The series does not attempt to offer a systematic anthology of Flemish music. In loose chronological order the collection primarily presents scores of symphonic works along with operas, previously unavailable or unpublished. Our aim is to make these works accessible for conductors, musicians, artistic directors, libraries and other interested people and to encourage their performance. Original material has been kindly provided by ‘Studiencentrum voor Vlaamse Muziek’ represented by Jan Dewilde. Without his contribution the project would have been impossible to realise, we are indebted to Jan Dewilde’s work as research coordinator, advisor and author. Every publication includes an original preface with information on the piece and composer as well as a bibliography. The original Flemish is translated into German and English.


A life-long musician, Phillip Brookes spent 30 years as Civil Servant being forced to retire after a stroke. He played percussion in many ensembles and conducted five orchestras; he has composed music since his youth. He began writing prefaces for Repertoire Explorer in 2004 and it soon became apparent that his eclectic and profoundly idiosyncratic musical knowledge might be best used in his own series. There is no pattern to it. Here is unfamiliar music by familiar composers, well known music about which there is still something interesting to be said, unexpected works by forgotten composers; much is in newly edited editions, and there is a growing number of original compositions. A major theme has been the personal stories behind the works, in particular the individual composers’ motivations to write at all.  Much of the music is from Britain, including the complete surviving works of George Butterworth (1885-1916), but there are interesting works from Europe, North America and Australia. Highlights of the series have so far been Butterworth’s Songs from A Shropshire Lad (performed at the BBC Proms in 2014) and Hubert Parry’s Suite from The Birds (broadcast by the BBC and recorded by Chandos). Volumes have appeared at a rate of 7-8 a year.


John Foulds is, to my mind, perhaps the greatest twentieth-century composer of genius to be entirely ignored, not only in England, but altogether. His wholly original music exudes freedom, lightness, immediacy, and a joy of discovery capable of touching and thrilling the listener in a unique way. Foulds was at once a pioneer, a true adventurer, a comprehensive master of form, a vivacious practicing musician as a conductor, cellist, and pianist, an insatiable explorer, a  prime example of unlimited stylistic versatility, a tireless innovator, and the possessor of a critical and free-thinking mind. Above all he was a man who always strove for the utmost while remaining ever cognizant of his human inadequacy. This lent him a natural modesty and enabled him to come closer and closer to his actual goal of reaching absolute freedom, of being an “enlightened one.” He found the crucial elements for his quest in Eastern culture, as handed down by the “masters of wisdom” in Central Asia and India, and sought to combine them with constructive elements of Western culture to fashion a higher unity. None of the personal setbacks and the tragic sides of his life are imposed on the listeners of his music, which invariably speaks a warm-hearted, unsentimental, and authentic language. Christoph Schlüren, Munich 2015


Exploring Norwegian Music
Expanding more and more into the regions of substantial contemporary music, Repertoire Explorer started a new collaboration that may pave the way into a broader research of great music of our time emerging apart of the mainstream trends.
The basque violinist-composer Ricardo Odriozola lives and teaches in Bergen, Norway, since 1987. He soon became a close companion of the late Harald Sæverud, Norway’s leading symphonist of the 20th century. Being a curious researcher by nature, he established close friendships with many composer and performer colleagues and got an incomparable insight into the world of contemporary Western Norwegian music and is considered being an unquestionable authority in this field today. Interestingly Odriozola is far ahead of just being another insider who specialized in a local field – as a person coming from outside with a large horizon of experiences in many fields he understands his task from a wide perspective. The music he discovered is of a global significance, and some of the composers – f. ex. Ketil Hvoslef belong to the leading creators of our time.
The edition started in May 2016 with a profound study on five leading composers of the Bergen area: Ricardo Odriozola’s groundbreaking book ‚Opus perseverat’. Five Composers from Western Norway’ explores in a very personal way the creative worlds of Harald Sæverud, Edvard Hagerup Bull, Ketil Hvoslef, Magnar Åm, and Kenneth Sivertsen. The book also comprises complete lists of works and recordings and many music examples.
The Norwegian sheet music edition, meticulously prepared for print by Odriozola, starts with Edvard Hagerup Bull’s challenging first Duo for violin and piano, and the first string quartet by Odriozola himself. Works by Hvoslef and others will follow in the course of the next months.


The Periodical Overtures in 8 Parts is a remarkable series of sixty-one orchestral symphonies published in London by Robert Bremner between 1763 and 1783. In essence, it was a “symphony-of-the-month” publication over this twenty-year period, capturing the musical tastes of London during the era’s “rage for music.” Bremner was inspired to undertake the series after witnessing the success on the Continent of similar French periodical prints. In England, however, Bremner’s series went unrivaled for a decade, and no other later British publisher came close to matching his success with this periodical format.

