace contains mazurka-like themes, while the E minor’s Vivace derives from the krakowiak. Extracts from Edition Prefaces by John Rink

According to Le Pianiste, Chopin’s performance of the Larghetto at Berlioz’s concert in December 1834 was ‘ravishing’, revealing that ‘the simplest means, taste and grace make a considerable impression on a worthy audience’.6 La Quotidienne exulted over ‘the touch – so ﬁne and so spiritually naïve – of this young and able composer-pianist’, while Berlioz himself wrote that Chopin’s music "plunged the listeners into a sort of calm and ecstatic joy, to which they were not at all accustomed. . . [W]hen the last note fell like a pearl into a golden vase, the audience, absorbed in contemplation, still listening, waited a few moments before clapping. It was like watching the half-tints of an evening twilight dissolve harmoniously, and then remaining motionless in the dark, the eye still ﬁ xed on the point of the horizon where the light had just vanished. Extracts from Edition Preface by John Rink

• Piano Concerto No. 1 in E minor

Op. 11 .......................................................................EP 7529 The Complete Chopin - A New Critical Edition (Rink) Chopin’s legendary reputation as a pianist arose from fewer than two dozen public performances, and of these nearly half featured the E minor Concerto, which served as a warhorse for the budding composer-pianist. After its Warsaw debut in October 1830, Chopin played the concerto in several European capitals before arriving in Paris in September 1831, where he performed one or more movements on at least four occasions over the next several years, either as a solo or accompanied by orchestra or string ensemble. His Paris debut took place on 26 February 1832, and he chose to play the E minor Concerto (not the F minor, as frequently claimed), most likely accompanied by string quintet. This concert was extremely important to Chopin’s career, establishing his reputation as a composer and a performer, securing contacts with publishers, opening the doors of Parisian society, and bringing work as a teacher. Although repeated airings of the E minor followed in the next few years, it was only on 5 April 1835 that Chopin played the complete concerto with orchestra before the Paris public. This was a decisive turning point, as Chopin was bitterly disappointed by the way in which both his playing and the piece were received. He performed in public on very few occasions thereafter, and only once again with orchestra.

Dove, Jonathan (*1959) Between Friends

...........................................................EP 73450

Elgar, Edward (1857–1934) / Robert Walker (*1946) • Piano Concerto

.........................................................EP 71422 Version for Two Pianos, after Sketches and Thematic Material by Edward Elgar. Arranged, elaborated, edited and orchestrated by Robert Walker.

Franck, César (1822–1890) • Symphonic Variations (Sauer)................................................EP 3741 Two copies provided

Glanville-Hicks, Peggy (1912–1990) Born in Melbourne, Australia, Glanville-Hicks had a highly influential career as composer and music critic. Her composition teachers included Ralph-Vaughan Williams, Egon Wellesz and Nadia Boulanger. Glanville-Hicks received conducting tuition from Constant Lambert and Sir Malcom Sargent.

Extracts from Edition Preface by John Rink

• Piano Concerto No. 2 in F minor

Op. 21 ....................................................................EP 71919 The Complete Chopin - A New Critical Edition (Rink)

• Etruscan Concerto...................................................EP66125-PFRED

Grieg, Edvard (1843–1907) • Piano Concerto in A minor Op. 16 There is relatively little extant source material for the F minor Concerto. The working manuscript from 1829–30 has been lost, but a partial autograph prepared in the mid-1830s survives, with the orchestral parts notated by an unknown copyist and the solo part (including orchestral tuttis reduced for piano) entered by Chopin in alternation with the former. This score, which apparently was used as a Stichvorlage (i.e. engraver’s manuscript) for the German ﬁ rst edition, is the principal source for this new edition.

(Burmeister)..............................................EP 11435

This new edition of one of the most famous of piano concertos is based on an in-depth revision of the existing (and tried and trusted) Edition Peters version (EP2164). The piano part of the orchestra reduction has been revised, optimized (including page turns), had instrument references added and collated with the score of the Grieg Complete Edition. The solo part has been reviewed and corrected with reference to the two main sources.

Two Pianos, 4 Hands Mozart, Wolfgang Amadeus (1756–1791) Piano Concertos

Edited by Christoph Wolff and Christian Zacharias (with Mozart cadenzas unless otherwise indicated) Pre-eminent musicologist Christophe Wolff and internationally acclaimed pianist Christian Zacharias join forces here to produce this landmark Urtext of Mozart’s timeless masterpieces. Some of the fingerings suggested by Zacharias are quite deliberately unconventional, usually for the purposes of facilitating idiomatic accentuation and articulation. His rationale is set out in the performance notes included in each volume, which also offer guidance on other important interpretative elements such as ornamentation, embellishment and authentic performance practice in general.

• Romance in F Op. 51...............................................................EP 2494

Haydn, Joseph (1732–1809) • Piano Concerto No. 1 in D

Hob. XVIII:11..........................................................................EP 4353a with Haydn’s cadenzas (Teichmüller)

• Piano Concerto No. 2 in G

Hob. XVIII:4..............................................................................EP 4643 (Hinze-Reinhold) with cadenzas

Ives, Charles (1874–1954) • 3 Quarter-Tone Pieces

.............................................EP 66285 Largo, Allegro & Chorale. Two copies provided

The generous page layout makes these prestigious editions particuarly easy to read and study. All of Mozart’s original cadenzas are presented. The customary Beethoven cadenzas are included for No.20, and Christian Zacharias has written his own cadenzas for the rest of the concertos.

• Piano Concerto No. 5 in D K175 & Rondo in D K382................................................................EP 8805 • Piano Concerto No. 5 in D K175 & Rondo in D K382..................................................................Q 8805 [includes play-along CD]

• Piano Concerto No. 6 in B- K238...........................................EP 8806 • Piano Concerto No. 7 in F for 3 Pianos K242...................................................................EP 8807 • Piano Concerto No. 8 in C K246............................................EP 8808

Liszt, Franz (1811–1886)

• Piano Concerto No. 9 in E- K271...........................................EP 8809

• Piano Works, Vol. 11: Concertos and Other Works for Piano and Orchestra (Sauer).......................................................EP 3602c

• Piano Concerto No. 10 in E for 2 Pianos K365..................................................................EP 8810

• Concerto No. 1 in E- (Sauer)...............................................EP 3606 • Concerto No. 2 in A (Sauer).................................................EP 3607 • Totentanz (Sauer)..................................................................EP 7388

Mendelssohn, Felix (1809–1847) • Piano Concerto No. 1 in G minor Op. 25

(Burmeister).............................................EP 11408

This new Urtext edition, prepared by Klaus Burmeister, of one of the most famous of piano concertos, is based on the first two printed editions (as no autograph score of the solo part survives). It includes a historical preface and a critical commentary.

• Piano Concerto No. 11 in F K413...........................................EP 8811 • Piano Concerto No. 12 in A K414..........................................EP 8812 • Piano Concerto No. 13 in C K415.........................................EP 8813 • Piano Concerto No. 14 in E- K449.........................................EP 8814 • Piano Concerto No. 15 in B- K450.........................................EP 8815 • Piano Concerto No. 16 in D K451..........................................EP 8816 • Piano Concerto No. 17 in G K453.........................................EP 8817 • Piano Concerto No. 18 in B- K456.........................................EP 8818 • Piano Concerto No. 19 in F K459..........................................EP 8819 • Piano Concerto No. 20 in D minor K466.....................................................................EP 8820 with Beethoven cadenzas

• Piano Concerto No. 21 in C K467..........................................EP 8821 with Zacharias cadenzas

• Piano Concerto No. 21 in C K467............................................Q 8821 with Zacharias cadenzas

• Piano Concerto No. 22 in E- K482.........................................EP 8822 with Zacharias cadenzas

• Piano Concerto No. 2 in D minor Op. 40............................EP 2896b

Two Pianos, 4 Hands • Piano Concerto No. 23 in A K488..........................................EP 8823

Reger, Max (1873–1916) • Variations & Fugue on a Theme by Mozart Op. 132a (original)...............................................EP 3976 (Arranged for 2 Pianos by the Composer)

Saint-Saëns, Camille (1835–1921) • The Carnival of the Animals (Pommer)..............................EP 9293b • Piano Concerto No. 2 in G minor Op. 22.............................EP 8831

• Piano Concerto No. 24 in C minor K491.....................................................................EP 8824 with Zacharias cadenzas

• Piano Concerto No. 25 in C K503.........................................EP 8825 with Zacharias cadenzas

• Piano Concerto No. 26 in D K537 ‘Coronation’............................................................EP 8826 with Zacharias cadenzas

Schoenberg, Arnold

(1874–1951)

• 5 Orchestral Pieces Op. 16.....................................................EP 3378 (tr. Webern) Two copies provided

Schumann, Robert (1810–1856) • Andante & Variations in B- Op. 46.........................................EP 2362 Original. Two copies provided (Dörffel)

• Piano Concerto in A minor

(Musgrave)................................................EP 71819

• Piano Concerto No. 27 in B- K595.........................................EP 8827

Op. 54

• Larghetto and Allegro in E flat K6 deest.....................................................................EP 8721

Schumann’s Piano Concerto traces its origins, through the first movement, to a single-movement Phantasie in A minor for piano and orchestra which was completed in May 1841 (his “symphonic year”) and revised at the beginning of 1843. Clara Schumann, who had long wanted a major work for piano and orchestra from Schumann, played through the Phantasie with the Leipzig Gewandhaus Orchestra in 1841 but, although she played it again in 1843, it was never publicly performed, nor a publisher found, even though they were both happy with the work.

(completed Levin)

• Sonata for Piano Duet in D K448 & Fugue in C minor K426.....................................................EP 1327

Mozart, Wolfgang Amadeus / Edvard Grieg Sonatas with Second Piano Accompaniment by Grieg

Edition in accordance with Edvard Grieg: Complete Works (volume 7) edited by the Edvard Grieg Committee, Oslo

• Sonata in C major ‘Sonata facile’ K545 ...........................................................EP 8507a with Freely-Composed Second Piano Part by Edvard Grieg

• Fantasia & Sonata in C minor K475 & K457......................................................EP 8507b with Freely-Composed Second Piano Part by Edvard Grieg

• Sonata in G major K283 ......................................................EP 8507c with Freely-Composed Second Piano Part by Edvard Grieg

• Sonata in F K533 & 494.......................................................EP 8507d with Freely-Composed Second Piano Part by Edvard Grieg

Ravel, Maurice (1875–1937) • Concerto en sol majeur ▲

(Piano Concerto in G major) (Nichols)..................................EP 11406 This new Urtext edition, by the leading Ravel scholar Roger Nichols, is based on all available manuscript and printed sources, and the first recording (1932), made under Ravel’s supervision. It includes a historical preface, in which Roger Nichols considers the origins or the work and early public reaction, and a critical commentary.

In the summer of 1845 in Dresden, where they had now moved, Schumann revised the Phantasie and added a second and third movement to form what is described on the surviving manuscript of the full score as “Concerto for piano . . . with accompaniment . . .”. It was premiered on 4 December 1845 at a special Clara Schumann concert with Dresden musicians, independent of the regular subscription concerts, conducted by their friend and supporter Ferdinand Hiller, the dedicatee. The performance was critically successful and a second performance was arranged at the more prestigious Leipzig Gewandhaus at the 11th subscription concert on New Year’s Day 1846, under its conductor Mendelssohn. This performance was an even greater success than the first, and the work was immediately accepted by the Leipzig publisher Breitkopf and Härtel and quickly established itself as a repertory work. Schumann made corrections to the orchestral parts for the performance he conducted with Clara at the Lower Rhine Music Festival in May 1853. The history of the work is dominated by Clara Schumann’s promotion of it over a period of 40 years or so. Robert Schumann never played the work, since he had given up public performance by the time of its composition. All evidence is that Clara played it to his great satisfaction, and it was obviously meant for her. Michael Musgrave, Extract from the Preface to the new Urtext Edition

Two Pianos, 4 Hands/8 Hands/Organ Skryabin, Alexander (1872–1915) • Piano Concerto in F+ minor Op. 20.....................................EP 9283a

Tchaikovsky, Peter Ilyich (1840–1893) • Piano Concerto No. 1 in B- minor

Op. 23 (Teichmüller).................................................................EP 3775

• Piano Concerto No. 2 in G Op. 44..........................................EP 4644 (Reinhold)

Solo Organ by composer Bach, Johann Sebastian (1685–1750) The Complete Original Organ Works (Griepenkerl / Roitzsch, revised Keller)

Vol.1...........................................................................................EP 240 Passacaglia and Fugue in C min; Pastorale in F; 6 Trio Sonatas

Wallen, Errollyn (*1958) • The Girl in My Alphabet

...............................................EP 7685

Two Pianos, 8 Hands Wallen, Errollyn

(*1958)

'renaissance woman of contemporary British music' (The Observer)

Vol.2............................................................................................EP 241 Fantasy and Fugue in G min; 9 Preludes and Fugues Vol.3...........................................................................................EP 242 Fantasia & Fugue in C min; 6 Preludes & Fugues; 3 Toccatas & Fugues Vol.4...........................................................................................EP 243 Canzona in D min; 2 Fantasias; 4 Fugues; Praeludium in A min; 4 Preludes and Fugues; Toccata and Fugue in D min; Trio in D min Vol.5............................................................................................EP 244 56 Short Chorale Preludes; 4 Chorale Variations; 7 Chorale Preludes Vol.6............................................................................................EP 245 45 Chorale Preludes on 18 ‘Great Chorales’

Errollyn Wallen is an award-winning composer and lyricist. Her works include symphonies, ballets, operas, works for choir and chamber music. Born in Belize, Errollyn Wallen gave up her training at the Dance Theater of Harlem, New York to study composition at the universities of London and Cambridge. She founded her own Ensemble X, and its motto ’We don’t break down barriers in music… we don’t see any’ reflects her genuine, free-spirited approach and eclectic musicianship. She has been commissioned by outstanding music institutions from the BBC to the Royal Opera House and performed her songs internationally. Errollyn Wallen has won numerous awards, including the British Composers Award, and she was the recipient of the 2013 I vor Novello Award for Classical Music, the first woman to receive this honour. Errollyn was awarded an MBE for her services to music in the Queen’s Birthday Honours list in June 2007 and a CBE in the 2020 New Year Honoursand has been elected Honorary Fellow of Mansfield College, Oxford 'in recognition of her distinguished contribution to scholarship in the field of British contemporary music and her exceptional achievements as a composer.'

• The Girl in My Alphabet

Vol.7...........................................................................................EP 246 43 Chorale Preludes on 22 ‘Great Chorales’ Vol.8............................................................................................EP 247 Allabreve in D; 4 Concerti; Fantasia in C; 2 Fugues; 3 Preludes; 8 Short Preludes and Fugues Vol.9...........................................................................................EP 248 Aria in F; 14 Chorale Preludes; Partita; Chorale Variations on ‘Ach was soll ich sunder machen’; Fantasia in G (5th Concerto); Fantasia & Fugue in A min; Fantasia con imitazione; Fantasia & Fugue in A min;2 Fugues; A short Harmonic Labyrinth; Pedal Exercitium in G min; 3 Trios

• ‘Air on the G String’ (arr. Johnson)*.........................................EP 7110 from Orchestral Suite No.3 in D

• Jesu, Joy of Man’s Desiring..................................................EP 264b from Cantata BWV 147 (arr. Mansfield)*

• Toccata & Fugue in D minor BWV 565.................................EP 8464

............................................EP 72202

Weber, Carl Maria von (1786–1826) • Invitation to the Dance Op. 65 ...................................................L 1567 Arranged for 2 Pianos, 8 Hands (Gabriel Marie)

Organ/Accordion Beamish, Sally

(*1956)

• October Serenade

...................................................EP 73260

Sally Beamish’s October Serenade is a short 4-minute work for solo organ. Commissioned by David Thomas in 1999, the piece was written to celebrate a wedding.

Bingham, Judith

(*1952)

• Kalmar Rising

...........................................................EP 73377

Kalmar Rising is a 16-minute work for solo organ. The piece features an optional part for handbell in B flat to be struck by a rubber hammer and also the option of a small group of sopranos singing the plainsong. Kalmar Rising was commissioned by Jan H Börjesson, and first performed by him on the organ of Kalmar Cathedral, Sweden, in May 2019.

The resulting collection, to be published in six volumes, represents a cross-section of the most interesting composers at work today across Europe Composers: Nigel Allcoat; Johann Sebastian Bach; Sally Beamish; Christian von Blohn; Timothy Byram-Wigfield;John Butt; Stephen Hough;Juste Janulyte; Simon Johnson; Jonas Jurkunas; Daniel Kidane; Till Alexander Körber; Ronny Krippner; David Matthews; Nico Muhly; Anthony Powers; Tarik O’Regan; Roxanna Panufnik; Poul Ruders; Sven-David Sandström; Robert Saxton; Peter Shepherd; Andrew Synnot; Zsigmond Szathmáry; William Whitehead

Händel, Georg Friedrich (1685–1759) • Arrival of the Queen of Sheba..............................................EP 7086 (arr. de B.Taylor)

Widor, Charles-Marie (1844–1937) • Toccata for Organ.................................................................EP 72244 from Symphony No. 5, Op. 42 No. 1

Widor’s Symphonie pour orgue no. 5, op. 42 No. 1, originally published by Hamelle in 1879, is a five movement work lasting some 35–40 minutes. The toccata that forms the last movement has become not only Widor’s most successful composition, but also one of the few almost universally recognizable pieces of organ music.

Accordion Matre, Ørjan

(*1979)

Ørjan Matre studied composition at the Norwegian Academy of Music with Bjørn Kruse, Lasse Thoresen, Olav Anton Thommessen and Henrik Hellstenius. He was composer-in-residence with Kristiansand Symphony Orchestra for the 2006-2008 seasons, and in the 2012-2013 season Matre was selected by the Oslo Philharmonic Orchestra as their featured composer. He has distinguished himself as a distinct voice in Norwegian music, and has been awarded high-profile commissions by leading performers, ensembles and orchestras.

• Nephilim Song

Solo Organ Album The Orgelbüchlein Project: a 21st-century completion of Bach’s Orgelbüchlein • Volume 4: Christian Life and Conduct (Chorales 87-113)..........................................................EP 73145 (William Whitehead)

The Orgelbüchlein Project is a collective composition project aiming to complete Bach’s unfinished manuscript known as ‘Orgelbüchlein’. In the ‘Little Organ Book’, Bach laid out a complete hymnal of short organ chorale preludes, 164 in all, but only completed 46 of them. Why the remaining 118 were left as blank pages, with only a title at the head, remains a mystery, but they inspried organist William Whitehead to found the Orgelbüchlein Project, in which contempoary composers are invited to contribute a piece to completing the collection.

...........................................................EP 14331

Nephilim Song for solo accordion takes as its inspiration a mysterious term that is mentioned twice in the Bible, one of them being in Genesis 6:4: "The Nephilim were on the earth in those days, and also afterward, when the sons of God went to the daughters of men and had children by them. They were the heroes of old, men of renown." It is not clearly explained what a Nephil is, but several theories exist. One of them is that the Nephilim were offspring of angels and humans, and an offence to God, provoking Him to flood the earth to remove all traces of them. Nephilim Song uses two types of material, an ethereal, soft music in the extremely high register of the accordion, and a rougher, rhythmical material – angelic and humane, and the space between them. Nephilim Song was first performed by Frode Haltli at the Wittener Tage für neue Kammermusik on 29 April 2012.

Violin Studies & Tutors Violin Studies & Tutors Casorti, August (1880–1905) • Bowing Technique Op.50.........................................................EP 2516

Fischer, Simon • Basics........................................................................................EP 7440 300 exercises and practice routines to develop all aspects of violin technique English Language Version

Basics is a collection of practice methods and exercises, and belongs on the music stand, not on the bookshelf. It can be used by players of all standards, from concert violinists to students. Much of the material is also suitable for teaching elementary players. Each exercise is designed to achieve the maximum possible result in the least possible time. Some are very short and need to be done only once or twice to explore a particular aspect of technique. Others are practice routines or warm-up exercises that can be returned to regularly. Basics is not a book to play through from cover to cover (though, for easy reference, the exercises are numbered sequentially throughout). Everybody’s needs are different, and there is little point in practising anything that does not need to be practised.

Dancla, Charles (1817–1907) • 20 Études brillantes Op.73.......................................................EP 1079

The book is invaluable, however, in its presentation of the most effective technical work in a single volume, making it possible to work directly on any aspect of technique that needs attention.

• 50 Technical Studies Op.74.....................................................EP 1080 (Ecole du mécanisme)

• Basics......................................................................................EP 11404

Dont, Jakob (1815–1888)

Übungen und praktische Anleitungen für die Violine German Language Version

• Etudes and Caprices Op. 35...................................................EP 3705 (Jacobsen)

• 24 Preparatory Exercises Op.37.............................................EP 3706 to Kreutzer & Rode Studies (rev. Sitt)

Fiorillo, Federigo (1755–1823) • 36 Studies.................................................................................EP 283a

Violin Studies & Tutors • Practice....................................................................................EP 7578 250 step-by-step practice methods for the violin

Practice tackles head-on the myriad challenges involved in mastering the violin. Drawing upon a wide range of judiciously chosen examples from the musical literature, Simon Fischer describes and explains a wealth of practice techniques, often in great physical detail. All the essential components of violin playing are dissected via the chosen repertoire:

• tone production • intonation • differing bow strokes • vibrato • harmonics • pizzicato • shifting • double stopping • physical freedom • posture etc. The book is rounded off with some more general insights, including a fascinating section about developing a secure musical memory. Violinists who treasure Simon Fischer's celebrated Basics volume will eagerly embrace this volume, and will instantly recognise the same peerless command of the subject allied with his engagingly direct style of communication. It is difficult to imagine anyone committed to studying, teaching, or playing the violin who would remain untouched by the wisdom and experience distilled in this astonishingly comprehensive and remarkably accessible publication.

• The Violin Lesson..................................................................EP 72151 A Manual for Teaching and Self-Teaching the Violin

The Violin Lesson offers players of all standards the opportunity to immediately and and dramatically improve their technique and understanding of violin playing. Presented in twelve comprehensive and highly accessible lessons filled with more than 500 music examples and over 350 photographs, it provides fresh approaches to neglected aspects of playing whilst covering all the major areas of violin technique, including:

• tone production • intonation • avoiding aches and pains • changing position • improving bow strokes • vibrato Whether outlining a basic concept or an advanced technique, each topic is handled with the clarity and attention to detail for which Simon Fischer is so highly regarded. Fundamental exercises, principles and practice methods sit alongside case studies and practical question-and-answer sections to present a truly rounded volume; essential reading for both students and teachers alike.

• Scales.....................................................................................EP 71908 Scales and scale studies for the violin English Language Version

• Scales.....................................................................................EP 11405 Scales and scale studies for the violin German Language Version

At last a book that provides not only a complete set of scales and arpeggios across two, three and four octaves in many variations, including on a single string – but also the necessary tools to master them. A novel and instructive publication that is destined to set the standard for years to come.

Violin Studies & Tutors Gaviniés, Pierre (1728–1800) • 24 Etudes ‘Matinées’..............................................................EP 1381

Hřímalý, Johann

(1844–1915)

• Scale Studies (Küchler)..........................................................EP 3879

• Studies Op. 36

Vol. 1......................................................................................EP 1819a ‘Etudes spéciales’, Studies Nos. 1–30 (Davisson) Vol. 2......................................................................................EP 1819b ‘Etudes brillantes’, Studies Nos. 31–57 (Davisson) Vol. 3.....................................................................................EP 1819b Virtuoso Studies (Hermann)

Sitt, Hans

(1850–1922)

• 50 Daily Exercises Op.98......................................................EP 3122

Kayser,

(1815–1888)

• 36 Elementary and Progressive Studies Op. 20 (Sitt).............................EP 3560

Strauss, Richard (1864–1949) • Orchestral Excerpts from the Symphonic Works: Violin................................................................................EP 4189ab

Kreutzer, Rodolphe (1766–1833) • 42 Studies or Caprices (Hermann).......................................EP 284 • 42 Studies or Caprices (Hermann).....................................EP 284a 2nd Violin Accompaniment by F. Hermann

• 42 Studies or Caprices (Davisson).......................................EP 4310

Wieniawski, Henryk

(1835–1880)

• L’Ecole moderne Op.10 (Sitt)................................................EP 3368

Mazas, Jacques Féréol (1782–1849) Jacques Féréol Mazas (1782-1849) was a French composer, conductor, violinist and pedagogue, and many of his compositions were studies and methods for young violin and viola students. His three progressive volumes of violin études, considered classics of violin pedagogy and have been in constant use by violin students and teachers since they were published.

Wohlfahrt, Franz (1833–1884) • 40 Elementary Studies Op. 54 (Sitt).....................................EP 3328 • 60 Studies Op. 45 (Sitt)..........................................................EP 3327

Lumsden, Caroline (with piano accompaniments by Anita Hewitt-Jones)

• Right@Sight for Violin (includes CD) An innovative new sight-reading course for string players Grade 1 (includes CD).....................................EP 7831 Grade 2. (includes CD).....................................EP 7832 Grade 3..(includes CD).....................................EP 7833 Grade 4............................................................. EP 7834 Grade 5.............................................................EP 7835

Sight-reading is one of the most important yet neglected skills for any musician, and an important component of Associated Board and other music exams. Right@Sight contains pieces designed to help students master the art of sight-reading:

• a carefully graded sequence of pieces eases the student’s progression from one grade to the next

• guidance notes using the mnemonic TRaK (Time-signature,

Rhythm and Key) help students develop a disciplined approach

• duet parts for teachers to play along with their students during lessons encourage confident playing

Right@Sight contains everything a violinist needs to develop sight-reading skills both during and between lessons.

Lumsden, Caroline / Attwood, Ben • Witches’ Brew (includes CD).........................EP 7676 16 spooky pieces to play and sing. Beginner to preliminary grade (using open strings and 1st fingers)

• Wizard’s Potion (includes CD).......................EP 7678

16 spooky pieces to play and sing. Violin grades 1 and 2 (using 1st and 2nd finger patterns)

Beginner to preliminary grade pieces using open strings and 1st fingers. Hoojum Boojum, Higgery Wiggery, Wizards United! and Trick, Treat or Tango - just some of the spellbinding pieces from the magical new books Witches' Brew and Wizard's Potion. The innovative blend of rhythmical tunes, descriptive rhymes and exciting jazzy accompaniments are set to capture the imagination of all beginners. Each book and CD contains:

• teaching points • rhythm training • suggestions for practice • stunning graphics • fun and useful lyrics • varied and inspiring tunes. Children will be bewitched by the visual and musical sorcery contained in both Witches' Brew and the follow-up book Wizard's Potion. Tales of witches and wizardshave enthralled both children and adults alike for centuries, and have inspired remarkable work from authors, composers and illustrators.

Solo Violin Solo Violin by Composer

No violinist should be without this classic Edition Peters Urtext edition of one of the most important works for the instrument.

Albéniz, Isaac (1860–1909) • Asturias: Leyenda from "Suite española".........................EP 72261 Arranged by Rachel Jennings and Tasmin Little

Reger, Max (1873–1916) • 6 Preludes and Fugues Op.131a...........................................EP 3968

Bach, Johann Sebastian (1685–1750) • The 6 Solo Sonatas and Partitas........................................EP 4308 BWV 1001–1006 (Flesch)

• The 6 Solo Sonatas and Partitas

Rode, Pierre (1773–1830) • 24 Caprices (Davisson)............................................................EP 281a

.......................EP 9852

BWV 1001–1006 (Rostal)

Telemann, Georg Philipp (1681–1767) • 12 Fantasias TWV 40:14–25...................................................EP 9365

Joachim, Joseph (1831–1907) • Cadenzas...............................................................................EP 9115 to Viotti Concerto No.22; Mozart Concertos Nos.4, 5; Beethoven Concerto Op.61; Brahms Concerto Op.77

Paganini, Niccolò (1782–1840) • 24 Caprices Op.1 (Hertel)

.......................................EP 9979

Goethe wrote that after experiencing a Paganini concert he had, "heard something meteoric, and was unable to understand it". It was not until late in his career that Paganini became widely known outside his native Italy. He made his first tour in 1828, and returned to Italy for good in 1834. But the impression he made during these years was to have a profound effect, not only on the course of violin technique but on how virtuosity in general could be incorporated into serious composition - his influence can be felt in music from Liszt and Schumann through Brahms to Rachmaninov (to name but a few of those who have used themes from these Caprices directly) and beyond. The 24 Caprices were probably composed around 1805 - and probably not for public performance. They provide a compendium of Paganini's technique, including extraordinary velocity, a variety of bowing style (balzato, spiccato, martellato etc.), passages in thirds, sixths, octaves and tenths, multiple stopping (up to quadruple), double trilling, left handed pizzicato and the imitation of other instruments (flute, guitar, and horn).

• Classic highlights..............................................................EP 10910a Famous classical pieces to play [includes play-along CD] Violin/Recorder/Flute/Oboe Handel Mozart Mendelssohn Gluck Brahms Bach, J.S. Bach, J.S. Schubert Schubert Mozart Mozart Vivaldi Pachelbel Schubert

Largo from the opera Xerxes Minuet from "A Little Night Music" KV 525 Song without Words No. 4 in A major, Op. 19 "Oh, I've lost her" aria from "Orpheus and Eurydice" "Good evening, good night", lullaby no. 4 op. 49 Air from the Orchestral Suite (No. 3 in D major BWV1068 Siciliano from the Flute Sonata in E flat major BWV 1031 "An die Musik" D547 "Ave Maria" (piano accompaniment) "Everything feels the joys of love", Monostatos' aria from "The Magic Flute" KV 620 "This portrait is enchantingly beautiful", Tamino's aria from "The Magic Flute" KV 620 The Four Seasons, II. Movement from "Winter" RV 297 Canon from "Canon and Gigue in D major" (for three violins and basso continuo) "Ave Maria" (Ellen's third canto) D 839 (orchestrated version)

Violin & Piano by Composer Beethoven, Ludwig van (1770–1827)

Violin & Piano Accolay, Jean-Baptiste

• Concerto in D Op.61.......................... ......................................EP 189 (1833–1900)

• Violin Concerto No. 1 in A minor........................................EP 11249 (Matz)

with cadenzas (Flesch)

• Romances in G & F, Op.40 & Op.50

......................EP 9171

Romances in G & F, Op.40 & Op.50

........................Q 9171

(Oistrakh / Fechner)

(Oistrakh / Fechner) [includes play-along CD]

• Complete Sonatas (Joachim) Vol.1: Opp.12 Nos.1–3; 23; 24..............................................EP 3031a Vol.2: Opp.30 Nos.1–3; 47; 96..............................................EP 3031b

• Sonata in A Op.47 ‘Kreutzer’..................................................EP 3031i (Joachim)

• Sonata in F Op.24 ‘Spring’ ....................................................EP 4066 (Joachim)

• Sonata in F Op.24 ‘Spring’ .....................................................Q 4066 (Joachim) [includes play-along CD]

Bach, Johann Sebastian (1685–1750) • ‘Air on the G String’

from Orchestral Suite No.3 in D..............................................EP 7355

Beriot, Charles-Auguste de (1802–1870) • Scène de Ballet Op.100........................................................EP 2990

• ‘Air on the G String’

from Orchestral Suite No.3 in D...............................................Q 7355

[includes play-along CD]

• Concerto No.1 in A minor BWV 1041 ...................................EP 4996 (Oistrakh)

• Concerto No.1 in A minor BWV 1041......................................Q 4996 (Oistrakh) [includes play-along CD]

• Concerto No.2 in E BWV 1042 (Strub)...................................EP 4593 • Concerto No.2 in E BWV 1042 (Strub)....................................Q 4593 [includes play-along CD]

• Jesu, Joy of Man’s Desiring..................................................EP 7360 from Cantata BWV 147 (arr. Campbell)

6 Sonatas BWV 1014–1019 (Schleifer / Stiehler) with cello ad lib.

Vol.1: B min, A, E...................................................................EP 4591a Vol.1: B min, A, E.....................................................................Q 4591a [includes play-along CD] Vol.2: C min, F min, G...........................................................EP 4591b Vol.2: C min, F min, G..................................................................Q 4591b [includes play-along CD]

Beamish, Sally (*1956) • Dream-child All in the Golden Afternoon

(1838–1875)

• Popular pieces.........................................................................EP 7627 ‘Prelude’ from Carmen Act 1; ‘Habanera’ from Carmen Act 1; ‘Seguidilla’ from Carmen Act 1;‘Entr’acte’ from Carmen Act 2; ‘Entr’acte’ from Carmen Act 3; ‘Entr’acte’ from Carmen Act 4; ‘Galop’ (le bal) from Jeux d’enfants; ‘Farandole’ from L’Arlésienne Suite No. 2 (arr. Curran)

Borodin, Alexander Porfiryevich (1833–1870) • Nocturne...................................................................................EP 7628 from String Quartet No.2 in D major (arr. Curran)

Brahms, Johannes .................................EP 73058

Sally Beamish’s Dream-child, subtitled All in a Golden Afternoon, is a short 4-minute work for violin and piano inspired by the preface from Lewis Carroll’s Alice’s Adventures in Wonderland. Commissioned by Matthew Trusler for the Wonderland Project, it was first performed by Matthew Trusler and Ashley Wass to mark the 150th anniversary of the publication of the children’s book in 2015. This edition (EP73058) comprises score and violin part.

Bizet, Georges

(1833–1897)

• Concerto in D Op.77 (Klingler)................................................EP 3893 with cadenza

• Hungarian Dances Nos.1, 3, 5.............................................EP 7401 • Complete Sonatas..................................................................EP 3900 Opp.78, 100, 108 (Flesch / Schnabel)

Violin & Piano by Composer Bruch, Max

• Sicilienne Op.78 (Howat).........................................................EP 7386

(1838–1920)

• Concerto No.1 in G minor Op.26..........................................EP 4590 (Stross / Soldan)

• Sonata No.1 in A Op.13 (Howat)

...........................EP 7487

• Concerto No.1 in G minor Op.26........................................EP 4590a (Menuhin)

• Anthology of Original Pieces Cage, John (1912–1992) • 6 Melodies................................................................................EP 6748 • Nocturne...................................................................................EP 6740

Chausson, Ernest (1855–1899) • Poème Op.25...........................................................................EP 4169

Debussy, Claude (1862–1918) • Sonata (Garay)

. .........................................................EP 9121

.................EP 7515

(Howat)

This attractive volume brings back into the repertoire the delightful 'Morceau de lecture', which had been unaccountably out of print for almost a century. The 'Romance' and particularly the 'Berceuse' are of course justly popular, but the soaring and impassioned 'Andante' deserves to be heard much more regularly. Berceuse Op.16; Morceau de lecture; Romance Op.28; Andante Op.75

Franck, César (1822–1890) • Sonata in A ...............................................................................EP 3742 • Sonata in A ...............................................................................Q 3742 [includes play-along CD]

Gluck, Christoph Willibald (1714–1787) • Dance of the Blessed Spirits................................................EP 7434

Dvořák, Antonín (1841–1904) • Romantic Pieces Op.75..........................................................EP 9824 • Sonatina in G Op.100.

.............................................EP 9363

Grieg, Edvard (1843–1907)

• Sonatina in G Op.100

................................................Q 8162

• Sonata No.1 in F Op.8

[includes play-along CD]

• Sonata No.2 in G Op.13

Elgar, Edward (1857–1934)

• Sonata No.3 in C minor Op.45

.........................................EP 11311 ......................................EP 11312 ...........................EP 11313

• Chanson de matin; Chanson de nuit

(Burrows)

....................................................EP 7370

• Salut d’amour (Burrows)

...........................................EP 7429 inc. original version, published for the first time

Fauré, Gabriel (1845–1924) • Après un rêve (arr.Howat)........................................................EP 7481 • Berceuse...................................................................................EP 7624 from Dolly suite,Op.56 (arr. Howat)

Violin & Piano by Composer Händel, Georg Friedrich (1685–1759)

• Sonatas, Cello ad lib. (Davisson / Ramin)

• Arrival of the Queen of Sheba...............................................EP 7625

Vol.1 .......................................................................................Q 4157a A, G min, F: Op.1 Nos.3, 10, 12 [includes play-along CD]

(arr. Curran)

• Sonatas for Violin & Continuo (Burrows) Cello (or Viola da Gamba) ad lib.

The two volumes of this edition contain the complete repertory of Handel's sonata-type works for violin as currently understood. It is nor easy to determine the boundaries of the repertory precisely and any claim to completeness must be both provisional and optimistic.

This Urtext edition is intended as a practical performing score. Editorial keyboard realisations (in small print) have deliberately been kept fairly plain, and should be effective on any keyboard instrument. Bass figurings have been taken from the primary sources. In general, these figures should not be taken too seriously; their function and authority are often questionable (see Editorial Method and Critical Commentary), and musical considerations must always be paramount.

Vol.2 .......................................................................................Q 4157b D, A, E: Op.1 Nos.13, 14, [includes play-along CD]

Haydn, Joseph (1732–1809) • Concerto No.1 in C Hob.VIIa/1 (Flesch).................................EP 4322 with cadenzas

• Concerto No.2 in G Hob.VIIa/4 (Held) with cadenzas

...............................EP 9952

The continuo-accompanied sonatas may be performed by violin and keyboard alone, but are improved by the addition of a 'cello or viola da gamba to the bass line. Editorial tempo markings, trills, dynamics and precautionary accidentals are placed in brackets. Key signatures and accidentals have been modernised. Where accidentals have been added or clarified, but are not the consequence of modernisation, they are shown in small print. Accidentals in the bass figurings are shown as they appear in the sources, and have nor been modernised. Donald Burrows Vol.1.........................................................................................EP 7315 Sonatas in G min, D min, D min, A major, A major, E major Vol.2.........................................................................................EP 7316 Sonatas in G, D, G min, F; Sonata à cinque in B-; Allegro in C min; Sonatina from ‘Il trionfo del tempo’; Sonata Movement in A min; Fantasia in A; Allegro in G for Solo Violin

• Concerto No.2 in G Hob.VIIa/4 (Küchler).................................Q 4182 (Küchler) [includes play-along CD]

Hersch, Fred (*1955) • Tango Bittersweet.................................................................EP 68120 Violin / Cello & Piano

Lalo, Édouard (1823–1892) • Symphonie Espagnole Op.21...............................................EP 3797

• Sonatas, Cello ad lib. (Davisson / Ramin) Vol.1................................................... ...................................EP 4157a A, G min, F: Op.1 Nos.3, 10, 12 Vol.2.......................................................................................EP 4157b D, A, E: Op.1 Nos.13, 14, 15

Violin & Piano by Composer Lewis, George

Mendelssohn, Felix (1809–1847)

(*1952)

George E. Lewis is the Edwin H. Case Professor of American Music at Columbia University. A Fellow of the American Academy of Arts and Sciences and a Corresponding Fellow of the British Academy, Lewis’s other honors include a MacArthur Genius Award (2002), a Guggenheim Fellowship (2015), a United States Artists Walker Fellowship (2011), an Alpert Award in the Arts (1999), and fellowships from the National Endowment for the Arts.

• Concerto in E minor Op.64 (Flesch)....................................EP 1731a • Concerto in E minor Op.64 (Flesch)......................................Q 1731a [includes play-along CD]

• Concerto in E minor Op.64 (Oistrakh)....................................EP 1731

Most recently Professor Lewis received an honorary doctorate from Harvard University and became a member of the American Academy of Arts and Letters (2018).

• Sonata in F (Menuhin)..............................................................EP 6070

• The Mangle of Practice for Violin & Piano

...........................................EP 68679

Monti, Vittorio (1868–1922) • Czardas...................................................................................EP 11208

The Mangle of Practice by George Lewis borrows its title from a work of scientific history and philosophy by Andrew Pickering, to whom this piece is dedicated, and who imagines many constraints on human agency as being real-time interactions between human endeavour and non-human forces rather than as fixed limitations. This 12-minute work explores this idea through a series of spectacular musical gestures, including unpredictable extremes of rhythm, range and performance technique. Commissioned by the Library of Congress’s Earl McKim Fund, the piece was composed for a 2014 premiere at the library by Ensemble Dal Niente’s Minghuan Xu and Winston Choi. This piano score and violin part, available for purchase, includes performance notes in English.

Mozart, Wolfgang Amadeus (1756–1791) Massenet, Jules (1842–1912) • Méditation from Thaïs (arr. Nichols).......................................EP 7510

• Concerto No.3 in G K216 (Flesch)..........................................EP 2193l with Flesch cadenzas

• Concerto No.3 in G K216 (Oistrakh)....................................EP 2193m with Oistrach cadenzas

• Concerto No.4 in D K218 (Oistrakh)........................................EP 9181 with cadenzas by Joachim & David

• Concerto No.4 No.4 in D K218 (Oistrakh)................................Q 9181 with cadenzas by Joachim & David [includes play-along CD]

• Concerto No.5 in A K219 (Marteau)......................................EP 2193a with Marteau cadenzas

• Concerto No.5 in A K219 (Marteau).......................................Q 2193a

with Marteau cadenzas [includes play-along CD]

• Eine kleine Nachtmusik K525.................................................EP 4325 • Eine kleine Nachtmusik K525...................................................Q 4325 [includes play-along CD]

Violin & Piano by Composer • Complete Sonatas (Eisen)

Pachebel, Johann (1653–1706) • Canon & Gigue in D.............................................................EP 67956 Violin & Piano

This complete edition of the Mozart Sonatas for Keyboard and Violin has been researched and prepared by Cliff Eisen, one of the most distinguished Mozart scholars of our time. Professor Eisen recognises that many of the apparent inconsistencies and idiosyncrasies of Mozart's notation are perfectly deliberate, and that the attempts in many other editions to impose uniformity upon similar phrases or musical paragraphs can be misguided.

• Canon & Gigue in D ..............................................................EP 9846 for 3 Violins & Continuo. Cello ad lib.

• Canon & Gigue in D ...............................................................Q 9846 for 3 Violins & Continuo. Cello ad lib. [includes play-along CD] 1st Violin missing

As he writes in the preface: '. . .the notion that the classical style represents a model of symmetry, balanceand clarity is for the most part a 19th-century fiction. . .it has little to do withMozart's actual practice, which is based primarily on variety of both content and articulation. So in this new edition, alternative readings found in parallel passages are preserved, rather than being sterilised by a spurious quest for conformity. Naturally all such instances are noted within the Critical Commentary. The highly individual beaming within Mozart's autographs is also respected in the new edition, as this often contributes to our aural perceptions of phrase structure and accent. Professor Eisen is conscious that there is no single 'Urtext' for this music. On the contrary he believes that 'there is compelling evidence that Mozart's later performances of his works were characterised by changes - sometimes substantial changes - in the musical text'. It is the achievement of this edition to indicate how far this freedom of musical expression can extend, andas such it is likely to take pride of place in the collections of all those involved in the study and performance of these masterpieces. Vol.1......................................................................................EP 7579a K301–K306 Vol.1 .......................................................................................Q 7579a K301–K306 [includes play-along CD] Vol.2......................................................................................EP 7579b K296, K376–K380, K402, K403 Vol.3......................................................................................EP 7579c K454, K481, K526, K547 & Variations K359, K360

Paganini, Niccolò (1782–1840) • Concerto No.1 in D Op.6 (Flesch)...........................................EP 1991

• Selected Compositions..........................................................EP 1990 Le Streghe, variations on a theme by Süssmayr Op.8; Variations on ‘O mamma, mamma cara’ Op.10; Moto perpetuo Op.11; Tancredi Op.13

Raff, Joachim (1822–1882) • Cavatine Op.85 No.3...............................................................EP 3383 (with Vieuxtemps, Rêverie; Wieniawski, Légende)

Ravel, Maurice (1875–1937) • Tzigane ▲

.............................................................EP 10600

Rieding, Oskar (1846–1918) • Concerto in B minor Op.35.................................................EP 11025 (Matz)

Saint-Saëns, Camille (1835–1921) • Havanaise Op.83......................................................................EP 9292 for Violin & Orchestra (Thiemann) • Introduction and Rondo capriccioso Op.28.........................EP 9294 (Bizet / Thiemann)

Violin & Piano by Composer Sarasate, Pablo de (1844–1908) • Gypsy Airs / Zigeunerweisen Op.20......................................EP 4990

Seitz, Friedrich (1848–1918) • Concerto in D major Op.22.................................................EP 11028 (Matz)

Smetana, Bedřich (1824–1884) • From My Native Country........................................................EP 2634 ‘Aus der Heimat’ (Sitt)

Spohr, Louis (1784–1859) • Concerto No.8 in A minor Op.47..........................................EP 1098d

Satie, Erik (1866–1925)

Svendsen, Johan (1840–1911)

• 3 Gymnopédies (arr. Nichols).................................................EP 7341

• Romance in G Op.26...............................................................EP 9016

Tchaikovsky, Pyotr llyich (1840–1893) • Concerto in D Op.35 (Flesch)................................................EP 3019a • Concerto in D Op.35..............................................................EP 3019b (Oistrakh / Mostras)

• Concerto in D Op.35...............................................................Q 3019b (Oistrakh / Mostras) [includes play-along CD]

Schoenberg, Arnold (1874–1951) • Fantasy Op.47..........................................................................EP 6060

Telemann, Georg Philipp (1681–1767) • 6 Sonatinas..............................................................................EP 9096 • 6 Sonatinas................................................................................Q 9096 [includes play-along CD]

Schubert, Franz (1797–1828) • Sonatinas Op.137 Nos.1–3

D384, 385 & 408 (Jacobsen)

..................................EP 11099

Vieuxtemps, Henri (1820–1881) • Concerto No.5 in A minor Op.37...........................................EP 3323

Sonatinas Op.137 Nos.1–3.......................................................Q 156a D384, 385 & 408 (Jacobsen) [includes play-along CD]

Schumann, Robert (1810–1856) • 3 Fantasy Pieces Op. 73......................................................EP 2366b • Märchenbilder (Fairytale Pictures)..........................................EP 2372 Op.113

• 3 Romances Op. 94 (Gledhill)..................................................EP 2387 • 3 Romances Op. 94 (Gledhill)..................................................Q 2387 [includes play-along CD]

Violin & Piano by Composer Viotti, Giovanni Battista (1755–1824) • Concerto No.23 in G......................... ....................................EP 1100b

• The Four Seasons Op.8 No.1 in E ‘Spring’ ..................................................................EP 9055a No.2 in G minor ‘Summer’.....................................................EP 9055b

Vitali, Tomaso Antonio (1663–1745)

No.3 in F ‘Autumn’ ................................................................EP 9055c

• Ciaccona in G minor (Jacobsen).............................................EP 4346

No.4 in F minor ‘Winter’ ........................................................EP 9055d

Wallen, Errollyn

(*1958)

• Dervish......................................................................................EP 7682

Weber, Carl Maria von (1786–1826) • Grand Duo Concertant in E- Op.48 ......................................EP 3317 • Grand Duo Concertant in E- Op.48 .......................................Q 3317 [includes play-along CD]

Vivaldi, Antonio (1678–1741) • Concerto in G Op.3 No.3 RV 310.........................................EP 9453a • Concerto in G Op.3 No.3 RV 310...........................................Q 9453a [includes play-along CD]

Wieniawski, Henryk (1835–1880) • Concerto No.1 F# minor Op.14.............................................EP 5504 • Concerto No.2 in D minor Op.22...........................................EP 3296

• Concerto in A minor Op.3 No.6 RV 356.................................. EP 3794 • Concerto in A minor Op.3 No.6 RV 356.....................................Q 3794 [includes play-along CD]

• Légende Op.17......................................................................EP 3383 (with Raff, Cavatina; Vieuxtemps, Rêverie)

• Scherzo-Tarantelle Op.16.......................................................EP 3292 • Concerto in E Op.3 No.12 RV 265 ..........................................EP 4379 • Concerto in E Op.3 No.12 RV 265 ............................................Q 4379 [includes play-along CD]

The Four Seasons Op.8 Nos.1–4 ..........................................................................Q 9055

[includes play-along CD]

Composed sometime around 1716-17, Vivaldi's group of four violin concertos The Four Seasons were revolutionary in their use of musical effects to depict natural phenomena. Barking dogs, birds, bees, thunderstorms, frozen landscapes and much else finds musical expression in these ever popular concertos.

Yanshinov, Alexei (1871–1943) • Concertino in the Russian Style Op. 35...............................EP 4706

Violin Albums/Violin Duets Violin Albums

Violin Duets

• Piccolo Paganini.................................................................EP 11381a

Beriot, Charles-Auguste de (1802–1870)

30 Concert Pieces in First Position with Piano Accompaniment Compiled and Edited by Gudrun Jeggle & Christiane Schmidt [includes play-along CD]

• 3 Duos concertants Op. 57...................................................EP 3061a • 12 Short Easy Duets Op. 87................................................EP 3061b

Boccherini, Luigi (1743–1805) • 3 Duos Op. 5.............................................................................EP 3338

Campagnoli, Bartolomeo

(1751–1827)

• 6 Progressive Duets Op.14....................................................EP 2506

Dancla, Charles (1817–1907) • 15 Studies Op. 68 for Violin..................................................EP 1078 with 2nd Violin Accompaniment

• Recital Training, Vol. 1........................................................EP 11291 Intermediate Violin Pieces with suggestion for Practice (Ger/Eng) [includes x2 play-along CDs: performance versions of the concerto movements; play-along backing tracks recorded at various speeds, to aid practice; important preparatory exercise]

Vol.1 Piano Accompaniments.........................................EP 11291a

Haydn, Joseph (1732–1809) • 3 Duos Op. 99...........................................................................EP 3303

Leclair, Jean Marie (1697–1764) • 3 Sonatas.................................................................................EP 7786

Mazas, Jacques Féréol (1782–1849) • 12 Little Duets Op. 38 Vol.1: .....................................................................................EP 1955a Vol.2: .....................................................................................EP 1955b

• 6 Duos Op. 39 Vol.1: ....................................................................................EP 1956a

• Transcriptions for Violin & Piano.....................................EP 73225

Vol.2: ....................................................................................EP 1956b

by Simon Fischer

Violin soloist Simon Fischer, renowned throughout the world for his highly praised violin methods published by Edition Peters, now presents brilliant and idiomatic transcriptions for violin and piano of famous works from the classical repertoire. Perfect as encores or as part of a mixed recital, these arrangements of pieces by Dowland, Purcell, Rossini, Felix and Fanny Mendelssohn, Tchaikovsky, Chopin and Johann Strauss II will delight audiences and provide satisfying playing material for violinists. - Idiomatic violin parts demonstrating virtuoso potentialof instrument - Ossia alternatives for technically challenging moments - Video performances by Simon Fischer are available online

Mozart, Wolfgang Amadeus (1756–1791) • 12 Duets K.Anh.152 (rev. & arr. Schultz) Vol.1: Nos.1–4.......................................................................EP 5521a Vol.2: Nos.5–8.......................................................................EP 5521b Vol.3: Nos.9–12.....................................................................EP 5521c

• 12 Duos K496a (Engels)..........................................................EP 4518

Violin Duets/& Viola/2 & 3 Violins/Violin & Viola/& Other Instruments Pleyel, Ignaz Josef

Pachebel, Johann (1653–1706)

(1757–1831)

• 6 Little Duets Op. 8................................................................EP 1085a • 6 Easy Duets Op. 48..............................................................EP 1085b • 6 Duets Op. 59.........................................................................EP 1085c • 6 Duets Op. 23.........................................................................EP 1085d

• Canon & Gigue in D ...............................................................EP 9846 for 3 Violins & Continuo. Cello ad lib.

• Canon & Gigue in D .................................................................Q 9846 for 3 Violins & Continuo. Cello ad lib. [includes play-along CD] 1st Violin missing

• 6 Duets Op. 24.........................................................................EP 1085e

Violin & Viola

Spohr, Louis (1784–1859) • 3 Duets Op.3...........................................................................EP 1086a • 2 Duos Op. 9...........................................................................EP 1086b • 3 Duets Op. 39........................................................................EP 1086c • 3 Duos Op. 67.........................................................................EP 1086d

Mozart, Wolfgang Amadeus (1756–1791) • Sinfonia Concertante in E- for Violin, Viola & Orchestra K364........................................................EP 2206 with cadenza (Herrmann) Violin, Viola & Piano reduction

Viotti, Giovanni Battista (1755–1824) • 3 Duets Op.29..........................................................................EP 1087

Wieniawski, Henryk (1835–1880) • Etudes Caprices Op.18..........................................................EP 3395 for Violin with 2nd Violin Accompaniment

Violin & Other Instruments Bach, Johann Sebastian (1685–1750) • Concerto for Violin, Oboe & Strings in C minor BWV 1060...........................................................EP 3722

Violin, Oboe & Keyboard, or 2 Violins & Keyboard

Two/Three Violins & Piano

Brahms, Johannes

Bach, Johann Sebastian (1685–1750)

• Concerto for Violin, Violoncello & Orchestra Op. 102........................................EP 3902 Violin, Cello & Piano reduction

• Concerto for 2 Violins & Strings (Wollgandt / Klengel) in D minor BWV 1043 (Oistrakh)............................................EP 9032 • Concerto for 2 Violins & Strings in D minor BWV 1043 (Oistrakh)............................................Q 9032

[includes play-along CD] (CD includes two performances to enable the performers to play first or second violin)

Händel, Georg Friedrich (1685–1759) • Arrival of the Queen of Sheba...............................................EP 7626 for Two Violins and Piano (arr. Curran)

(1833–1897)

Viola Studies & Tutors Viola Studies / Tutors / Methods

Sitt, Hans (1850–1922)

Dancla, Charles

Strauss, Richard (1864–1949)

(1817–1907)

• 20 Etudes brillantes Op.73......................................................EP 8905 tr. Solo Viola

Fischer, Simon

• Viola Method...........................................................................EP 2588

• Orchestral Excerpts from the Symphonic Works: Viola...................................................................................EP 4189c

• Scales for Viola.....................................................................EP 72544 This is a scale book of unprecedented scope. Simon Fischer has developed an entirely new method in which, using the traditional ways of practising scales only as a point of departure, he focuses on numerous often-neglected aspects of the violist’s technique. For every element he has designed exercises that sensitize the ear, stimulate the mind and build the playing apparatus of the violist. The many outstanding features of this book include:

• how to structure intonation around perfect intervals and leading notes • a new approach to learning how to time shifts • extensive notation for preparing and holding down fingers • one-, two-, three- and four-octave scales and arpeggios • two-octave scales and arpeggios on one string • new sequences for single-finger scales string Many well-known Fischer classics are also incorporated, including practice methods for intonation, smooth bowing, string crossing, fast fingers, fourth-finger extensions and placing fingers in blocks. The innovative and wide-ranging material in Scales keeps the player turning the pages, discovering yet more exciting ways to approach scales. The wealth of thought-provoking exercises encourages violists to re-evaluate their practice – developing the playing skills of violists at all levels from intermediate to professional.

Wohlfahrt, Franz (1833–1884) • 60 Studies Op.45 tr. Solo Viola...............................................EP 9166

Hofmann, Richard (1844–1918) • First Studies Op.86..................................................................EP 2732 1st Position

Solo Viola Solo Viola by composer Bach, Johann Sebastian (1685–1750) • 6 Cello Suites BWV 1007–1012............................................EP 7489

Campagnoli, Bartolomeo

(1751–1827)

• 41 Caprices Op.22..................................................................EP 2548 for Solo Viola (Herrmann)

tr. for Solo Viola (Rowland-Jones)

Suite No. 1 G major BWV 1007 Suite No. 2 D min BWV 1008 Suite No. 3 C major BWV 1009 Suite No. 4 Eb majorBWV 1010 Suite No. 5 C min BWV 1011 Sarabande C min BWV 1011/4 from Suite No. 5 Suite No. 6 D major BWV1012

Dillon, James (*1950) • Siorram..................................................................................EP 7415 First performed September 1992, Brussels by Garth Knox. Commissioned by Musica Libera (Brussels)

Howard, Emily

• Sonatas & Partitas BWV 1001–1006.................................EP 71999 transcribed for Solo Viola (Rowland-Jones)

(*1979)

Emily Howard’s music is known for its particular connection with science. Her works are commissioned, performed and broadcast internationally by leading festivals and ensembles including the BBC Proms, Wien Modern, London Symphony Orchestra, and Bamberger Symphonike.

The aim of this edition is to make Bach’s landmark works for solo violin accessible to viola players by presenting a musical text that remains close to the original but also has a distinctly practical focus. Additionally, it provides interpretative guidance on Baroque performance practices and how they can be applied to the viola. In this transcription, all pieces have been transposed down by a fifth, but no further changes were made.

• Outlier

..........................................................................EP 73345 for Solo Viola Commissioned by the London Sinfonietta, first performed by Paul Silverthorne on 26 September 2018 at Kings Place, London.

Reger, Max (1873–1916) • 3 Suites Op.131d: G min, D, E min..........................................EP 3971

Biber, Heinrich Ignaz Franz

(1644–1704)

• Passacaglia from "Mystery Sonatas"..................................EP 8339 transcribed for Solo Viola

for Solo Viola

Rode, Pierre (1773–1830) • 24 Caprices tr. for Solo Viola.................................................EP 8829

Viola & Piano by Composer Viola & Piano

Beethoven, Ludwig van (1770–1827) • Romances in G, F; Opp.40, 50 ..............................................EP 2413 (tr. Hermann)

Bach, Johann Christian (1735–1782) • Concerto in C minor..............................................................EP 8878

• Variations on Mozart’s ‘Bei Männern’

from ‘The Magic Flute’.............................................................EP 7049 (tr. Watson Forbes)

• Concerto in C minor................................................................Q 8878 [includes play-along CD]

• Viola da Gamba Sonatas...................................................EP 4286a BWV 1027–1029: G, D, G min (tr. Watson Forbes)

Brahms, Johannes

(1833–1897)

• Hungarian Dances Nos.1 & 3..............................................EP 7725 (arr. Watson Forbes)

• Sonatas Op.120.......................................................................EP 3896 No.1 in F minor; No.2 in E- (Hermann/Bading)

• Sonatas Op.120.........................................................................Q 3896 No.1 in F minor; No.2 in E[includes play-along CD] (Hermann/Bading)

• Violin Sonata No. 1 in G, Op.78...........................................EP 3896 Transcribed for Viola & Piano (Riebl)

Bruch, Max

(1838–1920)

• Kol Nidrei Op.47.....................................................................EP 7177a

Beach, Amy (1833–1884) Amy Beach was an inspirational, pioneering American female composer and pianist. Highly regarded during her lifetime in both America and Europe.

Dvořák, Antonín (1841–1904) • Sonatine in G Op.100............................................................EP 9363a Originally for Violin & Piano (tr. Hallmann)

• Viola Sonata in A minor.......................................................EP 66847 Originally for Violin and Piano

Eccles, Henry (1670–1742) • Sonata in G minor.................................................................EP 4326

Viola & Piano by Composer/Duets/& Other Instruments Fauré, Gabriel (1845–1924)

Schumann, Robert (1810–1856)

• Après un rêve (arr. Howat).....................................................EP 7481

• Adagio & Allegro Op. 70......................................................EP 2386

• Sicilienne Op.78 (Howat)........................................................EP 7386

• Adagio & Allegro Op. 70...........................................................Q 2386 [includes play-along CD]

Franck, César (1822–1890) • Violin Sonata in A...............................................................EP 3742a

• Märchenbilder (Fairytale Pictures)..........................................EP 2372 Op. 113

Transcribed for Viola & Piano (Schenck/Schmidt)

Glazunov, Alexander (1865–1936) • Elegy in G minor (Bornhöft)

................................................EP 11327

Gluck, Christoph Willibald (1714–1787) • Andante & Gavotte.................................................................EP 7799 from Alceste (Klengel)

Hoffmeister, Franz Anton (1754–1812) • Concerto in D .........................................................................EP 9857 with cadenza

• Concerto in D ..........................................................................Q 9857 with cadenza [includes play-along CD

Stamitz, Carl (1745–1801) • Concerto in D Op.1................................................................EP 3816a

Stevens, Halsey (1908–1989) • Suite..........................................................................................EP 6031

Svendsen, Johan (1840–1911) • Romance in G, Op.26..........................................................EP 9016a Transcribed for Viola & Piano (Kalinowsky,B/ Kalinowsky, S.)

Viola Duets Kalliwoda, J.W.

