Twelve-tone and serial music were dominant forms of composition following World War II and remained so at least through the mid-1970s. In 1961, Ann Phillips Basart published the pioneering bibliographic work in the field.

This practice and performance edition of one of the most beloved pieces in the modern violin repertoire contains a piano reduction and a separate violin part.

Two great concertos in a single edition: the Tchaikovsky Piano Concerto No. 1 in B-flat Minor, Op. 23, and the Rachmaninoff Piano Concerto No. 2 in C Minor, Op. 18.

Dvorák's Cello Concerto, composed during his second stay in America, is one of the most popular works in the orchestral repertoire. This guide explores Dvorák's reasons for composing a concerto for an instrument which he at one time considered unsuitable for solo work, its relationship to his American period compositions and how it forms something of a bridge with his operatic interests. A particular focus is the concerto's unique qualities: why it stands apart in terms of form, melodic character and texture from the rest of Dvorák's orchestral music. The role of the dedicatee of the work, Hanus Wihan, in its creation is also considered, as are performing traditions as they have developed in the twentieth century. In addition the guide explores the extraordinary emotional background to the work which links it intimately to the woman who was probably Dvorák's first love.

A pastor, critic, and writer by profession, Carl Ludwig Junker today is far better known for his books, articles, and published letters than for his musical compositions. As one of the most interesting and perceptive commentators and theorists of the late eighteenth century, Junker provided valuable information about contemporary musicians and music making during his lifetime. Junker also wrote twenty-four symphonies (now lost), thirteen piano pieces, and several songs. The concerto presented in this edition, opus 2, was published by Bossler in 1782. As Junker’s only surviving concerto, it enriches our understanding and appreciation of the early piano concerto, a genre that would find its full realization in the hands of Haydn, Mozart, and Beethoven.