Manuel de Falla’s El sombrero de tres picos (The Three-Cornered Hat) is a Ballet in 2 Acts based on Pedro Antonio de Alarcón’s novella and commissioned by Sergei Diaghilev for the Ballets Russes. It was created in collaboration with...

REPRINT SERIES  George Enescu’s Two Intermèdes for string orchestra, Op. 12, were written in 1902–03 as short orchestral miniatures for strings and are usually performed together as a single item. The two pieces contrast in...

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...

Manuel de Falla’s El retablo de maese Pedro (Master Peter’s Puppet Show) is a one-act puppet-opera with prologue and epilogue, set to a Spanish libretto drawn from Cervantes’s Don Quixote. The score is compact—about 27...

REPRINT SERIES George Enescu’s Symphony No. 3 in C major, Op. 21, was composed between 1916 and 1918 and revised by the composer over subsequent decades; it was first performed under Enescu’s direction in Bucharest (often given the date 25...

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...