Arrangeur: Jeffrey Beyer. Six vocal works arranged for alto flute and piano by Jeffrey Beyer,/ Recueil / Flûte Traversière Alto et Piano

Rachmaninov's Vocalise is one of the few members of an elite repertory niche: popular non- avant-garde vocal works without text. It was dedicated to Antonina Nezhdanova who can be presumed to have possessed a singularly pleasingand flexible voice given the sustained almost violin-like character of the piece. The piece has also been arranged for orchestra piano various chamber ensembles and solo string instruments but this is the original song forHigh Voice and Piano.

Rachmaninov wrote the wordless Vocalise in 1912 originally for Voice and Piano. It is probably one of his most popular Vocal works famous for its beautiful soaring melody. This popularity has led the work to be transcribed for several instruments and this edition is for Cello with Piano accompaniment. Set for the ABRSM Cello Syllabus Grade 7.

Nova Genitura was composed by Per Nørgård in 1975. Scored for Soprano and Violin Recorder Gamba Lute and Harpsichord. Programme note: A universe of Marian gentleness heavenly beauty and redeeming joy typifies the vocal works of Per Nørgårds in the 1970s for example Nova Genitura for soprano and baroque ensemble. The composer writes: 'The concept of Mary has a depth that transcends all religious persuasions. All over the earth symbols of the gentle and maternal are known. But the word 'Maria' is also associated - in sound - with the Latin word for the sea mare and she thus becomes the Star of the Sea Maris stella. Their simplicity makes it possible to grasp the music's often complex interweaving of concurrent melodies and tempo layers.' 'Nova Genitura was composed directly in the context of the ending of the Third Symphony in 1975; it also incorporates melodic and harmonic themes from the symphony (the 'Maria' motifs of the second part). However the work is combined with a newly-created song (the Flosutrosa melody) whose Golden Section rhythms gave the melody a 'stamina' that carried it over into many later compositions.' The two Maria themes and the Flosutrosa melody are based on direct 'extracts' from the Nørgårdian infinity series. The arching Flosutrosa melody is developed further in seven later Nørgård work from the orchestral work Twilight (1976) through the choral song Flosutrosa floruit (1991) the choral work Ut Rosa (2001) and the piano piece A Rose Petal (2002) to the harp works Consolazione (2002) Harp Concerto no. 2 - Through Thorns (2000) and Flowering (2007). One of the 'Marian melodies' has now been included in the standard Danish hymnal Den Danske Salmebog (no. 720 - Somåretgår/The year goes by) and both have formed startingpoints for about 20 later - especially vocal - works to or based on texts by the Danish poet Ole Sarvig (1921-1981).

The ?Gloria? RV 589 is one of Vivaldi?s most popular compositions today and one of the most regularly performed sacred vocal works from the Baroque era. The work was in all probability composed around 1716 during Vivaldi?s time at the Ospedale della Piet an orphanage for girls in Venice. Although Vivaldi?s ?Gloria? (BA 8953) was written for solo voices and mixed choir it is likely that it was performed at the girls? orphanage with female voices only. Taking this into account Malcolm Bruno?s careful arrangement for choir SSAA is of some relevance. The work when set for female voices or children?s choir remains a true masterpiece.The ?Kyrie? RV 587 (BA8954)for two choirs and two string ensembles as arranged here for female choir displays its own charm. It can be performed together with the Gloria as a type of short mass.Both arrangements are based on the recently published Urtext editions of these works. The piano reductions by editor Malcolm Bruno are easy to play and preserve the character of the works.Effective arrangements for female choirForewords in English and GermanStraightforward idiomatic piano reductionsKyrie and Gloria can be combined for performanceThe orchestral parts for the original SATB version can be used for the performance of these arrangements.

Vivaldi's Kyrie RV 587 (BA 8950) is scored for two choirs and two groups of stringed instruments. The date of its composition remains unclear. It is a purely a Choral work without solo passages.Today the ?Gloria? RV 589 (BA 7674) is one of Vivaldi?s best-known compositions and one of the most frequently performed sacred Vocal works from the Baroque period. Vivaldi wrote the ?Gloria? as a self-contained work in the style of a concertante mass. However it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work was written during his period atthe Ospedale della Piet around 1716. In the twelve movements of the ?Gloria? Vivaldi displays the whole range of his mastery from festive sublime outer movements to tender transparently scored solo passages.Both works can be performed independently but can also be combined as a kind of short mass. Although the authenticity of the autograph manuscript score is beyond doubt these new editions contain some re-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward clearly presented and preserve the character of the works.- Attractive choral pieces which can be combined to form a short mass.- Informative foreword (Ger/Eng).

The ?Gloria? RV 589 is one of Vivaldi?s most popular compositions today and one of the most regularly performed sacred vocal works from the Baroque era. The work was in all probability composed around 1716 during Vivaldi?s time at the Ospedale della Piet an orphanage for girls in Venice. Although Vivaldi?s ?Gloria? (BA 8953) was written for solo voices and mixed choir it is likely that it was performed at the girls? orphanage with female voices only. Taking this into account Malcolm Bruno?s careful arrangement for choir SSAA is of some relevance. The work when set for female voices or children?s choir remains a true masterpiece.The ?Kyrie? RV 587 (BA8954)for two choirs and two string ensembles as arranged here for female choir displays its own charm. It can be performed together with the Gloria as a type of short mass.Both arrangements are based on the recently published Urtext editions of these works. The piano reductions by editor Malcolm Bruno are easy to play and preserve the character of the works.Effective arrangements for female choirForewords in English and GermanStraightforward idiomatic piano reductionsKyrie and Gloria can be combined for performanceThe orchestral parts for the original SATB version can be used for the performance of these arrangements.