From the start, Bremner promised to issue works that had never been printed in Britain and that were composed by “the most celebrated Authors.” He honored both of those commitments, and by 1783, the Periodical Overtures represented some twenty-eight well-regarded composers from across Europe. To accommodate smaller orchestras, the symphonies usually were limited to eight parts, representing first and second violins, viola, bass, a pair of oboes, and a pair of horns, although a few additional instruments began appearing in various issues as British ensembles grew more ambitious. Bremner also catered to a generally conservative British taste by adding figured bass if it were not already present and sometimes reducing the number of movements to three. The works were widely performed, appearing in the records of concert organizations in England, Scotland, and even in the American colonies. Late in the century, several of the most popular issues were arranged for keyboard, reflecting not only the increasing number of pianos in private homes, but also the Periodical Overtures’ staying power. … more


The CANTARCO EDITION of my compositions consists of three parts with the first one being dedicated to chamber music for strings with various arrangements with and without the piano as well as my Serenade for strings composed in 2004.
These works have been composed within a period of 17 years and are thematically summarised in this Edition. Two of these compositions have a literary background and can be classified as programmatic music. While the poem “Sappho and Pháon” catches a basic mood, the string quartet “A House of Pommegranates” narrates the exact origin of Oscar Wilde´s fairy tales. By using small frames and themes an attempt is made to awake an association that is directly related to the tale to be told.
As so often I have searched for a musical framework to lend those wonderful tales a proper musical face. The string quartet being the precious heart of the four-part setting seemed to provide me with a resolution: that is a tone formation emerging into multple other instrumentations. Let us call it the primordial soup of polyphonic music.The second part of this edition comprises works for cello quartet includes two compositions of my own as well as a number of adaptions for this ensemble.
The third part is fully dedicated to the cello. In 2012, a first approach of a cello tutorial emerged incessantly. Dissatification with present subjects can create entirely new things. In this case, I succeded in creating an instructional work that was finally in line with my personal requirements concerning pedagogic-didactical demands.
A compendium of small musical units which is orientated towards the basic needs of pupils to the experience of listening to a second voice.
My intensive occupation with the cello solo works of Johann Sebastian Bach has its roots far back in the past. Pablo Casals laid the foundation of implementing those long-forgotten works into the repertoire of every cellist as a great monodic polyphonic music written just for one single instrument! I do not lay claim to having found a universal solution concerning phrasing and bowing technique. My prime concern has always been to establish an acoustically optimized interpretation, not a pure authentic one. I restrict myself to the suites I to IV that had been written for a four-string cello and I am glad of looking forward to the edition of the fifth suite in c-minor with the original tuning C G d g. In opposite to several other editions, which ignore the original tuning, I just set the music by Bach into a logical and well to read printing. (Horst Windhagauer, in February 2018)


This collection is created by the composer, violinist and teacher Dan Ţurcanu. The works published here are generally oriented towards string instruments (solo, chamber music or large ensembles).  In this collection there are five sections of music works: Educational Collection, Chinese Collection, Arabic Collection, Ballet Class Music Collection and Romanian Collection.
Educational Collection – Educational books and methods aimed to help beginner players in the critical early stages of instrumental learning.  Through skilled arrangements and simplifications of famous pieces as well as personal compositions, these books hope to create efficient learning from the very beginning and for students to have most enjoyable lessons.
Chinese Collection – Traditional Chinese music originally written for Erhu or other Chinese instruments is skillfully “translated” and rewritten for Western instruments and ensembles. At the same time, Western classical music is adapted to Chinese traditional instruments and ensembles.  The aim of this collection is to strengthen the cultural bridge between the two music worlds by creating high quality scores that reflect the authenticity of Chinese music.
Arabic Collection– Traditional music from the Arab world is rewritten and adapted for Western instruments. In his effort to save and share the greatest Arabic scores, the author is targeting traditional, Classical and modern Arabic composers.
Ballet Class Music Collection –  In collaboration with highly experienced ballet piano players, various arrangements and adaptations of classical, traditional folk music and original  compositions are dedicated for ballet class pianists.
Romanian Collection – Together with fellow composer Lucian Beschiu, Dan Ţurcanu strives to save and share classical Romanian compositions and also to share personal compositions ranging from solo instruments to symphonic orchestras with professional musicians.”


The Romanian Music Collection, comprised of symphonic, chamber and vocal music, aims to bring Romanian composers to a wider international audience through their fascinating and sometimes lesser-known works. The selection includes opuses from different historical periods, starting from the beginning of classical music in Romania – including folklore inspired works –, through the very diverse XX century, until the young composers of today. In publishing the scores no historical, stylistical, aesthetical or genre related perspective has been followed, but rather a kaleidoscopic view which reflects the variety of Romanian music of yesterday and of today.
Colecția de muzică românească are scopul de a aduce în circulație opusuri valoroase din muzica românească simfonică, de cameră și vocală, prea puțin sau deloc cunoscute pe plan internațional. Selecția acoperă lucrări din diferite perioade, de la începuturile muzici culte în România, trecând prin bogatul secol XX și până la tinerii compozitori de astăzi, incluzând și piese inspirate sau transcrise din folclor. Lucrările publicate nu au o ordine anume (în sensul urmăririi unei ordini istorice, stilistice, estetice sau ce ține de gen), ci sunt alese mai degrabă caleidoscopic pentru a oferi o imagine a varietății muzicii românești de ieri și de astăzi.