SKU: HL.49045281

ISBN 9781495078989. UPC: 888680651466. 9.0x12.0x0.3 inches. English.

Prayer is one of the composer's most original and sophisticated works. The typical African-American church service seems to be a source for this piece with its interplay of sections and colors, yet the work in form and rhythmic choices is clearly 'classical' and never breaks out into easy imitations of, for example, gospel music.The work opens with the choir singing the spiritual 'My Lord, What a Mornin'' in octaves, sung flat-out a cappella, as might happen in church. The instrumental section following this opening feels very much like a thoughtful response by the congregation. Instruments seem to behave like individual churchgoers, colorfully dressed and answering various episodes with individual thoughts. As for any fears that the mighty organ might drown out the proceedings, Singleton puts that to rest by employing it almost like another choir or section of the choir. The trumpet soloist does not blast us into heaven, it tends to sing and, we find out later, is preparing us for the spiritual 'Where Shall I Be When the Firs' Trumpet Soun'?' Even the tenor soloist behaves much like just another (but still important) instrument.The composer has chosen to not only feature spirituals, but also to set a poetic text called A Christian Prayer, whose main message, almost like some modern-day Kyrie, calls out 'save us teach us ' and extols the importance of humility and the defeat of violence. Singleton has always been a composer who has simultaneously answered the call to carry out what he feels is his duty to his fellow humans while using the finest of his art to do so, and Prayer finds him at the top of his game.- Carman Moore.

SKU: BR.EB-9333

World premiere of the piano version: Orleans (8th Int. Piano Competition of Orleans ,,Brin d'herbe), April 14, 2019

ISBN 9790004187975. 9 x 12 inches.

Inspiring Nature These three piano pieces, composed for the ,,Concours, Brin d'Herbe 2019, may be performed separately or as a collection, in which case they should be played in the given order. Though each piece is aimed at a different technical level (I. Elementary, II. Advanced, III. Intermediate), they have a common artistic aim: to connect musical expression with poetic inspiration. In particular, these pieces meditate on the emotional connection between our interior life and the vast and varied landscapes of the natural world all around us. While composing I found myself re-reading Kathleen Raine (one of my favourite poets) and was struck by her statement (in the foreword to her ,,Selected Poems): ,,'Nature-poetry' is not what we write about nature, but rather the language of images in which nature daily speaks to us of the timeless, age-old mystery in which we participate. Nature communicates today what it told the earliest of humankind, and what it will tell future generations when our modern high-rise cities are no more. Meanings, moods, the whole scale of our inner experience, finds in nature the 'correspondences' through which we may know our boundless selves. Nature is the common, universal language, understood by all. What she says about nature resonates with my understanding of music, which also sometimes affords us an opportunity to know 'our boundless selves'. And I am especially interested in the way that sounds - which, as vibrations in the air, are another aspect of nature - can reveal and heighten our sense of connectedness to ourselves and our surroundings. Each movement is inspired by a single stanza from the poem ,,Amo Ergo Sum by Kathleen Raine, and I would encourage anyone playing these pieces to devote time to internalising the words as well as the music, for they may contain the key to an accurate expression. As such, the relevant words are quoted at the start of each score. ,,Inner Landscapes is dedicated to Joe Browning, Lexy Oliver and Omar Shahryar. (Christian Mason, 2018)

World premiere of the piano version: Orleans (8th Int. Piano Competition of Orleans ,,Brin d'herbe), April 14, 2019.

SKU: BR.OB-5288-19

ISBN 9790004342794. 10 x 12.5 inches.

Spiritual AffinitiesSchumann had already worked on Byron's Manfred as a law student, and the topic fascinated him from that time on. Perhaps he discovered a spiritual affinity to himself in the romantic hero's inner conflict? In any event, he decided on a stage rendition of the drama with incidental music, an entirely new genre that he had been dreaming of for some time already. He conducted the overture - it dates from 1848 - for the first time as a separate piece in March 1852. In addition, he followed the preparations for the first edition of the complete performance material very closely, which was published by Breitkopf in Leipzig that same year. The Breitkopf Urtext edition of the Manfred Overture is based on this first print of the score and parts revised by Schumann. At the same time, this edition also marks a new chapter in the expansion of the collection of Schumann overtures that have already been published by Breitkopf (to Hermann und Dorothea op. 136, Szenen aus Goethes Faust WoO 3 and Genoveva op. 81).

Audiences should be ready for something new and unheard of, wrote Robert Schumann to Franz Liszt in late 1851, referring to the world premiere of his Dramatic Poem Manfred.

