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...

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...

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...

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...

REPRINT SERIES  Alan Rawsthorne’s Piano Concerto No. 2 in F♯ minor was composed in 1951 on commission from the Arts Council of Great Britain for the Festival of Britain and received its first performance on 17 June 1951 with Clifford Curzon...

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...

REPRINT SERIES Ralph Vaughan Williams’s Six Choral Songs (To Be Sung in Time of War) was composed in 1940 as a response to the turmoil of the Second World War. Scored for unison voices (often treble or mixed children’s chorus) and orchestra,...

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...

REPRINT SERIES  Ralph Vaughan Williams’s On Christmas Night is a one‐act masque co-created in 1926 with choreographer Adolph Bolm. Loosely drawing on Charles Dickens’s A Christmas Carol, it integrates singing, dancing and mime into a...

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...

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...

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...