Bøger udgivet af EDITION PETERS

Tommys Carol for mixed voice choir and organ by Alexander Campkin.

The first kiss for double mixed voice choir and organ or chamber orchestra with optional Tam-tam, by Alexander Campkin.

I wrote Christmas Light for a choir and glockenspiel to celebrate poet Betty McKellars 90th birthday. I love the colour and imagery in Bettys work and the honesty and clarity of her writing.I first discovered her work in the 1990s and set her poem Cramasie Threid for soprano and cello.I then took the poem Sangsters as the starting point for a concerto for orchestra which was premiered by the Swedish Chamber Orchestra in 2002.I have always enjoyed collaborating with non-professional and community groups, which I find stimulating and inspiring. These are musicians for whom music is an absolute pleasure who give time without

This 2-minute work for choir SATB was first performed by the Cumnock Tryst Festival Chorus, conducted by Eamonn Dougan, on 6 October 2019 at the Cumnock Tryst Festival.

Missa Brevis for mixed voice choir and organ by Alexander Campkin.

The first kiss for double mixed voice choir and keyboard or strings by Alexander Campkin.

I saw Eternity for Womens Choir by Alexander Campkin.

Coventry Carol for unaccompanied mixed voice choir by Alexander Campkin.

Awake, Awake for unaccompanied mixed voice choir by Alexander Campkin.

Jonathan Doves We Are One Fire, was commissioned as a birthday present for the 90th anniversary of the BBC Symphony Chorus. Dove turned to playwright Alasdair Middleton for a text that could serve as both a response to and an echo of the sentiment in Schillers Ode to Joy, celebrating humanitys shared ancestry.

This vocal arrangement of the classic Schubert song by Jim Clements for VOCES8 tells the terrifying tale of a young boy and his father being chased by the Erl King. Each voice has a chance to inhabit the characters from the story, while Schuberts original piano part is brought to life by the other voices.

Arranged by Jim Clements for Worcester Cathedral Chamber Choir and adapted for VOCES8, this is a beautiful song of faith and hope which is as enjoyable to listen to as to sing.

This 5 minute arrangement by Emily Dickens for VOCES8 draws together a pair of stunningly emotive melodic lines from the Scottish and Irish folk traditionsMy Lagan LoveandShe Moved Through the Fair. The lower voices create a drone on which the tenor and upper voices explore the beautifully simple and instantly recognisable harmonies of these folk songs.

When the BBC commissioned this work for the Last Night of the Proms 2018, I was given quite a detailed brief. First, the work should be for the BBC Singers and BBC Symphony Chorus with the BBC Symphony Orchestra, and the two choirs should be quite independent of each other. Secondly, the words should acknowledge the centenary of the end of World War I, but look optimistically to the future. For the centenary I chose In the Underworld by World War I poet Isaac Rosenberg, written in 1914. Originally about unrequited love, it can read, if you do not know its context, as a prophetic look at the next four years, with the sense that the women left

Love Abide encapsulates the very contemporary ethos of multicultural spiritual devotion in a world populated by a rich diversity of faithsall feeling, as deeply and as aesthetically, the compelling potency of music with love.

This 5 minute anthem for choir SSATB, setting a text by George Herbert, was commissioned by the Dean and Chapter of The Cathedral and Abbey Church of St Alban to mark the 900th anniversary of the consecration of the Norman Abbey, performed at Solemn Evensong, 18 October 2015.

While the first volume of Liszts Annes de plerinage Pilgrim Years was inspired primarily by the landscape of Switzerland, the creative impetus for the second volume was the art and literature of Italy.Edition Peters is proud to continue its acclaimed series of Liszt critical editions from world-renowned Liszt expert and concert pianist Leslie Howard with this new urtext edition of Annes de plerinage, Deuxime Anne Italie. Containing an extensive critical commentary and introductory notes, the edition like its predecessor Suisse EP72782 also contains reproductions of the half-tint illustrations by Robert Kretschmer that appeared in the first

Pachelbels exuberant and justly famous Canon may well have been first heard at the wedding of Johann Christoph Bach. Originally for small ensemble, Mary Cohens new arrangement of the work for solo piano or keyboard will suit players moving from easy towards intermediate repertoire.

Doreen Carwithen and her husband William Alwyn were two of the most versatile composers working in Britain in the mid- to late-20th century. Between them they scored more than 100 films, as well as music for the concert hall, including the scores for Odd Man Out Alwyn and Boys in Brown Carwithen. Daniel Grimwoods recording is a wonderful introduction to the couples extensive catalogues of piano music, containing Carwithens taut, neoclassical Sonatina and Alwyns 12 Preludes and Grieg-inspired Fantasy Waltzes. This is warm, lyrical music which quietly pushes boundaries while always attractive and well-written for the

Jacques Féréol Mazas Studies Op.36 Vol.2 - 'Etudes Brillantes' arranged for Violin.Etüden op. 36 für Violine, Band 2: Études brillantesJacques Féréol Mazas Studies Op.36 Vol.2 - "Etudes Brillantes" für Violine.

