The Lord's Prayer for solo voice and SATB choir

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This is a simple, flexible and moving setting of The Lord's Prayer matches a wordless SATB choir with a thoughtful, touching line for solo voice.

Beati quorum via for SATB choir

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Here's a thoroughly charming take on setting a familiar text. Opening with soprano flourishes, the work moves into a more meditative later section, before a very satisfying close.

Complete Bach Transcriptions for piano

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Eugen d’Albert (1864–1932) enjoyed an illustrious and colourful career as both concert pianist and composer. He wished to include J.S. Bach’s music in his concerts and sought the grandeur of some of the large secular organ works. The transcriptions he made for this purpose are arguably better than the numerous Bach transcriptions made by his contemporaries. D’Albert’s versions of eight secular masterworks present them remarkably close to their original form, yet perfectly matched to the modern piano. At times, they make very considerable technical demands, but the effort to master them is amply rewarded.

This 116-page volume marks their first appearance since they were first issued over a century ago. Many errors and inaccuracies have been remedied and English translations of his musical terms have been provided.

The volume contains:
Passacaglia in C minor, BWV 582
Prelude and Fugue in D major, BWV 532
Fantasia and Fugue in C minor, BWV 537
Prelude and Fugue in G major, BWV 541
Toccata and Fugue in F major, BWV 540
Prelude and Fugue in A major, BWV 536
Prelude and Fugue in F minor, BWV 534
Toccata and Fugue in D minor, BWV 538, ‘Dorian’
Siciliano, second movement from Sonata for Flute, BWV 1031

Sonata No. 1 for Cello and Piano Op. 38 transcribed for Horn and Piano by Daniel Grimwood

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Such is the enduring popularity of Brahms’s music that many of his works exist in arrangements for diverse instruments - some by the composer, some by others. In this edition, Daniel Grimwood has added to this tradition in arranging this masterpiece for one of the composer’s favourite instruments. Includes separate Horn part.

Daniel Grimwood (piano) and Alec Frank-Gemmill (french horn) have recorded the present arrangement, released on BIS Records’ Brahms Chamber Music BIS-2478 (2020).

A Distant Music - Excelsis 1 for voices and organ

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Excelsis 1 is the first volume in A Distant Music, an anthology of sacred music by Australian composers, selected church musicians Michael Leighton Jones, Daniel Mitterdorfer, Brooke Shelley and The Rev’d Christopher Waterhouse. This volume contains 25 descants and reharmonisations of well-known hymn-tunes, with reproducible descant sheets for the singers.

Contents:
Jesu, lover of my soul (in Dm and Em) (Aberystwyth) - Robert Boughen (DR)
Come, ye faithful, raise the strain (Ave virgo virginum) - Alistair Nelson (D)
Love divine, all loves excelling (Blaenwern) - Peter Campbell (DR)
Lord, enthroned in heavenly splendour (Bryn Calfaria) - Walter Sutcliffe (DR)
Forth in the peace of Christ we go (Deo gracias) - Brooke Shelley (DR)
As with gladness (Dix) - Philip Matthias (DR)
Come down, O Love divine (Down Ampney) - Michael Leighton Jones (DR)
O love, how deep, how broad, how high (Eisenach) - Michael Fulcher (DR)
King of glory, King of peace (Gwalchmai) - Peter Guy (R)
Alleluya! Sing to Jesus (Hyfrydol) - David Drury (DR)
Light of the minds that know him (King’s Lynn) - David Blunden (DR)
I heard the voice of Jesus say (Kingsfold) - Michael Leighton Jones (D)
O praise ye the Lord (Laudate Dominum) - Graeme Morton (DR)
Praise to the Lord, the Almighty (in F and G) (Lobe den Herren) - Philip Nicholls (DR)
My song is love unknown (Love Unknown) - Peter Nicholls (D)
Lead us, heavenly Father, lead us (Mannheim) - Ralph Morton (DR)
Thou whose almighty word (Moscow) - Graeme Morton (R)
Hail Redeemer, King Divine (Rex) - James Goldrick (DR)
When I survey the wondrous cross (Rockingham) - Peter Jewkes (DR)
Immortal, invisible (St Denio) - Ralph Morton (DR)
Jesu, my Lord, my God, my All (Stella) - Andrej Kouznetsov (DR)
I vow to thee, my country (Thaxted) - David Drury (D)
O worship the Lord in the beauty of Holiness (Was lebet) - Peter Jewkes (DR)
Christ is made the sure foundation (Westminster Abbey) - Robert Boughen (DR)
Ride on, ride on in majesty (Winchester New) - Philip Matthias (DR)

(D=Descant, R=Reharmonisation, DR=Descant and Reharmonisation)

A Distant Music - Praise: Psalms and Prayers 1 for chorus and organ

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Forming part of the A Distant Music anthology, Praise: Psalms and Prayers 1 showcases 20 sacred choral works by Australian composers, most published here for the first time.

Containing a variety of accompanied and unaccompanied works, Praise: Psalms and Prayers 1 offers choirs access to quality Australian sacred music. Settings include texts from the Book of Psalms, well-known prayers as well as a spiritual poem by Australian Erica Jolly.

Covering a range of abilities and variety of compositional styles, the 90-page volume contains:
Ave Maria - Peter Guy
Ave maris stella - Brooke Shelley
Be present, O merciful God - Owen Elsley
Blessed be the Holy Trinity - Peter Campbell
A Blessing - Graeme Morton
By the waters of Babylon - David Drury
Come, my Way, my Truth, my Life - June Nixon
et ait angelus ei: - Josephine Gibson
Hear, O Israel - Joseph Twist
I Lift Up My Eyes to the Hills - Anthony Hunt
An Irish Blessing - Michael Leighton Jones
It is well with my soul - Thomas Rimes
The Lord’s Prayer - Daniel Riley
May the Lord support us - Sarah Elise Thompson
Pater Noster - Owen Elsley
Peace I leave with you - Andrew Goodwin
Praise the Lord - Brooke Shelley
A Prayer of Self-Dedication - Bernard Kirkpatrick
A Prayer of St Richard of Chichester - Michael Leighton Jones
A Trinity to Sing in your Soul - Anthony Hunt

Visit https://adistantmusic.com.au for more information. Note: unlike Excelsis 1, pieces in this volume are not reproducible.

A Distant Music - Incarnatus 1 for chorus and organ

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Forming part of the A Distant Music anthology, Incarnatus 1 is the first collection of 17 choral works by Australian composers, themed upon the seasons of Advent, Christmas, and Epiphany.

An exciting addition to choir libraries around the world, Incarntus 1 contains settings written by a diverse range of Australian composers: from Dulcie Holland, choir favourite William James, to Keren Terpstra, Daniel Riley, and Huw Belling. Alongside masterful arrangements by Roland Peelman, contributors from earlier volumes of A Distant Music — Peter Campbell, David Drury, Owen Elsley, Michael Leighton Jones, and Brooke Shelley — make a welcome return.

The 101-page volume contains:
Adam lay ybounden - Dulcie Holland
Away in a manger - David Drury
Carol of the Birds - W.G. James, arr. Roland Peelman
Coventry Carol - arr. Daniel Riley
A Cradle Hymn - Philip Carmody
The holly and the ivy - arr. Anthony Hunt
In Advent heat - Peter Campbell
Joseph and Mary - David Swale
A lady that was so fair and bright - Owen Elsley
Little Lamb - David Banney
Little Stars - Jonathan Zwartz, arr. Roland Peelman
Lullaby - Keren Terpstra
Lullay my liking - Patrick Baker
Magpie Morning - Vaughan McAlley
Nativity - Brooke Shelley
Now have good day - Michael Leighton Jones
Videntes stellam magi - Huw Belling

Visit https://adistantmusic.com.au for more information.

Pipeaux 1934 transcribed for Organ by Simon Niemiński

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Inspired by the burgeoning educational movement for pipe playing, Louise Hanson-Dyer's L’Oiseau Lyre publishing company issued its first set of pieces by French contemporary composers, Pipeaux 1934. Niemiński comments, "the original Pipeaux 1934 contained seven short and delightful musical bonbons, comprising a range of technical challenges; compare, for example, the diatonic and rhythmically simple melodic lines of Milhaud with the chromatic and sinuous ones of Martelli. Transcribing it has added some specific challenges for the organist and I hope, therefore, that this set of transcriptions reflects the spirit of the original, and that it will appeal to organists from student to professional."

I. Exercise Musical (Darius Milhaud)
II. Pipe in D major (Albert Roussel)
III. Pastoral (Jacques Ibert)
IV. Scherzo (Georges Auric)
V. Villanelle (Francis Poulenc)
VI. Pas redouble (Pierre-Octave Ferroud)
VII. 3 Mélodies pour pipeau (Henri Martelli)

Three Concert Studies Op. 7, for piano

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Though known nowadays for his considerable corpus of church music, Harold Darke’s earlier years saw a proliferation of compositions for many and varied forces, a result of his fruitful study at the Royal College of Music.

Written towards the end of 1908, these virtuosic Three Concert Studies stand as happy advocates of the Post-Romanticism then in vogue.

This edition marks their first publication and contains a brief background on the work’s composition as well as a full list of editorial changes. These Three Concert Studies certainly deserve to be more widely known and enjoyed.

Phantasie for piano and orchestra in A minor Op. 11, full orchestral score (A4 spiral-bound)

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Though known nowadays for his considerable corpus of church music, Harold Darke’s earlier years saw a proliferation of compositions for many and varied forces, a result of his fruitful study at the Royal College of Music. The Phantasie was completed in 1910 but not premiered until 1914, and is a rare example of a single-movement British concertante work for piano and orchestra.

This edition marks its first publication and contains a brief background on the work’s composition as well as a full list of editorial changes. 96 pages.

Orchestra
2 Flutes
2 Oboes
2 Clarinets in B-flat
2 Bassoons
4 Horns in F
2 Trumpets in F
3 Trombones
Tuba
Timpani
Pianoforte solo
Strings

Phantasie for piano and orchestra in A minor Op. 11, two-piano rehearsal score (A4 spiral-bound)

Sample 1
Though known nowadays for his considerable corpus of church music, Harold Darke’s earlier years saw a proliferation of compositions for many and varied forces, a result of his fruitful study at the Royal College of Music. The Phantasie was completed in 1910 but not premiered until 1914, and is a rare example of a single-movement British concertante work for piano and orchestra.

This edition marks its first publication. Two-piano rehearsal score. 46 pages.

Phantasie for piano and orchestra in A minor Op. 11, orchestral parts

Includes
2 x Flutes I/II
2 x Oboes I/II
2 x Clarinets in B-flat I/II
2 x Bassoons I/II
4 x Horns in F I/II
2 x Trumpets in F I/II
3 x Trombones
1 x Tuba
1 x Timpani (3 drums)
6 x Violin I
6 x Violin II
5 x Viola
5 x Violoncello
4 x Double Bass

Six Characteristic Pieces Op. 13, for piano

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Though known nowadays for his considerable corpus of church music, Harold Darke’s earlier years saw a proliferation of compositions for many and varied forces, a result of his fruitful study at the Royal College of Music.

These charming Six Characteristic Pieces were written in 1910 as Christmas presents for the Calkin family, with whom he had developed a close friendship. They are an important waymarker in the development of twentieth century British piano music.

This edition marks their first publication and contains a brief background on the work’s composition as well as a full list of editorial changes.

Fancies Op. 18, for piano

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Though known nowadays for his considerable corpus of church music, Harold Darke’s earlier years saw a proliferation of compositions for many and varied forces, a result of his fruitful study at the Royal College of Music.

Written as a belated 21st birthday present for Loïs Calkin (a close family friend of Darke), these five pieces were penned in 1915 and sparkle with the ingenuity and joyful creativity that permeates Darke’s other works of the period.

This edition marks their first publication and contains a brief background on the work’s composition as well as a full list of editorial changes.

Adam lay ybounden for SATB choir

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A perky new interpretation of an old favourite; Drury's setting is firmly in the accessible modern-school.

Advent Prose for SATB choir

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I wrote this to be sung as the Introit (at Mass or Eucharist) for each of the four Sundays in Advent i.e Antiphon – verse – Antiphon.

If the piece is sung as a whole for a Carols Service or in concert, then ignore the ‘Repeat Antiphon' indication after verses 1-3 and sing through as written. Each Antiphon could be a different dynamic.

The chant should flow in a fluid Gregorian style with direction and due regard for important syllables. Rests at the end of lines should be relaxed according to the natural length of the acoustics of the building.
-David Drury

Ave Verum Corpus I for SATB choir

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Ave Verum Corpus II for SATB choir

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Ave Verum Corpus I & II for SATB choir

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Also available separately.

A Parish Eucharist for voice and organ - organ score

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A charming setting of the Eucharist for parish congregational use.

A Parish Eucharist - congregational part for voice and organ

1

Silent Night for SATB choir

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A beautiful alternative to the well-known settings of this Christmas favourite.

By the waters of Babylon for baritone solo and SATB choir

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This piece was written the night before an Evensong for the Choir of Christ Church St Laurence, Sydney.

The baritone solo should be expressive and fluid, with due care for the text. The final note of each solo verse should be held and the choral refrain can begin whilst the note is fading.

The Little Drummer Boy for SATB choir and piano

Magnificat and Nunc dimittis for SATB choir and organ

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This setting of the Magnificat and Nunc dimittis was written for a Royal Schools of Church Music Day Course, held at Christ Church St Laurence, Sydney on 24th June, 1989.

Mass in Honour of St Mary MacKillop for SATB choir and organ

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Commissioned by Thomas Wilson for the Choir of St Mary's Cathedral, Sydney, to celebrate the canonisation of Mary MacKillop.

This setting utilises the new 2008 ICEL translation of the original Latin.

O little town of Bethlehem for SATB choir and organ

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This beautiful arrangement of Ralph Vaughan Williams' treatment of an traditional English tune is given a harmonic makeover with a descant in the last verse.

What child is this? for unison voices and organ or piano

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A warm and gentle setting of this well-known text by William Chatterton Dix.

Quatre Pièces Op. 19, for piano

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Initially composed as incidental music at the request of a friend, Dupré's Quatre Pièces contains the original piano solo version of the Cortège et Litanie, along with three other works featuring a range of styles.

I. Étude
II. Cortège et Litanie
III. Chanson
IV. Air de Ballet

Ballade Op. 30, for piano and organ

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Written in 1932, this was Dupré's first published work for Piano and Organ. Dedicated to Dupré's daughter, Marguerite, father and daughter performed it all over France, as well as in England and Brussels.

Poème Heroïque Op. 33, arranged for organ

Poème Heroïque Op. 33, for 3 trumpets, 3 trombones, organ and drum

Variations on Two Themes Op. 35, for piano and organ

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Written in 1937, Dupré's pianiste daughter, Marguerite made her American début with it in that same year. The work is dedicated to Alexander Glazunov.

Sinfonia Op. 42, for piano and organ

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Written in 1946 and dedicated to his daughter Marguerite, this is Duprés third and final original work for the forces of piano and organ.

Paraphrase on "Te Deum" Op. 43, for organ

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Quartet Op. 52, for string trio and organ

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This work dates from 1958 and is the only instrumental quartet Dupré wrote. Its sections are:

I. Preludio
II. Scherzando
III. Larghetto
IV. Rondo

Trio Op. 55, for violin, cello and organ

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This work dates from 1960 and is dedicated to Louis Chacaton, assistant director of the Paris Conservatoire. Its sections are:

I. Allego
II. Adagio
III. Finale

Sonata Op. 60, for cello and organ

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Written in 1964, this was the last non-organ solo work composed by Dupré. Dedicated to Paul Bazelaire, a colleague at the Paris Conservatoire, the work comprises:

I. Allegro marcato
II. Allegro moderato
III. Allegro ma non troppo

Souvenir Op. 65bis, for organ or harmonium

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This charming little work was written for the funeral of a Dupré family friend and our edition includes a detailed history of the work. We are grateful for permission granted from Marcel Dupré’s descendents for permission to make this work available to the general public.