Dancla, Charles

• 6 Nocturnes Op.186................................................................EP 2104

• 15 Studies Op.68.....................................................................EP 9090

Saint-Saëns, Camille (1835–1921)

Pleyel, Ignaz Josef

• The Swan (Le cygne)............................................................EP 7435

• 6 Easy Duos Op.8 (arr. Matz).................................................EP 9083

(1817–1907)

(1757–1831)

from ‘Carnival of the Animals’

Viola & Other Instruments Bruch, Max

(1838–1920)

• Double Concerto in E minor Op.88

Edition for Clarinet, Viola & Piano (Pfeffer)

.....................EP 11234

Debussy, Claude (1862–1918) Schubert, Franz (1797–1828) • Arpeggione Sonata in A minor..............................................EP 9114 D821 (tr. Drechsel)

• Sonata for Viola, Flute & Harp Score & Parts (List)

.............................EP 9123

Mozart, Wolfgang Amadeus (1756–1791) • Sinfonia Concertante in E- for Violin, Viola & Orchestra K364.......................................................EP 2206 with cadenza (Herrmann) Violin, Viola & Piano reduction

Violoncello Studies & Tutors Violoncello Studies & Tutors

Lee, Sebastian 1805–1887) • Melodic Studies Op.31, Vol.1..............................................EP 9068a (Goldhan)

Dotzauer, Justus Johann Friedrich (1783–1860) • 113 Exercises (Klingenberg) Justus Johann Friedrich Dotzauer (1783-1860) performed as a cellist with the Leipzig Gewandhaus Orchestra and later in the orchestra of the Dresden Staatskappelle where he played in the premieres of Wagner's operas Rienzi and The Flying Dutchman. In 1842 he was singled our for praise by Hector Berlioz: "Besides the outstanding artists whom I have already named, there is the excellent professor Dotzauer. He leads the violoncellists". The 3 volumes of Dotzauer's Violoncellschule (Cello School), and the 4 volumes of his 113 Exercises are among the foundations of the educational cello literature. Vol.1: Nos.1–34........................................................................EP 5956 Vol.2: Nos.35–62......................................................................EP 5957 Vol.3: Nos.63–85......................................................................EP 5958 Vol.4: Nos.86–113....................................................................EP 5959

Sherry, Fred • A Grand Tour of Cello Technique: A Practice Guide for the Modern Cellist...............................EP 68550 A Grand Tour of Cello Technique is a thought-provoking practice guide, enabling cellists at all levels to develop their own style through an exploration of different ways of fingering and bowing. The book not only helps cellists improve their playing, but also promotes an understanding of musical art through nine stimulating chapters: • Introducing Twelve Tones • Triads and Seventh Chords • Circle of Fifths • Scales • Metronome Games • Harmonics and Open Strings • Lateral Motion • Extended Techniques and a Discussion of the Bow • Practising Together With a particular emphasis on music of the 20th and 21st centuries, and its connections with earlier music, Fred Sherry takes the reader on a voyage of discovery of the art and science of cello technique, informed by music ranging from Bach all the way through to Berio.

• Violoncello Tutor (Klingenberg) Vol.1......................................................................................EP 5962a

Fred Sherry has introduced audiences on five continents and all fifty United States to the music of our time for more than five decades. He has had close working relationships with Charles Wuorinen, Lukas Foss, Oliver Knussen, Elliott Carter, Milton Babbitt, Toru Takemitsu, Chick Corea, Pierre Boulez, Mario Davidovsky and others whose works he has premiered and recorded. He has been soloist and ‘sideman’ on hundreds of commercial and esoteric recordings; his discography ranges from Schütz, Bach, Mozart, Beethoven and Brahms through Schoenberg and Stravinsky to the 20th and 21st century works written for him. He is a member of the cello faculty of The Juilliard School, the Mannes College of Music and the Manhattan School of Music.

Vol.2......................................................................................EP 5962b Vol.3......................................................................................EP 5962c

Grützmacher, Friedrich (1832–1903) • 24 Studies Op.38 Vol.1.....................................................................................EP 1417a Vol.2.....................................................................................EP 1417b

Hewitt-Jones, Anita

(edited by Caroline Lumsden)

• Right@Sight for Cello (includes CD)

An innovative new sight-reading course for string players Grade 1..................................................................................EP 7841

Grade 2..................................................................................EP 7842 Grade 3..................................................................................EP 7843

Kummer, Friedrich August

(1797–1879)

• 10 Melodious Exercises Op.57..........................................EP 2248a (Stutschewsky)

Hewitt-Jones, Anita

(edited by Caroline Lumsden)

• Right@Sight for Cello (includes CD)

An innovative new sight-reading course for string players Grade 1 (includes CD).......................................EP 7841

Grade 2 (includes CD)....................................... EP 7842 Grade 3 (includes CD).......................................EP 7843

Right@Sight differs radically from other sight-reading courses. Why? Each book contains a CD of accompaniments designed to encourage students to sight-read rhythmically and musically, even between lessons • duet parts enable teachers to play along with their students, encouraging confident and rhythmic playing • guidance notes based on the mnemonic TRaK (Time signature, Rhythm & Key) which helps students develop a disciplined approach to sight-reading • On Your Own sections present sight-reading examples in exam format (without guidance notes or accompaniments) • a progressive graded structure takes the student “beyond the grade”, bridging the gap to the next grade

Lumsden, Caroline / Attwood, Ben • Witches’ Brew (includes CD).........................EP 7677a 16 spooky pieces to play and sing. Beginner to preliminary grade (using open strings and 1st fingers)

• Witches’ Brew (Piano Accompaniment)..........EP 7677b • Wizard’s Potion (includes CD).......................EP 7679a 16 spooky pieces to play and sing. Grades 1 and 2

• Wizard’s Potion (includes CD).......................EP 7679b (using 1st and 2nd finger patterns)

Solo Violoncello Strauss, Richard (1864–1949)

Franchomme, Auguste-Joseph (1808–1884)

• Orchestral Excerpts from the Symphonic Works: Violoncello........................................................................EP 4189de

• 12 Caprices Op.7 (Klengel).....................................................EP 3469

• Orchestral Excerpts from the Symphonic Works: Cello Solo from “Don Quixote”......................................EP 4189f

• 12 Studies Op.35.....................................................................EP 3470

Howard, Emily

Emily Howard’s music is known for its particular connection with science. She first won critical acclaim with Magnetite (“a structural tour de force” – AllMusic), commissioned by Liverpool European Capital of Culture 2008 for the Royal Liverpool Philharmonic Orchestra and Vasily Petrenko, the year she received the Paul Hamlyn Foundation Award for Composers. Her works are commissioned, performed and broadcast internationally by leading festivals and ensembles including the BBC Proms, Wien Modern, London Symphony Orchestra, Bamberger Symphoniker, and New Scientist Live.

• Voluntary

for Solo Cello

Solo Violoncello by composer Bach, Johann Sebastian (1685–1750) • 6 Solo Suites BWV 1007–1012 (Rubardt)

..............................EP 9054

Paul Rubardt's classic Urtext edition of the Six Suites for solo Violoncello by J.S. Bach. Presented in a beautiful performer's edition, on high-quality cream paper.

(*1979)

...................................................................EP 73632

Voluntary is an 8-minute work for solo cello which takes a tiny fragment of the first movement of Schubert’s Arpeggione Sonata as its focal point. The fragment is repeated over and over again in myriad different ways, in an immersive exploration of the expected unexpectedly. Seeking this boundary and discovering where the threshold may lie is behind the thinking in Voluntary. Commissioned as part of the 200 series for the 200th Anniversary of the Royal Academy of Music, London, the work was first performed there by Theo Bently Curtin on 19 October 2021.

Mayuzumi, Toshiro (1929–1997) • Bunraku....................................................................................EP 6356

This famous Edition Peters publication contains the original notation for all six suites, together with modern four-string cello transcriptions of the Fifth and Sixth Suites.

McNeff, Stephen

A critical commentary and introductory text (in German) are also included.

• Trig

An essential edition for any cellist wanting a reliable and durable edition of the greatest solo works for the intrument.

(*1951)

...............................................................................EP 73571

A 7-minute contemporary work for solo cello, written to celebrate the bicentennial of the Royal Academy of Music in 2022 and in memorium cellist Mike Edwards 1948–2010.

Piatti, Carlo Alfredo (1822–1901) • 12 Caprices Op.25..................................................................EP 4260

• 6 Solo Suites BWV 1007–1012.................................................EP 238 G, D min, C, E-, C min, D (Becker)

Crumb, George (1929–2022)

Reger, Max (1873–1916)

• Sonata......................................................................................EP 6056

• 3 Suites Op.131c: G, D min, A min..........................................EP 3970

Violoncello & Piano by Composer Brahms, Johannes

Violoncello & Piano

(1833–1897)

• Cello Sonata No. 1 in E minor Op. 38................................EP 3897a

Bach, Johann Christian (1735–1782) • Concerto in C minor...............................................................EP 8878

(Klengel)

• Cello Sonata No. 2 in F Op. 99...........................................EP 3897b (Klengel)

• Concerto in C minor................................................................Q 8878 [includes play-along CD]

Bach, Johann Sebastian (1685–1750) • Viola da Gamba Sonatas ........................................EP 9853 G, D, G min: BWV 1027, 1028, 1029 (Dreyfus) • Viola da Gamba Sonatas

G, D, G min: BWV 1027, 1028, 1029 [includes play-along CD] (Dreyfus)

........................................Q 9853

Beethoven, Ludwig van (1770–1827) • Complete Cello Sonatas (Schulz)............................................EP 748 Opp. 5 Nos. 1, 2; Op. 69; Opp. 102 Nos.1, 2

Chopin, Frédéric (1810–1849) • Sonata in G minor Op.65; Polonaise in C Op.3.............................................................EP 1928 (Balakirev / Friedrich Grützmacher)

De Fesch, Willem (1687–1761) • 6 Sonatas Op.8. Cello II easy & ad lib.....................................EP 4989 (Schulz)

Debussy, Claude (1862–1918) • Sonata (Schwab)

Dove, Jonathan • Sonatina for Mandolin and Harpsichord in D minor..............................................EP 4221 (Arranged for Cello and Piano by Stutschewsky / Thaler)

• Horn Sonata in F Op. 17..........................................................EP 149 (Edition for Horn/Cello/Violin and Piano) With Alternative Transcriptions of the Horn Part for Cello or Violin (Grützmacher / Hermann)

• Variations complete (Stutschewsky).......................................EP 748b

Boccherini, Ridolofo Luigi (1743–1805) • Concerto in B- .......................................................................EP 8780 (Burmeister / Ginzel) • Concerto in B- ........................................................................Q 8780 [includes play-along CD] (Burmeister / Ginzel)

Borodin, Alexander Porfiryevich (1833–1887) • Nocturne from String Quartet No. 2 in D............................EP 7629 Arranged for Cello & Piano (Curran)

• Serenade from "Petite Suite" ................................................EP 4222 Arranged for Cello & Piano

• Night Song

. .....................................................EP 9122 (*1959)

.................................................................EP 73633 from In Exile for Cello & Piano Night Song is a short 4-minute piece for cello and piano derived from a larger work, In Exile. It was first performed as an encore by Raphael Wallfisch and John York at Wigmore Hall, London, on 7 November 2021. This edition (EP73633) comprises the score and cello part of the work.

Violoncello & Piano by Composer Dvořák, Antonín (1841–1904) Grieg, Edvard (1843–1907) • Concerto in B minor Op.104..................................................EP 9362 (Pommer / Schwab)

• Cello Sonata in A minor Op. 36.............................................EP 2157

Fasch, Johann Friedrich (1688–1758) • Sonata for Bassoon (Cello) and Continuo in C Wojciechowski......................................EP 5893 Continuo Realized for Harpsichord/Piano (Viola da gamba/Continuo Cello ad lib.)

Fauré, Gabriel (1845–1924) • Après un rêve (arr. Howat)........................................................EP 7481 • Elégie Op.24; Sicilienne Op.78 (Howat)

...............................EP 7385

• Complete Shorter Works

• Solveig’s Song....................................................................EP 3517bb from Peer Gynt Suite No. 2 Op. 55

for Cello & Piano (Howat)..................................................EP 72686 This revised and expanded volume contains all Fauré’s single-movement cello pieces, two of them published here for the first time. Also included as an appendix is a little-known sight-reading etude for two cellos. Élégie Op.24; Pièce pour Violoncelle (Papillon) Op.77; Romance Op.69; Sicilienne Op.78; Sérénade Op.98;Andante; Berceuse Op.16; Morceau de lecture

Haydn, Joseph (1732–1809) • Concerto in C Hob.VIIb/1 (Burmeister)

.........................................EP 8772

• Concerto in C Hob.VIIb/1

...........................................Q 8772 [includes play-along CD] (Burmeister)

• Concerto in D Hob.VIIb:2

.........................................EP 8791 with cadenzas. Originally published as Op.101 (Burmeister)

• Concerto in D Hob.VIIb:2

...........................................Q 8791 with cadenzas. Originally published as Op.101 [includes play-along CD] (Burmeister)

Lalo, Édouard (1823–1892) • Concerto in D minor...............................................................EP 3799 (Klengel)

Gjeilo, Ola (*1978) Ola Gjeilo (pronounced Yay-lo) was born in Norway in 1978, and moved to the United States in 2001 to begin his composition studies at the Juilliard School in New York City. He especially enjoys writing music for choir, orchestra/symphonic winds, and the piano, while as a pianist, his main passion is improvisation, either solo or over his own ensemble works. Presently a full-time composer based in the US, Ola is also very interested in film, and his music draws a lot of inspiration from movies and cinematic music.

• Madison from "Stone Rose" .............................................EP 72452a for Cello and Piano

• Stone Rose: 3 Pieces for Cello and Piano......................EP 72452 Madison; Sidewalks; The Hudson

Marais, Marin (1656–1728) • Chaconne in D (Schulz).........................................................EP 4993

Marcello, Benedetto

(1686–1739)

• 6 Sonatas for Cello & Continuo Op. 2 (Schulz)....................................................EP 4647 Continuo Realized for Harpsichord/Piano (Continuo Cello ad lib.)

Mendelssohn, Felix (1809–1847) • Works for Cello & Piano.........................................................EP 1735 Sonatas Opp. 45, 58; Variations Op. 17; Song without Words Op. 109

Prokofiev, Sergei (1891–1953) • Sonata in C Op.119 (Rostropovitch)........................................EP 4710

Violoncello & Piano by Composer Saint-Saëns, Camille (1835–1921) • Concerto No.1 in A minor Op. 33...........................................EP 9297 Edition for Cello and Piano by the composer (Weber)

• The Swan (Le cygne).............................................................EP 7435 from ‘Carnival of the Animals’

Robert Schumann’s tragic last years have mired many of his greatest works in unnecessary doubt. The story of the suppression of his Violin Concerto by well-meaning friends is relatively well-known. Few, however, know that the version of the Cello Concerto that is routinely heard today is so far from Schumann’s original conception of the work – not only in details of phrasing and articulation, but also featuring a different ending with a bold final flourish from the cello. Composed in a burst of inspiration in two weeks in October 1850 shortly after he and Clara had moved to Düsseldorf, Schumann (who in 1850 was still in good health) never heard the piece performed. In an effort to promote a performance of the work, he gave the score to the cellist Robert Emil Bockmühl. Bockmühl made revisions that Schumann resisted, and the hoped-for performance never happened. Schumann’s health failed and he died aged just 46 in 1856. The Concerto, in an already substantially revised form, was premiered in 1860 but it was not given significant recognition until it was championed by Pablo Casals in the 20th century by which time (and since) the text for the work had accreted additions and alterations from generations of soloists. Now Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music, London has returned to the original 1850 manuscript of the work, which is in the Biblioteka Jagiellonska in Kraków, to reveal Schumann’s original thoughts for the first time in a modern Urtext edition. The edition reflects Schumann’s original conception of the work as a Concertstück and restores Schumann’s musical text, free of posthumous interventions. It is presented in a beautifully printed edition for cello, with Schumann’s original piano reduction. ‘My ultimate wish,’ says the editor, ‘is to give performers both access to, and confidence that they are playing from, an edition which is a true representation of the piece in its original form, no matter how much more difficult this might be. I found that incorporating the changes enabled the piece to take on a completely different character – one that is lighter and happier, even “cheerful”, as Schumann himself described the work.’

Schubert, Franz (1797–1828) • Arpeggione Sonata in A minor D821......................................................................EP 4623 Edition for Cello and Piano (Günther)

Schumann, Robert (1810–1856) • Adagio and Allegro Op. 70.......................................................EP 2386 • Adagio & Allegro Op. 70.............................................................Q 2386 [includes play-along CD]

• Cello Concerto in A minor Op. 129

......................EP 73488 Original Version "Concertstück" New Edition by Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music London Cello Part contains Josephine Knight's fingering and bowing suggestions. Matching orchestral material is also available. Schumann’s Cello Concerto Rediscovered In her first Urtext edition for Edition Peters, internationally renowned cellist Josephine Knight reveals Robert Schumann’s original version of his Cello Concerto in A minor Op. 129 – a piece he actually called a ‘Concertstück’ – removing generations of inauthentic editorial interventions. This is the only available modern scholarly edition of the work as Schumann originally conceived it, and restores the text from October 1850, based on the composer’s manuscript held in the Biblioteka Jagiellonska in Kraków. It is presented in a beautifully printed edition for cello with Schumann’s original piano reduction.

• Cello Concerto in A minor Op. 129 (Metzmacher)................EP 2374 • Fantasy Pieces Op. 73.............................................................EP 7297 • Fantasy Pieces Op.73; Adagio & Allegro Op.70; 5 Pieces Op.102 (Grützmacher) ..........................................EP 2373 • Fantasy Pieces Op.73; Adagio & Allegro Op.70; 5 Pieces Op.102....................................................................Q 2373 [includes play-along CD] (Grützmacher) • 3 Romances Op. 94 for Oboe ..................................................EP 2387 (Gledhill) for Oboe (or Violin) and Piano, also arranged for Clarinet in A and Violoncello

• 3 Romances Op.94 for Oboe......................................................Q 2387 [includes play-along CD] (Gledhill) for Oboe (or Violin) and Piano, also arranged for Clarinet in A and Violoncello

Violoncello & Piano by Composer Shostakovich, Dmitri (1906–1975)

Tchaikovsky, Pyotr llyich (1840–1893)

• Sonata in D minor Op.40

• Rococo Variations Op. 33.......................................................EP 7673

◄

.........................................................EP 4748

Cello part edited by Raphael Wallfisch. Piano reduction edited by John York, based on the composer’s arrangement. Preface by Professor David Brown

This is the first new edition of the Rococo Variations to be published outside of Russia that presents the work in Tchaikovsky’s original version, and not following the unauthorised changes made by the original dedicatee, Wilhelm Fitzenhagen.

Max Abraham and his nephew Henri Hinrichsen proprietors of Edition Peters, were early passionate and powerful advocates of the education of women (founding and building the Henriette Goldschmitt Schule for women in Leipzig). Abraham met Smyth during her time in Leipzig (Abraham was on the board of trustees of the Hochschule) and published four early works by Smyth. Dame Ethel Smyth was a prominent member of the suffragette movement. Her works were unjustifiably neglected for decades but are now being rediscovered and celebrated in a resurgence of interest and high-profile performances.

• Professional cellists are increasingly favouring this original version with the variations restored to their correct order • Tchaikovsky’s finale reinstated • Appendices containing the more bravura coda re-written by Fitzenhagen, and the composer’s first draft of the fourth variation

• Cello Sonata No. 1 in A minor Op. 5

.....................EP 11458

• Rococo Variations Op. 33.......................................................EP 3776 (Grümmer)

Vivaldi, Antonio (1678–1741) • Concerto in A minor RV 418....................................................EP 9119 (Kolneder)

• Concerto in A minor RV 442...................................................EP 4961 (Wenzel)

Wallen, Errollyn

(*1958) 'renaissance woman of contemporary British music' (The Observer)

• Dervish....................................................................................EP 7682

Electric Cello/Double Bass Electric Cello Bollon, Fabrice

(*1965)

• 4 Rock Hommages for Electric Cello

Double Bass & Piano ....................................................EP 14558

4 Rock Hommages is a 16-minute work for electric cello. The included pieces pay tribute to Jimmy Page, the legendary guitarist of Led Zeppelin, and Sting, the great singer and bass player. The energy and virtuosity that distinguishes these musicians is highlighted and enhanced by the rhythmic shifts in the composition. The sound of the electric cello is modulated through the use of effect pedals.

Dittersdorf, Carl Ditters von (1739–1799) • Concerto in E major.................................................................EP 8981 (Tischer-Zeitz)

• Concerto in E major..................................................................Q 8981 [includes play-along CD] (Tischer-Zeitz)

Solo Double Bass by composer Bach, Johann Sebastian (1685–1750) • 6 Solo Violoncello Suites BWV 1007–1012 Vol.1: Suites Nos.1–3...............................................................EP 238b Vol.2: Suites Nos.4, 5...............................................................EP 238c Vol.3: Suite No.6......................................................................EP 238d

Strauss, Richard (1864–1949) • Orchestral Excerpts from the Symphonic Works: Double Bass.......................................................................EP 4189g

Saint-Saëns, Camille (1835–1921) • The Elephant (L’éléphant); Tortoises (Tortues).................................................................EP 7500 from ‘Carnival of the Animals’

Harp/Guitar Solo Guitar

Solo Harp

Cage, John (1912–1992) Philips, Julian • Winter Music

• Piano Music

(*1969) ..............................................................EP 73563

Cast in two contrasting movements, Julian Philips's Winter Music is a study for solo harp, imbued with colouristic and timbral associations from the season of winter.

(Arranged for Guitar) 5 Pieces..........................................EP 68585

(Aaron Larget-Caplan)

Piano Music Arranged for Guitar features five early and mid-career compositions by John Cage, dating from 1933 through 1948, all arranged for solo guitar by Aaron Larget-Caplan. The compositions required little adjustment from the originals, mainly in the form of register modifications, and fit very well on the guitar. All phrase and dynamic markings follow the published originals. Very few left and right hand fingerings are included in the publication to allow the performers their own realizations. All of the works retain their original keys and are presented in chronological order: Three Easy Pieces (Round, Duo, Infinite Cannon); A Room; Chess Pieces; Dream; In A Landscape

Strauss, Richard (1864–1949) • Orchestral Excerpts from the Symphonic Works: Harp.................................................................................EP 4189hi

Cage’s exploration of contrapuntal music and simple forms are found early on in works for two voices and the use of unusual phrases lengths. The later works explore modes, resonance, and begin to show influences of Far East aesthetics in their spaciousness and dealings with time.

Mamlok, Ursula (1923–2016) Ursula Mamlok was born in Berlin in 1923, where she began her musical education at an early age. Persecuted by the Nazis because of their Jewish descent, her family left Berlin and emigrated to Ecuador in 1939. That same year, Urusla was offered a scholarship by the Mannes School of Music and moved to New York. She studied composition with Roger Sessions, Stefan Wolpe and finally with his pupil Ralph Shapey, who had a particularly large influence on her compositional style. Her works are characterized by complex, often juxtaposed rhythms.

Harp & Other Instruments Debussy, Claude (1862–1918) • Sonata for Viola, Flute & Harp Score & Parts

...............................EP 9123

• Five Intermezzi..................................................................EP 67435 for Guitar

Flute/Piccolo Studies/Flute Orchestral Excerpts Flute / Piccolo Studies Fürstenau, Anton Bernhard (1792–1852) • 24 Exercises, Caprices and Preludes

Op. 125 (Bohme).....................................................................EP 8403

• 26 Advanced Exercises Op. 107 Vol.1.......................................................................................EP 5950a Vol.2.......................................................................................EP 5950b

Gariboldi, Giuseppe (1833–1905) • 58 First Exercises...................................................................EP 2017

Flute Orchestral Excerpts • Test Pieces for Orchestral Auditions (Dürichen / Kratsch) Excerpts from the Operatic & Concert Repertoire..........................................................EP 8659 Accompanying set of 2 compact discs..................................MP 8659 (These orchestral recordings present the complete excerpt, and the specific instrument is not omitted.)

Piccolo Contains excerpts from: Beethoven – Symphony No 9; Bizet – Carmen; Delibes – Coppélia; Henze – Nachtstücke und Arien; Hindemith – Nobilissima Visione; Janácek – Sinfonietta.; Mozart – Die Zauberflöte; Orff – Die Kluge; Ravel – Piano Concerto in G major. Ma Mère L’Oye, Rapsodie espagnole, Daphnis & Chloé (2nd Suite); Rimsky-Korsakov – Scheherazade; Rossini – Il Barbiere di Siviglia, Semiramide, La Gazza Ladra, La Scala di seta; Shostakovich – Symphony No 9; Smetana – The Bartered Bride (Prodaná Nevestá); Johann Strauss – Die Fledermaus; Tchaikovsky – Symphony No 4; Verdi - Il Trovatore, Otello, Falstaff; Wagner – Das Rheingold, Die Walküre Flute Contains excerpts from: J.S. Bach – St. Matthew Passion; Bartók – Concerto for Orchestra; Beethoven –Symphony No 3. Overture: Leonore No 3; Bizet – L’Arlésienne Suite No 2 , Carmen. Brahms – Symphonies 1 & 4; Busoni – Dr Faust; Debussy – Prélude à l’après-midi d’un faune; Delibes – Coppélia; Dvorák – Symphonies 8 & 9; Gluck – Orfeo ed Euridice; Hindemith – Symphonic Metamorphosis on themes of Weber; Kodály – Dances from Galanta; Mahler – Symphony No 9; Mendelssohn – A Midsummer Night’s Dream; Mozart – Die Zauberflöte, Don Giovanni; Prokofiev – Peter and the Wolf; Ravel – Boléro, Daphnis & Chloé (2nd Suite); Reznicek – Donna Diana; Rossini – Guillaume Tell, Il Barbiere di Siviglia, La Gazza Ladra; Saint-Saëns – Le carneval des animaux; Schumann – Symphony No 1; Smetana – The Bartered Bride (Prodaná Nevestá); Richard Strauss – Till Eulenspiegel, Tod und Verklärung, Sinfonia Domestica, Salome, Josephs Legende, Der Rosenkavalier; Stravinsky – Jeu de cartes, Petroushka, Dumbarton Oaks; Thomas – Mignon; Tchaikovsky – Swan Lake; Verdi – Aida, Rigoletto, Falstaff; Wagner – Die Meistersinger von Nürnberg, Götterdämmerung

Solo Flute Bach, Johann Sebastian (1685–1750) • The Flute Repertoire (Strebel / Richter)

Original passages from the Cantatas & Oratorios

Vol.1.....................................................................................EP 8203a Cantatas BWV 8–102, St Matthew Passion, Easter Oratorio Vol.2.....................................................................................EP 8203b Cantatas BWV 103–198, Mass in B minor, Mass in A, Magnificat Vol.3.....................................................................................EP 8203c Cantatas BWV 210–215, St. John Passion, Christmas Oratorio

Kuhlau, Friedrich (1786–1832)

Strauss, Richard (1864–1949) • Orchestral Excerpts from the Symphonic Works: Flute..................................................................................EP 4189k

• 6 Divertissements Op. 68 (Taffanel)........................................EP 8546 • 3 Grand Solos Op. 57..............................................................EP 8392

Quantz, Johann Joachim (1697–1773) • Caprices and Fantasies QV 3:1.............................................EP 9954

Stamitz, Anton (1750 – c. 1798–1809) • 8 Caprices (Lebermann)..........................................................EP 8197

Solo Flute Albums • The Solo Flute : Selected Works from the Baroque to the 20th Century (Nastasi)

Solo Flute Bach, Johann Sebastian (1685–1750) • Partita in A minor BWV 1013 (List)

...................................EP 9023

Debussy, Claude (1862–1918) • Syrinx (List)

..............................................................EP 9160 Vol. 1: Baroque................................................................EP 8641a Hotteterre Echo’s; Préludes: D minor, B minor, E minor, C major, E minor, D major, G major, A minor, F major; Boismortier Suites: F minor Op.35 No.5, A major Op.35 No.6; Blavet Gigue & Rondeau; Braun Suites: E minor, B minor; Mahaut Allegro in G major; Telemann Fantasias: D major, E minor, F+ minor, D minor; Bach, Johann Sebastian Partita in A minor BWV 1013; Bodinus Caprica & Gigue; Quantz Alla francese; Capriccio in B major; Preludio in D major; Capriccio in G major; Fantasia in E minor; Fantasia in C major; Bach, Carl Philipp Emanuel Sonata in A minor Wq 132; Delusse Caprice in A major, Caprice in A major (1761) (from “L’Art de la flûte traversière, App. 12 Caprices, No.4”)

Ferneyhough, Brian (*1943) • Cassandra’s Dream Song.......................................................EP 7197

Vol. 2: Classical..............................................................EP 8641b Hoffmeister Ferma a flauto Nos.1-50 - Nos. 2, 3, 4, 5; Tromlitz Partita No.5 in E minor; Kreith Variations B major, D major; Stamitz Caprices: A major, A minor, G major; Schneider Divertissements: F minor, A major; Wunderlich Polonaise in A major; Divertissement in A major; Müller Rondo in E- major; Variations on a theme from Mozart Piano Concerto KV 453; 6 Variaions on “Jüngst sprach mein Herr der Bader” Op.12; Weiß Capriccios: G major Op.3 No.1, D major Op.3 No.2; Traeg Variations on the Aria: “über die Beschwerden dieses Lebens” from “Der kleine Matrose”; Stadler Fantasie in G major; Heberle Fantasie in A major; Lindsay The groves of Blarney (Irish Melody); Kinlock, of Kinlock (Scottish Melody); Kitty

Solo Flute/Flute & Piano by Composer of Colerain (Irish Melody); Kuhlau Capriccios: Op.10 No.3, Op.10 No.6; Keller Grand Solo for Flute in A major; Berbiguier, B.T. 2 Airs variés; Gebauer Exercise in D minor & D major Op.9; Leister Fantasie in A major Op.7; Keller Divertissement in C major Op.16 No.2; Berbiguier, A-T 2 Airs variés; Wunderlich Grand Solo in A major; Gebauer Grade Etude in D minor & D major Op.9 (Vienna, 1810); Leister Fantasie Op.7 (Vienna, 1810) Vol. 3: Romantic...............................................................EP 8641c Drouet Préludes: B major, G major, E minor, D major, F+ minor, E major; Cadences: D major, G major, F major; Tulou Thème varié in G major Op.89; Kuhlau Divertimento in G major Op.68 No.5; Fantasia Op.38 No.1; Gabrielsky Adagio in D major Op.65 No.1; Fantasie in D major Op.64; Keller Divertissment in D major Op.16 No.1; Fantasie in G major Op.28 No.1; Fürstenau Amusements Op.57; Polonaise in A major on a theme from William Tell by Rossini; Kummer Fantasies: Op.33 No.1, Op.33 No.3; Mercadante Variations on a theme from Rossini’s Armide; Briccialdi Variations from Bellini’s Norma - Qual cor tradisti; Adagio from 30 Studies; Krakamp La Napoletana Op.75 No.3; Gariboldi Capriccio sopra una tema arabo; Donjon Elégie-Etude; Le chant du vent; Köhler Adagio patetico

Flute & Piano Bach, Johann Sebastian (1685–1750) • 6 Sonatas BWV 1030–1035 (Hampe)

Continuo Realized for Harpsichord/Piano (Cello ad lib.) Vol. 1: B min, E-, A..............................................................EP 4461aa Vol. 2: C, E min, E...............................................................EP 4461bb

• Orchestral Suite (Overture) No. 2 in B minor (Weyrauch/List)

..................................................EP 4921

• Orchestral Suite (Overture) No. 2 in B minor ....................................................Q 4921 [includes play-along CD] (Weyrauch/List)

Vol. 4: Compositions from 1900 to 1960.............................EP 8641d Berio Sequenza per flauto solo (Original version 1958) [complete]; Maderna Musica su due dimensioni (complete); Honegger Danse de la chèvre; Richard Rodney Bennett Lento / Allegro from Sonatina; Hindemith 4 Pieces from Acht Stücke für Flöte allein; Jolivet 2 Pieces from Cinq Incantations; Debussy Syrinx (complete) and works by -

Donizetti, Gaetano (1797–1848)

Karg-Elert, Ferroud, Lorenzo, Rivier, Laubet, d’Alessandro, Stern, David, Koechlin, Migot, Schneider, Raphael, Driessler, Escher, Demuth, Burkhard, Haubenstock-Ramati, Martin, Schibler, Evangelisti, Kelemen, Szervànsky, Medek, Dubois, Funk and Fukushima

Dove, Jonathan (*1959)

• Sonata in C...............................................................................EP 8044 • Sonata in C.................................................................................Q 8044 [includes play-along CD]

• The Magic Flute Dances.........................................................EP 7561 (Edition for Flute and Piano by the Composer)

"What happens to the magic flute at the end of Mozart's opera? Does Tamino give it back to the three ladies? Does it lie in a box, forgotten, at the back of a cupboard? Or does it, perhaps, when no-one's looking, come out and dance, singing to itself about Tamino's adventures? When Emily Beynon asked me for a concerto that had some connection with Mozart, I thought this could be an opportunity to let the flute out of its box, not to play the music it plays in the opera, but to play the music it has heard other people sing." Jonathan Dove

Fauré, Gabriel (1845–1924) • Anthology of Selected Pieces

..............................EP 7514 (Howat) Fantasy Op.79 ; Morceau de lecture (Sarabande); Interlude (from Peleas et Melisande Op. 80); Pavane Op. 50; Sicilienne Op.78; Air de danse (from Caligula, Op. 52); Morceau de lecture (Barcarolle); Berceuse,Op. 16; Berceuse (from Dolly, Op. 56)

Solo Flute/Flute & Piano by Composer Gluck, Christoph Willibald (1714–1787) • Dance of the Blessed Spirits..................................................EP 7434

• Concerto No.1 in G K313 (285c)

............................EP 9030

• Concerto No.1 in G K313 (285c)

.............................Q 9030

• Concerto No.2 in D K314 (285d)

...........................EP 9029

• Concerto No.2 in D K314 (285d)

............................Q 9029

with Thiele cadenzas (Thiele/List)

with Thiele cadenzas (Thiele/List) [includes play-along CD] with Thiele cadenzas (Thiele/List) with Thiele cadenzas (Thiele/List)

[includes play-along CD]

• Concerto in C

for Flute, Harp and Orchestra K299........................................EP 8139 K299 with cadenza. Flute & Piano reduction (Prill / Richter)

Quantz, Johann Joachim (1697–1773) Händel, Georg Friedrich (1685–1759) • Arrival of the Queen of Sheba.............................................EP 67955 • 7 Flute Sonatas (Schwedler) Vol. 1: E min, G min, G..........................................................EP 2018a Vol. 2: C, F, B min, A min ......................................................EP 2018b

• 3 "Halle" Sonatas for Flute (Violin) and Continuo HWV 374–376...........................................EP 4554 Continuo Realized for Harpsichord/Piano (Cello ad lib.) (Woehl)

• 3 "Halle" Sonatas for Flute (Violin) and Continuo HWV 374–376.............................................Q 4554 Continuo Realized for Harpsichord/Piano (Cello ad lib.) [includes play-along CD] (Woehl)

• 3 Sonatas for Flute (Violin) and Continuo HWV 359b, 363b, 367b.................................EP 4553 Continuo Realized for Harpsichord/Piano (Cello ad lib) (Woehl)

• 3 Sonatas for Flute (Violin) and Continuo HWV 359b, 363b, 367b...................................Q 4553 Continuo Realized for Harpsichord/Piano (Cello ad lib)

[includes play-along CD] (Woehl)

• Concerto in B minor QV 5:272................................................EP 8834 (Augsbach/Burmeister)

• Concerto in G QV 5:174

..........................................EP 8771

• Concerto in G QV 5:174

...........................................Q 8771

(Burmeister/Nastasi)

Satie, Erik (1866–1925) • 3 Gymnopédies (arr. Nichols)..................................................EP 7341

Telemann, Georg Philipp (1681–1767) • Sonatas in D minor, C

from ‘Essercizii Musici’.............................................................EP 4551 Cello ad lib. (Woehl)

• Suite in A Minor TWV 55:a2 (Salter).......................................EP 7787 • Suite in A Minor TWV 55:a2 (Salter).........................................Q 7787 [includes play-along CD]

Veracini, Francesco Marina (1690–1768) • 12 Sonatas for Alto Recorder (Flute/Violin and Continuo)

Mozart, Wolfgang Amadeus (1756–1791)

Continuo Realized for Harpsichord/Piano (Cello ad lib.) (Kolneder)

• Andante in C K315 (285e)

Vol.1: Nos.1–3 ....................................................................EP 4965a

.......................................EP 8959

Vol.2: Nos.4–6.......................................................................EP 4965b Vol.3: Nos.7–9.......................................................................EP 4965c Vol.4: Nos.10–12............................... ...................................EP 4965d

Flute & Piano Albums /Duets/3-5 Flutes/Trio Sonatas Flute & Piano Albums • 12 Well-known Pieces (Arr. for Flute & Piano or 2 Flutes) (Hodgson)

Flute Duets (Unaccompanied) Devienne, François

(1759–1803)

• 6 Duettinos Op. 82....................................................................EP 8366

Kuhlau, Friedrich

(1786–1832)

• 9 Duo Concertants Vol.1: Op. 10............................................................................EP 1238 Vol.2: Op. 80...........................................................................EP 1239 Vol.3: Op. 81...........................................................................EP 1240

Vol.1: 6 Popular Pieces........................................................EP 7004a Bach: Air from Suite No. 3 for Orchestra D major Händel: Ombra mai fú, fromSerse Gluck: Che farò senza Euridice from Orfeo ed Euridice Haydn:Serenade from StringQuartet No. 17 F major Op. 3 No. 5 Mozart: Deh vieni alla finestra from DonGiovanni Beethoven: Hirtengesang from Symphony No. 6 F major Op. 68

Telemann, Georg Philipp (1681–1767) • 6 Canonic Sonatas TWV 40:118–123....................................EP 4394 for 2 Violins or 2 Flutes (Set of Parts) (Hermann)

3–5 Flutes Quantz, Johann Joachim (1697–1773

Vol.1: 6 Popular Pieces........................................................Q 7004a • 3 Trios (Augsbach) [includes play-along CD] Bach: Air from Suite No. 3 for Orchestra D major Händel: Ombra mai fú, fromSerse Gluck: Che farò senza Euridice from Orfeo ed Euridice Haydn:Serenade from StringQuartet No. 17 F major Op. 3 No. 5 Mozart: Deh vieni alla finestra from DonGiovanni Beethoven: Hirtengesang from Symphony No. 6 F major Op. 68 Vol.2: 6 Popular Pieces.........................................................EP 7004b Schubert: An die Musik Op. 88 No. 4 Schubert: Ave Marie Op. 52 No.6 Weber: Aufforderung zum Tanz Op. 65 Tchaikovsky:Andantino semplice, from Concerto for Piano and Orchestra B minor Chopin: Nocturne Op. 9 No. 2 Grieg: Notturno Vol.2: 6 Popular Pieces............................................................Q 7004b [includes play-along CD] Schubert: An die Musik Op. 88 No. 4 Schubert: Ave Marie Op. 52 No.6 Weber: Aufforderung zum Tanz Op. 65 Tchaikovsky:Andantino semplice, from Concerto for Piano and Orchestra B minor Chopin: Nocturne Op. 9 No. 2 Grieg: Notturno

..................................................EP 9479

Scarlatti, Domenico (1685–1757) • Quartettino in F (Woehl)...........................................................EP 4559 3 Violins or Flutes and Piano. Includes part for Cello ad lib.

Flute Trio Sonatas Bach, Johann Sebastian (1685–1750) • Trio Sonatas (Landshoff)

Vol.1: BWV 1037, BWV 1039 for 2 Violins and Continuo.....................................................EP 4203a BWV 1039 alt. 2 Fl. or Fl. & Vn.; Cont. Realized for Hpd./Pno.; Vc./Vdg. ad lib.

Vol.2: BWV 1038, BWV 1079 for Flute, Violin and Continuo.............................................EP 4203b BWV 1038 alt. 2 Violins; Continuo Realized for Hpscd./Piano; Vc./Vdg. ad lib.

Haydn, Joseph (1732–1809) • 3 London Trios Hob.IV/1–3.....................................................EP 4972 2 Flutes (2 Violins) & Cello

• 3 London Trios Hob.IV/1–3.......................................................Q 4972 2 Flutes (2 Violins) & Cello

Telemann, Georg Philipp (1681–1767) • Trio Sonata in A minor from ‘Essercizii Musici’ TWV 42:a4 (Woehl).............................EP 4560 Flute, Violin & Continuo. Includes part for Cello ad lib.

Flute & Other Instruments/Oboes Studies & Tutors/Orch. Excerpts Flute & Other Instruments Debussy, Claude (1862–1918) • Sonata for Viola, Flute & Harp

............................EP 9123

Oboe Studies & Tutors

Score & Parts (List)

Hinke, Gustav Adolf (1844–1893) • Elementary Method................................................................EP 2418

Devienne, François

(1759–1803)

• 3 Duos Op.5..............................................................................EP 8431 Flute & Viola

• Trio in A minor Op. 61 No. 3 ...................................................EP 8379 Flute, Violin (or Clarinet in A & Cello (or Bassoon) (Meerwein)

Donizetti, Gaetano (1797–1848) • Sonata.......................................................................................EP 8043

Luft, Julius-Heinrich (1814–1869) • 24 Studies................................................................................EP 2963

Oboe Orchestral Excerpts

Violin (or Flute) & Harp

• Trio in F.....................................................................................EP 8146 Flute, Bassoon & Piano

Hoffmeister, Franz Anton (1754–1812) • Duo in F....................................................................................EP 8191 Flute & Viola

• Test Pieces for Orchestral Auditions (Dürichen / Kratsch) Excerpts from the Operatic & Concert Repertoire........................................................EP 8660 Accompanying set of 2 compact discs....................................MP 8660 (These orchestral recordings present the complete excerpt, and the specific instrument is not omitted.)

Weber, Carl Maria von (1786–1826) • Trio in G minor Op.63..............................................................EP 1473 Violin (Flute), Cello & Piano

Oboe – Contains excerpts from: Bartók – Concerto for Orchestra; Beethoven – Symphonies 3 & 6, Fidelio; Bizet – Symphony in C; Brahms – ‘Haydn’ Variations, Symphony No 1, Violin Concerto; Bruckner – Symphony No.5; v Dvorák – Cello Concerto; Mascagni – Cavalleria Rusticana; Mendelssohn – Symphony No 3; Mozart – Symphony No 40, Die Entführung aus dem Serail, Così fan tutte;

Oboe Orchestral Excerpts/Oboe & Piano Mussorgsky (orch. Ravel) – Pictures at an Exhibition; Ravel – Le Tombeau de Couperin; Rimsky-Korsakov – Scheherazade; Rossini – La Scala di Seta, L’Italiana in Algeri; Schubert – Symphonies 8 & 9; Smetana – The Bartered Bride (Prodaná Nevestá); Johann Strauss – Der Zigeunerbaron; Richard Strauss – Don Juan, Salome, Der Rosenkavalier, Ariadne auf Naxos; Stravinsky – Pulcinella, Orpheus; Tchaikovsky – Symphony No 4; Verdi – Aida, Rigoletto, Otello; Wagner – Tannhäuser, Die Meistersinger von Nürnberg, Siegfried, Götterdämmerung, Parsifal; Weber – Der Freischütz

Goldmann, Friedrich (1941–2009) • Konzert

........................................................................EP 5538a for Oboe & Orchestra (Oboe & Piano Reduction) Friedrich Goldmann's Oboe Concerto is a 36-minute work for oboe and orchestra. One of the definitive oboe concertos of the 20th century, it appears more like an extended symphonic discourse with an obbligato solo, but incorporates all contemporary playing techniques and has been performed by many well-known soloists. It was premiered by Burkhard Glaetzner and the Orchestra of the Komische Oper Berlin, conducted by the composer, on 14 June 1979. This new edition (EP 5538a) contains the solo part and the piano reduction; the full score and orchestral parts are available on loan.

Cor Anglais – Contains excerpts from: Berlioz – Le Carneval romain; Bizet – Carmen; v Dvorák – Symphony No 9; de Falla – El Sombrero de tres Picos; Franck – Symphony; Ravel – Piano Concerto in G major; Rossini – Guillaume Tell; Richard Strauss – Sinfonia Domestica, Ein Heldenleben; Stravinsky – Le Sacre du Printemps; Verdi – Un Ballo in Maschera, Otello; Wagner – Der fliegende Holländer, Tristan und Isolde, Die Walküre, Tannhäuser Oboe d’amore – Contains excerpts from: Ravel – Boléro; Richard Strauss – Sinfonia Domestica

Strauss, Richard (1864–1949) • Orchestral Excerpts from the Symphonic Works: Oboe...............................................................................EP 4190de

Oboe & Piano

Händel, Georg Friedrich (1685–1759) • 2 Sonatas for Oboe/Violin and Continuo HWV 366, 364a (Stede)................................EP 3035

Haydn, Joseph (1732–1809) • Oboe Concerto in C Hob. VIIg:C1 (Koch)..............................EP 8233

Marcello, Alessandro (1673–1747) Bach, Johann Sebastian (1685–1750)

• Concerto in D minor (Fechner)

..............................EP 9484

• Sonata in G Minor BWV 1030b (Meylan)...............................EP 8118

Donizetti, Gaetano (1797–1848) • Sonata in F (Concertino) (Meylan).......................................EP 5919

Dove, Jonathan

(*1959)

• Music for a Lovelorn Lenanshee

...............................EP 7638a for Oboe & Piano Music for a Lovelorn Lenanshee is a 10-minute work for oboe (or clarinet) and piano which develops the traditional Irish song My Lagan Love about a 'Lenanshee', a fairy mistress, into a jig and other dances. This edition comprises the piano score and oboe part (EP 7638a). The version with clarinet (EP 7638b) is available for sale, too.

Mozart, Wolfgang Amadeus (1756–1791) • Oboe Concerto in C K314 (285d)

...........................EP 8920

• Oboe Concerto in C K314 (285d)

............................Q 8920

• Oboe Quartet in F K370 (368b)..............................................EP 7077 (Arranged for Oboe & Piano) (Hodgson)

Cor Anglais/Oboe & Other/Clarinet Tutors/Clarinet Orch. Excerpts Saint-Saëns, Camille (1835–1921) • Oboe Sonata Op.166 (Zimmermann)....................................EP 9196

Clarinet Studies & Tutors Demnitz, Friedrich (1845–1890) • Elementary Clarinet Tutor....................................................EP 2417

Telemann, Georg Philipp (1681–1767) • Oboe Concerto in F minor TWV 51:f1...................................EP 5881 (Stein)

Cor Anglais Beethoven, Ludwig van (1770–1827) • Trio in C Op. 87.......................................................................EP 7167

Clarinet Orchestral Excerpts

2 Oboes & Cor Anglais

Donizetti, Gaetano (1797–1848) • Concertino in G major...........................................................EP 4847 Cor Anglais & Chamber Orchestra, arranged Cor Anglais & Piano

(Meylan)

Strauss, Richard (1864–1949) • Orchestral Excerpts from the Symphonic Works: Oboe/Cor Anglais.........................................................EP 4190de

Oboe & Other Instruments Bach, Johann Sebastian (1685–1750) • Concerto for Violin, Oboe & Strings in C minor BWV 1060........................................................EP 3722 Violin, Oboe & Keyboard, or 2 Violins & Keyboard

• Test Pieces for Orchestral Auditions (Dürichen / Kratsch) Excerpts from the Operatic & Concert Repertoire.......................................................EP 8661 Accompanying set of 2 compact discs..................................MP 8661 (These orchestral recordings present the complete excerpt, and the specific instrument is not omitted.)

Clarinet Contains excerpts from: Beethoven – Symphonies 4, 6 & 8; Berlioz – Symphonie fantastique; Borodin – Prince Igor; Brahms – Symphonies 1, 3 & 4; Kodály – Dances from Galanta; Liszt – Hungarian Rhapsodie No 2; Mahler – Symphony No 7; Mendelssohn – The Hebrides, A Midsummer Night’s Dream, Symphony No 3; Mozart – Le Clemenza di Tito; Prokofiev – Peter and the Wolf; Puccini – Tosca; Respighi – Pini di Roma; Rimsky-Korsakov –Scheherazade;

Clarinet Orchestral Excerpts/Solo Clarinet/Clarinet & Piano Rossini – Il Barbiere di Siviglia, Semiramide; Shostakovich – Symphonies 1 & 9; Schubert – Symphony No 8; Schumann – Symphony No 1; Smetana – The Bartered Bride (Prodaná Nevestá); Richard Strauss – Der Rosenkavalier, Salome; Stravinsky – Petroushka; Tchaikovsky – Symphonies 4 & 6; Verdi – Rigoletto, La Traviata, La Forza del Destino; Wagner – Die Meisteringer von Nürnberg, Götterdämmerung; Weber – Oberon, Der Freischütz

Fagerlund, Sebastian

(*1972)

Sebastian Fagerlund has established himself as one of the most prominent European composers of his generation. He studied composition at the Sibelius Academy in Helsinki under the guidance of Erkki Jokinen and received his diploma in composition in 2004.

Clarinet in D / E- Contains excerpts from: Berlioz – Symphonie fantastique; Ravel – Boléro, Piano Concerto in G major, Daphnis & Chloé; Richard Strauss – Till Eulenspiegel, Der Rosenkavalier, Salome; Stravinsky – Le Sacre du Printemps Bass Clarinet Contains excerpts from: Bartók – Suite No 2; Liszt – Dante Symphony; Shostakovich – Violin Concerto No 1, Symphony No 8; Richard Strauss – Don Quixote; Stravinsky – Le Sacre du Printemps; Verdi – Aida; Wagner – Tannhäuser, Tristan und Isolde, Die Walküre

Strauss, Richard (1864–1949) • Orchestral Excerpts from the Symphonic Works: Clarinet............................................................................EP 4190ab • Orchestral Excerpts from the Symphonic Works: Clarinet in D/Eb/Bass Clarinet......................................EP 4190c

• Cadenza

....................................................................EP 14549 for Clarinet in Bb (and an instrument with low range) Cadenza by Sebastian Fagerlund is a 4-minute work for solo clarinet (Bb). It is based on the solo cadenza of Sebastian Fagerlund's clarinet concerto and was reshaped by the composer for this new work. The solo clarinet is accompanied by a "drone" sound that can be played with any instrument of a low register. Cadenza was premiered in Helsinki in 2006 by Christoffer Sundqvist. This edition (EP 14549) is the playing score of this work.

Osborne, Willson

(1906–1979)

• Rhapsody for Clarinet.............................................................EP 6006

Solo Clarinet Donizetti, Gaetano (1797–1848) • Study (Meylan).........................................................................EP 8046

Clarinet & Piano Brahms, Johannes

(1833–1897)

• Sonatas Op.120........................................................................EP 3896

No.1 in F minor; No.2 in E (Hermann/Bading)

• Sonatas Op.120..........................................................................Q 3896 No.1 in F minor; No.2 in E[includes play-along CD] (Hermann/Bading)

Donizetti, Gaetano (1797–1848) • Concertino in B- (Meylan).......................................................EP 8206

Clarinet & Piano Dove, Jonathan

Spohr, Louis (1784–1859)

(*1959)

• Music for a Lovelorn Lenanshee

...............................EP 7638b Version for Clarinet & Piano Music for a Lovelorn Lenanshee is a 10-minute work which develops the traditional Irish song My Lagan Love about a 'Lenanshee', a fairy mistress, into a jig and other dances.

• Concerto No. 1 in C minor Op. 26 (Demnitz).......................EP 2098a

This edition comprises the piano score and clarinet part (EP 7638b). The version with oboe (EP 7638a) is available for sale, too.

• Concerto No.3 in B- (Wojciechowski)......................................EP 4859

Howard, Emily

• Concerto No. 2 in E- Op. 57 (Demnitz).................................EP 2098b

Stamitz, Carl Philipp

(1745–1801)

• Concerto No.3 in B- (Wojciechowski)......................................Q 4859 [includes play-along CD]

(*1979)

Weber, Carl Maria von (1786–1826) • Concertino in E- Op. 26 (Burmeister)

• Cloud Chamber

Clarinet & Piano

..........................................EP 8755

.........................................................EP 73319

Cloud Chamber is a 6-minute duet for clarinet and piano inspired by the scientific apparatus of the same name. This edition (EP 73319) comprises two scores: one with enlarged stave of the clarinet part and one with enlarged stave of the piano part.

Mozart, Wolfgang Amadeus (1756–1791) • Concerto in A K622 (Burmeister)

Clarinet in A & Piano (Burmeister)

............................EP 9821

• Concerto in A K622 (Burmeister)

.............................Q 9821 [includes play-along CD] Recordings suitable for A & B- Clarinet (Burmeister)

• Concerto No. 1 in F minor Op.73

• Clarinet Quintet in A K581 (Catelinet).....................................EP 19b

• Grand Duo Concertant in E- Op. 48 .......................................................EP 3317 (Hofmann)

(Arranged in B flat for Clarinet in B flat and Piano)

Saint-Saëns, Camille (1835–1921) • Sonata Op.167..........................................................................EP 9290 Clarinet in B- (Zimmermann)

.........................EP 8789

• Grand Duo Concertant in E- Op. 48 ........................................................Q 3317 [includes play-along CD] (Hofmann)

• 7 Variations in B- Op. 33 .......................................................EP 7015

Schumann, Robert (1810–1856) • Fantasy Pieces Op. 73........................................................... EP 2366 for Clarinet [in A or B flat] and Piano (Barmas)

• Fantasy Pieces Op. 73.............................................................Q 2366

for Clarinet [in A or B flat] and Piano (Barmas) [includes play-along CD]

Clarinet Albums/Duets/Bass Clarinet Clarinet & Piano Albums

Clarinet Duets

• That's Klezmer......................................................................EP 11109

Crusell, Bernhard Henrik (1775–1838)

12 pieces for 1 - 2 clarinets, arrangements & original pieces Peter Przystaniak / Irith Gabriely [includes play-along CD]

• Progressive Duets for 2 Clarinets.........................................EP 7780 No.1 in F; No. 2 in D minor; No. 3 in C

"Klezmer Music" stands for a distinctive performance style and a repertoire that has become widely known in recent decades through the work of various players, especially solo clarinetists. Proceeding from Jewish folktraditions, this style is noted for its liveliness and highly emotional delivery. This volume contains seven traditional pieces and five new compositions in the klezmer style, all moderately difficult. The arrangements can also be played by ad hoc ensembles of instruments, from solo instrument (clarinet or violin) with piano accompaniment to larger groups consisting of two melody parts, piano, cello, bass, and guitar. The enclosed play-along CD enables individual players to play with accompaniment.

• Traditional—Hevenu Shalom Alechem • Traditional – Rosinkes with mandala • Traditional—Shalom Alechem • Traditional—Mazel Tov • Traditional – Beigalach • Traditional – And as der Rebbe • Traditional – Tumbalalaika • Przystaniak, Peter - Jiddish Blue • Gabriely, Irith-Adam • Przystaniak, Peter - Old Oriantal Klezmer • Przystaniak, Peter - Old Klezmer I

Devienne, François (1759–1803) • 6 Duos Op.74............................................................................EP 8214

Kreutzer, Conradin (1780–1849) • Duet in C for 2 Clarinets.........................................................EP 8329

Bass Clarinet Ferneyhough, Brian (*1943) • Time and Motion Study I Solo Bass Clarinet

...........................................EP 7216

Franke, Bernd (*1959)

• AGNI

...........................................................................EP 14437a Solo Bass Clarinet

AGNI is the Hindu god of fire; the elemental and transformative force inherent in everything.

• 11 Well-Known Pieces for Clarinet

or Clarinet & Piano or alternative version for 2 Solo Clarinets

Sheet Music ............................................................................EP 7881 Sheet Music & Play-along CD....................................................Q 7881 Contents: Mendelssohn On Wings of Song; Spring Song; Brahms Lullaby; Schumann “Chopin” from Carnaval; Schubert Impromptu ; Tchaikovsky Chanson Triste; Haydn Serenade; Dvorák Largo; Boccherini Menuett; Mozart Menuett; MacDowell To a Wild Rose

Derived from Franke's concerto of the same name, this solo work for bass clarinet compositionally traces the transformative processes initiated by the divine fire. The solo takes seven pieces from the concerto, presenting vivid character pieces exploring the creative possibilities and wide tonal range offered by the bass clarinet. This version of AGNI for bass clarinet solo was premiered on 4 December 2020 in Leipzig by Volker Hemken, the principal bass clarinetist of the Gewandhausorchester Leipzig. EP14437a convinces with its excellent and clear notation, making the piece a new standard for bass clarinet.

Contrabass Clarinet/Two Clarinets/& Other/Quintets/Saxophone Contrabass Clarinet Gander, Bernhard

(*1969)

...................................................................EP 14128 for Contrabass Clarinet

Brahms, Johannes (1833-1897) • Clarinet Trio in A minor Op. 114..........................................EP 3899e for Piano, Clarinet (or Violin or Viola) and Violoncello (Georg Schumann)

• morbidable

morbidable by Bernhard Gander is a 10-minute work for solo contrabass clarinet. The composer writes of the work: "Beauty, brilliance, sound, form, ... fade away, dissolve, die." In this work, all the sound possibilities of the contrabass clarinet are explored along with the rhythmic components.

Bruch, Max (1838-1920) • Double Concerto in E minor Op. 88

(Edition for Clarinet, Viola and Piano) (Pfeffer)

...

EP 11234

The premiere took place on 5 November 2014 in Buenos Aires with Theo Nabicht.

Clarinet Quintets Two Clarinets & Piano Stamitz, Carl Philipp

(1745–1801)

• Concerto in B-...........................................................................EP 8018 for 2 Clarinets & Orchestra. 2 Clarinets & Piano reduction (Mölich / Lebermann)

Clarinet & Other Instruments

Brahms, Johannes (1833-1897) • Quintet in B minor Op. 115....................................................EP 3905c for Clarinet (Viola), 2 Violins, Viola and Cello (Set of Parts)

Mozart, Wolfgang Amadeus (1756–1791) • Clarinet Quintet in A K581 ......................................................EP 19a for Clarinet in A, 2 Violins, Viola and Cello (Set of Parts)

Saxophone (General)

Beethoven, Ludwig van (1770–1827)

Albright, William (1944–1998)

• Trio in B- Op. 11........................................................................EP 7064

• Sonata for Alto Saxophone and Piano............................................................................EP 67101

Clarinet (or Violin), Cello & Piano

An essential work in the saxophone repertoire, William Albright's Sonata for Alto Saxophone and Piano was composed in 1984. At its heart is the sonata's second movement lament for the composer George Cacioppo who died unexpectedly in 1984 and who was a profound influence on Albright's thinking as a composer.

Dove, Jonathan (*1959) • Tuning In.................................................................................EP 7570 Soprano, Alto, Tenor & Baritone Saxophones

• Piano Trios, Vol. 3: Arrangements of His Own Works.....................................EP 166b Op. 38 (from Septet Op. 20, with Violin/Clarinet), Op. 36 (from Symphony No. 2 (David)

Bassoon Studies/Orchestral Excerpts/Solo Bassoon/Bassoon & Piano Bassoon Studies Weissenborn, Julius (1837–1888) • Studies Op.8 Vol.1: Beginners....................................................................EP 2277a Vol.2: Advanced....................................................................EP 2277b

Schumann – Symphony No 1; Smetana – The Bartered Bride (Prodaná Nevestá); Richard Strauss – Don Quixote, Till Eulenspiegel, Ein Heldenleben, Salome; Stravinsky – The Firebird, Le Sacre du Printemps, Pulcinella; Tchaikovsky – Symphony No 4, 5 & 6; Verdi – Otello; Wagner – Lohengrin, Die Meistersinger von Nürnberg; Weber – Der Freischütz Contra Bassoon Contains excerpts from: Beethoven – Symphonies 5 & 9, Fidelio; Berg – Wozzeck; Brahms – Symphonies 1 & 3; Ravel – Ma mère l’oye, Piano Concerto for the Left Hand; Richard Strauss – Salome, Elektra; Verdi – Don Carlos

Strauss, Richard (1864–1949) • Orchestral Excerpts from the Symphonic Works: Bassoon...............................................................................EP 4190i

Solo Bassoon Bassoon Orchestral Excerpts

Osborne, Willson (1906–1979) • Rhapsody for Solo Bassoon..................................................EP 6005

• Test Pieces for Orchestral Auditions (Dürichen / Kratsch) Excerpts from the Operatic & Concert Repertoire........................................................EP 8662

Bassoon & Piano

Accompanying set of 2 compact discs....................................MP 8662 (These orchestral recordings present the complete excerpt, and the specific instrument is not omitted).

Boismortier, Joseph Bodin de (1689–1755) • 8 Little Pieces from Op. 40.....................................................EP 8380 Basso Continuo ad lib.

• 8 Little Pieces from Op. 40.......................................................Q 8380 Basso Continuo ad lib. [includes play-along CD]

Bassoon Contains excerpts from: Beethoven – Symphonies 3, 4, 6 & 9. Overtures; Coriolan, Leonore No 3, Violin Concerto, Fidelio; Berlioz – Symphonie fantastique; Bizet –Carmen; Brahms – Symphony No 2, ‘Haydn’ Variations, Violin Concerto; Donizetti – L’elisir d’amore; Haydn – Symphonies 88 & 90; Leoncavallo – Pagliacci; Mozart – Le Nozze di Figaro, Così fan tutte, Symphony No 40; Ravel – Boléro, Piano Concerto in G major, Rapsodie espagnole; Rimsky-Korsakov – Scheherazade; Rossini – Il Barbiere di Siviglia; Shostakovich – Symphony No 9;

Galliard, Johann Ernst (1666–1749) • Sonata No.1 in A minor (Marx).................................................H 753a

Mozart, Wolfgang Amadeus (1756–1791) • Concerto No.1 in B- K191 (186e)..........................................EP 4347a • Concerto No.1 in B- K191 (186e)............................................Q 4347a [includes play-along CD]

French Horn Orchestral Excerpts/Solo Horn Saint-Saëns, Camille (1835–1921) • Sonata Op. 168.........................................................................EP 9195

Die Frau ohne Schatten, Die schweigsame Frau, Daphne, Die Liebe der Danae, Capriccio; Stravinsky – Symphony of Psalms, Le baiser de le fée; Tchaikovsky – Symphonies 4 & 5; Verdi – Otello; Wagner – Rienzi, Lohengrin, Das Rheingold, Siegfried, Götterdämmerung, Parsifal, Siegfried-Idyll; Weber – Der Freischütz

Strauss, Richard (1864–1949) • Orchestral Excerpts from the Symphonic Works: Horn...................................................................................EP 4190f • Till Eulenspiegel Op. 28........................................................EP 8836 Freely Based on Richard Strauss by Terwillige

Stevens, Halsey (1908–1989) • Three Pieces............................................................................EP 6029

French Horn Orchestral Excerpts • Test Pieces for Orchestral Auditions (Dürichen / Kratsch) Excerpts from the Operatic & Concert Repertoire.........................................................EP 8663 Accompanying set of 2 compact discs.....................................MP 8663 (These orchestral recordings present the complete excerpt, and the specific instrument is not omitted).

