Cette ?uvre fut commandée par la Fanfare Sint-Willibrordus Wintelre des Pays-Bas et décrit la puissance et les merveilles de la nature en quatre mouvements atmosphériques : Birth Battle Silence et Water. Wonders of Nature fut composé comme bande sonore pour un film sur la nature mais séduira les interprétateurs et leur public même sans ces images. Elle stimulera leur fantaisie et leur imagination alors qu?ils essaieront de visualiser l?imagerie qui inspira la musique.

Par LIANG LEI. Having been interested in Mahayana Buddhism for a number of years, I went to a Buddhist monastery in upstate New York to study meditation in 1999. One evening, while walking alone by the side of the lake, I caught the sight of a “V” shape floating and extending on the surface of the water. It was a beaver taking a swim under the moon. This image gave me insight into my relationship with silence: underneath the music is a profoundly deep silence upon which I seek to inscribe my signature through sound. It serves as a point of departure that led to a series of works. – Lei Liang / Niveau : Avancé / Répertoire / Quintette à vent

Instrumentation: piano Edition: score Publisher: Eberhard Mayer OEuvres pour piano/Klaviermusik/Piano Music Edition en 10 recueils/Edition in 10 Bänden/Edition in 10 volumes Volume 1: Femmes de Légende Editor: Eberhard Mayer Item no.: fue 4180 Difficulty: medium ISMN: 979-0-50012-918-9 Contents: Mélisande, Desdémona, Ophelie, Viviane, Phœbé, Omphale und Salomé The pieces for piano represent a great stylistic variety. One gets the impression that Mel Bonis may have intended to give a summary of musical development, not quoting historic styles but adapting the past through her personal tone and to translate it into contemporary musical language. The first volume includes an original series of musical portraits dedicated to legendary women, where Mel Bonis explores the enigmatic feminine universe. „Femmes de légende“ A collection we have called “Femmes de légende” contains seven piano pieces by Mel Bonis named after women whose fates have become legendary. They have not always been arranged in this way. The first piece, “Mélisande”, was published separately by Alphonse Leduc in 1898. In 1909, a collection called “Trois pièces pour piano” (Three pieces for the piano), dedicated to the composer Paul Locard and which included “Phœbé”, “Viviane” and “Salomé”, was published by Leduc. In 1913, “Mélisande” was added to the four last pieces for a final collection called “Cinq pièces”. “Omphale” appeared in a Berlin edition “Signale für die musikalische Welt” in 1910. As to “Ophélie”, it was never published in Mel Bonis’ lifetime and we discovered a manu-script in 1997 without any indication at all of when it was writ-ten. “Ophélie” was first published by the publishing house Ar-miane in Versailles in 1998. Mélisande (1898) Written before Debussy’s famous opera, Mel Bonis’ piano piece “Mélisande” was also inspired by the poet Maeterlinck (Mélisande, 1893). These short pages of magical harmonies, of radi-ant impressionist colours use music to describe Mélisande’s hair as described by Pelleas: “your hair and its beautiful light... It escapes everywhere, it shivers, it shakes, it trembles in my hand like a golden bird.” This piece enjoyed quite a success in Mel Bonis’ lifetime. She noted of it “my favourite” in the margin of her hand-written catalogue. Desdémona (1913) The female heroine in Shakespeare’s “Othello” inspired Mel Bonis to write a nostalgic piece with a fairly easy, rather classical beginning, a kind of romance without words, of great elegance and of a deep and melancholic beauty. Ophélie Ophelia, the lover of Shakespeare’s Hamlet, is a deeply melan-cholic character who goes mad and drowns in mysterious cir-cumstances. Ophelia inspired the poet Rimbaud and the painter Millais – each of them created a masterpiece. Mel Bonis too evokes images of water, sadness and death in music for a third work of art. With its delicate and chilling beauty and also with its moments of passion, this impressionist piece - the work which owes most to Debussy - calls for great intelligence when performed. Viviane (1909) The figure of the fairy of the lake is musically described here in a well-structured, many-facetted piece; first of all, the initial dancing theme has an air of the “salon” about it, typical of its time, evoking the fairy’s charm, her smile. Then follow succes-sions of majestic chords and fluent harmonies which represent the underwater castle and the fairy’s power. This piece is easily approachable. Phœbé (1909) The sister of Phoebus, the sun, symbolises the moon, the night, chastity. The piece creates an impression of night. Steeped in twilight, languor and a sense of immense space, the atmosphere is one of unreality. This feeling of alienation is reinforced by the incoherence of rhythm between the two hands. Salomé (1909) Inspired by the Orient, Mel Bonis creates a very original musical illustration of the biblical character of Salome. She is characterised by shifting moods in which slow syncopes follow light glissandos, and urgent, mysterious psalmodies accompany sensual melopeias, where surprising tempo varia-tions lead to outbreaks of violence. With its relatively difficult beginning, this piece is especially interesting from the viewpoint of research into interpretation. Omphale (1910) The queen of Lydia is a female character from the violent depths of Greek mythology. This powerful female is described here with glittering sensuality and Oriental subtlety. The impressive work shows a complex structure both in harmony and rhythm, it is a lively and rich work which calls for much thought and great virtuosity on the performer’s part. “Omphale” was awarded a prize for composition by the Berlin magazine “Signale für die musikalische Welt” in 1910.

