Benjamin Britten’s Scottish Ballad, Op. 26, is a concertante work for two pianos and orchestra composed in 1941. Britten wrote it for the piano-duet team Ethel Bartlett and Rae Robertson, and the piece belongs to his wartime output of compact,...

REPRINT SERIES  Reinhold Glière’s Concerto for Horn and Orchestra, Op. 91, is a three-movement concerto in B-flat major for solo horn and orchestra. The concerto was completed in 1951 and written for the Russian horn player Valery...

Frank Martin’s Concerto for seven wind instruments, timpani, percussion and string orchestra, IFM 6, was composed in 1949 at the request of the Bernische Musikgesellschaft.  The work is cast in three movements — Allegro, Adagietto, and...

REPRINT SERIES Richard Strauss’s Enoch Arden, Op. 38, is a melodrama based on Alfred Tennyson’s poem, using Adolf Strodtmann’s German translation. In Strauss’s original form, it is written for narrator and piano and was...

Alban Berg’s Seven Early Songs (Sieben frühe Lieder) is a cycle for high voice and orchestra that Berg assembled and orchestrated in 1928 from songs he had originally composed between 1905 and 1908, while studying with Arnold Schoenberg. The...

Benjamin Britten’s War Requiem, Op. 66 (composed 1961–62), is a large-scale choral-orchestral work written for the consecration of the new Coventry Cathedral and intended as a musical act of remembrance and reconciliation. Britten interweaves...

“The Typewriter” is a novelty orchestral showpiece completed on 9 October 1950; Anderson scored it for full orchestra with a real typewriter used as a solo percussion instrument (three principal sounds: typing, the carriage return bell, and...

Grażyna Bacewicz’s Violin Concerto No. 2 (1945) is a three-movement work—I. Allegro ma non troppo (with substantial cadenza), II. Andante, III. Vivo—combining neoclassical clarity with propulsive rhythmic drive. The concerto was written...

Benjamin Britten’s Symphony for Cello and Orchestra, Op. 68, was composed in 1963 and dedicated to Mstislav Rostropovich, who gave the premiere with Britten conducting the Moscow Philharmonic on 12 March 1964. The work’s title reflects...

Benjamin Britten’s Violin Concerto Op.15, was composed in 1938–39 and premiered in New York in March 1940 with Antonio Brosa as soloist and Sir John Barbirolli conducting. the concerto balances incisive, often percussive orchestral...

REPRINT SERIES Heitor Villa-Lobos’s Suite for Piano and Orchestra, Op. 30 (1913), is an early orchestral showpiece that transforms a set of piano character pieces into a three-movement suite for piano solo with orchestral accompaniment. The three...

El Corregidor y la Molinera is a pantomime‑ballet in two tableaux composed by Manuel de Falla between 1916 and 1917 to a scenario by Gregorio Martínez Sierra after Pedro Antonio de Alarcón’s novella. The work combines spoken mime,...

REPRINT SERIES  Richard Strauss’s Duet‑Concertino for Clarinet, Bassoon, Strings, and Harp, TrV 293, was completed on 16 December 1947 in Montreux and represents one of his final purely instrumental works. Scored for solo clarinet and...

Arthur Bliss’s The Women of Yueh, F.166, is a five‑song cycle composed in 1923–24 and first published in 1924, setting Chinese texts by Li Po (translated by Shigeyoshi Obata). Lasting about 7½ minutes, the work unfolds without breaks,...

Mario Castelnuovo-Tedesco’s Capriccio Diabolico, Op. 85a (1945) is the composer's own arrangement for guitar and orchestra of his 1935 solo-guitar piece “Capriccio Diabolico (Omaggio a Paganini).” Dedicated to Andrés Segovia, the...

REPRINT SERIES  Grażyna Bacewicz’s Cello Concerto No. 2 in G minor was completed in 1963 and premièred at the Warsaw Autumn Festival on 29 September 1963, with Gaspar Cassadó as soloist and the Polish Radio National Orchestra...

Atterberg’s Horn Concerto in A minor, Op. 28, was composed in 1926 for the virtuoso Axel Malm and premiered in 1927 by the Stockholm Philharmonic under Adolf Wiklund with Malm as soloist. The concerto unfolds in three movements—Allegro...

Stylistically, La Gitana captures a flamenco-tinged character through its sinuous, modal-inflected theme and rhythmic accents. The solo violin’s gypsy-style trills, double-stops, and portamenti sit atop transparent orchestral textures, balancing...