Solo Horn Amram, David (*1930) • Blues and Variations for Monk.............................................EP 67130

Hellawell, Piers (*1956) • Copicornua

.................................................................EP 73575

A contemporary solo work for French Horn written for Royal Academy of Music’s bicentennial. To enshrine the Royal Academy’s 200th landmark within the music fabric, this piece makes use of the Roman numeral form of 200 – ‘CC’ - via a recurrent motif of two high Cs: one is standard, the other raised by a quarter-tone. Horn Contains excerpts from: J.S. Bach – Mass in B minor; Beethoven – Symphonies 3, 5 – 9, Fidelio; Brahms – Symphonies 1-4; Piano Concertos 1 & 2; Bruckner – Symphony No 4; Dvorák – Symphony No 9; Franck – Symphony; Handel – Guilio Cesare; Haydn – Symphonies 45 & 55; Hindemith – Symphonia serena, Symphony ‘Mathis der Maler’; Lortzing – Der Waffenschmied, Der Wildschütz; Mahler – Symphonies 1, 4, 5, 6, 7 & 9; Marschner – Der Vampyr; Mendelssohn – A Midsummer Night’s Dream; Mozart – Symphonies 29 & 40; Così fan tutte, Idomeneo; Puccini – Tosca; Ravel – Piano Concerto in G major; Rossini – Il Barbiere di Siviglia; , La Gazza Ladra, Il Turco in Italia; Shostakovich – Symphony No 9, Cello Concerto No 2; Schubert – Symphony No 8; Schumann – Symphony No 3; Richard Strauss :- Don Juan, Till Eulenspiegel, Der Rosenkavalier, V

Lefanu, Nicola (*1947) Nicola LeFanu was born in England in 1947, the daughter of Irish parents: her father William LeFanu was from an Irish literary family, and her mother was the composer Elizabeth Maconchy. LeFanu studied at Oxford, RCM and, as a Harkness Fellow, at Harvard. She has Honorary Doctorates from the Universities of Durham, Aberdeen, and Open University, is an Honorary Fellow of St Hilda’s College Oxford, and is FRCM and FTCL.

Solo French Horn/French Horn & Piano/& Other Instruments • After Lindisfarne

........................................................EP 73553 Three Miniatures for solo horn These three miniatures are linked by shared ideas, but separately characterised, as their titles suggest. I have aimed to write for the beautiful tone quality of the horn, as well as its capacity for timbral variation and microtonal inflection. The title After Lindisfarne reflects my love of visiting ‘Holy Island’ in Northumberland. After Lindisfarne for solo horn is one of a collection of 200 solo pieces written to celebrate the bicentenary of the Royal Academy of Music in 2022. The first soloist being Joseph Longstaff.

Horn & Piano

Schumann, Robert (1810–1856)

Beethoven, Ludwig van (1770–1827) • Horn Sonata in F Op. 17...........................................................EP 149 (Edition for Horn/Cello/Violin and Piano) With Alternative Transcriptions of the Horn Part for Cello or Violin (Grützmacher / Hermann)

• Adagio & Allegro Op. 70.........................................................EP 2386 • Adagio & Allegro Op. 70............................................................Q 2386 [includes play-along CD]

Mozart, Wolfgang Amadeus (1756–1791)

Horn(s) & Other Instruments

• Horn Concerto No.3 in E- K447

.....................................................EP 8922

Brahms, Johannes

• Horn Concerto No.3 in E- K447

......................................................Q 8922

• Horn Concerto No.4 in E- K495

........................................................EP 8919

[includes play-along CD]

• Horn Concerto No.4 in E- K495 .........................................................Q 8919 [includes play-along CD]

Panufnik, Roxanna

(*1968)

• Sonnets without Words

..............................................EP 73531 Horn in F and Piano Settings of Sheakespeare's Sonnets 8, 24 & 29 in instrumental form Written for horn player Ben Goldscheider, Panufnik has reimagined the lyrical vocal lines from three of her previous settings of Shakespeare's sonnets (Mine eye, Music to hear and Sweet Love Remember'd for voice and piano) into a purely instrumental work.

(1833–1897)

• Trio No.2 in E- Op.40...............................................................EP 3899b Horn (Viola or Cello), Violin & Piano

Trumpet Studies & Tutors/Orchestral Excerpts Trumpet Studies & Tutors

• The Art of Double Tonguing..................................................EP 67846 • The Art of Triple Tonguing.....................................................EP 67847

Baker, David C.

The ability to triple and double tongue is a great asset in perfecting technique and an indispensable prerequisite to any trumpeter embarking on a performance or teaching career.

• Fast Track Trumpet Training (Eng./Ger.) Vol. 1: Beginners to Intermediate............................................EP 7517

In most of the method and etude books which I've used during my teaching at Julliard, I have found that the attention devoted to the study and acquisition of these skills is rarely proportional to their importance.

Vol. 2: Intermediate to Advanced............................................EP 7518

It is hoped that my two books, The Art of Double Tonguing and The Art of Triple Tonguing, will help to remidy this deficiency. Before the turn of the twentieth century very little demand was placed on trumpeters for a fast articulation, as much of the music that comprised the standard symphonic repertoire did not require such technique. This began to change with the appearance of pieces which included passages of such articulative complexity for the trumpet that a new mastery of the skills of double and triple tonguing became essential. William Vaccihiano

• Miniature Variations on The Carnival of Venice...............................................................................EP 67668

Vacchiano, William (1912–2005) Few trumpet teachers influenced as many individual students professionally and personally as William Vacchiano, former principal trumpet of the New York Philharmonic. His contributions to the music world include hundreds of orchestral recordings, numerous method books, thousands of private students, and a lifetime of research on trumpet mouthpieces resulting in his own line of mouthpieces.

• Miniature Variations on The Carnival of Venice..............................................................................EP 67887

for Piccolo or E- Trumpet

• Moving Transpositions.........................................................EP 68091 after Sachse’s Etudes for Trumpet

Transposition at sight ranks as one of the most essential skills to be mastered by any orchestral trumpet player. In this volume, each of Sachse's formidable etudes is presented in its original form complete with multi key changes. It is then presented with a written-out transposition for trumpet in Bb - providing the student with a useful study guide and key to these challenging transposition exercises.

Trumpet Orchestral Excerpts • Test Pieces for Orchestral Auditions (Dürichen / Kratsch) Excerpts from the Operatic & Concert Repertoire........................................................EP 8664 • Joined New York Philharmonic in 1935 as third/assistant principal trumpet • Appointed principal trumpet in 1942 by Bruno Walter • Performed under Philharmonic conductors Arturo Toscanini,

Accompanying set of 2 compact discs....................................MP 8664 (These orchestral recordings present the complete excerpt, and the specific instrument is not omitted).

Sir John Barbirolli, Bruno Walter, Artur Rodzinski, Leopold Stokowski, Dimitri Mintropoulos, Leonard Bernstein, and Pierre Boulez • Retired from the Philharmonic in 1973 • Member of The Juilliard School faculty (1935–2002) • Also taught at the Manhattan School of Music, Mannes College of Music, Queens College, North Carolina School of the Arts, Columbia Teachers College • Estimated number of private students exceeds 2,000 “Vacchiano was always an inspiration and an encouragement, even decades after his retirement. As I go on in my musical career, I want to be as willing as he was to hand the baton off and be able to do everything I can to lift that person up and say, ‘Go on, you can do it.’”

Philip Smith, Principal Trumpet (retired), New York Philharmonic

Trumpet Orchestral Excerpts/Trumpet & Piano Trumpet Contains excerpts from: Auber – Fra Diavolo; J.S. Bach – Christmas Oratorio, Mass in B minor; Bartók - Concerto for Orchestra; Beethoven – Overtures: Leonore 2 & 3; Berg – Violin Concerto, Wozzeck; Bizet – Carmen; Brahms – Symphony No 2; Britten – Young Person’s Guide to the Orchestra; Bruckner – Symphonies 3, 7 & 8; Donizetti – Don Pasquale; Humperdinck – Hänsel und Gretel; Leoncavallo – Pagliacci; Mahler – Symphonies 1–3, 5–7, 9; Mozart – Le Nozze di Figaro, Die Zauberflöte; Mussorgsky (orch. Ravel) – Pictures at an Exhibition; Nicolai – Die lustigen Weiber von Windsor; Prokofiev – Romeo and Juliet; Ravel – Piano Concerto in G major, Bolèro: Rimsky-Korsakov – Scheherazade; Schumann – Symphony No 2; Scriabin – Le Poème de l’extase; Richard Strauss – Don Juan, Tod und Verklärung, Till Eulenspiegel, Also Sprach Zarathustra, Don Quixote, Ein Heldenleben, Sinfonia Domestica, Der Bürger als Edelmann, Eine Alpensinfonie, Feursnot, Salome, Elektra, Der Rosenkavalier, Arabella; Stravinsky – The Firebird, Petroushka, Le Sacre du Printemps, Le Chant du Rossignol, Pulcinella; Tchaikovsky – Symphonies 4–6, Capriccio Italien, Pique Dame, Swan Lake; Verdi – Rigoletto, Il Trovatore, Un Ballo in Maschera, La Forza del Destino, Don Carlos, Aida, Otello; Wagner – Tannhäuser, Lohengrin, Der fliegende Holländer, Die Meistersinger von Nürnberg, Tristan und Isolde, Der Ring des Nibelungen, Parsifal

Trumpet & Piano Arutiunian, Alexander (1920–2012) • Rhapsody for Trumpet & Winds.......................................EP 67327a Trumpet & Piano reduction (Concert Band)

Beamish, Sally

(*1956)

• Juno for Trumpet in C and Organ

...........................EP 72827

Grieg, Edvard (1843–1907) • I Love Thee (Ich liebe dich).....................................................EP 130 for Cornet (or Euphonium or Trombone) & Piano

Haydn, Joseph (1732–1809) • Concerto in E- Hob.VIIe/1.........................................................EP 8384 • Concerto in E- Hob.VIIe/1...........................................................Q 8384 [includes play-along CD]

Strauss, Richard (1864–1949) • Orchestral Excerpts from the Symphonic Works: Trumpet & Bass Trumpet..............................................EP 4190h

Hummel, Johann Nepomuk (1778–1837) • Concerto..................................................................................EP 8781a (transposed to E-, with parts for E- & B- Trumpet)

• Concerto...................................................................................Q 8781a [includes play-along CD] (transposed to E-, with parts for E- & B- Trumpet)

• Concerto in E...........................................................................EP 8781 (original key, trumpet in C or E)

Lortzing, Albert

(1801–1851)

• Theme and Variations.............................................................EP 8393

Trumpet & Piano/Trumpet & Solo Voice/Trumpet & Choir Peeters, Flor (1903–1986) • Sonata in B- Op.51...................................................................EP 6240 2nd movement is the famous ‘Aria’

Trumpet & Choir Matre, Ørjan (*1979) Ørjan Matre studied composition at the Norwegian Academy of Music with Bjørn Kruse, Lasse Thoresen, Olav Anton Thommessen and Henrik Hellstenius. He was composer-in-residence with Kristiansand Symphony Orchestra for the 2006-2008 seasons, and in the 2012-2013 season Matre was selected by the Oslo Philharmonic Orchestra as their featured composer. He has distinguished himself as a distinct voice in Norwegian music, and has been awarded high-profile commissions by leading performers, ensembles and orchestras.

Stevens, Halsey (1908–1989) • Sonata........................................................................................EP 6030

• Trompeten, Nachts und Untergang

....................EP 14530

(Trumpets, Night and Downfall) for Trumpet in C and Choir (SSAATTBB) Trumpet Part

Trumpet & Solo Voice Händel, Georg Friedrich (1685–1759) Eternal Source of Light Divine...............................................EP 73251 for Voice & Piano (3 Keys in One Series High/Medium/Low) with Optional Trumpet part

.............................................................EP 14530a

Vocal Score..........................................................................EP 14530 Trompeten, Nachts und Untergang is a 26-minute work for solo trumpet and choir (SSAATTBB). It is based on texts by the Austrian poet Georg Trakl and describes distant trumpet sounds, decaying castle ruins and icy lakes, in the spirit of German Romanticism. Trompeten, Nachts und Untergang (Trumpets, Night and Downfall) was premiered by Norwegian trumpeter Tine Thing Helseth and the Norwegian Soloists' Choir (conductor: Grete Pedersen) at the Ultima Oslo Contemporary Festival in September 2020.

Trombone Orchestral Excerpts/Trombone & Piano/Tuba Orch. Excerpts Strauss, Richard (1864–1949)

Trombone Orchestral Excerpts

• Orchestral Excerpts from the Symphonic Works: Trombone & Tuba..............................................................EP 4190g

• Test Pieces for Orchestral Auditions (Dürichen / Kratsch) Excerpts from the Operatic & Concert Repertoire.......................................................EP 8665 Accompanying set of 2 compact discs...................................MP 8665 (These orchestral recordings present the complete excerpt, and the specific instrument is not omitted).

Trombone & Piano Albrechtsberger, Johann Georg (1736–1809) • Alto Trombone Concerto in B flat..........................................EP 8986 Trombone Contains excerpts from: Bartók – Concerto for Orchestra; Beethoven – Missa Solemnis; Berg – Drei Orchesterstücke, Lulu, Wozzeck; Berlioz – Symphonie fantastique, Hungarian March; Blacher – Paganini Variations; Borodin – Prince Igor; Brahms – Symphonies 1 & 2; Mahler – Symphony No 3; Mascagni – Cavalleria Rusticana; Mozart – Die Zauberflöte, Requiem; Pfitzner – Palestrina; Puccini – Turandot; Ravel – Boléro; Rimsky-Korsakov –Scheherazade; Rossini – Guillaume Tell, La Gazza Ladra; Schumann – Symphonies 2 & 3; Richard Strauss – Don Juan, Tod und Verklärung, Till Eulenspiegel, Also Sprach Zarathustra, Arabella; Stravinsky – The Firebird, Pulcinella; Verdi – La Forza del Destino, Otello; Wagner – Lohengrin, Das Rheingold, Siegfried, Die Walküre Bass Trombone Contains excerpts from: Beethoven – Symphony No 9, Missa Solemnis; Berlioz – Symphonie fantastique; Brahms – Symphony No 1; Chabrier – España; Cornelius – Der Barbier von Bagdad; Delibes – Coppélia; Haydn – Die Schöpfung; Janácek – Sinfonietta; Kodaly – Hary Janos Suite; Leoncavallo – Pagliacci; Mascagni – Cavalleria Rusticana; Rossini – Guillaume Tell; Richard Strauss – Till Eulenspiegel, Also Sprach Zarathustra, Elektra, Ariadne auf Naxos, Der Bürger als Edelmann; Verdi – Otello; Wagner – Lohengrin, Die Meistersinger von Nürnberg, Das Rheingold, Siegfried, Die Walküre

Capuzzi, Antonio (1755–1818) • Andante and Rondo..................................................................H 1474 from Concerto for Double Bass arranged

for Trombone or Tuba and Piano (Philip Catelinet)

Goldstein, William (*1942) • Colloquy ..................................................................................EP 68277

Grieg, Edvard (1843–1907) • I Love Thee (Ich liebe dich)......................................................EP 130 for Cornet (or Euphonium or Trombone) & Piano

Tuba Orchestral Excerpts • Test Pieces for Orchestral Auditions (Dürichen / Kratsch) Excerpts from the Operatic & Concert Repertoire...........................................................EP 8666 Accompanying set of 2 compact discs..............................MP 8666 (These orchestral recordings present the complete excerpt, and the specific instrument is not omitted).

Tuba Contains excerpts from: Bartók – Concerto for Orchestra; Berg – Wozzeck;

100

Tuba Orchestral Excerpts/Tuba & Piano/Percussion Berlioz – Symphonie fantastique, Roméo et Juliette, La Damnation de Faust, Grand Messe des Morts; Bruckner – Symphonies 4, 7 & 8; Delibes – Coppélia; Hindemith – Symphonic Metamorphosis on themes of Weber, Symphonie ‘Mathis der Maler’; Leoncavallo – Pagliacci; Mahler – Symphony No 1; Mascagni –Cavalleria Rusticana; Mendelssohn – A Midsummer Night’s Dream; Mussorgsky (orch. Ravel) – Pictures at an Exhibition; Prokofiev –Cinderella, Romeo and Juliet, Symphony No 5; Richard Strauss – Tod und Verklärung, Till Eulenspiegel, Also Sprach Zarathustra, Ein Heldenleben, Don Quixote, Salome, Elektra, Der Rosenkavalier; Stravinsky – Petroushka; Tchaikovsky – Symphonies 4 & 6; Verdi – Aida, Falstaff, Rigoletto; Wagner – Eine Faust Ouverture, Der fliegende Holländer, Tannhäuser (Paris version), Lohengrin, Die Meistersinger von Nürnberg, Tristan und Isolde, Der Ring des Nibelungen

Percussion Aldridge, Robert Livingston (*1954) • From My Little Island for Marimba......................................EP 68103 (Revised Version, 2002)

Cage, John (1912–1992) • First Construction (in Metal)................................................EP 6709B for Percussion Sextet with Assistant

Mayuzumi, Toshiro (1929–1997) • Concerto..................................................................................EP 6856a for Xylophone & Orchestra. Piano reduction

Nordin, Jesper (*1971) • Diffusing Grains......................................................................EP 14451 for Percussion Ensemble

Strauss, Richard (1864–1949) • Orchestral Excerpts from the Symphonic Works: Trombone & Tuba.............................................................EP 4190g

Tuba & Piano Capuzzi, Antonio (1755–1818)

Pitfield, Thomas Baron (1903–1999) • Sonata for Xylophone Solo...................................................EP 66161 (Hiraoka)

Saunders, Rebecca (*1967) With her distinctive and intensely striking sonic language, Berlin-based British composer Rebecca Saunders (b.1967) is a leading international representative of her generation. Born in London, she studied composition with Nigel Osborne in Edinburgh and Wolfgang Rihm in Karlsruhe.

• Andante and Rondo................................................................H 1474 from Concerto for Double Bass arranged for Trombone or Tuba and Piano (Philip Catelinet)

Senaillé, Jean-Baptiste (1687–1730) • Introduction and Allegro Spiritoso.........................................H 853 Arrangement for Low Brass Instrument and Piano (Philip Catelinet)

• Void II

..........................................................................EP 14543 for Percussion Duo Void II for Percussion Duo is a 21-minute work for two percussionists with a variety of instruments. The composer writes about her work: “Beneath the surface of silence there lies a cacophony of sound and noise, an endless potential that becomes audible.’’ Commissioned by the Berliner Festspiele and premiered by Dirk Rothbrust and Christian Dierstein at the Berlin Philharmonie on 7 September 2020. This new edition (EP 14543) is the performing score of the work

Tüür, Erkki-Sven (*1959) • Motus II for 4 Percussionists..................................................EP 8970

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Percussion Marimba Anthologies • Intermediate Masterworks for Marimba (Nancy Zeltsman) Essentially, these are beautiful short stories, each an opportunity to delve into one style - one writer's world - and soak it up in just a few pages. The composers come from every genre of contemporary music, including popular and jazz backgrounds.

Vol. 1....................................................................................EP 68260a

Robert Aldridge: The Zebra

Carla Bley: Over There Ed Haddad: Have You Met Lydia? Anders Hillborg: TwoPieces for Solo Marimba Darren Robert Jones: Two Little Movements Gaetano Lorandi: Rifflesi di Raggi Lunari SteveMackey: Beast Osnat Netzer: Taksim Gunther Schuller: Three Small Adventures Paul Simon: Amulet Alvina Tan:Dansons? Derek Tywoniuk: For Dean Primmer Vol. 2....................................................................................EP 68260b Louis Andriessen: Mouse Running Jude Carlton: Tune for Nep Chen Yi: Jing Marimba Fred Hersch: Chorinho Picante Betsy Jolas: Morning Thoughts Lyle Mays: Mindwalk Kaori Okatani: Three Colors for Marimba Solo J.K.Randall: Through Lapland James Rolfe: Sticky Steven Stucky: Dust Devil Chinary Ung: Cinnabar Heart Errollyn Wallen: Remember, Marimba

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String Trios/String Quartets String Trios

Crumb, George (1929–2022) • ‘Black Angels’ (Images I).....................................................EP 66304

Beethoven, Ludwig van (1770–1827) • Complete String Trios...............................................................EP 194 Op.3; Op.9 Nos.1–3; Serenade Op.8; Serenade Op.25 for Violin, Viola & Flute (Ferdinand David / Paul Grummer / Carl Hermann)

Haydn, Joseph (1732–1809) • 3 London Trios........................................................................EP 4972 2 Violins (or 2 Flutes) & Cello (Karl-Heinz Koehler)

• 3 London Trios Hob.IV/1–3.......................................................Q 4972 2 Flutes (2 Violins) & Cello (Karl-Heinz Koehler) (Includes piano accompaniment CD)

Mozart, Wolfgang Amadeus (1756–1791) • Divertimento in E- K563.........................................................EP 1419 Violin, Viola & Cello (Carl Hermann)

Electric String Quartet. Score (4 Scores required for performance)

Black Angels (Thirteen Images from the Dark Land) was conceived as a kind of parable on our troubled contemporary world. The numerous quasi-programmatic allusions in the work are therefore symbolic, although the essential polarity - God versus Devil - implies more than a purely metaphysical reality. The image of the 'black angel' was a conventional device used by early painters to symbolize the fallen angel. (George Crumb) Not only a contemporary classic of the string quartet literature, Crumb's Black Angels is one of his most iconic scores.

• Produced in large format. • 4 Copies needed for performance • (performers play from the score)

Debussy, Claude (1862–1918) • String Quartet Op.10 (Zimmermann)

....................EP 9125

Reger, Max (1873–1916) • Serenade in G Op.141a........................................................EP 3453a 2 Violins (Flute / Violin) & Viola

• String Trio in D minor Op.141b............................................EP 3453b

Franck, César (1822–1890) • Quartet in D..............................................................................EP 3746

Grieg, Edvard (1843–1907)

String Quartets

• Quartet in G minor Op.27.......................................................EP 2489

Beethoven, Ludwig van (1770–1827) • Complete String Quartets (Moser)

Vol.1:.......................................................................................EP 195a Op.18 Nos.1-6 Vol.2:.......................................................................................EP 195b Op.59 Nos.1-3 (Rasoumovsky); Op.74; Op.95

Vol.3:.......................................................................................EP 195c Opp.127, 130, 131, 132, 133, 135

Bliss, Arthur (Sir) (1891–1975) • Quartet in A

(Score & Parts)

................................................................EP 71425

Brahms, Johannes (1833–1897) • Complete Quartets ................................................................EP 3903 C min Op.51 No.1; A min Op.51 No.2; B- Op.67

Haydn, Joseph (1732–1809) • String Quartets – A New Urtext Performing Edition Edited by Simon Rowland-Jones (Editorial Consultant: David Ledbetter)

Introducing his new player-friendly edition of the Haydn Quartets, Simon Rowland-Jones writes:'There can be no such thing as a final, perfect version; Haydn left too many questions open.' The new Peters Edition is founded upon this honest assessment. By heightening our awareness of the questions that remain 'open', this edition liberates the interpretative inspiration of performers as never before. As a result, the new edition is likely to become indispensable for all who perform or study these masterpieces.

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String Quartets Each volume includes:

• Full Score – included with the parts for the first time – invaluable for performance preparation

• Fold-out Pages – as required in the separate parts, eliminating all page-turns within movements

• Guidance for Performers – as well as giving historical background to the quartets, the prefaces to each volume contain a treasure trove of information about all aspects of performance practice

• Critical Commentary – in the extensive Critical Commentary to each volume the most authoritative early sources for Haydn's quartets are carefully evaluated and full details of their variant readings given for comparison.

Naturally, the composer's autograph, where extant, assumes pre-eminence, but alternative primary sources are also considered, and secondary sources drawn upon where appropriate. The Publishers and Editors gratefully acknowledge the generous support for editorial research given by the Radcliffe Trust, the Arts and Humanities Research Board, the Royal College of Music and the Royal Northern College of Music. Full Score and Parts Op.20 Hob.III: 31–36

...............................................EP 7594

Op.33 Hob.III: 37–42

...............................................EP 7595

Op.50 Hob.III: 44–49

...............................................EP 7615

Op.54 & Op.55 III: 57–62 Op.64 Hob.III: 63–68

. ..............................................EP 7617 .........................................................EP 7618

Op.71 & Op.74 Op.76

........................................EP 7616

................................................... ...................EP 7619

Op.77 & Op.103

.......................................................EP 7620

Vol.3: 20 Quartets...................................................................EP 289c Op.9 Nos.1, 3, 4, 5, 6; Op.17 Nos.1, 2, 3, 4, 6; Op.42; Op.50 Nos.1–5; Op.55 Nos.1–3; Op.64 No.1 Vol.4: 33 Quartets...................................................................EP 289d Op.1 Nos.1–6; Op.2 Nos.1–6; Op.3 Nos.1, 2, 4, 6; Op.20 Nos.1, 2, 3; Op.33 Nos.1, 4, 5; Introduction in D min; The Seven Last Words Op.51; Il Terremoto in C min; Op.71 Nos.1, 2, 3; Op.103 ‘Unfinished

• Op.51 Nos.1–7

‘The Seven Last Words’.........................................................EP 289e

Mendelssohn, Felix (1809–1847) • 7 Quartets................................................................................EP 1742 Opp. 12; 13; 44 Nos.1–3; 80; 81

• String Quartets Vol.1: Opp. 12, 13, 80.81......................................................EP 1742a Vol.2: Op.44 Nos 1-3 ............................................................EP 1742b

Mozart, Wolfgang Amadeus (1756–1791) • 3 Divertimenti (Herrmann)

K136, 137, 138; D, B- .............................................................EP 4266

• Eine kleine Nachtmusik K525................................................EP 3953 • Eine kleine Nachtmusik K525.................................................Q 4325 1st Violin Part Missing (Includes backing string accompaniment CD)

• Complete String Quartets (Moser / Becker) Vol.1......... ...................................................................................EP 16 K387, 421, 428, 458, 464, 465, 499, 575, 589, 590 Vol.2.............................................................................................EP 17 K155–160, 168-173, 285, 298, 370, 525, 546

• Complete String Quartets (Andreas Moser / Hugo Dechert) Vol.1: 14 Famous Quartets....................................................EP 289a Op.9 No.2; Op.17 No.5; Op.50 No.6; Op.54 Nos.1, 2, 3; Op.64 Nos.2, 3, 4; Op.74 Nos.1, 2, 3; Op.77 Nos.1, 2 Vol.2: 16 Famous Quartets....................................................EP 289b Op.3 Nos.3, 5; Op.20 Nos.4, 5, 6; Op.33 Nos.2, 3, 6; Op.64 Nos.5, 6; Op.76 Nos.1–6

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String Quartets/String Quintets Ravel, Maurice (1875–1937)

Tchaikovsky, Pyotr llyich (1840–1893)

• Quartet in F

Quartets (Arno Hilf)

Full Score & Parts

(Nichols)..............................................EP 11390

This was the first modern edition of this core piece of the string quartet repertoire, correcting many errors and inconsistencies of the first edition. Roger Nichols, one of the world’s leading experts on French music, has prepared this scholarly Urtext edition based on all the existing sources, including a sound recording of 1927, supervised by Ravel. Including a historical preface and critical commentary, the edition benefits from the research undertaken by the editor for his comprehensive biography of Ravel, published by Yale University Press in 2011.

• No.1 in D Op.11 (with ‘Andante Cantabile’).....................................EP 3172a • No.2 in F Op.22.......................................................................EP 3172b • No.3 in E- minor Op.30..........................................................EP 3172c

Verdi, Giuseppe (1813–1901) • String Quartet in E minor (Carl Hermann)...........................EP 4255 Verdi's only suriving piece of chamber music, the String Quartet in E minor was composed in 1873 during a production of Aida. This edition contains a set of performance parts.

Album • Easy Original Quartet Movements and Famous Pieces (tr. Sitt) Vol.1: 11 Pieces.....................................................................EP 2739a Haydn - Serenade from Op.3 No.5; Mozart - Minuet from K428; Beethoven - Cavatina from Op.130; Händel - Largo from Xerxes; Boccherini - Minuet from Quintet etc..

Schubert, Franz (1797–1828) • Complete Quartets (Carl Hermann)

Vol.1.........................................................................................EP 168a A min Op.29 / D804; E- Op.125 No.1 / D87; D min Op. posth. / D810 ‘Death and the Maiden’; E Op.125 No.2 / D353

Vol.2.........................................................................................EP 168b E Op.161 / D887; B- Op.168 / D112; Three Quartets Op. posth. in G min, D, C min D173, 94, 70

String Quintets Beethoven, Ludwig van (1770–1827) • Complete Quintets

Opp.4, 29, 104, 137................................................................EP 1599

Brahms, Johannes (1833–1897) • Quintet in F Op.88.................................................................EP 3905a 2 Violins, 2 Violas & Cello

Schumann, Robert (1810–1856) • Complete Quartets (Carl Hermann)......................................EP 2379

• Quintet in G Op.111...............................................................EP 3905b 2 Violins, 2 Violas & Cello

Op.41 No.1 in A min; No.2 in F; No.3 in A

Bruckner, Anton (1824–1896) Smetana, Bedřich (1824–1884)

• String Quintet in F (Carl Hermann)........................................EP 3842

• String Quartet No.1 in E minor

‘From My Life’..........................................................................EP 2635

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String Quinets/String Sextets/String Octet/Piano Trios Mendelssohn, Felix (1809–1847) • String Quintets in A Op.18; B- Op.87...............................................................EP 1743 2 Violins, 2 Violas & Cello

Mozart, Wolfgang Amadeus (1756–1791) • Complete String Quintets 2 Violins, 2 Violas & Cello

Vol.1:............................................................................................EP 18 K406, 515, 516, 593 & 614 Vol.2:............................................................................................EP 19 K46, 174, 407 (Horn or 2 Cellos) 581 (Clarinet or 2 Violas), K.Anh.179

Schubert, Franz (1797–1828) • String Quintet in C Op.163 / D956.............................................EP 775

String Sextets

Smyth, Ethel (Dame) (1858–1944)

Brahms, Johannes (1833–1897)

2 Violins, Viola & 2 Cellos (Carl Hermann)

English composer Dame Ethel Smyth spent a year studying at the Mendelssohn Leipzig Conservatory with Carl Reinecke, during which time she met the amongst many others, the composers Dvořák, Grieg, Tchaikovsky. And most interestingly, Clara Schumann.

• String Sextet in B- Op.18......................................................EP 3906a 2 Violins, 2 Violas & 2 Cellos

• String Sextet in G Op.36.....................................................EP 3906b 2 Violins, 2 Violas & 2 Cellos

Her time in Leipzig is documented by a series of letters recently published by the Conservatory. Max Abraham and his nephew Henri Hinrichsen proprietors of Edition Peters, were early passionate and powerful advocates of the education of women (founding and building the Henriette Goldschmitt Schule for women in Leipzig). Abraham met Smyth during her time in Leipzig (Abraham was on the board of trustees of the Hochschule) and published four early works by Smyth. Dame Ethel Smyth was a prominent member of the suffragette movement. Her works were unjustifiably neglected for decades but are now being rediscovered and celebrated in a resurgence of interest and high-profile performances.

String Octets Mendelssohn, Felix (1809–1847) • Octet in E- Op.20......................................................................EP 1782 4 Violins, 2 Violas, 2 Cellos

Piano Trios Arensky, Anton (1861–1906) • Piano Trio in D minor Op.32...................................................EP 4315

• String Quintet in E major Op. 1

...................................EP 2171

Bach, Johann Sebastian (1685–1750) • Concerto for Violin, Oboe & Strings in C minor BWV 1060 (Max Seiffert) ...................................EP 3722 (Instrumental accompaniment CD available separately)

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Piano Trios Beethoven, Ludwig van (1770–1827)

Grieg, Edvard (1843–1907)

• Complete Piano Trios

• Andante con Moto in C minor

Vol.1 (Part 2).......................................................................EP 166a-2 Op.97 ‘Archduke’; B-; E-; Variations in E- Op.44; ‘Kakadu’ Variations Op.121a

Haydn, Joseph (1732–1809)

Vol.1 (Part 1)........................................................................EP 166a-1 Op.1 Nos. 1–3; Op.11; Op.70 Nos.1 ‘Ghost’ 2.

Vol.2........................................................................................EP 166b Trio Op.38 based on Septet Op.20; Trio based on Symphony No.2 Op.36

• Trio in B- Op.11.........................................................................EP 7064 Clarinet (or Violin), Cello & Piano (Paul Grummer / Carl Hermann)

..............................EP 8696 Based on the Edvard Grieg Complete Edition

• Complete Piano Trios

Vol.1:.........................................................................................EP 192a Hob.XV/3, 7, 12, 14, 20, 24–30 (Carl Hermann) Vol.2:.........................................................................................EP 192b Hob.XV/1, 9–11, 13, 18, 19, 21, 23, 31 (Carl Hermann)

Mendelssohn, Felix (1809–1847) Brahms, Johannes (1833–1897)

• Trios in D minor Op.49; C minor Op.66..................................EP 1740

• Concerto for Violin, Violoncello & Orchestra Op.102..............................................................EP 3902

Mozart, Wolfgang Amadeus (1756–1791)

Violin, Cello & Piano reduction (Julius Klengel / Edgar Wollgandt)

• Complete Trios

Opp. 8, 40, 87, 101, 114..........................................................EP 3898

• Sinfonia Concertante in E- K364............................................EP 2206 with cadenzas Violin, Viola & Piano reduction

• Trio No.1 in B Op.8 (Georg Schumann).................................EP 3899a • Trio No.2 in E- Op.40 (Georg Schumann).............................EP 3899b Horn (Viola or Cello), Violin & Piano

• Trio No.5 in A minor Op.114 (Georg Schumann)..................EP 3899e Clarinet in A (Violin or Viola), Cello & Piano

Saint-Saëns, Camille (1835–1921) • Piano Trio No. 2 in E minor, Op. 92 (Blakeman)

...................EP 11236

Camille Saint-Saëns was a universalist of almost encyclopaedic

Chopin, Frédéric (1810–1849) • Trio in G minor Op.8 (Balakirev)...............................................EP 1919

education: he made a name for himself as a philosopher, poet and playwright, as an astronomer, natural scientist, archaeologist and ethnologist, even as a draftsman and caricaturist. But music became his main passion. As a composer, Saint-Saëns, who was considered a loner, “belonged to no school and represented no reform movement” (Charles Gounod), was suspicious to his contemporaries, and his works gained a reputation for being intellectual, emotionless-smooth and unromantic. Saint-Saëns' extensive body of work offers countless counter examples. One of the pearls of chamber music is the Piano Trio No. 2 from 1892 – a work of elegiac character that perfectly combines virtuosity and complex movement structure. The autograph of the trio was used as a source for the new edition. The Edition Peters is the first modern new edition since the first edition was published.

Debussy, Claude (1862–1918) • "La Mer"

......................................................................EP 72873 Arranged for Piano Trio by Sally Beamish

Donizetti, Gaetano (1797–1848) • Concerto in D minor for Violin, Violoncello & Orchestra (Wojciechowski)...........................EP 8293 Violin, Cello & Piano reduction

• Trio in E- (Päuler)......................................................................EP 8116

Franck, César (1822–1890) • Trio in F+ Op.1 No.1...................................................................EP 3745

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Piano Trios/Piano Quartets/Piano Quintets Schubert, Franz (1797–1828) • Trios in B- Op.99; E- Op.100......................................................EP 167

Schumann, Robert (1810–1856) • Trios...........................................................................................EP 2377 D min Op.63; F Op.80; G min Op.110

Smetana, Bedřich (1824–1884) • Trio in G minor Op.15................................................................EP 4238 (Fritz Weitzmann / Hans Mlynarczyk / Fritz Schertel)

Tchaikovsky, Pyotr llyich (1840–1893) • Trio in A minor Op.50 ‘Rubinstein’ (Carl Hermann)...................EP 3777 Composed in Rome between December 1881 and January 1882, Tchaikovsky's A minor Piano Trio is subtitled 'À la mémoire d'un grand artiste' (In memory of a great artist), in reference to Nikolai Rubinstein who had died in 1881. This Edition Peters volume is edited by Carl Hermann and contains piano score, violin and cello parts, with fingerings and bowings.

Mozart, Wolfgang Amadeus (1756–1791) • Quartets in G minor K478, E- K493..........................................EP 272 In 1785, Mozart received a commission from the publisher Franz Anton Hoffmeister for three quartets of the present instrumentation. The first composed, K478 in G minor, is considered the first major work for piano quartet in the chamber music repertoire. Hoffmeister, unfortunately, considered the piece too difficult for amateurs and feared the public would not buy it; and so he released Mozart from the obligation to complete the set. Happily, however, Mozart composed a second quartet the following year, that in Eb Major, K493. The publisher's misgivings regarding the G minor quartet were borne out by a 1788 article in the Weimar 'Journal des Luxus und der Moden'. "[as performed by amateurs] it could not please: everybody yawned with boredom over the incomprehensible 'tintamarre' of 4 instruments which did not keep together for four bars on end, and whose senseless 'concentus' never allowed any unity of feeling; but it 'had' to please, it 'had' to be praised! ... what a difference when this much-advertised work of art is performed with the highest degree of accuracy by four skilled musicians who have studied it carefully." Amazingly to us today, this agrees with the widely held view of Mozart during his lifetime; that of a greatly gifted composer who wrote extremely difficult music.

Schumann, Robert (1810–1856) • Quartet in E- Op.47..................................................................EP 2380

Piano Quintets Brahms, Johannes (1833–1897) • Quintet in F minor Op.34.........................................................EP 3660

Weber, Carl Maria von (1786–1826) • Trio in G minor Op.63 .......................................................EP 1473 The trio, along with the Grand Duo concertant, is one of Weber's most popular chamber music works. Shortly after publication in 1823, a reviewer praised a "bold swing of the imagination", "clarity of expression" and a "noble effect".

Franck, César (1822–1890) • Quintet in F minor....................................................................EP 3743

Piano Quartets Beethoven, Ludwig van (1770–1827) • Quartet in E- Op.16 (Ferdinand August Roitzsch).....................EP 294

Bliss, Arthur (Sir) (1891–1975) • Piano Quartet in A minor Op. 5 (Score & Parts)

................................EP 71430

Schubert, Franz (1797–1828) • Quintet in A major ‘Trout’

Mendelssohn, Felix (1809–1847) Quartets, separately (Carl Hermann) • C minor Op.1...........................................................................EP 1741a • F minor Op.2...........................................................................EP 1741b • B minor Op.3...........................................................................EP 1741c

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.........................................EP 9975 Op.114 / D667 (K. Schubert) Violin, Viola, Cello, Double Bass & Piano

Schumann, Robert (1810–1856) • Quintet in E- Op.44...................................................................EP 2381

Peters Concert Band Series Peters Concert Band Series Launched in September 2020 the Peters Concert Band Series offers an exciting new range of repertoire for symphonic bands. Curated and arranged by Series Editor Phillip Littlemore, this expanding series contains new arrangements of some of the most popular concert and choral works of recent years, from the exuberant joyfulness of Jonathan Dove's Ring Out, Wild Bells or the folky, avant-pop of the Penguin Café Orchestra's Perpetuum Mobile to the enraptured stillness of Ēriks Ešenvalds' Stars. With this unique and distinctive catalogue, all bands are sure to find these powerful and effective works welcome additions to their repertoire. All works will be made available for sale, with sets containing a full score and set of performance material, including world parts. “I was delighted when colleagues from Edition Peters indicated their intention of creating a brand new series for concert band and brass band, and I was absolutely thrilled when then asked to take on the role of series editor and arranger. Edition Peters is a major force in music publishing and represents some of the finest contemporary composers and catalogues throughout the world. To be entrusted with creating these new series for Edition Peters is an honour. We are launching the Edition Peters Concert Band Series with brand new arrangements of some very popular works by composers Jonathan Dove and Ēriks Ešenvalds and also from the avant-pop group Penguin Café Orchestra. We are looking forward to introducing this music to a new and wider audience and, in time, we hope to introduce some exciting original works alongside an expanding library of arrangements.

Ešenvalds, Ēriks

(*1977)

• Only in Sleep (Grade 3.5) A vision of childhood experienced through dreams, Ēriks Ešenvalds' Only in Sleep is a work of subtly powerful expressiveness. Phillip Littlemore has here created a brilliant new version for concert band, sure to be every bit as popular as the choral original.. Full Score..............................................................................EP 68711 Full Score & Parts...............................................EP68711-CMPSET

Together we want to build a catalogue of concert band music that is second to none.” Phillip Littlemore

Dove, Jonathan

(*1959)

• Ring Out, Wild Bells (Grade 4.5) Jonathan Dove's rousing setting of Tennyson's poem, made famous in his choral cycle 'The Passing of the Year' is here given a thrilling new life as a concert band showpiece. Phillip Littlemore's exuberant arrangement is sure to provide concert bands with a show-stopper, a joyful and virtuoso celebration of life. Full Score..............................................................................EP 68709 Full Score & Parts................................................EP68709-CMPSET

• Run to the Edge (Grade 5.5) Jonathan Dove's thrilling and energetic showpiece was originally composed for the London Schools Symphony Orchestra (of which the composer was a member). Phillip Littlemore has expertly arranged the work for concert band, providing symphonic wind ensembles with a high-velocity joy ride. Full Score..............................................................................EP 68710 Full Score & Parts................................................EP68710-CMPSET

• Long Road (Grade 4) Long Road has the simple sincerity of a hymn yet is is both beautiful and lush. At the midway point a gentle susurration of bell-sounds, descant recorders and tin whistles appear over sustained brass. There is a brief downwards shift of a third, followed by an elated return to the home key before the evanescent tinkling ushers the piece to its close. Phillip Littlemore has here created a vivid new version for concert band. Full Score..............................................................................EP 68714 Full Score & Parts................................................EP68714-CMPSET

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Peters Concert Band Series • Salutation (Grade 2.5) Salutation was originally composed for a cappella choir to a poem by Bengali poet and musician Rabindranath Tagore (1861–1941). The music takes up the spiritual message of the poem, that we live our lives in one salutation to God ending back in an eternal home. Phillip Littlemore's brilliant arrangement for concert band adds a work of great contemplative beauty to the repertoire.

Penguin Café Orchestra Jeffes, Simon (1949–1977) • Music for a Found Harmonium (Grade 4) The Penguin Café Orchestra, founded by Simon Jeffes, created an instantly recognisable sound world, beautifully crafted to convey simple wonder and joy.

Full Score..............................................................................EP 68712

Phillip Littlemore's arrangement for concert band of their famous Music for a Found Harmonium perfectly captures the exuberance of this uplifting music.

Full Score & Parts................................................EP68712-CMPSET

Full Score..............................................................................EP 68707 Full Score & Parts................................................EP68707-CMPSET

• Stars (Grade 3) One of the most popular of all contemporary choral works, Ēriks Ešenvalds' Stars is a work of shimmering beauty, a vision of ‘beating hearts of fire’ seen overhead on a still, dark night. Phillip Littlemore's expert arrangement for concert band will bring a moment of rapt stillness to any concert programme. Full Score..............................................................................EP 68713 Full Score & Parts................................................EP68713-CMPSET

• Perpetuum Mobile (Grade 4.5) The Penguin Café Orchestra, founded by composer Simon Jeffes, knew better than anyone how to create an incredibly catchy hook. This brilliant arrangement for concert band by Phillip Littlemore of Perpetuum Mobile will have audiences tapping in 15/8 all the way home. Full Score..............................................................................EP 68708 Full Score & Parts.................................................EP68708-CMPSET

Okpebholo, Shawn

(*1981)

• Heritage (Grade 5) Shawn Okpebholo’s Heritage, in the Edition Peters Concert Band Series, evokes moods, events and sounds (including West African drumming and indigenous melodies) from an ethnomusicological research visit the composer undertook to Nigeria. One of the primary musical themes of the work is an adaptation of a song that comes from the Esan people, a small ethnic group in the southern part of Nigeria and the tribe to which the composer has deep historical and family ties. The Esan language is poetic in nature and, at various moments in the work, the musicians chant the text from an Esan song: Ekine leleyea do obhimen la doeki nalo. (My investment in you is paid off. Because of your hard work, your future is bright). Heritage is a revised version of a work previously entitled This is Africa, which was commissioned by Professor Marcellus Brown and the Boise State University Symphonic Winds for the 2011 National CBDNA Convention and is dedicated to the memory of Dr Harry Begian. Full Score............................................................................EP68748 Full Score & Parts.............................................................EP68748A

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Peters Brass Band Series Peters Brass Band Series Ešenvalds, Ēriks

(*1977)

• O Salutaris Hostia

(Suitable for intermediate band at 2nd Section and above) Arranged for Brass Band by Phillip Littlemore O Salutaris Hostia is one of Ēriks Ešenvalds’ most popular pieces. Originally written for female voices, the composer later created a version for full choir on which this arrangement is based. It has a gentle meditation with the two soloists drifting across the soft band accompaniment, alternately echoing and imitating each other or joining together in thirds. The effect is quietly ecstatic, a brief moment of adoration and wonderment. This arrangement can be played with either two cornets or two euphoniums as soloists as the accompaniment works just as effectively with either.

• Stars

(Suitable for brass band at all levels) Arranged for Brass Band by Phillip Littlemore Stars is one of the most popular of all contemporary choral works by Latvian composer Ēriks Ešenvalds. The music begins with water-tuned glasses playing a sequence of chord clusters, which are heard throughout the whole piece. It creates an evocative effect, which is both imaginative and inventive prodcing an ethereal shimmering beauty. Phillip Littlemore’s expert arrangement for brass band will bring a moment of enthralling stillness to any concert programme. Full Score.............................................................................EP 68778 Full Score & Parts.................................................................EP68778a

Full Score.............................................................................EP 68779 Full Score & Parts................................................................EP68779a

• Only in Sleep

(Suitable for intermediate band at 2nd Section and above) Arranged for Brass Band by Phillip Littlemore Only in Sleep is a nostalgic vision of childhood re-experienced through dreams. Ēriks Ešenvalds has created a work of subtlety, yet powerful and expressive. The music has an incandescent freshness and the Flugel Horn soloist heard at the opening returns at the close, lost in reverie, whilst florid arabesques float over one last pair of chordal oscillations, winding down to nothing. This brilliant arrangement for brass band has become every bit as popular as the original choral setting. Full Score.............................................................................EP 68777

Full Score & Parts................................................................EP68777a

111

Choral Oratorios Choral Works (Classic Oratorios & Cantatas) All Vocal Scores, unless otherwise indicated

• Magnificat in D BWV 243 (Schulze / Muntschick)

.....EP 9851 SSATB Soli & Chorus With 4 added Christmas Movements BWV 243a from Version in E flat Nos.1 & 2 (Ger.), Nos.3 & 4 (Lat.)

Bach, Johann Sebastian (1685–1750) • Christmas Oratorio BWV 248 (Muntschick) SATB Soli, SATB Chorus & Orchestra (Ger.)

..............EP 8719

Johann Sebastian Bach's Christmas Oratorio has been a firm fixture of the Festive season since its six component cantatas were performed in the two great churches of St Thomas's and St Nicholas's in Leipzig on the Holy Days of Christmas in 1734. This Edition Peters Urtext edition, edited by Johannes Muntschick, is the perfect choice for any choral singer, conductor, repetiteur or Bach enthusiast. Beautifully bound and printed on cream paper with weight, opacity and grain direction optimal for music publications, it is the practical choice for any performer. Contains bar numbers, and matches the Edition Peters orchestral score and orchestral parts.

• Mass in B minor BWV 232 (Christoph Wolff)

.......EP 8736

(Lat.) SATB Soli, SSATB Chorus & Orchestra The B Minor Mass is Bach's only complete setting of the Ordinary, that is the five permanent sections of the ancient Christian Mass liturgy: Kyrie, Gloria, Credo, Sanctus and Agnus Dei. As with Bach's other Mass settings, all of them limited to the Kyrie and Gloria, the majority of numners consist of 'parodies', that is, of reworkings of movements from his church cantatas. In the course of the eighteenth century, the B Minor Mass was disseminated in manuscript over an astonishingly large area, extending at least from Vienna to London and thus far exceeding that of any other of Bach's vocal works. Since its initial publication in Zurich (1833-45) it has been presented in various editions, including two for the complete edition issued by the Bach Society. The most recent critical edition appeared in 1954 in the New Bach Edition, Series II, Volume I, edited by Friedrich Smend.

Choral Singing – The Easy Way to Learn Soprano CD........................................................................MPC 8719a Alto CD............................................. ..................................MPC 8719b Tenor CD.............................................................................MPC 8719c Bass CD..............................................................................MPC 8719d

Smend's edition very quickly sparked a musicological controversy which, after centring almost exclusively on questions of chronology, gradually came to hinge on the work's conception. Here the crucial question was whether the B Minor Mass constituted (as Smend believed) a collection of largely independent compositions, and thus was only nominally a self-contained work.

• 317 Harmonised Chorales (Ger.) (Erk / Smend)

Today scholars are generally of one mind that the B Minor Mass was composed in sections between 1724 and 1749, that is, over a period spanning a quarter of a century. But they are equally agreed that Bach deliberately and intentionally combined its parts so as to form a self-contained opus."

2-stave. Mostly SATB ad lib. Organ/Piano; some with instrumental accompaniment Vol.1: Vocal / Full Score............................................................EP 4264a Vol.2: Vocal / Full Score............................................................EP 4264b

• Jesus bleibet meine Freude................................................. EP 11226

112

(Ger.) Chorale from Cantate BWV 147 SATB Choir & Piano (Erben)

Extracts taken from the Preface, by editor Christoph Wolff

Choral Oratorios Choral Singing – The Easy Way to Learn Soprano 1 CD....................................................................MPC 8736a Soprano 2 CD...................................................................MPC8736aa Alto CD...............................................................................MPC 8736b Tenor CD............................................................................MPC 8736c

Choral Singing – The Easy Way to Learn Soprano CD .....................................................................MPC 4503a Alto CD..............................................................................MPC 4503b Tenor CD............................................................................MPC 4503c Bass CD.............................................................................MPC 4503d

Bass CD.............................................................................MPC 8736d

• 6 Motets BWV 225-230; Chorale ‘Sei Lob und Preis’...............................................EP 4592 (Ger.) SATB or SSATB a cappella

Beethoven, Ludwig van (1770–1827) • Fantasia in C minor Op.80......................................................EP 8723 Piano, SSATTB & Orchestra

• St. John Passion

Beethoven's 'Choral' Fantasy was first performed at the famous benefit concert on 22 December 1808 which also saw the premieres of the Fifth and Sixth Symphonies and the Fourth Piano Concerto.

New English Translation (Eng.)................................................EP 71807 Translation: Reverend Lyndon van der Pump

Scored, unusually, for solo piano, chorus and orchestra - the work was designed to unite all the performers in that concert in one work.

BWV 245 (Rösler & Eberhardt) ..................................EP 8635 SATB Soli, SATB Chorus & Orchestra (Ger.)

Choral Singing – The Easy Way to Learn Soprano CD........................................................................MPC 8635a Alto CD...............................................................................MPC 8635b Tenor CD............................................................................MPC 8635c Bass CD.............................................................................MPC 8635d

• Mass in C Op.86 (Lat.).............................................................EP 1105 SATB Soli, SATB Chorus & Orchestra

Beethoven's Mass in C was composed in 1807 to a commission from Prince Nikolaus Esterházy. Scored for four soloists, choir and orchestra, music from the Mass was first heard during Beethoven's famous marathon benefit concert (also including the premieres of the Fifth and Sixth Symphonies) in 1808.

• St. Matthew Passion BWV 244 (Soldan / Ochs)..................EP 4503 (Ger.) SATB Soli, SATB Chorus & Orchestra

New English Translation (Eng.).................................................EP 7999 Translation: Reverend Lyndon van der Pump Composed in 1727 for performance on Good Friday in the St Thomas Church Leipzig, Bach's St Matthew Passion stands as one of the greatest expressions of human art. The Edition Peters vocal score for this work is a high quality, reliable edition used by leading choirs and conductors across the world.

• Mass in D ‘Missa Solemnis’ Op.123 (Lat.)....................................................EP 45 (Soldan) SATB Soli, SATB Chorus & Orchestra "From the heart - may it return to the heart". Beethoven's inscription on a copy of the Missa Solemnis indicates the personal nature of the project which would be one of his final and greatest masterpieces. Classic Kurt Soldan edition from Edition Peters

113

Choral Oratorios • Ode To Joy from 9th Symphony (Ger.)....................................EP 2227 SATB Soli, SATB Chorus & Orchestra

A powerful, explosively joyful celebration of humanity, Beethoven's Ninth Symphony culminates in his choral setting of Schiller's An die Freude ('Ode to Joy'). This classic Edition Peters vocal score of the final movement of the symphony with its 'Ode to Joy' is used by leading choirs, conductors and choral directors across the world. With beautifully presented notation, German sung text, bar numbers and rehearsal letters, the score matches the Edition Peters orchestral material for the work. This edition is a cornerstone of any singer's choral library.

Choral Singing – The Easy Way to Learn Soprano CD........................................................................MPC 3672a Alto CD...............................................................................MPC 3672b Tenor CD.............................................................................MPC 3672c Bass CD..............................................................................MPC 3672d

• Let Nothing Ever Grieve Thee.................................................EP 6093 (Lass dich nur nichts nicht dauren) Op.30 (Eng./Ger.) SATB & Organ • Liebeslieder and New Liebeslieder Waltzes

Op.52, 65 (Ger.) (Soldan).................... ........................................EP 3912

Choral Singing – The Easy Way to Learn

Ode To Joy from 9th Symphony / Fantasia in C minor Op.80 Soprano CD.......................................................................MPC 8723a

Alto CD..............................................................................MPC 8723b Tenor CD............................................................................MPC 8723c

1,2 or 4 voices (soli & chorus and / or chorus) & piano 4 hands

Johannes Brahms' Liebeslieder Waltzes (Liebeslieder-Walzer) are a collection of love songs in Ländler style for voices and four hands Piano. The lyrics for the Liebeslieder come from Georg Friedrich Daumer's Polydora, a collection of folk songs and love poems.

Bass CD.............................................................................MPC 8723d

Brahms, Johannes (1833–1897) • Alto Rhapsody Op.53 (Ger.) ..................................................EP 3916 Alto Solo, TTBB Chorus & Orchestra

• German Requiem Op.45

Soprano & Baritone Soli, Chorus & Orchestra (Ger.).........................................................................................EP 3672

(Eng.).......................................................................................EP 3672a English translation by Traquair & Benson The classic edition of the vocal score for Brahms' Ein deutsches Requiem (A German Requiem) from Edition Peters, chosen by the world's greatest conductors and choirs as the most reliable and practical text for this ever-popular masterpiece. With beautifully presented notation, German sung text, bar numbers and rehearsal letters, and containing English translations of the text in an appendix, the score is presented on cream paper with weight, opacity and grain direction optimal for music publications and matches the Edition Peters orchestral material for the work.

• Nänie Op.82 (Eng./Fr./Ger.).........................................................EP 2082 SATB & Orchestra

• Schicksalslied / Song of Destiny..............................................EP 3917 (Ger.) Op.54 SATB & Orchestra

Composed in 1871 the Schicksalslied (Song of Destiny) is one of the most important short choral works with orchestra in the repertoire. Brahms's setting of Hölderlin finds a measure of consolation for the living (analogous to the spirit of his German Requiem) in a world of pain.

• 35 Secular Choruses (Ger.)....................................................EP 3915 Opp.42, 62, 93a, 104; 12 German Folksongs. 4–6 parts. Choral Score (Soldan)

114

Choral Oratorios Bruckner, Anton (1824–1896)

• Te Deum (Lat.) (Campo)

• 10 Sacred Choruses (Lat.).....................................................EP 4185

..........................................EP 8950 SATB Soli, SATB Chorus & Orchestra

4–8 voices a cappella or with organ and / or Trombones Ave Maria; Offertorium; Pange Lingua; Locus iste; Tota pulchra; Os justi; Christus factus est; Ecce sacerdos; Virga Jesse; Vexilla regis. Appendix: Inveni David. (Berbelich)

The pride of my life [...] my best work', was Anton Bruckner's own view of his Te Deum, for soloists, chorus and orchestra, which he dedicated to the Glory of God.

• Mass No.2 in E minor (Lat.) (Bornhöft)

It is beautifully bound and printed on cream paper with weight, opacity and grain direction optimal for music publications.

1882 version, Double SATB & Wind Orchestra

...................EP 10915

When the E minor Mass was premiered in Linz it was heard in its first version. Bruckner made several changes to this version in 1876 and 1882: he reviewed its architecture and phrase structure and improved the melodic writing and the instrumentation in several passages.

This Edition Peters urtext vocal score, edited by Christiane a Campo, is used internationally by the best choirs, soloists and conductors.

Matching orchestral material is also available from Edition Peters.

The second version, completed in July 1882, is generally preferred today and forms the basis of the present edition. It received its first public hearing in the composer's presence on October 4, 1885, when it was given in the Old Cathedral at the conclusion of the centennial celebrations for the Linz bishopric. Of the three Mass settings that Bruckner produced in Linz, the Mass No. 2 in E minor occupies a special position. If the orchestral Masses in D minor and F minor are dominated by the ethos of the classical symphony, the uniqueness of the E minor Mass resides in its blend of the ancient Palestrina style and a modern nineteenth century treatment of the wind instruments. All in all, Bruckner's three great settings of the Mass from 1864 to 1868 form an impressive route to the monumental symphonies which were to follow and which form the actual basis of his fame.

Cherubini, Luigi (1760–1842) • Requiem in C minor (Lat.)............................................................EP 52 SATB Chorus & Orchestra

• Requiem in D minor (Lat.)............................................................EP 51 TTB Soli & Orchestra

Cimarosa, Domenico (1749–1801) • Magnificat (Lat.).........................................................................EP 8351 SATB Chorus & Orchestra

Debussy, Claude (1862–1918) • Sirènes (Nocturnes, 3rd movement)..........................................EP 8400 SA Chorus

• Mass No.3 in F minor ‘Great’ (Lat.)......................................EP 10924 (Bornhöft) SATB Soli, SATB Chorus & Orchestra

Durante, Francesco (1684–1755) • Requiem (Messa de' morti) in C minor (Lat.) (Darlington)

..................................EP 73044a

Soprano, Alto, Choir and Orchestra First Edition 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 a church composer well into the 19th century.

115

Choral Oratorios Despite its widespread popularity, indicated by the number of manuscript copies to be found across Europe, his Requiem never appeared in print.

• Stabat Mater (Lat.) Op.58 (Kubik)

SATB Soli, SATB Chorus & Orchestra

..............................EP 8639

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.

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 available This edition of Durante’s Requiem has been recorded by Stephen Darlington, with Oxford’s Christ Church Cathedral Choir, soloists from The Sixteen and Oxford Baroque. Choral Singing – The Easy Way to Learn Soprano CD........................................................................MPC 8639a

Alto CD...............................................................................MPC 8639b Tenor CD............................................................................MPC 8639c Bass CD............................................................................MPC 8639d

• Te Deum Op.103 (Lat.) (Theill)

SB Soli, SATB Chorus & Orchestra Fauré, Gabriel

. ................................EP 8702

(1845–1924)

• Requiem (Lat.) (NectouxZimmermann)

. ..................EP 9562 Soprano & Baritone Soli, SATB Chorus & Orchestra

Dvorák, Anton (1841–1904) • Mass in D Op.86 (Lat.) (Burmeister) SATB Soli, SATB Chorus & Strings

..........................EP 8765

The vocal score for Gabriel Fauré's ever-popular Requiem is presented in a classic Edition Peters Urtext edition, edited by Jean-Michel Nectoux and Reiner Zimmermann. Beautifully bound and printed on cream paper with weight, opacity and grain direction optimal for music publications, it is the practical choice for any performer. Contains bar numbers and rehearsal letters, and matches the complementary Edition Peters orchestral score and orchestral parts. Contains a concluding essay in German, French and English.

