REPRINT SERIES  Jacob Gade’s Bryllup på Himmelpind (1940) is a rustic orchestral suite evoking childhood memories of village weddings near his birthplace; the work was originally in six movements but was revised and published in a...

Danza ritual del fuego (Ritual Fire Dance) is the best-known movement from Manuel de Falla’s ballet El amor brujo, originally composed as a gitanería (gypsy piece) around 1915 and later presented in orchestral versions associated with the...

REPRINT SERIES  Jacob Gade’s Suite d’Amour is a short orchestral suite in three connected movements—“The First Meeting,” “In Love,” and “Red Roses”—that together run about eleven minutes...

Ralph Vaughan Williams’s Flourish for Glorious John (1957) was written as a short ceremonial opener for Sir John Barbirolli to inaugurate the Hallé Orchestra’s centenary season; it is a compact fanfare-like orchestral piece lasting...

REPRINT SERIES  Arthur Honegger’s Prélude, Fugue et Postlude (H.71a) is an orchestral suite in three linked sections—Prélude, Fugue and Postlude—arranged in 1948 from material associated with his earlier Amphion...

REPRINT SERIES  Ralph Vaughan Williams’s Prelude and Fugue in C minor, IRV 65, occupies a unique place in his output as one of the few concert works directly modeled on Baroque forms. Originally conceived in 1921 as an organ study and later...

Bruno Maderna’s Music of Gaity (1969) is an orchestral suite drawn from Elizabethan keyboard pieces in the Fitzwilliam Virginal Book, arranged for solo oboe, solo violin, and chamber orchestra and it exemplifies Maderna’s skill in...

The Canzone a tre cori by Giovanni Gabrieli, originally composed in the early 17th century for three spatially separated choirs of instruments, was reimagined by Bruno Maderna in 1958. Maderna’s revision retains Gabrieli’s polychoral...

Gerald Finzi’s Two Milton Sonnets, Op. 12 (1926–28) sets John Milton’s Sonnet XIX (“When I consider how my light is spent”) and Sonnet XXX (“How soon hath Time”) for tenor (or soprano) with piano or small...

Igor Stravinsky’s Four Preludes and Fugues (1969) are his final compositions, arranging four pairs from J. S. Bach’s Well-Tempered Clavier for chamber orchestra (BWV 851 & 852, 864 & 865, 870 & 871, 881 & 882). Each...

REPRINT SERIES  Sergei Prokofiev’s Andante, Op. 29bis is his own orchestration of the slow movement from Piano Sonata No. 4 in C minor, Op. 29, completed in 1934. The arrangement was first heard on February 13, 1958, in Leningrad under...

André Jolivet’s Cosmogonie is a standalone Prelude for Orchestra composed in 1938, derived from his earlier piano piece. The orchestral version lasts approximately 8 minutes and was first performed by the Orchestre Symphonique de France...

REPRINT SERIES Stravinsky’s Chant du Rossignol is a concise orchestral work that captures the delicate and spontaneous quality of the nightingale’s song. The piece is marked by clear, transparent textures and a careful attention to timbre,...

Poulenc’s Deux préludes posthumes et une gnossienne FP 104 is an orchestral work in which he reimagined pieces originally composed by Erik Satie. The arrangement retains the characteristic understatement and subtle wit of Satie’s music...

Ralph Vaughan Williams’s Harnham Down is a lesser-known orchestral work that reflects his characteristic connection to the English countryside. The piece features a pastoral quality, drawing on elements of folk melody and simple harmonic language...

REPRINT SERIES Hugo Alfvén’s Midsommarvaka (Swedish Rhapsody No.1) is an orchestral work that draws on Swedish folk traditions and melodies. The piece captures the atmosphere of the Swedish midsummer celebration with its rhythmic vitality...

Stravinsky’s "Ode," is a short orchestral work composed in 1943 and subtitled “Elegiacal Chant in Three Parts.” This piece is dedicated to the memory of Natalie Koussevitzky and is structured in three movements—Eulogy, Eclogue,...

REPRINT SERIES Arthur Honegger’s Pacific 231 is a symphonic movement composed in 1923, inspired by the power and motion of a steam locomotive. Rather than merely imitating train sounds, Honegger structured the piece to evoke the sensation of...