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6 Sonatas In Canon Form

Georg Philipp Telemann's 6 Sonatas In Canon Form written for Violin duet.

Form IV: Broken Sequences

The Magic Flute/Die Zauberflöte

The Magic Flute, K. 620, is an opera in two acts by Wolfgang Amadeus Mozart to a German libretto by Emanuel Schikaneder. The work is in the form of a Singspiel, a popular form that included bothsinging and spoken dialogue. Arranged for Piano and Voice.

Goldberg Variations BWV 988

Goldberg Variations is a work originally written for Harpsichord by Johann Sebastian Bach. First published in 1741, the work is considered to be one of the most important examplesof variation form. The Variations are named after Johann Gottlieb Goldberg, who may have been the first performer.

Sonatine For Piano

Maurice Ravel’s Sonatine for Piano Solo, composed in 1905, has a classical form in the style of Haydn, blended with modern harmonisation. It is very different from the impressionist style of Debussy and ischaracterised by a delightful spontaneity. The first movement has a feeling of nostalgic freshness, bright and clear. The second movement harks to late 18th-century elegance and structured form. The third movement has a virileenergy pulsing through several sequential patterns to plaintive charm and brings a return of the initial theme. This contrast of vitality and tenderness is finished with a sparkling climax. This Urtext EditionofRavel's Sonatine For Piano Solo has been reproduced from original manuscripts and accurate transcriptions to be as close to the composer’s intentions as possible and also contains detailed background notes as well as afull critical commentary for this edition.

Suite Bergamasque

This suite is indeed a precious blend of innovation and tradition; in its harmonies, which bow in passing to ecclesiastical modes, in its refined and elegant melodies, its style and ornamentation, its keyboard aptness, its baroqueart of chiaroscuro, its precision of contours and clarity of form - all enhanced by a boldness of colours born of the intervening centuries. For solo Piano.

Fantasiestucke Op.73

These Fantasiestucke or Fantasy Pieces - a title denoting short and expressive pieces without a specified form - were originally written for clarinet and piano; Schumann himself later made arrangements of thiswork for cello and for violin. The piano and clarinet parts are notated in the score of this edition; however the solo, alternative, cello part is also included on a separate insert.

Anthology Of Selected Pieces - Flute/Piano

Faure’s two original pieces for flute and piano – the Fantaisie Op.79 and the Morceau de Lecture – Sarabande - appear here in Urtext form, beside arrangements of other pieces that eitherfeature famous orchestral flute solos or happen to suit the flute especially well. This is a highly comprehensive edition of these pieces, which have been edited and arranged by Roy Howat, and includes detailed commentaries withthorough editorial markings and suggestions.The solo flute part is also included on a separate insert.

Nocturnes

John Field is credited as the true 'inventor' of the Nocturne. After experimenting with other names such as Pastorale, Serenade, and Romance, he settled on “Nocturne” when his first one was published in 1812. Field’s Nocturnes follow no known form, nor do they develop a given theme. Instead, they set up a mood and atmosphere of tenderness and dreaminess combined with a continuous flow of beautiful melody that appealsdirectly to the listener's willingness to share an emotion, mostly of consoled sadness. It was Field's Nocturnes that greatly influenced Chopin, who absorbed the emotional characteristics of the Nocturne style and used themtocreate his own unique expressive compositions.

War (from A New World) : VOCES8 singles series

A dramatic fourth movement with SATB choir, piano and timpani depicting the horrors of war with text by Wilfred Owen A New World is a musical story across five movements with texts by authors from Cicero and Ovid to George William Russel; from nursery rhymes to war poets. The music and texts link to form a narrative that questions what sort of ‘New Worlds’ have come into existence, or could be created in our future, and considers how we balance human traits of fear, displacement, isolation and conflict with equally human traits of love, hope, forgiveness and unity. The internationally-renowned British vocal ensemble VOCES8 is proud to inspire people through music andshare the joy of singing. The celebration of diverse musical expression is central to the ensemble’s ethos, and this is shown in their versatile concert programmes and innovative educational work. The ‘VOCES8 singles’ series includes songs for which the group is particularly well known and which have been composed or arranged specifically for VOCES8.

On History (from A New World) : VOCES8 singles series

An opening movement for SATB choir, piano and timpani (with solos for soprano, tenor and alto). A calm opening leads to a dramatic conclusion with text by Cicero and Ovid in praise and recognition of their homeland. A New World is a musical story across five movements with texts by authors from Cicero and Ovid to George William Russel; from nursery rhymes to war poets. The music and texts link to form a narrative that questions what sort of ‘New Worlds’ have come into existence, or could be created in our future, and considers how we balance human traits of fear, displacement, isolation and conflict with equally human traits of love, hope, forgiveness and unity. Theinternationally-renowned British vocal ensemble VOCES8 is proud to inspire people through music and share the joy of singing. The celebration of diverse musical expression is central to the ensemble’s ethos, and this is shown in their versatile concert programmes and innovative educational work. The ‘VOCES8 singles’ series includes songs for which the group is particularly well known and which have been composed or arranged specifically for VOCES8.