• Requiem Op.89 (Lat.) (Ponman)

SATB Soli, SATB

...............................EP 8701

Choral Singing – The Easy Way to Learn Soprano CD.......................................................................MPC 9562a Alto CD...............................................................................MPC 9562b Tenor CD............................................................................MPC 9562c Bass CD.............................................................................MPC 9562d

116

Choral Oratorios Gounod, Charles (1818–1893) • Messe solennelle en l’honneur de Sainte-Cécile (Lat.)..........................................................EP 8729 STB Soli, SATB Chorus, Orchestra & Organ

"The appearance of the Messe Saint-Cécile caused a kind of shock. This simplicity, this grandeur, this serene light which rose before the musical world like a breaking dawn, troubled people enormously. . . . at first one was dazzled, then charmed, then conquered."

• Messiah

SATB Soli, SATB Chorus & Orchestra (Eng.) (Burrows)

.........................................................EP 7317

11 versions 1742-1754; main text 1752 Keyboard accompaniment by Soldan (Editorial Notes & Critical Commentary EP 7317a) ....................................EP 4501

(Eng./Ger.) (Schering / Soldan)

So wrote Camille Saint-Saëns after hearing the premiere of Gounod's 'Messe solennelle en l'honneur de Sainte-Cécile' on St Cecilia's day, 22 November 1855. Classic Edition Peters Vocal Score edited by Roland Erben. Contains a piano reduction of the orchestral accompaniment.

Choral Singing – The Easy Way to Learn Soprano CD.......................................................................MPC 4501a Alto CD...............................................................................MPC 4501b Tenor CD............................................................................MPC 4501c Bass CD.............................................................................MPC 4501d

Händel, Georg Friedrich (1685–1759)

• Samson (Ger.).................................... ............................................EP 63 SATBB Soli, SATB Chorus & Orchestra

• Belshazzar (Ger.)....................................................................EP 3636 SATB Soli, SATB Chorus & Orchestra

• Dettingen Te Deum (Ger./Eng.)...............................................EP 8615 Baritone Solo, SATTB Chorus & Orchestra

• Jephtha (Eng./Ger.) Wolfgang Schäfer.....................................EP 8698 SSMezATB Soli, SATB Chorus & Orchestra

• Joshua (Eng./Ger.)...................................................................EP 11238 SATB Soli, SATB Chorus & Orchestra

Haydn, Joseph (1732–1809) • The Creation

STB Soli, SATB Chorus & Orchestra Composed in 1797-1798, Joseph Haydn's The Creation /Die Schöpfung was one of his greatest successes, a masterwork of Enlightenment musical thought, and remains as popular now with choirs and audiences as ever.

(Eng./Ger.) (Burmeister)

...........................................EP 8998

Klaus Burmeister's authoritative edition for Edition Peters is here presented in an Urtext vocal score, perfect for study or practical performance. It contains parallel English and German texts, beautifully set notation, and an informative concluding essay in German and English.

(Eng.) (Temperley)

...................................................EP 7333

This Urtext Edition Peters vocal score is edited by Nicholas Temperley and includes a piano reduction by Muzio Clementi.

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Choral Oratorios Choral Singing – The Easy Way to Learn Soprano CD............................................................................MPC 66a Alto CD...................................................................................MPC 66b Tenor CD.................................................................................MPC 66c Bass CD..................................................................................MPC 66d

• The Seasons Hob XXI/3 (Seyried)

STB Soli, SATB Chorus & Orchestra

.......................EP 11031

Masses • Missa Cellensis / Cecilia Mass Hob.XXII/5 (Feldigl) ............EP 8548

Hob.XXII/5 (Feldigl) (Lat.) SATB Soli, SATB Chorus & Orchestra

This Mass (whose full name is Missa Cellensis in honorem Beatissimae Virginis Mariae was originally composed by Haydn in 1766, after he was elevated to the post of Kapellmeister at Esterhäza following the death of Gregor Joseph Werner (the previous Kapellmeister). It is believed that the original manuscript was destroyed in the Eisenstadt fire of 1768, and that when Haydn re-wrote the work from memory, he may have expanded it. It may originally have consisted solely of Kyrie and Gloria and the remaining movements added later. It is thought that this Mass may have been performed by the Saint Cecilia's Congregation, a Viennese musician's fraternity, on some Saint Caecilia's Day (November 22nd) during that time, but this also lies in the realm of conjecture.

• Mass in B- ‘Harmony Mass’ (Lat.)

. ........................EP 8904 Hob.XXII/14 (Erben) SATB Soli; SATB Chorus & Orchestra

First performed in September 1802, Haydn's 'Harmoniemesse' was the last of the high masses composed to commission from Haydn's employer Prince Nicolaus II of Esterhazy. While Haydn called the work simply 'Missa' the work has acquired its nickname due to the prominent role given to woodwind ('harmonie') instruments in the piece.

• Mass in B- ‘Maria-Theresia Mass’ (Feldigl).........................EP 8581 Hob.XXII/12 (Lat.) SATB Soli; SATB Chorus & Orchestra

• Mass in C ‘Paukenmesse’ (Lat.) (Focke)...............................EP 8582 Hob.XXII/9 SATB Soli; SATB Chorus & Orchestra

• Mass No.3 in D minor ‘Nelson / Imperial Mass’ (Burmeister)

....................EP 8990

Hob.XXII/11 (Lat.) SATB Soli; SATB Chorus & Orchestra Composed in 1798, Haydn's 'Mass for Troubled Times' was written against the backdrop of Napoleon's campaign against the British in Egypt. It acquired its nickname the 'Nelson' Mass, following news of the defeat of Napoleon by Admiral Lord Nelson at the Battle of the Nile in August 1798. It is one of Haydn's greatest and most popular works. This Edition Peters Urtext vocal score is edited by Klaus Burmeister and is a library choice for any practical singer. Based on the new scholarly Edition Peters edition of the work, it contains cleanly set Latin text, a concluding essay, and matches the publisher's orchestral materials.

• The Seven Last Words (Ger.)................................................EP 1371 SATB Soli, SATB Chorus & Orchestra

As the composer explained this work: "Some fifteen years ago I was requested by a Canon of Cadiz to compose instrumental music on the seven last words of Our Savior on the Cross. It was customary at the Cathedral of Cadiz to produce an oratorio every year during Lent, the effect of performance being not a little enhanced by the following circumstances. The walls, windows, and pillars of the church were hung with black cloth, and only one large lamp hanging from the center of the roof broke the solemn darkness. At midday, the doors were closed and the ceremony began. After a short service the bishop ascended the pulpit, pronounced the first of the seven words (or sentences), and delivered a discourse thereon. This ended, he left the pulpit and fell to his knees before the altar. The interval was filled by music. The bishop then in like manner pronounced the second word, and then the third, and so on, the orchestra following on the conclusion of each discourse. My composition was subject to these conditions, and it was no easy task to compose seven adagios lasting ten minutes each, and to succeed each other without fatiguing the listeners; indeed, I found it quite impossible to confine myself to the appointed limits." (The work was commissioned in 1787 for the Good Friday Service at the Grotto Santa Cueva near Cadiz in southern Spain; Haydn added vocal parts to the orchestral work between 1795 and 1796, and published a version for string quartet.)

Ligeti, György Sándor (1923–1806) • Lux Aeterna (Lat.).....................................................................EP 5934 16-voice Mixed Chorus a cappella

One of the great classics of 20th century choral modernism. Ligeti's thrilling Lux Aeterna achieved global fame following its use on the soundtrack to Stanley Kubrick's 1968 film 2001: A Space Odyssey. For 16-part Choir SATB, the work deploys Ligeti's technique of micropolyphony and uses cluster chords to create a densely buzzing haze of sound. Vocal Score.

• Requiem (revised 1997) (Lat.)...............................................EP 10926 Soprano & Mezzo-Soprano Soli, 2 Mixed Choruses & Orchestra Vocal Score 33.5 x 26.5 cms with instructions (Ger./Eng.) (Full Score EP 10925)

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Choral Oratorios Liszt, Franz

• Kirchenmusik (Ger./Lat./Eng.)...............................................EP 1770a

(1811–1886)

• The 13th Psalm (Ger.).............................................................EP 8354 Tenor Solo, SATB Chorus, Organ & Orchestra

Mendelssohn, Felix (1809–1847) • Die erste Walpurgisnacht Op.60...........................................EP 1752 ATBarB Soli, SATB & Orchestra (Ger.)

Choral Singing – The Easy Way to Learn Soprano CD.......................................................................MPC 1752a Alto CD..............................................................................MPC 1752b Tenor CD...........................................................................MPC 1752c Bass CD.............................................................................MPC 1752d

• Elijah /Elias ...............................................EP 11347 SATB Soli, SATB Chorus & Orchestra

(Ger.) (Burmeister)

In this new Urtext edition, Klaus Burmeister builds on our 1929 edition by Kurt Soldan. The piano part has been revised for consistency alongside our new full score, supplying instrument cues and supporting accompaniment in a cappella passages, while retaining rehearsal letters and measure numbers.

(Eng.) (Burmeister)

.............................................EP 11346

New English edition of the vocal score using the original English words by William Bartholomew.

12 Sacred Choruses in 3–8 parts. Soprano, Alto or SATB Soli & Organ

• Kirchenmusik (Ger./Eng.).......................................................EP 1770b 13 Unaccompanied Choruses in 3–8 parts SATB or SSAATTBB, some with soli

• Lobgesang / Song of Praise Op.52.........................................EP 1750 from Symphony No.2 (Ger.) (Cornelis) SST Soli, SATB, Organ

Choral Singing – The Easy Way to Learn Soprano CD........................................................................MPC 1750a Alto CD................................................................................MPC 1750b Tenor CD............................................................................MPC 1750c Bass CD.............................................................................MPC 1750d

• St. Paul (Eng./Ger.) (Doerffel)....................................................EP 1748 STBB Soli, SATB, Orchestra & Organ Choral Singing – The Easy Way to Learn Soprano..............................................................................MPC 1748a Alto....................................................................................MPC 1748b Tenor..................................................................................MPC 1748c Bass...................................................................................MPC 1748d

Mozart, Wolfgang Amadeus (1756–1791) • Coronation Mass in C K317 (Lat.) (Burmeister) SATB Soli, SATB Chorus & Orchestra

.......EP 8115

Published on the 175th anniversary of the premiere of the work at Birmingham town hall in the UK, conducted by the composer. The work was commissioned by the Birmingham Festival in 1845. Includes a foreword, Mendelssohn and Birmingham, by Simon Halsey, Chorus Director of City of Birmingham Symphony Orchestra Chorus, who also holds choral posts with the London Symphony Orchestra, the Berlin Philharmonic Youth Choral Programme, and gives choral conducting masterclasses at Yale and Princeton universities; Also available: full score & orchestral parts

• Mass in C minor K427 (Lat.) (Beyer)

SSATB Soli, SATB Chorus, Orchestra & Organ

........................EP 8706

Choral Singing – The Easy Way to Learn Soprano CD.......................................................................MPC 1749a Alto CD.............................................................................. MPC 1749b Tenor CD...........................................................................MPC 1749c Bass CD.............................................................................MPC 1749d

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Choral Oratorios Choral Singing – The Easy Way to Learn Soprano..............................................................................MPC 8706a Alto..................................................................................... MPC 8706b Tenor...................................................................................MPC 8706c Bass....................................................................................MPC 8706d

• Missa Brevis in C K220 (Burmeister) “Spatzenmesse”

Pergolesi, Giovanni Battista (1710–1736) • Stabat Mater (Lat.) (Roesler)......................................................EP 774 SA Soli, SA Chorus & Organ

.....................EP 11046

• 6 Nocturnes K346,436–9, 549 (It./Ger.)

SSB, Piano (or 2 Violins, Cello) (Kraus)

Choral Score.............................................................................EP 4522 Vocal Parts (each)...............................................................EP 4522-cp String Parts (each)...............................................................EP 4522-s

• Requiem in D minor K626 (Lat.)

Reger, Max (1873–1916)

SATB Soli, SATB Chorus & Orchestra

• 8 Geistliche Gesänge Op.138...................................................EP 3984 No other work by Mozart is so enshrouded in myth as his final composition, (Ger.) 4–8 voices a cappella the D minor Requiem. Mozart died before its completion, and the missing sections had to be added by others. The many handwritten copies circulated • Requiem Op.144b.......................................................................EP 3996 after his death added to the corruption of the text by contributing errors of Alto or Baritone Solo, SATB Chorus & Orchestra their own. (Ger. text by Hebbel) (Süssmayr/Black)

.....................................................EP 11036

Edition Peters has published a new urtext edition edited by David Black. The edition relies on Mozart's composition and the traditional completion by Franz Xaver Süssmayr.

Rossini, Gioachino (1792–1868) • Petite messe solennelle (Lat.)................................................EP 8684 SATB Soli, SATB Chorus, Harmonium & Piano

For the first time, however, it incorporates sources previously unavailable to earlier editions, including the Neue Mozart-Ausgabe.

Choral Singing – The Easy Way to Learn

Soprano...............................................................................MPC 8684a Alto......................................................................................MPC 8684b Tenor....................................................................................MPC 8684c Bass....................................................................................MPC 8684d

Soprano CD........................................................................MPC 8700a

• Stabat mater (Lat.) ....................................................................EP 8764

(Beyer)

......................................................................EP 8700

(Süssmayr/Brissler)......................................................................EP 76

Alto CD................................................................................MPC 8700b Tenor CD.............................................................................MPC 8700c Bass CD..............................................................................MPC 8700d

• Vesperae solennes de Confessore K339 (Burmeister) SATB soli, choir and orchestra (Lat.)

120

...........................EP 8925

SSTB Soli, SATB Chorus & Orchestra

Choral Oratorios Saint-Saëns, Camille (1835–1921) • Oratorio de Noël Op.12 (Lat.) Blakeman) SMezATB Soli, SATB Chorus & Orchestra

Schoenberg, Arnold (1874–1951) .............EP 11053

New Urtext Edition based on original sources by Edward Blakeman.

• 3 Folksong Settings (Ger.)......................................................EP 4863 Schein uns, du liebe Sonne; Es gingen zwei Gespielen; Herzliebchen Lieb, durch Scheiden. SATB a cappella Choral Score

Saint-Saëns was twenty-three when he wrote his Oratorio de Noël and it has all the freshness of a young composer eager to prove himself. He had been organist of the fashionable Church of the Madeleine in Paris for just a year - a prestigious position - and the Oratorio was a major undertaking for his second Christmas there. The work was written in just twelve days between 4 and 15 December 1858. Despite Saint-Saëns's efforts in overseeing the publication of the Oratorio, it had various mistakes and omissions. This new edition attempts to correct these, and by close comparison with the various manuscript sources to present the work for the first time in a form as close to possible to Saint-Saëns's intentions. Where there are still ambiguities, square brackets have been used to indicate alternative or uncertain readings - in particular for the inclusion of extra details that somehow appeared in the printededition after the preparation and correction of Saint-Saëns's final manuscript.

Salieri, Antonio (1750–1825) • Coronation Te Deum (Lat.).....................................................EP 8350

Schubert, Franz (1797–1828) • German Mass / Deutsche Messe D872...........................................................EP 8870 (Ger.) (Burmeister) SATB Chorus & Orchestra

• Mass No.2 in G D167 (Lat.) (Burmeister) STB Soli, SATB Chorus & Orchestra

..............EP 10858

SATB Chorus & Orchestra

• Requiem in C minor (Lat.).......................................................EP 8311 SATB Chorus, & Orchestra

Choral Singing – The Easy Way to Learn

Satie, Erik (1866–1925)

Soprano..............................................................................MPC 1049a Alto.....................................................................................MPC 1049b Tenor...................................................................................MPC 1049c Bass....................................................................................MPC 1049d

• Messe des pauvres / Paupers’ Mass (Lat.)..............................................................EP 9621

Choir & Organ

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Choral Oratorios • Mass No.6 in E- D950 (Lat.)....................................................EP 1052 SATTB Soli, SATB Chorus & Orchestra

• 4 Sacred Pieces / 4 Pezzi Sacri, complete (Lat.)..............................................EP 4256

Schumann, Robert (1810–1856)

Verdi's Quattro Pezzi Sacri (Four Sacred Pieces) were written separately but published together in 1898 towards the end of the composer's life.

• 10 Choruses (Ger.)...................................................................EP 4694 SATB Chorus a cappella

• Das Paradies und die Peri Op.50..........................................EP 2396 SMezATB Soli, SATB Chorus & Orchestra (Ger.)

Often performed as a cycle they are also possible performed as separate works.

• 4 Sacred Pieces, separately (Lat.)

No.1:........................................................................................EP 4256a Ave Maria Choral Score. SATB a cappella

No.2:........................................................................................EP 4256b Stabat Mater Vocal Score SATB & Orchestra No.3:............................ .........................................................EP 4256c Laudi alla Vergine Maria Choral Score SSAA a cappella The third of Verdi's 'Four Sacred Pieces', 'Laudi alla Vergine Maria' is based on a short prayer to the Virgin Mary from Dante's 'Paradiso'. No.4:.......................................................................................EP 4256d Te Deum Vocal ScoreSoprano Solo, Double SATB Chorus & Orchestra

Vivaldi, Antonio (1678–1741) • Gloria in D RV 589 (Lat.) (Burmeister) SSA Soli, SATB Chorus & Orchestra

Verdi, Giuseppe (1813–1901) • Requiem (Lat.) (Soldan)............................................................EP 4251 SMezTB Soli, SATB Chorus & Orchestra

With its searing, operatic drama, Verdi's setting of the Roman Catholic Requiem Mass is among the most frequently performed and popular works in the choral repertoire. This vocal score from Edition Peters, edited by Kurt Soldan, is the classic edition and used by the leading choirs, soloists, repetiteurs and conductors across the globe. Performance indications and details appear in Italian and German.

Choral Singing – The Easy Way to Learn Soprano.............................................................................MPC 4251a Alto....................................................................................MPC 4251b Tenor..................................................................................MPC 4251c Bass...................................................................................MPC 4251d

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.....................EP 8867

Contemporary Choral Contemporary Choral

orchestra which was premiered by the Swedish Chamber Orchestra in 2002.

Octavos and Large-scale works

I have always enjoyed collaborating with non-professional and community groups, which I find stimulating and inspiring. These are musicians for whom music is an absolute pleasure – who give time without payment in the midst of busy lives, often with demanding jobs and family commitments. They do this because they love music and the companionship and buzz of working together. The enthusiasm always communicates to the audience and some of the most memorable performances of my music have been in churches, schools and community halls. Sally Beamish

See also Voces8 Singles Section Beamish, Sally

(*1956)

Born in London in 1956, Sally Beamish initially trained as a viola player at the Royal Northern College of Music before moving to Scotland in 1990 to develop her career as a composer. Her music embraces many influences, particularly jazz and Scottish traditional music, in a catalogue boasting over 200 compositions including solo, duo, chamber, orchestra, vocal, choral, ballet and opera works. Her music has been broadcast and performed extensively around the world with notable soloists including Håkan Hardenberger, John Harle, Branford Marsalis, Tabea Zimmermann, James Crabb, Dame Evelyn Glennie and Colin Currie amongst others.

• Good Wish.....................................................................EP 73454 Unaccompanied SATB Choir

This 2-minute work for choir SATB was first performed by the Cumnock Tryst Festival Chorus, conducted by Eamonn Dougan, on 6 October 2019 at the Cumnock Tryst Festival.

Bingham, Judith • Be Still.................................................................................EP 72924 SATB Choir & Organ

• Bird Year...............................................................................EP 72811 Unaccompanied SATB Choir

Bird Year was commissioned by Phoenix Singers of Shrewsbury, and first performed by the group in 2006. The text consists of four poems written by the composer, and suggests the continuity of life by representing each season with a particular bird.

• Can you hear me?.............................................................EP 73617 Unaccompanied SSAATTBB Choir

Can you hear me? is written for eight-part a cappella choir and sets a new text by Peter Thomson that asks simple but fundamental questions about the need for human contact. First performed by the National Youth Choir of Great Britain at the Royal Albert Hall, London in December 2021, it captures one of the problems the world faced with the Covid-19 lockdown, and looks forward to new beginnings. Duration is 4.5 minutes.

(*1952)

Born in Nottingham, and raised in Mansfield and Sheffield, Judith Bingham began composing as a small child, before studying composition and singing at the Royal Academy of Music in London. Her composition studies there with Alan Bush and Eric Fenby were later supplemented by lessons from Hans Keller. She was awarded the Principal's prize in 1971, and 6 years later the BBC Young Composer award. Recent composition prizes include: the Barlow Prize for a cappella music in 2004, two British Composer Awards in 2004 for The Christmas Truce (choral) and Missa Brevis: The Road to Emmaeus (liturgical), one in 2006 for My Heart Strangely Warmd and the instrumental award in 2008 for Fantasia. Her first commissions, in the 1970s, were from the Finchley Children's Music Group, the King's Singers, and Peter Pears, but she also wrote 4 pieces for the newly formed Songmaker's Almanac, and a string of chamber works for, amongst others, David Roblou, David Mason, Anton Weinberg, and the New London Consort, making her one of the first composers to write new music for medieval instruments. In 1983, she joined the BBC Singers as a full time member of the alto section and toured extensively with them, singing many solo parts. She left the Singers at the end of 1995 to concentrate on her activities as a composer, though she continued to sing professionally for some years. In 2004 she was made Composer in Association with the BBC Singers, a highly successful collaboration which continued until 2009.

• Christmas Light......................................................................EP 73462 SATB Choir & Glockenspiel

I wrote Christmas Light for a choir and glockenspiel to celebrate poet Betty McKellar’s 90th birthday. I love the colour and imagery in Betty’s work and the honesty and clarity of her writing.I first discovered her work in the 1990s and set her poem Cramasie Threid for soprano and cello. I then took the poem Sangsters as the starting point for a concerto for

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Contemporary Choral On joining the BBC Singers she wrote a series of choral works, many of them based on texts compiled from disparate sources as an integral part of the compositional process. These included Irish Tenebrae, A Winter Walk at Noon and A Hymn before Sunrise in the Vale of Chamonix. Several of these were for the BBC Singers, but there were also pieces for other professional, amateur and collegiate choirs, including Salt in the Blood, written for the BBC Symphony Chorus to perform at the 1995 Proms, a Magnificat and Nunc Dimittis for King's College Cambridge, and diverse anthems and church works for the cathedrals of Winchester, Lichfield, Westminster Abbey, St John's Cambridge, and more recently, Westminster Cathedral, Wells Cathedral and the Edington Festival. She has written three settings of the Missa Brevis, and two sets of Evening Canticles as well as many anthems. In 2007 she was made a Fellow of the Royal School of Church Music for distinguished services to church music.

• Distant Thunder.................................................................EP 71990

A re-working of ‘My Soul There is a Country’ by Parry Words by Robert Bridges. Commissioned by The Joyful Company of Singers and Presteigne Festival. SATB a cappella

• The Drowned Lovers........................................................EP 71066 A Reconstruction of Stanford's "The Bluebird" A 'Reconstruction' of Stanford's "The Bluebird" which should follow the performance of this work. Mezzo-soprano solo, Mixed Choir (SATB)

• Gleams of a Remoter World...........................................EP 71126

Words by Percy Bysshe Shelley SATB Chorus and 5 solo voices

• The Hired Hand..................................................................EP 7998 Sing-song in a London east-end pub, c.1888 for 24 Voices SATB

A performance piece in the style of a "sing-song" in a London east-end pub, around 1888 for 24 Voices. The piece is intended to be conductorless, with the singers divided into 5 distinct groups.

• I lift up mine eyes unto the hills....................................EP 73464

Psalm 121 SATB and Piano (with optional parts for a second SATB Choir and Organ)

• An Introduction to Hark, the Glad Sound.....................EP 73397 for Soprano Saxophone, SATB Choir and Organ

• The King's Revels..........................................................EP 72948a • Ave Virgo Sanctissima....................................................EP 72207

A masque for chamber ensemble, 2 choirs, soprano solo and actor

SATB a cappella Words by Roman poet Prudentius, St Ambrose and an anonymous author

• Ceaselessly Weaving Your Name..................................EP 73073 SATB a cappella

• The Christmas Truce (Eng./Ger.)....................................EP 71191b for Mixed Choir and Ensemble Vocal Score

A musical depiction of the 1914 Christmas ceasefire in the trenches of northern France during World War I. The music combines texts from diaries, letters and news reports, alongside German and English Christmas carols to create a haunting reflection on that extraordinary day. Winner of the 2004 British Composer Award for Choral Music.

• Magnificat and Nunc Dimittis (York Service)...............EP 73114 SATB a cappella

• The Morning Star fades from the sky...........................EP 73256 Anthem for unaccompanied choir (SSATB)

• A Night-Piece....................................................................EP 73127 SATB divisi

• O magnum mysterium....................................................EP 71101 Double Choir a cappella

• The Past is a Strange Land.............................................EP 71137 Text: Sir Arthur Conan Doyle, Edward Thomas, Hillaire Belloc, Christina Rossetti, anon. and the composer

Five Cheshire Ghost Stories for SATB Choir

• The Pilgrimes Travels.......................................................EP 72074 • The Clouded Heaven.......................................................EP 71087 Text: Lancelot Andrewes and William Wordsworth Anthem for SATB Choir and Organ

• The Darkness is No Darkness........................................EP 71097 A Fantasy on S. S. Wesley's "Thou Wilt Keep Him in Perfect Peace" SATB Choir (Organ ad lib.)

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Text from Salve Deus Rex Judaeorum by Emilia Lanier (1569-1645) SATB Choir and Organ

• Salt in the Blood...............................................................EP 71143b A Ghost Story for SATB Choir and Brass ensemble Vocal Score

Contemporary Choral • The Secret Garden...........................................................EP 71188 A Botanical Fantasy for SATB Chorus and Organ

• Shakespeare Requiem....................................................EP 71742

Soprano and Baritone, Mixed Choir, Organ and Orchestra Vocal Score

• The Sleeping Soul............................................................EP 73222 Text: St Mechthild of Magdeburg SATB choir with organ

An atmospheric five-minute piece, at times evoking the mystery of the text and at other moments expressing joy contained in it. It was composed for the Bath Abbey Music Society in celebration of the 20th anniversary of the Abbey Girls Choir in 2017. The work sets a text by the Christian medieval mystic St Mechthild of Magdeburg (c.1207–c.1297).

• The Spirit of Truth...............................................................EP 71788 A re-working of If ye love me by Thomas Tallis. Text: John:15-17, Thomas Cranmer (1489-1556) 6A/3T/2Bar/B a cappella

• Unpredictable But Providential........................................EP 71185 SATB divisi

• Watch With Me...................................................................EP 72876 Anthem for SATB Choir a cappella

Burton, James (*1974) Born in London, conductor/composer James Burton is currently the Boston Symphony Orchestra Choral Director, and Conductor of the Tanglewood Festival Chorus.

• A City Called Heaven......................................................EP 72962 Unaccompanied SATB Choir and Soprano Solo

• Laudibus in sanctis..........................................................EP 73420 SATB Choir and Organ

• The Lost Words..............................................................EP 73416a High Voices and Piano (or Orchestra)

The Lost Words by composer James Burton takes its inspiration and text from the award-winning ‘cultural phenomenon’ and book of the same name by Robert Macfarlane and Jackie Morris: a book that was, in turn, a creative response to the removal of everyday nature words like acorn, newt and otter from a new edition of a widely used children’s dictionary. Both the book and Burton’s 32-minute work, which is written in 12 short movements for upper-voice choir in up to 3 voice parts (with either orchestral or piano accompaniment), celebrates each lost word with a beautiful poem or ‘spell’, magically brought to life in Burton’s music. At its heart, the work delivers a powerful message about the need to close the gap between childhood and the natural world. Burton’s piece was co-commissioned by the Hallé Concerts Society for the Hallé Children’s Choir and the Boston Symphony Orchestra. The piano accompaniment version was premiered at the Tanglewood Festival in 2019 by the Boston Symphony Children’s Choir, of which Burton is founder and director.

His extensive choral conducting has included guest invitations with professional choirs including the Gabrieli Consort, the Choir of the Enlightenment, Wrocław Philharmonic, and the BBC Singers. From 2002 to 2009 he served as Choral Director at the Hallé Orchestra, winning the Gramophone Choral Award in 2009. A lifelong and passionate advocate for young musicians, he founded the Boston Symphony Children’s Choir in 2018, the Hallé Youth Choir in 2003 and he was Music Director of Schola Cantorum of Oxford from 2002 to 2017. In 2017 he was guest director of Japan’s National Youth Choir, and he has also been a guest of NYCGB and Genesis Sixteen. James Burton began his training at the Choir of Westminster Abbey, where he became head chorister, and he was a choral scholar at St. John’s College, Cambridge. He is a master’s graduate of the Peabody Conservatory, where he studied orchestral conducting with Frederik Prausnitz and Gustav Meier. His works have received premieres on BBC Radio 3, and have been performed and recorded by many leading choral groups including the Sixteen, Tenebrae, the BBC Singers, ORA Singers and the Choir of St John’s College Cambridge. His most recent work The Lost Words is based on the book by Jackie Morris and Robert Macfarlane, and is a 35-minute piece for upper voices and orchestra (or piano).

• Magnificat..........................................................................EP 72804 Unaccompanied Double Choir

• Oculi Omnium...................................................................EP 72483 A setting of the grace of Brasenose College, Oxford, which uses texts from Psalm 144 Double Choir SATB

• On Christmas Night........................................................EP 72458 SATB Choir and Organ

• O Thoma!...........................................................................EP 72797 A Carol for St Thomas' Eve for SATB Choir

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Contemporary Choral • Psalm 67.............................................................................EP 72805 Unaccompanied Double Choir, SSAATTBB

• Remember, O thou man...................................................EP 72838 Unaccompanied Double Choir, SSAATTBB

• St Cuthbert and the Otters..............................................EP 73242

Campkin, Alexander

(*1984)

Alexander Campkin (b. 1984) studied at Oxford University, the Royal Academy of Music and the University for Performing Arts in Vienna, and has been elected an Associate of the Royal Academy of Music for services to music.

Unaccompanied choir (SSAATTBB) and 2-part children's chorus

• Te lucis ante terminum......................................................EP 72839 Unaccompanied Double Choir, SSAATTBB

• Tomorrow shall be my dancing day................................EP 73011 Choir & Organ

Burton, Ken

(*1970)

• Descend to Earth (Eng.)....................................................EP 73558 Baritone Solo and SSAATTBB Choir British composer Ken Burton was drawn to the poetry of 18th-century slave and writer Phyllis Wheatley for his piece Descend to Earth. The dual troubles of pandemic and racial oppression in 2020 resonate with Wheatley’s concise poem, the start of which recalls the Christmas/Holiday season. Written for SSAATTBB unaccompanied choir plus baritone solo, Descend to Earth will have a place in many programs with varied themes. It was commissioned by VOCES8 for their LIVE From London festival in 2020 and premiered by them with baritone Roderick Williams.

• Awake, Awake!..................................................................EP 73440 Unaccompanied SATB Choir

• The Bells of the City of God...........................................EP 73306 Carol for unaccompanied SATB Choir

• Calm me, O Lord..............................................................EP 72859 Unaccompanied SATB Choir

• Coventry Carol..................................................................EP 73441 Unaccompanied SATB Choir

• The crimson sun...............................................................EP 73305 Carol for unaccompanied SSATB Choir

A heart-warming 4-minute setting for unaccompanied voices of the 19th century strophic text.

• A Prayer (Eng.)......................................................................EP 73580 SATB divisi

British composer Ken Burton uses the writing of Paul Laurence Dunbar (1872–1906), the black American son of emancipated slaves, in his 3-minute work A Prayer. The text of the three verses is bitter-sweet, filled with hope and sadness, and the music combines with this to make a rhythmically simple reflective evening hymn. Burton draws on Spiritual, Gospel and Blues to write a piece for SATB with divisi that will be a popular piece both to sing and to hear.

• New commission from The Jason Max Ferdinand Singers and

premiered in their inaugural concert as part of the online LIVE from London – Spring Festival 2021

• Follows Descend to Earth, VOCES8’s own commission of Ken Burton in the LIVE from London – Christmas Festival 2020

• UK-based Ken Burton is known for his work on UK television

programmes, particularly in BBC TV’s Songs of Praise

• Burton was choirmaster for the multi Oscar winning and Grammy winning Marvel film Black Panther

• The first kiss...................................................................EP 73447a Double Choir & Keyboard or Strings

• Glorious, beauteous, golden-bright..............................EP 73307 Unaccompanied SSATB Choir

• Glorious, beauteous, golden-bright..............................EP 73442 Unaccompanied SSA Choir

• Miserere mei (Lat.)............................................................EP 72963 Soloists (SSA(, and two choirs (SATB) and (STB)

• Missa Brevis......................................................................EP 73446 SATB Choir & Organ

• O nata lux..........................................................................EP 72964 Unaccompanied Double SSATB Choir

• Ring out, O bells..............................................................EP 73466 Unaccompanied SSATB Choir

Commissioned for Stephen Layton and The Choir of Trinity College Cambridge, Ring out, O bells was premiered in the Advent Carol Service at Trinity College Cambridge on 1 December 2019.

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Contemporary Choral • Sent from God...................................................................EP 72860 Unaccompanied SATB Choir

• Sleep, Holy Babe..............................................................EP 72953 SATB Choir & Optional Keyboard

• Sleep, Holy Babe..............................................................EP 72953a SSA Choir & Optional Keyboard

• Sleep, Holy Babe..............................................................EP 72953b Trebles & Optional Keyboard

• Tommy's Carol..................................................................EP 73459a SATB Choir & Organ (or Orchestra)

• True Light..........................................................................EP 73448a Double Choir & Organ (or Orchestra), with optional Tam-tam

• Unleash the beauty...........................................................EP 72977 Unaccompanied SATB Choir

• Unwatch’d............................................................................EP 73119 SSAA Choir & Optional Keyboard

Dove has composed many choral works, both for concert and liturgical use, which are in the repertoires of choirs around the world. His carol The Three Kings was commissioned for the famous Nine Lessons and Carols service at King's College Cambridge on Christmas Eve 2000 and has been recorded by EMI. His Missa Brevis, commissioned by the Cathedral Organists' Association was premiered by the Choir of Wells Cathedral in 2009, has subsequently been performed at services all over the UK and was chosen for the BBC's Christmas Day Worship broadcast in 2009. Other works include anthems; I am the day, Bless the Lord, O My Soul, The Star Song, I will lift up mine eyes and the cycle of seasonally inspired poetry The Passing of the Year. Larger scale works with chorus include Köthener Messe, in which the spirit of Bach's early cantatas can be heard informing the music (and is one of several works in which Dove exploits his fascination with early musical instruments), the epic and moving There Was A Child, a unique 'celebration of life' for chorus, soloists and orchestra inspired by the untimely death of a young man, and For an Unknown Soldier which commemorates the centenary of World War 1.

Cohen, Robert S. Robert S. Cohen has written music for chorus, orchestra, chamber ensemble, dance and theatre and has been the recipient of numerous awards and commissions.

• Alzheimer's Stories.............................................................EP 68332

Libretto: Herschel Garfein Oratorio for Chamber Orchestra and Choir

“One of the greatest achievements a work of art can hope to reach is to bring us to our darkest places and show us a light. To illuminate our fears, ease our anxieties, and heal our pain. Whether or not you’ve struggled with this disease personally or as a caregiver, this is what makes Alzheimer’s Stories a truly special experience.” – Kody Wallace, Choral Journal (Oct. 2018)

• Antiphon...............................................................................EP 72710 for Double Choir (SSA SATB)

• Bless the Lord, O My Soul..................................................EP 7608 SATB and Organ

"Bless the Lord, O my Soul was commissioned by a group of people whose early lives were dedicated to choral singing. I wanted their Millennium Anthem to be a celebration of song, and Psalm 104 provided a wonderful sequence of expansive imagery.

Dove, Jonathan

(*1959)

Few composers working today have embraced the modern opera house as consistently and successfully as Jonathan Dove. His incomparable catalogue of more than twenty diverse operatic works is indicative of a practical and lively theatrical mind, steeped in operatic experience. In all his music, Dove has a strong desire to communicate, to entertain, and to provoke transformative experiences. His musical language is at once immediately appreciated by listeners new to the concert hall and has provided performers, audiences and directors with rich possibilities for interpretation; several of his major operatic works have been performed in multiple productions all over the world, and his list of commissioners includes some of the world's greatest musicians.

The organ part is quite virtuosic, beginning with a flourishing fanfare suggesting a heavenly vision, which provokes the choir into a wordless cry of wonder; in contrast, their first words are hushed, awe-struck. The organ creates a backdrop of twinkling stars for ‘who coverest thyself with light’ and a calm sea for ‘who layest the beams of his chambers in the waters’. The hushed ‘bless the lord’ returns, but now fast and loud, ushering in the most dramatic imagery: the chariot of clouds, the wings of the wind, and finally the depiction of God’s ministers as a ‘flaming fire’". Jonathan Dove

• Come, you who are blessed............................................EP 72635 SATB and Organ

• The Darkling Thrush...........................................................EP 7775 SSAATTBB a cappella

It is perhaps natural that a composer who so completely understands the individual voice should also be a brilliant and sympathetic writer of choral music.

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Contemporary Choral • For an Unknown Soldier

Tenor Solo, Children's Choir, SATB & Orchestra

• Köthener Messe..................................................................EP 7658a SATB soli, choir and chamber orchestra

Vocal Score.......................................................................EP 72606a Children's Vocal Score......................................................EP 72606c

First performance: 1 September 2002, Himlische Cantorey und Akademie für Alte Musik Berlin, Jonathan Dove, Köthener Bach Festtage During his years in Köthen, Bach had no official duties in church or chapel. At St Agnus Kirche he had to listen to the efforts of inferior musicians, and doubtless instantly composed in his mind the music they should have written.

• Gloria (from Missa Brevis).............................................EP 71780a SATB and Organ

• Hear Us, O Hear Us Lord................................................EP 72833 Choir & Organ

• I Am the Day.......................................................................EP 7559 A Carol for SATB Choir

A Christmas carol using text from the legend of St Christopher and Revelation 22:16, 13

• I will lift up mine eyes......................................................EP 71983

SATB Choir & Organ "There is something about Jonathan Dove's music that ticks all the right boxes. His organ accompaniment is the best part of this new psalm setting and it requires tenacity - there are pages of apeggiated semiquavers in both hands. Elsewhere the organ's recurring and building choral texture vies with legato lines of the choir to make for a commanding new alternative setting of Psalm 121". (Matthew Power, Choir and Organ magazine, Sept/Oct 2010) Commissioned to celebrate the 150th Anniversary of the consecration of the Gilbert Scott Chapel at Exeter College, Oxford, on 18th October 2009.

• In Beauty May I Walk..........................................................EP 7637

SATB Choir A setting of a Navajo text (here translated by Jerome K. Rothenburg).

• It sounded as if the Streets were running.......................EP 7896

SSAA Choir Text: Emily Dickinson

The composer says of setting Emily Dickinson's poetry: "One reason I am repeatedly drawn to set the poems of Emily Dickinson to music is that hardly any of them were known, let alone spoken aloud or sung, during her lifetime. When she died, in 1886, an enormous number of poems were discovered (there are 1,775 in total). Some of them were published over the next ten years; many more were hidden away again for another thirty years. The thought of these powerful words being unseen and unheard for so long makes me want to hear them sung as often as possible! Dickinson’s work also invites singing because her language is so simple and economical, and yet contains wonders: seeing the world through her eyes, we watch the unfolding of vast, cosmic dramas."

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Perhaps, one day, he falls asleep during the sermon. As he dreams, fragments of his instrumental pieces (from the Köthen period: the Brandenburg Concertos and the First Book of The Well-tempered Clavier) form themselves into a mass: a dream-mass in which certain musical ideas are recognizable, but their powerful logic has gone – they have detached from their surroundings and float in free association. As the great man’s head nods, incomplete phrases of the E minor prelude repeat fretfully and become the accompaniment for a Kyrie; a passage from the slow movement of the 4th Brandenburg Concerto drifts waywardly into ‘Christe eleison’; the prelude returns in augmentations that Bach would forbid, if only he could wake up. Now the Gloria: the prelude and fugue in G major mingle with snatches of the 3rd and 4th Brandenburg concertos. The Sanctus is a dream like meeting between the 6th concerto and the C major prelude. It leads seamlessly into the Benedictus - a pupil is playing the B flat major prelude, but his left hand has started on the wrong note. Finally, in the Agnus Dei, the (transposed) opening of the B flat minor prelude repeats itself over the subject and answer of the B minor fugue, and eventually over the closing bars of the fugue – but Bach is still fast asleep, and his music plays in slow-motion. "Dove’s compact Mass imagines Bach during his period as the Köthen court Kapellmeister, falling asleep during the drone of a church sermon and conjuring a dream Mass from fragments of his own instrumental music. Free of their usual moorings, motifs drift and find new companions. Snatches from the Brandenburgs meet relics from the first book of The Well-Tempered Klavier. Keys are mixed and transposed, phrases reiterated or left unfinished; yet from these shards and distortions Dove still weaves a tapestry that makes perfect musical sense. He also shapes a Mass both witty and reverent […] An enchanting work; I can imagine many more performances." Geoff Brown, The Times, 23 June 2006

• Missa Brevis.......................................................................EP 71780 SATB Choir & Organ

"Jonathan Dove's Missa Brevis, also of 2009 and for SATB voices and organ, is an ... extrovert affair. Dove is a highly accomplished writer in just about every genre, including his first love: opera. If a quiet, sombre atmosphere, underpinned by organ pedal drones, pervades the Kyrie and Agnus movements, Dove's theatrical sense of good timing is put to good use in the Gloria and Sanctus; both full of colour and sparkling organ writing (penned for performance at an annual convention of cathedral organists, Dove clearly knows his market!). This is immediate, vibrant music that simply jumps off the page demanding to be sung and played." (Matthew Greenall, The Singer 31 July 2010) Commissioned by the Cathedral Organists' Association for performance during their conference in Wells on 13 May 2009 and first performed by the choir of Wells Cathedral, directed by Matthew Owens.

Contemporary Choral • Moon Songs........................................................................EP 73398 Children’s Voices, Trumpet, Violoncello and Piano Text: Alasdair Middleton

Moon Songs by Jonathan Dove with words by Alasdair Middleton is a 13-minute work comprising of Four Songs for Children’s Voices, Trumpet, Violoncello and Piano. The songs are, 1. Man on the Moon 2. Jewel 3. Little World 4. Moon Dust Commissioned by Wiltshire Creative for the Salisbury International Arts Festival 2019 when Jonathan Dove was Guest Festival Director in the year of his 60th birthday. Commemorating 50 years since the first moon landing, Moon Songs was premiered on 24 May 2019 in Salisbury Cathedral sung by 300 children from ten Schools. This edition is the vocal score with piano accompaniment (EP 73398). The choral leaflet (EP 73398a) and the full score and instrumental parts (EP 73398b) are available for sale separately.

• Now......................................................................................EP 72875 Voices & Piano

• On this wondrous sea......................................................EP 73004 Double Choir and Trumpet

• Open to me the Gates.....................................................EP 72195 SATB Choir, Timpani and Organ

Text: Psalm 118; Now thank we all our God. Commissioned for the Dedication of Milton Keynes City Church of Christ the Cornerstone in the presence of HM The Queen

• Out of the Whirlwind..........................................................EP 72498 Dialogue for Solo Countertenor and Choir with Organ Text adapted from the Book of Job Commissioned by All Saints Church, Northampton. First Performance on 22 November 2013 at All Saints, Northampton, given by the church choir conducted by Lee Dunleavy, Director of Music.

• The Passing of the Year.....................................................EP 7568 Song cycle for Double Chorus and Piano

Text: Poems by William Blake, Emily Dickinson, George Peele, Thomas Nash, Alfred Lord Tennyson

• Psalms for Leo.................................................................EP 72565b Children's Choir, SATB & Orchestra

Commissioned by The Bach Choir in memory of Leopold de Rothschild (1927–2012), a singing member of the Choir for 50 years and Chairman for 23 years. Following his resignation as a singer Leo became the Choir’s President, a position he held until his death; over this extraordinary period of devotion to the Choir he became a friend to vast numbers of his fellow singers, and gave unstintingly of his time and wisdom. First performance 10 June 2014 in the Royal Festival Hall, London, by The Bach Choir, the Philharmonia Orchestra, and The Young Singers, a choir formed by The Bach Choir in partnership with the Tri-borough Music Hub, conducted by David Hill.

• Ring Out, Wild Bells...........................................................EP 7568g Mixed Chorus (SSAATTBB) and Piano Movement VII from ‘The Passing of the Year'

• Run, shepherds, run!...........................................................EP 7621 Carol for unaccompanied choir with audience participation

• Seasons and Charms........................................................EP 72844

Young People's Voices and Piano 12 Pieces (1–4 Parts)

Seasons and Charms is a collection of short pieces for young people’s voices and piano, commissioned by Aldeburgh Music for the Friday Afternoons Project. Inspired by Benjamin Britten, Friday Afternoons is an initiative created by Snape Maltings (formerly Aldeburgh Music) to open up a world of singing for children and young people. Additional materials to this collected edition, such as lyric sheets and backing tracks, are made available as part of the Friday Afternoons Song Bank. 1. Three Birds 2. The Little Girl of Rain 3. Laura 4. Fast Car 5. Mad Moon 6. This is the bird 7. Fire! 8. Legend 9. Music on the Waters 10. Summer 11. Slowly 12. Snow

• The Star-Song......................................................................EP 71803 SATB Choir & Organ • Sweet are the Uses of Adversity.......................................EP 73258 Unaccompanied SATB Choir

• Te Deum................................................................................EP 72592 SATB Choir and Organ

• Te lucis ante terminum.......................................................EP 72628 Double Choir and Organ

• The Portsmouth Service..................................................EP 72464 SATB Choir & Organ

Originally commissioned by Portsmouth Cathedral, this Magnificat and Nunc Dimittis can form part of any Evensong service.

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Contemporary Choral • There was a Child............................................................EP 71901b Soloists, Mixed - Children's Choirs and Orchestra

Celebrating the life of Robert Van Allan (20th October 1979 - 21st June 1999). Commissioned by Rosemary Pickering, the Norfolk and Norwich Festival, and the City of Birmingham Symphony Orchestra First performance by the City of Birmingham Symphony Orchestra with the Norfolk and Norwich Festival Chorus and Children's Choir on Saturday 2nd May 2009, St Andrew's Hall, Norwich. Texts by Wordsworth, Charles Causley, Langston Hughes, WJ Turner, Thomas Traherne, John Keats, Emily Dickinson, Tennyson, Whitman.

• Vadam et circuibo civitatem..............................................EP 72829 SSAATTBB a cappella

• Vast Ocean of Light............................................................EP 72071 SATB Choir & Organ

Text by Phineas Fletcher Light, and the idea of light, has always been a source of inspiration to me, and the heavenly bodies often provoke a desire to create some kind of numinous music. I was struck by the immensity of the vision in these lines by Phineas Fletcher, in which he sees light as a manifestation of the divine.He contemplates the mystery of the cosmos in all its immeasurable grandeur, and evokes in us a sense of awe and wonder Jonathan Dove

• Vertue (Eng.).........................................................................EP 73381 SSAATTBB Choir A beautiful 6-minute a cappella piece for double choir, set to George Herbert’s poem Vertue, co-commissioned by Wiltshire Creative and the Lichfield Festival for VOCES8, and premiered in 2019.

• We Are One Fire.................................................................EP 73418

SSAATTBB Text: Alasdair Middleton

• The Wells Service...............................................................EP 72287 Unaccompanied SSAATTBB Choir

• They will rise......................................................................EP 73257 SATB Choir and Organ

Commissioned by the Dean and Chapter of Westminster and first performed at a serviceon 10th July 2018 to commemorate the centenary of the Royal Air Force by the Choir of Westminster Abbey with Peter Holder (organ), conducted by James O’Donnell

• The Three Kings..................................................................EP 7607 Carol for SATB Choir

Text by Dorothy L. Sayers. First sung at the Service of Nine Lessons and Carols from King's College Cambridge in 2000.

Commissioned through the Cathedral Commissions scheme

• Two Sonnets........................................................................EP 72183

for 12-part Choir Soprano (2), Alto (2), Tenor (4), Bass (4)

Franke, Bernd

(*1959)

Bernd Franke was born in 1959 in Weissenfels/Saale. Between 1975 and 1981 he studied composition with Siegfried Thiele and conducting with Wolf-Dieter Hauschild at the Felix Mendelssohn Bartholdy Musikhochschule Leipzig. In 1980 he founded ‘Junge Musik’ Leipzig and continued to lead the group until 1983. Since 1981 he has taught at the Institute of Musicology at Leipzig University and the Felix Mendelssohn Bartholdy Musikhochschule Leipzig. He was also the recipient of the Hanns Eisler Prize and Mendelssohn Scholarship in 1981.

• Treasures in Heaven.........................................................EP 73595 SATB Choir and Organ

Jonathan Dove’s Treasures in Heaven is a 6.5 minute work for organ and SATB choir which sets Matthew 6:19–21 from the Bible, a text that exhorts the reader to gather treasures in heaven rather than on earth since where the treasure is, there will also be our hearts. The energetic piece is driven from the organ part with the choir singing in rhythmic but homophonic blocks. It was commissioned by Lord Crewe’s Charity on the occasion of its tercentenary, in memory of the life and charitable foundation of Nathanial, Lord Crewe and premiered by the Choir of Durham Cathedral on 18 September 2021

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• Questions(If I were rain)....................................................EP 14471

for five voices

Questions (If I were rain) is a 21-minute work for five voices and the fourth piece that Bernd Franke has composed for the Leipzig-based vocal ensemble amacord (founded in 1992 by five former members of the Thomanerchor).

Contemporary Choral Texts by Khalil Gibran and Emily Dickinson are framed by two songs with words by Sumitra and Meenu, two children from Calcutta. Franke employs aleatoric elements in the score in order to give a certain role to the elements of chance and improvisation that have always played a large part in the music of various cultures and epochs. Questions (If I were rain) was commissioned by amacord and premiered on 5 October 2012 at the Gewandhaus in Leipzig. This new edition (EP 14471) is the performing score of the work.

• Second Eve.........................................................................EP 72296 SSAATTBB Choir

In some of my pieces, the text is somewhat more the servant of the music than the other way around, and Second Eve is one of those works. The music is mainly inspired by a breathtaking photography taken by one of my favorite photographers, Jake Rajs, featured in the book These United States (Rizzoli). It is a picture of Alaska’s Mount McKinley, the highest mountain peak in the US, and I was looking at this photo throughout the writing process, making sure that the energy and atmosphere of the music corresponded with the feeling I got from looking at the picture. The Sancta Maria text seemed to kind of fit into what I was looking for in this piece, expressing something mystical, and kind of regal, which Mt. McKinley is in every possible way. Second Eve was commissioned by, dedicated to, and later premiered by the Riverside City College Chamber Choir and conductor John Byun in Riverside, California, Oct. 2008.

Gjeilo, Ola

(*1978)

• Contrition.............................................................................EP 72419 SSAATTBB choir and soprano soloist

Described by the composer as perhaps his most personal piece, Contrition sets a line of English text from George Herbert's poem Perseverance and excerpts from Psalm 101, in Latin.

♦

• Evening Prayer ................................................................EP 72492 SATB Choir, Saxophone Improvisation and Piano

As featured on the album Northern Lights (Chandos, 2012), a luminous work using the evocative sounds of voice, saxophone and piano.

• Song of the Universal............................................................EP 72403 SSAA Choir, Piano and String Orchestra

Walt Whitman has always been one of my favorite poets. I love the unabashed optimism, exuberance, and his unwavering confidence in our deeper humanity – all through the prism of a big, warm, beating heart. These were all qualities I found in his wonderful Song of the Universal poem, from which I chose a few excerpts to form the lyrics for this piece. Ola Gjeilo

♦

• Ubi Caritas II: Through Infinite Ages ..............................EP 72427 SATB Choir

Howard, Emily

♦

• Sacred Heart (Ubi Caritas III) ........................................EP 72623

SSAATTBB Choir and String Quartet

Sacred Heart (Ubi Caritas III) is a setting of the second stanza from the three-stanza Ubi Caritas text. I set the first in 1999 (Ubi Caritas) and the third in 2012 (Ubi Caritas II: Through Infinite Ages).

(*1979)

While Ubi Caritas II: Through Infinite Ages partly played around with some of the material from my first Ubi Caritas, Sacred Heart (Ubi Caritas III) is completely independent from the other two, content-wise, and also deploys a string quartet. (Ubi Caritas and Ubi Caritas II: Through Infinite Ages were written for a cappella choir.) With all three works now published, the set is complete. And while each one of them is an independent work, they were also written with the potential in mind of being performed in succession or spread across a concert programme/recording.

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Contemporary Choral • Two Songs after Friday Afternoons..............................EP 73335 Text: Selma Dimitrijevic Children’s Voices and Piano

• Sing Unto the Lord...............................................................EP 6136a Unaccompanied SATB Choir (Psalm 149)

Two Songs after Friday Afternoons by Emily Howard is a 5-minute work for children’s choir and piano. Commissioned by Opera North in celebration of Benjamin Britten’s 100th anniversary. The works were premiered on 22 November 2013 at the Howard Assembly Room, Leeds by Opera North’s Children’s Chorus, Scotton Lingerfield Primary School, Old Earth Primary School, Our Lady and St Peter Roman Catholic Primary School, Monkwood Primary School, conducted by Justin Doyle with Anthony Kraus, piano.

Levine, Alexander

(*1955)

Born in Moscow in 1955, Alexander Levine studied piano from the age of six at the Gnessin Music School (Moscow), and later he took up the clarinet. Upon graduation he was offered a place at the Moscow Gnessin Music Academy where he studied from 1976-1980. During his college years he also held the position of Principal Guitar in the Orchestra of Russian National Radio and Television.

Kay, Ulysses Simpson

(1917–1995)

Ulysses Kay (1917-1995) was born in Tucson, Arizona. As a child, he was encouraged in his musical studies by a family that included jazz great King Oliver, Kay’s Uncle Joe. He went on to study with Howard Hanson, Paul Hindemith and—following Kay’s World War II service in the U.S. Navy Band—Otto Luening. From 1949 to 1953 he composed in Rome, and then worked for BMI until 1968, when he became a professor of music at Lehman College until his retirement 20 years later.

In the years that followed he established himself as a composer working in collaboration with a variety of highly acclaimed performers in Russia. His compositions won prestigious awards from the Russian National Radio and Television in 1989, 1990 and 1991. Since 1992 Alexander Levine has lived in the United Kingdom. In 1993 he was awarded the honored Wingate Foundation Scholarship to study in the Postgraduate Composition course at the Guildhall School of Music and Drama. In that year many of his compositions received awards and won prizes at various composers’ competitions. Levine's choral works arereguarly performed and recorded by VOCES8 and Tenebrae and other leading choirs around the world.

Restlessly self-critical, he was nevertheless a prolific composer, penning over 20 works for large orchestra, 15 chamber works, and a substantial body of work for the voice, including five operas and over 30 pieces for choir.

• Canti Augustini......................................................................EP 72558 • Flowers in the Valley............................................................EP 6522 SATB Choir

• Like as a Father...................................................................EP 6222a SATB Chorus

• A Lincoln Letter......................................................................EP 6027 Bass Solo—SATB Chorus

• O Praise the Lord................................................................EP 6229a Unaccompanied SATB Choir (Psalm 117)

• O Worship the King..............................................................EP 6223 SATB Choir & Organ

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Settings of texts from the Confessions of St Augustine SSAATTBB choir a cappella

Magnus es, Domine; Noli abscondere a me facem tuam Quid est ergo; Invocabo deum

• Christ's Nativity....................................................................EP 73460

SATB Choir & Organ Text: Henry Vaughan

The text comes from the pen of the seventeenth-century Welsh poet Henry Vaughan, a leading metaphysical voice during the Commonwealth period (1649-1660), when the republican government of Oliver Cromwell banned the Anglican Church. Christ's Nativity was commissioned by the Cathedral Choral Society of Washington D.C. with support from the Richard Wayne Dirksen Memorial Endowment Fund.

Contemporary Choral Lim, Darius

(*1959)

Singaporean Conductor-Composer Darius Lim is the Founder and Artistic Director of the Voices of Singapore. An internationally published composer (Edition Peters, Walton Music, Cypress Publishing, Pana Musica, Muziksea) and award-winning conductor, he is one of the most sought-after Singaporean choral composer-conductors working today, and is most known for his unique infusion of lyrical, dramatic, instrumental, and theatrical elements in both the choirs he directs as well as his choral music. The choral music of Darius Lim has inspired thousands of singers across the world. His music has been presented on some of the world’s biggest international platforms such as the World Choir Games, World Youth Choir Festival (Austria), the Schubert International Sing’n’Joy Vienna, CEDROS Choral Festival (Spain), Hong Kong Music Festival, World Peace Choral Festival (Austria), Tokyo International Choir Competition, Grand Prix of Nations (Riga), ATKV National Choir Competition (South Africa), Taiwan National Music Competition, World Choral Expo (Macau), and the Choir & Organ Magazine (UK).

• The Divine Liturgy of St John Chrysostom...................EP 72240

SATB Choir A Cappella (with Transliteration) As recorded by leading choir Tenebrae

The Divine Liturgy of St John Chrysostom is Inspired by the humility and humanity of the murdered Russian priest (and friend of Levine) Fr. Alexander Men and composed over a three-month period of spiritual immersion, research and contemplation (similar to that described by his great forebears Tchaikovsky and Rachmaninov), the work traces a continuous spiritual growth towards the central point of the Liturgy – the Holy Communion.

His choral works have been performed by world-renowned choirs such as VOCES8, The Choir of Royal Holloway, Hong Kong Children’s Choir, Leioa Kantika Koral, Diocesan Girls’ Choir, and the University of North Texas Women’s Choir to name a few. His works have been performed in China, United States, Hong Kong, Australia, Japan, Spain, South Korea, Finland, Malaysia, Taiwan, Russia, Mexico, United Kingdom, South Africa, and The Philippines.

• I am all alone on the road.................................................EP 73365 unaccompanied choir (SATTBB)

• Oh, You Wide Steppe........................................................EP 72835

a cappella choir (SATTBB) Russian Traditional

• Prayers for Mankind...........................................................EP 72158

SATB Choir A Cappella A Symphony of Prayers by Father Alexander Men

This profound six-movement a cappella choral work is already available in a recording by leading UK choir Tenebrae on the Signum label, described by Gramophone Magazine as "impressive and moving". Father Alexander Men (1938-1990) is widely credited as being the architect of religious renewal in Russia at the end of the Soviet era. As Levine writes: "Raised in Orthodoxy and loving the Orthodox faith and serving Christ to his last breath, Father Alexander Men always believed that loving Christ meant loving all people. And this meant loving the world in all its cultural and religious manifoldness."

• Prayers for Mankind...........................................................EP 72158

SATB Choir A Symphony of Prayers by Father Alexander Men

This profound six-movement a cappella choral work is already available in a recording by leading UK choir Tenebrae on the Signum label, described by Gramophone Magazine as "impressive and moving".

• The true light........................................................................EP 72765 SATB Choir and Chimes

• Ashes to Dust.....................................................................EP 72971 SATB Choir and Piano

Ashes to Dust was commissioned by East Spring Chorale and premiered at the Victoria Concert Hall in Singapore on 19th April 2015. The song was written during the year of the passing of Mr Lee Kuan Yew, the first prime-minister of Singapore, and was written in commemoration of him. The work explores the grief and hope of life and death, with the sacred latin text “Kyrie Eleison” and “Dona Nobis Pacem”.

• Seasons.............................................................................EP 72972 SATB Choir

• Thy Will Be Done................................................................EP 72499 Motet for double choir a cappella (SATB, SAB) setting the Lord's Prayer in Russian.

• Tibi Solus..............................................................................EP 72802 SATTBB A caeppla Choir

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Contemporary Choral Matre, Ørjan (*1979) Ørjan Matre studied composition at the Norwegian Academy of Music with Bjørn Kruse, Lasse Thoresen, Olav Anton Thommessen and Henrik Hellstenius. He was composer-in-residence with Kristiansand Symphony Orchestra for the 2006-2008 seasons, and in the 2012-2013 season Matre was selected by the Oslo Philharmonic Orchestra as their featured composer. He has distinguished himself as a distinct voice in Norwegian music, and has been awarded high-profile commissions by leading performers, ensembles and orchestras.

• Trompeten, Nachts und Untergang

Sandra has achieved international recognition as an Australian composer specialising in choral music. Her compositions demonstrate a strong Australian influence that reflects her interests in indigenous languages, eclectic influences and texts by contemporary Australian writers. Her works have a fresh melodic and harmonic approach, which translates well to her preferred vocal medium. Her works have been performed by choirs in Scandinavia, Western Europe, the United Kingdom, North America, south-east Asia, New Zealand and Australia. Sandra has her own choral music series – Choral Vivace – which is published by Edition Peters. She also has a collection of mainly a cappella works in English, Finnish and Latin that is published by the Finnish company Sulasol. Sandra has an avid interest in, and commitment to, promoting Australian choral music through her choral workshops and international invitations. As an adjudicator and music educator, Sandra has travelled extensively within Australia and internationally to China, Canada, the United States, England and Finland.