Offertoire "Il est né, le divin Enfant" for organ

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The origins of Marcel Dupré’s Offertoire “Il est né, le divin Enfant” lie in a gift from father to daughter. Marguerite (1909-63), a very capable pianist, married in 1948 and moved with her husband to Cheviré-le-Rouge, near Angers. The church there had, according to Marguerite, “a poor organ and no organist”. She agreed to undertake the role, and in anticipation of playing for the Midnight Mass of Christmas in that same year, she asked her father to write a short offertoire in the style of Daquin. Marcel Dupré kindly arranged to have a small organ relocated from their residence in Meudon and the registration instructions in the score match the specification of this instrument. Our edition includes the specification of the Louis Bonn organ as well as minor editorial commentary.

We are grateful for permission granted from Marcel Dupré’s descendents for permission to make this work available to the general public.

Résonances for organ and orchestra (study score)

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Marcel Dupré’s Résonances represents his final foray into the world of music for organ and orchestra. Cast in a single movement, it was completed in 1943 but only received its première performance in 2019. Résonances is also remarkable as it documents the first appearances of themes which Dupré would use in two later works - his Psaume XVIII Op. 47 and Quartet Op. 52.

This edition includes a comprehensive Foreword and Critical Report prepared by Tobias A. Frank. Performance parts and conductor’s score are available for hire from the publisher, and Dupré’s own version for piano and organ is available for sale.

Résonances for organ and piano (orchestral reduction)

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Marcel Dupré’s Résonances represents his final foray into the world of music for organ and orchestra. Cast in a single movement, it was completed in 1943 but only received its première performance in 2019. Résonances is also remarkable as it documents the first appearances of themes which Dupré would use in two later works - his Psaume XVIII Op. 47 and Quartet Op. 52.

This edition is the composer's own reduction for organ and piano, and includes a comprehensive Foreword and Critical Report prepared by Tobias A. Frank.

Polonia Op. 76, transcribed for organ by Simon Niemiński

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Elgar’s orchestral showpiece Polonia, conceived as musical tribute to the war-weary people of Poland is given renewed vigour in this brilliant arrangement by Simon Niemiński.

The Pianists Hardly Spoil Me With Too Much Attention

Harold Fabrikant's ground-breaking monograph on the complete piano works of Charles-Marie Widor. Drawing on material uncovered during the editing of Widor's complete works for piano, Harold Fabrikant brings to light many long-forgotten masterpieces. A must for anyone interested in finding out more about this master of many disciplines.

O salutaris, FWV55/CFF207 for 2 sopranos or tenors and organ

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First published in 1863, this charming duet in honour of the Blessed Sacrament gently dovetails the two vocal parts before they converge at the close of the work.

Tantum ergo FWV58/CFF208 for baritone solo, SATB choir and organ

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First published in 1865, this work is third in the set of Salut contenant trois motets avec accompagnement d'orgue. The choir provides support and decoration throughout the second verse.

String Quartet in E-flat major Op. 55, for 2 violins, viola and cello

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Not much is known of the performance history of this work, though its dedication to the Kneisel Quartet indicates that Henschel held them in high esteem. Cast in the traditional four-movement structure, the Quartet looks back unashamedly to the Romantic period and would not be out of place in a programme containing any of Brahms' Quartets.

Includes full score plus set of parts.

Communion Service in C (original version) Op. 65, for SATB soloists and SSAATTBB chorus

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This delightful unaccompanied setting of the communion service (including Credo, Responses to the Commandments and an O salutaris, to come after the Benedictus) was written for the Choir of All Saints', Margaret Street, London and originally published in 1918 by Bailey & Ferguson. It follows the BCP order of the rite, however we have also produced an edition, without Credo and Responses, to fit the Roman rite. Our new edition includes numerous corrections and would make a splendid addition to any service.

Communion Service in C (Roman rite version) Op. 65, for SATB soloists and SSAATTBB chorus

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This delightful unaccompanied setting of the communion service was written for the Choir of All Saints', Margaret Street, London and originally published in 1918 by Bailey & Ferguson. This version has been created to fit the Roman rite (Credo and Responses to the Commandments removed). Our new edition includes numerous corrections and would make a splendid addition to any service.

Missa ad octo voces inæquales Op. 65[bis], for SATB soloists and SSAATTBB chorus

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Our source for the present edition of his Missa ad octo voces inæquales, Op. 65 is that issued in 1920 by the London firm of Bayley & Ferguson. This was not the work’s first outing, however. In 1918, Bailey & Ferguson published a setting of this mass in English (Communion Service: Mass in C, for Eight Voices a Cappella, Op. 65, also published by Crescendo Music Publications), with movements ordered according to the Prayer Book. Perhaps to allow the work a larger audience, Henschel slightly modified the music to fit the Latin syllabification and reordered the movements, but essentially the work is as it was two years earlier.

Our edition includes a full list of editorial changes and corrections. Also available is a version which omits the Credo, for churches where it is sung congregationally.

Missa ad octo voces inæquales, without Credo Op. 65[bis], for SATB soloists and SSAATTBB choir

Sample 1
Our source for the present edition of his Missa ad octo voces inæquales, Op. 65 is that issued in 1920 by the London firm of Bayley & Ferguson. This was not the work’s first outing, however. In 1918, Bailey & Ferguson published a setting of this mass in English (Communion Service: Mass in C, for Eight Voices a Cappella, Op. 65, also published by Crescendo Music Publications), with movements ordered according to the Prayer Book. Perhaps to allow the work a larger audience, Henschel slightly modified the music to fit the Latin syllabification and reordered the movements, but essentially the work is as it was two years earlier.

Our edition includes a full list of editorial changes and corrections. Also available is a version which includes the Credo.

There were Shepherds Op. 66, for SSAATTBB choir

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Henschel's There were Shepherds is a gorgeously intimate setting of the well-known text of Luke 2: 8-14 and would equally be at home in a carol service or Christmas concert.

O salutaris Hostia, from Missa ad octo voces inæquales for SATB choir

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Henschel’s O salutaris Hostia was originally issued as an appendix to his Missa ad octo voces inæquales, Op. 65 originally published in 1920 by the London firm of Bayley & Ferguson. This was not the work’s first outing, however. In 1918, Bailey & Ferguson published a setting of this mass in English (Communion Service: Mass in C, for Eight Voices a Cappella, Op. 65), where it was also published as an appendix. The only difference between the 1918 and 1920 editions is the bass underlay in bars 9-10; we have reproduced the later version here.

Tantum ergo for SATTBB choir and organ

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First published c1923, this charming, grand, almost operatic motet is one of Henschel's few works for choral forces.

O salutaris Hostia and Tantum ergo for SATTBB choir and organ

Sample 1
Henschel’s O salutaris Hostia was originally issued as an appendix to his Missa ad octo voces inæquales, Op. 65 originally published in 1920 by the London firm of Bayley & Ferguson. This was not the work’s first outing, however. In 1918, Bailey & Ferguson published a setting of this mass in English (Communion Service: Mass in C, for Eight Voices a Cappella, Op. 65), where it was also published as an appendix. The only difference between the 1918 and 1920 editions is the bass underlay in bars 9-10; we have reproduced the later version here.

The Tantum ergo was written in 1923 as a stand-alone work and first published by the London firm of Augener Ltd in that same year; the manuscript is housed in the British Library.

Pater noster for SSA choir

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Sir George Henschel’s setting of the Pater noster (Our Father), was first published in 1913. The dedicatee, Sophie Weisse (1852–1945), was founder of Northlands, an all-girls school in Surrey, England. As well as George Henschel, Weisse counted many people of note among her circle of friends, including violinist Joseph Joachim, flautist Louis Fleury, and ’cellist Pablo Casals. She was the first to observe Donald Tovey’s aptitude for music and took it upon herself to manage his education, all the way to Balliol College, Oxford.

Prelude on a Hymn of All Saints' for organ

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This Prelude, dedicated to Walter S. Vale, director of music at the London church of All Saints', Margaret Street, though firmly in the style of the baroque, is based on the hymn tune St Catherine's Court, usually sung to the words "In our day of thanksgiving...". The editors have also included a version for two players, where the second player plays the tune alone. Our edition is based on that published by Augener Ltd, in 1921 and contains two small corrections to the original.

Piano Concerto in D full orchestral score (A4 spiral-bound)

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It has been said that had he not died so tragically young, William Hurlstone (1876–1906) would likely have gone on to become one of Britain’s most celebrated composers of the twentieth century.

His Piano Concerto in D, premiered in 1895, is a product of his time at the Royal College of Music. Well-constructed and full of joyous vigour, it is hoped that this first edition goes some way to reigniting interest in the work of a composer whose works have been largely neglected.

Our edition contains a full history of the work, public reaction and a comprehensive analysis of sources, as well as an editorial commentary. 172 pages.

Orchestra
2 Flutes
2 Oboes
2 Clarinets in A
2 Bassoons
2 Horns in F
2 Trumpets in F
Timpani
Pianoforte solo
Strings

Sonata in F minor for piano

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Never performed publicly by the composer during his lifetime, William Hurlstone’s brilliantly conceived and worked-out Piano Sonata is a tour-de-force for the performer, and should rightfully take its place among the great piano sonatas of the post-Romantic period. Composed early in his student life at the Royal College of Music, it represents the fruit of his childhood studies of the great composers, before the influence of the College had time to develop.

This edition, prepared by Daniel Mitterdorfer and Harold Fabrikant, marks its first publication and includes detailed notes on its conception, as well as a list of corrections made in preparing the edition.

Piano Concerto in D two-piano rehearsal score (A4 spiral-bound)

Sample 1
It has been said that had he not died so tragically young, William Hurlstone (1876–1906) would likely have gone on to become one of Britain’s most celebrated composers of the twentieth century.

His Piano Concerto in D, premiered in 1895, is a product of his time at the Royal College of Music. Well-constructed and full of joyous vigour, it is hoped that this first edition goes some way to reigniting interest in the work of a composer whose works have been largely neglected.

Our edition contains a full history of the work, public reaction and a comprehensive analysis of sources, as well as an editorial commentary. 66 pages.

Piano Concerto in D orchestral parts

Includes
2 x Flutes I/II
2 x Oboes I/II
2 x Clarinets in A I/II
2 x Bassoons I/II
2 x Horns in F I/II
2 x Trumpets in F I/II
1 x Timpani (2 drums)
6 x Violin I
6 x Violin II
5 x Viola
5 x Violoncello
4 x Double Bass

Behold! A Rose is Growing Op. 2, for SS choir, alto saxophone and organ

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This work was composed for Karen Carey (formerly the Director of Music of MLC School, Burwood, NSW). This carol was sung on several occasions by the MLC Chamber Choir at their annual Advent Carol Services at St Paul's Anglican Church, Burwood, NSW. The saxophone part is entirely optional- it has mostly been performed using an organ clarinet stop. The work has also been recorded for compact disc by The Cathedral Singers and broadcast several times on the radio.

Psalm 122 for SSAA choir

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This work was composed for Karen Carey (formerly the Director of Music of MLC School, Burwood, NSW). Its was planned to be part of the MLC Chamber Choir's repertoire for their then upcoming USA Tour in September/October 2013. The work was premiered at the tour group's bon voyage concert at St Paul's Anglican Church, Burwood, NSW and subsequently performed a few times in the US. The composer intended to expand the relatively small sacred repertory for equal voices in English.

Three Modern Organ Voluntaries for organ

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The composer has always had a strong appreciation for the English Baroque organ and it’s repertoire. He has visited a number of notable extant historic organs in the United Kingdom such as the one at St Mary’s Rotherhithe, and for a number of years was organist at St Peter’s, Watsons Bay (New South Wales), which houses Australia’s oldest organ from 1796.

In preparation for the composition of these current modern voluntaries, he imagined what might happen if he took three of the more common compositional forms from the 18th century repertoire as his inspiration for some new works in a modern idiom.

8 Last Verse Arrangements for organ, with optional descants

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These tastefully crafted 8 Last Verse Arrangements (4 with descants) showcase the finely-honed accompanimental skills of one of Australia's finest liturgical organists. For descants, the descant and melody are placed on a single page, with the hymn words, which can be photocopied for the choir.
Included in this volume are:
- Converse
- Doncaster
- Gerontius (with descant)
- Jackson
- Northampton (in A-flat and G)
- Rockingham (with descant)
- Victory (with descant)
- Was lebet, was schwebet (with descant)

Missa Sine Nomine for voice and organ

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Based on the penultimate line from Ralph Vaughan Williams' hymn tune Sine Nomine, this congregational mass setting is in use in many parishes in Australia.
The composer writes, "This setting was originally sketched on ruled lines, on pieces of scrap paper, during a St James' Church, King Street choir camp at Illaroo Farm (near Nowra) in 1992, in the absence of any manuscript paper so far from civilisation.

Missa Sine Nomine - congregational part for voice and organ (10-pack)

Based on the penultimate line from Ralph Vaughan Williams' hymn tune Sine Nomine, this congregational mass setting is in use in many parishes in Australia.
The composer writes, "This setting was originally sketched on ruled lines, on pieces of scrap paper, during a St James' Church, King Street choir camp at Illaroo Farm (near Nowra) in 1992, in the absence of any manuscript paper so far from civilisation.

Zweite Sonate für Harmonium Op. 46, transcribed for org

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In its original incarnation, Karg-Elert's Second Sonata for Harmonium was recognised as a key work for the instrument, proportions almost Everestian. Graham Barber's wonderful transcription for organ is a virtuosic showpiece that guarantees to thrill audiences both seasoned and new.

A recording of this transcription played by Graham Barber on the 86-stop Link/Gaida organ of St. Paul’s Evangelical Church, Ulm is available from Fugue State Records (FSRCD016).

Elegy for String Orchestra transcribed for organ by Simon Niemiński

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Commemorations of the First World War have drawn attention to many forgotten masterworks, and this is one of them. Written in memory of his great friend and war-poet, Rupert Brooke, Niemiński has given it happy new vigour, in his transcription for organ.

Fête for organ

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Langlais, a student of Marcel Dupré, wrote this exciting showpiece in 1946. It is a single movement tour-de-fource for the organist.

'A Closer Walk with God' for SATB chorus and organ

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Michael Leighton Jones has cleverly expanded on the last of Sir Charles Villiers Stanford's 6 Hymns, originally published in 1910. Judicious use of lush harmonies elevates Stanford's work even further. This is a fitting tribute to honour the centenary of Stanford's death.

Anthem for the Feast of the Holy Trinity for SSA Semi-Chorus, Double Choir and Organ

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To mark the 150th anniversary of the founding of Trinity College, University of Melbourne, the College's former Director of Music Michael Leighton Jones has created a spellbindingly beautiful work of art. Using the Gregorian office hymn O lux beata Trinitas as the bones of his work, around which Leighton Jones has brilliantly set the words of British-Australian poet Katherine Firth. The work was first performed in its original version (solo sextet SSATBarB; SATB semi chorus, SATB chorus and organ) at the commemorative Evensong held in St Paul's Cathedral, Melbourne on 22 May, 2022. Please contact the composer via https://www.mljmusic.org if you wish to purchase the original version.

Five Irish Folk Songs for SSAA choir

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Written for Chis Watson and the Choir of Trinity College, Melbourne, these fine settings augment the familiar tunes with changes in form. They have been recorded by the Choir of Trinity College under the direction of Christopher Watson on Walking on Waves (ACIS; 194-660-710-178).
I. Salley Gardens
II. Believe me, if all those endearing young charms
III. She moved through the fair
IV. The Minstrel Boy
V. Molly Malone

For the Fallen for SSAATTBB choir

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This effective setting of the poetry of Laurence Binyon cleverly conveys the sacrifice and sadness of war. The sensitive treatment of the text is the star here, with brilliant and moving passages carefully contrasting the more solemn moments.

