Felix Mendelssohn's "Songs Without Words" have been among the most beloved works in the classical repertoire since their introduction. Generation after generation of performer, student and music lover has embraced these short, compelling piano pieces and made them their own. This edition presents, for the first time, a majority of the "Songs" in new arrangements for solo guitar. Of the forty-eight original works, thirty are included here, meticulously edited and realized for performance on guitar. The arrangements are literal, in that they endeavor to present Mendelssohn's music as unchanged as possible. The keys are different, but the music is otherwise remarkably faithful to the original scores. Most important, though, the arrangements are each devised with real, concert-tempo performance in mind, and so have been carefully fingered for maximum playability.

Rockport Stomp was written as an homage to Fats Waller, the great stride pianist and composer of such jazz classics as Honeysuckle Rose and Ain’t Misbehavin’. The piece tries to capture the over-the-top exhuberance of Waller’s performance style; it is written in a harmonic language which borrows unabashedly from American popular music of the 1920’s. Another element of Rockport Stomp is its exploration of the contrapuntal possibilities inherent in the standard jazz texture of melodic “solo” over a steady quarter-note bass line. This familiar sound seems like a natural activity for a classical guitarist (who can swing), but it is surprising how, in fact, unfamiliar the sensation of playing this style is to the classical guitarist’s hands. The result is great fun to play: the piece is an easy audience favorite.

"This wonderful piece is imaginitive, adventurous, effortlessly entertaining and a great deal of fun to play. It would be fabulous when played by a top class guitarist in concert and deserves to do well."
- Classical Guitar Magazine

Walter Burle Marx (1902-1990), a Brazilian composer and concert pianist of considerable renown, left behind a folio of excellent concert works for solo guitar, none of which has ever before been published. He wrote them for his friend, Andres Segovia, but circumstances were to prevent the maestro from ever performing them and until now, they have languished. This publication finally brings the collection to light.

Guitarists will quickly discern here a deep resource for the serious performer. The shorter works, Mr. B-A-C-H Visits Brasilia and Saudade do Nosso Amigo are compelling, beautifully drawn compositions which satisfy on many levels. They are melodically memorable, harmonically inventive, and structurally mature works which will easily find a place in the repertoire. The collection of short dance-style works, Violeiros de Guaratiba, shows Burle Marx’s less serious side. Even here, though, numerous subtle and surprising details keep the pieces from sounding like familiar Brazilian pop instrumentals. They are delightfully tuneful, rhythmically catchy, and always comfortable to play. The masterwork in the collection, the Saga do Medievo, is an extraordinary and important find for guitarists. Made up of over forty variations on a ground, it rivals Ponce’s Folias Variations in several ways. Burle Marx employs a breathtaking range of techniques and compositional devices to keep this work in motion. Its careful construction and inventive, often quite complex episodes belie its accessibility. This work is sure to find its way into the repertoire of serious concert artists.

"This is a book to be ignored at your peril. If this music or at least some of it is not played by lots of performers in the next few years, then there simply is no justice in the world of music...fascinating."
- Classical Guitar Magazine

This edition presents, for the first time, the entire series of five soprano arias from Messiah, with accompaniments arranged for guitar. The songs range in difficulty from early intermediate to advanced. The beauty of the material and its natural affinity for the guitar is immediately evident when playing the songs. The range of pleasures here is broad: from the gentle and serene "I know that my Redeemer liveth" and "How beautiful are the feet of them" to the beguilingly melodic "He shall feed His flock" and the delightful and catchy "If God be for us, who can be against us?", to the brilliant and virtuosic "Rejoice greatly, O daughter of Zion". Representing all three sections of "The Messiah", there is something here for all players and all seasons.

"Stephen Aron has arranged the guitar accompaniment with skill and sensitivity..."
- Classical Guitar Magazine

Fifty-one astonishing guitar solos, presented as an entire cycle in an audacious industry first. These gorgeous and often startling piano works need no defense as important compositions--to be able to play them on the guitar is an extraordinary and moving experience. The pieces represent over 150 minutes of richly romantic, brilliantly written, surprisingly varied music. While every piece in the book is titled "Mazurka" by the composer, the range of tempi, moods, compositional forms, rhythmic devices, textures and melodic styles is breathtaking; the only thing they all truly have in common is that they are all in 3/4. Includes selections at every level of difficulty, from early-intermediate to advanced. With thematic index, a lengthy preface by the author and an essay by Brooks Toliver on the position these works hold in 19th century music in general and piano literature in particular. 253 pages. (See companion CD, The Complete Chopin Mazurkas, a 3-disk set)

"The best attempt yet to make the works of Chopin available to the guitarist." ~ Classical Guitar Magazine

"Historic" ~ Guitart

A charming collection of songs with guitar accompaniment from the twenty-year period 1892-1912. The book features ragtime songs, sentimental ballads, bluesy-jazzy numbers and novelty songs from the age of vaudeville. The original piano accompaniments have been adapted to the guitar and are incredibly fun and interesting to play. Includes such well-known songs as "Daisy Bell" (A Bicycle Built for Two), "Shine on Harvest Moon," "Moonlight Bay," "Let Me Call You Sweetheart," as well as many "new discoveries." These songs are the perfect compliment to a program of more serious art song--they are beloved by singers and audiences and are perfect with guitar. With lengthy introductory information on each song by the author. 87 pages. (See companion CD "Shine On Harvest Moon.")

"beautifully done" ~ National Assoc. of Teachers of Singing Journal

Rossini's most famous song transformed into a brilliant and idiomatic guitar solo. Infectious and delightful. 7 pages.

"remarkably idiomatic" ~ Soundboard

Schumann's most celebrated cycle of piano miniatures presented for the first time in their entirety, arranged for solo guitar. Heartbreakingly beautiful and evocative, they are surprisingly playable and delightful on the guitar. Includes the famous "Traumerei."

"wonderful guitaristic arrangement" ~ American String Teacher

Contents:
Von Fremden Landern und Menschen, Curiose Geschichte, Hasche-Mann, Bittendes Kind, Gluckes Genug, Wichtige Begenbenheit, Traumerei, Am Kamin, Ritter vom Steckenpferd, Fast zu Ernst, Furchtenmachen, Kind Im Einschlummern, Der Dichter Spricht