....................EP 14530

(Trumpets, Night and Downfall) for Trumpet in C and Choir (SSAATTBB) Trumpet Part

.............................................................EP 14530a

• In paradisum......................................................................EP 72104 Soprano (2), Alto (2), Tenor (2), Bass (2)

Okpebholo, Shawn E.

(*1981)

Shawn E. Okpebholo is a critically-acclaimed and award-winning composer whose music has been described as "devastatingly beautiful" and "fresh and new and fearless" (The Washington Post), “affecting” (The New York Times), “searing” (The Chicago Tribune), “staggering” (The New Yorker), “lyrical, complex, singular” (The Guardian) and “powerful” (BBC Music Magazine). His artistry has resulted in many prizes and honors, including The American Academy of Arts and Letters Walter Hinrichsen Award in Music, First Place Winner of the 2020 American Prize in Composition (professional/wind band division), and Second Place Winner in the 2017 American Prize in Composition (professional/orchestral division), First Prize Winner in the Flute New Music Consortium Composition Competition, Sound of Late Composition Contest, Accent06 International Composition Competition, and the Inaugural Awardee of the Leslie Adams-Robert Owens Composition Award.

Milliken, Sandra (*1961)

See Also Choral Vivace Series Sandra Milliken is based in Brisbane where she works as a composer, conductor, teacher and adjudicator. A graduate of the University of New England, Sandra also has a Masters in choral conducting from the University of Queensland. Sandra has had a long involvement with choral music. During 2001 Sandra travelled overseas on a Churchill Fellowship studying choral conducting and vocal/choral pedagogy. She visited 56 choirs in England, Sweden, Finland, the United States and Canada, working with and observing many international choral experts.

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Contemporary Choral • Deep River............................................................................EP 68745 SSAA Choir & Piano

Deep River is a 5-minute work arranged for SSAA and piano. This beautiful arrangement of the famous traditional song of faith and hope brings calm alongside a sorrowful hope. The slow piano writing is as much an independent part as an accompaniment, helping to bring about a sense of peace and reflection. Deep River was written for the Wheaton College Women's Chorale conducted by Mary Hopper.

Panufnik, Roxanna

(*1968)

Roxanna Panufnik ARAM, GRSM(hons), LRAM studied composition at the Royal Academy of Music and, since then, has written a wide range of pieces - opera, ballet, music theatre, choral works, orchestral and chamber compositions, and music for film and television - which are performed all over the world.

• Faithful Journey: A Mass for Poland............................EP 73248a Soprano Solo, Chorus & Orchestra Vocal Score

• Four Choral Seasons.......................................................EP 73364a Double Choir & Orchestra Vocal Score

• The Gift of Music................................................................EP 73284 Baritone / Bass Soloist, SATB Choir and Organ

• Hal'lu Alleluia........................................................................EP 73417 SSATBB & Organ

• Heav'nly Harmony..............................................................EP 72687 SATB & Organ

• Joy at the Sound................................................................EP 72175 Double Mixed Choir & Organ

• Kyrie after Byrd...................................................................EP 72650 Unaccompanied SSAATBB

• Love Abide.........................................................................EP 71816b Alto Bass-Baritone, SSAATTBB Choir. Organ, Harp & Strings Vocal Score

"Love Abide encapsulates the very contemporary ethos of multicultural spiritual devotion in a world populated by a rich diversity of faiths—all feeling, as deeply and as aesthetically, the compelling potency of music with love. “A rich offering on a theme of interfaith connectivity. The Japanese lullaby-inspired Zen Love Song and the title work Love Abide are totally absorbing.” BBC Music Magazine, 5 stars

• 99 Words for My Darling Children..................................EP 73021 Narrator, SSAATTBB Choir & Cello

• Ave Maria............................................................................EP 71830 SSA & Organ

• Ave Maria............................................................................EP 71831 Tenor & Bass Soli, Mixed Choir & Organ

• The Call...............................................................................EP 72079

“If I had to choose a ‘glass-half-full’ contemporary composer, then Roxanna Panufnik would be near the top of my list. Her Music exudes openness and inclusivity, and it is in the choral settings where hope and positivity - two words that lie at the heart of her work - are most keenly felt. … much of her recent work can be seen to be built on the solid foundations laid down on this impressively varied and diverse collection. A music of hope in dark and troubled times.”

Pwyll ap Siôn, Gramophone Magazine

SATB Choir & Organ

A setting of George Herbert's Come my way, my truth, my life Commissioned by The Choir of St John’s College, Cambridge, for the Advent Carol Services 2010 A ravishing setting of George Herbert's famous poem, this piece has all the hallmarks of Roxanna Panufnik's unique and beguiling style. The languid phrases and lush chromaticism evoke the warmth and wonder of the approach to Christmas, and also encourage accurate tuning and a rich tone.

• Celestial Bird......................................................................EP 72512 Unaccompanied SSAATTBB Text: Jessica Powers

First performance given by VOCES8 on 2 December 2013, at 'The Candles Glow', the Edition Peters Annual Christmas Concert 2013, St Bartholomew the Great, London, UK.

• Child of Heaven (Dawn Chorus III)..................................EP 73189

• Love Bade Me Welcome...................................................EP 73096 Unison Voices/SATB & Piano

A choral setting of a melody by the Reverend John Penny dedicated to his son Andrew, who died shortly after he was born. The beautiful, lilting melody is harmonised to gently support George Herbert's poetry.

Unaccompanied SSSSAATTBarB

• A Cradle Song.....................................................................EP 73123 SSAATBB & Organ

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Contemporary Choral • Love Endureth....................................................................EP 72284 Unacompanied SSAATTBB

Employing Spanish Sephardic Jewish chant, in English and Hebrew, this piece is an a cappella setting of the jubilant psalm 135.

• O Hearken...........................................................................EP 72771 Unacompanied SATB

• Saint Pancras Magnificat and Nunc dimittis..................EP 72581 Unacompanied SSATBB

• Since We Parted..............................................................EP 72612a Mixed Voices (SSATBB), 2 Trumpets, Harp, Piano & Violoncello Vocal Score

"When Jeffrey Skidmore of Ex Cathedra approached me to write this piece, he specified that it should be remembering the first World War and, if at all possible, the words should be by or about a woman. A friend steered me towards Vera Brittain's Testament of Youth and, spookily, the book fell open on page 163 where appeared Kathleen Coates's poem A Year and a Day. This was written between 1910 and 1913 but is, I think, prophetic of the impending war in its depiction of a woman and man in love, reluctantly separated and missing each other. Around the same time, my mother sent me the poem Since we parted, yestereve by Victorian statesman and poet Robert Bulwer-Lytton (1831-1891) — it seemed to fit beautifully as a refrain to A Year and a Day. The whole piece is made up of my typical major-minor harmonic language which sets a bittersweet atmosphere and the trumpets remind us, from time to time, of the backdrop of war. The piece ends meditatively, with 'Eleven Armistice Chimes' and lasts approximately 10 minutes. It's dedicated to Jeffrey Skidmore and Ex Cathedra and my deepest thanks go to them for commissioning the work and Jane Arthur for sponsoring the commission." Roxanna Panufnik

• The Song of Names..........................................................EP 72302 Trebles/Upper Voice Choir, Baritone Solo, SSAATTBB Choir and Orchestra Vocal Score

Setting text by journalist, music commentator and novelist Norman Lebrecht, this work traces the story of Dovidl, a prodigy from Poland stranded in London during the Second World War. After losing his family in the Holocaust, Dovidl struggles to come to terms with his loss. In his search for comfort, he meets a Chassidic Rebbe and his group of survivors who honour the dead with an eternal "Song of Names".

• Songs of Darkness, Dreams of Light....................EP 73262a or SATB Semichorus, Chorus and Orchestra Vocal Score

"When the BBC commissioned this work for the Last Night of the Proms 2018, I was given quite a detailed brief. First, the work should be for the BBC Singers and BBC Symphony Chorus (with the BBC Symphony Orchestra), and the two choirs should be quite independent of each other. Secondly, the words should acknowledge the centenary of the end of World War I, but look optimistically to the future. For the centenary I chose In the Underworld by World War I poet Isaac Rosenberg, written in 1914. Originally about unrequited love, it can read, if you do not know its context, as a prophetic look at the next four years, with the sense that the women left at home cannot begin to comprehend the horrors their men face in the trenches. The BBC Singers represented Rosenberg and their music is based on a beautiful Ashkenazi-Jewish prayer mode – also known as the ‘Ukrainian Gypsy’ mode. While I was reading The Prophet by Kahlil Gibran (written in 1923), I came across these lines, which seem to answer and assuage the fears expressed in Rosenberg’s poem. The BBC Symphony Chorus taook on the role of Gibran, singing in a beautiful, melismatic, Maronite Syriac chant, into which faith Gibran was born in Lebanon. Later in his life, he became very interested in Islam, particularly Sufism; therefore the whole piece is in the form of a Sufi Zikr, with Sufi devotional rhythms in the percussion, starting quiet and low, but slowly becoming higher, faster and louder. The two choirs start separately, but merge into a ‘conversation,’ sometimes overlapping, and ending on a positive note: Rosenberg’s ‘Creature of light and happiness’ over Gibran’s ‘We shall build a tower in the sky’. Quite by accident, all three Abrahamic faiths are represented in this piece – but as Kahlil Gibran famously said: ‘You are my brother and I love you. I love you when you prostrate yourself in your mosque, and kneel in your church and pray in your synagogue. You and I are sons of one faith – the Spirit’.

Roxanna Panufnik, 30 January, 2018

• The Sweet Spring................................................................EP 73140 SSA & Piano

• Ubi Caritas............................................................................EP 73246 Sopranos & Piano

• Unending Love...................................................................EP 73062a Double Choir, Carnatic Singer (optional), Indian Violin, Sitar, Veena and Indian Percussion Vocal Score

• Westminster Mass..............................................................EP 71959 Vocal Score for use with all versions of the work

Parry, Ben

(*1965)

Ben Parry has a busy career as a conductor, composer, arranger, singer and producer in both classical and light music fields. Ben is currently Artistic Director and Principal Conductor of the National Youth Choirs of Great Britain, and Director of the professional choir, London Voices. He was formerly a course director for the Rodolfus Choral Courses for 20 years, Director of Music at St Paul’s School and the Junior Royal Academy of Music in London and Assistant Director of Music of King's College, Cambridge.

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Contemporary Choral With London Voices, he has performed in concert halls and festivals worldwide. He worked closely with Sir Paul McCartney on his classical choral work, Ecce Cor Meum, as well as conducting on the soundtracks of major films such as The Hobbit, Avengers and Harry Potter. Ben studied Music and History of Art at Cambridge University, where he was a member of King’s College Choir. Later he was musical director and singer with The Swingle Singers, with whom he toured the world and performed with some of the greatest musicians, including Pierre Boulez, Stephane Grappelli and Dizzy Gillespie. He composed and arranged over fifty pieces for the group and co-produced their albums for Virgin Classics and EMI. For eight years he lived in Scotland, where he co-founded the distinguished ensemble Dunedin Consort, and was also Director of the Scottish Chamber Orchestra Chorus and Director of Choral Music at the Royal Scottish Academy of Music and Drama. Ben was made an Honorary Associate of the Royal Academy of Music in 2014 for his services to the music industry.

• Dashing through the snow (Jingle Bells).......................EP 73624 (Pierpoint) SSATB Choir

Written for unaccompanied SSATB choir this 2.5-minute arrangement Dashing through the snow by Ben Parry is a brilliant up-tempo mid-level arrangement of Jingle Bells. This follows on from Parry’s much loved 8-part arrangement of Jingle Bells, EP77007.

• Ely Canticles....................................................................EP 72147 Trebles and Organ

Parry sets attractive melodies to his characteristic jazz-infused harmonies, pairing a lively, imaginative Magnificat with a beautiful, reflective Nunc Dimittis. First performance in October 2010 at Ely Cathedral by the Ely Choristers with organ, conducted by the composer. Ideal for both male and female choristers. 7 minutes long.

• Evening Canticles in G..................................................EP 72273 SATB and Organ

Written for Andrew Earis and the choir of St Martin in the Fields, London. A simple but effective setting of the Magnificat and Nunc Dimittis infused with Parry’s trademark jazz harmonies.

• First Day..........................................................................EP 72463 SATB and Organ

A setting of the Latin text of Genesis 1:1–5 written for, first performed and broadcast by the BBC Singers, directed by the composer.

• Flame

Text: Garth Bardsley SATB

• 1914.......................................................................................EP 72585 SATB and Timpani

A three and a half minute setting of Wilfred Owen’s poem for SATB, singing a cappella except for the use of steady, march-like timpani. First performance at the 67th Aldeburgh Festival Service, 15 June 2014, at Aldeburgh Parish Church, sung by Aldeburgh Voices, conducted by the composer.

Version for 8 unaccompanied voices. Flame’s central theme is one of light and happiness being passed from one person to another. Bardsley’s lyrics are inspired by a quotation from Siddharta Gautama Buddha, suggesting the notion that a candle’s light shared is thereby strengthened rather than diminished. The poem’s spiritual quality is captured perfectly in Parry’s music, which starts with a single flickering melody, passed from upper to lower voices before exploding into 12-part harmony as the flame is multiplied, culminating in the affirming final line 'so to light the world'.

• And is it True?......................................................................EP 77000 Text: John Betjeman

Original version for 12 Unaccompanied Voices.................EP 72172

A simple yet reflective setting of part of John Betjeman’s famous seasonal poem ‘Christmas’. Originally written for The Swingle Singers and featured on their album The Story of Christmas.

Original version for 12 Unaccompanied Voices...............EP 72172a

• Bright Star............................................................................EP 72272 Text: Garth Bardsley Double Choir

• Christ's Nativity...................................................................EP 72144 Text: Henry Vaughan SATB Choir & Organ

A 3-minute carol for SATB and organ using stanzas from the joyful 17th century poem by Henry Vaughan. Commissioned by the Dean and Chapter of Sheffield Cathedral and premiered there on Christmas Eve 2010 by the Cathedral Choir, conducted by Neil Taylor.

• Christmas Cards.................................................................EP 72412 Text: Garth Bardsley SATB Choir

Using text by regular collaborator Garth Bardsley, Christmas Cards is written for unaccompanied SATB (with no divisi) and was first performed by Cantabile – The London Quartet in London, 2011. The piece is a fun 3-time celebration of the joy of Christmas and receiving cards from friends.

• Gabriel's News.............................................................EP 72274 Text: Garth Bardsley Unison Trebles, SATB and Organ

A Christmas carol for mixed voices, setting text by Garth Bardsley. Commissioned by Monkton Combe School and first performed in Bath Abbey.

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Contemporary Choral • God in Triumph...................................................................EP 73093

• Three Angels...................................................................EP 72143

Text: Garth Bardsley ATB and Organ

Text: Garth Bardsley SATB Choir

Commissioned by The Choir of St John’s College, Cambridge, with a text by former choral scholar Garth Bardsley. First performed by the choral scholars in June 2016

The jaunty, irregular 5/8 meter of this carol conjures up the excitement and joyfulness of the approaching Christmas season.

• Heaven.................................................................................EP 72154 Text: George Herbert SATB Choir, SATB Semi-chorus and Organ

A 4-minute piece for SATB choir, SATB semi-chorus and organ setting George Herbert’s poem. Commissioned by Ipswich School Chapel Choir and first performed by them at Salisbury Cathedral, October 2009, conducted by Andrew Leach.

The six stanza English poem, with exclamatory Latin interjections, is a cunning acrostic spelling out the first names of the lyricist and his family. Three Angels was first performed in Aldeburgh in 2010, and was part of the Carols from King’s broadcast on BBC Two, Christmas Eve 2012.

• I sing of a maiden................................................................EP 72978 SATB and Organ

A lively setting of a medieval poem with organ accompaniment. Commissioned by Nancy Menk and the South Bend Singers, Indiana.

• Magi.......................................................................................EP 72405 Semi-chorus, SATB choir, organ, brass, percussion and timpani

A setting of the story of the Magi, with words by Garth Bardsley Commissioned by Reilly Lewis and the Cathedral Choral Society, Washington D.C.; First performance on 15 December 2012, at the National Cathedral, Washington DC, USAby the Langley High School Madrigal Singers, Todd Fickley (organ), Washington Symphonic Brass, directed by Mac Lambert.

• Music Is.............................................................................EP 72469a Text: Garth Bardsley Cantata for SATB Choir, Children's Chorus and Orchestra Cantata setting words by Garth Bardsley, with a humourous but meaningful discourse on the nature of music.

• Music: An Ode...................................................................EP 72473 Text: Algernon Charles Swinburn SATB Choir

Written to celebrate the launch of the National Portrait Gallery's choir in residence, Music: An Ode sets the first stanza of Algernon Charles Swinburne's poem of the same name.

• Psalm 122..........................................................................EP 73467 Text: Algernon Charles Swinburn SATB Choir

An unaccompanied work for SATB choir (with no divisi) set to Psalm 122 – I was glad when they said unto me. Commissioned at the request of the Very Revd Mark Bonney, Dean of Ely Cathedral, for his father John Bonney, and first performed on 23 October 2016 by Sing Aotearoa (New Zealand Choral Federation), Kokako Singers, directed by the composer, in Rotorua, NZ

• They that put their trust in the Lord (Eng.).......................EP 72970

SSAATTBB Choir

Commissioned by VOCES8 and first performed by the group in King’s Place at the London A Cappella Festival, 2017. The setting is based on the form of the motets by J. S. Bach.

Pott, Francis

(*1967)

Francis Pott has acquired an international reputation over the past forty years. His dramatic, challenging music unites a distinctive personal voice with a highly-disciplined but versatile technique rooted in a keen awareness of the past. To date his works have been heard in concert and on radio across the UK and in over forty countries worldwide. Francis began musical life as a chorister at New College, Oxford. He held Open Music Scholarships at Winchester College and then at Magdalene College, Cambridge, where he studied composition with Robin Holloway and Hugh Wood.

• A babe is born all of a may............................................EP 72685 Text: Anon 15th Century Carol for mixed choir a cappella (SATB)

• Quem pastores laudavere...............................................EP 73001 double SATB choir

• Seven Goodly Reasons to Sing.....................................EP 72641 SATB (divisi) and Organ

• Sing A Cappella!...............................................................EP 72413 Text: Garth Bardsley SATB Choir

A piece by Ben Parry and Garth Bardsley on the joys of a cappella singing!

• At First Light.....................................................................EP 73479 Double Choir and Violoncello

• Cantus Maris....................................................................EP 73051 Mezzo-Soprano Solo, Choir and Orchestra

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Contemporary Choral • Good Day, Sir Christemas!................................................EP 72883 SATB chorus a cappella

Commissioned for the Saint Louis Chamber Chorus in 2013, this exuberant unaccompanied Christmas motet sits somewhere between a strophic (verse-based) setting and a rondo, with its main theme popping up in one part after another at different stages. The music features divisions in all four parts and a lively alternation of homophonic moments with imitative polyphonic writing.

• Hands across the Darkness............................................EP 72627 Text: Charles Bennett

This work was commissioned by the Hanover Girls’ Choir in 2014, a year marking not only the centenary of the Great War (1914–1918) but also the 300th anniversary of the Hanoverian Succession to the throne of England upon the death of Queen Anne in 1714. While the latter circumstance prompted a desire for a work reflecting upon friendship and unity, faint but abiding resonances of the former suggested that the theme might be viewed in more universal terms, especially since the music was commissioned with a view to collaborative harmony between distinguished German and English performers. It was with this in mind that Charles Bennett provided his libretto which going yet further afield, listens to the still, small voice of peace and humanity as it insistently reaches us from the oppressed of any time and place.

Rathbone, Jonathan (*1957) After training as a chorister at Coventry Cathedral and choral scholar at Christ’s College Cambridge, where he read mathematics, Jonathan rounded-off his musical education at the Royal Academy of Music with a second degree, specializing in singing and composition. Jonathan’s compositional career includes works for theatre, film, radio, television, concert platform and the church, and a song-writing contract with Noel Gay Music. Recent large-scale commissions include Requiem for a Condemned Man – an extended work for two soloists, orchestra and choir and a 40 minute a cappella choral work for the Vasari Singers. Jonathan Rathbone was Musical Director and arranger for the Swingle Singers (1984–96) and has worked with many of the world’s leading musicians, from the New York Philharmonic Orchestra under Pierre Boulez to Stephan Grappelli and George Martin. He is now much in demand in Europe, the USA and UK, as a freelance choral director, arranger and workshop leader. A natural communicator, Jonathan leads workshops covering anything from close harmony singing, improvisation, choral conducting, vocal arranging to choral techniques.

• Absolon, My Son...........................................................EP 7741 Words from 2 Samuel 18:33. SSAATTBB a cappella For Dr Martin Ennis and the Chapel Choir of Girton College, Cambridge

• Laudate Dominum............................................................EP 72776 Motet for 6 voices a cappella

• My Song is Love Unknown.............................................EP 72624 Anthem for SATB soli, SATB/SATB & Organ

• O Praise God in His Holiness.........................................EP 73120

Psalm 150 SATB Choir and Organ

• Out of your sleep arise and wake..................................EP 72696 SATB and Organ

• The Night of all Nights.......................................................EP 73472 SATB Choir

• Verbum caro factum est....................................................EP 73209 SATB Choir and Organ

• Word......................................................................................EP 72670 SATB Choir and Organ

A sequence of meditations on the Gospel in the 21st Century for mixed chorus and organ, setting version from St John's Prologue in the New Revised Standard Version and five poems of R. S. Thomas. Word was commissioned by The Revd Dr Nicholas Fisher in 2011 and completed in December 2012. The commission was conceived as part of the Merton Choirbook project, bringing together a series of newly-composed works to mark the 750th anniversary of the Foundation of Merton College, Oxford, in 1264. In the event, the wealth of other new works chronologically ahead of Word deferred its première performance until 7 February 2015.

• Christmas Truce.......................................................EP 71191a Text: words by Graeme Curry (with poetry by Edward Thomas) Bar Solo/Narrator—SATB Chorus—Chamber Orch

This piece tells the story of the truce which occurred spontaneously on Christmas Eve 1914 in the trenches of the First World War. After some initial mood-setting with settings for choir and baritone of some Edward Thomas poetry, the piece takes the form of a narrative, spoken over orchestral accompaniment by a soldier who was there, called Tom. It tells how carols were sung by troops in each of the trenches on Christmas Eve 1914. It is well documented which carols were sung, and it is an opportunity to revive some beautiful, but long-forgotten carols, which are sung by the choir in the course of the narrative. There is also a setting of the 23rd Psalm ("The Lord is my Shepherd: I shall not want") sung in both English and German. The narrative concludes with Tom finding a war memorial and looking through the list to find his brother's name. As he does so, the choir sing a setting of Edward Thomas' poem "No one Cares Less then I". The names continue to be read as the music fades and the lights go down in the church to leave a single spot-light on the war memorial(s) in the church.

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Contemporary Choral • Corpus Christi Carol..........................................................EP 7760 ouble Choir a cappella

• A Day at the Fair..............................................................EP 72719 SATB and Piano

• Mr Fezziwig's Christmas Party...................................EP 71033 SATB Choir, Baritone Solo and Small Orchestra (Children's Choir ad lib.)

Rorem, Ned

(*1923)

Words and music are inextricably linked for Ned Rorem. Time Magazine has called him "the world's best composer of art songs," yet his musical and literary ventures extend far beyond this specialized field. Rorem has composed three symphonies, four piano concertos and an array of other orchestral works, music for numerous combinations of chamber forces, ten operas, choral works of every description, ballets and other music for the theater, and literally hundreds of songs and cycles. Ned Rorem is one of America's most honored composers. In addition to a Pulitzer Prize, Rorem has been the recipient of a Fulbright Fellowship (1951), a Guggenheim Fellowship (1957), and an award from the National Institute of Arts and Letters (1968). Among the distinguished conductors who have performed his music are Bernstein, Masur, Mehta, Mitropoulos, Ormandy, Previn, Reiner, Slatkin, Steinberg, and Stokowski.

• O Nata Lux.......................................................................EP 71739 SATB Chorus

• Patricius!..........................................................................EP 72749 The Story of St. Patrick Text: Paul Whitnall SATB and Piano

• Requiem for the Condemned Man............................EP 71667b Text: words from the Missa pro Defunctis and additional poetry by Paul Whitnall Chorus, Soprano, Tenor Soloists and Orchestra

• Six Carols

Commissioned and first performed by RundfunkChor Berlin, conducted by Simon Halsey, November 30 2013.

• Christ the Lord is Ris'n Today.........................................EP 6390 Hymn-Anthem for Mixed Choir a cappella

• Sing, My Soul, His Wondrous Love...............................EP 6386 SATB Chorus

Roth, Alec

(*1948)

Alec Roth’s vocal and choral music has been commissioned, performed and recorded by musicians such as Mark Padmore, Ex Cathedra, VOCES8 and The Sixteen.

• Dawn Chorus (Die güldene Sonne)..........................EP 73249 Unaccompanied choir (SSAATTBB)

• The Flower.....................................................................EP 72591 Text: George Herbert Anthem for SATB Choir and Tenor/Baritone Solo

No. 1 - Adeste Fideles.................................................EP 72502a Carol arranged for SATB, Brass, Organ, Harp and Percussion

• The Flower.....................................................................EP 73480

No. 2 - Cantemos a Maria..........................................EP 72503a Carol arranged for SATB, Brass, Organ, Harp and Percussion

• I Will Move Thee...........................................................EP 72743

No. 3 - Machet die Tore weit......................................EP 72505a Carol arranged for SATB, Brass, Organ, Harp and Percussion

• Jubilate..........................................................................EP 72603

No. 4 - O du fröhliche.................................................EP 72506a Carol arranged for SATB, Brass, Organ, Harp and Percussion No. 5 - Drei Könige.....................................................EP 72507a Carol arranged for SATB, Brass, Organ, Harp and Percussion No. 6 - Vom Himmel hoch..........................................EP 72508a Carol arranged for SATB, Brass, Organ, Harp and Percussion

• Sweet was the Song....................................................EP 7937 SATB a cappella

Text: George Herbert Version for Upper Voices (SSA)

Text: George Herbert Unaccompanied choir (SSATBB) SATB Choir Unaccompanied choir (SSATBB)

• Lullaby Carol..................................................................EP 73290 Unaccompanied choir (SATB)

• Magnificat and Nunc Dimittis......................................EP 72823 Hatfield Service Unaccompanied choir (SATB)

• Men and Angels.............................................................EP 72824 Unaccompanied choir (SSATBB)

• Night Prayer/Nachtgebet...............................................EP 72832 Unaccompanied choir (SSATBB)

• Shared Ground...............................................................EP 73281 Unaccompanied double choir (SSATBB – SSATBB)

• Snowflakes.......................................................................EP 73451 Unaccompanied choir (SSATBB)

• Sol Justitiae......................................................................EP 72602 SATB Choir

• Song of the Shepherds..................................................EP 72959 A Christmas narrative for unaccompanied choir

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Contemporary Choral • Stargazer (Eng.)...............................................................EP 72753 Four Partsongs for SSAATTBB Choir

Stargazer was commissioned by the Three Choirs Festival, Hereford 2015. The first performance was given at St Francis Xavier Church, Hereford, 28 July 2015 by Voces8.

• Suscepimus Deus (We Wait O God)............................EP 72742 Introit for Equal Voices in Three Parts

• A Time to Dance.............................................................EP 73023a Cantata for SATB Soloists, Choir and Orchestra

• Unborn..............................................................................EP 72643 Tenor solo, Mixed Choir, Organ, Percussion

Sixten, Fredrik

(*1962)

Fredrik Sixten (born 1962 in Västra Götalands län in Sweden) trained as an organist and conductor and has studied composition with Professor Sven-David Sandström. He has been organist and choir director in Vänersborg (1991-2000), artistic director and conductor of the Gothenburg Boys’ Choir (1997-2001), organist of Härnösand Cathedral (2001-2013) and Cathedral Organist in Nidarosdomen, Trondheim (2013-2014). During this period the number of commissions received led to his becoming a full-time composer from 2014. Sixten’s compositions are the result of an eclectic and comprehensive knowledge of musical history, with the master of the baroque Johann Sebastian Bach and 20th century French composers as significant sources of inspiration. Sixten’s musical language also integrates various aspects of jazz technique and of the folk music of his native Sweden.

• Verlass uns nicht (Forsake us not.................................EP 73250 Unaccompanied choir (SSATBB)

Sheppard, Mike • Music to Hear.....................................................................EP 72594 Setting of William Shakespeare's Sonnet No.8 for SATB choir a cappella

• Alleluia Alleluia seeks to be both a meditation as well as expressing a joyous praise. The 3 minute composition starts out as a subdued Laud and then gradually evolves through a long crescendo into a climax of splendour and vigour. It subsequently returns, with feeling of gratitude, to the material from the opening, and concludes quietly. An easy to moderately difficult work, its clear part-writing and harmony won’t place heavy demands on the choir.

SATB a cappella..............................................................EP 11432 SSAA a cappella..............................................................EP 11560 • New Prince, New Pomp...................................................EP 72595 Text: Robert Southwell Carol for SATB choir a cappella

TTBB a cappella..............................................................EP 11561

• Noster Nostri......................................................................EP 73049 SAB Choir & Piano

• Out Of The Long Dark.......................................................EP 73050 SAB Choir & Piano

• Pie Jesu................................................................................EP 72803 Soprano, SATB Choir, Trumpet and Organ

• Requiem Aeternam.............................................................EP 72596 Setting of the Requiem introit SATB choir a cappella

• Silence..................................................................................EP 72597 Setting of words by Thomas Hood SATB choir a cappella

• That Ordinary Day...............................................................EP 72598 Work for choir and piano setting words by the composer. The piece may also be performed a cappella.

• A Cradle Song....................................................................EP 11558 SSAA Choir a cappella

A Cradle Song by William Blake (1757-1827) depicts a mother’s love for her child. In his choral setting, Fredrik Sixten creates a bright-sounding piece full of affection and atmospheric warmth. The piece was commissioned by Helsingborgs Vokalensemble.

141

Contemporary Choral • Hymn of Hope...................................................................EP 11557 SSAA Choir a cappella

A Hymn of Hope by Emily Dickinson (1830-1899) describes hope as ‘the thing with feathers that perches in the soul, and sings the tune without words’. It is strong enough to supply the soul with warmth, even in ‘the chillest land and on the strangest sea’. Fredrik Sixten sets the poem for high (female) voices, comparing hope with a songbird using musical motifs. The composition was commissioned by the Mädchenchor, Hannover.

• My Soul Doth Magnify the Lord....................................EP 11556 Mixed Choir & Organ

My Soul Doth Magnify The Lord was commissioned by The Duke University, North Carolina, USA.

Errollyn was awarded an MBE for her services to music in the Queen’s Birthday Honours list in June 2007 and a CBE in the 2020 New Year Honoursand has been elected Honorary Fellow of Mansfield College, Oxford 'in recognition of her distinguished • Salve Regina...................................................................EP 72955 contribution to scholarship in the field of British contemporary Mixed Choir, SATB (with divisi music and her exceptional achievements as a composer.' Commissioned by Vasteras Chamber Choir, Sweden. • Peace on Earth.................................................................EP 71971 The premiere took place in evensong at 6pm on Sunday 18th November by The Choir of Jesus College, Cambridge.

• Seek him!.........................................................................EP 11559

Unison Voices & Piano

SSAATTBB Choir a cappella

This piece of medium difficulty for eight mixed voices is based on a text of the King James Version that is more than two thousand years old and has spoken to the composer in a way that seems timeless. Hope and the possibility of redemption have existed within the human condition throughout the ages. It is up to us to recognize these signs of renewal and see ourselves as a connection between the past and the possibilities yet to come.

• Sicut Cervus....................................................................EP 72956 Mixed Choir, SATB (with divisi)

A setting of Psalm 42 for SATB (with divisi), commissioned by Karlstad Motettsällskap and cathedral organist Hans Nordenborg

• A Spotless Rose..............................................................EP 73124 Mixed Choir

A setting of Catherine Winkworth's (1827–1878) translation of the 15th century German carol. Commissioned and premiered by Helene Stureborg's Chamber Choir, Stockholm, Sweden, 2017.

Wallen, Errollyn

(*1958)

'renaissance woman of contemporary British music' (The Observer)

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• When the Wet Wind Sings................................................EP 7705 for 40 voices, Soprano (2), Alto (8), Tenor (8), Bass (16)

Text: Various including Cicero,Ovid, Elizabeth I and Errollyn Wallen

Williams, Roderick

(*1965)

Roderick Williams is one of the UK’s most sought-after baritones, encompassing a repertoire from the baroque to world premieres of contemporary music. As a composer he has had works premiered at the Wigmore and Barbican Halls, the Purcell Room and live on national UK radio. His choral works are frequently performed and recorded and include Ave verum corpus re-imagined, composed for the ORA singers, and Now Winter Nights composed for VOCES8. He was awarded an OBE for services to music in June 2017.

Contemporary Choral • And a Little Child Shall Lead Them...................................EP 73610 Unaccompanied SATB (with divisi), extensive solo line for alto, and for optional baritone

This is a slow and reflective composition with sections of impressive counterpoint writing that build the intensity and journey of one of Roderick William’s earliest pieces.

• Ave maris stella (Lat.)............................................................EP 73566 SATB Choir & Piano

A 5-minute uplifting piece for SATB and piano that uses the ancient Latin hymn of praise to the Virgin Mary. The verses alternate between full choir and solo or duet passages, accompanied by lush, romantic harmonies.

• Now winter nights..............................................................EP 73559 SSAATTBB Choir

Now winter nights by British composer and baritone Roderick Williams uses an evocative poem by Thomas Campion as its text, helping him to pinpoint the excitement of Christmas he felt as a child, and still holds on to. Written for SSAATTBB unaccompanied choir, Now winter nights is suitable for choirs wanting a Christmas/Holiday treat but which requires a medium to higher level of skill. Commissioned by VOCES8 for their LIVE From London festival in 2020.

Composed for senior school choir but would suit church choirs around the world.

• O Rex Gentium (Lat.)...........................................................EP 73608 Unaccompanied SATB (with divisi)

6-minute unaccompanied work for SATB choir with divisi, setting the Latin text ‘O Rex Gentium’, one of the seven ancient advent ‘O Antiphons’.

• Ave Verum Corpus Re-imagined (Lat.)...............................EP 73570 for 3 SATB Choirs

This beautiful 5-minute piece takes William Byrd’s famous motet and re-imagines it for 3 unaccompanied SATB choirs, with opportunity to space the choirs at a distance from each other.

• Eriskay Love Lilt.....................................................................EP 73585

• O Saviour of the world........................................................EP 73564 Unaccompanied SSATB

Composed for unaccompanied SSATB with an English text from the Book of Common Prayer. This five-minute anthem was written for the UK’s Thomas Tallis Society, having in mind Tallis’s famous work for 5 voices with latin text, Salvator Mundi. The music matches the sense of anguish in the text.

SATB (with divisi) and piano

A gently flowing 3-minute arrangement by Roderick Williams for SATB (with divisi) with piano accompaniment that captures the beauty of this famous traditional Hebridean love song. The song text uses both old dialect and English, each verse ending with the words, 'Sad am I without thee'.Commissioned by The Sixteen choir and recorded on their 2021 album ‘Goodnight Beloved’

• Queen Elizabeth's Winchester Carol................................EP 73565 Unaccompanied SATB (with divisi)

Queen Elizabeth’s Winchester Carol, also known as ‘The Royal Carol’ uses a poem by King Henry VIII and equates the ever-green holly and ivy with the constancy of love. Composed for unaccompanied SATB divisi, and duration 3 minutes.

The arrangement is described by Williams as ‘having a little nod to Ravel and Grieg’.

• Exultate

SATB Choir, Soprano Saxophone and Percussion

Roderick Williams's 'Exultate' is an exuberant piece taking its text from the first 4 verses of Psalm 81 for SATB choir, soprano saxophone and percussion (4 tom-tom drums, or similar). Choral Octavo.......................................................................EP 73568 Soprano Saxophone & Percussion .....................................EP 73568a

• Love bade me welcome.....................................................EP 73569 Unaccompanied SATB (with divisi),

A setting for unaccompanied SATB choir with divisi of George Herbert’s poem. The richly textured homophonic piece ends with a beautiful ostinato. Duration 4’30"

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VOCES8 VOCES8 Edition Peters Choral Ambassadors

VOCES8 METHOD Smith, Paul

(*1959)

• The VOCES8 Method The VOCES8 Method is an innovative new system which enhances neurological development, helping to deliver improved academic results. Based on research by the Institute of Education, it contains group activities based on rhythm and melody which are designed to develop key learning skills and improve students’ academic learning processes for all subjects.

• Suitable for small groups or whole-school participation. • Requires no musical expertise or expensive equipment. • Supported by free online training videos • Backed up by CPD training sessions led by members of VOCES8. The British vocal ensemble VOCES8 is proud to inspire people through music and share the joy of singing. Touring globally, the group performs English..............................................................................EP 72486 an extensive repertoire both in its a cappella concerts and in collaborations with leading orchestras, conductors and soloists. German............................................................................ EP 11421 Versatility and a celebration of diverse musical expression are central French...............................................................................EP 72604 to the ensemble’s performance and education ethos. Japanese..........................................................................EP 73005 VOCES8 has performed at many notable venues since it was founded in 2005, including Wigmore Hall, Elbphilharmonie Hamburg, Cité de la Musique Paris, Vienna Konzerthaus, Tokyo Opera City, NCPA Beijing, Sydney Opera House, Victoria Concert Hall Singapore, Palacio de Bellas Artes Mexico City amongst many others. With an on-going programme of recordings, videos and live broadcasts, VOCES8 is heard regularly on albums, international television and radio, as well as maintaining a vibrant web performance presence. The ensemble is a Decca Classics artist and alongside releases on its own label, VOCES8 Records, has released acclaimed recordings that have all reached the top of the classical charts. VOCES8 is passionate about music education and is the flagship ensemble of the music charity the VOCES8 Foundation. Engaging in a broad range of outreach work that reaches up to 40,000 people a year, the group runs an annual programme of workshops and masterclasses at the Foundation’s home in London, the VOCES8 Centre at St Anne & St Agnes Church. As ambassadors for Edition Peters the ensemble publishes educational material including the ‘VOCES8 Method’. Developed by Paul Smith, co-founder of VOCES8, this renowned and unique teaching tool is available in four languages and adopts music to enhance development in numeracy, literacy and linguistics. Also available are two anthologies of its arrangements, and an ever-expanding ‘VOCES8 Singles’ range.

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VOCES8 Smith, Paul

(*1981)

• Pas de deux........................................................................EP 73025

VOCES8 Anthologies

Five dance-inspired movements for SATB and piano

Written for SATB choir and piano, with optional audience participation, Pas de deux is a work consisting of five movements by Paul Smith, the co-founder of VOCES8 and author of The VOCES8 Method. The movements can be performed individually or as one complete work. Pas de deux is inspired by the dance duet found in ballet, and the music takes the duet element of the dance to create a relationship between the performers and audience, enabling interaction between them and giving the option for performers and audience to make music together. Suitable for all ages, this piece offers opportunities both to create and to perform, informed by Paul Smith’s expertise in leading participatory music events with hundreds of thousands of people around the world.

• VOCES8 A Cappella Songbook: 8 Songs for 8-part Vocal Groups...........................................EP 72443 The VOCES8 a cappella Songbook includes many of the group’s favourite songs – ranging from folk and classical through to spiritual and pop.

Feeling Good (Bricusse and Newley) arr. Jim Clements Nobody Does it Better (Hamlisch and Bayer-Sager) arr. JimClements Folksong Medley (Traditional) arr. VOCES8 Erlkönig (Schubert) arr. Jim Clements Shenandoah (Traditional)arr. Thomas Hewitt Jones Opera Medley (Bizet/Mozart/Delibes/Verdi) arr. Jim Clements Wade in the Water (Traditional) arr.Jim Clements The Luckiest (Ben Folds) arr. Jim Clements

• A five-movement work inspired by the dance, pas de deux • Incorporates a wide range of musical styles, from contemporary classical to traditional Zulu

• Encourages a musical interaction between performer and audience • Suitable for singers (and audiences) of all ages • Incorporates well-known themes from the ballets of Tchaikovsky

• VOCES8 A Cappella Songbook 2: 8 Songs for 4-part Vocal Groups..........................................EP 72527 This collection features eight of the ensemble’s favourite and most requested arrangements for SATB choir, written by members of the group and its resident arranger, Jim Clements.

Atlantic Avenue (Gorrie/Ball/Stuart/McIntyre/Ferrone) Danny Boy (Traditional Folksong) Edo Lullaby (Traditional Folksong) My love is like a red, red rose (Urban/Burns) Pie Jesu (Gabriel Fauré) Price Tag (Kelly/Simmons Jr/Gottwald/Cornish) Strong (Reid/Major/Rothman) Underneath the Stars (Rusby

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VOCES8 VOCES8 Singles Original works & commissions Barton, Stephen

(*1982)

• The Universe Within You................................................EP 68740 Double choir (SATB-SATB) Stephen Barton is a British composer living in Los Angeles who has written music for films and video games including Watch Dogs: Legion, Star Wars Jedi: Fallen Order and Apex Legends. He started his musical life as a chorister at Winchester Cathedral.

Davis, Taylor Scott

(*1987)

• Solstice..............................................................................EP 68724 SSAATTBB Choir

Solstice is by US choral composer Taylor Scott Davis and his regular collaborator, the US poet and writer Milton Brasher-Cunningham. Solstice is a three-minute piece for the dark of winter and the holiday season – a time when we naturally want to connect with those close to us. It was commissioned by VOCES8 for their LIVE From London festival in 2020 and is scored for unaccompanied SSAATTBB choir.

An exquisite 4-minute unaccompanied double choir (SATB-SATB) piece with text by the 13th-century Persian mystic Jalal ad-Din Muhammad, otherwise known as Rumi. The piece is very still, pure, and possesses a quiet intensity. Slow moving chords overlap and interweave between the two choirs, building to an ecstatic point before falling away to the serene end.

Burton, Ken

(*1970)

• Descend to Earth (Eng.)....................................................EP 73558

Baritone Solo and SSAATTBB Choir

British composer Ken Burton was drawn to the poetry of 18th-century slave and writer Phyllis Wheatley for his piece Descend to Earth. The dual troubles of pandemic and racial oppression in 2020 resonate with Wheatley’s concise poem, the start of which recalls the Christmas/Holiday season. Written for SSAATTBB unaccompanied choir plus baritone solo, Descend to Earth will have a place in many programs with varied themes. It was commissioned by VOCES8 for their LIVE From London festival in 2020 and premiered by them with baritone Roderick Williams.

Dove, Jonathan

(*1959)

• Vertue................................................................................EP 73381

SSAATTBB Choir

A beautiful 6-minute a cappella piece for double choir, set to George Herbert’s poem Vertue, co-commissioned by Wiltshire Creative and the Lichfield Festival for VOCES8, and premiered in 2019.

Dunphy, Melissa

(*1980)

• Halcyon Days....................................................................EP 68722

SATB Choir

Melissa Dunphy is an original and exciting composer living in the USA, though of Australian background. Her piece Halcyon Days, written to a new text from her regular collaborator poet Jacqueline Goldfinger, creates a period of calm during winter storms where we reflect on what we have lost but rise up to face the new year with joy and grace. Written for SATB unaccompanied choir this piece is suitable for any winter concert. Halcyon Days was commissioned by VOCES8 for their LIVE From London festival in 2020.

• A Prayer (Eng.)......................................................................EP 73580 SATB divisi

• New commission from The Jason Max Ferdinand Singers and premiered in their inaugural concert as part of the online LIVE from London – Spring Festival 2021 • Follows Descend to Earth, VOCES8’s own commission of Ken Burton in the LIVE from London – Christmas Festival 2020

• UK-based Ken Burton is known for his work on UK television programmes, particularly in BBC TV’s Songs of Praise • Burton was choirmaster for the multi Oscar winning and Grammy winning Marvel film Black Panther

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VOCES8 Hagen, Jocelyn

(*1980)

• Mother’s Song...................................................................EP 68723

SSAATTBB Choir

Jocelyn Hagen is one of the best-loved choral composers working in the USA today.

• ARABIC Meelad Majeed! • SWEDISH God Jul! • JAPANESE Meri Kurisumasu! • FRENCH Joyeux Noel! • SWAHILI Kristmasi Mwema! • SPANISH Feliz Navidad! • POLISH Wesolych Swiat! • Happy Christmas, Happy Christmas, Happy Christmas! First performance given by VOCES8 on 2 December 2013, at 'The Candles Glow', the Edition Peters Annual Christmas Concert 2013, St Bartholomew the Great, London, UK

Her Mother’s Song uses a touching translation by Willis Barnstone of an anonymous Japanese text in which the health and well-being of a mother’s child is sought. Commissioned by VOCES8 for their LIVE From London festival in 2020 and scored for unaccompanied SSAATTBB choir, this three-minute piece contains wonderfully rich and sonorous harmonies. Suitable for performance at Christmas/Holidays or at any time for the year.

• Celestial Bird......................................................................EP 72512 SSAATTBB Choir

Setting of poetry by Jessica Power. First performance given by VOCES8 on 2 December 2013, at 'The Candles Glow', the Edition Peters Annual Christmas Concert 2013, St Bartholomew the Great, London, UK.

Parry, Ben

(*1965)

• They that put their trust in the Lord (Eng.).......................EP 72970

SSAATTBB Choir

Commissioned by VOCES8 and first performed by the group in King’s Place at the London A Cappella Festival, 2017. The setting is based on the form of the motets by J. S. Bach.

• Veni Emmanuel (Eng. & Lat.)................................................EP 73381

Hession, Toby

(*1997)

• She Walks in Beauty..........................................................EP 73182

SATB Choir

Written for, performed, and recorded by vocal ensemble VOCES8 on the album Enchanted Isle, this beautiful a cappella work has flowing and independent vocal lines as well as mixed meters that accentuate the text by Lord Byron.

Lack, Graham

(*1954)

• This Ember Night..............................................................EP 11519

SATBB Choir

Double Choir

A Christmas carol for double choir using the latin text ‘Veni Emmanuel’ alongside the English words by Garth Bardsley. First performance at St Mary-at-Hill, London in November 2012 by VOCES8.

Roth, Alec

(*1948)

Alec Roth’s vocal and choral music has been commissioned, performed and recorded by musicians such as Mark Padmore, Ex Cathedra, VOCES8 and The Sixteen.

• Men & Angels

SSAATTBB Choir

Vocal Score..........................................................................EP 72824

The composer’s poem is based on the early 15th Century Middle English Violin Part..........................................................................EP 72824a carol ‘This Endris Night’, that is cast as a discourse between Mary and the infant Jesus, where her lament alternates with his responses on what English composer Alec Roth sets George Herbert’s poem Antiphon II the future holds. In the arrangement the sacred meaning is combined for his atmospheric piece for unaccompanied SSATBB choir. with the secular tradition of Ember Days, so that it is not clear whether the poem is religious or secular, nor if the poet is expressing personal belief The duration is 4’30” and if performed with the optional violin part or musing on the passing of the year. The composition works wonderfully the duration is expanded to 5’30” with the opening minute being a short with the themes of the VOCES8 album, ‘Equinox’. prelude in which the violin establishes the mode and introduces the musical ideas which are taken up by the singers. Herbert sets his verses out like a play script, with parts for ‘Chorus’, ‘Men’ and ‘Angels’. Panufnik, Roxanna (*1968) Roth’s setting gives voice to the characters with soprano and alto singing the words of the Angels, the tenor and bass the Men, and both • Happy Christmas!................................................................EP 72519 groups combining as the Chorus. Choral fanfare for SSAATTBB a cappella Some time ago, I was asked to write an ‘agnostic’ carol. This short choral fanfare is the result, and the text consists simply of its title in eight different languages – ending excitedly in English. Roxanna Panufnik, 2006

A commission from 2014 from the Farrant Singers (UK). Version with violin was commissioned by VOCES8 premiered in the LIVE from London online festival in 2020.

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VOCES8 • Stargazer (Eng.)......................................................................EP 72753

• A New World (Eng.)

Four Partsongs for SSAATTBB Choir

SATB Choir & Piano (& Timapni)

Stargazer was commissioned by the Three Choirs Festival, Hereford 2015. The first performance was given at St Francis Xavier Church, Hereford, 28 July 2015 by Voces8.

A New World is a musical story across five movements with texts by authors from Cicero and Ovid to George William Russel; from nursery rhymes to war poets.

Review in Seen and Heard of the group's performance of Stargazer in LIVE from London series 2021.

The music and texts link to form a narrative that questions what sort of ‘New Worlds’ have come into existence, or could be created in our future, and considers how we balance human traits of fear, displacement, isolation and conflict with equally human traits of love, hope, forgiveness and unity.

The four songs of Alec Roth’s Stargazer include a plea to take time to see what is around us, the second talks of stargazing, while the third includes the brilliantly named character Timothy Toodletrot, who spends all his time stargazing, while the final song is an a cappella train as it travels through the countryside. The initial ‘Stand and Share’ (from William Henry Davies’s Leisure) is gentle, full of sweet regret for lost opportunities to enjoy our surroundings. ‘The Star-Lit Stairs’ began with the angelic voices of Eleonore Cockerham and Katie Jeffries-Harris; it feels like all voices of the ensemble get a chance to shine in this gently melancholic song. Roth works with poignant dissonances in this setting of a tract from The Flâneur by Oliver Wendell Holmes. And VOCES8 traced the music’s sweet swell, its ebb and flow, perfectly. Interesting how the whole demeanour of the music changes for ‘Star-Struck’, the story of Timothy Toodletrot (from Star-Struck by Else Harriet Raspin); there is more of a narrative, complemented by the lovely vocal representation of movement in ‘In the train’ (text James Thomson).

Smith, Paul

(*1981)

• Let's Walk Together..........................................................EP 73560 Baritone Solo and SSAATTBB Choir

The text of Let’s Walk Together, by Daniel Simpson, neatly sums up the character of its composer Paul Smith and the vocal ensemble he founded with his brother, VOCES8. Connection, interaction and movement are all characteristics. Composed for SSAATTBB unaccompanied choir with baritone solo, this three-minute piece has sonorous hymn-like chords which introduce cascading faster voices in its middle. Although composed for VOCES8 to premiere in their LIVE From London Christmas festival, this piece is suitable for performance at any time of year.

1. On History Vocal Score..........................................................................EP 73183 Timpani Part.......................................................................EP 73183a An opening movement for SATB choir, piano and timpani (with solos for soprano, tenor and alto). A calm opening leads to a dramatic conclusion with text by Cicero and Ovid in praise and recognition of their homeland. 2. The Dream Vocal Score..........................................................................EP 73184 A standalone work for SATB choir and SATB solo quartet, painting a picture of the different characters of a dream. This movement is both comforting and confusing, and is inspired by the Palestinian poet Mahmoud Darwish. 3. Lullaby Vocal Score..........................................................................EP 73185 A lullaby for choir and children’s choir (or sopranos) setting an ancient nursery rhyme that explores the idea of the journey through life. 4. War Vocal Score..........................................................................EP 73186 Timpani Part.......................................................................EP 73186a A dramatic fourth movement with SATB choir, piano and timpani depicting the horrors of war with text by Wilfred Owen. 5. Love Vocal Score..........................................................................EP 73187 A beautiful and flowing work for SATB choir, SATB solo quartet and piano, with textures that celebrate love, cherishing our place among the stars.

Williams, Roderick • Nunc Dimittis (Lat.).............................................................EP 73452 SATB Choir

A tranquil and meditative 4-minute setting of the traditional sacred text Nunc Dimittis.

• O God Beyond All Praising...........................................EP 73602 SATB divisi & Organ

Written for SATB (with divisi) and organ this 5-minute celebratory piece takes its inspiration from the traditions of the early 20th-century English church choral tradition. A large organ part is called for, with the choral writing at a medium level of difficulty. The famous Gustav Holst hymn tune ('I vow to thee, my country') forms the basis of the melody around which the organ and voices weave a dignified and sumptuous anthem.

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(*1965)

• Now winter nights (Eng.)........................................................EP 73559 SSAATTBB Choir

VOCES8 VOCES8 Singles Popular Classics arrangements Beethoven, Ludwig van (1770–1827) • A Little Ludwig...................................................................EP 73500

Double Choir (SSAT – ATBB) based on themes by Ludwig van Beethoven Arr. Jim Clements

An entertaining medley of some of his greatest hits (Für Elise, Moonlight Sonata, Pathétique Sonata, and Fifth and Ninth Symphonies), cleverly arranged by Jim Clements.

Schubert, Franz (1797–1828) • Erlkönig...............................................................................EP 73265

SSAATTBB Choir Arr. Jim Clements

This vocal arrangement of the classic Schubert song by Jim Clements for VOCES8 tells the terrifying tale of a young boy and his father being chased by the Erl King. Each voice has a chance to inhabit the characters from the story, while Schubert’s original piano part is brought to life by the other voices.

Bizet / Mozart / Delibes / Verdi • Opera Medley.....................................................................EP 73266

SSAAATBB Arr. Jim Clements

This is one of VOCES8’s earliest arrangements by Jim Clements and was first performed at London’s Royal Opera House. Many well-loved tunes from famous operas appear in this 4-minute piece and there is plenty of opportunity to bring them to life on stage, unleashing the singer's inner diva!

• A Moonlighting Sonata......................................................EP 73501

SATB Choir, Unison Voices and Piano Choral Parts by Christopher Moore, Katie Jeffreis-Harris and Paul Smith A dreamlike choral fantasia based on the first movement of Beethoven's famous Moonlight piano sonata.

Particularly suitable for mixed ability choirs, this piece has been used by VOCES8 in many of their school workshops.

• Four Folksongs...................................................................EP 73502

SATB Choir Arr. Joshua Pacey

Beethoven's folks songs are given the VOCES8 treatment in these fantastic new arrangements. Works included: Lochnagar WoO 156/9; Farewell Bliss WoO 152/20; Enchantress, farewell Op. 108/18; Sunset Op. 108/2

Fauré, Gabriel

(1845–1924)

• Pie Jesu..............................................................................EP 73149

SATB Choir from Requiem in D minor Op. 48 Arr. Barnaby Smith

An a cappella setting for SATB of Gabriel Fauré’s famous Pie Jesu, taken from his Requiem. In Barnaby Smith’s arrangement the famous melody is framed at the start and end by atmospheric plainsong. As recorded by VOCES8 on the album After Silence.

VOCES8 Singles Folksong arrangements • Carrickfergus................................................................EP 73541 for Soprano Solo & SATB Traditional Arr. Jonathan Pacey

A beautifully evocative 4-minute arrangement by Joshua Pacey of the Irish folksong ballad, named after the Irish town Carrickfergus, Score includes rehearsal piano reduction. First recorded on VOCES8’s 2019 album Enchanted Isle.

• Danny Boy..................................................................EP 73147 for SATB divisi Traditional Arr. Jonathan Pacey

Ireland’s most famous folksong, Danny Boy, in an arrangement for SATB with divisi into 8 parts by Joshua Pacey, as recorded by VOCES8 on the Enchanted Isle album.

• Edo Lullaby..................................................................EP 73148 for SATB Choir Traditional Arr. Paul Smith

A beautiful traditional Japanese folksong, Edo Lullaby, originating from Edo, the old name for modern day Tokyo, arranged for unaccompanied mixed voices by Paul Smith. As recorded by VOCES8.

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VOCES8 • Folk Song Medley.............................................................EP 73264 SSAATTB Traditional Arr. Emily Dickens

This 5 minute arrangement by Emily Dickens for VOCES8 draws together a pair of stunningly emotive melodic lines from the Scottish and Irish folk traditions: My Lagan Love and She Moved Through the Fair. The lower voices create a drone on which the tenor and upper voices explore the beautifully simple and instantly recognisable harmonies of these folk songs

• My love is like a red, red rose........................................EP 73137 SSAATTBB Scottish Traditional, Arr. Jim Clements

An SATB arrangement with no divisi of the famous Scottish folksong, My love is like a red, red rose, with text by Robert Burns, arranged for VOCES8 by Jim Clements.

• O Tannenbaum (Ger.)..........................................................EP 72774 SATB divisi Melchoir Frank, Arr. Jim Clements

Traditional German Christmas carol, arranged by Jim Clements for SATB (divisi) and dedicated to Voces8. Duration 3 minutes.

• The Parting Glass...............................................................EP 73540 Soprano & Tenor Solo, SSAATTBB Traditional Arr. Jonathan Pacey

A 4-minute gently flowing arrangement by Joshua Pacey of the traditional Irish/Scottish song. Written for unaccompanied SSAATTBB with soprano and tenor solo. Score includes rehearsal piano reduction. First recorded on VOCES8’s album Enchanted Isle.

• Shenandoah......................................................................EP 72238 SSAATTBB American Traditional, Arr. Thomas Hewitt-Jones

Thomas Hewitt Jones' version of the traditional American song, arranged for VOCES8 for the ensemble's fifth anniversary album and US tour in 2012.

• Wade in the water............................................................EP 73267 SSAAATBB Traditional, Arr. Jim Clements

Arranged by Jim Clements for Worcester Cathedral Chamber Choir and adapted for VOCES8, this is a beautiful song of faith and hope which is as enjoyable to listen to as to sing.

150

VOCES8 Singles American Songbook arrangements • Cheek to Cheek................................................................EP 73621 SSAATTBB Music & Words: Irving Berlin Arr. Jim Clements

The classic Irving Berlin tune that was sung by Fred Astaire in the movie Top Hat, here in a 3-minute arrangement by Jim Clements for unaccompanied SSAATTBB. A wistful start leads to an effortless swing arrangement over a walking bass. From VOCES8 arranger-in-residence Jim Clements, who helped create the distinctive jazz sound of VOCES8.

• A Nightingale Sang in Berkeley Square......................EP 73620 SSAATTBB Music: Manning Sherwin/Words: Eric Maschwitz Arr. Jim Clements

A gorgeous unaccompanied SSAATTBB arrangement of Manning Sherwin’s classic song, surely one of the most famous melodies from the 1930s. Written to be performed at leisurely pace with indulgent harmonies, and 3.5 minutes in length. From VOCES8 arranger-in-residence Jim Clements, who helped create the distinctive jazz sound of VOCES8.

VOCES8/A capella as recorded by the Swingle Singers VOCES8 Singles Pop arrangements

A cappella Arrangements as recorded by The Swingle Singers

• Homeward Bound...........................................................EP 73619

• And is it True?........................................................................EP 77000

SSATTBB Music & Words: Paul Simon Arr. Naomi Crellin

A wonderful unaccompanied SSAATTBB arrangement made for VOCES8 by Naomi Crellin of the classic Simon and Garfunkel song. This 3.5-minute arrangement revels in the atmosphere of the original song while also fusing brilliant harmonies. Naomi Crellin is an Australian composer, arranger and musical director/ singer with a cappella ensemble ‘The Idea of North’.

SATB ¤ Music Ben Parry, Words by John Betjeman [as recorded by the Swingle Singers: The Story of Christmas. Duration 1:31]

• Boar’s Head Carol................................................................EP 77001 SSAATTBB ¤¤¤ arr. Ben Parry [as recorded by the Swingle Singers: The Story of Christmas. Duration 2:42]

• Carol Medley.........................................................................EP 77003 • Pyramid Song...................................................................EP 73614 SSATTBB Music & Words: Thomas Yorke / Jonathan Greenwood / Colin Greenwood / Philip Selway / Edward O’Brien Arr. Geoff Lawson

A sublime and otherworldly 4.5-minute arrangement by Geoff Lawson of the iconic 2001 song by the British rock band Radiohead. Arranged for SATB (with divisi) and piano (with an option for strings and harp replacing piano). Flowing and mysterious, tranquil yet pensive, Pyramid Song is both simple and complex and endlessly fascinating. Geoff Lawson is an arranger and orchestrator who frequently works with VOCES8 on arrangements for their albums.

• The Sound of Silence.....................................................EP 73622 SSATTBB Music & Words: Paul Simon Arr. Alexander L'Estrange

An exquisite and evocative arrangement by Alexander L’Estrange of Paul Simon’s 1960s classic song as performed by Simon and Garfunkel. This 4.5-minute unaccompanied SSAATTBB arrangement embraces the classic folk-rock song style so loved by Simon and Garfunkel.

• Underneath the Stars......................................................EP 73139 SATB Music & Words: Kate Rusby Arr. Jim Clements

Underneath the Stars, in this beautiful arrangement by Jim Clements, is one of the most requested songs in the VOCES8 repertoire. Recorded on the Decca Classics label on the alum Eventide.