Gallipoli for SATB choir, organ

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Gallipoli is a touching setting of words attributed to Mustafa Kemal Atatürk (1881-1938), dedicated to the composer's grandfather Eric Leighton Jones and his cousin, Harvey Ireson Jones, who fought at Gallipoli.

A Marian Sequence for unaccompanied chorus

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I. Ave Maria (SSAATTBB)
II. Ave Regina cælorum (SATB divisi)
III. Alma Redemptoris Mater (SSAA)
IV. Ave maris stella (SATB divisi)
V. Regina cæli lætare (SATB)
VI. Salve Regina (SATB divisi)

Michael Leighton Jones has created a brilliant sequence of six Marian works that take their lead from their plainsong counterparts. These wonderfully reflective and carefully-crafted motets take the practice of fauxbourdon in new directions, with free harmonic invention linking old to new in a beautifully warm soundworld.

Motets may be performed individually on feast days or within the appropriate liturgical season, or the whole sequence can make an effective frame for a concert programme.

Preces and Responses for SSAATTBB choir

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Dedicated to Michael Fulcher and the Choir of Trinity College, The University of Melbourne, this energetic and thoughtful setting would make a welcome addition to any service of Matins or Evensong.

Remembrance for SATB choir, optional trumpet, organ

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Remembrance was commissioned by the Brisbane Concert Choir for ‘Remember them all’, a special concert staged in the centenary year of the Armistice in Brisbane Australia on Anzac Day 25th April 2018.

Léon Boëllmann: Un vie/A life

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The life and work of Léon Boëllmann is now almost forgotten, save for his Suite Gothique, a mainstay of organ recital programs the world over. Léon Boëllmann: Une vie | A life offers a near-contemporary account of his full and varied life, written by journalist Paul Locard. Coupled with a parallel English translation, this volume is an indispensable guide for those wishing to acquaint themselves with a composer who, had he not died so tragically young, would doubtless would have gone on to even greater heights.

A list of works, collated by Daniel Mitterdorfer, is provided as an appendix.

Two Communion Hymns for SATB choir and organ

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I. O salutaris
II. Tantum ergo

One-time organist at Westminster Abbey and inaugural director of what is now the Royal School of Church Music, Sir Sydney Hugo Nicholson wrote a number of liturgical works and hymn tunes. The present edition is based on that issued by The Faith Press in 1930, and includes a handful of corrections.

Toccata: One and Free : a celebration for organ

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The composer writes...
This piece is a toccata on two Australian national tunes: Advance Australia Fair and Waltzing Matilda. Because I moved to Sydney after several years living in Scotland and because Burns Night is the day before Australia Day, there is also one brief reference to a Robert Burns song, near the end of the piece, played on the Tuba: “...That Man to Man the warld o’er...” (from A man’s a Man for A’ That) the sentiment of which is very much in harmony with the concept of “one and free”.

With apologies to any performers attempting to play this on manual compasses of 58 notes or fewer; please feel free to work out your own solutions if top A sharp and B are unavailable to you. A registration scheme is given, to be varied according to taste and instrument. A performance by me using these registrations is available on YouTube, played at Holy Trinity Cathedral, Auckland.

Crossing the Bar for SATB choir

Coventry Carol for SATB choir and organ

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Coventry Carol was arranged for the Choir of Trinity College, Melbourne as part of their 2015 carols services on December 4, 5 and 6. It has since been recorded for CD (Beneath the Incense Tree, APL17427) as part of the College’s centenary celebrations for the consecration of the Horsfall Chapel in 2017, with current Director of Music Chris Watson conducting.

The well-known text is sourced from mystery plays celebrating the Feast of Corpus Christi, for which the traditional melody and harmonisation can be found in a 1591 edition published by Thomas Mawdycke. Here, the source material becomes increasingly unstable as the Massacre of the Innocents approaches, resulting in an apocalyptic climax. A barren and desolate epilogue follows, as foretold by Jeremiah 31:15. (“She refuses to be comforted, for they are no more.”)

The Lord's Prayer for SATB choir

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Daniel Riley's calmly meditative, through-composed setting of The Lord's Prayer finds its ideal home in the service of Evensong, though would be equally at home in a program of unaccompanied sacred music.

Magnificat and Nunc dimittis 'Fauxbourdons' for SATB choir

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Daniel Riley's 'Fauxbourdons' evening service continues in the tradition established by the great composers of the Tudor period. Demonstrating a fresh approach to the practice, this accessible work is finding a regular place on music lists.

Nativitie for SATB choir and organ

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Nativitie (2016) was composed for the Choir of Trinity College, Melbourne for inclusion in their 2016 carols services on December 2 and 3. The première performances were conducted by Acting Director of Music Sam Allchurch, with Gillian McNaughton accompanying. It has since been recorded for CD (Beneath the Incense Tree, APL17427) as part of the College’s centenary celebrations for the consecration of the Horsfall Chapel in 2017, with current Director of Music Chris Watson conducting.

The text is taken from John Donne’s sonnet cycle on the gospel narrative of Christ, for which Nativitie is the third in sequence.

Congregational Mass for voice and organ or piano

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This versatile and approachable congregational setting of the Mass is by Australian composer and church musician Sharon Sandstrom.

A New Commandment for SSAATTBB choir

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Commissioned by Christopher Watson and the Choir of Trinity College, University of Melbourne, Shelley has brilliantly set the first antiphon text for the Washing of the Feet on Maundy Thursday, with additional material provided by The Rev'd Dr Ivan Head.

Ave maris stella for SATB choir

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This fresh setting of the ancient Marian hymn is approachable and as rewarding to sing as it is to listen to!

Before the ending of the day for SSAATTBB choir

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A mesmeric, macaronic setting of the Compline hymn Te lucis ante terminum, commissioned for the Choir of Trinity College, University of Melbourne.

The Brisbane Canticles for SATB choir

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Commissioned for the choir of St John's Cathedral, Brisbane, Sydney composer Brooke Shelley has created beautiful and accessible settings of the Evensong canticles and responses that are sure to be taken up by church choirs the world over.

The Brisbane Responses for SATB choir

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Commissioned for the choir of St John's Cathedral, Brisbane, Sydney composer Brooke Shelley has created beautiful and accessible settings of the Evensong canticles and responses that are sure to be taken up by church choirs the world over.

Emendemus in melius for SSAATTBB choir

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Shelley's setting of the Matins Responsory for Lent 1 was written for a group of singer-friends. It is based on Pierre de Manchicourt’s setting of the same text, and though taking its stylistic lead from Manchicourt, Shelley very cleverly infuses her own harmonic and rhythmic language into a new and brilliant creation.

Heavenly Father for SSAATTBB choir

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Heavenly Father was commissioned by Sydney Chamber Choir for a concert in 2022 which featured Heinrich Schütz’s Musikalische Exequien. Melodic lines from Schütz’s work are used throughout Heavenly Father: the first soprano melody in the opening chorus at ‘Herr Gott Vater in Himmel’ is featured at the beginning and repeated throughout, as are the melodies, for example, at ‘Also hat Gott die Welt geliebt’, and at ‘seinem verklärten Leibe’, among other places.

In a conversation about what this commission would be, it was agreed that the sense of the work would be about the circle of life expressed in Musikalische Exequien rather than about death itself. It is because of this ‘sense’ that the end of Heavenly Father is reversed, illustrating a musical circle: the lower voices sing the ‘Herr Gott Vater in Himmel’ phrase backwards, and the upper voices sing the melodies backwards that were sung by the lower voices at the beginning.

Magnificat and Nunc dimittis in E-flat for SSAATTBB choir

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This double choir Evensong setting was the result of a commission by by Prof. Doug Jones AO and Prof. Janet Walker for the Choir of St James’, King Street, Sydney. The upper four voices and lower four voices are often treated as distinct choirs alternate with glorious polyphonic interplay between all eight parts, with the text sung in both Latin and English. The work was premiered on 27 June, 2021 by the Choir of St James' Church, King Street.

Messe sans Regretz for SSSATBarBB choir

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Messe sans Regretz is based on the parody mass Missa Mille Regretz of Cristóbal de Morales. It was written for specific singers in the Choir of St Jamesʼ Church, King Street, Sydney, Australia in 1997.

Messe sans Regretz for SSAATTBB choir

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Messe sans Regretz is based on the parody mass Missa Mille Regretz of Cristóbal de Morales. The SSSATBarBB version (also available) was written for specific singers in the Choir of St Jamesʼ Church, King Street, Sydney, Australia in 1997.

Missa Ænigmata for SSAATTBB choir

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The theme from Elgar's Enigma Variations provided the inspiration for this birthday commission.

Nativity for SSAATTBB choir

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Australian poet James McAuley's visceral text is joined here in perfect marriage with Brooke Shelley's imaginative and shapely setting. The work was commissioned by St James’ Church, King Street, Sydney for the concert Gul Gul Dja Mardji: Long is the Journey, 9 December, 2017. A performance by the commissioning choir can be viewed here: https://www.youtube.com/watch?v=7g_rycU_Pfk

There is also an arrangement of the work for SSATBB choirs, also published by Crescendo Music Publications.

Nativity arranged for SSATBB choir

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Australian poet James McAuley's visceral text is joined here in perfect marriage with Brooke Shelley's imaginative and shapely setting. The original 8-part version of the work was commissioned by St James’ Church, King Street, Sydney for the concert Gul Gul Dja Mardji: Long is the Journey, 9 December, 2017. The present SSATBB arrangement was made for the Castalia Vocal Consort. A performance of the original version can be viewed here: https://www.youtube.com/watch?v=7g_rycU_Pfk

Nowell: Now make we joy for SSATBarB choir

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This charming and ebullient carol setting will bring a smile to both choir and audience alike! It was written for a Christmas concert given by Australian vocal ensemble Sydney Antiphony.

Praise the Lord for SSAATTBB choir

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This joyous anthem, setting Psalm 147: 1, 7 was commissioned by Associate Professor Michael Horsburgh AM, for the occasion of his 80th birthday.

Stetit angelus for SSSA voices

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This compact, mesmeric work sets the offertory text for the Feast of St Michael and All Angels. Check it out here: https://www.youtube.com/watch?v=M1rFo6_qETU

Tanquam sydus matutinum for SSAATTBB choir

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Commissioned by Christopher and Nicola Lock for the St James’s Church, King Street Organ Replacement & Restoration Appeal in November 2019, this is a beautifully radiant introit, with text taken from a liturgical book of processions, dating from about 1526.

Shelly explains: "The format for the plainchant is such that there is a response, a verse, and repetitions of the response. I haven’t replicated the format in my work, instead setting it as one ‘run-through’ of the text in a full choral setting. I’ve also set it in a way that the ending doesn’t sound final. This is deliberate because as an Introit, it is an introduction to the liturgy, and I want the piece to ‘lead in’ to the rest of the liturgy."

Viri Galilæi for SATB chorus and organ

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In her setting of the introit for the Feast of the Ascension, Shelley makes clever use of the original plainsong melody, dispersing and expanding upon it through both the choir and organ parts. Viri Galilæi was commissioned by the Choir of Christ Church St Laurence, Sydney, in loving memory of former chorister Alma-Mary McFarland.

The St Laurence Service for unison voice and organ

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Commissioned by the music foundation of Sydney's Christ Church St Laurence for their Dedication Festival in 2020, this clever unison setting utilises fragments of chant from the Alleluia to be sung on the Feast of St Laurence, as its melodic basis. Driving rhythms contrast effectively with more serene sections, all the while supported by an imaginative organ accompaniment. Aside from plainchant, the work also displays influences of minimalism, Balinese gamelan and Guillaume Dufay.

A recording is available here: https://www.youtube.com/watch?v=kFgIdSRpOJs

The Blue Bird arranged for organ by John Keene

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This well-known part-song makes a welcome reappearance in an arrangement for organ by John Keene. The arrangement has preserved the lushness of the original and the work is sure to find favour by inclusion in a recital.

St Patrick's Breastplate for SATB choir and organ

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This is the original version of Stanford's well-known setting of the ancient Irish hymn. It can be used in conjunction with the augmented arrangement, also published by Crescendo.

St Patrick's Breastplate for SATB choir, organ, 2 trumpets, 3 trombones, side drum and cymbals

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Stanford's well-known setting of the hymn is published here in the composer's augmented arrangement, with the addition of two trumpets, three trombones, side drum and cymbals. The addition of these instruments give the work an even grander air.

This arrangement can be used with the 1912 Stainer & Bell (or Crescendo's own) choir & organ score, and includes a full score and set of parts.

Mass in Commemoration of all the Faithful Departed for SSAATTBB choir

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Born in 1875, Walter Sidney Vale served as Director of Music at the church of All Saints', Margaret Street, London, from 1907 until 1939. Though written in 1908, his Mass in Commemoration of all the Faithful Departed was not published until 1937, when it was issued by The Faith Press, though another source give Boosey & Hawkes as the publishers, and it is on this edition that ours is based. The Sequence Dies irae, dies illa has been included in our edition; after the final bar of the Tract, the source indicates ‘Here follows the Sequence “Day of Wrath” sung to the proper Plainsong'. The Gregorian chant section at the end of the Libera me, Domine is here reproduced in the chant notation given in the Liber Usualis, rather than following the modern notation in the source.

In preparing our edition, a number of corrections were made.

Tantum ergo Op. 2, for SATB choir and organ

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Deux pièces Op. 6, for oboe and piano

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Though known nowadays mostly as a composer of music for the church, Louis Vierne was also an active composer of works in many other forms, and for varied forces. The charming miniatures that make up Louis Vierne’s Deux pièces date from his first creative period. Vierne’s skill at exploiting the tonal palette of each instrument shows off both to great effect. This edition marks their first publication.

Ave Maria Op. 3, for SATB choir and organ

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Ave verum Op. 15, for soprano (or tenor) and organ

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Maestoso in C sharp minor Op. 16/1, arr. for organ solo by Alexander Schreiner

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Messe Solennelle en Ut# mineur Op. 16, for SATB choir and two organs

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Louis Vierne was born in Poitiers in 1870 and died in Paris in 1937. His Messe Solennelle en Ut# mineur Op. 16 was composed in 1899, one year after his Première Symphonie, Op. 14 for organ. Although originally published in 1900 by Pérégally et Parvy fils (now Leduc), it was not premièred until December 8, 1901, at the Parisian church of St-Sulpice with Vierne himself playing the Orgue de Choeur, and Charles-Marie Widor playing the Grand Orgue.

Arrangements of the accompaniment exist for orchestra and for string quartet with trumpets.

This present edition corrects the many typographical errors present in the first edition.

Messe Solennelle en Ut# mineur Op. 16, full orchestral score (A3 spiral-bound)

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Vierne's Messe Solennelle en Ut# mineur Op. 16 was composed in 1899, one year after his Première Symphonie, Op. 14 for organ. Although originally published in 1900, it was not premièred until December 8, 1901, at the Parisian church of St-Sulpice with Vierne himself playing the Orgue de Choeur, and Charles-Marie Widor playing the Grand Orgue. It is not known when the work was orchestrated, however arrangements of the accompaniment also exist in the original version for two organs, and for string quartet with trumpets.

Our source is an undated manuscript full score in an unknown hand (possibly that of Vierne’s biographer, Bernard Gavoty), housed in the Bibliothèque nationale de France. Numerous corrections have been made in our edition and a full list of these is given in the preface. Please contact us if you'd prefer to hire rather than purchase the full orchestral score/parts.

Messe Solennelle en Ut# mineur Op. 16, orchestra (parts)

For use with full score.

Includes:
2 x Flutes I/II
1 x Flute III/Piccolo
2 x Oboes I/II
1 x Cor Anglais
2 x Clarinets in A I/II
1 x Bass Clarinet in A
2 x Bassoons I/II
2 x French Horns I/II
2 x French Horns III/IV
2 x Trumpets in C I/II
2 x Cornets in A I/II
2 x Trombones I/II
2 x Trombone III/Tuba
1 x Timpani
3 x Percussion (requires minimum 2 players)
2 x Harp
5 x Violin I
5 x Violin II
5 x Viola
4 x Violoncello
3 x Double Bass

Extra copies available by request.