Lullaby (from A New World) : VOCES8 singles series

A lullaby for choir and children’s choir (or sopranos) setting an ancient nursery rhyme that explores the idea of the journey through life. A New World is a musical story across five movements with texts by authors from Cicero and Ovid to George William Russel; from nursery rhymes to war poets. The music and texts link to form a narrative that questions what sort of ‘New Worlds’ have come into existence, or could be created in our future, and considers how we balance human traits of fear, displacement, isolation and conflict with equally human traits of love, hope, forgiveness and unity. The internationally-renowned British vocal ensemble VOCES8 is proud to inspire peoplethrough music and share the joy of singing. The celebration of diverse musical expression is central to the ensemble’s ethos, and this is shown in their versatile concert programmes and innovative educational work. The ‘VOCES8 singles’ series includes songs for which the group is particularly well known and which have been composed or arranged specifically for VOCES8.

Love (from A New World) : VOCES8 singles series

A beautiful and flowing work for SATB choir, SATB solo quartet and piano, with textures that celebrate love, cherishing our place among the stars. A New World is a musical story across five movements with texts by authors from Cicero and Ovid to George William Russel; from nursery rhymes to war poets. The music and texts link to form a narrative that questions what sort of ‘New Worlds’ have come into existence, or could be created in our future, and considers how we balance human traits of fear, displacement, isolation and conflict with equally human traits of love, hope, forgiveness and unity. The internationally-renowned British vocal ensemble VOCES8 is proud to inspirepeople through music and share the joy of singing. The celebration of diverse musical expression is central to the ensemble’s ethos, and this is shown in their versatile concert programmes and innovative educational work. The ‘VOCES8 singles’ series includes songs for which the group is particularly well known and which have been composed or arranged specifically for VOCES8.

The Dream (from A New World) : VOCES8 singles series

A standalone work for SATB choir and SATB solo quartet, painting a picture of the different characters of a dream. This movement is both comforting and confusing, and is inspired by the Palestinian poet Mahmoud Darwish. A New World is a musical story across five movements with texts by authors from Cicero and Ovid to George William Russel; from nursery rhymes to war poets. The music and texts link to form a narrative that questions what sort of ‘New Worlds’ have come into existence, or could be created in our future, and considers how we balance human traits of fear, displacement, isolation and conflict with equally human traits of love, hope, forgiveness and unity. Theinternationally-renowned British vocal ensemble VOCES8 is proud to inspire people through music and share the joy of singing. The celebration of diverse musical expression is central to the ensemble’s ethos, and this is shown in their versatile concert programmes and innovative educational work. The ‘VOCES8 singles’ series includes songs for which the group is particularly well known and which have been composed or arranged specifically for VOCES8.

Canon D

While Pachelbel has been most admired as a composer of organ works and Lutheran church music, his Canon in D has long been one of his most celebrated compositions. It combines two time-honored compositional devices. The firstof these is of course the canon, a procedure whereby a melody in one part is strictly imitated by one or more other parts; a round (such as, for example, Frère Jacques) is a type of canon. The second device involves a shortbass line (refeered to as a ground bass) that is repeated constandly, over which the composer writes continuous variations. In its original form, the work consists of an initial statement of an eight note ground bass, followedby27 variations in strict canonic style for three violins above that bass. In addition to these four essential parts, an appropriate harmonic background would have been improvised on harpsichord, lute or organ. In thepresent arrangement, Pachelbel's note values have been doubled for greater ease of reading, and the work's canonic structure has been somewhat modified in order to make it more readily playable by violinists and pianists at anintermediate level. Since dynamics, bowing indications, articulations, and slurs were not customarily provided by composer of the Baroque era, the arranger and the editor have added them here, as well as a metronome indication anda few cadential trills. Obviously these editorial additions should be regarded only as suggestions.

Concerto for Cello and Orchestra (Concertstück) : Original Version

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 Jagiello ska in Kraków. This Full Score matches the separately available edition for Cello and Piano (EP 73488). Matching orchestral material is also available from the publisher. Only modern Urtext edition based on Schumann’s original 1850 manuscript Many new corrections and clarifications, especially to the cello part Scholarly preface detailing history of the work and this edition by editor Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music London Cello Part contains Josephine Knight's fingering and bowing suggestions Critical Commentary Cello and piano edition available separately from Edition Peters: orchestral parts available for rental Recording of the Concertstück featuring Josephine Knight available from Dutton 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 Jagiello ska 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. ‘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.'

Concerto for Cello and Orchestra (Concertstück) : Original Version - Edition for Cello and Piano

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 Jagiello ska in Kraków. It is presented in a beautifully printed edition for cello with Schumann’s original piano reduction. Matching orchestral material is also available from the publisher. Only modern Urtext edition based on Schumann’s original 1850 manuscript Many new corrections and clarifications, especially to the cello part Scholarly preface detailing history of the work and this edition by editor Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music London Cello Part contains Josephine Knight's fingering and bowing suggestions Critical Commentary Matching orchestral material available separately from Edition Peters Recording of the Concertstück featuring Josephine Knight available from Dutton 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 Jagiello ska 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. Matching orchestral material is also available from the publisher. ‘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.’

