Par LOEB DAVID. David Loeb's new collection Fantasias on Eurasian Melodies, for piccolo alone, gathers together his Balinese Fantasies, Tibetan Fantasias, and Preludes on Eurasian materials for a thorough tour through these interconnected musical languages. The Fantasias, distinct among Loeb's works, draw on native musical sources while building complex, intriguing music more akin to concert repertoire than native folk music. The Balinese Fantasies utilize several Balinese scale types, rarely combined in single native works. Here they are allowed to intermingle freely throughout the fantasies, and within the ornamentations and variations. The Tibetan Fantasias are evocations of images, tone poemsfor the solo piccolo player. Surprising complexity hides within the three works - the first a beautiful day on a highland plain, the second a moonlight night, and the third a Tibetan minstrel song painted with a particularly haunting brush. The Preludes draw from a huge variety of traditions, even occasionally crossing languages within single movements, though each movement still emphasizes a single mood. This collection contains the previous stand-alone books - catalog numbers P-04, P-09, and P-17. David Loeb's new collection Fantasias on Eurasian Melodies, for piccolo alone, gathers together his Balinese Fantasies, Tibetan Fantasias, and Preludes on Eurasian materials for a thorough tour through these interconnected musical languages. The Fantasias, distinct among Loeb's works, draw on native musical sources while building complex, intriguing music more akin to concert repertoire than native folk music. The Balinese Fantasies utilize several Balinese scale types, rarely combined in single native works. Here they are allowed to intermingle freely throughout the fantasies, and within the ornamentations and variations. The Tibetan Fantasias are evocations of images, tone poemsfor the solo piccolo player. Surprising complexity hides within the three works - the first a beautiful day on a highland plain, the second a moonlight night, and the third a Tibetan minstrel song painted with a particularly haunting brush. The Preludes draw from a huge variety of traditions, even occasionally crossing languages within single movements, though each movement still emphasizes a single mood. This collection contains the previous stand-alone books - catalog numbers P-04, P-09, and P-17./ Répertoire / Piccolo

French composer and conductor Henri Tomasi (1901-1971) published Le Tombeau De Mireillein 1959. As with his other compositions  Le Tombeau De Mireille for Galoubet (Pipe) Piccolo or Oboe with Tambourine Toneless Snare Drum or Piano was well-received by audiences. Tomasi was born in Marseille but his Father and Mother were originally from La Casinca in Corsica. Despite being pressured into musical studies by his parents Tomasi dreamed of becoming a sailor and during the summer he stayed with his Grandmother in Corsica where he learnt traditional Corsican songs. However in1921 he began his studies at the Paris Conservatoire and went on to become a high profile composer and conductor. Tomasi did not forget his Corsican routes often incorporating themes of the songs he had learnt during the summers with his Grandmother in to his compositions. Le Tombeau De Mireille is a highly unusual and modern work not only in instrumentation but in its use of varying time signatures complex rhythms and a range of performance directions. The composition exploits tonality rhythm and structure amongst other aspects. However this Tomasi piece suitable for advanced instrumentalists provides an exciting alternative addition to the ensemble repertoire.