Messe solennelle en Ut# mineur Op. 16, choir score

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For use with full orchestral version.

Messe Solennelle en Ut# mineur Op. 16, full orchestral study score (A4)

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Vierne's Messe Solennelle en Ut# mineur Op. 16 was composed in 1899, one year after his Première Symphonie, Op. 14 for organ. Although originally published in 1900, it was not premièred until December 8, 1901, at the Parisian church of St-Sulpice with Vierne himself playing the Orgue de Choeur, and Charles-Marie Widor playing the Grand Orgue. It is not known when the work was orchestrated, however arrangements of the accompaniment also exist in the original version for two organs, and for string quartet with trumpets.

Our source is an undated manuscript full score in an unknown hand (possibly that of Vierne’s biographer, Bernard Gavoty), housed in the Bibliothèque nationale de France. Numerous corrections have been made in our edition and a full list of these is given in the preface.

COMPLETE SET: Complete Works for Piano, 7 volumes for piano

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Those who purchase the complete 7-volume edition before 31 December 2020 will also receive a complementary copy of Harold Fabrikant’s superb 78-page monograph, The Pianists Hardly Spoil Me With Too Much Attention, a study of Widor’s complete piano works.

Crescendo Music Publications is excited to announce the release of their 7-volume edition of Charles-Marie Widor’s Complete Works for Piano. Preeminent authority on Widor’s life and work, Prof. John R. Near gives an overview of this groundbreaking edition:
 
Today, Charles-Marie Widor (1844–1937) is well established as one of the greatest organist-composers of the Romantic era. Musicological research in recent decades, however, has revealed that his career was not at all confined to the famous organ gallery of his Paris church, but that most of his artistic work had simply fallen out of currency as all except organists increasingly forgot him. Indeed, his place in the mainstream of French music is now finally being recognized again. Performances and recordings of his considerable œuvre reveal a musician of remarkable gifts and inspiration. In addition to his ten seminal organ symphonies, his orchestral symphonies, concertos, piano music, chamber music, art songs, choral works, operas, and a ballet—once considered “one of the glories of French art”—made his name renowned among musicians and audiences alike. After the organ works, Widor’s considerable body of solo piano music holds the largest place in his catalogue. While the organ music has never been eclipsed, the piano music has, alas, been the most inaccessible—thus completely neglected. It is of the happiest consequence that it has now been given the attention it so richly deserves in the new critical edition by editors Daniel Mitterdorfer and Harold Fabrikant.

To create this first edition of Widor’s Complete Works for Piano, the editors have had to surmount difficulties of near epic proportions. His compositions for piano are interspersed throughout his œuvre with relative consistency; the earliest published work appeared in 1867 and the final original composition in 1910, when he neared the end of his active career as a composer. With a paucity of scores still in print, the editors had to scour libraries throughout the world to find what they hope are all the versions of each work. This is a tenuous expectation, considering Widor’s lifelong penchant to fastidiously revise and republish his music time and time again. There are sometimes four or five versions of the same work—versions that can only be determined as being different after note-by-note comparison of various prints; and then comes the thorny task of placing them in chronological order. Also, later collections of non-sequential opus numbers were assembled, usually after revision, in a seemingly haphazard manner, and issued under one cover. These were certainly intended to bring various works to the attention of “the pianists [who] hardly spoil me with too much attention, ”as Widor lamented to French pianist Isidor Philipp.

From Saint-Saëns to Stravinsky, Fauré to Ravel, Debussy to Poulenc—darlings of melomaniac society hostesses—all frequented their Paris salons and partook of the celebrity afforded by this subcultural part of the city’s musical life, thus benefiting from publicity that furthered their careers. The who’s who of French music were invited to perform, and each frequently offered up his latest composition. Widor, too, was among the regulars of the salon, and judging by the bevy of nobly-titled dedicatees on his scores—a Chevalier, Marquise, Baron, Baroness, Count, Countess, Princess, and even a Queen—many of his works were clearly composed for salon consumption, such as Six morceaux de salon or any one of several suites of character pieces variously containing a nocturne, waltz, mazurka, sicilienne, rêverie, sérénade, or the like.

Alongside these, Widor also composed integral works of serious concert intent; the editors point to the five-movement Suite polonaise, the four-movement Suite in B minor, and the twelve-movement Carnaval, to which might be added the Prélude, andante, et final, and the six-movement Suite écossaise. That Widor’s contemporaries—pianists of the ilk of Francis Planté, Louis Diémer, and Isidor Philipp—often performed his music, speaks tellingly of its appeal, and suggests that today’s pianists will assuredly find treasures among Widor’s piano works that they will want to add to their repertoires. Planté described Widor as “an exquisite pianist of the most limpid purity,” and his writing for piano is elegantly idiomatic.

The first six volumes of the new edition contain, in ascending order, thirty-one opus numbers, and volume seven contains seventeen miscellaneous pieces to which Widor assigned no opus number. Special mention needs to be made of volume four, the piano reduction of his great ballet, La Korrigane: Introduction and thirty pieces; the storyline and stage directions are interspersed throughout the score in the original French and with English translation. Also included in the volume are two waltzes that Widor excerpted from the ballet and revised for inclusion in a later collection of his numerous waltzes.

The Editorial Commentary in each volume is replete with information regarding the sources, known history, editor’s insights, and corrections and changes for each composition. The engraving is immaculate and beautifully laid out, with each softcover volume finished in durable limpsewn binding. This monumental edition superbly brings Widor’s heretofore largely inaccessible and forgotten piano repertoire to light, demonstrating by the quantity and quality of his output that as a piano composer in the Romantic era, Widor must not be overlooked. Now that this important body of piano literature is readily available for the first time, no serious pianist should be without it and every music library should have it in its catalogue. 
 
John R. Near
Professor Emeritus of Music, Principia College
Author of Widor: A Life beyond the Toccata
Widor on Organ Performance Practice and Technique

Complete Works for Piano Volume 1 for piano

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Though known nowadays for his groundbreaking cycle of ten organ symphonies, Widor wrote a considerable amount of music for the piano. Many years of careful and studious work by the editors has culminated in this new edition, bringing together Widor’s piano works for the first time.

Volume 1 contains:
Foreword
Editorial Commentary
Variations de concert sur un thème original, Op. 1
Variations sur un thème original, Op. 29
Pages intimes: six pensées musicales, Op. 2
I. Nocturne (later version)
III. Rêverie
IV. Sicilienne
V. Mazurka
VI. Scherzettino
Airs de ballet, Op. 4A (first version)
Airs de ballet, Op. 4B (final version)
Scherzo-Valse, Op. 5 (first version)
Scherzo-Valse, Op. 5 (final version)
Deux Suites/Fantaisies italiennes, Op. 6
I. La barque (final version)
II. Le cabriolet / Le Corricolo
Appendix: I. La barque (first version)
Caprice, Op. 9
Sérénade, Op. 10

Complete Works for Piano Volume 2 for piano

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Though known nowadays for his groundbreaking cycle of ten organ symphonies, Widor wrote a considerable amount of music for the piano. Many years of careful and studious work by the editors has culminated in this new edition, bringing together Widor’s piano works for the first time.

Volume 2 contains:
Foreword
Editorial Commentary
Trois valses, Op. 11
Introduction
I. Première valse (final version)
Intermezzo
II. Valse Laendler (final version)
III. Valse caprice (final version)
Appendix: I. (first version)
Appendix: II. (first version)
Impromptu, Op. 12
Cantabile, Op. 13, No. 4 (arranged for piano solo)
6 Morceaux de salon, Op. 15
I. Scherzando
II. Allegro cantabile
III. Andantino
IV. Allegretto
V. Moderato
VI. Vivace (final version)
Appendix: VI. Vivace (first version)
Prélude, andante et final, Op. 17
I. Prélude
II. Andante
III. Final
Scènes de bal, Op. 20
I. Fanfare
II. Entrée de la reine (final version)
III. Prélude d’orchestre
IV. Clair de lune
V. Chanson
VI. Malesch?
VII. Le bal
VIII. Souvenir
Appendix: II. Entrée de la reine (first version)

Complete Works for Piano Volume 3 for piano

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Though known nowadays for his groundbreaking cycle of ten organ symphonies, Widor wrote a considerable amount of music for the piano. Many years of careful and studious work by the editors has culminated in this new edition, bringing together Widor’s piano works for the first time.

Volume 3 contains:
Foreword
Editorial Commentary
[6] Valses caractéristiques, Op. 26A (first version)
I.
II.
III.
IV.
V.
VI.
[6] Valses caractéristiques, Op. 26B (final version)
I. 1e Rhapsodie-Valse
II. Valse romance
III. Valse rêverie
IV. Valse slave
V. Valse élégante
VI. 2e Rhapsodie-Valse
12 Feuillets d’Album Op. 31
I. Lilas
II. Papillons bleus (final version)
III. Chanson matinale
IV. Drame
V. Nuit sereine
VI. Valse noble (final version)
VII. Solitude
VIII. Bruits d’ailes
IX. Pensée
X. Ciel gris (final version)
XI. Marche américaine
XII. Myosotis (final version)
Appendix: II. Papillons bleus (first version)
Appendix: VI. Valse lente (first version)
Appendix: X. Ciel gris (first version)
Appendix: XII. Myosotis (first version)
[Cinq valses], Op. 33
I. Neuilly-Valse
II. Valse flamande
III. Valse tzigane
IV. Valse chantante
V. Valse légère
Chanson du Chasseur [arranged for piano solo from the mélodie Le chasseur songe dans les bois, Op. 37, No. 5]
Conte d’Automne [arranged for piano solo from the second movement of
Symphonie V pour orgue, Op. 42, No. 1]
Toccata [transcribed from Symphonie V pour orgue, Op. 42, No. 1]
Dans les bois, Op. 44
I. Par monts et par vaux
II. Feuilles mortes
III. Chanson du ruisseau
IV. Grillons et sauterelles
V. Au soir

Complete Works for Piano Volume 4 for piano

Sample 1
Though known nowadays for his groundbreaking cycle of ten organ symphonies, Widor wrote a considerable amount of music for the piano. Many years of careful and studious work by the editors has culminated in this new edition, bringing together Widor’s piano works for the first time.

Volume 4 contains:
Foreword
Editorial Commentary
La Korrigane, ballet fantastique en deux actes, Op. 45, pour piano
1er Acte
Introduction
I. Le ‘bal’ (danse bretonne)
II. Entrée de Paskou
III. Entrée de Yvonnette
IV. Déclaration de Paskou
V. Le premier coup de vêpres (entrée de Lilèz)
VI. Lilèz et Yvonnette
VII. Entrée de la reine des korrigans (à 4 mains)
VIII. Sortie des vêpres
IX. La fête du pardon (La lutte au bâton)
X. Le prix du bouquet (Lutte des sauteurs)
XI. La Sabotière
XII. Adagio
XIII. La contredanse bretonne
XIV. La lutte des danseuses (La valseuse)
XV. La gavotte
XVI. La gigue bretonne
XVII. Marche et Presto
XVIII. Final (le rendez-vous)

2me Acte — La Lande des Korrigans
XIX. Les voix mystérieuses
XX. Scherzo
XXI. Scène des phalènes
XXII. Entrée des paysans ivres
XXIII. Le cauchemar de Paskou
XXIV. Les fées korriganes
XXV. La revanche d’Yvonnette
XXVI. Valse et galop fantastiques
XXVII. Lilèz chez les korrigans
XXVIII. L’épreuve (valse lente)
XIX. Reprise de la gigue bretonne
XXX. Le chapelet

Appendix I
VII. Entrée de la reine des korrigans (à 2 mains, transc. par Harold Fabrikant)

Appendix II
Scénario de La Korrigane programme (French and English)

2 Valses de La Korrigane, Op. 45[c], pour piano
I. Valse de l’épreuve
II. Yvonette-Valse

Complete Works for Piano Volume 5 for piano

Sample 1
Though known nowadays for his groundbreaking cycle of ten organ symphonies, Widor wrote a considerable amount of music for the piano. Many years of careful and studious work by the editors has culminated in this new edition, bringing together Widor’s piano works for the first time.

Volume 5 contains:
Foreword
Editorial Commentary
Pages intimes, Op. 48
I. Romance
II. Agitato
III. Valse légère
IV. Crépuscule
V. Novelette
VI. Mazurka
Suite polonaise, Op. 51
I. Polonaise
II. Scherzo
III. Romance
IV. Volkslied
V. Final
Ronde de nuit, from Maître Ambros, Op. 56
Suite in B minor, Op. 58
I. [Moderato assai (Theme and Variations)]
II. Scherzo
III. Recordare
IV. Final
Carnaval, Op. 61
I. Timbales et trompettes
II. Flirt
III. Bal masqué
IV. Rosita
V. Entrée turque
VI. Zanetto
VII. Viennoise
VIII. Entrée polonaise
IX. Hongroise
X. Bohémienne
XI. Francesca
XII. Final (revised version)
Appendix: XII. Final (original version)

Complete Works for Piano Volume 6 for piano

Sample 1
Though known nowadays for his groundbreaking cycle of ten organ symphonies, Widor wrote a considerable amount of music for the piano. Many years of careful and studious work by the editors has culminated in this new edition, bringing together Widor’s piano works for the first time.

Volume 6 contains:
Foreword
Editorial Commentary
Conte d’avril, Op. 64
I. Ouverture
II. La rencontre des amants
III. Sérénade illyrienne (Entr’acte)
IV. Aubade
V. Mélodrame
VI. Agitato
VII. (Suite de l’Entr’acte)
VIII.
IX. Scherzo-Entr’acte
X.
XI.
XII.
XIII. Mélodrame
XIV.
XV. Pizzicato
XVI.
XVII. Marche nuptiale
XVIII. Nocturne
XIX. Mélodrame
[Cinq pièces], Op. 71
I. Valse gaie
II. Valse triste
III. Kermesse carillonnante
IV. Valse oubliée
V. Après la Fête (later version)
Appendix: V. Après la Fête (earlier version)
Suite écossaise, Op. 78
I. Sur la falaise
II. Chevauchée matinale
III. Spleen
IV. Roses d’avril
V. Nuit d’hiver
VI. Marche écossaise (final version)
Appendix: VI. Marche écossaise (first version)

Complete Works for Piano Volume 7 for piano

Sample 1
Though known nowadays for his groundbreaking cycle of ten organ symphonies, Widor wrote a considerable amount of music for the piano. Many years of careful and studious work by the editors has culminated in this new edition, bringing together Widor’s piano works for the first time.

Volume 7 contains:
Foreword
Editorial Commentary
Marche gauloise (1885)
Gaillarde (1888)
Air en style ancien (1891)
revised as Pastorale Louis XV (1905, 1912)
Prélude (1892)
revised as Pièce en style ancien (1896)
Feuillet d’album (1894) «Hommes»
Mélodie / Feuillet d’album (1894) «Femmes»
Marche française (1894)
Mélodrame, from Le capitaine Loys (1900)
En route
reconstructed final version (1904 or later)
reconstructed original version (1904)
Marche de Noël (1905), from Les pêcheurs de Saint-Jean (1905)
Fugue [sur le nom d’Haydn] (1909)
Pavane guerrière (1911), from Jeanne d’Arc (1890)
Improm[p]tu (n.d.)
[Fantaisie en la majeur] (n.d.)
[Intermezzo] (n.d.)

Variations sur un Thème original Op. 1/29, for piano

Sample 1
Most likely Widor's Op. 1 (published without opus number), it was first published in 1867 and revised in 1876 and given a new opus number. This volume presents both works with editorial commentary and corrections.

