Edition Peters New Releases 2020–2022 (USA)

NEW from Edition Peters

Four Graded Piano Anthologies

Grades 5 • 6 • 7 • 8

Selected Examination Pieces for 2023/24 Suitable for both the Practical and Performance Exams From The Associated Board of The Royal Schools of Music

Exam essentials Resources for ABRSM and other examinations

The Edition Peters Grade 8 Piano Anthology has long been a popular resource for anyone approaching this important milestone examination. In November 2022 Edition Peters will release a new Grade 8 Anthology to support the new (2023/2024) Syllabus and, for the first time, will issue new anthologies to support pianists studying at or preparing for Grades 5, 6 and 7.

Also new for this year: a selection of valuable and fascinating additional repertoire suitable for the own-choice piece in the new Performance Exams.

Those preparing for the Performance Exams are aided by Performance Notes by Norman Beedie (Lecturer in Classical Improvisation, 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.

Release 7th November 2022

Grade 5 Piano Anthology

Release 7th November 2022

Catalogue No. 98-EP73675 ISMN 979-0-57702-316-8

Contents:

List A

Bach, Johann Sebastian

Invention No. 8 in F, BWV 779

Beethoven, Ludwig van Bagatelle in G minor, Op.119 No.1 Haydn, Joseph Allegro (1st movt from Sonata in G, Hob. XVI:G1) Hummel, Johann Nepomuk Allegro in C (No. 2 from Six pièces très faciles, Op. 52) Mozart, Wolfgang Amadeus Theme, Var. 1 and Var. 5 (from 12 Variations on “Ah vous dirai-je, maman”, K. 265)

List B

Exam essentials

Resources for ABRSM and other examinations

Hofmann, Heinrich

Minnelied (No. 7 from Stimmungsbilder, Op. 88) Granados, Enrique La huérfana (No. 9 from Cuentos de las juventud, Op.1) Massenet, Jules Mélodie (No. 5 from 10 Pièces de genre, Op.10)

Pachulski, Henryk

Prelude in C minor, Op. 8 No.1 Schumann, Robert Von fremden Ländern und Menschen (No.1 from Kinderscenen, Op.15)

List C

Bartók, Béla

Winter Solstice Song (No. 38 from For Children, Vol. 1) Pinto, George March, Little Soldier! (No. 3 from Scenas infantis) gliss. optional Rollin, Catherine Love Theme (from Lyric Moments, Book 2) Mier, Martha Tuxedo Jazz (from Jazz, Rags & Blues, Book 4)

Own choice

Farrenc, Louise Impromptu

Panufnik, Roxanna Glo

Gjeilo, Ola April (from Stone Rose)

Cage, John Basket Dance (from Sixteen Dances)

Grade 6 Piano Anthology

Release 7th November 2022

Catalogue No. 98-EP73676 ISMN 979-0-57702-317-5

List A

Kuhlau, Friedrich

Allegro (1st movt from Sonatina in C, Op. 20 No.1) Bach, C.P.E Solfeggietto in C minor, Wq.117/2 Bach, Johann Sebastian Invention No. 6 in E, BWV 777 Burgmüller, Friedrich Velocity, Op.109 No.10 Haydn, Joseph Finale: Allegro molto (4th movt from Sonata in G, Hob. XVI:6)

List B

Dett, Robert Nathaniel Honey (Humoresque) (3rd movt from In The Bottoms) Granados, Enrique Vals poético (No. 6 from Valses poéticos) Mendelssohn, Felix Venetianisches Gondellied (No. 6 from Lieder ohne Worte, Op.19b) Khachaturian, Aram Legend (No. 6 from Pictures of Childhood) Schumann, Robert Einsame Blumen (No. 3 from Waldszenen, Op. 82)

List C

Casella, Alfredo

Galop Final (No.11 from 11 Children’s Pieces, Op. 35) Crosland, Ben View from a Window (No.12 from Cool Beans!, Vol. 1) Harvey, Paul Rumba Toccata

Iles, Nikki East Coast Blues Okoye, Nkeiru Dancing Barefoot in the Rain (from African Sketches)

