SKU: A2.S034

ISBN 978-0-89579-775-9. 8.5x11 inches.

This edition includes three piano works by the German-Jewish composer Hans Samuel (1901-76), who was active primarily as an organist and composer of organ music. The selected works - Hassidic Hanukkah Tune: Al hanissim we al hapurkan (1946), Sounds of Slichoth: Paraphrases on S'lichoth Tunes According to the Ashkenas-Western Mode (1957, dedicated to the composer's parents, who perished in Theresienstadt), and Variations on a Yemenite Tune (undated) - were composed after Samuel's emigration to Palestine in 1939. Besides exemplifying the heightened awareness of diverse Jewish musical traditions that characterizes Samuel's music after his emigration, these works are representative of Israeli immigrant composers' early struggles to attempt to define their new nation musically.

SKU: ET.PNO47

ISBN 9790207024060.

Sami's Piece was written for a jazz musician, and should be played with a jazz feel (and a nod to polyrhythmic Balkan folk music). It's an exuberant work, relatively short, but dizzying, full of surprises, musical humor, and changes of atmosphere.

It was premiered in 2003 at the Hirzenberg Festival in Zofingen, Switzerland, by the Swiss pianist Samuel Wettstein, to whom the work is dedicated.


Performing notes
- Attentive use of the pedals to control resonance and legato will prevent blurriness.
- When played on an upright piano that is slightly out of tune, the work gains an unexpected charm.
- As is customary, accidentals remain valid until the end of the measure in which they appear.

SKU: HL.49046843

ISBN 9781705162040. UPC: 842819115441. 9.0x12.0x0.064 inches.

Samuel Coleridge-Taylor's Papillon for solo piano was first published in 1908 by Augener Ltd. Following George Augener's retirement in 1910, the work along with the whole Augener catalogue (which contained no less than 24 other works by Coleridge-Taylor), was aquired by Schott and Co. Ltd. At the time both companies occupied offices on Great Marlborough Street, London. Coleridge-Taylor was born in London and brought up in Croydon. He learnt to play the violin, was recognised as a child prodigy and at 15 was awarded a scholarship to study at the Royal College of Music with Charles Villiers Stanford, where he was a contemporary of Holst and Vaughan Williams. Coleridge-Taylor described himself as “Anglo-African” and, despite support from his colleagues, faced racism throughout his whole career. In spite of this prejudice and his tragically early death in 1912 aged just 37, he enjoyed great success during his lifetimeand his music was performed at the Proms no less than 116 times between 1898 and 1939. In contrast, since 1940 his music has only been heard there on thirteen occasions to date. Like many works from this period, at some point in the past Papillon became out of print. Schott Music is now very pleased to present this new modern performing edition with errors and inconsistencies from the original edition now corrected.

SKU: PR.140401260

ISBN 9781491131565. UPC: 680160677870. 9 x 12 inches. English.

The appropriately-titled RESTLESS begins with a recitative-like Misterioso, building tension as if slowly pulling back a spring until it snaps. This recoil is supercharged, cycling through a series of dance rhythms inspired by the music of Samuel Zyman’s native Mexico. Successive episodes bring the tempo gradually faster, with restless tension between folkloric harmonies and chromatically dramatic harmony. Equally dramatic is a surprise return to the broadly declamatory music of the opening, and the gradual second series of restless song and dance. The 10-minute work was commissioned by Astral Artists’ Micro-Commissioning Program, for pianist Zhenni Li.

SKU: AP.36-M304191

ISBN 9781621563266. UPC: 660355022432. English.

The transcription of melodies contained in this collection has been praised as the most complete expression of Mr. Coleridge-Taylor's native bent and power. Using native songs of Africa and the West Indies with those that came into being in America during slavery, he has preserved their distinctive characteristics and individuality, while giving them an art form fully infused with their musical essence.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: FG.55011-717-4

ISBN 9790550117174.

It was through Einar Englund (1916-1999) that the Neoclassicism already familiar elsewhere in the world landed on Finnish shores in the late 1940s. A composer especially of large-scale orchestral and chamber works, Englund is one of the greatest Finnish symphonists.

Sinuhe is an example of a Finnish composition founded on a non-Finnish subject handled in a non-National-Romantic way. This probably partly explains why the score has fallen into oblivion in Finland: the Oriental moods and the Nile do not correspond to the view of a Finnish composition as one favouring topics from the national epic, the Kalevala, and lakeland scenery. The music also incorporates motifs derived from Lapp yoiks used by Englund in his score for the film The White Deer (1952). When it was written, the ballet's combination of a historical subject with an exotic, stylised idiom showed that Englund had his finger on the international pulse, unlike, say, Samuel Barber's ballet Medea (1946) and Aram Khachaturian's ballet Spartacus (1956).

The suite from Sinuhe is in five scenes. It omits the original overture and almost all the music for the second half of the ballet. Sinuhe's hapless love for the courtesan Nefernefer is described with languorous sensuality. His servant Kaptah throws himself into a frenzied dance with the Cretan maidens. The suite ends with the rhythmic war dance of his friend Horemheb.