Pages intimes, movements 3-6 Op. 2, for piano

Sample 1
Charles-Marie Widor's Pages intimes, six pensées musicales [Intimate Pages, six musical thoughts] pour piano, Op. 2, was first published in 1867 by the Parisian firm of Heugel & Cie, bearing the plate numbers H. 4647 (1) - H. 4652 (6). Unfortunately, the source for our edition - the copy held in the Bibliothèque nationale de France (BnF) - is incomplete, the first two pieces in the set having somehow become separated from the remainder of the work, classified as “missing” by the library. The two missing pieces are I. Nocturne and II. Valse. Widor heavily revised the fifth piece from his Op. 2, Mazurka, for inclusion as the sixth in his Pages intimes Op. 48, published c.1891. We cannot be sure if either of the missing pieces were also revised and reissued elsewhere as we have no source edition. Should these movements surface in the future (the BnF holding the only known copy), we will revise our edition and issue the complete set of pieces.

Fingering is reproduced (except where noted below) from the source. English subtitles are the work of the editors, and in preparing this edition, a number of corrections and editorial markings were made

Airs de Ballet Op. 4, for piano

Sample 1
This charming work was first published in 1868, when Widor was just 24 years of age. Fresh and bursting with enthusiasm, the work was very popular when published, with no less than three subsequent editions being released, along with a simplified version and a piano four-hands version.
This edition utilises the 'final' published version as its source, and contains a number of corrections and editorial suggestions.

Scherzo-Valse Op. 5, for piano

Sample 1
Widor's considerable capabilities as both an able pianist and composer is more than evident here in another of his early piano works.

First published in 1877 and revised for the 1903 publication of his second volume of Waltzes, this edition contains both early and final versions of the work.

Deux Fantaisies Italiennes Op. 6, for piano

Sample 1
This charming set of character pieces was first published in 1868.

In 1877, the first work in the set, La barque, was revised slightly and the second work, originally Le cabriolet, was retitled Le Coriccolo and reissued without alteration to the musical text. The title was also changed to Deux Fantaisies Italiennes.

This edition contains the final version of both works, along with the first version of La barque.

O salutaris Op. 8, for voice and organ

Sample 1

Caprice Op. 9, for piano

Sample 1
Dating from 1869, this work was revised by Widor sometime after publication. Unfortunately the changes are almost impossible to interpret so we have decided to offer this work only in an original version.

Sérénade Op. 10, for flute, violin, cello, harmonium and piano

Sample 1

Sérénade Op. 10, arr. for piano

Sample 1

3 Valses Op. 11, for piano

Sample 1
Charles-Marie Widor's Trois Valses Op. 11 pour piano were first published in 1871/2 by the Parisian firm J. Maho, bearing the plate numbers J. 987-1-M through J. 989-3-M., appearing individually as well as in a volume containing all three waltzes. The first of the set was re-arranged no fewer than 9 times for different forces. There is also evidence of an edited reissue of the second of the set (plate numer J. 1938 H.), dating from 1881/82, published by J. Maho. Sometime later, these three were included in Quinze Valses (n.d.), the Première Valse preceded by a newly-composed Introduction. In 1903, the waltzes were revised, the Intermezzo inserted between the Première valse and the Valse Laendler and reissued in 1er Recueil de Valses [1st Collection of Waltzes], published by J. Hamelle (1903). It is not clear as to whether Widor intended to include these new pieces in the final version of Op. 11, but they are incorporated here to complete the work. The 1871/2 versions of nos. 1 and 3 are provided at the rear of this publication as appendices.

Unfortunately, the editors have, to date, been unable to locate the 1871/2 version of No. 2 in the set. Should this come to light at a later date, it will be duly reissued.

Impromptu Op. 12, for piano

Sample 1
This work is yet another one of Widor's "character" pieces, a charming wonder over the keys, in A-B-A form.

Cantabile Op. 13/4, for piano

Sample 1
Widor's first set of organ symphonies (nos. 1-4) was published in a single volume as Opus 13, in 1872. However, some movements were likely to have been written several years before then, mainly as student exercises. Widor would habitually revise his music, especially so the earlier pieces, where there was more room for doubt; in the case of the organ symphonies, this occurred at least four times, from 1887 to 1929. Concerning the fourth organ symphony, it had its first revision in 1887 when Widor added a new, lyrical slow movement entitled Andante cantabile, as the third in a now-expanded 6-movement work. It bears the inscription Dolce with metronome marking crotchet = 54.

Marcel Dupré believed that this ‘new' piece was Widor's transcription of the slow movement from an undated, unpublished piano concerto of his own, perhaps also from his student days. Widor subsequently published his First Piano Concerto, Op. 39 in 1876; a Fantaisie for Piano and Orchestra, Op. 62 in 1889; and a Second Piano Concerto, Op. 77 in 1905.

This present piece, published by Hamelle in 1900 (plate no. J.4527.H), is assumed to be Widor's re-transcription of the organ cantabile of 1887 back to the piano, an interesting cycle in itself. The opening pages follow the organ version closely but a considerable departure occurs in the last page, when some beautiful harmonic progressions appear and the writing changes to suit the special needs of the piano.

6 Morceaux de Salon Op. 15, for piano

Sample 1
Charles-Marie Widor's 6 Morceaux de Salon Op. 15 pour piano were first published in 1872 in two volumes by J. Maho (later succeeded by Hamelle) bearing the plate numbers J.1096. 1M. (Volume 1) and J.1097. 2M. (Volume 2). The sixth work was also published separately, under the title of Valse-Impromptu (15e Valse), and additional arrangements exist for piano-four hands and piano and violin. Dedicated to a member of the French aristocracy, a level of society certainly not alien to Widor, they are representative of the charming salon style of music very much in vogue at that time. The sixth work in the set, originally published as Vivace, was incorporated into Widor's Quinze valses (n.d.), then changed slightly for inclusion in his 1er Recueil de Valses, published by J. Hamelle in 1903, subsequently issued in a reprint edition by Kalmus (n.d.). The present edition incorporates the later version of the Vivace, whilst the original version is contained in the appendix.

Prélude, Andante et Final Op. 17, for piano

Sample 1
First published in 1874, this volume presents this long out of print work with corrections and editorial commentary.

Tantum ergo Op. 18/1, for baritone choir, SATB choir and organ

Sample 1

Regina coeli Op. 18/2, for two baritone choirs, SATB choir and organ

Sample 1

Scènes de Bal Op. 20, for piano

Sample 1
Originally published in 1874 in two volumes, this collection of fantasy pieces shows a wildly different side of Widor's oeuvre. It also includes a revised version of the second movement, along with a list of corrections and editorial commentary.

Trois motets Op. 23, for baritone choir, SATB choir and two organs

Sample 1
I. Psaume LXXXIII
II. Tu es Petrus
III. Surrexit a mortuis

Charles-Marie Widor’s three motets that make up his Op. 23 were first published by J. Hamelle as three separate works, bearing the plate number J.5084.H for nos. 1 and 2, and J.5396.H for no. 3. This places them in 1904 and 1906 respectively, though these works were written long before then, probably in 1876.

Like his Messe, pour deux choeurs et deux orgues Op. 36, the works that make up Op. 23 take advantage of the particularly French tradition of churches having two organs - a grand orgue (grand organ) at the liturgical west end of the building, and an orgue de choeur (choir organ) in the sanctuary, which would be used to accompany the choir. Also placed at Widor’s disposal, and used in both the Messe and the second motet of the set, was the choir of baritones comprising the men of the seminary attached to the church of Saint-Sulpice.

Our edition contains a comprehensive list of corrections made to the score.

Psaume LXXXIII Op. 23/1, for SATB choir and two organs

Sample 1
Charles-Marie Widor's three motets that make up his Op. 23 were first published by J. Hamelle as three separate works, bearing the plate number J.5084.H for nos. 1 and 2, and J.5396.H for no. 3. This places them in 1904 and 1906 respectively, though these works were written long before then, probably in 1876.

Like his Messe pour deux choeurs et deux orgues Op. 36, the works that make up Op. 23 take advantage of the particularly French tradition of churches having two organs - a grand orgue (grand organ) at the liturgical west end of the building, and an orgue de choeur (choir organ) in the sactuary, which would be used to accompany the choir. Also placed at Widor's disposal, and used in both the Messe and the second motet of the set, was the choir of baritones comprising the men of the seminary attached to the church of Saint-Sulpice.

I. Psaume LXXXIII (SATB choir, choir organ, grand organ)

II. Tu es Petrus (baritone choir, SATB choir, choir organ, grand organ)

III. Surrexit a mortuis (SATB choir, choir organ, grand organ)

Tu es Petrus Op. 23/2, for baritone choir, SATB choir and two organs

Sample 1
Charles-Marie Widor's three motets that make up his Op. 23 were first published by J. Hamelle as three separate works, bearing the plate number J.5084.H for nos. 1 and 2, and J.5396.H for no. 3. This places them in 1904 and 1906 respectively, though these works were written long before then, probably in 1876.

Like his Messe pour deux choeurs et deux orgues Op. 36, the works that make up Op. 23 take advantage of the particularly French tradition of churches having two organs - a grand orgue (grand organ) at the liturgical west end of the building, and an orgue de choeur (choir organ) in the sactuary, which would be used to accompany the choir. Also placed at Widor's disposal, and used in both the Messe and the second motet of the set, was the choir of baritones comprising the men of the seminary attached to the church of Saint-Sulpice.

I. Psaume LXXXIII (SATB choir, choir organ, grand organ)

II. Tu es Petrus (baritone choir, SATB choir, choir organ, grand organ)

III. Surrexit a mortuis (SATB choir, choir organ, grand organ)

Surrexit a mortuis Op. 23/3, for SATB choir and two organs

Charles-Marie Widor's three motets that make up his Op. 23 were first published by J. Hamelle as three separate works, bearing the plate number J.5084.H for nos. 1 and 2, and J.5396.H for no. 3. This places them in 1904 and 1906 respectively, though these works were written long before then, probably in 1876.

Like his Messe pour deux choeurs et deux orgues Op. 36, the works that make up Op. 23 take advantage of the particularly French tradition of churches having two organs - a grand orgue (grand organ) at the liturgical west end of the building, and an orgue de choeur (choir organ) in the sactuary, which would be used to accompany the choir. Also placed at Widor's disposal, and used in both the Messe and the second motet of the set, was the choir of baritones comprising the men of the seminary attached to the church of Saint-Sulpice.

I. Psaume LXXXIII (SATB choir, choir organ, grand organ)

II. Tu es Petrus (baritone choir, SATB choir, choir organ, grand organ)

III. Surrexit a mortuis (SATB choir, choir organ, grand organ)

Trois Chœurs Op. 25, for unaccompanied SATB chorus

Sample 1
Long-forgotten, these gorgeous jewels are back in print. Widor has sensitively set works by Marceline Desbordes-Valmore, L. Nigra and Augustine Malvina Blanchecotte. For choirs unfamiliar with singing in French, these choruses provide a useful introduction to the language. English translations and an editorial commentary are provided in the preface, and a keyboard reduction has been added.

6 Valses caracteristiques Op. 26A, for piano

Sample 1
Originally published in 1876 these charming character pieces were substantially revised for inclusion in Widor's 1st Volume of Waltzes in 1903 (Hamelle), however it is the earlier version reissued here. To differentiate it from the later version, we have seen fit to name the earlier version Op. 26A and the latter Op. 26B. A list of corrections and editorial commentary is also included.

6 Valses caracteristiques Op. 26B, for piano

Sample 1
Originally published in 1876 these charming character pieces were substantially revised for inclusion in Widor's 1st Volume of Waltzes in 1903 (Hamelle), this being the source for the version reissued here. To differentiate it from the earlier version, we have seen fit to name the earlier version Op. 26A and the latter Op. 26B. A list of corrections and editorial commentary is also included.

12 Feuillets d'Album Op. 31, for piano

Sample 1
These charming album-leaves are redolent of the salon style that was in vogue when they were composed. Present in our edition are the original versions of all 12 works, alongside revised versions of the second, sixth and tenth pieces. Also, a number of editorial corrections have been made.

5 Valses Op. 33, for piano

Sample 1
Our edition, in the absence of an original edition from 1877, is based on that issued by J. Hamelle within their 2me Recueil de Valses, 1903. They were more than likely extensively revised for their 1903 issue. Should you possess an original of the 1877 edition, the publisher would like to hear from you.

Messe Op. 36, for 2 choirs and 2 organs

Sample 1
Like the Trois motets that constitute his Op. 23, Widor's Messe Op. 36 takes advantage of the particularly French tradition of churches having two organs - a grand orgue (grand organ) at the liturgical west end of the building, and an orgue de choeur (choir organ) in the sanctuary, which would be used to accompany the choir. Also placed at Widor’s disposal, and used in both the Messe and two of the aforementioned motets (and those of the Op. 18 set), was the choir of baritones comprising the men of the seminary attached to the church of St-Sulpice.

Our edition takes the Hamelle edition as its source and provides a great number of corrections and editorial suggestions.

Messe Op. 36, for 2 choirs, 3 trumpets, 3 trombones and 2 organs

Sample 1
It is not known when Widor wrote the additional brass parts for his majestic Messe, however their addition certainly adds a distinct colour to the already grand work. Our edition incorporates the brass parts in a new realisation of the full score. Parts are also available for purchase.

Messe Op. 36, for 2 choirs, 3 trumpets, 3 trombones and 2 organs (brass parts)

It is not known when Widor wrote the additional brass parts for his majestic Messe, however their addition certainly adds a distinct colour to the already grand work. Our parts pack (3 trumpets, 3 trombones) is designed for use with the augmented version, a full score of which is also available for purchase.

Chanson du chasseur Op. 37/5, for piano

Sample 1
Charles-Marie Widor's Chanson du chasseur [Ballad of the Hunter] Op. 37, No. 5, pièce pour piano was first published by J. Hamelle in 1908, bearing the plate number J. 5609 H., and is an arrangement of the fifth of his Six Mélodies Op. 37 from 1877. It is assumed by the editors that the arrangement was made by Widor himself.

In preparing this edition, a number of corrections and editorial markings were made.

Conte d'Automne Op. 42/1, for piano

Sample 1
Widor's Symphonie V pour orgue Op. 42, No. 1 was first published by the Parisian firm of J. Hamelle in 1879, together with Symphonie VI pour orgue Op. 42, No 2. Symphonie V grew to become one of his most popular works. This perhaps influenced him to rework the second movement for piano solo under the title Conte d'Automne, and the fifth movement, the famous Toccata.

Toccata Op. 42/1, for piano

Sample 1
Widor's Symphonie V pour orgue Op. 42, No. 1 was first published by the Parisian firm of J. Hamelle in 1879, together with Symphonie VI pour orgue Op. 42, No 2. Symphonie V grew to become one of his most popular works. This perhaps influenced him to rework the second movement for piano solo under the title Conte d'Automne, and the fifth movement, the famous Toccata.

Our edition contains an editorial commentary plus corrections to errors in the original edition.

Dans les Bois Op. 44, for piano

Sample 1
Charles-Marie Widor's Dans les Bois Op. 44 pour piano was first published by J. Hamelle around 1878, bearing the plate number J. 1455 H. A charming set of character pieces, describing a day in the life of a forest.

La Korrigane Op. 45, for piano

Sample 1
Charles-Marie Widor’s ballet, La Korrigane, with scenario by François Coppée (1842-1908) and choreography by Louis Mérante (1828-87), dedicated to Mr Vaucorbeil, Director of the National Academy of Music, was premièred at the Paris Opéra on 1st December, 1880. It enjoyed immediate and lasting success — Prof J.R. Near, in his excellent book, Widor: A life beyond the Toccata (University of Rochester Press, 2011), mentions 100 performances, still at the Paris Opéra by 1896, all with Rosita Mauri (1856-1923) dancing the principal role of Yvonette. A revival was contemplated in 1933 (Near, p. 160). The source of our edition is that issued by Heugel (plate no. H. 6880, undated but probably around 1880) — a piano reduction: Introduction and 30 pieces, interspersed with a storyline and stage directions in French. To these, we have added an English translation, provided by Dr Harold Fabrikant and others.