Own choice

El-Dabh, Halim Sayera (from Mekta’ in the Art of Kita Book 3) Hersch, Fred Valentine Beamish, Sally Chorale (from Voices in Silence)

Graded Piano Anthologies

Grade 7 Piano Anthology

Release 7th November 2022

Catalogue No. 98-EP73677 ISMN 979-0-57702-318-2

List A

Exam

Allegro di molto (1st movt from Sonata in F minor, Wq. 63/6) Haydn, Joseph Moderato (1st movt from Sonata in E, Hob. XVI:31)

Bach, C. P. E.

Kuhlau, Friedrich Allegro con spirito (1st movt from Sonatina in A, Op. 60 No. 2) Beethoven, Ludwig van Menuetto and Trio (3rd movt from Sonata in D, Op.10 No. 3) Händel, Georg Friedrich Allemande and Courante (2nd and 3rd movts from Suite in D minor, HWV 437)

List B

Hensel, Fanny

Mélodie, Op. 4 No. 2 Liszt, Franz Consolation No. 5 in E (from Consolations, S.172) Schumann, Robert Kind im Einschlummern (No.12 from Kinderscenen, Op.15) Debussy, Claude The Little Shepherd (No. 5 from Children’s Corner) Russell, Oswald Jamaican Dance No. 2 (from Three Jamaican Dances)

List C

Bartók, Béla

Bagpipers: Allegretto (1st movt from Sonatina) Mulsant, Florentine Prélude No.14 (from 24 Préludes pour piano, Op. 38) Grieg, Edvard Butterfly (No.1 from Lyric Pieces, Book 3, Op. 43) Piazzolla, Astor Milonga del ángel Uzoigwe, Joshua Nigerian Dance No.1 (from Four Nigerian Dances)

Own choice

Beach, Amy

Scottish Legend Op. 54 No. 1 Peter-Horas, Thomas Sarah Beamish, Sally Lullaby for Owain

Grade 8 Piano Anthology Release 7th November 2022

Catalogue No. 98-EP73678 ISMN 979-0-57702-319-9

Contents:

List A

Bach, Johann Sebastian Prelude and Fugue in G, BWV 884 Beethoven, Ludwig van Allegro (1st movt from Sonata in E, Op.14 No.1) Händel, Georg Friedrich Prelude and Allegro (Fuga) (1st and 2nd movts from Suite No. 8 in F minor, HWV 433) Martínez, Marianne Allegro/Moderato (1st movt from Sonata in A) Mozart, Wolfgang Amadeus Andante grazioso and Vars. 1–6 (1st movt from Sonata in A, K. 331) Rameau, Jean-Philippe Les cyclopes (from Pièces de clavecin) Scarlatti, Domenico Sonata in D, Kp. 443, L. 418

List B

Arensky, Anton Nocturne in D flat (No. 3 from 24 Characteristic Pieces, Op. 36) Chopin, Frédéric Mazurka in A minor, Op.17 No. 4 Janáček, Leoš Andante (No.1 from In the Mists) Rachmaninoff, Sergei Moment musical in D-, Op.16 No. 5 Schubert , Franz Impromptu in A flat (No. 2 from Four Impromptus, Op.142, D. 935)

Schumann, Robert Romanze in F sharp (No. 2 from Drei Romanzen, Op. 28) Beach, Amy A Hermit Thrush at Morn, Op. 92 No. 2

List C

Chaminade, Cécile Pierrette (Air de Ballet), Op. 41 Debussy, Claude Rêverie

Khachaturian, Aram Toccata

McDowall, Cecilia Vespers in Venice (from Four Piano Solos) Villa-Lobos, Heitor O polichinelo (from A prole do bebê no.1) Bartók, Béla Dance in Bulgarian Rhythm No. 6 (No.153 from Mikrokosmos)

Own choice

Montgeroult, Hélène

Piano Sonata Op. 5 No. 2 third movement Blake, Eubie arr. Bolcom Capricious Harlem Wallen, Errollyn Louis Loops

Bingham, Judith The Moon Over Westminster Cathedral

essentials Resources for ABRSM and other examinations

Roskell, Penelope

• The Complete Pianist

From healthy technique to natural artistry........................98-EP73024

“

An Encyclopaedic masterpiece of pianistic wisdom

” Piano Magazine

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, performing and groundbreaking research into healthy piano playing.