SKU: BT.DHP-1125174-130

9x12 inches. English-German-French-Dut ch.

Meditation is based on Dear Lord and Father of Mankind (1887) by the English composer and organist Frederick Charles Maker (1844-1927). This is a calm, introverted work that however has an intense effect. In the first section, the solo euphonium is given an important role, leading to one of the loveliest of all English hymn melodies.

Meditation , gebaseerd Dear Lord and Father of Mankind (1887) van de Engelse componist/organist Frederick Charles Maker (1844-1927) is een werk met een verstild en ingetogen karakter. Er is een belangrijke rol weggelegd voor de Euphonium solist die ons in het eerste deel van deze meditatie leidt naar één van de mooiste Engelse hymn tunes ooit.

Meditation basiert auf Dear Lord and Father of Mankind aus dem Jahre 1887 vom englischen Komponisten und Organisten Frederick Charles Maker (1844-1927). Es ist ein ruhiges, introvertiertes Werk von dennoch intensiver Wirkung. Eine bedeutende Rolle fällt hier dem Euphoniumsolisten zu, der im ersten Teil dieser musikalischen Meditation zu einer der schönsten englischen Kirchenliedmelodien hinführt.

Dear Lord and Father of Mankind (Seigneur et Père de l’Humanité) est un hymne composé par l'organiste anglais Frederick Charles Maker (1844-1927), d’après un poème de John Greenleaf Whittier. Jan de Haan nous offre une adaptation calme et cependant intense de cet air méditatif. L’euphonium joue un rôle important dans la première partie de la pièce, conduisant l’une des plus belles mélodies de tous les hymnes anglais.

Meditation si basa su Dear Lord and Father of Mankind (1887) del compositore e organista Frederick Charles Maker (1844-1927). Un brano calmo e introverso, ma di sicuro effetto. Nella prima sezione l’assolo di eufonio riveste un ruolo importante e accompagna il brano verso una delle più belle melodie inglesi del repertorio ecclesiastico.

SKU: BR.PB-5546-07

ISBN 9790004213568. 6.5 x 9 inches.

Spiritual AffinitiesSchumann had already worked on Byron's Manfred as a law student, and the topic fascinated him from that time on. Perhaps he discovered a spiritual affinity to himself in the romantic hero's inner conflict? In any event, he decided on a stage rendition of the drama with incidental music, an entirely new genre that he had been dreaming of for some time already. He conducted the overture - it dates from 1848 - for the first time as a separate piece in March 1852. In addition, he followed the preparations for the first edition of the complete performance material very closely, which was published by Breitkopf in Leipzig that same year. The Breitkopf Urtext edition of the Manfred Overture is based on this first print of the score and parts revised by Schumann. At the same time, this edition also marks a new chapter in the expansion of the collection of Schumann overtures that have already been published by Breitkopf (to Hermann und Dorothea op. 136, Szenen aus Goethes Faust WoO 3 and Genoveva op. 81).

Audiences should be ready for something new and unheard of, wrote Robert Schumann to Franz Liszt in late 1851, referring to the world premiere of his Dramatic Poem Manfred.

SKU: BR.OB-5302-19

ISBN 9790004340035. 10 x 12.5 inches.

Between Beethoven and Brahms, a long neglected workSchumann's last work for solo instrument and orchestra was not given its premiere until 1937, at which time it was also released in an editorially inadequate version. A re-evaluation of Schumann's late oeuvre began in the 1980s, in the wake of which the missing link between the concertos of Beethoven and Brahms (Yehudi Menuhin) also drew increasing attention. Since then, those in the know have come to appreciate the work, whose unique musical and technical demands challenge for both interpreter and listener.This new edition of what is perhaps the most underestimated masterpiece of the Romantic era is the first meticulously prepared Urtext edition of the score. Nothing short of incredible is the fact that the composer's own piano reduction from which Clara Schumann and Joseph Joachim played the piece is being published here for the first time! Thomas Zehetmair, who has significantly contributed to the re-assessment of the concerto, assumed the task of providing a sound technical basis to his revision of the solo part.Perhaps this edition will help stimulate awareness and appreciation of this unjustly forgotten romantic violin concerto described by Menuhin as the missing link between the concertos by Beethoven to Brahms. (John Thomson, Stringendo)

Schuma nn's last work for solo instrument and orchestra was not given its premiere until 1937. This new edition is the first meticulously prepared Urtext edition of the score and the composer's own piano reduction - from which Clara played the piece!