Anniversary Edition 1:
Aria. Arias from Opera and Oratorio for soprano and piano

Instrumentation: Soprano and Piano
Edition: score with biographies and notes on the work
Item no.: fue 15025
Level of difficulty: easy to medium
ISMN: 979-0-50182-825-8

Elizabeth Jacquet de la Guerre (1665–1729) : Lieux écartez, from: Céphale et Procris
Anna Amalia von Sachsen-Weimar-Eisenach (1739–1807): Ein Veilchen auf der Wiese stand, from: Erwin und Elmire
Marianna Martines (1744–1812): Qui tollis peccata mundi, from: Quarta Messa
Fanny Hensel geb. Mendelssohn (1805–1847): O daß ich tausend Zungen hätte, from: Lobgesang
Ingeborg von Bronsart (1840–1913): Endlich darf ich hoffen, from: Jery und Bätely, op. 16
Tsippi Fleischer (*1946): Do not weep for me, from: Cain and Abel, op. 57
Vivienne Olive (*1950): Ach, liebste Freundin, from: Das hässliche Entlein
Camille van Lunen (*1957): Er liegt nur halb anwesend da, from: Der Felsenjunge

Composing an opera has always been considered to be an ennobling process for composers. The
very choice of an appropriate subject was a challenge in itself. For many a composer, the subsequent
creative act ended in failure. All too often, they set their sights too high and despaired of
realising their vision. The dramatic or theatrical meaning of an opera is achieved through the interaction
of music, language, scene and gesture. The situations seen and felt by the audience play
a decisive part in its overall effect. In that respect, it is daring to extract an aria from its context,
for it is the easily understood contrast of musical episodes and scenes that determines its meaning.
On the other hand, the plot itself marks time while the action that has gone before is reflected
upon in the aria. This collection contains compositions that are of central importance to the further
development or to the understanding of the whole. The selection of arias presented here is devoted
to the soprano voice.
The term ‚aria‘ was already in use in the early 17th century. Works thus referred to did not figure
in a wider musical context and were song-like in character. Only compositions with a scenic reference
have been included in this album of arias. Choosing arias of noteworthy quality is both
easy and difficult at the same time. In addition to operas already in print, there are many buried
treasures waiting to be discovered in libraries and archives. The names of the women who composed
them remain for the most part unknown. This album, which was conceived some time ago
and is now being published on the occasion of the 25th anniversary of the Furore Verlag publishing
house, provides an encounter with women composers whose names are and were well known to
concert-goers today and in the past.

Anniversary Edition 2:
pian é forte. Music for Piano: Women Composers through the Centuries

Instrumentation: Piano
Edition: score with biographies and notes on the work
Item no.: fue 11025
Level of difficulty: easy to medium
ISMN: 979-0-50182-325-3

Anna Bon di Venezia ca.1740–?: Sonata I, 1. Satz Allegro, from: Sei Sonate per il cembalo op. 2
Maria Hester Park 1760–1813: Sonata I, 1. Satz Allegro, from: Two Sonatas for the Pianoforte or Harpsichord op. 4
Maria Szymanowska (1789–1831): Contre-danse, from: Dix-huit Danses de différent genre pour le Pianoforte
Emilie Zumsteeg (1796–1857): Polonaise Nr. 3, from: Trois Polonaises pour le Pianoforte
Louise Farrenc (1804–1875): Nocturne op. 49/1
Mel Bonis (1858–1937): Prélude op. 10, from: Cinq pièces musicales
Fanny Hensel geb. Mendelssohn (1805–1847): Klavierstück, E-Dur und Andante, d-Moll (Erstveröffentlichung)
Cécile Chaminade (1857–1944): Marche Russe, from: Album des Enfants op. 123/12
Ruth Schonthal (1924–2006): The Seagull’s slow Ascent and Descent, from: Five Oceanic Preludes
Ljubica Marić (1909–2003): Song and Dance
Barbara Heller (*1936): Nelkenblume, from: Klaviermusik
Viera Janárčeková (*1951): Tröpfelnde Elegie, from: Abgestaubte Saiten
Hope Lee (*1953): Flower Drum Dance
Sibylle Pomorin (*1956): Nr. III, from: Istanbuler Kompositionen
Florentine Mulsant (*1962) : Nr. II und III, from: Cinq Pièces pour les enfants pour piano op. 12
Vivienne Olive (*1950): Bush Gin Rag

"It was the editor's intent to place before the performer pieces enjoyable to play, pieces easy to enjoy, and pieces not terribly difficult to execute. Ordered chronologically, like its anniversary companion above, the works are suitable for the intermediate pianist, with a bit of wiggle-room on either side: some are a little easier than intermediate level, some are a little harder. All of the compositions are thoughtfully edited. ...
The compositions shows a wide range of atmosphere and required touch. There are dances (Contre-danse by Szymanowska, Polonaise by Zumsteeg, Marche Russe by Chaminade, and Bush Gin Rag by Olive); mood pieces (Nocturne by Farren and Klavierstück by Hensel); and even one that includes improvisatory passages and a Turkish air. The piano and vocal volumes are equally compelling purchases." Ellen Grolman, Journal of the IAWM, Vol. 17, Nr. 2, 2011

The pianoforte, the keyboard instrument which can be played both softly and loudly, was so called because it was such a ground-breaking invention. It has outstripped every other instrument, in that there is no other for which so much music has been written. Although English and French use the familiar short form “piano”, this is not to suggest that it is only played softly. The German „Klavier” likewise lacks any allusion to the crucial contrast of forte and piano. It is simply taken for granted and requires no further mention. However, the more we thought about this universal instrument, the more we were inspired to select some pieces which owe their genesis to this polarity of piano and forte.
In anniversary mood – 25 years of Furore Verlag – we cast our collective eye back, celebrating 250 years of the pianoforte with piano pieces which place particular emphasis on the sense of tone. The fact that the tone can only be influenced by touch, and not by any mechanical device, means that music can be performed on different levels at the same time. Previously, it had not been possible simultaneously to elaborate in dynamic shadings foreground and background, line and harmony, melody and accompaniment – in other words, music in its entirety – on one keyboard. The pianoforte opened up an immeasurably wide scope for interpretative variation and individual touch.
To play a piano score in all its complexity and its abundance of information is an intellectual tour de force – to say nothing of virtuosity. And we all know how readily we put a piece to one side with a sigh because the effort seems too daunting.
We have chosen compositions that are congenial to the hand and have left out those that might constitute too hard a nut to crack. The collection is intended to be performer-friendly, andante rather than presto. Our focus is on tone rather than technique, on suppleness rather than velocity. What was important to us was the initial appeal. We selected pieces whose charm lies in their dance-like quality, whose appeal is to the heart or whose sound arouses one’s curiosity.
We hope you enjoy them.