Winner - Presto Music Award Best New Publication 2020

“Without question, Penelope Roskell’s The Complete Pianist is the most mon umental 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

“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

“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.”

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.

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 comprehen sive 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 prac tice 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

Solo Piano by Composer

Bach, Carl Philipp Emanuel (1714–1788)

• Solfeggio 98-EP11635

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.

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

Beethoven, Ludwig van (1770–1827)

•

Musical

Souvenirs for Piano 98-EP11634

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. Noe lFisher); 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 the Symphony 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.

Bach, Johann Sebastian et al. (1685–1750)

•

• Bibliophile edition

Beethoven

1950's

of

The book also tells the fascinating story of the connection between Edition Peters and the most famous portrait of

by Joseph Karl Stieler.

Walter Hinrichsen and staff of C.F. Peters Corporation, in downtown

New York, discussing the original world famous Stieler portrait

Beethoven, hanging in their office. The portrait now proudly hangs in the Beethoven Haus in Bonn.

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.

• 3 Nouvelles Etudes (Howat)............................98-EP73229

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

• Nocturne Op. 9 No. 2

(Rink/Grabowski)..........................................................98-EP73577a

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.

Couperin, François (1668–1733)

• Les Baricades Mistérieuses (Les Barricades Mystérieuses) 98-EP11636 (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.

Crumb, George (1929–2022)

• Metamorphoses (Book II)

98-EP68729

Ten Fantasy-Pieces (After Celebrated Paintings) for Amplified Piano

Each movement of George Crumb’s final keyboard work was inspired by one of the composer’s favorite works of visual art. His efforts to render these paintings in sound him to reach once more beyond the conventional resources of the instrument: the insides of the piano are amplified, plucked, struck, and “prepared” with foreign objects, while the pianist speaks, whispers, plays percussion, and more

Kawashima, Motoharu (*1972)

• Hama-Con-Plex 98-EP73582

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.

Hamelin, Marc-André (*1961)

• Cadenzas for the Beethoven Piano Concerti 98-EP68751

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.

• Cadenzas for the Haydn Piano Concerti in F major and G major 98-EP68752

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.

Liszt, Franz (1811–1886)

New Critical Edition by Leslie Howard

• Années de pèlerinage: Deuxième Année (Italie & Venezia e Napoli) 98-EP72783

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.

Troisième Année – Italie (S163); Trois Odes funèbres (S516, S516a, S517) 98-EP72784

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.

Solo Piano Albums

• Christmas Carols for Easy Piano: Bring some festive cheer to your piano-playing with this collection of 20 favourite carols and holiday 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

USA Edition

98-EP68720

Pachelbel, Johann (1653–1706)

• Canon in D 98-EP68704

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.

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

• Purcell and his Contemporaries 98-EP72621

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

• Grade 8 Piano Anthology for 2021/2022 98-EP73547

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.

Solo

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)

Organ by composer

Beamish, Sally (*1956)

• October Serenade 98-EP73260

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 98-EP73377

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.

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 98-EP14331

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.

“A stroke of publishing genius … The strengths of this publication cannot be overstated”

Violin & Piano

Beamish, Sally (*1956)

• Dream-child

All in the Golden Afternoon 98-EP73058

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.

Lewis, George (*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.

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

Viola & Piano

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, she was the first American composer to achieve success without the benefit of European study.

• Viola Sonata in A minor

Originally for Violin and Piano

98-EP66847

• The Mangle of Practice

for Violin & Piano

98-EP68679

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.

Violoncello Orchestral Excerpts

Strauss, Richard (1864–1949)

• Orchestral Excerpts from the Symphonic Works: Cello Solo from “Don Quixote” 98-EP4189f

Solo Violoncello by composer

Howard, Emily (*1979)

• Voluntary 98-EP73632 for Solo Cello

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.

