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Mirror, mirror on the wall

Ukrainian Love Songs Op. 5

Iwan Knorr’s Ukrainian Love Songs Op. 5 for four voices and piano have the same flexible choral or one-per-part scoring as the Liebeslieder Waltzes Op. 65 by Johannes Brahms, to which they compare also in terms of compositional quality. Inspired by the Ukrainian Cossack tradition, Knorr’s cycle of nine settings combines lyrically romantic vocal writing with spirited virtuoso piano accompaniments. The poems tell stories of impassioned love, heroic warriors and the anxious wait for their safe return. Iwan Knorr (1853–1916) was a composer and music teacher. Born in West Prussia, he grew up in Russia, Riga and Leipzig and studied at the Leipzig Conservatoire. While workingas a teacher in the Ukrainian city of Kharkiv, he established contact with Johannes Brahms, who became his mentor and advocate. Later, Knorr was a colleague of Clara Schumann on the staff of the Hoch Conservatoire in Frankfurt. Throughout his life, he sought to strengthen musical ties between the cultures of Central and Eastern Europe. •Suitable for choirs of any size or solo vocal quartet •First modern edition, based on the first print of 1890 •Preface by Jochen Stankewitz, a leading German choral director, teacher and workshop leader • Performance lyrics in German and English Iwan Knorr’s Ukrainian Love Songs Op. 5 for four voices and piano have the same flexible choral or one-per-part scoring as the Liebeslieder Waltzes Op. 65 by Johannes Brahms, to which they compare also in terms of compositional quality. Inspired by the Ukrainian Cossack tradition, Knorr’s cycle of nine settings combines lyrically romantic vocal writing with spirited virtuoso piano accompaniments. The poems tell stories of impassioned love, heroic warriors and the anxious wait for their safe return. Iwan Knorr (1853–1916) was a composer and music teacher. Born in West Prussia, he grew up in Russia, Riga and Leipzig and studied at the Leipzig Conservatoire. While workingas a teacher in the Ukrainian city of Kharkiv, he established contact with Johannes Brahms, who became his mentor and advocate. Later, Knorr was a colleague of Clara Schumann on the staff of the Hoch Conservatoire in Frankfurt. Throughout his life, he sought to strengthen musical ties between the cultures of Central and Eastern Europe. •Suitable for choirs of any size or solo vocal quartet •First modern edition, based on the first print of 1890 •Preface by Jochen Stankewitz, a leading German choral director, teacher and workshop leader • Performance lyrics in German and English

Requiem in C minor : Messa d'morti

The Requiem in C minor by Francesco Durante (1684–1755) is one of the most important works of this genre written in the first half of the 18th century. In his Messa de’ morti, Durante shows great creativity in combining traditional elements of church music with new ideas originating from instrumental writing and opera. The quality and originality of his Requiem make it an exciting rediscovery with the potential to establish itself as a core repertoire work of sacred choral music. Mainly known today as the teacher of Pergolesi and Paisiello, Durante spent much of his life working as music director at various conservatories in Naples and enjoyed great renown as achurch composer well into the 19th century. Despite its widespread popularity, indicated by the number of manuscript copies to be found across Europe, his Requiem never appeared in print. For this first publication, editor and leading British choral director Stephen Darlington has consulted many of the approximately 50 surviving sources of the work, presenting a critical edition which for the first time makes Durante’s Requiem available to a wider musical audience. •First publication •Urtext edition •Particularly suitable for smaller choirs and ensembles: soprano and alto solo, double choir (SSATB ATB) and strings (plus 2 horns in the Tuba mirum) •Full score and orchestral material also available (EP73044) The Requiem in C minor by Francesco Durante (1684–1755) is one of the most important works of this genre written in the first half of the 18th century. In his Messa de’ morti, Durante shows great creativity in combining traditional elements of church music with new ideas originating from instrumental writing and opera. The quality and originality of his Requiem make it an exciting rediscovery with the potential to establish itself as a core repertoire work of sacred choral music. Mainly known today as the teacher of Pergolesi and Paisiello, Durante spent much of his life working as music director at various conservatories in Naples and enjoyed great renown as achurch composer well into the 19th century. Despite its widespread popularity, indicated by the number of manuscript copies to be found across Europe, his Requiem never appeared in print. For this first publication, editor and leading British choral director Stephen Darlington has consulted many of the approximately 50 surviving sources of the work, presenting a critical edition which for the first time makes Durante’s Requiem available to a wider musical audience. •First publication •Urtext edition •Particularly suitable for smaller choirs and ensembles: soprano and alto solo, double choir (SSATB ATB) and strings (plus 2 horns in the Tuba mirum) •Full score and orchestral material also available (EP73044).