The full orchestral score, dated 23 October 1880, unpublished, is housed in the library of the Paris Opéra. An orchestral suite of six pieces was published by Heugel shortly after the piano reduction. Heugel also released a series of seven separate pieces for piano, however these are almost identical to those included in the complete piano reduction. Two of these were revised and retitled by Widor for inclusion in his 2nd Collection of Waltzes as Valse de l’épreuve and Yvonette-Valse respectively (with the 1903 and 1923 editions of the collection identical), also issued by Crescendo Music Publications. Both differ considerably from the Heugel piano reduction (H. 6880), although the general plan is unaltered. As an appendix, we have also provided both the original French text from a copy of an audience programme held in the online Gallica collection at the Bibliothèque nationale de France (A. Lemerre, Paris, 1884), alongside an English translation. A full list of editorial corrections is also given.

La Korrigane, suite for orchestra Op. 45[a], full orchestral study score (A4)

Sample 1
Charles-Marie Widor’s ballet, La Korrigane, was premièred at the Paris Opéra on 1st December, 1880, the scenario by François Coppée (1842-1908) and choreography by Louis Mérante (1828-87). It was dedicated to Mr Vaucorbeil, Director of the National Academy of Music and enjoyed an immediate and lasting success. Prof J.R. Near, in his excellent book, Widor: A life beyond the Toccata (University of Rochester Press, 2011), mentions 100 performances, still at the Paris Opéra by 1896, all with Rosita Mauri (1856-1923) dancing the principal role of Yvonette. A revival was contemplated in 1933 (Near, p. 160). The [a] appended to the opus number is reproduced from Near’s list of Widor’s works (Near, Appendix 2).

The full orchestral score, dated 23 October 1880, unpublished, is housed in the library of the Paris Opéra. Widor created a piano score (Introduction and thirty pieces, interspersed with a storyline and stage directions in French, published 1881), a suite of seven movements for piano solo, extracted and barely modified from the original (Op. 45[b] in Near’s list of works), and an orchestral suite, reissued here. Like the piano score, it was published in 1881 by Heugel (plate no. H. 7043). Widor also revised two piano pieces from the Suite, Op. 45[b], viz. nos. 5 and 7, for his Second Collection of Waltzes, dated 1903, issued in June 2012 by Crescendo Music Publications. Those interested in the stage action supported by this score are directed to our edition of the full piano score, wherein a full synopsis, in both French and English may be found.

In preparing this edition, a number of corrections and editorial markings were made.

La Korrigane, suite for orchestra Op. 45[a], full orchestral score (A3 spiral-bound)

Sample 1
Charles-Marie Widor’s ballet, La Korrigane, was premièred at the Paris Opéra on 1st December, 1880, the scenario by François Coppée (1842-1908) and choreography by Louis Mérante (1828-87). It was dedicated to Mr Vaucorbeil, Director of the National Academy of Music and enjoyed an immediate and lasting success. Prof J.R. Near, in his excellent book, Widor: A life beyond the Toccata (University of Rochester Press, 2011), mentions 100 performances, still at the Paris Opéra by 1896, all with Rosita Mauri (1856-1923) dancing the principal role of Yvonette. A revival was contemplated in 1933 (Near, p. 160). The [a] appended to the opus number is reproduced from Near’s list of Widor’s works (Near, Appendix 2).

The full orchestral score, dated 23 October 1880, unpublished, is housed in the library of the Paris Opéra. Widor created a piano score (Introduction and thirty pieces, interspersed with a storyline and stage directions in French, published 1881), a suite of seven movements for piano solo, extracted and barely modified from the original (Op. 45[b] in Near’s list of works), and an orchestral suite, reissued here. Like the piano score, it was published in 1881 by Heugel (plate no. H. 7043). Widor also revised two piano pieces from the Suite, Op. 45[b], viz. nos. 5 and 7, for his Second Collection of Waltzes, dated 1903, issued in June 2012 by Crescendo Music Publications. Those interested in the stage action supported by this score are directed to our edition of the full piano score, wherein a full synopsis, in both French and English may be found.

In preparing this edition, a number of corrections and editorial markings were made.

La Korrigane, suite for orchestra Op. 45[a], orchestra (parts)

To be used with full score. Includes:
Orchestra:
2 x Flutes I/II (doubling Piccolo)
2 x Oboes I/II
2 x Clarinets in A/B-flat I/II
2 x Bassoons I/II
4 x Horns in E-flat/E/F/G I/II/III/IV
2 x Trumpets in C/E/F I/II
2 x Cornets in A/B-flat I/II
3 x Trombones I/II/III
1 x Ophicleide
1 x Timpani (3 drums)
4 x Percussion (4 players; triangle, side drum, tambourine, cymbals, bass drum)
12 x Violin I
12 x Violin II
8 x Viola
6 x Cello
2 x Double Bass

Additional parts available on request.

Pages intimes Op. 48, for piano

Sample 1
Charles-Marie Widor's Pages intimes, six pièces pour piano Op. 48 pour piano was first published by J. Hamelle around 1890, bearing the plate number J. 3103.1-3108.6.H. Op. 48 however suggests a composition about ten years before then, presumably revised for this publication. In any case, the fifth movement from Six valses Op. 33, Valse légère, was revised and incorporated into the present work as no. 3, the title remaining the same. The source consulted for our edition is that held by the Bibliothèque national de France (Vmg. 2950 (14, I)), and contains hand-written changes which we assume to be Widor's revision (undated) after publication. Many are so indistinct that we are not prepared to issue an uncertain, unapproved “new edition”, and have thus reverted to the source material, except where noted.

Suite Polonaise Op. 51, for piano

Sample 1
Charles-Marie Widor's Suite Polonaise Op. 51 pour piano was first published by J. Hamelle in 1881. It was available as a single volume at moderate cost, but also issued as five separate pieces at a remarkably high price. The plate numbers were J.1877.1.H to J.1881.5.H. The title page listed these pieces as follows:

1. Polonaise
2. Scherzando
3. Romanza
4. Volkslied
5. Appassionato

However, heading each within the score, three movements have a somewhat altered title. A translation is rarely needed here; if so, this is by the editors.

Ronde de nuit, from Maître Ambros Op. 56, for piano

Sample 1
Our source for Charles-Marie Widor’s Ronde de nuit, is that published by Heugel & Cie in 1886, bearing the plate number H. 8207. It is a movement taken from his lyric drama Maître Ambros, Op. 56, dating from the same year. Though the opera had reasonable success at its première, it received few additional performances. The libretto by Coppée and Dorchain (collaborators with Widor on La Korrigane and Conte d’Avril, respectively) is set in the Dutch Republic of 1650 and contains some factual information, but the rest is fantasy, with much drama. In stressing the inspiration from Rembrandt, the source carries a black-and-white reproduction of the painting on its front cover.

Suite Op. 58, for piano

Sample 1
Charles-Marie Widor's Suite en si mineur Op. 58 pour piano was first published by J. Hamelle in 1887. It was available as a single volume at moderate cost, but also issued as three separate volumes. The first and second volumes contained their respective movements only, with the third volume containing the third and fourth movements.

This monumental four-movement work is certainly the pinnacle of Widor's output for piano. The work contains many passages of serious difficulty and is not for the faint-hearted (or fingered) pianist!

Ave Maria Op. 59A, for voice and piano (or harp)

Sample 1
This edition is based on that published by J. Hamelle c.1887 as Widor's Op. 59, bearing the plate number J. 2753 H. The editors have appended A to the opus number, to differentiate it from their publication of Ms 18165, to which they have given Op. 59B (listed below). The score's original cover lists the accompaniment as “avec accompagnement d'Orgue ou de Piano”, however as the writing is so pianistic, and later versions suggest the harp as an alternative to the organ, the editors have decided that the title of our edition should reflect this. In the first music page of the source, the voice line is titled Chant and the accompaniment as Orgue.

Widor also prepared a number of other versions (undated, manuscripts housed in the Bibliothèque nationale de France):
- Ms 18164: a chordal reduction of the accompaniment for organ on two staves.
- Ms 18165: a chordal reduction of the accompaniment for organ on two staves, with registration markings and voice part above (also issued by Crescendo Music Publications as Op. 59B).
- Ms 18166: a version for voice and orchestra.

Ave Maria Op. 59B, for voice and organ

Sample 1
This edition is based on the undated manuscript held by the Bibliothèque nationale de France, Ms 18165.

Widor published a version of this work as his Op. 59 (Hamelle, c.1887, plate number J. 2753 H., also issued by Crescendo Music Publications as Op. 59A to differentiate from this edition) with accompaniment supposedly for organ or piano. He included the work in his collection Quarante-quatre mélodies (44 Melodies) of 1889 (J. Hamelle), where the title states “avec accompagnement d'orgue et de harpe”, with the parts indicating “chant” and “harpe”. The accompaniment in that edition consists of apreggiated semi-quaver notes with a bass part that extends past the compass of an organ keyboard, without a pedal part. The work was also included in the second volume of Widor's Cinquante-quatre mélodies (54 Melodies) of 1907 (1st Edition), and 1926 (2nd Edition). Widor's own copy of the 2nd edition carries changes for a 3rd edition which was never issued. The editors do not know if Ave Maria was modified in the two editions of Cinquante-quatre mélodies.

Two other versions exist in manuscript form at the Bibliothèque nationale de France:

- Ms 18164: a chordal reduction of the accompaniment for organ on two staves.
- Ms 18166: a version for voice and orchestra.

Carnaval Book I (final version) Op. 61, for piano

For our sources in this edition, we have referred to two different editions which nevertheless share the same plate numbers of 1889. The principal source for the edition issued here is that housed in the Bibliothèque nationale de France (Widor's own copy), which contains many coarse marks apparently made by Widor in old age as “final” intention and correction.

Our secondary source is that held by the Nederlandse Omroep Stichting (Netherlands Broadcasting Foundation), available for free on IMSLP here.

The majority of Widor's hand-written changes relate to interpretative issues; all but the least-decipherable of these have been incorporated and are noted in the editorial commentary. For the purposes of comparison, Crescendo Music Publications plans to issue an edition solely based upon the Dutch edition.

Carnaval Book II (final version) Op. 61, for piano

For our sources in this edition, we have referred to two different editions which nevertheless share the same plate numbers of 1889. The principal source for the edition issued here is that housed in the Bibliothèque nationale de France (Widor's own copy), which contains many coarse marks apparently made by Widor in old age as “final” intention and correction.

Our secondary source is that held by the Nederlandse Omroep Stichting (Netherlands Broadcasting Foundation), available for free on IMSLP here.

The majority of Widor's hand-written changes relate to interpretative issues; all but the least-decipherable of these have been incorporated and are noted in the editorial commentary. For the purposes of comparison, Crescendo Music Publications plans to issue an edition solely based upon the Dutch edition.

Fantaisie Op. 62, for two pianos, four hands

Charles-Marie Widor's Fantaisie Op. 62 pour piano et orchestre was first published by Durand in 1889. The première at the Salle Érard was on 23rd February that year; the dedicatee, Isidor Philipp, was soloist. This work became well-known, even popular, for some decades, then disappeared from the repertoire.

The Durand 2-piano edition was not published with both piano parts in the one book, making it very difficult for either pianist to see what the other was playing. In our edition, besides making over fifty corrections to the printed score, we have placed both parts one above the other, as is common practice. It is the editors' belief that the 2-piano reduction was prepared by Widor himself, as no arranger is credited in the source material.

This work has not yet been commercially recorded in the 2--piano version. There are two modern recordings in the piano and orchestra version.

Conte d'Avril Op. 64, full orchestral study score (A4)

Sample 1
August Dorchain’s comedy in four acts, Conte d’Avril, was premièred on 22 September 1885 at the Théâtre de l’Odéon, in Paris, for which Charles-Marie Widor provided a small amount of incidental music. A few years later, Dorchain and the administrators of the theatre asked Widor to
“make a score for orchestra from it. There were scarcely two serenades in the backstage [version], following the text. Conte d’Avril, in the orchestral form was very well received. People have played it often since then. Dorchain’s play, the scenario of which is borrowed from Shakespeare’s Twelfth Night, is presented today on radio programs.”
This revision was completed by 1890, resulting in his Op. 64, from which two orchestral suites, Op. 64 [a], of five pieces (No. 5 common to both) could also be assembled, which became a popular inclusion in orchestral concerts.

A few extracts were made for varying forces, e.g., piano duet; piano trio; violin and piano, etc., and Widor also extracted 8 pieces for concert use on two pianos, Op. 64 [b], playing one part himself in public at least once: with Miss Berthe Max in London (1892) “for the benefit of a relief fund for impoverished foreign artists living in England” (Near, p. 208, from Le Ménestrel, 1892), which was published by Heugel. The complete work was published by Heugel (plate number H. 8690) as a solo piano reduction in 1891 and the full score for orchestra appeared in 1892 (H.9141), the source for our edition. We have also referred to Widor’s own copy of the full score, now held in the Bibliothèque nationale de France (shelfmark VMA-2947) which contains corrections and changes to the printed score, sometimes in thick ink or crayon. Where possible, we have incorporated these into our edition, presenting what we hope is Widor’s final intention regarding the work. Unfortunately, this is not clear. On the title page he wrote “Corrections de 1910 non valables” [Corrections in 1910 are not valid] and on page 170, close to the rear cover, “Corrigé en 1930” [Correct version/Fair copy in 1930]. However, there is no mark in the score to differentiate these. Moreover, a list of eleven page references on page 170 includes eight where no change has been made, whether in 1910 or 1930.

As stated previously, the scenario of Conte d’Avril is loosely based on that of Shakespeare’s Twelfth Night, according to Widor, though in the second edition of the play (1905), Dorchain asserts that his work is ”a new comedy”, and “not an adaptation”, his inspiration coming from “a story by Bandello and two or three Italian farces which furnished Shakespeare with the subject of one of his most capricious comedies”.

In preparing this edition, for the most part, we have added or removed staccato markings (without further comment) in an effort to bring unity to what is at times sporadic in the source material. In addition, a number of corrections and editorial markings were made.

Conte d'Avril Op. 64, full orchestral score (A3 spiral-bound)

Sample 1
August Dorchain’s comedy in four acts, Conte d’Avril, was premièred on 22 September 1885 at the Théâtre de l’Odéon, in Paris, for which Charles-Marie Widor provided a small amount of incidental music. A few years later, Dorchain and the administrators of the theatre asked Widor to
“make a score for orchestra from it. There were scarcely two serenades in the backstage [version], following the text. Conte d’Avril, in the orchestral form was very well received. People have played it often since then. Dorchain’s play, the scenario of which is borrowed from Shakespeare’s Twelfth Night, is presented today on radio programs.”
This revision was completed by 1890, resulting in his Op. 64, from which two orchestral suites, Op. 64 [a], of five pieces (No. 5 common to both) could also be assembled, which became a popular inclusion in orchestral concerts.

A few extracts were made for varying forces, e.g., piano duet; piano trio; violin and piano, etc., and Widor also extracted 8 pieces for concert use on two pianos, Op. 64 [b], playing one part himself in public at least once: with Miss Berthe Max in London (1892) “for the benefit of a relief fund for impoverished foreign artists living in England” (Near, p. 208, from Le Ménestrel, 1892), which was published by Heugel. The complete work was published by Heugel (plate number H. 8690) as a solo piano reduction in 1891 and the full score for orchestra appeared in 1892 (H.9141), the source for our edition. We have also referred to Widor’s own copy of the full score, now held in the Bibliothèque nationale de France (shelfmark VMA-2947) which contains corrections and changes to the printed score, sometimes in thick ink or crayon. Where possible, we have incorporated these into our edition, presenting what we hope is Widor’s final intention regarding the work. Unfortunately, this is not clear. On the title page he wrote “Corrections de 1910 non valables” [Corrections in 1910 are not valid] and on page 170, close to the rear cover, “Corrigé en 1930” [Correct version/Fair copy in 1930]. However, there is no mark in the score to differentiate these. Moreover, a list of eleven page references on page 170 includes eight where no change has been made, whether in 1910 or 1930.