SSAATTBB ¤¤¤ arr. Jonathan Rathbone Deck the Halls; I Saw Three Ships; We Wish You a Merry Christmas; The Holly & the Ivy; The First Noel; Past 3 O’Clock [as recorded by the Swingle Singers: The Story of Christmas. Duration 2:58]

• Coventry Carol......................................................................EP 77004 SSAATTBB ¤¤¤ arr. Jonathan Rathbone [as recorded by the Swingle Singers: The Story of Christmas. Duration 3:07]

• Gabriel’s Message...............................................................EP 77005 SSAATTBB¤¤¤ arr. Jonathan Rathbone [as recorded by the Swingle Singers: The Story of Christmas. Duration 1:45]

• Jingle Bells ...........................................................................EP 77006 SATB¤ arr. Jonathan Rathbone

• Jingle Bells............................................................................EP 77007 SSAATTBB ¤¤¤¤ arr. Ben Parry [as recorded by the Swingle Singers: The Story of Christmas. Duration 2:29]

• Magnificat (Lat.)............................................................................EP 77018 SSAATTBB ¤¤¤ Music by Jonathan Rathbone [as recorded by the Swingle Singers: The Story of Christmas. Duration 3:15]

• Make We Merry............................................................................EP 77019 SSAATTBB ¤¤¤ Music by Ben Parry [as performed by the Swingle Singers]

• O Come, O Come, Emmanuel...........................................EP 77008

SSAATTBB ¤¤¤¤ arr. Jonathan Rathbone [as recorded by the Swingle Singers: The Story of Christmas. Duration 3:36] • The Oxen................................................................................EP 77009 SATB ¤¤¤ arr. Jonathan Rathbone [as recorded by the Swingle Singers: The Story of Christmas. Duration 2:18]

151

A capella as recorded by the Swingle Singers • Quem Pastores (Lat.)............................................................EP 77010

SATB ¤¤ German 14th century, arr. Jonathan Rathbone [as recorded by the Swingle Singers: The Story of Christmas Duration 1:31] • Silent Night (Eng.)..................................................................EP 77012 SSAATTBB ¤¤¤ arr. Jonathan Rathbone [as recorded by the Swingle Singers: The Story of Christmas. Duration 3:20]

• Stille Nacht (Ger.)...................................................................EP 77011 SATB¤¤¤ arr. Jonathan Rathbone

• The Twelve Days of Christmas..........................................EP 77013

• Danny Boy...............................................................................EP 77033 SSAATTBB ¤¤ I rish Traditional, arr. Jonathan Rathbone [as recorded by the Swingle Singers: Around the World. Duration 3:06]

• David of the White Rock......................................................EP 77048 SSAATTBB ¤¤¤ Welsh Traditional, arr. Ben Parry [as recorded by the Swingle Singers: Around the World. Duration 3:25]

• Galway Bay..........................................................................EP 77034 SSAATTBB ¤¤ Irish Traditional, arr. Jonathan Rathbone

SSAATTBB ¤¤¤¤ arr. Jonathan Rathbone [as recorded by the Swingle Singers: The Story of Christmas. Duration 2:55]

• La Cucaracha (Span.)...........................................................EP 77035

• Un Flambeau, Jeannette, Isabelle (Fr.).....................................................EP77014

T Solo & SSAATBB ¤¤¤ Scottish Traditional, arr. Jonathan Rathbone [as recorded by the Swingle Singers: Around the World. Duration 3:56]

SSAATTBB ¤¤¤ arr. Mark Williams [as recorded by the Swingle Singers: The Story of Christmas. Duration 2:22]

• We Three Kings......................................................................EP 77015 TTBB ¤¤¤ arr. Jonathan Rathbone [as recorded by the Swingle Singers: The Story of Christmas. Duration 3:29]

• We Three Kings...........................................................................EP 77021 SATB ¤ arr. Jonathan Rathbone

• What Child is This?..................................................................EP 77020

SSAATTBB ¤¤¤ (Greensleeves) arr. Jonathan Rathbone

Folk Music • The Ash Grove.......................................................................EP 77030 SSAATTBB ¤¤ Welsh Traditional, arr. Jonathan Rathbone [as recorded by the Swingle Singers: Around the World. Duration 3:10]

• Bushes and Briars.................................................................EP 77031 SSAATTBB ¤¤¤ English Traditional, arr. Ben Parry [as recorded by the Swingle Singers: Around the World. Duration 2:52]

• Charlie is My Darling.............................................................EP 77032 SSAATTBB ¤¤¤ Scottish Traditional, arr. Ben Parry [as recorded by the Swingle Singers: Around the World. Duration 2:07]

• Ciao, Bella, Ciao (It.)..............................................................EP 77050 SSAATTBB ¤¤ Italian Traditional, arr. Ben Parry [as recorded by the Swingle Singers: Around the World. Duration 3:52]

152

SSAATTBB ¤¤¤ Mexican Traditional, arr. Jonathan Rathbone

• Loch Lomond......................................................................EP 77036

• Miller of Dee (The)...............................................................EP 77049 SSAATTBB ¤¤¤¤ English Traditional, arr. Mark Williams [as recorded by the Swingle Singers:New World. Duration 3:01]

• My Love is Like a Red Red Rose......................................EP 77037 SATB ¤ Scottish Traditional, arr. Jonathan Rathbone Text: Robert Burns

• Sakkijarven Polkka (Fin.)....................................................EP 77038 SSAATTBB ¤¤¤¤ Finnish Traditional, arr. Jonathan Rathbone [as recorded by the Swingle Singers: Around the World. Duration 3:21]

• Salley Gardens (The)..........................................................EP 77039 SATB ¤¤¤ Irish Traditional, arr. Ben Parry [as recorded by the Swingle Singers: Around the World. Duration 2:43]

• Skye Boat Song....................................................................EP 77051 SSAATTBB ¤¤¤ Scottish Traditional, arr. Jonathan Rathbone

• Star of the County Down.....................................................EP 77040 SSAATTBB ¤¤¤¤ Irish Traditional, arr. Ben Parry [as recorded by the Swingle Singers: Around the World. Duration 2:32]

• Vem Kan Segla (Swe.)..........................................................EP 77041 SSAATTBB ¤¤ Swedish Traditional, arr. Jonathan Rathbone [as recorded by the Swingle Singers: Around the World. Duration 2:57]

• Viel Freuden mit sich bringet (Ger.)...................................EP 77042 SSAATTBB ¤¤ German Traditional, arr. Ben Parry [as recorded by the Swingle Singers: Around the World. Duration 3:12]

A capella as recorded by the Swingle Singers •Waltzing Matilda.....................................................................EP 77043 SSAATTBB ¤¤ Australian Traditional arr. Jonathan Rathbone [as recorded by the Swingle Singers: Around the World. Duration 3:20]

• What Shall We Do

with the Drunken Sailor?....................................................EP 77044 SSAATTBB ¤¤¤¤ English Traditional, arr. Jonathan Rathbone [as recorded by the Swingle Singers: Around the World. Duration 2:35]

Popular Classics • 1812 Overture.........................................................................EP 77060 SSAATTBB ¤¤¤¤ Tchaikovsky arr. Jonathan Rathbone [as performed by the Swingle Singers]

• Die Moldau – Vltava...............................................................EP 77061 SSAATTBB ¤¤¤¤ Smetana arr. Jonathan Rathbone

• Horn Concerto – Rondo........................................................EP 77063 TTBB ¤¤¤¤ Mozart arr. Jonathan Rathbone [as recorded by the Swingle Singers: A Cappella Amadeus]

• Il barbiere di Siviglia – Overture..........................................EP 77062 SSAATTBB ¤¤¤¤ Rossini arr. Jonathan Rathbone [as recorded by the Swingle Singers: Notability. Duration 4:21]

• ‘Largo’ from

New World Symphony........................................................EP 77064 SSAATTBB ¤¤¤ Dvorak arr. Rathbone [as recorded by the Swingle Singers: New World]

• Magic Flute – Overture.........................................................EP 77069

SSAATTBB ¤¤¤ Mozart arr. Ben Parry [as recorded by the Swingle Singers “if it’s music, we’ll sing it”. Duration 3:07]

• Sleepers Wake.......................................................................EP 77065 SSAATTBB ¤¤ J.S. Bach arr. Ben Parry [as recorded by the Swingle Singers: Bach Hits Back]

• Symphony No.40 (mvt I)......................................................EP 77066 SSAATTBB ¤¤¤¤ Mozart arr. Jonathan Rathbone

• Take it from Figure “0”...........................................................EP 77070 SATB

• ‘Un’ aura amorosa’

from Cosi Fan Tutte...........................................................EP 77067 T Solo & SSAATBB ¤¤¤¤ Mozart arr. Jonathan Rathbone [as recorded by the Swingle Singers: A Cappella Amadeus]

153

Yiddish Choral Series Yiddish Choral Series Series Editors: Samuel Seifert and Ludwig Böhme Yiddish folk songs explore the complete range of human emotions, powerfully expressing all that the Jewish people have loved, embraced and endured. Since their origins in the 14th century, the songs have traditionally been passed on to each generation as words and melodies alone. The Yiddish Choral Series now makes this music available for the first time in stunning new arrangements for choirs

• Ver hot aza yingele...................................................................EP 11652 Solo Voice, SATB Choir & Piano Arranged by Polina Shepherd

Arrangement (duration: 3 minutes) for solo voice, SATB and piano of the well-known Yiddish folksong. By composer, performer, choral director and educator Polina Shepherd

Series Editors Samuel Seifert (a member of Ensemble Rozhinkes) and Ludwig Böhme (director of the Leipzig Synagogal Choir) have commissioned a range of renowned international arrangers to illustrate the huge variety of creative responses to Yiddish songs: from simple choral settings to expansive, through-composed concert arrangements, and from typical Yiddish harmonies to aleatoric composition.

• The Yiddish Choral Series, which allows choirs everywhere to discover the fascinating world of Yiddish song, features:

• A range of choral styles and levels of difficulty, to suit all programming requirements</p>

• Informative introductions to each piece • Transliterated Yiddish lyrics, with poetic translations into English and German alongside the original Hebrew text

• Dzhankoye............................................................................EP 11649 SATB Choir & Piano Arranged by Juan M.V. Garcia

SATB Choir & Piano Bernd Franke

Choral composition for SATB divisi based on the Yiddish lullaby Kleyner yosem by Mordechaj Gebirtig

• Vos dergeystu mir di yorn (Why do you pester me)..................EP 11653 2 Solo Voices, SATB Choir & Piano Arranged by Fredo Jung

Accessible jazzy arrangement (duration: 2 minutes) of the Yiddish folk song with (and also without) piano accompaniment.

Imaginative arrangement (duration 5 minutes) of the humorous Yiddish folk song for 2 solos, SATB and piano.

By the well-known jazz musician Juan M.V. Garcia, professor for choral and ensemble conducting at the 'Franz Liszt' Academy in Weimar

By the lecturer, conductor, composer and arranger Fredo Jung

• Rozhinkes mit mandlen...........................................................EP 11648 Solo Voice, SATB Choir divisi & Piano Abraham Goldfaden, arranged Ludwig Böhme

Rozhinkes mit mandlen by Abraham Goldfaden is one of the most famous Yiddish lullabies. It is about a mother's longing for a better future for her child. ‘Rozhinkes’ (raisins) and ‘Mandlen’ (almonds) are symbolic of well-being and prosperity. In this choral version by Ludwig Böhme for solo voice, SATB Choir and piano, and which lasts 3.5 minutes, the ’feast‘ is presented in a through-composed arrangement with a richly-textured piano accompaniment. Constantly flowing waves of quavers, inspired by the swaying ‘Aylyulyu’, and the added affectionate motif ‘Yidele shlof’ make the romanticism of the song sound almost symphonic.

154

• Veyn nisht (after Kleyner yosem)..............................................EP 11650

Choral Anthologies • La voz latina:

Choral Music from Latin America

for SATB Choir Edited by Werner Pfaff / Javier Zentner Covering a range of styles from cumbia to Cuban son, this music is full of the characteristic rhythms and melodies which capture the unique vitality of Latin America. With background information, translations and pronunciation guides, enabling performers to immerse themselves in the atmosphere of Latin music, this collection provides a great addition to the repertoire for any choral concert.

BRAZIL Kyrie (from Missa Afro-Brasileira) (Music: Carlos Alberto Pinto Fonseca) Muié Rendêra (Music and Lyrics: Traditional, Arrangement: Carlos Alberto Pinto Fonseca) Três cantos nativos (Music and Lyrics: Traditional Kraó, Arrangement: Marcos Leite) Vol. 2.................................................................................EP 11425 Argentina, Chile, Uruguay, Bolivia, Peru

• A varied collection of mostly secular music, with some sacred pieces

BOLIVIA Naranjitay (Music and Lyrics: Traditional, Arr.: Luis Craff)

• Easy to advanced level • Includes introductions to the songs, translations of all texts and

PERU El alcatraz (Music and Lyrics: Traditional, Arr.: Luis Craff)

and carols

guidance on pronunciation

CHILE Te recuerdo Amanda (Music and Lyrics: Víctor Jara, Arr.: Eduardo Gajardo) Canción de cuna (Christmas) (Music and Lyrics: Luis Gastón Soublette Asmussen) Pasó luego una familia (Christmas) (Music and Lyrics: Luis Gastón Soublette Asmussen) URUGUAY Candombe de San Baltasar (Christmas) (Music and Lyrics: Abel Montenegro-Yábor, Arr.: Liliana Cangiano)

Vol. 1.................................................................................EP 11424 Cuba, Colombia, Venezuela, Ecuador, Brazil CUBA Tú no sabe inglé (Music: Emilio Grenet, Lyrics: Nicolás Guillén, Arrangement: Octavio Marín) Juramento (Music and Lyrics: Miguel Matamoros, Arrangement: Electo Silva) Entre el espanto y la ternura (Music: Beatriz Corona, Lyrics: Silvio Rodríguez) La maza (Music and Lyrics: Silvio Rodríguez, Arrangement: Juan Carlos Urrutia Palacio) Penas (Music: Beatriz Corona, Lyrics: José Martí) Iré a Santiago (Music: Roberto Valera, Lyrics: Federico García Lorca)

ARGENTINA Oración para la siembra del trigo (Music and Lyrics: Luis Gianneo) Lunas que pasan, soles que mueren (Music and Lyrics: Luis Gianneo) Madre del maíz (Music: Eugenio Carlos Inchausti, Lyrics: Carlos Alberto ‘Coco’ dos Santos, Arr.: Héctor Bisso) Póngale por las hileras (Music and Lyrics: Féliz Robustiano Palorma, Arr.: José Felipe Vallesi) Carnavalito del duende (Music: Gustavo ‘Cuchi’ Leguizamón, Lyrics: Manuel J. Castilla, Arr.: Juanjo Cura) Chacarera de mis pagos (Music and Lyrics: Julio Argentino Jerez, Arr.: Eduardo Ferraudi) Alfonsina y el mar (Music: Ariel Ramírez, Lyrics: Félix César Luna, Arr.: Hugo C. de la Vega) Doña Ubensa (Music and Lyrics: Nestor Salim alias Gustavo ‘Chacho’ Echenique, Arr.: Javier Zentner) El último café (Music: Héctor Stamponi, Lyrics: Ovidio Cátulo González Castillo, Arr.: Emilio Dublanc) Buenos Aires hora cero (Music: Ástor Piazzolla, Arr.: Néstor Zadoff) Invierno porteño (Music: Ástor Piazzolla, Arr.: Javier Zentner)

ECUADOR Vasija de barro (Music and Lyrics: Carlos Gonzalo Benítez Gómez, Arrangement: Javier Zentner) COLOMBIA Por el camino (Music and Lyrics: José Reyna Natera, Arrangement: Josefina Severino) Navidad negra (Christmas) (Music and Lyrics: José Benito Barros Palomino, Arrangement: Luis Craff) VENEZUELA Esta bella noche (Christmas) (Music and Lyrics: Luis Eduardo Galián) Kasar mie la gaji (Music: Alberto Grau, Lyrics: Traditional, from the Sahel region of Africa)

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Choral Anthologies • I Himmelen ► 70 Scandinavian choral pieces for mixed choir Hans Wülfing / Thomas von Schreiner (German and original languages) I Himmelen is a unique cross-section of Scandinavian sacred repertoire, complemented by traditional folk song settings. A composition by the ABBA duo Benny Andersson/Björn Ulvaeus, Gabriella's Song from the film As in Heaven and an Alleluia composed especially for this book bring the selection up to the immediate present.

• New repertoire for all important occasions and feast days in the church year

• Easy to medium difficulty • With an introduction to the history of Nordic choral music • All Scandinavian lyrics also in a singable translation

• Ukranian Love Songs Op. 5.........................................EP 11507 by Iwan Knorr

Iwan Knorr’s Ukrainian Love Songs Op. 5 for four voices and piano have the same flexible choral or one-per-part scoring as the Liebeslieder Waltzes Op. 65 by Johannes Brahms, to which they compare also in terms of compositional quality. Inspired by the Ukrainian Cossack tradition, Knorr’s cycle of nine settings combines lyrically romantic vocal writing with spirited virtuoso piano accompaniments. The poems tell stories of impassioned love, heroic warriors and the anxious wait for their safe return. Iwan Knorr (1853–1916) was a composer and music teacher. Born in West Prussia, he grew up in Russia, Riga and Leipzig and studied at the Leipzig Conservatoire. While working as a teacher in the Ukrainian city of Kharkiv, he established contact with Johannes Brahms, who became his mentor and advocate. Later, Knorr was a colleague of Clara Schumann on the staff of the Hoch Conservatoire in Frankfurt. Throughout his life, he sought to strengthen musical ties between the cultures of Central and Eastern Europe.

• Suitable for choirs of any size or solo vocal quartet • First modern edition, based on the first print of 1890 • Preface by Jochen Stankewitz, a leading German choral director, teacher and workshop leader

• Performance lyrics in German and English ► .......................................................EP 11410 ► Piano/Organ Accompanments ....................................................EP 11410a

Mixed Choir Choral Anthology

• I Himmelen ► 20 Scandinavian choral pieces for 3–4 high voices Hans Wülfing / Thomas von Schreiner (German and original languages) ► .........................................................EP 11412 ► Piano/Organ Accompanments ...................................................EP 11410a

SSA Choir Choral Anthology

• I Himmelen 10 Scandinavian choral pieces for 1–2 high voices Hans Wülfing / Thomas von Schreiner (German and original languages) ► 1– 2 High Voices Choir Choral Anthology .....................................EP 11414 ► Piano/Organ Accompanments ....................................................EP 11410a

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Choral Anthologies • Half Moon Rising...............................................................EP 72625 Choral Music from Mainland China, Hong Kong, Singapore & Taiwan SATB choir & piano, compiled and Edited by John Winzenburg Half Moon Rising offers a broad range of choirs an informed introduction to performing Chinese choral music. The collection includes: • a representative and contrasting selection of works from the past century – folksong arrangements; pieces mixing traditional Chinese and Western Romantic styles; and contemporary settings of ancient poetry • a broad range of styles and dialects, illustrating the region’s rich diversity, all presented with the transliterated original text poetic English translations below the staves and introductions • information on the composers/arrangers; performance notes; and literal English translations

• Ban Ge Yue Liang Pa Shang Lai (Half Moon Rising) Xinjiang folksong, arr. Cai Yuwen • Ba Jun Zan (Magnificent Horses) -Fantasy on a Mongolian folk tune, arr. Yang Hongnian, adapted and arr. Jing Ling-Tam • Cha Shan Qing Ge (Tea Mountain Love Song) -Guizhou folksong, arr. Chen Tscheng Hsiung • Diu Diu Dang Ah (Old Train Song) - Taiwan Yilan folksong, arr. Chien Shan-hua • Dui Hua (Antiphonal Flower Song) - Anhui folksong, arr. Shi Jin Bo • Gai Tau Hong Mei (Street Calls) - Leong Yoon Pin • Ge Lao HuanGe (Happy Song of the Gelao) - Gelao folksong, arr. Zhou Zhengsong • Hong Dou Ci (Red Bean Poem) - Liu Xue’an, arr. HwangYau-tai • Ken Chun Ni (Cultivating Spring Soil) - He Lüting (music) Tian Han (words) • Kuai Le De Ju Hui (Happy Reunion) • Ancient tune of Sun Moon Lake, arr. Chuan-Sheng Lu • Lok Sui Tien (Rainy Days) - Hakka folksong, arr. Toh Ban Sheng • Mo Li Hua (Jasmine Flower) - Jiangsu folksong, arr. Ch en Yi • Mu Ge (Shepherd’s Song) - Eastern Mongolian folksong, arr. Qu Xixian • Pao Ma Liu Liu Di Shan Shang (Horses Run on the Mountain) Xikang folksong, arr. Zhao Yushu • Qing Chun Wu Qu (Dance of Youth) - Uyghur folk song, arr. Wang Luobin, choral arr. Wang Shiguang • Ru Meng Ling (Like a Dream) - Richard Tsang • Seui Diu Go Tau (Under theMid-Autumn Moon) - Chan Kai-Young • Shui Guang Lian Yan (Ripples Glisten Away…) - Chen Yihan • Shui Xian Hua (Narcissus Flower)- Chinese folksong, arr. Lin Sheng-shih • Tin O O (Dark Clouds) - Northern Taiwan children’s song, arr. Tsai Yu-Shan • Xiao HeTang Shui (Flowing Creek) - Yunnan folksong, arr. Ma Shuilong • Xiao Huang Li Niao (Little Oriole) - Mongolian folksong, arr. Chan Hing-yan • Yang Guan San Die (Parting at Yangguan Pass) Ancient Chinese tune, transcribed by Xia Yifeng, arr. Wang Zhenya • Yi Wang (To Forget) - Hwang Yau-tai (music), Zhong Meiyin (text)

• The Australian Voices A Cappella Songbook.................EP 72432 10 Songs for SATB Vocal Groups

A collection of works performed by The Australian Voices, this a cappella songbook incorporates new songs by Australian-based composers as well as arrangements of traditional folksongs.

• Kalkadunga Yurdu (William Barton) • To An Early-Flowering Almond (Gordon Hamilton) • Other Plans (Lisa Young) • The Keeper (Amber Evans) • Initialize (Gordon Hamilton) • Diana (Gordon Hamilton) • Stellar Mansions (Nicholas Ng) • To The Evening Star (Amber Evans) • The Facebook Song (Gordon Hamilton) • Waltzing Matilda (arr. Gordon Hamilton)

• The Great British A Cappella Songbook........................EP 72404 Songs from and about the British Isles Arranged for SATB, Cantabile - The London Quartet

Cantabile - The London Quartet has long been one of Britain's leading vocal ensembles. The songbook contains a selection of their most popular pieces for SATB in sonorous and amusing arrangements. The finest a cappella music, versatile and always "very British".

• Elgar, Edward - Pomp and Circumstance. "Big Ben starts to chime?" • Gershwin, George - A Foggy Day: "A foggy day in London Town" • Cantabile - The London Quartet - Lullaby (Hush Macushla): "Hush, Macushla,don't you cry"

• Traditional Scottish – A Man's a Man for A' That:

"Is there for honest poverty" (»Lady McIntoshs Reel«) • King Henry VIII of England - Pasttime with Good Company: "Pastime with good company Ilove" • Traditional English – Greensleeves: "Alas, my love, you do me wrong" ("A Handful of Pleasant Delights" [1584]) • Traditional English – Oranges and Lemons: "Oranges and Lemons say the bells of St Clement's" • Parry, dr Joseph, Mynyddog (Richard Davies) – Myfanwy: "Why is it anger, O Myfanwy" • Traditional Irish - Danny Boy: "Oh, Danny boy, the pipes are calling" / I would be true« (Londonderry Air)

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Choral Anthologies • Kein schöner Lied..................................................................EP 11611 German folksongs in new and old arrangements for three-part choir (SAB) Edited by Jochen Stankewitz

This new collection contains 48 of the most popular German-language folksongs, arranged for three-part choir (Soprano, Alto, Baritone). Covering a wide variety of styles, it combines a selection of pieces from earlier Edition Peters anthologies with several new arrangements by leading exponents of German choral writing (Jutta Michel-Becher, Ludwig Böhme, Uli Führe, Uwe Henkhaus, Felicitas Kuckuck, Alwin M. Schronen, Sylke Zimpel) – with a focus on singability and richness of sound.

Ein Jäger aus Kurpfalz (Arr.: LudwigBöhme); Et ging en Reiter langs de Kant (Arr.: Julius Röntgen); Alleweil ein wenig lustig (Arr.: Eusebius Mandyczewski); Zwischen Berg undtiefem Tal (Arr.: Leo Blech); Die Gedanken sind frei (Arr.: Uli Führe)

• Sing Along – Sing Together!:

☼ .............................EP 11401 English Language Edition Edited by Michael Gohl / Jan Schumacher

The Open Singing Choir Songbook

• Sing Along – Sing Mit!:

►

The Open Singing Choir Songbook..............................EP 11400

Mostly easy to intermediate arrangements, suitable for amateur choirs

German Language Edition Edited by Michael Gohl / Jan Schumacher

• Sing Along – Sing Mit!:

►

The Open Singing Choir Songbook Supplement....... EP 11444 German Language Edition Edited by Michael Gohl / Jan Schumacher 32 Additional Songs

So treiben wir den Winter aus (Arr.: Alwin M. Schronen); Im Märzen der Bauer (Arr.: Ludwig Böhme); Der Winter ist vergangen (Arr.: ArminKnab); Nun will der Lenz uns grüßen (Arr.: Cesar Bresgen); Der Mai ist gekommen (Arr.: Armin Knab); Wie schön blüht uns der Maien (Arr.:Wilhelm Weismann); Bunt sind schon die Wälder (Arr.: Roland Erben); Es ist ein Ros entsprungen (Arr.: Johannes Weyrauch); Vom Himmel hoch,ihr Englein, kommt (Arr.: Johannes Weyrauch); Kommt all herein, ihr Engelein (Arr.: Carl Tiehl); Ach bittrer Winter (Arr.: Uwe Henkhaus); Gestern beim Mondenschein (Arr.: August von Othegraven); Ach Lieb, ich muss dich lassen (Arr.: Leonhard Lechner); Ach, wie empfindt meinHerze (Giovanni Gastoldi); Ännchen von Tharau (Arr.: Hans Chemin-Petit); All mein Gedanken (Arr.: Alwin M. Schronen); Das Lieben bringt großFreud (Arr.: Cesar Bresgen); Ich ging durch einen grasgrünen Wald (Arr.: Sylke Zimpel); Ich hab mir einen Garten gepflanzt (Arr.: GünterRaphael); Rosenstock, Holderblüh ( Arr.: Franz Burkhart); Stehn zwei Stern am hohen Himmel (Arr.: Wilhelm Weismann); Vetter Michel (Arr.:August von Othegraven); Wach auf, meins Herzens Schöne (Arr.: Jutta Michel-Becher); Wenn alle Brünnlein fließen (Arr.: Jutta Michel-Becher); Ade zur guten Nacht (Arr.: Franz Burkhart); Kein schöner Land (Arr.: Uwe Henkhaus); Der Mond ist aufgegangen (Arr.: Jutta Michel-Becher); Abend wird es wieder (Arr.: Uwe Henkhaus); Guten Abend, gut Nacht (Arr.: Jochen Stankewitz); Verstohlen geht der Mond auf (Arr.: RolandErben); Horch, was kommt von draußen rein (Arr.: Uwe Henkhaus); Muss i denn (Arr.: Cesar Bresgen); Zogen einst fünf wilde Schwäne (Arr.: JanVermulst); Ich fahr dahin (Arr.: Julius Spengel); Es dunkelt schon in der Heide (Arr.: Felicitas Kuckuck); Ich hab die Nacht geträumet(Arr.: Ludwig Böhme); Weiß mir ein Blümlein blaue (Arr.: Alwin M. Schronen); Es geht eine dunkle Wolk herein (Arr.: Hans Chemin-Petit); Undin dem Schneegebirge (Arr.: Sylke Zimpel); Wenn ich gedenk der Stu nd (Jacob Regnart); Es war ein König in Thule (Carl Friedrich Zelter); Esist ein Schnitter (Arr.: Jutta Michel-Becher); Es führt über den Main (Arr.: Felicitas Kuckuck);

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Open Singing is all about creating moments of magic and pure pleasure through singing with others. At Open Singing sessions, everyone is invited to sing: the event is neither choral rehearsal nor choral concert. It is – pure and simple – all about turning up and making music. Open Singing transcends age, style and culture. Along with a methodical approach and good communication skills, a clever choice of repertoire is one of the most important preconditions for a successful session. This album presents a varied selection of time-honoured classics and new pieces suitable for all kinds of Open Singing. Additionally, Sing Along – Sing Together! offers valuable tips and performance suggestions for successful planning and realization of Open Singing sessions. Over 160 pieces in 6 categories:

Canons, humor, movement From around the world Classical and Spiritual Advent and Christmas Gospel, blues, jazz, rock & pop

• For all age groups • For choral conventions and festivals • For choirs and audiences • For corporate team-building events • For singers and non-singers • With a comprehensive chapter on the methodology of open singing • With an easily realizable repertoire and modular songs • With international highlights, proven classics and new compositions • With a variety of design tips and movement instructions • With practical classification of the songs according to categories

Choral Anthologies • Reine Frauensache!:

Choral Highlights for Upper Voices ☼ Henkhaus / Faßbender / Rhein / Stankewitz

• A New Heaven ..........................................................EP 72475 16 Sacred Contemporary Works for Mixed Voices with an introduction by Simon Halsey A joint intiative between Faber Music and Edition Peters Exciting new choral works by some of the most highly regarded British choral composers of our time — from Jonathan Dove and Howard Goodall to Judith Bingham and Jonathan Harvey. Contemporary settings of key sacred texts such as Agnus Dei, Gloria and The Lord is my shepherd, for use in concerts, church services and choral evensongs throughout the year. Includes accompanied and unaccompanied works for mixed-voice choirs (four to eight parts), from intermediate to more advanced level

Reine Frauensache! Vol.1 60 Original Compositions and Arrangements from the 16th Century to the Present Day ☼ Choral Anthology ..........................................................EP 11441 ☼ Piano/Organ Accompanments ......................................EP 11441a

Introduction and commentary with valuable rehearsal and performance tips by internationally acclaimed British choral conductor Simon Halsey All works also available as individual choral leaflets

With 60 mostly a cappella pieces for female voices, Reine Frauensache! includes music from six centuries and a wide range of styles – from sacred music to pop. With accessible repertoire selected to appeal to amateur choirs, the book includes pieces from composers as varied as Palestrina, Brahms, Eric Whitacre and Ēriks Ešenvalds, together with arrangements of pop standards including I will Survive and Somewhere over the Rainbow.

• 60 easy to intermediate pieces in three or four parts, ideally suited for amateur choirs • An inspiring collection of repertoire, grouped into four categories: secular, sacred, folk songs and pop • Mainly a cappella repertoire, with piano or organ accompaniments

available separately

• Includes an appendix with translations of the lyrics Reine Frauensache! Vol.2

☼

25 Choral Highlights for Upper Voices Original Works and Arrangements from the 18th Century to the Present Day ☼ Choral Anthology ..........................................................EP 11516 ☼ Piano/Organ Accompanments ...................................EP 11516a Containing 25 choral settings graded easy to intermediate in three or four parts, Reine Frauensache 2 is sure to become a standard resource for choirs of all abilities.

Bednall, David - The Souls of the Righteous Bingham, Judith - God be in my head Burton, James - Oculi omnium Clements, Jim - A Blessing Dove, Jonathan - Gloria (from Missa Brevis) L'Estrange, Alexander - Let all the world in every corner sing Goodall, Howard - The Lord is my shepherd (Psalm 23) Harvey, Jonathan - Remember, O Lord mixed choir Hess, Nigel - Jubilate Deo mixed choir Martin, Matthew - ASong of the New Jerusalem Panufnik, Roxanna - The Call Parry, Ben - Now let us sing (Worcester Intro) Pitts,Anthony - Adoro Te Rathbone, Jonathan - Absolon, My Son Rizza, Margaret - Ave Maria Wallfisch, Benjamin – Agnus Dei

The repertoire ranges from Pergolesi to ABBA and from Beethoven to Beyoncé in original settings and arrangements

• Four categories of pieces: Secular, Sacred, Traditional and Pop • Mostly a cappella, with some instrumental accompaniments • Appendix with translations of lyrics

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Choral Anthologies/Christmas Choral Anthologies • Hymns from King's................................................................EP 72534 20 Hymn Arrangements for Choir and Organ by Stephen Cleobury Hymns from King’s is a collection of 20 hymn arrangements for choir and organ by Stephen Cleobury – who was Director of Music at King’s College Cambridge for more than 25 years. Covering the entire church year, including Christmas and Easter, Hymns from King’s is not just a book of descants – it also contains varied arrangements and accompaniments for many of the most popular hymns sung not only at King’s College but also in churches around the world.

Christmas Choral Anthologies • Hear the Angels Sing: 24 Carols for Concerts...................................................EP 72889 Choir and Small Orchestra or Piano/Organ by Jonathan Rathbone Hear the Angels Sing is a collection of 24 Christmas carols composed and arranged by Jonathan Rathbone for choir and small orchestra. Primarily intended for choral society carol concerts, the selection includes both concert pieces and classic congregation/audience-participation carols. Requiring only minimal rehearsal, this collection provides a highly practical means of delivering a full choir and orchestra carol concert or service within a sensible budget.

• 24 arrangements of favourite carols • Scored for SATB and small orchestra (minimum 13 players), including woodwind, brass, percussion and strings

• Can also be performed with piano or organ accompaniment • Orchestral scores and parts available separately

Abide with me All creatures of our God and king Angel voices Alleluia, sing to Jesus As with gladness men of old Christians awake salute the happy morn Come ye thankful people come Glorious things of thee are spoken Holy, holy, holy, Lord God almighty Jesus Christ is risen today Just as I am, without one plea Let allmortal flesh Lord of all hopefulness Love divine, all things excelling My song is love unknown Now thank we all our God O come, O come Emmanuel O God our help in ages past Praise my soul,the king of heaven Thine be the glory

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Away in a manger Carol of the Holy Boy Good King Wenceslas Hark! The herals angels sing Hear the Angels Sing I saw three ships I wonder as I wander Il est né le divin enfant In dulci jubilo In the bleak midwinter It came upon the midnight clear Lo, He comes with clouds descending Masters in this hall O come all ye faithful O holy night O little town of Bethlehem Once in royal David’s city Past three o’ clock Sans Day Carol Sleep little child Song of the Nuns of Chester Sussex Carol We three kings of Orient are We wish you a merry Christmas

Christmas Choral Anthologies • On Christmas Night.............................................................EP 72694 32 carols and Christmas anthems by contemporary composers SATB choir, a cappella or Piano/Organ On Christmas Night is a collection of 32 carols and Christmas anthems composed or arranged exclusively by contemporary composers. Written for SATB choir, either with organ accompaniment or a cappella, the volume provides a rich and varied collection of music for carol concerts and Christmas services. All the pieces in the collection are also available separately.

Tina Andersson – Christmas Morning Douglas Andrews – The Coventry Carol Judith Bingham – The Shepherd's Gift Judith Bingham – Now the Magi Arrive James Burton – On Christmas Night Jim Clements – Gabriel's Message Jim Clements – There is no rose Stephen Cleobury – Love Came down at Christmas Jonathan Dove – The Three Kings Jonathan Dove – I am the Day Rihards Dubra – Christus natus est I Rihards Dubra – Verbum caro Eriks Esenvalds – At Christmas Eriks Esenvalds – O Emmanuel Rupert Gough – Silent Night Matthew Harris – On this starry night Alexander Levine – The True Light Stephen McNeff – Carol of the Birds Sandra Milliken – Hodie Christus natus est Vytautas Miškinis – O nata lux Matthew Nielsen – Dormi Jesu Roxanna Panufnik – Sleep little Jesus Sleep Roxanna Panufnik – The Christmas Life Ben Parry – Three Angels Ben Parry – Christ's Nativity Julian Philips – I Sing of a Maiden Francis Pott – A Babe is born all of a May Jonathan Rathbone – Sweet was the song Jonathan Rathbone – There is no rose Alec Roth – Unborn Mike Sheppard – When a Baby is Born Barnaby Smith – Coventry Carol

• A Baltic Christmas (Lat/Ltv/Eng)..........................................EP 72517 10 Pieces for SATB Choir Joint publication between Musica Baltica and Edition Peters With captivating settings of favourite Latin texts and Latvian poetry by composers Rihards Dubra, Eriks Ešenvalds, and Vytautas Miškinis, as well as thrilling arrangements of ancient pagan folksongs by Ilona Rupaine and Juris Vaivods, this exciting anthology of Christmas music from Latvia and Lithuania is perfect for choirs looking to broaden their musical horizons during the festive period. Ešenvalds - O Emmanuel Ešenvalds - At Christmas Dubra - Hodie Christus Natus Est (I) Dubra - O Radix Jesse Dubra - Verbum Caro Dubra - A Child’s Prayer Dubra - The Candles Glow Miškinis - Nata Lux Latvian folksong arranged by Ilona Rupaine - Duido Latgallian folksong arranged by Juris Vaivods -Kalado

• Cool Christmas.............................................................EP 11398 German Christmas carols in new arrangements SSAB & Piano Arranged and composed by Peter Przystaniak

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Choral Vivace Choral Vivace Series

• Choral Vivace Series, Upper Voices Anthologies Vol. 1.......................................................................................EP 72613 Level: Easy/Intermediate

Milliken, Sandra (*1961)

CHORAL VIVACE is a major choral series by the internationally-acclaimed Australian composer Sandra Milliken. A noted choir director, clinician, adjudicator, accompanist and singing teacher, Sandra Milliken’s work is ideally written for voices, and is particularly appealing to youth choirs.

• a varied collection of choral music for upper and mixed voices • graded into three levels – easy, intermediate and advanced • ideal for both youth and adult choirs, either unaccompanied or with piano “Sandra’s music is composed with the sound of expressive voices in mind – it’s alive with spirit and soul, making it a pleasure to explore.” Emily Cox, Director – Canticum Chamber Choir and the Brisbane Chorale “Sandra is a most interesting and creative composer whose skills as pianist and choral conductor are clearly apparent in her lovely and inspiring songs. Her music will continue to be a delight for choirs around the world.”

Stand by our Side If I Open the Door Sleep and Dream Sing, Sing for Water The Squirrel Missa piccola Dona nobis pacem Dormi, Jesu! Cantate Domino Panis Dei

Vol. 2.......................................................................................EP 72614 Level: Intermediate/Advanced Anthem Bus Ride Laudate eum omnes stellae luminis Music Comes Snowflakes Tango in5 Laudate eum solo et luna

Gary Graden, Choral Director – St Jacob’s Church, Stockholm

• Choral Vivace Series, Mixed Voices Anthologies Vol. 1.......................................................................................EP 72675 Level: Easy At the Milonga

If I Open the Door Non Nobis, Domine Remember When Sing for Joy Sing, Sing for Water Viva la Musica Vol. 2.......................................................................................EP 72680 Level: Intermediate/Advanced

Anthem The Dawn Wind Death of a Giant Tango in 5 Don’t Weep for Me Missa Piccola Water for Life

Upper Voices • Angels ever watching........................................................EP 72164 SSA, flute and piano Level: Intermediate

• Anthem..................................................................................EP 72661 SA and piano Level: Intermediate

• Anthem...................................................................................EP 7904 SSA and piano Level: Intermediate

• Anthem...................................................................................EP 72165 SSAB and piano Level: Intermediate

• Bus Ride..................................................................................EP 7917 Unison voices and piano Level: Intermediate

• Cantate Domino.....................................................................EP 7905

SSA Level: Easy

• Dona nobis pacem..............................................................EP 7915 SSA Level: Intermediate

• Dormi, Jesu..........................................................................EP 7916 SSA Level: Intermediate

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Choral Vivace • Elbows..................................................................................EP 7901 SA and piano (Level: Easy)

• Flamenco flamingos..........................................................EP 7923 SSA and piano (Level: Easy

• Hodie Christus natus est..................................................EP 72167 SSAA, triangle and tambourine (Level: Easy

• If I Open the Door...............................................................EP 7918 SSA & piano (Level: Easy)

• Jubilate Deo.........................................................................EP 7919 SSAA and percussion (Level: Intermediate)

Mixed Voices • At the Milonga........................................................................EP 7909 SATB (Level: Easy)

• Death of a Giant....................................................................EP 7910 SATB (Level: Advanced)

• Don't weep for me..............................................................EP 72171 SATB (Level: Advanced)

• Hodie Christus natus est..................................................EP 72166 SSATB, triangle and tambourine Level: Easy

• In paradisum......................................................................EP 72104 SSAATTBarB (Level: Advanced)

• Missa piccola........................................................................EP 7911 SATB (Level: Intermediate)

• Laudate eum omnes stellae luminis...............................EP 72168 SS Soli and SSA (Level: Advanced)

• Laudate eum sola et luna.................................................EP 72169 SSA (Level: Easy)

• Missa brevis........................................................................EP 72105 SSAA (Level: Advanced)

• Missa piccola........................................................................EP 7906 SSAA (Level: Intermediate)

• The ornamental cat.............................................................EP 7921 SSA & Piano (Level: Advanced)

• Missa semplice....................................................................EP 7912 SATB (Level: Intermediate)

• Non nobis, Domine.............................................................EP 7924 SAB (Level: Easy)

• Remember when...............................................................EP 7913 SATB and piano (Level: Easy)

• See the baby boy...............................................................EP 7926 Solo Soprano, SSS semichorus, SAB and piano (Level: Easy)

• Panis Dei..............................................................................EP 7922

• Sing for joy..........................................................................EP 7914

• Remember when...............................................................EP 7913

• Sing, sing for water...........................................................EP 7925

SSAA (Level: Intermediate)

SATB and piano (Level: Advanced)

• Sing, sing for water...........................................................EP 7920 SSA & piano (Level: Easy)

• Sleep and Dream............................................................EP 72170 SA, optional flute and piano (Level: Easy)

• Snowflakes.........................................................................EP 7904 SA and piano (Level: Advanced)

• The squirrel.........................................................................EP 7903 SSA and piano (Level: Easy)

• The squirrel......................................................................EP 72425

SATB & Optional Piano (Level: Easy) SATB & Piano (Level: Easy)

Lower Voices • Cantate Domino...........................................................EP 72440

TTBar Level: Easy

• O magnum mysterium.....................................................EP 72436 Soprano Solo, TTBar and TTBB (Level: Advanced)

• Panis Dei............................................................................EP 72437 TTBB (Level: Intermediate)

Unison voices and piano (Level: Easy)

• Stand by our side..............................................................EP 7902 SA and piano (Level: Easy)

• Sudoku...............................................................................EP 7908 SSA and piano (Level: Easy)

• Tango in 5.........................................................................EP 72107 SSAA (Level: Advanced)

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Musica Baltica Choral Anthologies Musica Baltica & Edition Peters Choral Anthologies

Dubra - TheCandles Glow Miškinis - O Nata Lux Rupaine (arr.) - Duido Vaivods (arr.) - Kalado

• A Baltic Christmas (Lat/Ltv/Eng).........................................EP 72517 • A Baltic Anthology (Lat./Ltv./Eng.).......................................EP 72671 34 Pieces by Ešenvalds, Dubra and Others Mixed Choir (SATB) Baltic choral music has undergone a massive resurgence in recent years. Sacred choral music, in particular, has flourished since the end of the Soviet era, with composers such as Eriks Ešenvalds (*1977) and Rihards Dubra (*1964) achieving international recognition. This collection of choral music brings together a number of works by Ešenvalds and Dubra, and a varied selection of Christmas music, some to standard Latin texts, some to Latvian poetry, others drawing both words and melody from the older pagan tradition of masked singers and dancers.

Ešenvalds - Kas vinš? (Who is He?) Ešenvalds - Lielupe Ešenvalds - O Salutaris Hostia Ešenvalds - A Drop inthe Ocean (Piliens Okeana) Ešenvalds - Evening (Vakars) Ešenvalds - This is my Father’s World Ešenvalds - AmazingGrace Ešenvalds - Stars Ešenvalds - Only in Sleep Ešenvalds - In my Little Picture Frame Ešenvalds - LongRoad Dubra - Miserere mei Dubra - Eripe me Dubra - Rosa vernans caritatis Dubra - Duo seraphim Dubra- Puer Natus in Bethlehem Dubra - Hodie Christus natus est (II) Dubra - Florete flores Dubra - Ave Maria(I) Dubra - Ave Maria (II) Dubra - Ave Maria (III) Dubra - Dominus regit me Dubra - StetitAngelus Dubra - Hail, Queen of Heaven Ešenvalds - O Emmanuel Ešenvalds - At Christmas Dubra - Hodie ChristusNatus Est Dubra - O Radix Jesse Dubra Dubra - Verbum Caro Dubra Dubra - A Child’s Prayer

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10 Pieces for SATB Choir Joint publication between Musica Baltica and Edition Peters With captivating settings of favourite Latin texts and Latvian poetry by composers Rihards Dubra, Eriks Ešenvalds, and Vytautas Miškinis, as well as thrilling arrangements of ancient pagan folksongs by Ilona Rupaine and Juris Vaivods, this exciting anthology of Christmas music from Latvia and Lithuania is perfect for choirs looking to broaden their musical horizons during the festive period. Ešenvalds - O Emmanuel Ešenvalds - At Christmas Dubra - Hodie Christus Natus Est (I) Dubra - O Radix Jesse Dubra - Verbum Caro Dubra - A Child’s Prayer Dubra - The Candles Glow Miškinis - Nata Lux Latvian folksong arranged by Ilona Rupaine - Duido Latgallian folksong arranged by Juris Vaivods -Kalado

• Baltic Songs for Upper Voices (Lat./Ltv./Eng.) SSA divisi

Vol. 1.......................................................................................EP 72678 17 Pieces by Dubra, Mence and Others

• Skaista Mana Brala Seta - Latvian Folksong arranged by Jekabs Graubinš

• Dziedu Koši Locidama - Latvian Folksong arranged byJ ekabs Graubinš

• Pie Dievina Gari Galdi - Latgallian Folksong

arranged by Romualds Jermaks • Saulit’ Velu Vakarai - Latvian Folksong arranged by Andris Sejans • Juras Mate - Rihards Dubra, Latvian Folksong Text • Veja Mate - Latvian Folksong arrangedby Valdis Zilveris • Dindaru, Dandaru, Ozolini - Latvian Folksong arranged by Valdis Zilveris • Dancašanas Dziesma - LatvianFolksong arranged by Austrina • Kas Pa Mežu Sraida - Andris Kontauts, Inese Zandere • Melodijas - Emilis Melngailis,Aspazija • Pasacina - Peteris Barisons, Janis Sudrabkalns • Šupla Dziesma - Helmers Pavasars • Pulkstendarbnica -Austrina • Viva La Musica - Ilze Arne • Laudate Dominum - Rihards Dubra • Lugšana - Bruno Skulte, LeonidsBreikšs • Benigna Domina - Selga Mence

Musica Baltica Choral Anthologies Vol. 2...........................................................................................EP 72679 12 Pieces by Ešenvalds, Dubra and Others

• Aizalaida Sauleite - Latgallian folksong arranged by Juris Vaivods • Lai Bij’gruti, Kam Bij’gruti - Latvian folksong

arrangedby Alberta Jerums • Pavasara Rotašana - Selga Mence, Latvian folksong text • Mistat Linus, Mistitaji - Latvian folksong arrangedby Peteris Plakidis • Two Songs Of Ophelia - Pauls Dambis, Text from Shakespeare’s Hamlet • Lietus Virinš - Ruta Vintule, FricisBarda • Laudate - Rihards Dubra • Gloria Patri - Romualds Jermaks • Kyrie Eleison - Leons Amolinš • O SalutarisHostia - Eriks Ešenvalds • Ave Maria - Maija Einfelde

Dubra, Rihards (*1964) Vol. 1................................................................................EP 72447 for Mixed Voices

• Miserere mei • Eripe me • Rosa vernans caritatis • Duo seraphim • Puer Natus in Bethlehem • HodieChristus natus est (II) • Florete flores

Vol. 2................................................................................EP 72448 for Mixed Voices

• Baltic Songs for Male Voices

Vol. 1 (Lat./Ltv./Eng.)......................................................EP 72746

• Stars – Ēriks Ešenvalds

• At Christmas – Ēriks Ešenvalds • My Song – Ēriks Ešenvalds • Adoramus te – Rihards Dubra • Laudate – Rihards Dubra • Hodie Christus natus est – Rihards Dubra • Verbum caro – Rihards Dubra • Nunc dimittis – Rihards Dubra • Five Catullus Songs – Valts Pūce • Te lucis ante terminum – Juris Karlsons • Mirdi k zvaigzne (Shine like a Star) – Emīls Dārziņš

• Ave Maria (I) • Ave Maria (II) • Ave Maria (III) • Dominus regit me • Stetit Angelus • Hail, Queen of Heaven

Ešenvalds, Eriks (*1977) Born in 1977 in Latvia, Eriks Esenvalds is an original and sought-after voice of the Baltic music tradition. A composer of two full-stage operas, he has also written scores for full-scale orchestra that have been performed by the Boston and City of Birmingham Symphony Orchestras. His Nordic Light multimedia symphony has been heard at premieres in the USA, Canada, Germany, Latvia and Lithuania, with new performances in other countries often undertaken. His large-scale vocal symphonic work The Pleiades was premiered to great acclaim at the Grant Park Festival, Chicago. Ešenvalds first came to prominence around the world for his choral compositions, which appear on numerous recordings including from Trinity College Choir, Cambridge and Polyphony, Portland State Chamber Choir, the Choir of the West (Pacific Lutheran University), and Latvian Radio Choir and State Choir Latvia. His many choral premieres have included performances at the BBC Proms and Wigmore Hall in London, the Kennedy Center in Washington D.C., and the Gewandhaus Leipzig. Vol. 1................................................................................EP 72445 for Mixed Voices

• Kas vinš? (Who is He?) • Lielupe • O Salutaris Hostia • A Drop in the Ocean • Evening • This is my Father’s World

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Musica Baltica Choral Anthologies Vol. 2.....................................................................................EP 72446 for Mixed Voices

• Amazing Grace • Stars • Only in Sleep • In my Little Picture Frame • Long Road

Vol. 5................................................................................EP 73350 for Mixed Voices • Earth teach me quiet • I have loved hours at sea • Mistletoe • My love is like a red, red rose • My Song • O, she doth teach the torches to burn bright • The Time Has Come • Vem kan segla förutan vind

Vol. 3...................................................................................EP 72682 for Upper Voices • Northern Lights • Stars • Ubi Caritas Et Amor • Benedictus Es • O Salutaris Hostia • Spring, The SweetSpring • Who Can Sail Without The Wind • Gaujas Meita Rotataja

Vol. 4................................................................................EP 72683 for Mixed Voices

• Magnificat • Nunc Dimittis • Northern Lights • Rivers of Light • The Heavens’ Flock • The NewMoon • The Earthly Rose • Psalm 67

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Vol. 6................................................................................EP 73351 for Mixed Voices

• Alleluia • Leaves • O magnum mysterium • Proclamation • She walks in beauty • A Soldier’s Mother’s Lullaby • There will come soft rains • The Treasure • Trees

Musica Baltica Choral Anthologies Miškinis, Vytautas (*1954) Vytautas Miškinis is a composer, choir conductor and educator. His output encompasses over 400 secular, and around 150 sacred, works; in addition to over 100 folk song arrangements. Miškinis was Artistic Director of Ažuoliukas youth choir, and music for children constitutes a large part of his work. His music is characterised by polyphonic and melodic material, as well as aleatoric and sonoristic effects. His works have become popular both in Lithuania and abroad. Vol. 1................................................................................EP 72684 for Mixed Voices

• At this Time of My Parting • I am here • Jubilate • Night • O Nata Lux • Omnis Terra AdoretTe • The Night

Vol. 2................................................................................EP 72684 for Mixed Voices

• At this Time of My Parting (II) • Domine Dominator • Gloria in excelsis (II) • I will lift up mine eyes • Sonnet VII • This is my prayer • Neišeik, Saulala

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Opera Vocal Scores Bjarnason, Daniel (*1979)

Opera Vocal Scores

• Brothers (Eng/Ger)..............................................................EP 73002a

Beethoven, Ludwig van (1770–1827)

Opera in 3 Acts

• Fidelio Op. 72 (Ger.).......................................................................EP 44 Opera in 2 Acts (Soldan)

The 100-minute work, with a libretto by Kerstin Perski, is based on the screenplay of the same name by Susanne Bier and Anders Thomas Jensen. Commissioned by the Danish National Opera / Den Jyske Opera.

Bizet, Georges (1838-1875)

The opera follows a miliary officer after he returns home from the war in Afghanistan, finding that his relationship with his family has changed forever.

.................................................EP 7548a Opera in 4 Acts (Richard Langham Smith)

• Carmen (Fr./Eng.)

This major new edition of perhaps the world’s most popular opera, includes French and English text, incorporates the original dialogues, and is backed up by complete orchestral performance material. Unique sources: includes information derived from documentation of French productions of Bizet’s time – aspects not preserved in the scores or librettos at the time, nor represented in other current editions. Informative and practical: a comprehensive preface in the vocal score (in English, French and German) provides fascinating background information to the edition and practical guidance to the performance of Carmen.

Dove, Jonathan (*1959) • The Adventures of Pinocchio (Eng/Ger)..............................EP 7997 An Opera for the Family Libretto by Alasdair Middleton

This adaptation, based on Carlo Collodi‘s original well-loved Pinocchio story, is a unique and magical full-scale work for a family audience, a spectacular introduction to the world of opera that combines fairytale dreaminess and humour with some surprisingly dark undertones, and ultimately asks the question‚ what does it mean to be really human?

• Carmen (Ger.) (Soldan)...........................................................EP 3001 • Les Pêcheurs de perles (Fr./) Opera in 3 Acts (Cohen)

..............................EP 7700

This major new Urtext edition of Bizet’s classic opera is a reconstruction of Bizet’s original intentions as indicated in the vocal score he himself prepared in 1864. • Unique sources • Includes information derived from documentation of French productions of Bizet’s time – aspects not preserved in the scores or librettos at the time, nor represented in other current editions. • Informative and practical • A comprehensive preface provides fascinating background information to the edition and practical guidance to the performance of the work.

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The whole range of operatic voices is engaged in the retelling – nine principals, including coloratura soprano, basso profundo and countertenor, play 16 roles, and there are also small solo parts for members of the chorus.

• Flight (Eng.)...............................................................................EP 7511 Libretto by April de Angelis Commissioned by Glyndebourne

Flight is a superb original modern-day operatic comedy which has found universal popularity, with many different productions and over 100 performances to date across the world. The opera has both laugh-out-loud and more serious moments as the story of the refugee who lives in the airport – inspired by the true-life story of an Iranian refugee who lived at Charles de Gaulle Airport, Paris, for 18 years – unfolds around the different characters who find themselves delayed in the terminal.

Opera Vocal Scores • Mansfield Park(Eng.)...........................................................EP 72027a Libretto by Alasdair Middleton, based on the novel by Jane Austen

Setting Jane Austen’s classic novel as an opera, Dove adapted the novel with librettist Alasdair Middleton, and from the first sung words by the whole company, “Mansfield Park, Chapter One”, there is strong narrative drive, impeccable vocal writing and wonderful ensembles that sparkle with style and wit.

Lortzing, Albert

(1801–1851)

• Zar und Zimmerman (Ger.).....................................................EP 2051 Comic Opera in 3 Acts (Kruse)

• Der Waffenschmied (Ger.)......................................................EP 2052 Comic Opera in 3 Acts (Kruse)

• Der Wildschütz (Ger.)..............................................................EP 2054 Comic Opera in 3 Acts (Kruse)

Mascagni, Pietro (1863–1945) • Cavalleria Rusticana (Ger./It.).................................................EP 4400 Opera in 1 Act (Soldan)

Mozart, Wolfgang Amadeus (1756–1791) • Bastien und Bastienne (Ger.)..................................................EP 9001 Opera in 1 Act (Kleinmichel)

• Così fan tutte K588 (Ger./It.).....................................................EP 8703 Comic Opera in 2 Acts (Schünemann / Soldan)

• La Clemenza di Tito K621 (Ger./It.)...........................................EP 746 Opera seria in 2 Acts (Kogel)

• Tobias and the Angel (Eng.)..................................................EP 7535 Church Opera in 1 act, Libretto by David Lan

Gluck, Christoph Willibald (1714–1787) • Orpheus (Fr./Ger.)........................................................................EP 54a (Dörffel / Singer)

• Don Giovanni K527 (Ger./It.)....................................................EP 4473 Dramma giocoso in 2 Acts

• Die Entführung aus dem Serail / Il Seraglio K384 (Ger.)..............................................................EP 745 Singspiel in 3 Acts (Soldan)

• Idomeneo K366 (Ger./It.)...........................................................EP 1127 Opera seria in 3 Acts (Kogel)

• Impresario (Ger.)......................................................................EP 2184 Comedy with Music in 1 Act

Gounod, Charles (1818–1893) • Faust (Fr./Ger.)...........................................................................EP 4402 Opera in 5 Acts

• The Magic Flute / Die Zauberflöte K620 (Ger.).......................................................EP 71

Opera in 2 Acts (Soldan)

Händel, Georg Friedrich (1685–1759) • Julius Caesar (Ger./It.) (Hagen)...............................................EP 3783

• Le nozze di Figaro/

The Marriage of Figaro K492 (Ger./It.).................................EP 4472 Comic Opera in 4 Acts (Schünemann / Soldan)

Opera in 3 Acts Abridged and Edited Version

• Xerxes (Ger.). (Hagen)..............................................................EP 3792 Opera in 3 Acts Abridged and Edited Version

Humperdinck, Engelbert (1854–1921) • Hänsel und Gretel (Ger.)

Fairy-tale Opera in 3 Acts (Gurgel)

.........................................EP 9249

Nicolai, Otto (1810–1849) • Die lustigen Weiber von Windsor / The Merry Wives of Windsor (Ger.)....................................EP 1940 Comic Fantastic Opera in 3 Acts (Soldan)

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Opera Vocal Scores Wagner, Richard (1813–1883)

Puccini, Giacomo (1858–1924) • Madama Butterfly/ Madam Butterfly (It./Ger.)......................................................EP 9635 Japanese Tragedy in 3 Acts (Schmitz)

Rimsky-Korsakov, Nikolai (1844–1908) • Der Goldene Hahn / The Golden Cockerel (Ger./Eng.)........................................EP 8006 Opera in 3 Acts after a Fairy Tale by Pushkin

The Edition Peters vocal scores of Wagner's stage works are famed for their reliability, practicality and quality. They are used by the world's leading singers, directors, repetiteurs and conductors in productions of these works across the world.

• Der fliegende Holländer / The Flying Dutchman WWV 63 (Ger.)................................EP 3402 Opera in 3 Acts (Brecher)

• Lohengrin WWV 75 (Ger.).........................................................EP 3401

Rossini, Gioachino (1792–1868) • Il barbiere di Siviglia/ The Barber of Seville (Ger./It.).............................................EP 4265 Comic Opera in 2 Acts (Soldan / Neitzel)

Strauss II, Johann (1825–1899) • Die Fledermaus (Ger.)

Comic Operetta in 3 Acts (Freyer)

...........................................EP 9777

Romantic Opera in 3 Acts (Mottl)

• Die Meistersinger von Nürnberg WWV 96 (Ger.)................................................EP 3408 Opera in 3 Acts (Kogel)

• Parsifal WWV 111 (Ger.)............................................................EP 3409 Bühnenweihfestspiel (Mottl)

• Tannhäuser WWV 70 (Ger.)......................................................EP 8217 Opera in 3 Acts, Dresden and Paris Versions (Mottl)

• Tristan und Isolde WWV 90 (Ger.)..........................................EP 3407 Opera in 3 Acts (Mottl / Kogel)

An opera that changed music and the arts forever, is presented with a piano reduction by Felix Mottl with German sung text and stage directions.

Verdi, Giuseppe (1813–1901) • Aida (Ger./It.)..............................................................................EP 4253 • La Forza del Destino (Ger./It.)..............................................EP 4254 Opera in 4 Acts (Soldan)

• Rigoletto (Ger./It.).....................................................................EP 2185 Opera in 3 Acts (Soldan)

• La traviata (Ger./It.) .................................................................EP 1469 Opera in 3 Acts (Kogel)

• Il Trovatore (Ger./It.)..................................................................EP 1379 Opera in 4 Acts (Soldan)

Der Ring des Nibelungen (Felix Mottl) • Das Rheingold WWV 86a (Ger.).............................................EP 3403 Prelude to the Bühnenfestspiel "Der Ring des Nibelungen"

• Die Walküre WWV 86b (Ger.)..................................................EP 3404 Day 1 of the Bühnenfestspiel "Der Ring des Nibelungen"

• Siegfried WWV 86c (Ger.)........................................................EP 3405 Day 2 of the Bühnenfestspiel "Der Ring des Nibelungen"

• Götterdämmerung WWV 86d (Ger.).......................................EP 3406 Day 3 of the Bühnenfestspiel "Der Ring des Nibelungen"

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Opera Vocal Scores Weber, Carl Maria von (1786–1826) • Der Freischütz (Ger.) (Freyer) Romantic Opera in 3 Acts

................................EP 9741

• Oberon (Ger.)..........................................................................EP 3010a • Peter Schmoll (Ger.)................................................................EP 4834

Wolf, Hugo Philipp Jacob (1860–1903) • Der Corregidor (Ger.)..............................................................EP 3730

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Solo Vocal Studies & Exercises Solo Vocal Vocal Studies & Exercises • 30 Italian Songs and Arias of the seventeenth and eighteenth centuries

Selected and edited by Roger Nichols (It. / Eng.)