Vivaldi's Violin Concerto In G Op.3 No.3 RV310 for violin and piano.Violinkonzert G-Dur op. 3 Nr. 3 (RV 310)Vivaldis Violinkonzert G-Dur op. 3 Nr. 3 (RV 310), ausgabe für violine und klavier.

Isabellas Banquet for mixed voice choir a capella by Piers Hellawell.

The Grade 8 Piano Anthology 2019/2020 contains 24 examination pieces from lists A, B and C of the piano syllabus of the Associated Board of the Royal Schools of Music. The anthology is enhanced with performance and aural notes on each piece from leading educational experts.

A Grand Tour of Cello Technique is a thought-provoking practice guide, enabling cellists at all levels to develop their own style through an exploration of different ways of fingering and bowing. The book not only helps cellists improve their playing, but also promotes an understanding of musical art, through nine stimulating chapters: Introducing Twelve TonesTriads and Seventh ChordsCircle of FifthsScalesMetronome GamesHarmonics and Open StringsLateral MotionExtended Techniques and a Discussion of the BowPracticing TogetherWith a particular emphasis on music of the 20th and 21st centuries, and its connections with earlier music, Fred Sherry takes the readeron a voyage of discovery of the art and science of cello technique, informed by music ranging from Bach all the way through to Berio.

The VOCES8 singles series includes songs for which the group is particularly well known,in choral arrangements produced specifically for VOCES8.Underneath the Stars, in this beautiful arrangement for SATB choir by Jim Clements, is one of the most requested songs performed by the group. It is featured on the VOCES8 Album Eventide on the Decca Classics Label.Underneath the Stars (Bearbeitung für Chor SATB)

A Manual for Teaching and SelfTeaching the Violin.

Franz Liszt: Consolations S.172 und Liebesträume S.541, for Solo Piano, edited by Leslie Howard. This is the new critical edition by Leslie Howard which emends the original engraving of the edition by Liszt's student, Emil von Sauer.

Just as this remarkable series of works spanned virtually the whole of Faure's compositional career, so they can give us a lifetime of enrichment. One can only marvel at the source of inspiration which brought into being such profound utterances as the 6th or 10th Nocturnes, to name but two examples. The 'Nocturnes' had a particularly unfortunate publishing history. As a result, Howat identifies literally hundreds of corrections, amendments and alternatives deriving directly from Faure's own pen. Characteristically, Howat is also always alert to the restless, fecund spirit of Faure's creativity; as such, he tends to regard slight discrepancies in repeat or parallel passages as perfectly deliberate, rather than composer 'errors' to be standardized. Among the multiplicity of sources consulted are piano-roll recordings of three of the Nocturnes by the composer himself."A new edition of Fauré's Thirteen Nocturnes has long been needed, to clean up literally hundreds of old misprints and dubieties. Indeed, towards the end of his life Fauré prepared a corrected edition of his first eight Nocturnes, but this went so badly wrong that he tried, just before he died, to block its publication. Undeterred, the publisher concerned (Hamelle) issued it in that state in 1924, and that's what's been available since - cluttered since the 1950s by editorial fingering.The new London Peters edition (which replaces the Leipzig one) has compared all known manuscripts and prints from Fauré's lifetime, along with some piano rolls recorded by Fauré and memoirs and scores marked up by pianists who worked with him. A few of Fauré's own printed copies survive, showing numerous written corrections by him that never made it into the 1924 re-edition and which are now printed for the first time. The preface includes some performing advice that can be traced back to Fauré; it bears out his wish to have his music played in time and up to his dynamics, without sentimental rallentandi or soggy rubato."Roy Howat, 200613 Nocturnes fÿr Klavier“In der Klaviermusik ist kein Platz fÿr Firlefanz“, schrieb Gabriel Fauré seiner Frau Marie 1910. Diese Nÿchternheit ÿbertrÿgt er auf seine 13 Nocturnes, die anstatt Trÿumereien elegante Klavierwerke sind.Sie begleiten ihn schon durch sein ganzes Leben, beeinflussen sein Schaffen und lassen ihn sich auf das Wesentliche konzentrieren. Von der ersten Nocturne bis zur letzten vergehen 50 Jahre, und doch blieb Fauré sich und seinem Stil treu. Im Gegensatz zu anderen Komponisten, die sich der Gattung annahmen, verzichtet er meist auf allzu virtuose Eskapaden und verlÿsst sich darauf, durch warme Tonarten mit einigen Vorzeichen, Modulationen und nette Melodien zu ÿberzeugen.Zusÿtzlich zum Notentext verfÿgt diese Ausgabe von Roy Howat ÿber ein ausfÿhrliches historisch-theoretisches Vorwort und einen kritischen Kommentar ÿber die revidierte Version.Â