As stated previously, the scenario of Conte d’Avril is loosely based on that of Shakespeare’s Twelfth Night, according to Widor, though in the second edition of the play (1905), Dorchain asserts that his work is ”a new comedy”, and “not an adaptation”, his inspiration coming from “a story by Bandello and two or three Italian farces which furnished Shakespeare with the subject of one of his most capricious comedies”.

In preparing this edition, for the most part, we have added or removed staccato markings (without further comment) in an effort to bring unity to what is at times sporadic in the source material. In addition, a number of corrections and editorial markings were made.

Conte d'Avril Op. 64, orchestra (parts)

To be used with full score. Includes:
Orchestra:
3 x Flutes I/II (doubling Piccolo)/Solo Flute (3 players)
2 x Oboes I/II
2 x Clarinets in A/B-flat I/II
2 x Bassoons I/II
4 x Horns in E-flat/E/F/G I/II/III/IV
2 x Trumpets in E/F I/II
2 x Cornets in B-flat I/II
3 x Trombones I/II/III
1 x Tuba
1 x Timpani (4 drums)
3 x Percussion (3 players; triangle, cymbals, bass drum)
2 x Harp (1 or 2 players)
16 x Violin I
16 x Violin II
10 x Viola
8 x Cello
5 x Double Bass

Additional parts available on request.

Conte d'Avril Op. 64, for piano

Sample 1
August Dorchain’s comedy in four acts, Conte d’Avril was premièred on 22 September 1885 at the Théâtre de l’Odéon, in Paris, for which Charles-Marie Widor provided a small amount of incidental music. A few years later, Dorchain and the administrators of the theatre asked Widor to “make a score for orchestra from it. There were scarcely two serenades in the [original]...version, following the text. Conte d’Avril, in the orchestral form was very well received. People have played it often since then. Dorchain’s play, the scenario of which is borrowed from Shakespeare’s Twelfth Night, is presented today on radio programs.”

This revision was completed by 1890, resulting in his Op. 64, from which two orchestral suites of five pieces (No. 5 common to both) were also derived, which become a popular inclusion in orchestral concerts.

A few extracts were made for varying forces, e.g., piano duet; piano trio; violin and piano, etc., and Widor also extracted 8 pieces for concert use on two pianos, playing one part himself in public at least once: with Miss Berthe Max in London (1892) “for the benefit of a relief fund for impoverished foreign artists living in England” (Near, p. 208, from Le Ménestrel, 1892), which was published by Heugel. The complete work was published by Heugel (plate number H. 8690) as a solo piano reduction in 1891 and the full score for orchestra appeared in 1892 (H.9141).

As stated previously, the scenario of Conte d’Avril is loosely based on that of Shakespeare’s Twelfth Night, though in the second edition of the play (1905), Dorchain asserts that his work is ”a new comedy”, and “not an adaptation”, his inspiration coming from “a story by Bandello and two or three Italian farces which furnished Shakespeare with the subject of one of his most capricious comedies”.

Conte d'Avril - Suite Concertante, Book I Op. 64, for 2 pianos

Sample 1
August Dorchain’s comedy in four acts, Conte d’Avril was premièred on 22 September 1885 at the Théâtre de l’Odéon, in Paris, for which Charles-Marie Widor provided a small amount of incidental music. A few years later, Dorchain and the administrators of the theatre asked Widor to “make a score for orchestra from it. There were scarcely two serenades in the [original]...version, following the text. Conte d’Avril, in the orchestral form was very well received. People have played it often since then. Dorchain’s play, the scenario of which is borrowed from Shakespeare’s Twelfth Night, is presented today on radio programs.”

This revision was completed by 1890, resulting in his Op. 64, from which two orchestral suites of five pieces (No. 5 common to both) were also derived, which become a popular inclusion in orchestral concerts. The complete work was published by Heugel (plate number H. 8690) as a solo piano reduction in 1891 and the full score for orchestra appeared in 1892 (H.9141). A few extracts were made for varying forces, e.g., piano duet; piano trio; violin and piano, etc. Widor also extracted 8 pieces for concert use on two pianos, playing one part himself in public at least once: with Miss Berthe Max in London (1892) “for the benefit of a relief fund for impoverished foreign artists living in England” (Near, p. 208, from Le Ménestrel, 1892), which was published by Heugel in 1891. Issued in two books, the first bore the plate number H. 8834, containing the first four pieces, and the second H. 8840, the final four. It is interesting to note that the two piano parts were issued separately - in different volumes, making it impossible to see what the other pianist was playing. Our edition seeks to remedy that problem, whilst also providing corrections and editorial changes detailed in the introduction.

Conte d'Avril - Suite Concertante, Book II Op. 64, for 2 pianos

Sample 1
August Dorchain’s comedy in four acts, Conte d’Avril was premièred on 22 September 1885 at the Théâtre de l’Odéon, in Paris, for which Charles-Marie Widor provided a small amount of incidental music. A few years later, Dorchain and the administrators of the theatre asked Widor to “make a score for orchestra from it. There were scarcely two serenades in the [original]...version, following the text. Conte d’Avril, in the orchestral form was very well received. People have played it often since then. Dorchain’s play, the scenario of which is borrowed from Shakespeare’s Twelfth Night, is presented today on radio programs.”

This revision was completed by 1890, resulting in his Op. 64, from which two orchestral suites of five pieces (No. 5 common to both) were also derived, which become a popular inclusion in orchestral concerts. The complete work was published by Heugel (plate number H. 8690) as a solo piano reduction in 1891 and the full score for orchestra appeared in 1892 (H.9141). A few extracts were made for varying forces, e.g., piano duet; piano trio; violin and piano, etc. Widor also extracted 8 pieces for concert use on two pianos, playing one part himself in public at least once: with Miss Berthe Max in London (1892) “for the benefit of a relief fund for impoverished foreign artists living in England” (Near, p. 208, from Le Ménestrel, 1892), which was published by Heugel in 1891. Issued in two books, the first bore the plate number H. 8834, containing the first four pieces, and the second H. 8840, the final four. It is interesting to note that the two piano parts were issued separately - in different volumes, making it impossible to see what the other pianist was playing. Our edition seeks to remedy that problem, whilst also providing corrections and editorial changes detailed in the introduction.

Cinq pièces Op. 71, for piano

The method of issue of the first edition of the works which constitute Charles-Marie Widor's [Cinq pièces] pour Piano, Op. 71 is a mystery. It is extremely unlikely that a work would be published without a proper title for the assembled pieces. John R. Near's excellent volume Widor: A Life beyond the Toccata gives the first date of issue as 1903, although the opus listing suggests c.1895. The sources for our edition are those contained in Widor's 2me Recueil de Valses [2nd Collection of Waltzes], issued by J. Hamelle in 1903, and a revised version issued in 1923. As the same plate numbers, covers, etc. were used for both the original and revised versions, it is an almost impossible task to deduce which version is the earlier one and which is later.

Based on a small number of clear improvements to the musical text, the editors believe that a copy stamped “Schott & Co., London”, kindly provided by Mr Phillip Sear, is the later source (viz. 1923). For the most part, this is the one we have used. The earlier source, in the editors' opinion (viz. 1903), is the one held by the Bayerische Staatsbibliothek (Bavarian State Library) in Munich, which is publicly available on the Internet via IMSLP. Short passages in the second movement, which differ, have the Bavarian source as ossia. In the case of the fifth movement, Après la Fête, the editors have supplied the earlier version complete, as an appendix.

Suite écossaise Op. 78, for piano

Charles-Marie Widor's Suite écossaise Op. 78, pour piano was first published by the London firm of Joseph Williams (now Stainer & Bell) in 1905 and was the only work in Widor's oeuvre that was published solely by a British publisher. This edition carried the plate number J. W. 14353. The sixth movement, Marche écossaise was revised and reissued separately in 1930 bearing the plate number J. W. 14353a. The original version of the sixth movement is given here in an appendix.

Most English subtitles are reproduced from the source, and in preparing this edition, a number of corrections and editorial markings were made

2 Waltzes from La Korrigane for piano

Sample 1
In its original form, Charles-Marie Widor's La Korrigane was a “ballet fantastique” in two acts, choreographed by Louis Mérante with a scenario by François Coppée, dating from 1880. The music proved so successful at the time that Widor crafted a six-movement suite for orchestra and a seven-movement piano suite (both issued by Heugel & Cie). A piano reduction (parts of which are for piano duet) of the orchestral score was also issued by Heugel (plate number H. 6880).

These two waltzes are drawn from his 2me Recueil de Valses [2nd Collection of Waltzes], issued by J. Hamelle in 1903, where they appeared by permission of Heugel & Cie, bearing the plate number J. 5021 H.
A revised version of the book was issued by Hamelle in 1923, but these two works were not revised for this edition and are the only inclusions from La Korrigane that appear in the book. Each work was subtitled “Transcription d'Orchestre”, indicating that they are transcribed from the original orchestral ballet score.

In 2me Recueil de Valses, these two transcriptions are placed between the second and third movements of Op. 33, in the order as reproduced here. Performers may however wish to reverse the order, as the piano reduction of the orchestral score places Yvonette-Valse (titled La Lutte des danseuses (La Valseuse) [The Dancers' Contest (The Waltzing Couple)]) as no. 14, and Valse de l'épreuve (titled L'épreuve - Valse-lent [The Ordeal - Slow Waltz]) as no. 28.

Some of the above information was drawn from John Near's excellent book A Life beyond the Toccata (University of Rochester Press, 2011).

Air en style ancien & Pastorale Louis XV for piano

Sample 1
Our source for Charles-Marie Widor's Air en style ancien comes from Piano Soleil, the Sunday musical supplement to Le Soleil, a Parisian newspaper, on 20 December, 1891, pp.193-4. The work was subsequently revised and reissued as Pastorale Louis XV, with a plate number from the publisher Hamelle J.5295.H, giving it a date c. 1905. An incomplete copy of the work, housed in the Bibliothèque nationale de France shows a number of corrections in Widor's hand. The work was subsequently reissued, with these corrections instituted, in Le Gaulois du Dimanche, Nº. 169 from 26 February, 1912. It is on this later edition that ours is based. The editors are grateful to Prof John R Near for providing the sources used in creating our edition.

Ave verum corpus for SATB choir

This work was written for the musical director of St John's College, Hurstpierpoint, Sussex - Mr Horace A. Hawkins (a former student of Widor), who later was to be made Organist and Master of the Choristers at Chichester Cathedral. It was probably first performed by the St John's College choir at a concert given at the Académie des Beaux Arts (Institut de France) on July 11, 1931.

Bach's Memento & Handel's Célèbre Largo (ed. John R Near), for organ

Sample 1
In this new, authoritative volume, Widor expert John R. Near has created the definitive edition of this masterwork. It includes an in-depth Introduction, information on registration and performance practice tips alongside a critical commentary and full list of editorial changes. Also included are Widor's changes made after the original publication of the work. Paired with Bach's Memento is Widor's revised and corrected edition of F. Linden's transcription of the famous Largo from Handel's opera Xerxes. This new volume brings together the inspired art of three great composers—Bach, Handel, Widor.

En Route for piano

Sample 1
Our source for Charles-Marie Widor’s En Route is that issued in Figaro Illustré, November 1904, held in the Bibliothèque national de France (F.S. 300). It was issued as a manuscript, dated 20th August 1904, and bears several crossed-out passages and revisions, made after the work was issued by the paper, making its original form difficult to determine accurately. This has been the only version we have been able to examine. Unfortunately, it still leaves doubt as to his final wish, as some passages are illegible and no fair copy is known to us. Daniel Mitterdorfer reconstructed the ‘original piece’ as well as possible (115 bars) and Harold Fabrikant reconstructed what appears to be its ‘final’ form (112 bars). Most of the text is identical (or much the same) in both, but there are some large differences here and there. In a few passages, neither ‘original’ nor ‘final’ form is clear so that we have been compelled to make our own decision.

"Fantaisie en La majeur" for piano

Sample 1
Our source for the work at hand is an untitled and unfinished 12-page manuscript held in the Bibliothèque nationale de France - Ms 18140. Fantaisie en La majeur is a title created for the work by Harold Fabrikant, who has also provided an ending for the work, utilising earlier material for the most part. It bears stylistic resemblance to the large works penned by Widor in the late 1880s. It seems still to be in full flight when the last bar appears at the end of the 12th sheet, if diminishing in its intensity. On that evidence alone, the work may have been completed by him, but in any case the last page, or pages, are lost. A full editorial commentary is included.

Feuillet d'album for piano

Sample 1
Our source for Charles-Marie Widor's Feuillet d'album [Album leaf], was that published in Piano Soleil [Piano Sun], 12 August, 1894, p. 4. As stated in the work's subtitle, it was a sight-reading piece written for men to play in a piano competition; Widor also wrote a companion piece for women, also issued by Crescendo Music Publications (see Mélodie). It is curious that Widor derived his sight-reading piece for men from his own Valse chantante, Op. 33, No. 4 of 1877. Did he assume that no-one would know Op. 33, 17 years after its appearance? Otherwise, this “new” piece could not be used to examine sight-reading skill. The editors are grateful to Prof John R Near for providing the source for our edition.

Fugue sur le nom d'Haydn for piano

Sample 1
In 1909, Jules Ecorcheville, the founder and editor of the musical review SIM (Société Internationale de Musique), wrote to a number of eminent composers asking for their input into a musical tribute to mark the 100th anniversary of the death of Haydn. Ecorcheville made a 5-note melody from the name HAYDN by extending the alphabet. H was derived from the German scale, viz., B natural.

Of the composers Ecorcheville wrote to, Fauré and Saint-Saëns refused. Six however, accepted - Claude Debussy, Paul Dukas, Reynaldo Hahn, Vincent D’Indy, Maurice Ravel and Charles-Marie Widor. The source for this edition is that which was published in Revue Musicale de la S.I.M. (January, 1910). Minor editorial changes have been made by Harold Fabrikant, which are listed in the preface, plus a few footnotes to the musical text.

Gaillarde for piano

Our source for Charles-Marie Widor's Gaillarde was that published in the book La danse [The Dance], 1888, pp. 85-87. The editors are grateful to Prof John R Near for providing it.

Improm[p]tu for piano

Our source for Charles-Marie Widor's Impromtu (sic) are proof sheets made by the publisher Hamelle and held in the Bibliothèque nationale de France, kindly provided by J. R. Near. It is doubtful that this work was ever released and no date of composition or intended publication is known to us. The source contains a number of handwritten corrections, which we presume to be made by Widor, but there are also some other which he overlooked; all have been incorporated into our score.

Marche de Noël, from Les pêcheurs de Saint-Jean for piano

Sample 1
Our source for Charles-Marie Widor’s Marche de Noël, is that published by Heugel & Cie in 1905, bearing the plate number H & Cie 22,702. It is a movement taken from his opera Les Pêcheurs de Saint-Jean, scènes de la vie maritime en quatre actes, poème de Henri Cain [The Fishermen of St John, scenes from maritime life in four acts, after a poem by Henri Cain]. Widor had been working on the score since before 1895, under the title Les Marins [The Mariners], however by 1903 the title had changed to Les Pêcheurs de Saint-Jean. The première of the completed opera took place on 26 December, 1905, at the Opéra-Comique in Paris, where it was declared a resounding success.

Marche gauloise for piano

Charles-Marie Widor's Marche Gauloise [Gallic March] was first published as number 29 in the Album du Gaulois, pp.120-125, issued in 1885 by Le Gaulois, a Paris-based newspaper publisher. The other works in the album were written by well-known and not so well-known composers of the time.

