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  Ravel’s setting of Clément Marot’s poem “D’Anne jouant de l’espinette” dates from 1896 as the second of his Deux épigrammes de Clément Marot (M.10), originally for voice and...

Luigi Dallapiccola’s Sicut Umbra (“Like a Shadow”) is a twelve-tone cantata for mezzo‑soprano and twelve instruments, set to poems by Juan Ramón Jiménez and composed in 1970. It unfolds as a single continuous span of...

REPRINT SERIES Henri Tomasi’s Procession Nocturne (1942) is a seven‐minute, thirty‐second cantata for solo soprano, mixed chorus, brass ensemble, and percussion.  Its title and scoring evoke a solemn nocturnal ritual, with the...

Darius Milhaud’s Les Cloches, Op. 259 (“The Bells”), dates from 1946 and is a six‑movement symphonic suite adapted from his lost ballet after Edgar Allan Poe’s poem. The movements—Ouverture: Animé; Cloches...

REPRINT SERIES  Francesca da Rimini, Op. 25, is a “symphonic opera” in a prologue, two tableaux and an epilogue by Sergei Rachmaninoff to a Russian libretto by Modest Ilyich Tchaikovsky, based on the episode in Dante’s Inferno...

Heitor Villa‑Lobos’s Vidapura (Missa Oratório), W155, was composed in 1919 as an expanded, orchestral version of his earlier organ‐accompanied Missa Oratória (W154) and premiered in November 1922 in Rio de Janeiro. Structured in...

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...

REPRINT SERIES  Richard Strauss’s Sonatine No. 2 in E♭ major, TrV 291, subtitled Fröhliche Werkstatt (“Cheerful Workshop”), was composed in 1944–45 in Garmisch and first performed in March 1946 by Hermann Scherchen...

Jacques Ibert’s Suite Élisabéthaine, composed in 1942 as incidental music for Le Songe d’une nuit d’été (Shakespeare’s A Midsummer Night’s Dream), was published in 1945 and is structured in nine...

REPRINT SERIES  Richard Strauss’s Sonatina No. 1 in F major “From an Invalid’s Workshop”, TrV 288 (Op. 135), was composed in 1943 as one of two wind-ensemble works from his late period. Stylistically, the work combines...

Arthur Honegger’s Blues (de Roses de métal), H. 66a is an orchestral transcription dating from around 1928, salvaged from his lost ballet Roses de métal (H. 66). Cast as a standalone concert piece, it preserves the original’s...

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,...

Richard Strauss’s Don Juan, Op. 20 is a tone poem composed in 1888—when the composer was just 24—and first performed by Strauss himself in Weimar on 11 November 1889. Inspired by Nikolaus Lenau’s verse drama Don Juans Ende, the...

REPRINT SERIES  Alan Rawsthorne’s Symphony No. 3 was composed in 1964 on commission from the Cheltenham Festival Committee and premiered that year by the BBC Northern Orchestra under George Hurst in Cheltenham.  Lasting approximately 31...

Luigi Dallapiccola’s An Mathilde (1955) is a cantata for soprano and orchestra setting five German poems by Heinrich Heine drawn from Romanzero and Letzte Gedichte. Lasting about 15 minutes, the work unfolds as a continuous sequence of...