Includes: • a CD of piano accompaniments • English singing translations • word-by-word translations • pronunciation guide Medium-high......................................................................EP 7743a

Medium-low........................................................................EP 7743b

Italian songs and arias of the 17th and 18th centuries have for many years been essential repertoire for anyone learning to sing. But this music is prinicpally known in romantic adaptations which the original composers would barely recognize. This new collection of 30 songs and arias (based on the ‘standard 24’, together with other pieces typical of the Italian style) recreates the clearer and cleaner – and easier to play – accompaniment style of the 17th and 18th centuries. I am delighted to see Parisoltti’s ubiquitous anthology recast with such learned courtesy. Roger Nicholas has shed all outdated features, adding instead invaluable information and suggestions; this choice of pieces celebrates even bette rthe genius of Italian baroque song, and I hope to see it used everywhere! Emma Kirkby

Concone, Giuseppe (1801–1861) • 50 Leçons Op.9 Medium...................................................................................EP 980a Low.......................................................................................EP 980b

Lütgen, Bernard (1838–1910) • Art of Velocity, 20 Daily Exercises Vol.1: High............................................................................EP 1358a Vol.1: Medium................................................................EP 1358b Vol.1: Low...............................................................................EP 1358c

Vaccai, Nicola (1790–1848) • Metodo Pratico (It./Ger.) (Bernhoff)

(It./Ger. with music, Fr./Eng. separately) High.......................................................................................EP 2073a High.........................................................................................Q 2073a (Includes piano accompaniment CD) Medium..................................................................................EP 2073b Medium....................................................................................Q 2073b (Includes piano accompaniment CD) Low.........................................................................................EP 2073c Low...........................................................................................Q 2073c (Includes piano accompaniment CD)

Contents: Caccini Amarilli, mia bella; Monteverdi Lasciatemi morire; Gagliano Valli profonde; d’India Torna il sereno Zefiro; Carissimi Vittoria, mio core; Crudo amore; Strozzi L’amante bugiardo; La vendetta; Legrenzi Che fiero costume; Torelli Tu lo sai; Scarlatti Già il sole dal Gange; O cessate di piagarmi; Sento nel core; Leviolette; Se Florinda è fedele; Lotti Pur dicesti, bocca bella; Padre, addio; Bononcini Non posso disperar; Per la gloria d’adorarvi; Caldara Sebben, crudele; Alma del core; Come raggio di sol; Durante Vergin, tutt’amor; Danza, danza, fanciulla; Conti Quella fiamma; anonymous Nina; Gluck O del mio dolce ardor; Giordani Caro mio ben; Paisiello Nel cor più non mi sento; Parisotti Se tu m’ami

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Audition Technique/Music for Vocal Exams Audition Technique Hammond, Mary • Thank you – that's all we need for today........................EP 7970 (includes warm-up CD) Mary Hammond, doyenne of musical theatre coaches, has finally put pen to paper. In her own inimitable style, Mary guides the auditionee through every practicality of the audition process - generously sharing many of her inspirational insights into the world of music theatre. To help auditionees on their way, Mary has produced a CD of vocal warm-ups - included with the book.

Music for Vocal Exams Providing a selection of core repertoire for candidates taking ABRSM vocal exams, The Art of Song volumes are now firmly established as an essential, affordable and convenient resource for all singing teachers and students.

• The Art of Song (Revised and Expanded Edition) A Selection of Songs from the ABRSM syllabus

Grades 1–3 High...............................................................EP 71761 Grades 1–3 Medium-Low.................................................EP 71762

Full of practical advice for anyone who auditions for musical theatre shows, whether professional or amateur. Starting with the earliest stages,it covers every aspect of the audition process: choosing and learning songs; looking after your voice; deciding what to wear; preparing CVs and photos; how to make a good impression; who's who on the audition panel.

Grade 4–5 High...............................................................EP 71763 Grade 4–5 Medium-Low..................................................EP 71764

Legge, Anthony • The Art of Auditioning (Revised Edition).........................EP 72067 A handbook for Singers, Accompanists and Coaches

Edition Peters, the world’s leading publisher of vocal music for more than 200 years, has joined forces with Anthony Legge to produce this revised and updated edition of the best-selling guide – The Art of Auditioning. Essential reading for every aspiring and professional singer, it contains: - authoritative advice on how to approach and prepare for your auditions - a directory of more than two hundred recommended audition arias - information about what to expect after your first successful audition and how to prepare for professional engagements. This invaluable and much needed guide to the process of auditioning includes a comprehensive list of suitable arias with helpful comments on how they should be performed. Singers and pianists alike will benefit greatly from it. Dame Anne Evans Anthony Legge has worked regularly with the principal British opera companies, Opera Australia, many European opera companies and at Bayreuth, where he worked on The Ring and Die Meistersinger. He spends much time on audition and competition panels. His experience as a conductor, accompanist and vocal coach has given him a broad overview of the profession.

Grade 6 High....................................................................EP 71765 Grade 6 Medium...............................................................EP 71766 Grade 6 Low......................................................................EP 71767 Grade 7 High....................................................................EP 71768 Grade 7 Medium...............................................................EP 71769 Grade 7 Low.....................................................................EP 71770 Grade 8 High....................................................................EP 71771 Grade 8 Medium...............................................................EP 71772 Grade 8 Low.....................................................................EP 71773

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Changing Voices/Everlasting Voices Changing Voices • Changing Voices: Songs within an Octave for Teenage Male Singers...................................EP 72482 Songs within an octave for teenage male singers Edited by Liza Hobbs and Veronica Vesey Campbell

When boys’ voices change from a childhood treble to a lower adult voice it is important to treat the voice particularly carefully. Pushing it too hard may cause permanent damage. Changing Voices contains a collection of songs to help the young singer through this period.

• Repertoire: Classic, musical, traditionals and new compositions • Background information on songs and composers • Notes on Italian, German and French pronunciation • Description of the physiology of the voice when the voice breaks Porter, Cole - Anything Goes; Wood, Haydn - A Brown Bird Singing; Parry, Ben - Career Paths; Fuenllana, Miguel de - De los álamos vengo; Allan, Thomas S. - Erie Canal; Mendelssohn Bartholdy, Felix - folk song; Spiritual – Ezek'el Saw the Wheel; Vaughan Williams, Ralph - From far, from Eve and Morning; Chausson, Ernest-Hébé; Poulenc, Francis - La souris; Traditional – Leave her, Jonny; Wallen, Errollyn—Let It; Schumann, Robert - A Blacksmith's Song; Gagliano, Marco da - Pupil arciere; Rubbra, Edmund - Rune of Hospitality; Dowland, John - Say love if ever thou didst find; Anonymous—Star Vicino; Hattey, Philip - Variables of Green; Flanders, Michael / Swann, Donald

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• Everlasting Voices for Older Singers

A Selection of Songs Within a Comfortable Range Edited by Liza Hobbs and Veronica Vesey Campbell

Medium-high.................................................................EP 72672a Medium-low...................................................................EP 72672b More and more older people are taking up singing and the health benefits this brings is becoming increasingly apparent. Singing supports neurological processes and psychological well-being, but most importantly, this whole new experience is great fun for older beginners, whether singing in a choir or solo. Everlasting Voices includes:

• 24 pieces in a variety of styles with a moderate vocal range • Info about the songs and composers • Pronunciation aids for Italian, German, Spanish and French songs • a guide to keeping the voice healthy • Tips for performance and vocal techniques

Traditional - Red River Valley Duet Traditional - Shenandoah Cole Porter - True Love Anne MacLeod - Skye Boat Song Duet Traditional - Willow Song Traditional - Nobody knows the trouble I see John Ireland - Spring Sorrow Henry Purcell - Love quickly is pall’d Handel - Verdi prati Francesco Gasparini - Caro laccio, dolce nodo George Munro - My lovely Celia Ralph Vaughan Williams - Take, O take Clara Schumann - Der Abendstern Johannes Brahms - Da unten im Tale Aaron Copland - The Dodger Roger Quilter - Dream Valley Ivor Gurney - Down by the salley gardens Graham Peel - In summertime on Bredon Jonathan Dove - Weep not, my wanton Michael Flanders & Donald Swann - Ill Wind Peter Warlock - Pretty Ring Time Francis Poulenc - Priez pour paix Carlos Guastavino - La Rosa y el Sauce Franz Schubert - An die Musik

Lieder Collections Contents: Bach, Johann Sebastian Vergiß mein nicht (1786) Bach, CarlPhilipp Emanuel Am Bache: Ich ging unter Erlen (1781) Beethoven, Ludwig van Ich komme schon durch manche Land (1792) Ich liebe dich, so wie du mich (vor 1803) • German Lieder of the 19th Century Die Himmel rühmen des Ewigen Ehre Op. 48 No. 4 (1803) Medium-high......................................................................EP 72530 Brahms, Johannes Guten Abend, gut Nacht Op. 49 No. 4 (1888) Medium-low........................................................................EP 72531 Feins Liebchen, trau du nicht Op.105 No. 3 (1889) Mein Schatz ist nicht da, ist weit überm See Op. 14 No. 8 (1868) German Lieder of the 19th century contains a selection of the most Erlaube mir, feins Mä dchen (1894) popular Lieder by Schubert, Schumann, Mendelssohn, Brahms and Wolf. Da unten im Tale (1894) Mein Mädel hat einenRosenmund (1894) Ranging from the most famous (Schubert’s The Trout and Mendelssohn’s Cornelius, Peter Mein Lied ist klein, braucht wenig Platz Op. 1 No.(1853) On wings of song) through to some of the greatest settings of Shakespeare Flies, Bernhard and Heine, this collection provides an ideal collection of essential Lieder for Schlafe, mein Prinzchen!(1796) the student singer. Franz, Robert Dadie Stunde kam Op. 7 No. 3 (1846) Brahms, Johannes Dein blaues Auge; Der Schmied; Komm bald; In dem Dornbusch blüht ein Röslein Op. 26 No. 2 Sandmännchen; Vergebliches Ständchen; Die Höhnund Wälder schon steigen Op. 5 No. 7 (1846) Wiegenlied Gabler, Christian August Mendelssohn, Felix Auf Flügeln des Gesanges; Gruß; Wie herrlich leuchtetmir die Natur! (1798) Lieblingspätzchen Gluck, Christoph Willibald Einem Bach, der fließt (1764) -Aria from: "Pilgrimen von Mekka" Schubert, Franz An die Laute; An die Musik; An Sylvia;– Ave Maria; Grieg, Edvard Die Forelle; Hinaus in’s Freie!; Romanze; An das Vaterland: O Mutter du Op. 58 No. 2 Ständchen Wenn einst sie lag an meinerBrust Op. 18 No. 2 Hab jüngst gesehen zwei Augen braun Op. 5 No. 1 Schumann, Robert Die Waise; Frühlingsgruß; SIch grollenicht; Haydn, Joseph Marienwürmchen Die Landlust: Entfernt von Gram und Sorgen (1781) Kienlen, Johann Christoph - Sah ein Knab ein Röslein stehn (1820) Wolf, Hugo Der Musikant; Auch kleine Dinge; Auf ein altes Bild; Mendelssohn Bartholdy, Felix Das verlassene Mägdlein Sie trug einen Falken auf ihrer Hand Op. 9 No. 3(1828) Mozart, Wolfgang Amadeus Liebes Mädchen, hör mir zu Komm lieber Mai und mache (1791) Reichardt, Johann Friedrich Im Felde schleich ich still und wild (1781) Das Veilchen: Ein Veilchen auf der Wiese stand Der Spinnerin Nachtlied: Es sangvor langen Jahren (1815) Schlafe, schlafe, holder süßerKnabe Op. 98 No. 2 (1816) Die Luft ist blau, das Tal ist grün (1816) Holder klingt derVogelsang (1818) Leiser, leiser, kleine Laute Op. 81 No. 2 (1827) Ich wollt, ich wär einFisch (1815) Am Bach viel kleine Blumen stehn Op. 25 (1823) from: Die schöne Müllerin Esmahnt der Wald Op. 24 No. 2 (1817) Schöne Welt, wo bist du? (1819) Lachen und weinen zujeglicher Stunde Op. 59 No. 4 (1823) Es reden und träumen die Menschen viel Op. 87 No. 2 (1815) Die Nachtigall singt überall (1815) Schulz, Johann Abraham Peter Der Mond ist aufgegangen (1790) • Album of 60 Lieder from Bach to Reger, Schlaf, Kindlein,schlafe sanft und süß (1795) ‘Unterrichts-Lieder’ (Ger.) (Losse) Des Jahres letzte Stunde (1784) An Introduction to the Art of Lieder Singing Seht den Himmerl, wie heiter (1781) Schumann, Robert Fein Rößlein, ich beschlage dich Op. 90 No. (1850) High.....................................................................................EP 4458a Du lieblicher Stern, du leuchtest so fern Op. 79 No. 1 (1849) Medium...............................................................................EP 4458b So sie gegrüßtviel tausendmal Op. 79 No. 4 (1849) Marienwürmchen, setze dich Op. 79 No. 14 (1849) Low..................................................................................EP 4458c Wenn ich früh in den Garten geh' Op. 51 No. 2 (1842) Weber,Carl Maria von Mein Schatz der ist auf die Wanderschaft hin Op. 64 No. 3 (1818) Der Frühhauch hat Zelter, Carl Friedrich Das Rosenband: Im Frühlingsschatten fand ich sie (1810) Herbstlied: Feldeinwärts flog ein Vögelein (1800) Der König von Thule: Es war ein König in Thule (1812) Zu meiner Laute Liebesklang (1800) Zuccalmaglio, Wilhelm von Schwesterlein: Schwesterlein, Schwesterlein,wann gehn wir nach Haus? Unknown - Liebesgruß aus der Ferne:Sind wir geschieden (vor 1807) All mein Gedanken Ach Elslein, liebes Elselein

Lieder Collections

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Lieder Collections/English Song Albums • Sacred Arias and Songs...................................................EP 2451 23 Pieces by Bach, Beethoven, Franck, Handel, Haydn, Krebs, Mozart, Reger, Stradella and Wolf

Contents: Bach, Johann Sebastian Whitsun cantata: "My believing heart, rejoice, sing, joke" Advent cantata: "Open yourself, my whole heart" St. Matthew Passion: "My Savior wants to die out of love" St. Matthew Passion: "I want to give you my heart" "Come on, sweet death" Beethoven, Ludwig van Repentance song: "I have sinned against you alone" The honor of God from nature: "The heavens boast of eternal honor" Franck, Johann Wolfgang "Just be quiet and wait for God" Handel, Georg Friedrich The Messiah: "He pastures his flock" (German / English) The Messiah: "I know that my Redeemer lives" (German / English) Josua: "Oh if I had Jubal's harp and Miriam's sweet tone" (German / English) Rinaldo: "You give peace and quiet to the heart" (German / Italian) Xerxes: "Lord in the heights, whom you call yourself father" (German / Italian) Haydn, Joseph The Seasons: "What refreshment for the senses" (German / English) The Creation: "Now the hallway is the fresh green" (German / English) Krebs, C. Our Father (German / English) Mozart, Wolfgang Amadeus Agnus Dei Benedictus Reger, Max Christkindlein's lullaby: "Let's weigh the child" Lament before God's suffering: "O origin of all wells" (14th century) (from Low German) Stradella, Alessandro Church aria: "Sei miei sospiri" (Italian / German) Wolf, Hugo Prayer: "Lord! Send what you want" Sleeping Jesus Child: "Son of the Virgin, Heavenly Child"

English Song Albums • English Songs of the 17th and 18th Centuries Medium-high......................................................................EP 72528 Medium-low........................................................................EP 72529 English Songs of the 17th and 18th Centuries contains a selection of some of the greatest British songs of the baroque and classical era. From some of the most popular songs by Henry Purcell (including Dido’s Lament and Fairest Isle), through perfect examples of the lyricist/composer’s art by Thomas Campion, to classic Shakespeare settings by Thomas Arne, this collection provides an ideal collection of essential songs for the student singer.

Arne, Thomas When daisies pied;Where the bee sucks Campion, Thomas Oft have Isigh’d; The peaceful western wind; There is a garden in her face Ford, Thomas Fair sweet cruel; Since first I saw your face Gibbons, Orlando The silver swan Morley, Thomas I saw my lady weeping; It was a lover and his lass Munro, George My lovely Celia Purcell, Henry Ah! how pleasant ’tis to love; Fairest Isle (Address to Britain); If music be the food of love; I saw that you were grown so high; Love quickly is pall’d; Man is for the woman made; Music for a while; Nymphs and shepherds; Since from my dear; The Knotting Song; Turn then thine eyes; What shall I do; When I am laid in earth (Dido’s Lament) Rosseter, Philip When Laura smiles; If she forsake me

176

French Song Albums/Sephardic Songs/Songs for Special Occasions Jewish Music

French Song Albums • The Art of French Song (Fr.) (Nichols) ▼

19th- and 20th-Century Repertoire Complete with translations and guidance on pronunciation As every singer and lover of French opera knows, editions of even the best-known French operatic arias are difficult – and sometimes expensive – to obtain. Roger Nichols' scrupulously balanced selection of 19th-century French arias provides the perfect starting point for wider exploration. Nichols, who has championed French music in his writings, talks and radio broadcasts over three decades with eloquence and scholarship, is the ideal guide to this repertoire which, even today, is often neglected, misunderstood or inadequately performed.

• The Sephardic Songbook...................................................EP 10849 51 Judeo–Spanish Songs (Saltiel / Horowitz)

Traditional Jewish art with its many folk elements is a permanent fixture in our cultural life today. In recent years klezmer music has achieved special popularity. It is not widely known, however, that besides this purely instrumental style there also exists an independent vocal form of traditional Jewish music: the songs of the Sephardic Jews. With its musical transcriptions, trilingual song texts and explanations, the Sephardic Songbook offers interested singers and ethnomusicologists a representative body of melodies from the Judeo-Spanish tradition nurtured in the former territories of the Ottoman Empire.

Songs for Special Occasions Vol.1: 24 Songs

High ▼................................................................................EP 7519a

Medium-Low ▼...................................................................EP 7519b Contents: Berlioz Absence; Bizet Pastorale; Chabrier L’île heureuse; Chausson Le colibri; Debussy Mandoline; Debussy C’est l’extase langoureuse; Delibes Chanson espagnole; Duparc Extase; Dupont Chanson des noisettes; Fauré Lydia; Fauré Après un rêve; Franck: S’il est un charmant gazon; Gounod Ô ma belle rebelle; Lalo Ballade à la lune; Massé: Consolation; Massenet Nuit d’Espagne; Niedermeyer Le Lac (Meditation poétique); Paladilhe Sérénité de la nuit; Poulenc La Grenouillère Saint-Saëns La sérénité; Satie Daphénéo; Satie Spleen; Séverac Ma poupée chérie; Viardot: Fleur desséchée; Vol.2: 23 Songs High ▼...............................................................................EP 7520a

Medium-Low ▼.................................................................EP 7520b Contents: Bizet Vieille chanson; Chabrier Les cigales; Chausson Nocturne; Debussy Le jet d’eau; Duparc La vie antérieure; Fauré Automne; Fauré Le secret; Franck Nocturne; Gounod Le premier jour de mai; Gounod Le soir; Honegger Automne; Lalo Chant breton; Massé Souvenirs; Massenet Madrigal; Massenet Ouvretes yeux bleus; Paladilhe Sonnet de Pétrarque; Poulenc Fleurs; Reber Guitare; Saint-Saëns Chanson triste; Satie Sylvie; Séverac Philis; Viardot Les deux roses; Viardot La mésange

• Du meine Seele, du mein Herz

50 Songs for Occasions from Weddings to Funerals (Ger./Eng.) Voice and Piano/Organ (Erben)

High............................................................................EP 11202a (Audio accompaniments for all the songs available for download) Medium-low................................................................EP 11202b (Audio accompaniments for all the songs available for download)

• From weddings and baptisms to funerals and anniversaries – find the right song for all special occasions

• From all-time favourites to lesser known gems – 50 pieces from

the baroque to the present that will move and inspire the audience

• User-friendly accompaniments • Whether for church, hotel or other venue – the accompaniments

can be played equally well on the organ, piano or electric keyboard

• Notes on the individual pieces • Audio accompaniments for all the songs available for download

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Songs for Special Occasions/Christmas/Opera Arias by Series Contents: Bringt her dem Herren - Schütz Wachet auf, ruft uns die Stimme (Sleepers Wake) - J. S. Bach Mein gläubiges Herze -J. S. Bach Schafe können sicher weiden (Sheep May Safely Graze) - J. S. Bach He Shall Feed His Flock -Handel Where’er You Walk - Handel Laudate Dominum - Mozart Caro mio ben - Giordani Die Ehre Gottes aus derNatur - Beethoven Ich liebe dich, so wie du mich - Beethoven Hear My Prayer / O for the Wings of a Dove -Mendelssohn Widmung - Schumann Du Ring an meinem Finger - Robert Schumann Kavatine - Roessel Wo du hingehst -Hildach Ich liebe dich - Grieg Because - Guy d'Hardelot Entreat Me Not - Paul Dessau Wedding Song - FlorPeeters Love’s Philosophy - Hovhaness Fly With Me - Stefan Nilsson Jesus bleibet meine Freude (Jesu, Joy of Man'sDesiring) - J.S Bach Ave Maria - J.S Bach/Gounod Domine Deus - Vivaldi Largo (Ombra mai fù) - Handel Bitten (Gott, deine Güte reicht so weit) - Beethoven Ave Maria - Schubert Gebet (Herr, den ich tief im Herzen trage) - Ferdinand Hiller Panis angelicus - Franck Ave Maria - Bruckner Deus Abraham - Saint-Saëns Gott ist mein Hirte -Dvorák Cantique de Jean Racine - Fauré The Lord’s Prayer - Flor Peeters The Call - RalphVaughan-Williams Ave Maria - Jehan Alain When I have Sung My Songs to You - Ernest Charles Amazing Grace -Traditional Vergiss mein nicht - J.S Bach Schlummert ein, ihr matten Augen - J.S Bach Bist du bei mir - GottfriedHeinrich Stölzel Ave verum Corpus - Mozart Im Abendrot - Schubert Ins stille Land - Schubert Sei stille demHerrn (O Rest in the Lord) - Mendelssohn Ruhe sanft in Gottes Frieden - Schumann Selig sind des Himmels Erben - Wilhelm Berger Bitte um einen seligen Tod - Max Reger Pie Jesu - Fauré Gebet - Wolf

Christmas Album • Cool Christmas.................................................................EP 11398a German Christmas carols in new arrangements Arranged and composed by Peter Przystaniak

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Opera Aria Collections Listed by Series • Aria Albums (Dörffel / Soldan) Soprano: 58 Arias (Ger./It./Fr.)............................................EP 734 Contents: Stradella, Alessandro "Se i miei sospiri" / "Wenn dir mein Flehen" (Kirchenarie) Bach, Johann Sebastian "Aus Liebe will mein Heiland sterben" (aus: Matthäus-Passion) "Flößt mein Heiland" (aus: Weihnachtsoratorium, Echo-Arie) Ich hatte viel Bekümmernis, "Seufzer, Tränen, Kummer, Not" (Kantate) "Mein gläubiges Herze, frohlocke, sing, scherze" (Pfingstkantate) Händel, Georg Friedrich "Er weidet seine Herde, dem Hirten gleich" (aus: Der Messias) "Wie lieblich ist der Boten Schritt" (aus: Der Messias) "Ich weiß, daß mein Erlöser lebet" (aus: Der Messias) "O hätt ich Jubals Harf und Mirjams süßen Ton" (aus: Josua [Achsah]) "Laß mich mit Tränen mein Los beklagen" (aus: Rinaldo) Gluck, Christoph Willibald "Ihr Götter ewger Nacht" (aus: Alceste) "O du, die mir einst Hilfe gab" (aus: Iphigenie auf Tauris) "O laßt mich Tiefgebeugte weinen!" (aus: Iphigenie auf Tauris) Haydn, Joseph "Nun beut die Flur das frische Grün" (aus: Die Schöpfung, Arie des Gabriel) "Auf starkem Fittiche schwinget sich der Adler stolz" (aus: Die Schöpfung, Arie des Gabriel) "Welche Labung für die Sinne" (aus: Die Jahreszeiten, Arie der Hanne) Mozart, Wolfgang Amadeus "Welche Wonne, welche Lust" (aus: Die Entführung aus dem Serail, Arie des Blondchen) "Ach ich liebte, war so glücklich" (aus: Die Entführung aus dem Serail, Arie der Constanze) "Hör mein Flehn, o Gott der Liebe" (aus: Die Hochzeit des Figaro, Cavatine der Gräfin) "Wohin flohen die Wonnestunden seiner Liebe" (aus: Die Hochzeit des Figaro, Arie der Gräfin) "Endlich naht sich die Stunde" (aus: Die Hochzeit des Figaro, Arie der Susanne) "Ich weiß nicht, wo ich bin, was ich tue" (aus: Die Hochzeit des Figaro, Arie des Cherubin) "Sagt, holde Frauen, die ihr sie kennt" (aus: Die Hochzeit des Figaro, Arie des Cherubin) "Ich grausam? O nein, Geliebter!" (aus: Don Giovanni, Briefarie der Donna Anna) "Schmäle, tobe, lieber Junge" (aus: Don Giovanni, Arie der Zerline) "Wenn du fein artig bist" (aus: Don Giovanni, Arie der Zerline) "Schon ein Mädchen von fünfzehn Jahren" (aus: Così fan tutte) "Ein loser Dieb ist Amor" (aus: Così fan tutte, Arie der Dorabella) "Ach, ich fühl's, es ist verschwunden" (aus: Die Zauberflöte, Arie der Pamina) Beethoven, Ludwig van "O wär ich schon mit dir vereint" (aus: Fidelio, Arie der Marzelline) "Komm Hoffnung, laß den letzten Stern" (aus: Fidelio, Arie der Leonore) "Ah, perfido, spergiuro" / "Ha, Treuloser, Verräter" op. 65 Auber, Daniel François Esprit "Erblickt auf Felseshöhen" / "Voyez sur cette roche" (aus: Fra Diavolo, Romanze der Zerline) Weber, Carl Maria von "Leise, leise, fromme Weise" (aus: Der Freischütz, Arie der Agathe) Weber, Carl Maria von – "Und ob die Wolke sie verhülle" (aus: Der Freischütz, Cavatine der Agathe) "Kommt ein schlanker Bursch gegangen" (aus: Der Freischütz, Ariette des Ännchen) "Einst träumte meiner selgen Base" (aus: Der Freischütz, Romanze des Ännchen) "Noch seh ich die Wellen toben" (aus: Oberon, Arie der Rezia) "Arabien, mein Heimatland" (aus: Oberon, Arie der Fatime) Rossini, Gioacchino "Frag ich mein bekommnes Herz" (aus: Der Barbier von Sevilla, Cavatine der Rosina)

Opera Aria Collections by Series Donizetti, Gaetano "Heil dir, o mein Vaterland" (aus: Die Regimentstochter, Arie der Marie) Bellini, Vincenzo "Keusche Göttin im silbernen Glanze" (aus: Norma, Arie der Norma) Lortzing, Albert "Die Eifersucht ist eine Plage" (aus: Zar und Zimmermann, Ariette der Marie) "Lieblich röten sich die Wangen" (aus: Zar und Zimmermann, Maries Brautlied) "Er ist so gut, so brav und bieder" (aus: Der Waffenschmied, Arie der Marie) "Wir armen, armen Mädchen sind gar so übel dran" (aus: Der Waffenschmied, Arie der Marie) "So wisse" / "In den Krystallgewölben wohnt sich's schön" (aus: Undine, Arie der Undine) Nicolai, Otto "Verführer! Warum stellt ihr so der tugendsamen Gattin nach" (aus: Die lustigen Weiber von Windsor, Arie der Frau Fluth) "So schweb ich dir, Geliebter, zu" (aus: Die lustigen Weiber von Windsor, Arie der Anna) Flotow, Friedrich Freiherr von "Letzte Rose, wie magst du so einsam hier blühn" (aus: Martha) Maillart, Lous Aimé "Ist es denn wahr?" (aus: Das Glöckchen des Eremiten, Arie der Rose) Wagner, Richard "Johohoe! Traft ihr das Schiff im Meere an" (aus: Der fliegende Holländer, Ballade der Senta) "Dich, teure Halle, grüß ich wieder" (aus: Tannhäuser, Arie der Elisabeth) "Allmächt'ge Jungfrau, hör mein Flehen!" (aus: Tannhäuser, Gebet der Elisabeth) "Einsam in trüben Tagen" (aus: Lohengrin, Elsas Traum) "Euch Lüften, die mein Klagen so traurig oft erfüllt" (aus: Lohengrin, Elsas Gesang an die Lüfte) Bizet, Georges "Ja, die Liebe hat bunte Flügel" (aus: Carmen, Habanera) "Draußen am Wall von Sevilla" (aus: Carmen, Seguidilla)

Mezzo-Soprano: 19 Arias (Ger./It.).......................................EP 794 Contents: Stradella, Alessandro "Se i miei sospiri" / "Wenn dir mein Flehen" Rossi, Francesco "Ah! rendimi quel core" / "Ach! gibdas Herz zurück mir" Händel, Georg Friedrich "Mein Vater! Weh! mir dünkt, ich seh" Eb-major from: Herakles "Lascia ch'io pianga" / "Laß mich mit Tränen" from: Rinaldo Pergolesi, Giovanni Battista Siciliana "Tre giorni son cheNina" / "Drei Tage liegt mein Gretchen" Mozart, Wolfgang Amadeus Rondo Vitellia "Non più di fiori" / "Nie wird mich Hymen" from:Titus Rondo Sesto "Deh per questo istante" "Ach, nur einmal noch imLeben" from: Titus Boieldieu, François Adrien Romance of Margarethe, "Spinne arme Margarethe" from: Die Weiße Dame (The whiteLady) Weber, Carl Maria von Cavatina of Fatime, "Traure, mein Herz, um verschwundenes Glück!" from: Oberon "Arabien, mein Heimatland" from: Oberon Arietta of Fatime, "Arabiens einsamKind" from:Oberon Rossini, Gioacchino Cavatina of Rosina, "Frag ich mein bekommnes Herz" from: The Barber ofSeville Rossini, Gioacchino Romance of Desdemona, "Assisa a un piè d'un salice" / "Gelehnt an die Cypresse" from: Othello Schubert, Franz Romance of Helene, "Ich schleiche bang und still herum" F-minor D 787 No. 2 from: DieVerschworenen Lortzing, Albert Arietta of Irmentraut, "Welt, du kannst mir nicht gefallen" from: Der Waffenschmied

Bizet,Georges Ghazel "Nurredin, König von Delhi" from: Djamileh The Lament of Djamilehs, "Kein Zweifel, kommen wird dieStunde" from: Djamileh Habanera of Carmen, "Ja, die Liebe hat bune Flügel" from: Carmen "Draußen am Wall von Sevilla" from: Carmen

Contralto: 55 Arias (Ger./Eng./It./Lat.)....................................EP 735

Contents: Stradella, Alessandro Prayer: Pietà, Signore Bach, J. S. Johannespassion: Von den Stricken; Es ist vollbracht Matthäuspassion: Buß und Reu; Erbarme Dich; Können Tränen Weihnachtsoratorium: Nun wird mein liebster; Schlafe, mein Liebster; Schließe, mein Herz B-minor Mass: Qui sedes ad dexteram; Agnus Dei Gottes Zeit: In deine Hände Bleib bei uns: Hochgelobter Gottessohn O Ewigkeit: O Mensch,errette Nimm, was dein ist: Murre nicht Schlage doch, gewünschte Stunde Händel, Georg Friedrich Rinaldo: Lascia ch'io pianga Esther: O Jordan, heilger Strom! Tamerlano: Figlia mia Rodelinda: Dove sei Ezio: Tutta raccolta; Nasce al bosco Athalia:O Herr, hör unser Flehen! Alcina: Verdi Pratie Xerxes: Ombra mai fu Israel in Ägypten: Bringe sie hinein Saul: Osaget es nicht an; Den Bogen spannte Jonathan Messiah: He was despised; O thou that tellest good tidings Samson: Return, oh God of hosts!; Ye sons of Israel Belsazar: O heiliger Wahrheit Te Deum: Dignare, ODomine Semele: Awake, Saturnia Judas Maccabeus: Father of Heav'n! Joshua: Awful, pleasingBeing; Heroes when with glory burning Jephta: In sanften Weisen Pergolesi Giovanni Battista Stabat mater: Quae moerebat; Eja mater;Fac,ut portem Gluck, Christoph Willibald Orfeo: Chiamo il mio ben così; Deh!-placatevi con me!; Che farò senza Euridice Die Pilgrimme auf Mecca: Einen Bach, der fließt Haydn, Joseph Stabat mater: Fac me vere Lotti, Antonio Aria: Pur dicesti Mozart, Wolfgang Amadeus Recitative and Rondo: Ombra felice Beethoven, Ludwig van Arietta: In questa tomba Wagner , Richard Rheingold: Weiche, Wotan!Weiche! Götterdämmerung: Seit er von dir geschieden

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Opera Aria Collections by Series/by Voice Tenor: 40 Arias (Ger./It./Fr.)..................................................EP 736 Contents: Stradella, Alessandro Church Aria: Se I miei sospiri Händel, Georg Friedrich Messiah: Alle Tale machthoch Judas Maccabeus: Bewaffne dich mit Mut (Judas) Haydn, Joseph Schöpfung: Mit Würd und Hoheit angetan(Uriel) Jahreszeiten: Dem Druck erlieget die Natur (Lukas); Hier steht der Wandrer(Lukas) Bach,J. S. Johannespassion: Ach, mein Sinn Weihnachtsoratorium: Frohe Hirten,eilt Gluck, Christoph Willibald Iphigenie en Tauride: Unis de la plus tendre Mozart, Wolfgang Amadeus Entführung:Konstanze!-dich wiederzusehen (Belmonte); Wenn der Freude Tränen (Belmonte) Don Giovanni: Dalla sua pace (Don Ottavio); Ilmio tesoro intanto (Don Ottavio) Zauberflöte: Dies Bildnis ist bezaubernd (Tamino) Cosi fan tutte: Un'aura amorosa (Ferrando) Beethoven,Ludwig van Fidelio: Gott! Welch Dunkel hi er(Florestan) Weber, Carl Maria von Freischütz: Durch die Wälder (Max) Oberon: Von Jugend auf in dem Kampfgefild(Hüon); Vater hör mich flehn (Hüon) Euryanthe: Unter blühenden Mandelbäumen (Adolar); Wehen mir Lüfte Ruh(Adolar) Wagner, Richard Rienzi: Allmächt'ger Vater, blick herab (Rienzi) Tannhäuser:Dir töne Lob(Tannhäuser) Lohengrin: In fernem Land (Lohengrin); Mein lieber Schwan (Lohengrin) Meistersinger: Am stillen Herd(Walther); Morgenlich leuchtend (Walther) Walküre: Winterstürme wichen demWonnemond Lortzing, Albert Undine: Vater, Mutter, Schwestern, Brüder (Veit); Viel schöne Gaben väterlich(Veit) Waffenschmied: Man wird ja einmal nur geboren (Georg) Zar und Zimmermann: Lebe wohl, mein flandrisch Mädchen (Chateauneuf) Nicola, Otto Lustige Weiber: Horch, die Lerche singt im Hain(Fenton) Flotow, Friedrich von Martha: Ach! So fromm (Lyonel) Donizetti, Gaetano L'elisir d'amore:Una furtiva lagrima (Nemorino) Méhul, Étienne Nicolas Joseph: A peine au sortir(Joseph) Boieldieu, François-Adrien Weiße Dame: Komm, o holde Dame (George)

Gluck, Christoph Willibald Iphigenie en Tauride: Dieux, qui me poursuivez (Orest); Le calme rentre dans mon coeur(Orest) Haydn, Joseph Schöpfung: Rollend in schäumenden Wellen (Raphael); Nun scheint in vollem Glanze(Raphael) Jahreszeiten: Schon eilet froh der Ackermann (Simon); Der muntre Hirt (Simon); Seht auf die breiten Wiesenhin (Simon) Mozart, Wolfgang Amadeus Entführung: Wer ein Liebchen hat gefunden (Osmin); Solche hergelaufneLaffen (Osmin); O wie will ich triumphieren (Osmin) Figaro: Vedro mentr'io sospiro (Count); Se vuol ballare(Figaro); Non più andrai (Figaro); Aprite un po'quegli occhi (Figaro); La vendetta (Bartolo) Don Giovanni: Notte egiorno faticar (Leporello); Madamia!-Il catalogo è questo (Leporello); Fin ch'an dal vino (Don Giovanni) Deh vienialla finestra (Don Giovanni) Zauberflöte: O Isis und Osiris (Sarastro); In diesen heilgen Hallen (Sarastro); DerVogelfänger bin ich ja (Papageno) Ein Mädchen oder Weibchen (Papageno) Concert Aria: Mentre tilascio Beethoven, Ludwig van Fidelio: Hat man nicht auch Gold beineben (Rocco) Weber, Carl Maria von Freischütz: Schweig damit dich niemand warnt (Kaspar); Hier imirdschen Jammertal (Kaspar) Euryanthe: Woberg ich mich (Lysiart) Rossini, Gioacchino Barbiere di Siviglia: Largo al factotum (Figaro); La calunnia èu venticello (Basilio) Lortzing, Gustav Albert Wildschütz: Fünftausend Taler (Baculus) Zar undZimmermann: Sonst spielt ich mit Zepter (Zar); O sancta justitia (Bürgermeister) Waffenschmied: Auch ich war ein Jüngling(Stadinger) Undine: Es wohnt am Seegestade (Kühleborn) Mendelssohn, Felix Paulus: Gott sei mirgnädig Elias: Es ist genug Wagner, Richard Tannhäuser: O du mein holder Abendstern

Opera Aria Collections Listed by Voice • Opera Arias (Ger., with some also It./Fr.)

Soprano Vol.1: 36 Arias.......................................................EP 4231a

Soprano Vol.2: 44 Arias.......................................................EP 4231b

Baritone & Bass: 54 Arias...................................................EP 737 (Ger./It./Fr./Eng.)

Contents: Stradella, Alessandro Prayer: Pietà, signore Bach, Johann Sebastian Weihnachtsoratorium:Großer Herr und starker König Matthäuspassion: Gebt mir meinen Jesum wieder Händel, Georg Friedrich Ezio:Tutta raccolta ancor; Nasce al bosco Judas Maccabeus: Arm,arm ye brave (Simon); Mit frommer Brust (Simon) Alexander's Feast: Bacchus, ever fair and young; Revenge, revenge Messiah: Doch wer wirdertragen den Tag seiner Ankunft; Das Volk, das da wandelt im Dunkel; Warum denn rasen und toben die Heiden; Sie schallt, die Posaun Pergolesi Giovanni Battista. Nina (Kanzonette): Tre giorni son che Nina

180

Contralto (Mezzo-Soprano): 34 Arias....................................EP 4232 Tenor: 47 Arias.....................................................................EP 4233 Baritone: 30 Arias..................................................................EP 4234 Bass: 36 Arias.......................................................................EP 4235

Soprano • Aria Album (Dörffel / Soldan)

Soprano: 58 Arias (Ger./It./Fr.)...................................................EP 734

• Bel Canto Album (It.) (Landshoff)

Vol.1: 29 Arias........................................................................EP 3348a Vol.2: 21 Arias........................................................................EP 3348c

• Coloratura Album......................................................................EP 2074 24 Soprano Arias (Ger., with some It./Fr.)

• French Operatic Arias (Fr.)(Nichols)........................................EP 7552

Opera Aria Collections by Voice/by Composer • Opera Arias (Ger., with some also It./Fr.)

Soprano Vol.1: 36 Arias.........................................................EP 4231a

Composer Opera Aria Collections

Soprano Vol.2: 44 Arias..........................................................EP 4231b

• Russian Operatic Arias............................................................EP 7580 (Fanning)

• 9 Selected Opera Arias.........................................................EP 10846 Mezzo-Soprano • Aria Album (Dörffel / Soldan)

Mezzo-Soprano: 19 Arias (Ger./It.)..............................................EP 794

• French Operatic Arias (Fr.)(Nichols).........................................EP 7553 • Opera Arias (Ger., with some also It./Fr.)

Contralto (Mezzo-Soprano).......................................................EP 4232 34 Arias

• Russian Operatic Arias............................................................EP 7581 (Fanning)

Contralto • Aria Album (Dörffel / Soldan)

Contralto: 55 Arias......................................................................EP 735 (Ger./Eng./It./Lat.)

• Opera Arias (Ger., with some also It./Fr.)

Mozart, Wolfgang Amadeus (1756–1791) • Famous Opera Arias (It./Ger.)

Soprano..................................................................................EP 8901 Ach, ich fühl's - Pamina - Die Zauberflöte Dove sono - Countess - Le nozze di Figaro Porgi amor - Countess - Le nozze di Figaro Non mi dir, bell' idol mio - Donna Anna - Don Giovanni Mitradi quell' alma ingrata - Donna Elvira - Don Giovanni Or sai chi l'onore - Donna Anna - Don Giovanni Soprano....................................................................................Q 8901

(Includes piano accompaniment CD)

Tenor .......................................................................................EP 8902 Dies Bildnis ist bezaubernd schön –Tamino –Die Zauberflöte In quegli anni – Basilio –DonGiovanni Il mio tesoro intanto – Don Ottavio – Don Giovanni Dalla sua pace – Don Ottavio – DonGiovanni Un' aura amorosa – Ferrando –Così fan tutte Wie stark ist nicht dein Zauberton – Tamino – DieZauberflöte Alles fühlt der Liebe Freuden – Monostatos – Die Zauberflöte

Mezzo-Soprano: 34 Arias.........................................................EP 4232 (Contralto)

Tenor • Aria Album (Dörffel / Soldan)

Tenor: 40 Arias (Ger./It./Fr.)......................................................EP 736

• French Operatic Arias (Fr.)(Nichols).......................................EP 7554 • Opera Arias (Ger., with some also It./Fr.)

Tenor: 47 Arias.........................................................................EP 4233

• Russian Operatic Arias..........................................................EP 7582 (Fanning)

Baritone • Aria Album (Dörffel / Soldan)

Baritone & Bass: 54 Arias..........................................................EP 737 (Ger./It./Fr./Eng.)

• French Operatic Arias (Fr.) (Nichols).......................................EP 7555 • Opera Arias (Ger., with some also It./Fr.)

Baritone: 30 Arias......................................................................EP 4234

• Russian Operatic Arias............................................................EP 7583 (Fanning)

Bass • Bass Album (Ger.)......................................................................EP 2817 25 Lieder and Arias from Handel to Wolf

• French Operatic Arias (Fr.) (Nichols).......................................EP 7556 • Opera Arias (Ger., with some also It./Fr.)

Bass: 36 Arias .........................................................................EP 4235

• Russian Operatic Arias............................................................EP 7584 (Fanning)

Tenor..........................................................................................Q 8902

(Includes piano accompaniment CD)

Bass..........................................................................................EP 8903

(Piano accompaniment CD available separately)

Ah pietà, Signori miei – Leporello – Don Giovanni Non più andrai – Figaro – Le nozze diFigaro La vendetta – Bartolo – Le nozze di Figaro Se vuol ballare – Figaro – Le nozze diFigaro Aprite un po' quegli occhi – Figaro –Le Nozze di Figaro In diesen heil'gen Hallen – Sarastro –Die Zauberflöte Ho capito, Signor, sì – Masetto – Don Giovanni Madamina, il catalogo – Leporello –Don Giovanni Vorrei dir, a cor non ho – Don Alfonso – Don Giovanni Madamina, il catalogo – Leporello - Così fan tutte

Verdi, Giuseppe (1813–1901) • 30 Soprano Arias (It./Ger.) (Soldan) Vol.1......................................................................................EP 4246a Vol.2......................................................................................EP 4246b

• 7 Mezzo-Soprano Arias...........................................................EP 4247 (It./Ger.) (Soldan)

• 23 Tenor Arias (It./Ger.) (Soldan)..............................................EP 4248 • 20 Baritone Arias (It./Ger.) (Soldan)........................................EP 4249 • 13 Bass Arias (It./Ger.) (Soldan)..............................................EP 4245

181

Single Opera Arias Single Opera Arias

Puccini, Giacomo (1858–1924) • Quando me'n vò (It.Eng.)....................................................EP 72046

Aldridge, Robert

(*1954)

• Sharon's Aria.......................................................................EP 68175b Soprano & Piano Reduction from the opera Elmer Gantry

for Voice & Piano (3 Keys in One Series High/Medium/Low) Musetta's Waltz from "La bohème" E, (original version) D, B Original Italian with English singing translation

Taken from the opera Elmer Gantry, itself a setting of the novel by American novelist Sinclair Lewis, this aria depicts Sharon Falconer, a travelling evangelist, as she describes the joy of God to an amassed crowd.

Dove, Jonathan

(*1959)

• Dawn, Still Darkness (Refugee’s Aria from Flight)

Dvořák, Antonín (1841–1904)

• Un bel dì (It.Eng.)...................................................................EP 72045 for Voice & Piano (3 Keys in One Series High/Medium/Low) from "Madam Butterfly" Gb, (original version) E, D Original Italian with English singing translation

• Song to the Moon (Nichols).....................................................EP 7696 from Russalka (Czech. / Eng.)

Rusalka was the ninth of Dvořák's ten operas. The libretto for this 'lyrical fairy-tale' is by Jaroslav Kvapil, based on the story 'Undine' by Friedrich de la Motte Fouqué.

Purcell, Henry (1659–1695) • When I Am Laid in Earth (Eng.)............................................EP 72113

Mozart, Wolfgang Amadeus (1756–1791) • Voi, che sapete (It.Eng.)......................................................EP 72044 for Voice & Piano (3 Keys in One Series High/Medium/Low) C major/Bb major (original version) /A major from Le Nozze di Figaro

182

for Voice & Piano (3 Keys in One Series High/Medium/Low) Dido's Lament from "Dido and Aeneas" E minor, F minor G minor (original)

French Operatic Arias • French

Operatic Arias

Tenor.....................................................................................EP 7554

19th-Century Repertoire Complete with translations and guidance on pronunciation (Fr.) Edited by Roger Nichols Complete with translations and guidance on pronunciation. As every singer and lover of French opera knows, editions of even the best-known French operatic arias are difficult – and sometimes expensive – to obtain. Roger Nichols' scrupulously balanced selection of 19th-century French arias provides the perfect starting point for wider exploration. Nichols, who has championed French music in his writings, talks and radio broadcasts over three decades with eloquence and scholarship, is the ideal guide to this repertoire which, even today, is often neglected, misunderstood or inadequately performed.

Auber Agnès la jouvencelle (Fra Diavolo) Berlioz Ah! je vais l’aimer (Béatrice et Bénédict) Berlioz La gloire était ma seule idole (Benvenuto Cellini) Berlioz Inutiles regrets (Les Troyens) Bizet La fleur que tu m’avais jetée (Carmen) Bizet À la voix d’un amant fidèle (La jolie fille de Perth) Bizet Je crois entendre encore (Les pêcheurs de perles) Boieldieu Viens, gentile dame (La dame blanche) Delibes Fantaisie, aux divins mensonges (Lakmé) Donizetti Ange si pur (La favorite) Gounod Salut! demeure chaste et pure (Faust) Gounod Anges du paradis (Mireille) Gounod Ah! lève-toi, soleil (Roméo et Juliette) Halévy Rachel! quand du Seigneur (La Juive) Lalo Vainement, ma bien aimée; (Le roi d’Ys) Massenet Ah! fuyez, douce image! (Manon) Massenet En fermant les yeux (Manon) Massenet Ô nature, pleine de grace (Werther) Massenet Pourquoi me réveiller? (Werther) Meyerbeer Ô paradis sorti de l’onde (L’Africaine); Reyer Esprits, gardiens(Sigurd); Rossini Asile héréditaire (Guillaume Tell); Thomas Elle ne croyait pas (Mignon); Verdi Je l’ai vue (Don Carlos)

Baritone............................................................................EP 7555

Soprano.................................................................................EP 7552 Auber Quel bonheur, je respire (Fra Diavolo) Berlioz Entre l’amour (Benvenuto Cellini) Bizet Comme autrefois (Les pêcheurs de perles) Delibes Où va la jeune Indoue (Lakmé) Gounod Ah! Je ris de me voir(Faust) Gounod Il était un roi (Faust) Gounod Ô légère hirondelle (Mireille) Gounod Je veux vivre (Roméo et Juliette) Lalo Lorsque je t’ai vu (Le roi d’Ys) Massenet Pleurez, mes yeux! (Le Cid) Massenet Obéissons (Manon) Massenet Adieu, notre petite table (Manon) Massenet Dis-moi que je suis belle (Thaïs) Meyerbeer Parmi les pleurs (Les Huguenots) Offenbach Les oiseaux dans la charmille (Les contes d’Hoffmann) Offenbach Elle a fui (Les contes d’Hoffmann) Rossini Sombre forêt (Guillaume Tell) Thomas Je suis Titania (Mignon) Verdi Toi qui sus le néant (Don Carlos)

Mezzo-Soprano............................................................EP 7553 Berlioz Autrefois un roi (La damnation de Faust) Berlioz D’amour l’ardente flame (La damnation de Faust) Berlioz Je vais mourir (Les Troyens) Berlioz Malheureux roi! (Les Troyens) Bizet En vain pour éviter (Carmen) Bizet Habanera (Carmen) Bizet Séguedille (Carmen) Chabrier Ô petite étoile (L’étoile) Chabrier Hélas! À l’esclavage (Le roi malgré lui) Donizetti Ô mon Fernand (La favorite) Gounod Faites-lui mes aveux (Faust) Gounod Toute femme tient (Le médecin malgré lui) Gounod Que fais-tu, blanche tourterelle (Roméo et Juliette) Massenet Ne me refuse pas! (Hérodiade) Massenet Va! Laisse couler mes larmes! (Werther) Massenet Werther! Werther! Werther!(Werther) Meyerbeer Ah! mon fils, sois béni! (Le prophète) Saint-Saëns Amour! viens aider ma faiblesse!(Samson et Dalila) Saint-Saëns Mon coeur s’ouvre à ta voix (Samson et Dalila) Thomas Connais-tu le pays (Mignon) Verdi Ô don fatal (Don Carlos)

Berlioz Un puce gentile (La damnation de Faust); Berlioz Devant la maison (La damnation de Faust); Bizet Votre toast, je peux vous le render (Carmen); Bizet Elle sortait de sa demeure (La jolie fille de Perth); Bizet Ô Nadir (Les pêcheurs de perles); Chabrier Ô petite étoile (L’ étoile); Chabrier Le Polonais est triste et grave (Le roi malgré lui); Delibes Il est jeune (Jean de Nivelle); Gounod Avant de quitter ces lieux (Faust); Gounod Qu’ils sont doux (Le médecin malgré lui); Gounod Ô Xaïma (Le tribute de Zamora); Gounod Si les filles d’Arles (Mireille); Gounod Mab, la reine des mensonges (Roméo et Juliette); Massenet Vision fugitive (Hérodiade); Massenet Promesse de mon avenir (Le roi de Lahore); Massenet Épouse quelque brave fille (Manon); Meyerbeer Fille des rois (L’Africaine); Offenbach Tourne, tourne, miroir (Les contes d’Hoffmann); Rossini Sois immobile (Guillaume Tell); Saint-Saëns Qui donc commande (Henry VIII); Thomas Comme une pale fleur (Hamlet); Verdi C’est mon jour supreme (Don Carlos); Verdi Au sein de la puissance (Les vêpres siciliennes)

Bass................................................................................EP 7556 Berlioz Certain rat dans une cuisine (La damnation de Faust); Bizet Quand la flame de l’amour (La jolie fille de Perth); Debussy Maintenant que le père de Pelléas est sauvé (Pelléas et Mélisande); Gounod Le veau d’or (Faust): Gounod Vous qui faites l’endormie (Faust); Gounod Le grand art de cuisine (La colombe); Gounod Sous les pieds d’une femme (La reine de Saba); Gounod Au bruit des Lourdes narteaux (Philémon et Baucis); Massé Tristes amours! (Galathée); Massenet Comment peut-on penser (Don Quichotte); Massenet Je suis le chevalier errant (Don Quichotte); Massenet Il a fait noblement (Le Cid); Massenet Qu’on est digne d’envie (Le Cid); Meyerbeer Ô jours heureux (L’étoile du nord); Meyerbeer Piff, paff (Les Huguenots); Saint-Saëns Fatal orgueil des rois (Henry VIII); Saint-Saëns Ce Dieu que votre voix implore (Samson et Dalila); Thomas Je t’implore (Hamlet); Verdi Elle ne m’aime pas (Don Carlos); Verdi Et toi, Palerme (Les vêpres siciliennes)

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Russian Operatic Arias • Russian

Operatic Arias

Edited by David Fanning This landmark series opens up exciting vistasof challenging and rewarding repertoire for the discerning and adventurous singer. As with the Edition Peters companion volumes of French Operatic Arias, this Russian series presents many of the justly celebrated arias, but also juxtaposes them with other less familiar gems, which undoutedly deserve wider recognition. Much of the selected repertoire is eminently suitable for audition purposes, so that each volume is a treasure trove for professional singers and students. Soprano...................................................................................EP 7580 Glinka Down the river to our village (A Life for the Tsar); Glinka Captive and in dark despair (Ruslan and Lyudmila); Serov I remember the days of my youth (Judith); Borodin Ah! Bitter woe (Prince Igor); Musorgsky Ah, do not weep my darling (The Fair at Sorochintsy); Tchaikovsky I cannot hide my love (Letter Scene) (Yevgeny Onegin); Tchaikovsky When your eyes look down from old Nizhny town (The Enchantress); Tchaikovsky My beloved where are you? (The Enchantress); Tchaikovsky Sorrow and fear overwhelm me (The Queen of Spades); Rimsky-Korsakov Why do so many people praise me? (Christmas Eve); Rimsky-Korsakov Dream walked by the riverside (Sadko); Rimsky-Korsakov In Novgorod we lived not far from Vanya (The Tsar’s Bride); Rimsky-Korsakov All seeing Sun, you rise in glory (The Golden Cockerel); Rachmaninov Ah, do not weep, my Paulo (Francesca da Rimini); Shostakovich Look at nature (The Lady Macbeth of Mtsensk District)

Tenor.....................................................................................EP 7582 Borodin Ah! Hear my call! (Prince Igor); Dargomyzhshy Here all things remind me of days gone forever (Rusalka); Glinka Brothers in Arms (A life for the Tsar); Glinka In a distant land (Ruslan and Lyudmila); Musorgsky Weep, my eyes, with bitter tears flowing (Boris Godunov); Musorgsky Ah, why, my heart, with such sorrow laden? (The Fair at Sorochintsy); Rimsky-Korsakov Sleep, my love (May Night); Rimsky-Korsakov How rich, how wondrous rich (The Snow Maiden); Rimsky-Korsakov The glorious day is going (The Snow Maiden); Rimsky-Korsakov Dark the oak-trees in the wildwood growing! (Sadko); Rimsky-Korsakov Unnumbered Diamonds (Sadko); Rimsky-Korsakov Calm now the angry sky (The Tsar’s Bride); Shostakovich Cousin Masha makes me laugh (The Lady Macbeth of Mtsensk District); Tchaikovsky I love you, I love you, Olga (Yevgeny Onegin); Tchaikovsky Farewell, farewell, o springtime all too fleeting (Yevgeny Onegin); Tchaikovsky Where battle rages, and honour calls me (Mazeppa); Tchaikovsky Once I could march towards my goal (The Queen of Spades); Tchaikovsky What is our life? (The Queen of Spades); Verstovsky Soft! A gentle zephyr goes (Askold’s Grave)

Baritone..................................................................................EP 7583

Mezzo-Soprano.....................................................................EP 7581 Arensky Sleep, my darling dear (Dream on the Volga); Borodin Night is falling now (Prince Igor); Dargomyzhsky Days of love and fond affection (Rusalka); Glinka Dream divine, enchanting sight! (Ruslan and Lyudmila); Glinka Ah, she brings joy (Ruslan and Lyudmila); Musorgsky Go, Ruzya (Boris Godunov); Musorgsky Forces of prophecy (Khovanshchina); Musorgsky Through the marshes she made her way (Khovanshchina); Rimsky-Korsakov Says the rain-cloud to the thunder one day (The Snow Maiden); Rimsky-Korsakov All through this night (Sadko); Rimsky-Korsakov The potion is prepared (Kashchey the Deathless); Shchedrin Through the leafy forest (Not Love Alone); Tchaikovsky Ah, Tanya, Tanya (Yevgeny Onegin); Tchaikovsky Farewell, dear land, familiar fields and meadows (The Maid of Orleans); Tchaikovsky My friends, take heed of me (The Queen of Spades); Tchaikovsky That’s enough now! (The Queen of Spades)

184

Borodin No sleep, no rest (Prince Igor); Glinka Great Perun, a damask sword from you I pray (Ruslan and Lyudmila); Musorgsky My pow’r is absolute (Boris Godunov); Musorgsky Fast asleep the soldiers lie (Khovanshchina); Rachmaninoff The gypsies sleep (Aleko); Rimsky-Korsakov With her houses of stone, city-mother of all (Sadko); Rubinstein Your weeping, child, will not restore him (The Demon); Tchaikovsky Were I a man like any other (Yevgeny Onegin); Tchaikovsky Oh, Maria, Maria (Mazeppa); Tchaikovsky Her image lingers day and night (The Enchantress); Tchaikovsky Our Muscovite Venus, the toast of Versailles (The Queen ofSpades); Tchaikovsky You know my love, my adoration (The Queen of Spades); Tchaikovsky There’s none who can equal Matilda the fair! (Iolanta); Verstovsky Brothers, listen to the story (Askold’s Grave)

Bass......................................................................................EP 7584 Borodin Preserve me from the melancholy life (Prince Igor); Dargomyzhsky You’re all alike (Rusalka); Glinka Truth is dawning! (A Life for the Tsar); Glinka Soon shall I glory in victory’s hour (Ruslan and Lyudmila); Musorgsky One final page (Boris Godunov); Musorgsky Way back when in Kazan (Boris Godunov); Musorgsky I’ve scaled the peak of power (Boris Godunov); Musorgsky Ah! Mercy! (Boris Godunov); Prokofiev Surrender? (War and Peace); Rimsky-Korsakov Oh grey the cliff confronts the roaring ocean (Sadko); Rimsky-Korsakov She sleeps in peace (The Tsar’s Bride); Serov Gentle concubines of Babylon (Judith); Tchaikovsky Love wields her life-enriching power (Yevgeny Onegin); Tchaikovsky What will he say? (Iolanta)

Solo Voice by Composer Solo Voice by Composer

Beethoven, Ludwig van (1770–1827) • Complete Songs (Ger.)............................................................EP 180 67 songs, original keys

Bach, Carl Philipp Emanuel (1714–1788) • 30 Sacred Songs (Ger.)...........................................................EP 3748

Bach, Johann Sebastian (1685–1750) • Arias from Cantatas (Ger.) 15 Soprano Arias...................................................................EP 3335a 15 Contralto Arias..................................................................EP 3335b 15 Tenor Arias........................................................................EP 3335c 15 Bass Arias.........................................................................EP 3335d

• Ave Maria (Lat. / Fr. /Eng.) (Nichols).....................................EP 7668

• 30 Selected Songs (Ger.) High................................................EP 731 • 30 Selected Songs (Ger.) Low.................................................EP 732

Berberian, Cathy (1925–1983) • Stripsody................................................................................EP 66164 for solo voice

Catherine Anahid Berberian was an American composer, mezzo-soprano singer, and vocalist. She interpreted contemporary avant-garde music, Armenian folk songs, Monteverdi, The Beatles, and her own compositions. Her best known work is Stripsody (1966), in which she exploits her vocal technique using comic strip sound effects (onomatopoeia).

Voice and Piano, with Optional Violin Obbligato Includes versions for high, medium or low voice

• Cantata No.82 ‘Ich habe genung’ (Ger.) Bass..............................................EP 2149 • May God Smile On You / Der Herr Segne Euch (Eng./Ger.)........................................EP 6079 from Cantata No.196 ‘Wedding Cantata’. Vocal Score. Tenor & Baritone

• Cantata No.202 ‘Vanish now, Ye Gloomy Shadow’ (Eng.).................................................EP 6281 • 25 Sacred Songs (Ger.).........................................................EP 3392a

from Schemelli Songbook

• 69 Sacred Songs and Arias (Ger.).........................................EP 4612 from Schemelli Songbook

Bach, Johann Sebastian (1685–1750) / Gounod, Charles (1818–1893) • Ave Maria (Lat. / Fr./Eng.) (Nichols).......................................EP 7668

Bingham, Judith

(*1952)

• I Wear the Chain I Forg'd in Life

............................EP 73594 Scena for Bass-Baritone Text: William Shakespeare / Charles Dickens / Friedrich Hebbel / Virgil I Wear the Chain I Forg’d in Life is a short scena for unaccompanied bass-baritone voice. Written as part of the 200 Pieces project to mark the bicentenary of the Royal Academy of Music, the piece features texts by William Shakespeare, Charles Dickens, Virgil and Friedrich Hebbel, collated by the composer.

Voice and Piano, with Optional Violin Obbligato Includes versions for high, medium or low voice

Gounod wrote the first version of this famous song in 1852 and it was published in Decemberof that year by Mayaud as 'Premier prélude de J.S. Bach'. The words were by Lamartine – 'Vers sur un album' from his Recueillments poétiques of 1839. Exactly when these words were supplanted by those of the 'Ave Maria' is not clear, but it seems to have happened within the first few years of the song's life. In the view of Maurice Ravel, that sharp critic of everything shoddy or meretricious, 'the true founder of the mélodie in France was Charles Gounod.'