Art of French Song, Vol.1

Those interested in French music have often had reason to be grateful to Roger Nichols; his writings on Debussy, Ravel, Messiaen and Poulenc are indispensable to the music lover.Nichols now turns his attentions tothe mélodie, where it is his mission to encourage singers to explore beyond the well-trodden paths of French song. In these two anthologies he does not ignore masterpieces by composers of the stature of Fauré andDuparc, but sets them alongside music - almost impossible to find elsewhere in print - by such under-estimated figures as Reber, Viardot, Massé and Paladilhe.Even the more celebrated songs are often noteasilyfound in practical editions, which makes this selection an ideal starting point for wider exploration. In each of these volumes the songs appear in the chronological order of their composer's birth, but Nichols somehowcontrives a line-up of music which seems delightfully arbitrary at the same time as carefully designed to enrich everyone's understanding of the mélodie. The books also contain a remarkable amount of scholarship, lightlyworn and pithily expressed.As well as complete translations of the songs, there is a useful and concise introduction on singing in French, together with an illuminating historical note and critical commentary; andNichols gives full due to the poets who were of crucial importance in the development of the mélodie tradition.Complete with translations and guidance on pronunciationNiedermeyer LeLac (Meditation poétique)Berlioz AbsenceGounod Ô ma belle RebelleViardot Fleur desséchéeFranck S'il est un charmantgazonMassé ConsolationLalo Ballade à la luneSaint-Saëns La sérénitéDelibes Chanson espagnoleBizet

Art of French Song, Vol.2

Those interested in French music have often had reason to be grateful to Roger Nichols; his writings on Debussy, Ravel, Messiaen and Poulenc are indispensable to the music lover.Nichols now turns his attentions tothe mélodie, where it is his mission to encourage singers to explore beyond the well-trodden paths of French song. In these two anthologies he does not ignore masterpieces by composers of the stature of Fauré andDuparc, but sets them alongside music - almost impossible to find elsewhere in print - by such under-estimated figures as Reber, Viardot, Massé and Paladilhe.Even the more celebrated songs are often noteasilyfound in practical editions, which makes this selection an ideal starting point for wider exploration. In each of these volumes the songs appear in the chronological order of their composer's birth, but Nichols somehowcontrives a line-up of music which seems delightfully arbitrary at the same time as carefully designed to enrich everyone's understanding of the mélodie. The books also contain a remarkable amount of scholarship, lightlyworn and pithily expressed.As well as complete translations of the songs, there is a useful and concise introduction on singing in French, together with an illuminating historical note and critical commentary; andNichols gives full due to the poets who were of crucial importance in the development of the mélodie tradition.Complete with translations and guidance on pronunciationReberGuitareGounod Le soirGounod Le premier jour de maiViardot Les deux rosesViardot La mésangeFranck NocturneMassé SouvenirsLalo Chant BretonSaint-Saëns Chanson tristeBizet Vieille chanson Massenet Madrigal

Art Of French Song 1 Mezzo

Those interested in French music have often had reason to be grateful to Roger Nichols; his writings on Debussy, Ravel, Messiaen and Poulenc are indispensable to the music lover.Nichols now turns his attentions tothe mélodie, where it is his mission to encourage singers to explore beyond the well-trodden paths of French song. In these two anthologies he does not ignore masterpieces by composers of the stature of Fauré andDuparc, but sets them alongside music - almost impossible to find elsewhere in print - by such under-estimated figures as Reber, Viardot, Massé and Paladilhe.Even the more celebrated songs are often noteasilyfound in practical editions, which makes this selection an ideal starting point for wider exploration. In each of these volumes the songs appear in the chronological order of their composer's birth, but Nichols somehowcontrives a line-up of music which seems delightfully arbitrary at the same time as carefully designed to enrich everyone's understanding of the mélodie. The books also contain a remarkable amount of scholarship, lightlyworn and pithily expressed.As well as complete translations of the songs, there is a useful and concise introduction on singing in French, together with an illuminating historical note and critical commentary; andNichols gives full due to the poets who were of crucial importance in the development of the mélodie tradition.Complete with translations and guidance on pronunciationNiedermeyer LeLac (Meditation poétique)Berlioz AbsenceGounod Ô ma belle RebelleViardot Fleur desséchéeFranck S'il est un charmantgazonMassé ConsolationLalo Ballade à la luneSaint-Saëns La sérénitéDelibes Chanson espagnoleBizet

Art Of French Song 2 Mezzo

Those interested in French music have often had reason to be grateful to Roger Nichols; his writings on Debussy, Ravel, Messiaen and Poulenc are indispensable to the music lover.Nichols now turns his attentions tothe mélodie, where it is his mission to encourage singers to explore beyond the well-trodden paths of French song. In these two anthologies he does not ignore masterpieces by composers of the stature of Fauré andDuparc, but sets them alongside music - almost impossible to find elsewhere in print - by such under-estimated figures as Reber, Viardot, Massé and Paladilhe.Even the more celebrated songs are often noteasilyfound in practical editions, which makes this selection an ideal starting point for wider exploration. In each of these volumes the songs appear in the chronological order of their composer's birth, but Nichols somehowcontrives a line-up of music which seems delightfully arbitrary at the same time as carefully designed to enrich everyone's understanding of the mélodie. The books also contain a remarkable amount of scholarship, lightlyworn and pithily expressed.As well as complete translations of the songs, there is a useful and concise introduction on singing in French, together with an illuminating historical note and critical commentary; andNichols gives full due to the poets who were of crucial importance in the development of the mélodie tradition.Reber GuitareGounod Le soirGounod Lepremier jour de maiViardot Les deux rosesViardot La mésangeFranck NocturneMassé SouvenirsLalo ChantBretonSaint-Saëns Chanson tristeBizet Vieille chanson Massenet MadrigalMassenet Ouvre tes yeux bleusChabrierLes