My Song is Love Unknown

Francis Pott’s My song is love unknown sets all of Samuel Crossman’s famous verses but one (commonly omitted when the poem is sung metrically as a hymn). The music begins with offbeat repeatedchords prompted—not inappropriately—by the opening to Richard Strauss’s tone poem, Death and transfiguration. In its early stages only trebles and altos are heard. The sequential flow ofCrossman’s poem is soon disrupted with particular dramatic ends in mind. After a seemingly anxious harmonic distortion of the opening chords, the word ‘crucify’ arises initially as a mere mutter from thelowervoices, so timed as to afford assonance with other words in the upper parts and thus remain barely discernible, as if only imagined. In due course, however, cries of ‘Hosanna’ find themselves on a collision coursewith a rising tide of ‘Crucify’, during which the ‘Hosanna’ faction gradually loses heart and, sheep-like, defects until a single treble voice—plaintively daring to repeat the ‘offending’word—is swept aside by a murderous outcry. In due course ‘Crucify’ recurs as a further angry climax before the opening music returns, this time expanding into an extended polyphonic final section for double choirand SATB soloists. The principal climax of the work subsides into a form of epilogue, crowned sorrowfully by a treble soloist to whom the music in toto has by now presented many challenges. The anthem ends in the key and mood ofits opening. The character of its demanding organ part reflects the possibility that it may one day be orchestrated.   My song is love unknown was composed in memory of Michael Renton, a craftsmanand largely self-taught ‘Renaissance’ man who was not only a member of the Winchester cathedral congregation but also the cathedral’s stonemason. He was beloved of many in the Cathedral community; a true and

Songs of Darkness, Dreams of Light

When the BBC commissioned this work for the Last Night of the Proms 2018, I was given quite a detailed brief. First, the work should be for the BBC Singers and BBC Symphony Chorus (with the BBC Symphony Orchestra), and the two choirs should be quite independent of each other. Secondly, the words should acknowledge the centenary of the end of World War I, but look optimistically to the future. For the centenary I chose In the Underworld by World War I poet Isaac Rosenberg, written in 1914. Originally about unrequited love, it can read, if you do not know its context, as a prophetic look at the next four years, with the sense that the women left at home cannot begin tocomprehend the horrors their men face in the trenches. The BBC Singers represent Rosenberg and their music is based on a beautiful Ashkenazi-Jewish prayer mode – also known as the ‘Ukrainian Gypsy’ mode. While I was reading The Prophet by Kahlil Gibran (written in 1923), I came across these lines, which seem to answer and assuage the fears expressed in Rosenberg’s poem. The BBC Symphony Chorus take on the role of Gibran, singing in a beautiful, melismatic, Maronite Syriac chant, into which faith Gibran was born in Lebanon. Later in his life, he became very interested in Islam, particularly Sufism; therefore the whole piece is in the form of a Sufi Zikr, with Sufi devotional rhythms in the percussion, starting quiet and low, but slowly becoming higher, faster and louder. The two choirs start separately, but merge into a ‘conversation,’ sometimes overlapping, and ending on a positive note: Rosenberg’s Creature of light and happiness over Gibran’s We shall build a tower in the sky. Quite by accident, all three Abrahamic faiths are represented in this piece – but as Kahlil Gibran famously said: ‘You are my brother and I love you. I love you when you prostrate yourself in your mosque, and kneel in your church and pray in your synagogue. You and I are sons of one faith – the Spirit.'

Trois Nouvelles Etudes

The Complete Chopin A New Critical Edition from Edition Peters is firmly established as the most important ongoing scholarly edition of Chopin’s music and is a must for any discerning pianist. The world’s foremost Chopin editors, under Editor-in-chief John Rink, bring their unrivalled collective knowledge to imbue the project with unique authority, drawing upon the latest international scholarship. The Complete Chopin prioritizes the needs of the practical pianist and provides a beautifully presented performing text of each work based on a single principal source together with important variants, along with thorough critical commentaries and illuminating prefatory essays in English, French and German. 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 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. 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 The Complete Chopin is based on two key premises. First, there can be no definitive version of Chopin’s works: variants form an integral part of the music. Second, a permissive conflation of readings from several sources in effect producing a version of the music that never really existed should be avoided. Accordingly, the editors’ procedure is to identify a single principal source for each work and to prepare an edition of that source (which they regard as ‘best’, even if it cannot be definitive). At the same time, important variants from other authorized sources are reproduced either adjacent to or, in certain instances, within the main music text, in footnotes or in the Critical Commentary, thus enabling scholarly comparison and facilitating choice in performance. Multiple versions of whole works are presented when differences between the sources are so abundant or fundamental that they go beyond the category of ‘variant’.