McNeff, Stephen (*1951)

• Trig 98-EP73571

A 7-minute contemporary work for solo cello, written to celebrate the bicentennial of the Royal Academy of Music in 2022 and in memory of cellist Mike Edwards 1948–2010.

Violoncello & Piano

Dove, Jonathan (*1959)

• Night Song 98-EP73633

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.

Schumann, Robert (1810–1856)

• Cello Concerto in A minor Op. 129 98-EP73488

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.

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.’

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.

Wallen, Errollyn (*1958)

• Dervish 98-EP7682 ‘renaissance woman of contemporary British music’ (The Observer)

Electric Cello

Bollon, Fabrice (*1965)

• 4 Rock Hommages 98-EP14558 for Electric Cello

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.

Solo Guitar

Cage, John (1912–1992)

• Piano Music

(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

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.

Oboe & Piano

Dove, Jonathan (*1959)

• Music for a Lovelorn Lenanshee 98-EP7638a 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.

Goldmann, Friedrich (1941–2009)

• Konzert 98-EP5538a 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.

Solo Clarinet

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 Orchestral Excerpts

Strauss, Richard (1864–1949)

• Orchestral Excerpts from the Symphonic Works: Clarinet 98-EP 4190ab

• Cadenza 98-EP 4549 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.

Clarinet & Piano

Dove, Jonathan (*1959)

• Music for a Lovelorn Lenanshee 98-EP7638b 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. This edition comprises the piano score and clarinet part (EP 7638b). The version with oboe (EP 7638a) is available for sale, too.

Howard, Emily (*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, Bamberger Symphoniker, and New Scientist Live.

• Cloud Chamber 98-EP73319 Clarinet & Piano

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.

Bass Clarinet

Franke, Bernd (*1959)

• AGNI 98-EP14437a Solo Bass Clarinet

AGNI is the Hindu god of fire; the elemental and transformative force inherent in everything.

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

Gander, Bernhard (*1969)

• morbidable 98-EP14128 for Contrabass Clarinet

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.

The premiere took place on 5 November 2014 in Buenos Aires with Theo Nabicht.

Bassoon Orchestral Excerpts

•Strauss, Richard (1864–1949)

• Orchestral Excerpts from the Symphonic Works: Bassoon 98-EP4190i

French Horn Orchestral Excerpts

Strauss, Richard (1864–1949)

• Till Eulenspiegel Op. 28.............................. 98-EP8836 Freely Based on Richard Strauss by Terwillige

Solo Horn

Hellawell, Piers (*1956)

• Copicornua 98-EP73575

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.

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.

Trumpet & Piano

Beamish, Sally (*1956)

• Juno for Trumpet in C and Organ 98-EP72827

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.

• After Lindisfarne

Three Miniatures for solo horn

98-EP73553

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

Panufnik,

Roxanna (*1968)

• Sonnets without Words 98-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.

• Trompeten, Nachts und Untergang 98-EP14530 (Trumpets, Night and Downfall) for Trumpet in C and Choir (SSAATTBB)

Trumpet Part 98-EP14530a Vocal Score 98-EP14530

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.

Percussion

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.

Edition Peters Band Series

The Edition Peters Band Series offers an exciting new range of repertoire for symphonic bands and brass 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. It also celebrates some of the most distinctive and exciting composers working today, such as Shawn Okpebholo’s original work for concert band: Heritage (2022). With this unique and distinctive catalogue, all bands are sure to find these powerful and effective works welcome additions to their repertoire.

“I’m so happy that Heritage is published and available as part of this new international concert band series with Edition Peters USA. Thanks to this important series, Heritage - a celebration and fusion of my Nigerian and American roots – is now reaching a global audience!”

Shawn Okpebholo.

• Void II

98-EP14543 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

“At long last, some of my best-known works are now available for concert and brass band: these arrangements are superb, and capture the voicings and atmosphere of my music perfectly.”

