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,...

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...

REPRINT SERIES  Grażyna Bacewicz’s Akropolis is a cantata for mixed (SATB) chorus and orchestra composed in 1964 to mark the 600th anniversary of the Jagiellonian University. Setting a text by Stanisław Wyspiański, it was premiered on 10 May...

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...

Luigi Dallapiccola’s Cinque Frammenti di Saffo (1942) is a song cycle for soprano and chamber orchestra setting Italian texts by Salvatore Quasimodo after five poems of Sappho. Though built on a twelve-tone row—his first work to foreground...

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...

REPRINT SERIES  Drawing on Norwegian folk tunes, the piece opens with a lyrical, modal passage that transitions into an Allegretto featuring virtuoso figuration—double-stops, rapid string crossings and expressive portamento. Lalo balances the...

Arthur Bliss’s Six Royal Fanfares were composed in 1960 for the wedding of H.R.H. Princess Margaret on May 6 at Westminster Abbey, capturing the ceremonial grandeur of the occasion through concise brass writing. Scored for three trumpets, three...

REPRINT SERIES  Kurt Weill’s “Tango Habanera” (often titled “Youkali”) originated in 1934 as an instrumental interlude for the stage play Marie Galante. The piece is cast as a true tango‑habanera, reflecting...

Arthur Bliss’s Pastoral: Lie Strewn the White Flocks, F.33, composed in 1928, is a choral-orchestral work lasting approximately 35 minutes. It is scored for SATB chorus, mezzo-soprano soloist, flute, timpani, and strings. The piece sets a sequence...

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...

Dallapiccola’s Sex Carmina Alcaei is a vocal work that applies his mature serial techniques to a careful setting of poetic texts. The composition uses a meticulously structured tone row to shape both its melodic and harmonic material, resulting in...

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...

Bruno Maderna’s Concerto per 2 pianoforti e strumenti is a mid-twentieth-century work composed for two pianos alongside a chamber ensemble of various instruments. The piece reflects Maderna’s interest in exploring new textures and forms,...