Marche Française for piano

Charles-Marie Widor's Marche Française [French March] was first published as a supplement to Paris-Piano Nº. 72 in 1894, by the Parisian publisher René Godfroy.

Mélodie for piano

Our source for Charles-Marie Widor's Mélodie, was that published in Le Petit Piano [The Little Piano], Issue 11, 16 September, 1894, p8. As stated in the work's subtitle, it was a sight-reading piece written for women to play in a piano competition; Widor also wrote a companion piece for men, but a copy of this work has not yet come into the possession of the editors. John Near's excellent book A Life beyond the Toccata (University of Rochester Press, 2011) states that work was also issued in Piano Soleil, 19 August, 1894, however the editors are unable to verify this.

Mélodrame for piano

Charles-Marie Widor's Mélodrame, from the heroic comedy Le capitaine Loys was first published in L'Illustration, supplément musical [The Illustration, Musical Supplement], 14 July, 1900, pp109-110. The comedy in five acts and six tableaux, with verse penned by Edouard Noël and Lucien d'Hève, was accompanied by several orchestral numbers written by Widor. It seems the work was completed in 1878, but not performed until 1900, when it was premièred at the Théâtre des Célestins in Lyon. The Bibliothèque nationale de France holds an incomplete piano score (Ms 18130), and this small piano transcription is the only movement that has ever been published.

In preparing this edition, a number of corrections and editorial markings were made.

Ouverture espagnole full orchestral study score (A4)

Sample 1
The Ouverture espagnole is the only extant piece from a five-movement work entitled Suite pittoresque [Colourful or Picturesque Suite], which had its première on 11th April 1893. This occurred in the Palais d’Hiver [Winter Palace], a new concert hall seating 8,000, in the Jardin d’acclimatation [Zoological Gardens] at the northern end of the Bois de Boulogne; the Zoo also functioned as an amusement park and that was presumably the reason for including a concert hall.

It is scored for full orchestra, including brass with cornets, but with no tuba. It was published in 1897 by Heugel, plate number H & Cie 18404, without opus number — this being the source for our edition. In preparing our edition, a number of corrections and editorial markings were also made.

Ouverture espagnole full orchestral score (A3 spiral-bound)

Sample 1
The Ouverture espagnole is the only extant piece from a five-movement work entitled Suite pittoresque [Colourful or Picturesque Suite], which had its première on 11th April 1893. This occurred in the Palais d’Hiver [Winter Palace], a new concert hall seating 8,000, in the Jardin d’acclimatation [Zoological Gardens] at the northern end of the Bois de Boulogne; the Zoo also functioned as an amusement park and that was presumably the reason for including a concert hall.

It is scored for full orchestra, including brass with cornets, but with no tuba. It was published in 1897 by Heugel, plate number H & Cie 18404, without opus number — this being the source for our edition. In preparing our edition, a number of corrections and editorial markings were also made.

Ouverture espagnole orchestra (parts)

To be used with full score. Includes:
Orchestra:
2 x Flutes I/II (doubling Piccolo)
2 x Oboes I/II
2 x Clarinets in A I/II
2 x Bassoons I/II
2 x Horns in E I/II
2 x Horns in F III/IV
2 x Trumpets in E I/II
2 x Cornets in A I/II
3 x Trombones I/II/III
1 x Timpani (3 drums)
2 x Percussion (3 players; triangle, cymbals, bass drum)
12 x Violin I
12 x Violin II
8 x Viola
6 x Cello
2 x Double Bass

Additional parts available on request.

Ouverture portugaise full orchestral score (A3 spiral-bound)

Sample 1
The origin of this ‘destroyed’ work is described by J.R. Near in his comprehensive biography Widor: A Life beyond the Toccata on pp. 33—34, from which the following takes some extracts, then adds more information. The first International Exposition to be held in Porto, Portugal, opened in September 1865, when Widor was 21 years old. The renowned English organ-builder J.W. Walker had provided an organ for the large Porto Concert Hall and asked Cavaillé-Coll to recommend a capable organist who would be prepared to stay there for ‘four or five months’. Widor happily accepted the invitation. His performances, partly improvised, were apparently well received and he was given a knighthood by the Portuguese monarch, Luiz I (1838—89). At age 91 (1935), Widor wrote in his remembrances [Near, p. 33]:
‘My sojourn in Porto brought me another artistic benefit—that of hearing my music performed by an orchestra for the first time. For the end of the exposition, they asked me to compose a grand overture for orchestra and organ. I wrote a very plain work, according to my ability. Even though it was well received, I did justice to it some years later by destroying it.’
However, the Revue et Gazette of 1865 reported [Near, p. 34]:
‘An orchestra of one hundred [and] thirty musicians, directed by a distinguished artist, Mr. Arthur Napoléon, and reinforced by the magnificent organ by Walker of London, has worthily opened this great national festival. We have heard on the organ a piece composed for the occasion and admirably performed by Mr. Vidor [sic], pupil of the celebrated Fétis.’
There is thus uncertainty whether the Overture actually opened or closed the Exposition. The 1865 publication is surely more reliable than the 91-year-old’s memory; but whilst an Overture should ‘open’ an event, Widor’s long stay in Porto would have made it more convenient for him to write it during the visit for ‘the end of the exposition’.
The editors have used two sources in the preparation of this score; a full (probably copyist's) score in the Biblioteca da Ajuda, Portugal and a secondary copy held in the Free Library of Philadelphia. The introduction contains a comprehensive history of the work, along with a full list of corrections and editorial changes.

Ouverture portugaise full orchestral study score (A4)

Sample 1
The origin of this ‘destroyed’ work is described by J.R. Near in his comprehensive biography Widor: A Life beyond the Toccata on pp. 33—34, from which the following takes some extracts, then adds more information. The first International Exposition to be held in Porto, Portugal, opened in September 1865, when Widor was 21 years old. The renowned English organ-builder J.W. Walker had provided an organ for the large Porto Concert Hall and asked Cavaillé-Coll to recommend a capable organist who would be prepared to stay there for ‘four or five months’. Widor happily accepted the invitation. His performances, partly improvised, were apparently well received and he was given a knighthood by the Portuguese monarch, Luiz I (1838—89). At age 91 (1935), Widor wrote in his remembrances [Near, p. 33]:
‘My sojourn in Porto brought me another artistic benefit—that of hearing my music performed by an orchestra for the first time. For the end of the exposition, they asked me to compose a grand overture for orchestra and organ. I wrote a very plain work, according to my ability. Even though it was well received, I did justice to it some years later by destroying it.’
However, the Revue et Gazette of 1865 reported [Near, p. 34]:
‘An orchestra of one hundred [and] thirty musicians, directed by a distinguished artist, Mr. Arthur Napoléon, and reinforced by the magnificent organ by Walker of London, has worthily opened this great national festival. We have heard on the organ a piece composed for the occasion and admirably performed by Mr. Vidor [sic], pupil of the celebrated Fétis.’
There is thus uncertainty whether the Overture actually opened or closed the Exposition. The 1865 publication is surely more reliable than the 91-year-old’s memory; but whilst an Overture should ‘open’ an event, Widor’s long stay in Porto would have made it more convenient for him to write it during the visit for ‘the end of the exposition’.
The editors have used two sources in the preparation of this score; a full (probably copyist's) score in the Biblioteca da Ajuda, Portugal and a secondary copy held in the Free Library of Philadelphia. The introduction contains a comprehensive history of the work, along with a full list of corrections and editorial changes.

Ouverture portugaise orchestra (parts)

To be used with full score. Includes:
Orchestra:
2 x Flutes I/II
2 x Oboes I/II
2 x Clarinets in A I/II
2 x Bassoons I/II
2 x Horns in G I/II
2 x Trumpets in D I/II
3 x Trombones I/II/III
1 x Timpani
Organ
5 x Violin I
5 x Violin II
5 x Viola
4 x Cello
2 x Double Bass

Wind Ensemble:
3 x Clarinets in B-flat I/II
2 x Cornets in A
2 x Horns in D/F I/II
2 x Horns in F III/IV
1 x Ophicleide
2 x Trombones I/II
1 x Tuba

Additional parts available on request.

O salutaris for tenor solo, SATB choir and organ

Sample 1
Our edition of Charles-Marie Widor’s charming setting of the O saluratis for tenor soloist, SATB choir and organ uses a manuscript housed in the Bibliothèque nationale de France (Ms 18172) as its source. We believe it was written sometime between 1884 and 1901, but probably closer to the former year than the latter.

Pavane Guerrière for piano

Our source for Charles-Marie Widor's Pavane Guerrière, was that published by J. Hamelle in 1911, bearing the plate number J. 6358 H., and is a movement taken from his grand pantomime Jeanne d'Arc. The original score of 1890 was printed but never released for sale. From it came a vocal score with piano accompaniment (J. Hamelle, 1891; J. 3171 H.). The present piece is presumably Widor's arrangement, c. 1911. Isidor Philipp adapted another movement, Chant militaire, for piano duet. Chant militaire was also issued in a version for two voices and piano (unknown arranger). All works were issued by Hamelle.

In preparing this edition, a number of corrections and editorial markings were made.

Prélude and Pièce en style ancien for piano

Charles-Marie Widor's Prélude, pour piano was first published in Piano Soleil, Supplément Musical du Soleil du Dimanche [Piano Sun, Sunday Sun Musical Supplement], 29 May, 1892, pp171-172. The work was composed specifically for the musical supplement and was not issued elsewhere. However, the work was revised by Widor and reappeared on Saturday, 20 June, 1896 in a musical supplement to Le Figaro, under the title Pièce en style ancien, with the subtitle “écrite spécialement pour Le Figaro” [written especially for Le Figaro]! Our source for the Pièce en style ancien is that held in the Bibliothèque nationale de France, which contains Widor's undated handwritten changes. Some of these are indistinct and have not been incorporated here, however those that have been are noted in the editorial remarks.

Some of the above information was drawn from John Near's excellent book A Life beyond the Toccata (University of Rochester Press, 2011).

Psaume 112 full orchestral score (A3 spiral-bound)

Sample 1
Scoring:
Sanctuary: 3 Cornets in C, 3 Trombones in C, 2 Harps, SATB choir, Choir Organ, Strings.
Gallery/Organ Tribune: 3 Cornets in C, 3 Trombones in C, Grand Organ.

Widor’s setting of the laudatory Psalm 112 was written especially for the inauguration of the 1878 Fermis 3-manual organ in the Church of Saint-François-Xavier (close to the Hôtel des Invalides). The ceremony occurred on Thursday, 27th February 1879, yet that is the date Widor puts at the end of his score, as if to say it was conceived and written out on the spur of the moment. Particularly notable are the antiphonal effects but with two sets of brass instruments, each of six instruments, the volume of sound in a reverberant building was surely excessive.

Our corrected edition is based on Widor's manuscript and features a full list of errata and changes.

Psaume 112 orchestra (parts)

To be used with full score. Includes:

Sanctuary:
3 x 3 Cornets in C
3 x 3 Trombones in C
1 x Harp I
1 x Harp II
1 x Choir Organ
5 x Violin I
5 x Violin II
5 x Viola
4 x Cello
2 x Double Bass

Gallery/Organ Tribune:
3 x 3 Cornets in C
3 x 3 Trombones in C
1 x Orchestre à la tribune du Grand-Orgue (grand organ score)

Additional parts by request.

Psaume 112 choir score

Sample 1
For use with the full orchestral score materials.

Psaume 112 full orchestral study score (A4)

Sample 1
Scoring:
Sanctuary: 3 Cornets in C, 3 Trombones in C, 2 Harps, SATB choir, Choir Organ, Strings.
Gallery/Organ Tribune: 3 Cornets in C, 3 Trombones in C, Grand Organ.

Widor’s setting of the laudatory Psalm 112 was written especially for the inauguration of the 1878 Fermis 3-manual organ in the Church of Saint-François-Xavier (close to the Hôtel des Invalides). The ceremony occurred on Thursday, 27th February 1879, yet that is the date Widor puts at the end of his score, as if to say it was conceived and written out on the spur of the moment. Particularly notable are the antiphonal effects but with two sets of brass instruments, each of six instruments, the volume of sound in a reverberant building was surely excessive.

Our corrected edition is based on Widor's manuscript and features a full list of errata and changes.

Sérénade Op. 6, for piano

Sample 1
One of the few published works by Charles Widor, father of the far more well-known Charles-Marie Widor.

Exeter Canticles for trebles and organ

Sample 1
A challenging and fresh setting for both organist and choir; the forward momentum and brilliance of the Magnificat contrasts beautifully with the stillness and warm introspection of the Nunc dimittis.

Fauxbourdon Service for SATB choir

Sample 1
Dedicated to Dr Marla Hughes, Woodside's Fauxbourdon Service successfully continues the compositional form established by the Tudors, who in turn built on the old tradition of alternatum.

In the bleak midwinter for trebles, violoncello and piano or organ

Sample 1
Harold Darke and Gustav Holst (alongside many others) have placed the bar high with their settings of Christina Rossetti’s dearly-loved Christmastide poem. Woodside’s past experience, working with trebles in his posts at Westminster Abbey and Wells Cathedral, has clearly informed his writing. This piece would be a welcome addition to any primary school Christmas celebration.

Missa Wellensis for lower voices and organ

Sample 1
Jeremy Woodside's Missa Wellensis dates from 2014, when he was Organ Scholar at Wells Cathedral. Though scored for seemingly 'old-school' forces, Missa Wellensis is a dynamic and forthright setting that exploits the unique sororities and richness of lower voices.

O Lorde, the maker of al thing for trebles and organ

Sample 1
Jeremy Woodside's prayerful setting of words from The King’s Primer, 1545, was written for John Linker and the choristers of ChristChurch Cathedral, NZ. Charming and accessible, this work has been eagerly added to the cathedral choir's repertoire and is sure to find similar affection elsewhere.

O most merciful for SATB choir

Sample 1
This introit, a setting of Reginald Heber's text, is most accessible and effective for choirs of any ability.

Sumer is icumen in: five flower songs for soprano and piano

Sample 1
Jeremy Woodside's dynamic setting of the poetry of Blake, Wordsworth, Shakespeare and Lord Tennyson is anything but reserved. These quirky and charming pieces show real finesse and care at word-setting and the fresh approach is revelatory.

I. The narrow bud opens her beauties to the sun
II. Ah! Sun-flower!
III. When daffodils begin to peer
IV. Now sleeps the Crimson Petal
V. I Wandered Lonely as a Cloud

Tu es Petrus for SATB choir and organ

Sample 1
This exciting work was written for the installation of Peter Hancock as Bishop of Bath and Wells and was premiered on 7 June 2014. It provides a welcome alternative to Duruflé's setting of the same text.

There will be rest for SSA choir and organ

Sample 1
Dedicated to Rosemary Turnbull and the Cecilian Singers, this tender and lush setting of lyric poet Sara Teasdale's poem has a charming aura of mysticism and wonder.

The Turning Wheel for mezzo-soprano and piano

Sample 1
Wonderfully evocative and emotive, Jeremy Woodside's settings of five of Ruth Dallas's beautiful poems brings nature into sharp focus. Weighty and flighty, imaginative and thoughtful, this cyclespans a wide palette of colour, feeling and perspective.

The Wells Service for trebles and organ

Sample 1
Te Deum, Jubilate and Benedictus

Dedicated to Matthew Owens and the choristers of Wells Cathedral, this engaging and approachable setting provides a rare opportunity for these forces to sing the morning canticles without the involvement of other sections.

What heart was that? 5 Dorothy Parker songs for baritone and piano

Sample 1
Woodside's setting of American satirical poet and author Dorothy Parker peers into her world and thoughts and perfectly captures both. Her acid wit and raw truth is mirrored in the sometimes brusque, sometimes reflective writing.

White-note Preludes for piano

Sample 1
These three short pieces were written for children to learn during ‘isolation’ periods throughout the COVID-19 pandemic of 2020. Please email info@crescendomusicpubs.com.au if you wish to purchase a PDF copy (AUD8.00)