Eriks Esenvalds.

“ We are looking forward to introducing this music to a new and wider audience with an expanding and diverse library of works. Together we want to build a catalogue of concert band music that is second to none.”

Phillip Littlemore

All works listed below are available for sale, with sets containing a full score and set of performance material, including world parts.

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..........................................................................98-EP68709 Full Score & Parts......................................................98-0300761678

• 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..........................................................................98-EP68710

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..........................................................................98-EP68711

Full Score & Parts......................................................98-0300761716

• 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.

Full Score..........................................................................98-EP68712

Full Score & Parts.......................................................98-0300761732

• 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..........................................................................98-EP68713

Full Score & Parts.......................................................98-0300761759

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).

• 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..........................................................................98-EP68714

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........................................................................98-EP68748

Full Score & Parts.........................................................98-EP68748A

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.

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..........................................................................98-EP68707

Full Score & Parts.....................................................98-0300761635

• 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..........................................................................98-EP68708

Full Score & Parts.......................................................98-0300761651

• 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.........................................................................98-EP68777

Full Score & Parts............................................................98-EP68777a

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.

Full Score.........................................................................98-EP68779

Full Score & Parts...........................................................98-EP68779a

•

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.........................................................................98-EP68778

Full Score & Parts............................................................98-EP68778a

Choral Works (Classic Oratorios & Cantatas)

Durante, Francesco (1684–1755)

• Requiem (Messa de' morti) in C minor (Lat.) (Darlington) Soprano, Alto, Choir and Orchestra

First Edition

Vocal Score 98-EP73044a

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.

Mendelssohn, Felix (1809–1847)

• Elijah /Elias (Eng.) (Burmeister) 98-EP11346

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.

New English edition of the vocal score using the original English words by William Bartholomew.

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

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.

Despite its widespread popularity, indicated by the number of manuscript copies to be found across Europe, his Requiem never appeared in print.

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.

• Ukranian Love Songs Op. 5 98-EP11507 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

Contemporary Choral

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.

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).

• The Lost Words

High Voices and Piano (or Orchestra)

98-EP73416a

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.

• Can you hear me? 98-EP73617

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.

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.

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.

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.

Burton, Ken (*1970)

• Descend to Earth (Eng.)................................................98-EP73558

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

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.

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.

• Questions(If I were rain) 98-EP14471 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).

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.

• A Prayer (Eng.)..................................................................98-EP73580

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 in rhythmic but homophonic blocks.

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.

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 98-EP14530 (Trumpets, Night and Downfall) for Trumpet in C and Choir (SSAATTBB)

Trumpet Part 98-EP14530a Vocal Score....................................................................98-EP14530

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.

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.

• Deep River

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.

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.

• And a Little Child Shall Lead Them 98-EP73610 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.)........................................................98-EP73566

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.

Composed for senior school choir but would suit church choirs around the world.

• Ave Verum Corpus Re-imagined (Lat.)...........................98-EP73570 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 98-EP73585 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’

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 98-EP73568

Soprano Saxophone & Percussion 98-EP73568a

• Love bade me welcome 98-EP73569

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"

• Now winter nights 98-EP73559

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.

• Queen Elizabeth's Winchester Carol 98-EP73565

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.

• O Rex Gentium (Lat.).......................................................98-EP73608

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’.

• O Saviour of the world 98-EP73564

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.

VOCES8 Singles American Songbook arrangements

• Cheek to Cheek 98-EP73621

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.

• Pyramid Song 98-EP73614

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

SSATTBB

Music & Words: Paul Simon Arr. Alexander L'Estrange

98-EP73622

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.

Christmas with VOCES8

• A Nightingale Sang in Berkeley Square 98-EP73620

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 Singles

Pop arrangements

• Homeward Bound 98-EP73619

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’.

• O Tannenbaum (Ger.)........................................ 98-EP72774 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.

VOCES8 Singles

Recent Commissions

Burton, Ken (*1970)

• Descend to Earth (Eng.)....................................................98-EP73558 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.

