SKU: FP.FMJ02

ISBN 9790570503896.

A wonderfully balanced and yet contrasting set of songs for baritone voice and piano, inspired by Sir John Manduell’s long-standing love of French renaissance verse.

In the first, perhaps the most often quoted of Ronsard's poems, the poet invites young Mignonne to come and look at the purple rose and to realise that her beauty like the rose's will fade all too soon. Du Bellary's poem is redolent of late summer heat and haze as the thresher of the title calmly pursues his work. The Marot is a brief exercise in courteous mockery as the poet chides his ailing lady upon her gastronomic self-indulgence and warns her of the inevitable consequences upon her figure.

Finally published in 2013, Trois Chansons is one of the of the composer’s earliest surviving works, written while he was studying with the late Sir Lennox Berkely as a postgraduate student at the Royal Academy of Music. The first performance was given by Beverley Humphreys at the Royal Academy of Music in 1956.

SKU: BR.OB-5353-16

ISBN 9790004340714. 10 x 12.5 inches.

What with all the traditional editions available on the market, can we still expect new readings? This is what editor Clive Brown asked himself as he meticulously examined the often conflicting sources. The result is a wealth of new readings in the score, which deserve as much attention as the extensively commented arrangement for violin and piano. The treatment of the solo instrument is particularly interesting: next to the Urtext solo part, the edition also contains a historically informed and marked-up part with fingerings and bowings that go back to Franz Clement, the soloist of the premiere performance, and to the Viennese performance tradition of Beethovens time. For violinists of today, this is a treasure trove of new, innovative ideas and suggestions for the individual shaping of the part.

SKU: BR.OB-5353-15

ISBN 9790004340707. 10 x 12.5 inches.

What with all the traditional editions available on the market, can we still expect new readings? This is what editor Clive Brown asked himself as he meticulously examined the often conflicting sources. The result is a wealth of new readings in the score, which deserve as much attention as the extensively commented arrangement for violin and piano. The treatment of the solo instrument is particularly interesting: next to the Urtext solo part, the edition also contains a historically informed and marked-up part with fingerings and bowings that go back to Franz Clement, the soloist of the premiere performance, and to the Viennese performance tradition of Beethovens time. For violinists of today, this is a treasure trove of new, innovative ideas and suggestions for the individual shaping of the part.

SKU: BR.PB-5531-07

Beethoven would probably have loved to be able to commission a new edition of his violin concerto from Clive Brown, since he is one of the top specialists, with a profound knowledge and experience of performance practice in Beethoven's day.

ISBN 9790004212608. 6.5 x 9 inches.

What with all the traditional editions available on the market, can we still expect new readings? This is what editor Clive Brown asked himself as he meticulously examined the often conflicting sources. The result is a wealth of new readings in the score, which deserve as much attention as the extensively commented arrangement for violin and piano. The treatment of the solo instrument is particularly interesting: next to the Urtext solo part, the edition also contains a historically informed and marked-up part with fingerings and bowings that go back to Franz Clement, the soloist of the premiere performance, and to the Viennese performance tradition of Beethovens time. For violinists of today, this is a treasure trove of new, innovative ideas and suggestions for the individual shaping of the part.