Kyrie and Gloria-Missa brevis (BuxWV 114) for Mixed choir SSATB and Basso continuoDietrich Buxtehude (1637-1707) was Organist of the St Marien church in Lübeck from 1668 until his death. He wrote many works for specific secular occasions feasts and celebrations etc. and although his positon did not require him to compose vocal music he left over 120 vocal works in a wide range of scorings style and length. Almost all texts are sacred and scorings vary from a single voice with instrument to nine voices with several instruments and continuo.The Missa brevis is written in the 'Stile antico' following 16th century models and consistsof the Kyrie and Gloria of the Ordinarium.

15 Vocal Masterworks from the Baroque Era Through the Twenty-First Century-This superb vocal collection features 15 of the world’s best-loved arias from the Baroque era through the 21st Century presented with comprehensive historical information accurate translations IPA pronunciation guides and performance suggestions designed to enhance and educate developing vocalists. Available in Medium High and Medium Low editions with optional piano accompaniment CDs. Songs include: Domine Deus (Vivaldi) Gioite al canto mio (Peri) I Attempt from Love’s Sickness (Purcell) I Got Plenty O’ Nuttin’ (Gershwin) La donna è mobile (Verdi) Non siate ritrosi (Mozart) O mio babbino caro (Puccini) O Rest in the Lord (Mendelssohn) Ombra mai fù(Handel) Sheep May Safely Graze (Bach) Sorry Her Lot (Gilbert & Sullivan) Time To Say Goodbye (Sartori) Voi che sapete (Mozart) Where’er You Walk (Handel) and You Raise Me Up (Løvland)

15 Vocal Masterworks from the Baroque Era Through the Twenty-First Century-This superb vocal collection features 15 of the world’s best-loved arias from the Baroque era through the 21st Century presented with comprehensive historical information accurate translations IPA pronunciation guides and performance suggestions designed to enhance and educate developing vocalists. Available in Medium High and Medium Low editions with optional piano accompaniment CDs. Songs include: Domine Deus (Vivaldi) Gioite al canto mio (Peri) I Attempt from Love’s Sickness (Purcell) I Got Plenty O’ Nuttin’ (Gershwin) La donna è mobile (Verdi) Non siate ritrosi (Mozart) O mio babbino caro (Puccini) O Rest in the Lord (Mendelssohn) Ombra mai fù(Handel) Sheep May Safely Graze (Bach) Sorry Her Lot (Gilbert & Sullivan) Time To Say Goodbye (Sartori) Voi che sapete (Mozart) Where’er You Walk (Handel) and You Raise Me Up (Løvland)

Unaccompanied Voice-Known for her Operas and Vocal works contemporary composer Isabelle Aboulker has won numerous prizes for her compositions. 1918 L'Homme Qui Titubait Dans La Guerre has met much success and this unaccompanied vocal score makes it a sublime addition to the choral repertoire.   Aboulker  was commissioned to write the work in 1998 to commemorate the 80th anniversary of the ending of World War I.  1918 L'Homme Qui Titubait Dans La Guerre  was later chosen to represent France when Weimar became European city of culture in 1999. Written for Voice and Piano   1918 L'Homme Qui Titubait Dans La Guerre  is an Oratorio. As an exciting alternative collection of songs in the Vocal repertoire   Aboulker ''s composition is an exquisite addition to any singer''s repertoire.

Known for her Operas and Vocal works contemporary composer Isabelle Aboulker has won numerous prizes for her compositions. 1918 L'Homme Qui Titubait Dans La Guerre has met much success and is a sublime addition to the Vocal repertoire. Aboulker was commissioned to write the work in 1998 to commemorate the 80th anniversary of the ending of World War I. 1918 L'Homme Qui Titubait Dans La Guerre was later chosen to represent France when Weimar became European city of culture in 1999. Written for Voice and Piano  1918 L'Homme Qui Titubait Dans La Guerre is anOratorio. As an exciting alternative collection of songs in the Vocal repertoire Aboulker''s composition is an exquisite addition to any singer's repertoire.

Known for her Operas and Vocal works contemporary composer Isabelle Aboulker has won numerous prizes for her compositions. Je T'Aime makes for a sublime performance work for Soprano and Piano. Described as a love song for a distressed Soprano  Je T'Aime is technically challenging. Aboulker's love song addresses features including intervals staccato a wide range altering time signatures and contrasting dynamics amongst other aspects. As an exciting alternative collection in the Vocal repertoire Aboulker's Je T'Aime is an exquisite addition to theSoprano repertoire.

Richard Strauss is one of the great song writers. He was one of first true 'modernist' composers and many of his vocal works feature extended tonalities and challenging harmonies. This is the third volume in Strauss' Song Album and is scored for Meduim Voice and Piano Accompaniment.

Schubert's Mass No.2 in G D167 for SATB choir and Piano accompaniment.Franz Schubert composed his ?Mass No. 2 in G major? in less than a week (March 2 to 7 1815). Schubert was an Austrian composer who was extremely prolific during his lifetime ? despite dying at 31 his output consists of over six hundred secular Vocal works (mainly Lieder) seven complete symphonies sacred music operas incidental music and a large body of chamber and Piano music. Schubert is ranked among the greatest composers of the late Classical era and early Romantic era and is one of the mostfrequently performed composers of the early nineteenth century.