Davis, Taylor Scott (*1987)

• Solstice 98-EP68724 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.

Dunphy, Melissa (*1980)

• Halcyon Days 98-EP68722

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.

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

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>

Hagen,

Jocelyn (*1980)

• Mother’s Song 98-EP68723

SSAATTBB Choir

Jocelyn Hagen is one of the best-loved choral composers working in the USA today.

• Informative introductions to each piece

• Transliterated Yiddish lyrics, with poetic translations into English and German alongside the original Hebrew text

• Dzhankoye 98-EP11649

SATB Choir & Piano

Arranged by Juan M.V. Garcia

Accessible jazzy arrangement (duration: 2 minutes) of the Yiddish folk song with (and also without) piano accompaniment.

By the well-known jazz musician Juan M.V. Garcia, professor for choral and ensemble conducting at the 'Franz Liszt' Academy in Weimar

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.

Smith, Paul (*1981)

• Let’s Walk Together 98-EP73560

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.

Williams, Roderick (*1965)

• Now winter nights 98-EP73559

SSAATTBB Choir

• Rozhinkes mit mandlen 98-EP11648

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.

• Ver hot aza yingele 98-EP11652

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

• Veyn nisht (after Kleyner yosem)

SATB Choir & Piano

Bernd Franke

98-EP11650

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) 98-EP11653 2 Solo Voices, SATB Choir & Piano

Arranged by Fredo Jung

Imaginative arrangement (duration 5 minutes) of the humorous Yiddish folk song for 2 solos, SATB and piano.

By the lecturer, conductor, composer and arranger Fredo Jung

• Kein schöner Lied 98-EP11611

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.

Mostly easy to intermediate arrangements, suitable for amateur choirs

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);

Solo Voice by Composer

Bingham, Judith (*1952)

• I Wear the Chain I Forg'd in Life 98-EP73594 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.

Dove, Jonathan (*1959)

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.

• Dawn, Still Darkness (Refugee’s Aria from Flight) 98-EP73578 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.

Fauré, Gabriel (1845–1924)

• 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. 4 High......................................................................98-EP11394a

Vol. 4 Medium.................................................................98-EP11394b

This fourth and final volume in the Fauré Complete Songs series brings together his last four cycles: La Chanson d’Ève; Le Jardin clos; Mirages; and L’Horizon chimérique. This represents the major part of Fauré's vocal output between 1906 and 1921. Published together for the first time, these late masterpieces form the bedrock of the twentieth-century French song cycle.

This is the first published edition to make the four cycles available to higher voices.

Also available:

Complete Songs Vol. 1: 1861–1882 (high voice EP11391a; medium voice EP11391b)

Complete Songs Vol. 2: 1884–1919 (high voice EP11392a; medium voice EP11392b)

Complete Songs Vol. 3: The Complete Verlaine Settings (high voice EP11393a; medium voice EP11393b)

45 Vocalises for Voice and Piano (EP11385)

Howard, Emily (*1979)

• Wild Clematis in Winter 98-EP73323 Mezzo-Soprano & Piano Mackay,

Sky (*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 98-EP68658

Soprano & Piano

•

Okpebholo, Shawn (*1981)

• Two Black Churches (Eng.)

98-EP68801

This diptych for voice and piano commemorates the Black lives lost to two racist attacks in recent American history: the 16th Street Baptist Church bombing in Birmingham, Alabama, in 1963, and the 2015 shooting at the Mother Emanuel AME Church in Charleston, South Carolina. “Ballad of Birmingham” (text by Dudley Randall) takes the point of view of a child killed in the Birmingham bombing, and that of her mother; “The Rain” sets a text written for this piece by South Carolina’s first poet laureate, Marcus Amaker, in memory of the victims of the Charleston massacre.

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.

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.

• Songs and Ballads Op. 3 98-EP 11456

• Songs and Ballads Op. 4 98-EP 11457

Sorey, Tyshawn (*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.

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.

The

Mouth 98-EP14535

for Soprano Solo and Electronics

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.

• Save the Boys

for Countertenor and Piano

98-EP68786

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.