'The Telephone' is a one-act 20-minute opera buffa for two singers. The story is that Lucy spends most of her time on the telephone and when Ben her boyfriend visits her intending to propose the telephone keeps ringing interrupting Ben every time he is about to pop the question. Eventually the audience and Ben realize that the telephone is not only Lucy's means of remaining connected to the world but also a defense mechanism. Ben decides to penetrate this shield by leaving the apartment and using a pay phone to get through to her. Once Ben has Lucy's undivided attention he asks her to marry him and she agrees. This is the Schirmer edition of the Vocal Score with aFrench translation by Leon Kochnitzky.

New York magazine calls this award-winning drama about doomed 1920s cave explorer Floyd Collins “The daring and original musical of our day...a powerhouse!” The vocal score by Adam Guettel and Tina Landaufeatures 30 songs from the production including: An' She'd Have Blue Eyes • The Ballad of Floyd Collins • The Call • The Carnival • Daybreak • The Dream • Git Comfortable • How Glory Goes •Is That Remarkable? • Lucky • Time to Go • Trapped • and more.

Although almost unanimously condemned by contemporary Parisian critics for its overt sexuality and graphic final scene Carmen ultimately reached the public in a way that perhaps no other opera has. Bizet's aim (with Meilhac and Halevy who wrote the libretto) had been to transform the flaccid moralistic bourgeois genre of opéra comique into a more sophisticated type of staged work and he seems to have suceeded in Carmen. Each character has a musical significance and a unique expressive idiom the ultimate example being the dangerous exotic sensual Carmen herself depicted by an exotic and sinewy chromatic motive that also implies the insurmountable power of fate. Ina classic plot device she is contrasted with the 'good girl' of the opera Micaela whose main aria is set in the ternary form of the elevated bel canto French Grand Opera aria to imply her traditionally 'ladylike' retiring nature. Don José's musical styles reflect different levels in his descent from dutiful soldier to the underworld of obsession. This is the Schirmer edition of the Vocal Score with an English translation by Ruth and Thomas Martin.

Long neglected and misunderstood 'Cosi Fan Tutte' (Thus Do All Women) emerged from obscurity in the twentieth century and has come to be regarded as among Mozart's finest works. The Libretto is by Lorenzo da Ponte and tells of two friends Ferrando and Guglielmo who wager with Don Alfonso that their lovers Fiordiligi and Dorabella will remain constant in their absence. To prove the point they depart under false pretences and return as 'Albanians' to try to woo the women away. Each of the six characters receives an equally insightful musical portrayal for example Fiordiligi transcends her role as the victim of cruel manipulation revealing a complex personality that issincere capable of growth and inarguably sympathetic. In contrast Guglielmo never progresses beyond concern for his own ego and interests; his music therefore remains within the stock traditions of opera buffa. The ambigous nature of the ending (who actually loves whom?) can be seen as appropriate given the emotional issues aired during the drama. This is the Schirmer edition of the Vocal Score with an English version by Ruth and Thomas Martin.

The 0ffertorium de venerabili sacramento “Venite populi” à 2 Chori K. 260/248a – dated Salzburg 1767 by Mozart in his autograph score – clearly reveals a striving for more pronounced contrapuntal work. A short homophonic central movement is framed by two predominantly polyphonic movements that are fashioned from the same thematic material. The two-chorus texture offers many opportunities for interweaving as well as contrast and echo effects of all kinds. It is not known who wrote the non-liturgical text. - Urtext of the New Mozart Edition - Full score & performance material (BA4899) and vocal score (BA4899-90) for sale

This outstanding collection of 90 carols offers a balanced mixture of accompanied and unaccompanied items which will appeal immediately to conductors, singers and audiences alike. Mostly for mixed voices, it includes 16 carols and a further 39 arrangements published here for the first time. From Gabrielli to Judith Weir, medieval melodies to spirituals, the range of styles covers a wide spectrum of tastes. Conductors will welcome the availability of optional orchestral material available on hire for 24 of the carols, to allow for performances without organ. This major issue of carols is edited by William Llewellyn, a well established figure in the world of choral music. / Chant Et Piano