185

Solo Voice by Composer Brahms, Johannes

(1833–1897)

• Complete Songs Vol.1: 51 Songs (Ger.) (Friedländer) High.................................................................................EP 3201a

• Nowth upon Nacht (1985)....................................................EP 67039 • She is asleep, Duet (1943)....................................................EP 6747 Voice & Prepared PIano

• Solo for Voice 1. Solo Voice...................................................EP 6750

Medium............................................................................EP 3201b

• Solo for Voice 2. Solo Voice...................................................EP 6751

Low..................................................................................EP 3201c

• The Wonderful Widow of Eighteen Springs.

Voice & Closed Piano.............................................................EP 6297 Text by James Joyce

•Three early songs (1933) (Eng.)...........................................EP 67417 Twenty Years After; Is It As It Was; At East and Ingredients

Chopin, Frédéric (1824–1874)

• 16 Polish Songs (Ger.) Medium.................................................................................EP 1925b

Cornelius, Peter (1810–1849) Vol.2: 33 Songs (Ger./Eng.) (Friedländer) including Romances Op.33

• Album: 23 Songs....................................................................EP 3106

High..................................................................................EP 3202a

• Christmas Songs (Eng./Ger.) (Piano accompaniment CD available separately) High......................................................................................EP 3105a Medium-Low.........................................................................EP 3105b

Medium-Low.....................................................................EP 3202b Vol.3: 65 Songs (Ger.) (Friedländer) High...................................................................................EP 3691a Medium-Low......................................................................EP 3691b Vol.4: 48 Songs (Ger.) (Friedländer) including 4 Serious Songs Op.121 High..................................................................................EP 3692a

(Friedländer) (Ger.)

Cowell, Henry (1897–1965) • Three Anti-Modernist Songs...............................................EP 67681

Medium-Low.....................................................................EP 3692b

Crawford Seeger, Ruth (1901–1953)

• 4 Serious Songs Op.121 (Ger.)

• Five Songs for Contralto & Piano.....................................EP 67207

High.....................................................................................EP 3907a Medium-Low........................................................................EP 3907b

• 14 Children’s Folk Songs (Ger.)...........................................EP 3696 • Selected Lieder by Schubert & Brahms (Ger.) (Piano accompaniment CD available separately)

Words by Carl Sandburg

Ruth Crawford Seeger was both a pioneering modernist, making her name as a member of the American "Ultra Moderns" movement, and a folk music specialist. The first female composer to receive a Guggenheim Fellowhship travelled widely in Europe. She is best known for her serialist compositions.

High.......................................................................................EP 8681 Low........................................................................................EP 8682

• Selection of 20 German Folk Songs (Ger.) (Piano accompaniment CD available separately) High...................................................................................EP 3927a Low....................................................................................EP 3927b

Cage, John (1912–1992) • A Flower. Voice & Closed Piano..............................................EP 6711 • Aria. Solo Voice........................................................................EP 6701 One of the most visually striking graphic scores ever created, John Cage's 'Aria' was composed in 1958 as a theatrical tour de force for the soprano Cathy Berberian. It consists of 20 pages of colourful graphic prompts and provocations to the singer, each page equating to 30 seconds in performance. 'Aria' may be performed as a solo or in combination with 'Fontana Mix' and/or any of the parts comprising 'Concert for Piano and Orchestra'.

• Five Songs for Contralto.......................................................EP 6710 • Four Walls (Eng.)..................................................................EP 66910

Music for the Dance-Drama choreographed by Merce Cunningham

186

Solo Voice by Composer Crumb, George (1929–2022)

Dove, Jonathan

Famous for his beautiful, conceptual music notation – often combining traditional stave notation with symbolic imagery (for example, the circular scores found in works such as Star-Child or the “peace symbol” staves in Makrokosmos) – Crumb’s ear was finely tuned to an amazing palette of timbral possibility, which he deployed in works of extraordinary colour and power. Once described by the New York Times as “the reluctant poet of moonlit dreams and Blakelike visions,” Crumb’s music derived impetus from his comprehensive knowledge of, and love for, the great classical repertory, which he first encountered as a child in his father’s collection of scores; from the modernism of Bartók, Webern, Stravinsky and Debussy, which he studied under Ross Lee Finney at the University of Michigan and later with Boris Blacher at Tanglewood and in Berlin; and also from the wider range of traditional and popular music that he heard his parents perform and that he himself played for some years as a student.

• Apparition

.................................................................EP 66832

• Madrigals (Spanish) Book I (1965)

........................................................EP 66458

Book II (1965)

........................................................EP 66459

Book III (1969)

.......................................................EP 66460

Book IV (1969)

.....................................................EP 66461

• The Sleeper, Mezzo-Soprano..............................................EP 67015 • Three Early Songs...............................................................EP 67111

Debussy, Claude (1862–1918) • 5 Poèmes de Baudelaire......................................................EP 9235 • Proses lyriques (Debussy).....................................................EP 9239 • Early Songs (1876–85) by various poets..........................EP 9244

Dillon, James (*1950) • A Roaring Flame

.........................................................EP 7249 for Voice & Double Bass

• Time Lag Zero for Voice & Viola

Jonathan Dove is best known as a composer of operas and choral music. His airport comedy Flight was premiered by Glyndebourne Touring Opera Company in 1998. Since then it has toured internationally, meeting with an exceptionally enthusiastic response from both audiences and music critics alike.

• Songs and Arias for Soprano.................................................EP 7898

Between your sheets (Five Am'rous Sighs);Finish! (Five Am'rous Sighs); Venus (Five Am'rous Sighs); Come unto these yellow sands (Ariel); Full Fathom Five (Ariel); Where the Bee Sucks (Ariel); The Tree of Many Names (Minterne); Weep not, my wanton (On Spital Fields); Sophie's Aria - "Your eyes, so big and sparkling" (Kwasi and Kwame); Barbarina at the Mirror (L'Augellino Belverde / The Little Green Swallow); Barbarina's Remorse (L'Augellino Belverde / The Little Green Swallow); Blue Fairy's Aria - "I have come to be your mother" (Pinocchio); Cricket's Aria - "You rotten bit of no-good wood!" (Pinocchio); Cricket Ghost Aria (Pinocchio); Parrot's Aria - "I'm laughing about a wooden headed boy"; Controller's Aria - "Down you go" (Flight) Controller's Aria - "Fierce night" (Flight); Adelaide's Aria - "It's my wedding" (The Enchanted Pig)

• All the Future Days

......................................................EP 7748 Mezzo-Soprano & Piano Text: Ursula Vaughan-Williams

• All You Who Sleep Tonight.....................................................EP 7689 Mezzo-Soprano & Piano Text: Vikram Seth

• Ariel............................................................................................EP 7667 Unaccompanied Soprano Text: Shakespeare from The Tempest

• The Beautifull Cassandra

..........................................EP 7639 An entertainment for Narrator and Piano Text: Jane Austen

• Dawn, Still Darkness (Refugee’s Aria from Flight)

Song Cycles (Zimmerman) (Fr./Ger.)

• Evening Rain for Solo Voice

(*1959)

........................................EP 7246

.................................EP 73578 Countertenor and Piano, Text: April de Angelis Taken from Flight – Jonathan Dove and April de Angelis’s superb original modern-day operatic comedy – Dawn, Still Darkness is an aria for countertenor telling of a refugee's longing to be reunited with his brother. Also known as the Refugee's Aria, Dawn, Still Darkness is now available separately for countertenor and piano for the first time. The opera, Flight has had many different productions to date across the world and tells the story of a refugee who lives in an airport – inspired by the true-life story of an Iranian refugee who lived at Charles de Gaulle Airport, Paris, for 18 years – as dramas unfold around characters who find themselves delayed at the airport.

..................................EP 7295

187

Solo Voice by Composer • Five Am’rous Sighs.................................................................EP 7596 Soprano & Piano

• My Love is Mine.......................................................................EP 7720 Unaccompanied Mezzo-Soprano Words from The Song of Songs

• Out of Winter

High Voice & Piano Text: Robert Tear

................................................................EP 7703

Duparc, Henri (1848–1933) • Complete Songs (Fr.) (Nichols)

With texts in French, English and German This is the first ever complete critical edition of Henri Duparc’s songs. Edited by Roger Nichols, the elegantly presented music is supported by a fully comprehensive Critical Commentary which illuminates as never before the compositional stages of these beautiful songs. High........................................................................................EP 7778a

Fauré, Gabriel (1845–1924) • Après un rêve (Fr. / Eng.) (Nichols)...................................EP 71902 Includes versions for high, medium or low voice (D minor, C minor and Bb minor)

Medium-Low...........................................................................EP 7778b Chanson triste; Soupir; Romance de Mignon; Sérénade; Le gallop; Au pays où se fait la guerre; Soupir; Romance de Mignon; Sérénade; Le gallop; Au pays où se fait la guerre; L’invitation au voyage; La vague et la cloche; La fuite; Élégie; Extase This new Peters Edition of Duparc songs is most welcome... I could not recommend it more highly. Dame Janet Baker

The text for Après un rêve is by a friend of Fauré, Romain Bussine, a professor of singing at the Paris Conservatoire. It is loosely based on an anonymous Tuscan poem, and both texts were included when the song was published in 1878. The original key was C minor, but Fauré authorised a D minor transposition shortly afterwards.

Dvořák, Antonín (1841–1904) • Song to the Moon (Nichols).....................................................EP 7696 from Russalka (Czech. / Eng.)

Rusalka was the ninth of Dvořák's ten operas. The libretto for this 'lyrical fairy-tale' is by Jaroslav Kvapil, based on the story 'Undine' by Friedrich de la Motte Fouqué. The premiere, at the Prague National Theatre on 31 March 1901, was a resounding triumph and since then Rusalka has remained the most successful of Dvořák's opera. As John Tyrell has written, 'The composer found a vein of melodic poignancy that memorably sets off his heroine: for many years Rusalka's 'Hymn to the Moon' was all that was known abroad of Dvořák's vast operatic output.' Although 'Hymn to the Moon' is the title often given to this aria, 'Song to the Moon' is perhaps nearer to the meaning of the words. The water nymph Rusalka has fallen in love with the Prince, who often comes to bathe in her lake, and she longs to become human so that he can hold her in his arms. The water goblin Vodnik warns her against taking this step, but tells her that, if she insists, she must consult the witch Jezibaba. Before doing so, Rusalka prays to the moon to tell the Prince that she is waiting for him. The tale ends tragically, with the Prince's death and Rusalka's return to a lonely life beneath the waters.

188

Despite the marking of Andantino,the tempo of the song has often been reduced to one of sentimental moping. But recordings of singers who worked with Fauré, including Claire Croiza and Charles Panzera, tell us that q = 66 is a minimum speed: this is a passionate, almost angry song. Although Fauré was insistent about maintaining tempi, some broadening does seem called for around the high note in bar 31, and possibly on the third ‘reviens’ in bars 42–43. If, in order to emphasise the last line, you make a break for the comma before ‘ô nuit’ in bar 43, therewill obviously be no liaison here; on the other hand, it might seem unduly fussy to observe the comma before ‘ô nuit’ in bar 35, especially if you also observe the comma in bar 36. The piano part should be richly pedaled, with a new pedal for each harmony. One of the joys of the song is that these are so irregularly placed – pianists, be aware! Also, in playing the B flat minor version, go gently on the low B flats in the last two bars." Extract from the Preface by Roger Nichols

Solo Voice by Composer • Complete Songs (Fr.) (Howat/Kilpatrick)

With texts in French, English and German Numbering more than 100 in total, and composed across a 60-year period, Gabriel Fauré’s songs form the single most influential contribution to the field of French art song. Despite their importance, the songs have long been riddled with misprints and inconsistencies. This first complete critical edition is based on study of hundreds of manuscript and printed sources, along with evidence and interpretative advice from artists who worked with Fauré. Above all, it is a practical edition, informed by extensive work with musicians in performances, masterclasses and workshops.

Vol. 3 High.......................................................................EP 11393a Complete Verlaine Settings Vol. 3 Medium..................................................................EP 11393b Complete Verlaine Settings Gabriel Fauré’s seventeen settings of the poetry of Paul Verlaine mark the biggest single stylistic leap of his compositional career, and arguably one of the high points of the entire art song repertoire. This new edition contains the three individual settings Claire de lune, Spleen and Prison together with the Op. 58 “Venetian” songs and the magnificient cycle La Bonne Chanson.

Vol. 1 High..........................................................................EP 11391a Vol. 1 Medium.....................................................................EP 11391b This first volume contains all songs written up to 1882, encompassing many of Fauré’s most well-known and loved songs, including Après un rêve, Le papillon et la fleur and Au bord de l’eau. The volume includes a preface in French, English and German, and translations into English and German of the original poetry.

Vol. 4 High...........................................................in prep. Vol. 4 Medium.....................................................in prep.

EP 11394a EP 11394b

Vol. 5: 45 Vocalises for Voice and Piano..............................EP 11385 Medium-High Voice Vol. 2 High..........................................................................EP 11392a Vol. 2 Medium.....................................................................EP 11392b This second volume comprises the songs of Fauré’s creative maturity, including popular favourites (Les Roses d’Ispahan, Clair de lune) alongside some lesser-known gems, together with his three vocal duets and the delightful four-voice Madrigal.

Gabriel Faure wrote his Vocalises for students at the Paris Conservatoire, where he was director. Until now, they have remained unknown in the French National Archives; this first edition provides a fascinating resource, equally valuable as vocal exercises and for sight-singing.

• Arranged progressively and ranging from elementary to virtuosic • Written by Faure specifically to test and develop vocal suppleness, articulation, voice placement and musicality

• Audio accompaniments available

189

Solo Voice by Composer Franck, César (1822–1890) • Panis angelicus. (Latin/Eng,)............................................EP 71799 for Voice & Piano (3 Keys in One Series High/Medium/Low) (G, F and E flat)

The words for Panis angelicus are from a longer hymn text, Sacris Solemnis, 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.

• Complete Songs (Ger. / Eng. / Nor.) Original Keys (Edvard Grieg-Komitee, Oslo)

Vol.1......................................................................................EP 8514a Opp. 2–49 and from Peer Gynt Vol.2......................................................................................EP 8515a

Opp. 58–70 and EG 121–157

César Franck set this verse of seven lines in 1872. 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. 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 wrote Panis angelicus for tenor, cello, harp, organ and double bass, but it slips easily into the keyboard arrangement.

• Album of 60 Selected Songs (Ger.) High.......................................................................................EP 3208a Medium-Low..........................................................................EP 3208b

• Solveig’s Song (Eng./Fr./Ger.) High.......................................................................................EP 2453a Low........................................................................................EP 2453b

Griffes, Charles Tomlinson (1884–1920)

Grieg, Edvard (1843–1907) • Centenary Song Album

.......................................EP 7958 (Includes CD with pronunciation guide and piano accompaniments)

Griffes died tragically early at the age of 35 from Spanish Flu in New York in 1920. During his travels in Europe he was deeply influenced by both German Romanticism (being briefly taught by Englebert Humperdinck) and also later by the Impressionist movement. The songs published by Edition Peters represent both of these periods in his short but influential compositional life.

(Ger. / Eng. / Nor.) Medium (Original) Keys (Edvard Grieg-Komitee, Oslo) Contents: Jeg elsker Dig / Ich liebe dich / I Love but Thee; Solveigs sang / Solveigs Lied / Solveig’s Song; En svane / Ein Schwan / A Swan; Stambogsrim / Stammbuchsreim / Album Lines; Med en vandlilje / Mit einer Wasserlilie / With a Water-lily; Våren / Letzter Frühling / Last Spring; Hilsen / Gruß / Greeting; I Rosentiden / Zur Rosenzeit / The Time of Roses; En Drøm / Ein Traum / A Dream To mark the centenary of Grieg’s death, Edition Peters published this special anniversary edition of Grieg’s best-loved songs. In addition to definitive editions of the printed music (with German and English singing translations), the book includes phonetic transcriptions of the Norwegian and German lyrics, and word-by-word translations into German and English. With a foreword by the curator of the Grieg Museum, Troldhaugen and introductory notes to each song by Beryl Foster.

• Four German Songs..........................................................EP 66310a

(Anderson) (Eng./Ger.) Am Kreuzweg wird begraben (They buried Him at the crossroads); An den Wind (To the Wind); Meeres Stille (Calm Sea); So halt’ich endlich dich umfangen (At last I hold you)

• 4 Impressions (Eng.)..........................................................EP 66310b Le Jardin (The Garden); Impression du Matin (Early Morning in London); La Mer (The Sea); Le Reveillon (Dawn)

• Seven Songs (Eng.) (Anderson)...........................................EP 66937 Two Birds Flew into the Sunset Glow; Les Ballons; In the Harem; The Water-Lily; Phantoms; Pierrot; Cleopatra to the Asp

190

EDVARD GRIEG

and his publisher The relationship between Edvard Grieg and his publishers Edition Peters was one of the closest and most successful in music history. A warm friendship developed between Grieg and Max Abraham, the owner of Peters, and subsequently between Grieg and Henri Hinrichsen, Abraham’s nephew and successor as manager of the publishing house. Grieg would often visit and stay with the family at their home (and headquarters of Peters) at Talstrasse 10 on his frequent visits to Leipzig, and composed much of his famous Peer Gynt there. Abraham ensured Grieg had financial stability throughout his lifetime so he could concentrate fully on his composing, and paid for the land on which Grieg built his longed-for home at Troldhaugen, Norway. All of Grieg’s works were published by Edition Peters and created immense success for both publisher and composer. Today Edition Peters offers unrivaled quality in its Grieg catalogue, and continues to develop it – issuing new unrivalled Urtext edition of the Songs, Piano Concerto, Violin Sonatas and other key works.

“As far as my personal relationship with Edition Peters is it is as ifrelationship on this occasion a complete “As concerned, far as my personal with Edition Peterspicture is unfolds before eye, andathis picturepicture shows me concerned, it is as my if onmind’s this occasion complete afresh the deep senseeye, of gratitude the firm, unfolds before my mind’s and thistowards picture shows meC.F. Peters,the and its dear senior partner,towards which shall pervade me afresh deep sense of gratitude the firm, mypartner, dying day.” C.F. Peters, and its dearuntil senior which shall pervade me until my dying day.” Edvard Grieg Edvard Grieg

191

Solo Voice by Composer • Six Songs (Eng./Ger.) (Anderson).........................................EP 66938 Low voice Mein Herz ist wie die dunkle Nacht (My Heart is Like the Gloomy Night); Des Mueden Abenlied (The Weary One’s Evensong); Mit schwarzen Segeln (“With Jet Black Sails”); Das sterbende Kind (“The Dying Child”); Das ist ein Brausen und Heulen (“There is a Tumult and Howling”); Wo ich bin, mich rings umdunkelt (“Where Am I, the Gloom Surrounds”)

Haydn, Joseph (1732–1809) • 35 Canzonettas and Songs..................................................EP 1351a including 14 English poems (Ger. & Ger./Eng.) High

Händel, Georg Friedrich (1685–1759) • Eternal Source of Light Divine...........................................EP 73251 for Voice & Piano (3 Keys in One Series High/Medium/Low) with Optional Trumpet part

‘With distinguish’d glory shine, to add a lustre to this day’. In 1713 Handel set this joyful text, an Ode to Queen Anne, to one of his most exquisite melodies. A tender work of extraordinary grace, ‘Eternal Source of Light Divine’ is music befitting a royal celebration.

Hovhaness, Alan (1911–2000) Alan Hovhaness was born Alan Vaness Chakmakjian on 8 March 1911 in Somerville, Massachusetts, to an Armenian father and a mother of Scottish descent. His music is characterized by a direct simplicity of expression, a fondness for modal harmonies, reference to folk-music of various kinds (particularly Armenian, Oriental and Indian music) and an expression of the beauty and vastness of nature. Much of his music is spiritual in nature, a reflection of his life-long interest in meditation and mysticism.

• 30 Arias for Female Voice....................................................EP 3493

(Eng./Ger./It.)

• 9 German Arias HWV 202–210

.............................EP 8782

• 9 German Arias HWV 202-210

...............................Q 8782

Soprano, Violin (flute/oboe) & Piano Soprano, Violin (flute/oboe) & Piano (Includes piano accompaniment CD)

Handel wrote the German Arias at a time when he was mainly composing Italian operas for the King's Theater in London. The content of the arias is the contemplation of natural beauties and the praise of God. Handel took the texts from the collection “Earthly Pleasures in God” by the Hamburg writer Barthold Heinrich Brockes.

• Love’s Philosophy (Wedding Song) Op.370 (Eng.)...........................................EP 67522 Text: Percy Bysshe Shelley

• Out of the Depths Op.142 No.3 (Eng.)......................................EP 6045 Text: Psalm 130 (for Advent)

• Watchman, Tell Us of the Night Op.34 (Eng.) (Christmas Song)...................................................................EP 6465

192

Solo Voice by Composer Howard, Emily

Mackay, Sky

(*1979)

• Wild Clematis in Winter

Mezzo-Soprano & Piano

.............................................EP 73323

Kagel, Mauricio (1931–2008) • Rrrrrrr…: 4 Solos for Voice....................................................EP 8578 3 with accompaniment

(*1988)

Chicago-born composer, oboist and installation artist Sky Macklay music is conceptual yet expressive, exploring extreme contrasts, acoustic processes, humor and the physicality of sound Macklay completed her DMA at Columbia University, where she studied with Georg Friedrich Haas, George Lewis and Fred Lerdahl. She also holds degrees from the University of Memphis (MM) and Luther College (BA). Today she is an assistant professor of music at Valparaiso University in northwest Indiana.

• Glossolalia

..............................................................EP 68658 Soprano & Piano

Mahler, Gustav (1860–1911) • 7 Late Songs (Ger./Eng.)

High.......................................................................................KT 7613 Medium..................................................................................KT 7614

Low.........................................................................................KT 7615

• Kindertotenlieder (Ger.)

.........................................KT 9218 International Gustav Mahler Society Edition

• Rückertlieder (Ger.)

.................................................KT 9254 International Gustav Mahler Society Edition

• Songs of a Wayfarer (Lieder eines fahrenden Gesellen)............................................................EP 9265

(Ger.) (Hansen)

Lawes, Henry (1596–1662) • 6 Songs, with Continuo realisation .......................................EP 7179 (Eng.)

Liszt, Franz (1811–1886)

Mendelssohn, Felix (1809–1847) • Complete Songs (Friedländer)

(Ger.) including Fanny Hensel 5 songs High.....................................................................................EP 1774a Medium...............................................................................EP 1774b Low......................................................................................EP 1774c

• 20 Selected Songs.................................................................EP 8590a (Ger./Eng./Fr.) (d’Albert)

Loewe, Carl (1796–1869) • 15 Ballads and Songs (Ger.)

Vol.1: High.............................................................................EP 2960a

• 20 Selected Songs (Ger.) (Losse) High.......................................................................................EP 4570a Medium..................................................................................EP 4570b

193

Solo Voice by Composer Mozart, Wolfgang Amadeus (1756–1791) • Exsultate, Jubilate K165 (Lat.).............................................EP 8697 Soprano, Organ & Orchestra. Vocal Score

• Voi, che sapete (It.Eng.)......................................................EP 72044 for Voice & Piano (3 Keys in One Series High/Medium/Low) C major/Bb major (original version) /A major from Le Nozze di Figaro

"Voi, che sapete” is sung by Cherubino, an aristocratic page to Count Almaviva, in whose palace the drama takes place. During Act II, Cherubino visits his godmother, the Countess, and her maid Susanna. Knowing his adolescent infatuation with all women, Susanna encourages him to sing a love song he has written (a veiled confession of his love for the Countess), while she accompanies him on the guitar. The part of Cherubino is played by a woman - as it is in the Beaumarchais play on which the opera is based. In its immediacy, the aria perfectly depicts the mind-set of a bewildered young man in love. He’s naturally rather proud of his ‘song’ and the outer sections convey a studious formality in the polite words about love, conventional harmony and attractive tune. However, as he describes his symptoms, the language and harmony grow more colourful, the phrases shorten, and his true feelings emerge. The possibilities for a personal interpretation of the aria are wide; you do not have to perform it in the character of a teenage boy.

• Famous Opera Arias (It./Ger.)

(Includes piano accompaniment CD)

Tenor..........................................................................................Q 8902

(Includes piano accompaniment CD)

Bass..........................................................................................EP 8903

• Album of 29 Songs (Ger.) (Friedländer)

(Piano accompaniment CD available separately)

High......................................................................................EP 299a Medium-Low.........................................................................EP 299b • Album of 50 Songs (Ger.) (Moser) including 3 Duets, 2 Terzets & 1 Quartet High......................................................................................EP 4699a High.......................................................................................Q 4699a (Includes piano accompaniment CD)

Mussorgsky, Modest Petrovich (1839–1881) • The Nursery (Kinderstube); Songs and Dances of Death .(Russ. / Ger. with transliteration) (Stamm) High........................................................................................EP 8787a Low.........................................................................................EP 8787b

• Selected Songs (Ger.) (Schmidt)............................................EP 3394a Songs and Dances of Death; The Nursery; Hopak

Medium-Low...........................................................................EP 4699b Medium-Low.............................................................................Q 4699b

(Includes piano accompaniment CD)

194

Solo Voice by Composer Peeters, Flor (1903–1986) • Ave Maria Op.104 (Eng./Lat.) High

............................................................................EP 6345a ......................................................................EP 6345b

Medium Low

............................................................................EP 6345c

• Lord’s Prayer Op.102 (Eng.) High

............................................................................EP 6201c ......................................................................EP 6201a

Medium Low

...........................................................................EP 6201b

• Pater Noster (Eng./Lat.) High

for Voice & Piano (3 Keys in One Series High/Medium/Low) from "Madam Butterfly" Gb, (original version) E, D Original Italian with English singing translation

Hope and trust are at the centre of this aria, from Act II of Madama Butterfly. Cio Cio San (Butterfly) has been waiting for her American husband Pinkerton for three years, ever since he left for naval duty immediately after their honeymoon. There is no doubt in her mind that he will return. The scene she describes is one she has doubtless r ehearsed in her mind from the moment he left, but now that she's reassuring her servant Suzuki, it takes on a new immediacy.

.............................................................................EP 6342a ........................................................................EP 6342b

Medium Low

• Un bel dì (It.Eng.)...................................................................EP 72045

..............................................................................EP 6342c

• Speculum Vitae (Mirror of Life) Op.36

.................................................EP 6053 Tone Poem for Voice and Organ (Piano) (Eng./Ger.)

• Wedding Song (Wither thou goest) (Wo du hingehst) Op.103 (Eng./Ger.) High

............................................................................EP 6244a .......................................................................EP 6244b

Medium Low

.............................................................................EP 6244c

Pinkham, Daniel (1923–2006) • Wedding Song

.......................................................EP 66565 from Wedding Cantata (Eng.)

Puccini, Giacomo (1858–1924) • Quando me'n vò (It.Eng.)....................................................EP 72046 for Voice & Piano (3 Keys in One Series High/Medium/Low) Musetta's Waltz from "La bohème" E, (original version) D, B Original Italian with English singing translation

Purcell, Henry (1659–1695) • When I Am Laid in Earth (Eng.)............................................EP 72113 for Voice & Piano (3 Keys in One Series High/Medium/Low) Dido's Lament from "Dido and Aeneas" E minor, F minor G minor (original)

Dido's Lament is one of the emotional highlights of Henry Purcell's opera Dido and Aeneas. This touching and dramatic scene in which Dido, Queen of Carthage laments the farewell to her beloved hero Aeneas, is impressively set to music by Purcell.

Presented here in three keys for a range of voices, this is Musetta's Waltz from the start of Act II of La Boheme.

In the aftermath of the destruction of Troy, Aeneas escapes across the Mediterranean to Carthage, the great Phoenician city built around the eighth century BC, and ruled by Dido as its queen. He and Dido fall in love.

Act II opens in the Latin Quarter of Paris on Christmas Eve. A group of bohemian friends are gathered in a café when coquettish Musetta arrives in typically flamboyant style with a wealthy, old admirer in tow. She clearly takes pleasure in her looks and the effect she has on others, but her real aim in this aria is to attract the attention of her former lover, Marcello.

But Aeneas is destined to be the founder of the city of Rome and is obliged to travel onwards; however, Dido is unable to face life without him. Purcell gives Dido this lament - an intimate and conclusive disclosure - as she reveals to her sister, the handmaiden Belinda, her approaching death.

Puccini makes this feeling plain, but touches of elegance and humour give the aria its special quality.

195

Solo Voice by Composer Rachmaninov, Sergei (1873–1943) • Vocalise Op. 34 No. 14...........................................................EP 72513 for Voice & Piano (3 Keys in One Series High/Medium/Low) C# minor, B minor, G minor

Rachmaninoff wrote the Vocalise, Op. 34 No. 14, in 1915, for Antonina Nezhdanova – a lyric coloratura soprano and one of Russia’s greatest singers. When asked, Rachmaninoff told her, “It has no need of words, when you can convey everything better, and with more feeling, with your voice and interpretation”.

• The Mouth

..................................................................EP 14535 for Soprano Solo and Electronics

Rakowski, David (*1958) • Silently, A Wind Goes Over (Eng.)

........................EP 67616 Poems by Joseph Duemer, April Bernard, Wallace Stevens and Robert Louis Stevenson

The Mouth is a 15-minute work for soprano solo and electronics. The piece asks: What is this intimate voice, what is there that is repressed, held back, sinking beneath the surface? And what can be said, if anything can be said? The text is written by the composer. The work explores the wide range of colours and sounds produced in the oral cavity. The score is available for sale and includes performance notes, as well as explanatory notes for the electronics as a separate brochure.

Reger, Max (1873–1916) • 12 Geistliche Lieder Op. 137 (Ger.)........................................EP 3452

Schoenberg, Arnold (1874–1951) • 4 German Folk Songs (Ger.) Medium....................................EP 4826 Der Mai tritt ein mit Freuden; Mein Herz in steten Treuen; Mein Herz ist mir gemenget; Es gingen zwei Gespielengut

Rorem, Ned (*1923) Ned Rorem is one of America's most honored composers. Words and music are inextricably linked for Rorem. Time Magazine has called him "the world's best composer of art songs."

• 14 Songs on American Poetry............................................EP 66583 Texts by Walt Whitman, G. Stein & others Medium

• The Lord’s Prayer

........................................................EP 6371

• Six Songs for High Voice (Eng.)

.................................EP 6373 Pippa’s Song (Robert Browning); Cradle Song (16th Century anonymous); Song for a Girl (John Dryden); Rondelay (John Dryden); In a Gondola (Robert Browning); Song to a Fair Young Lady Going out of Town in the Spring (John Dryden)

196

Solo Voice by Composer Schubert, Franz (1797–1828) • Songs in 7 Volumes (Ger.) (Friedländer) Vol.1: 92 Songs inc. Schöne Müllerin, Winterreise, Schwanengesang High.........................................................................................EP 20a Medium...................................................................................EP 20b Low..........................................................................................EP 20c Extra Low................................................................................EP 20d

Vol.2: 54 Songs Opp. 1–8, 12–14, 19–24, 26, 31, 32, 36 High Medium Low

....................................................................EP 8304a ...............................................................EP 8304b .....................................................................EP 8304c

Vol.3: 46 Songs Opp. 37–39, 41, 43, 44, 52, 56–60, 62, 65, 68,71–73, 79 High Medium Low

....................................................................EP 8305a ...............................................................EP 8305b .....................................................................EP 8305c

Vol.4: 45 Songs Opp. 81, 83, 85–88, 92, 93, 95–98, 101, 105, 106, 108 High Medium Low

..................................................................EP 8306a .............................................................EP 8306b ...................................................................EP 8306c

• Liederbuch 60 songs High....................................................................................EP 4622a Low.....................................................................................EP 4622c • Selected Lieder by Schubert & Brahms (Ger.) High.....................................................................................EP 8681 (Piano accompaniment CD available separately) Low............................................................................EP 8682

Vol.2: 75 Songs High.......................................................................................EP 178a Medium.................................................................................EP 178b Low........................................................................................EP 178c Vol.3: 45 Songs High.......................................................................................EP 790a Medium..................................................................................EP 790b Low........................................................................................EP 790c Vol.4: 62 Songs, original keys.................................................EP 791 Vol.5: 52 Songs, original keys..................................................EP 792 Vol.6: 69 Songs, original keys..................................................EP 793 Vol.7: 51 Songs, original keys................................................EP 2270

• Songs (Ger.) (Fischer-Dieskau / Budde) Vol.1: Schöne Müllerin, Winterreise, Schwanengesang

• Ave Maria..............................................................................EP 71047

for Voice & Piano (3 Keys in One Series High/Medium/Low) Ellen's 3rd Song (Hymn to the Virgin) from Walter Scott's "Lady of the Lake" Bb, (original), Ab, G

Schubert’s text for Ave Maria is not the Latin prayer to the Virgin but the heartfelt words of Ellen Douglas in Sir Walter Scott’s verse-novel, The Lady of the Lake, set in the early part of the sixteenth century. Ellen is going with her father to Stirling, where he intends to give himself up to the King to prevent a bloody war. They take refuge for the night in a wild and rocky place, reputedly haunted by “fays and satyrs”. Her “melting voice attends the strings” of the harp of their faithful minstrel, Allan-bane.

High .....................................................................EP 8303a (Piano accompaniment CD available separately) Medium Low

...............................................................EP 8303b .....................................................................EP 8303c

(Piano accompaniment CD available separately)

197

Solo Voice by Composer Schumann, Clara (1819–1896)

Schumann, Robert

• Anniversary Songbook: 14 Songs (Ger./Eng.)

• Complete Songs (Ger.) (Friedländer)

High (Original)......................................................................EP 11570a

(Includes piano accompaniment CD)

Medium-low..........................................................................EP 11570b (Includes piano accompaniment CD)

(1810–1856)

Vol.1: 77 Songs inc. Dichterliebe, Myrthen, Frauenliebe und Leben, Liederkreis High.....................................................................................EP 2383a Medium................................................................................EP 2383b Low......................................................................................EP 2383c

Vol.2: 87 Songs Clara Schumann (née Wieck) was undoubtedly the most important female pianist of the 19th century. As a young child she toured Europe as a prodigy: her entire career as a celebrated piano virtuoso spanned more than 60 years. Equally important, but less well known, is the composer Clara Schumann, who published her Opus 1 at the age of eleven. Despite the domestic duties expected of a woman at that time, she created numerous outstanding piano works and songs that are at least the equal of those of her male contemporaries. However, society at that time did not allow women to be regarded as fully-fledged composers or for their works to be appreciated adequately. To help give this important composer the recognition she deserves, Edition Peters, in collaboration with the Schumann-Haus Leipzig, published, on the occasion of her 200th birthday, this Anniversary Songbook. The 14 songs, representing the pinnacle of Clara’s art, were composed mainly in the period after her marriage in Leipzig to Robert Schumann – who was her greatest champion.

High.....................................................................................EP 2384a Medium................................................................................EP 2384b Vol.3: 82 Songs. Including Mary Stuart Songs High.....................................................................................EP 2385a Medium-Low.......................................................................EP 2385b

• Song Cycles (Ger.) (Köhler) Hans Joachim Köhler was born in Leipzig in 1936 - the city that was home for Robert and Clara Schumann in the early years of their marriage, and where Clara was born. He is one of the most profound experts on the life and work of Robert Schumann, and was a professor until his retirement at the Hochschule for Musik und Theater Felix Mendelssohn Bartholdy in Leipzig. He is the author of numerous papers and articles on Robert and Clara Schumann.

• Dichterliebe Op.48. High

..........................................EP 9537

• Dichterliebe Op.48. High ..........................................Q 9537 (Includes piano accompaniment CD)

This volume includes:

• new practical editions of 14 of Clara Schumann’s greatest songs • introductions to each song, written by Frances Falling, Schumann-Haus Leipzig

• new English translations of the song lyrics • a CD containing recordings of the piano accompaniments

• Frauenliebe und Leben Op.42 High

..............................EP 9536

• Frauenliebe und Leben Op.42 ............................Q 9536 High (Includes piano accompaniment CD) • Liederkreise Op.39 ...................................................EP 9535 (Piano accompaniment CD available separately) • Album of Songs for the Young Op. 79

..................EP 9539 Op. 79 (Ger.) (includes songs for 2 & 3 voices) (Köhler)

198

Solo Voice by Composer Schütz, Heinrich (1585–1672)

Sorey, Tyshawn

• 3 Kleine Geistliche Konzerte (Ger.).......................................EP 3785 High-Mediu

Shostakovich, Dmitri (1906–1975)

• Cradle Song ◄ (Ger.)..............................................................EP 4733

(*1980)

Newark-born composer and multi-instrumentalist Tyshawn Sorey is a composer and musician who occupies a unique space in and between spontaneous and formal composition. An artist whose work has proven impossible to categorize, he has maintained a lifelong interest in establishing an alternative musical model that celebrates genre mobility both as an artistic ideal and a compositional attitude.

Smyth, Ethel (Dame) (1858–1944) English composer Dame Ethel Smyth spent a year studying at the Mendelssohn Leipzig Conservatory with Carl Reinecke, during which time she met the amongst many others, the composers Dvořák, Grieg, Tchaikovsky. And most interestingly, Clara Schumann. Her time in Leipzig is documented by a series of letters recently published by the Conservatory. Max Abraham and his nephew Henri Hinrichsen proprietors of Edition Peters, were early passionate and powerful advocates of the education of women (founding and building the Henriette Goldschmitt Schule for women in Leipzig). Abraham met Smyth during her time in Leipzig (Abraham was on the board of trustees of the Hochschule) and published four early works by Smyth. Dame Ethel Smyth was a prominent member of the suffragette movement. Her works were unjustifiably neglected for decades but are now being rediscovered and celebrated in a resurgence of interest and high-profile performances.

• Save the Boys

........................................................EP 68786 for Countertenor and Piano Save the Boys by Tyshawn Sorey transforms a 19th-century temperance poem by Black abolitionist, suffragist, and writer Frances E. W. Harper into a lament on the precarity of Black lives in 21st-century America. Commissioned by Opera Philadelphia, the 20-minute song was composed for countertenor John Holiday and pianist Grant Loehnig, whose world premiere performance was released as an online video in February 2021 as part of the company's digital-only 2020-2021 season. This vocal score includes piano accompaniment and a brief program note from the composer.

• Songs and Ballads Op. 3

............................................EP 11456

Strauss, Richard (1819–1896) • Love Songs (Eng./Ger.).........................................................EP 6150 Red Roses; The Awakened Rose; Meeting

• Songs and Ballads Op. 4

............................................EP 11457

199

Solo Voice by Composer Tchaikovsky, Peter Ilyich (1840–1893) • 20 Lieder (Ger./Russ.) (Losse / Laux) High......................................................................................EP 4651a

Wallen, Errollyn

(*1958)

'renaissance woman of contemporary British music' (The Observer)

Medium.................................................................................EP 4651b Low.......................................................................................EP 4651c

Verdi, Giuseppe (1813–1901) • 30 Soprano Arias (It./Ger.) (Soldan) Vol.1....................................................................................EP 4246a Vol.2....................................................................................EP 4246b

• 7 Mezzo-Soprano Arias......................................................EP 4247 (It./Ger.) (Soldan)

• 23 Tenor Arias (It./Ger.) (Soldan)..........................................EP 4248 • 20 Baritone Arias (It./Ger.) (Soldan)....................................EP 4249 • 13 Bass Arias (It./Ger.) (Soldan)..........................................EP 4245

Wagner, Richard (1813–1883) • 5 Wesendonck Lieder (Ger./Eng.) High.....................................................................................EP3445a Low......................................................................................EP 3445b Wagner set five poems written by his muse Mathilde Wesendock, and they were released in a first edition by Edition Peters. Two of the songs Wagner acknowledged as studies for his opera Tristan and Isolde: Im Treibhaus” and “Träume”

200

Errollyn Wallen is an award-winning composer and lyricist. Her works include symphonies, ballets, operas, works for choir and chamber music. Errollyn was awarded an MBE for her services to music in the Queen’s Birthday Honours list in June 2007 and a CBE in the 2020 New Year Honoursand has been elected Honorary Fellow of Mansfield College, Oxford 'in recognition of her distinguished contribution to scholarship in the field of British contemporary music and her exceptional achievements as a composer.'

• The Errollyn Wallen Songbook..............................................EP 7888 What's up Doc?; Guru; Beehive; North; Rain; What Shall I Sing?; London's Burning; Jesus on a Train; Happy and New; Daedalus; My Feet May Take a Little While; Peace on Earth

Solo Voice by Composer Wolf, Hugo (1860–1903) • 51 Selected Songs (Ger./Eng.) (Elena Gerhardt) High......................................................................................EP 4290a Medium-Low.........................................................................EP 4290b Highly influenced by the music of Richard Wagner, the hundreds of Lieder by composer Hugo Wolf remain a rich source of discovery and interpretative challenge for singers into the 21st century. These emotionally charged Lieder sit in pride of place amongst the other Lieder greats of Brahms, Schubert and Schumann published in the iconic green livery of Edition Peters.

• 35 Baritone-Bass Songs........................................................EP 4291 (Ger./Eng.)

• 8 Christmas Songs / Lieder zur Weihnacht.......................EP 4289 (Eng./Ger.)

• Eichendorff-Lieder: 20 Songs (Ger./Eng.)

Low........................................................................................EP 3147b

• Goethe-Lieder: 51 Songs (Ger.) Original keys Vol.1: Songs Nos. 1–11...........................................................EP 3156 Vol.2: Songs Nos. 12–18 & 49–51..........................................EP 3157 Vol.3: Songs Nos. 19–33........................................................EP 3158 Vol.4: Songs Nos. 34–48........................................................EP 3159

In 1933, Henri Hinrichsen the owner of Edition Peters, chose Elena Gerhardt, Mezzo Soprano and leading interpreter of Lieder at the time, to edit the first published anthology of Hugo Wolf songs. Henri Hinrichsen was a passionate supporter of women's education and rights and this was one of the first German publications to be edited by a woman. Elena Gerhardt, born in Leipzig, Germany had a stellar international singing career. She was the protege of Nikisch and also a friend of Richard Strauss, regularly touring the United States, England and mainland Europe to rapturous and sell-out audiences.

• Heine-Lieder: 7 Songs (Ger.)...................................................EP 3161 • Italian Lyrics: 46 Songs (Ger./Eng.) Original keys Vol.1: Songs Nos. 1–15..........................................................EP 3144 Vol.2: Songs Nos. 16–30........................................................EP 3145 Vol.3: Songs Nos. 31–46........................................................EP 3146

• Mörike-Lieder: 53 Songs (Ger./Eng.)

Vol.1: Songs Nos. 1–12 High-Medium......................................................................EP 3140a Vol.2: Songs Nos. 13–24 High-Medium......................................................................EP 3141a Vol.3: Songs Nos. 25–39 High-Medium....................................................................EP 3142a Vol.4: Songs Nos. 40–53 High-Medium.....................................................................EP 3143a Low....................................................................................EP 3143b

• Spanish Lyrics: 44 Songs (Ger./Eng.)

Elena Gerhardt (1883–1961)

Vol.1: 10 Songs. High.............................................................EP 3149 Vol.2: 11 Songs. High.............................................................EP 3150

In 1934 she fled Germany to safety in England from Nazi persecution of the Jews, and created a new life in London which included performing German Lieder throughout the War to packed audiences,accompanied by Dame Myra Hess. She then pursued a highly successful career as teacher and mentor to many young singers in the post-War era.

Vol.3: 11 Songs. High-Medium...............................................EP 3151

Vol.4: 12 Songs. High............................................................EP 3152

201

Solo Voice with various instruments Solo Voice with various instruments Babbitt, Milton (1916–2011)

Dillon, James (*1950) James Dillon is one of the UK’s most internationally celebrated and performed composers. His work spans all genres from solos to chamber music, orchestral to opera.

Milton Babbitt was born in Philadelphia, Pennsylvania and received his early musical training in Jackson, Mississippi. Even at this stage, he revealed an innate flair for mathematics and this, along with his artistic abilities, determined the formulation of many of his musical theories.

• 2 Sonnets...............................................................................EP 66610 for Baritone, Clarinet, Viola & Cello

Bach, Johann Sebastian (1685–1750) • Cantata No.200: ‘Bekennen will ich seinen Namen’ (Ger.)....................................................EP 4209 for Alto, 2 Violins, Cello & Keyboard. Score & Parts

Brahms, Johannes

(1833–1897)

• 2 Songs Op.91 (Ger./Eng.)......................................................EP 3908 Alto, Obbligato Viola (or Cello) & Piano

• Come live with me

....................................................EP 7248 for Mezzo-Soprano, Flute, Oboe, Percussion & Piano

• A Roaring Flame

.....................................................EP 7249 Female Voice & Double Bass

• Time Lag Zero

Female Voice & Viola

............................................................EP 7295

• Who do you love .........................................................EP 7245 for Voice, Flute, Clarinet, Violin (Viola) & Cello

Dubugnon, Richard (*1968)

Cage, John (1912–1992) • Forever & Sunsmell

Voice with Percussion Duo

...................................................EP 6715

Richard Dubugnon was born in Lausanne (Switzerland) in 1968. He started music at the age of 20 after reading History in Montpellier and was accepted into the Paris Conservatoire in 1992, where he graduated with prizes in Double Bass, Counterpoint and Fugue. Dubugnon further studied Composition at the Royal Academy of Music in London, graduating in 1997 with a DipRAM and a MMus, before becoming a Composition Fellow in 1998. When he returned to France in 2002, he became the recipient of the Pierre Cardin Prize from the Académie des Beaux Arts in Paris. In 2015 he was awarded the Grand Prix SACEM.

Cowell, Henry (1897–1965) • Vocalise

........................................................................ EP 6675 for Soprano, Flute & Piano

Crumb, George (1929–2022) • Ancient Voices of Children .................................................EP 66303 (Spanish) Song Cycle on texts by Lorca. Soprano, Boy Soprano, Oboe, Mandolin, Harp, Electric Piano (Toy Piano) & 3 Percussion. Full Score

• Madrigals I

.................................................................EP 66458 (Spanish) Soprano, Contabass, Vibraphone Text: Poems of Frederico Garcia Lorca

• Madrigals II

.................................................................EP 66459 (Spanish) Soprano, Flute, (Picc, Alto), Percussion, (1 player) Text: Poems of Frederico Garcia Lorca

• Madrigals III

................................................................EP 66460 (Spanish) Soprano, Harp, Percussion (1 player) Text: Poems of Frederico Garcia Lorca

• Madrigals IV

...............................................................EP 66461 (Spanish) Soprano, Flute (Picc, Alto), Harp, Contabass, Percussion Text: Poems of Frederico Garcia Lorca

202

• Les Messages Personnels

....................................EP 73555 A D-Day Celebration for Soprano, Double Bass and Piano Commissioned by a small festival in Orbec (Normandy) to commemorate the 50th anniversary of the D-Day, on 6th June 1994, Les Messages Personnels is one of Dubugnon's early works, written while he was still a student at the Paris Conservatoire. He devised the story, wrote the lyrics and composed the music for this piece which became one of his most widely performed compositions in the 1990s. As a music-theatre work, it involves some acting from the three performers. The title "messages personnels" refers to the coded radio messages the French were sending from London to the Resistance on the continent. There are hints of post-Debussy and Scriabinesque influences as well as jazz and funk, which was the music Dubugnon was listening to for much of his time as a student. Vocal score. Double Bass part available separately (EP73555a)

Solo Voice with various instruments Ferneyhough, Brian (*1943) Brian Ferneyhough is widely recognized as one of today's foremost living composers. Since the mid-1970s, when he first gained widespread international recognition, his music has earned him an enviable reputation as one of the most influential creative personalities and significant musical thinkers on the contemporary scene.

Peris' highly successful arrangement of the work includes the participation of a Mezzo-Soprano soloist to whom he assigns a leading rolo: the voice takes on the melody of the first violin whenever the textual sentence corresponds to the musical phrase, singing Jesus' words as an overlay to the string writing.

• Etudes Transcendantales........................................................EP 7310 Soprano, Flute (Piccolo, Alto-Flute), Oboe (Cor Anglais), Harpsichord, Violoncello

• On Stellar Magnitudes.............................................................EP 7420 Mezzo-Soprano, Flute (Piccolo), Clarinet (Bass Clarinet), Piano, Violin, Violoncello. Score

Händel, Georg Friedrich (1685–1759) • 9 German Arias HWV 202–210

.............................EP 8782

• 9 German Arias HWV 202-210

...............................Q 8782

Soprano, Violin (flute/oboe) & Piano Soprano, Violin (flute/oboe) & Piano (Includes piano accompaniment CD)

Ives, Charles (1874–1954) • Sunrise

........................................................................EP 66663 for Voice, Violin & Piano

Kagel, Mauricio (1931–2008) • Tango Alemán

.............................................................EP 8412 Mezzo-Soprano, Alto or Baritone Solo, Piano, Violin, Bandonion (or Accordion)

Mozart, Wolfgang Amadeus (1756–1791) • Exsultate, Jubilate K165 (Lat.).............................................EP 8697 Soprano, Organ & Orchestra. Vocal Score

Rorem, Ned (*1923) • Mourning Scene from Samuel

...............................EP 6374 Soprano, String Quartet & Organ (or Piano) Score & Parts

Haydn, Joseph (1732–1809) • The Seven last Words of Christ.....................................EP 72163 Arranged by José Peris Lacasa for Voice and String Quartet

This new version of perhaps Haydn's most spiritual work has received many high-profile performances, notably for the name day celebrations of Pope Benedict XVI at the Vatican in March 2010 by the Henschel Quartet and the Mezzo-Soprano Susanne Kelling. Haydn was commissioned to write the work in 1787 by two enlightened priests based in Cadiz, Spain for a religious gathering to meditate on the death of Christ at a local oratory (Santa Cueva). The resulting work consists of an introduction followed by seven short sonatas for string quartet concluding with a movement imitating the earthquake that according to the Gospels followed Christ's death. Originally each of the sonatas was performed after a short commentary on each of Jesus' words or phrases by a priest. From the introduction to the last movement Haydn adopts rhythm as an essential element of his compositional technique, which becomes its leading motive, providing dramatic cohesion and continuity to the musical discourse. The final eight bars illustrate this well, symbolising the suspense between life and death. As Professor Peris comments: "We should see in Haydn's Seven Last Words an innermost spiritual experience that reaches the most profound levels of the human condition."

203

Vocal Duets Vocal Duets

Delibes, Léo (1836–1891) • ‘Dôme épais’

Bach, Johann Sebastian (1685–1750) • May God Smile On You / Der Herr Segne Euch (Eng./Ger.).........................................................EP 6079 from Cantata No.196 ‘Wedding Cantata’. Tenor & Baritone. Vocal Score

Bizet, Georges (1838–1875) • ‘Au fond du temple saint’ (Fr.)..............................................EP 7588

(Fr.) (Nichols).................................................EP 7589 Flower Duet from Lakmé. Soprano, Mezzo-Soprano & Piano Lakmé is set in a province of nineteenth-century India under British rule, and the opening scene, during which this duetis heard, takes place in the beautiful gardenof the temple built by the Brahmin priest, Nilakantha. He hates the British invaders (for one thing, they have forbidden him to practise his religion) and the plot hinges around the clash between this hatred and the love between his daughter Lakmé and the British officer Gérald. Before Gérald appears, Lakmé and her slave Mallika sing this duet as they prepare to bathe in the river

from The Pearl Fishers Tenor, Baritone & Piano (Nichols)

This edition prints both Bizet's own 1863 version of the duet and the later version of 1887-8, made by his publisher Choudens after the composer's death and based on no known autograph material. While familiarity and the influence of available recordings will no doubt dispose some to choose the later version, it is worth noting a contemporary review of the original: 'there followed a duet for baritone and tenor which contains the finest inspiration in the opera, a kind of prayer, very nearly the work of a master, which was greeted with unamimous applause."

Fauré, Gabriel (1845–1924) • Pavane Op.50 (Fr.)

(Howat)..................................................EP 7526 2 Voices, Flute & Piano In 1975, in letters to Robert Orledge, Sir Adrian Boult recalled meeting Fauré and hearing him play at the London home of Leo Frank Schuster on several occasions between 1906 and 1908… Although arrangements of the piece have long existed for piano, flute and piano, SATB and piano, or even two female voice parts and piano, this is the first edition to combine flute, solo voices and piano in a manner as described by Sir Adrian.' (Roy Howat)

Brahms, Johannes

(1833–1897)

• Duets Opp.20, 61, 66, 75 (Ger.)...............................................EP 3909 • 4 Duets Op.28 (Ger.)................................................................EP 3910

Händel, Georg Friedrich (1685–1759) • 6 Duets (It./Ger.)......................................................................EP 2070 with Piano Part by Brahms

Quel fior che all' alba ride B major HWV 192 No, di voi non vo' fidarmi G major HWV 189 Nò, di voi non vo' fidarmiEb major /C minor HWV 190 Beato in ver chi può A major HWV 181 Fronda leggiera e mobile D major HWV 186 Ahi, nellesorti umane G-minor HWV 179

204

Vocal Duets Humperdinck, Engelbert (1854–1921)

Mozart, Wolfgang Amadeus (1756–1791)

• Evening Prayer (Ger. / Eng.)................................................EP 7695

Album of 50 Songs (Ger.) (Moser)

from Hänsel und Gretel (Nichols)

A firm favourite with singers of all ages, this simple but moving duet is now attractively presented in this new edition. Hansel and Gretel is one of the most-performed operas ever written – within a year of its premiere in Weimar in 1893 it had been performed 50 times in Germany alone. In Act I Hansel and Gretel have annoyed their Mother by dancing when they should have been making brooms and knitting. In her anger the Mother knocks over the jug of milk, the only food in the house. She sends the children out into the nearby forest to pick strawberries, but when the Father returns he is horrified, because this is where the Witch lives in her gingerbread cottage. He and the Mother go out to find their Children. In Act II, after the children have picked and then eaten the strawberries, a mist arises and, when it clears, there is the Sandman, a smallgrey figure with a sack on his back. He throws sand in their eyes and, after they say their evening prayer, they fall asleep in each other's arms. After the prayer, the mist descends again and turns into a magic staircase, down which comes the fourteen angels of whom they sang, to surround them and keep them safe through the night.

including 3 Duets, 2 Terzets & 1 Quartet High......................................................................................EP 4699a

High.......................................................................................Q 4699a (Includes piano accompaniment CD) Medium-Low............................................................................EP 4699b Medium-Low............................................................................Q 4699b

(Includes piano accompaniment CD)

Offenbach, Jacques (1819–1880) • ‘Barcarolle’ (Fr.) (Nichols)........................................................EP 7671 from The Tales of Hoffmann Soprano, Mezzo-Soprano & Piano

A well-loved classic from the operatic repertory, this sensuous and lilting love duet gently opens Act IV of Offenbach's Tales of Hoffmann. Giulietta and Nicklausse progress along Venice's Grand Canal in a gondola whilst extoling the beauties of the night and their passion

Rossini, Giachino (1792–1868) Monteverdi, Claudio (1567–1643) • 6 Duets (It.) (Landshoff).........................................................EP 3824a

• Duetto Buffo di due Gatti / Cats’ Duet.............................................................................EP 7145 2 Sopranos (or Soprano & Tenor / 2 Tenors) & Piano

Mendelssohn, Felix (1809–1847) • 19 Duets (Ger.).........................................................................EP 1747 2 Sopranos (2 for Soprano & Tenor) & Piano

205

Vocal Duets/Solo Voices in Ensemble Schumann, Robert

(1810–1856)

• 34 Duets (Ger.) (Friedländer)....................................................EP 2392 2 Sopranos; Soprano & Tenor; Soprano & Alto; Alto & Bass; Tenor & Bass (all with Piano)

Solo Voices in Ensemble Brahms, Johannes

(1833–1897)

• 12 Quartets (Ger.)...................................................................EP 3911 Opp. 31, 64, 92 & 112 SATB & Piano. Score (Soldan)

• Spanisches Liederspiel Op.74 ..............................................EP 2394 1, 2 & 4 Voices & Piano (Ger.)

Albums • 12 Opera Duets for 2 Female Voices.................................................................EP 3839b (Ger. & Ger./It.) by Handel, Gluck, Mozart, Weber, Wagner & others

Händel, Georg Friedrich - Ricordati mio ben (from: Flavio) Händel, Georg Friedrich - Se teco vive il cor (from:Radamisto) Pergolesi, Giovanni Battista - Ne' giorni tuoi felici (from: Olimpiade) Gluck, Christoph Willibald - Komm, undvertrau meiner Treue (from: Orpheus and Eurydice) Gluck, Christoph Willibald - Lascia mi in pace (from: Le nozze d'Ercole ed'Ebe) Mozart, Wolfgang Amadeus - Sieh, Schwester, es glühen wie Rosen (from: Così fan tutte) Mozart, Wolfgang Amadeus -Ach, ich kann's nicht mit Worten sagen (from: Idomeneo) Hoffmann, Joachim - Abendlüftchen schweben (from: Undine) Weber,Carl Maria von - Unter ist mein Stern gegangen (from: Euryanthe) Weber, Carl Maria von - Schelm, halt fest (from: Der Freischütz) Wagner, Richard - Ja, eine Welt voll Leiden (from: Rienzi) Wagner, Richard - Ortrud, wo bist du (from: Lohengrin)

206

• 15 Zigeunerlieder (Ger.)........................................................EP 3913 Opp. 103 & 112 SATB & Piano. Score (Soldan)

Ferneyhough, Brian (*1943) • Time and Motion Study III....................................................EP 7148 16 Solo Voices with electronic amplification. Score

Mozart, Wolfgang Amadeus (1756–1791) Album of 50 Songs (Ger.) (Moser)

including 3 Duets, 2 Terzets & 1 Quartet High......................................................................................EP 4699a

High.......................................................................................Q 4699a (Includes piano accompaniment CD) Medium-Low..........................................................................EP 4699b Medium-Low............................................................................Q 4699b

• 6 Nocturnes K.346, K436–9, K549.........................................EP 4522 (It./Ger.) 2 Sopranos, Bass & Piano (or 2 Violins & Cello)

Gustav Mahler and Edition Peters "I hear that you have completed your Fifth Symphony and therefore would like to enquire whether you would consider giving it to me with all the rights." Thus wrote Henri Hinrichsen, the owner and Managing Director of Edition Peters, to Gustav Mahler in 1903 at the beginning of an intense relationship with the composer and this symphony that would last the rest of the composer’s life, and which continues today. The Fifth Symphony presented unique challenges for Mahler who constantly revised the orchestration up to his death. Hinrichsen proved a loyal champion of the work and, despite the crippling expense, produced excellent materials over and over again that constantly delighted Mahler who praised the publisher’s “extraordinary care and professionalism”. Reinhold Kubik’s exemplary 2002 Urtext edition was produced under the auspices of the International Gustav Mahler Gesellschaft (International Mahler Society), Vienna in close collaboration with Edition Peters and represents one of the finest editions of any orchestral work available. The immense scholarship, with unrivalled access to all the important primary sources, is detailed in an extensive preface and full critical report in the study score. The music is lovingly type-set in a beautifully presented practical format. Matching orchestral material, class-leading in its presentation and layout, is available for rental. This is an edition that respects the history of the work and provides performers with the most reliable text and materials from which to recreate this great masterpiece. Kubik’s scholarship continues in the score and orchestral material for the Sixth Symphony completed for the International Mahler Society’s New Critical Edition in 2010. Originally published by the Leipzig firm C.F. Kahnt (a firm later acquired by Edition Peters), the Sixth too was subjected to a major revision process by Mahler and scores are commonly available even today that do not adequately reflect Mahler’s final thoughts. As with the Fifth, Kubik’s edition of the Sixth represents the leading scholarship for this work detailed in extensive prefatory material with full critical commentary and illustrations based on full access to the sources. This exhaustive work of musicology was enabled by funding from the Kaplan Foundation, New York. The beautiful large format study score is a pleasure to use for study or in performance and matches the impeccable orchestral parts which are available separately for rental. Symphony No. 5 New Critical Edition 2002 (Reinhold Kubik), Score International Mahler Society EP 10800

Symphony No. 6 New Critical Edition (Reinhold Kubik), Score International Mahler Society with support from the Kaplan Foundation EP 11210

Photo Credits Hinricshen Foundation Ludovic des Cognets & NMC Recordings

Composer Images Beamish, Sally Image © Ashley Coombes Dillon, James Image © Dylan Collard Dove, Jonathan Image © Andrew Palmer Dubugnon, Richard Image © Ruslan Makushkin Fagerlund, Sebastian Image © Ville Paasimaa Howard, Emily Image © Sam Fairbrother Lefanu, Nicola Image © Michael Salander Lewis, George Image © Eileen Barroso Okpebholo, Shawn © 2021, Greg Halvorsen Schreck Ørjan Matre Photo: Ingvild Festervoll Melien Panufnik, Roxanna Image © Benjamin Ealovega Saunders, Rebecca Image © Astrid Ackermann Williams, Roderick Image © Benjamin Ealovega

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Edition Peters: Bestsellers Catalogue 2022

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