Une nouvelle méthode DVD de guitare électrique pour débutant,composée d'un livret d'apprentissage, clair et illustré, mais surtout d'un DVD pédagogique complet. La vidéo permet à l'utilisateur d'apprendre à manipuler son instrument pas à pas en compagnie de l'auteur, à la manière d'un véritable cours particulier à domicile. Conçue pour l'autodidacte et le loisir, le musicien en herbe y trouvera des morceaux faciles à jouer dès la première leçon et, pour les plus avancés, des morceaux à jouer par-dessus un playback sur le DVD : l'idéal pour apprendre à son rythme, et avec plaisir ! Morceaux dans le style de Nirvana, Bob Marley, AC/DC, the Beatles, Muddy Waters, Blues Brothers etc. à l'écran : -> des cours interactifs -> image haute définition -> prise de vue multi-caméras -> Des angles de vue précis pour comprendre -> Un professeur qui explique clairement -> Des partitions pour jouer en même temps que le professeur

Vocal Score-A work written in celebration of the Norfolk Wherry - a sailing vessel particular to the Norfolk Broads where the composer lives and works. The imagery of water and nature pervade this evocative work.

A work for unaccompanied SATTBB choir constructed in the form of a Byzantine Canon. The work was commissioned by James Lancelot and the Choir of Durham Cathedral who gave the first performance on the occasion of the 1300thanniversary of the death of St. Cuthbert: 20th March 1987.'Commissioned by James Lancelot and the Choir of Durham Cathedral who gave its first performance on the 20th of March 1987 the 1300th anniversary of St Cuthbert's death. Structurally modelled on a Byzantine Canon Ikon of St Cuthbert 'an ikon of music and words in the place of wood and paint seeks to recall in its stylized form the personal aura of Cuthbert Saint of Lindisfarne'. The textis again by Mother Thekla a contemplation on Cuthbert's life from his early piety and life as a monk acts of spiritual healing consecration as a bishop and retreat into solitude to his death on Farne and ultimate burial inDurham. Imagery of water runs throughout the verses.

Depicting an ancient tale of battle between water serpents and giant thunderbirds Michael's dramatic work for young players provides plenty of imagery amid the dark sonorities and driving percussion contrasted with delicate melodies and rich harmonic textures.This multi-style composition provides an engaging and rewarding work for concert or festival. Dur: 5:10

The seven fingerstyle guitarists on this DVD have all put their own highly personal stamp on the instrument not only by the way they play but also by the music they write and interpret and the emotions and images their music invokes. No other instrument has found such a vast global audience in the last 40 years and as you'll see and hear no other instrument is capable of such a diverse range of sounds and styles. As divergent as these performances are the personal backgrounds of these highly creative and influential musicians are interwoven by the mentors who inspired and guided them their influence on each other and by the events which have become a part ofmodern musical history.BOB BROZMAN: Zonky Down The Road Train SongPIERRE BENSUSAN: La Femme Cambree CordilliereJOHN FAHEY: On The Sunnyside Of The Ocean Who Will Rock The CradleJORMA KAUKONEN: Embryonic Journey Water SongJOHN RENBOURN: Sweet Potato AngieSTEFAN GROSSMAN: Struttin' Rag Blues For The MannMARTIN SIMPSON: Medley:The Turtle & The Asp/Dreamtime Icarus

These settings were written to a commission from the Southern Cathedrals Festival and first performed in Salisbury Cathedral on 24 July 1976 by choirs of Salisbury Winchester and Chichester Cathedrals with the Phillip Jones BrassEnsemble conducted by Richard Seal.Pied BeautyThe rhythmic elasticity and freedom of the poem matches the vividness of its images and the freshness of the poetic language: it is like light playing on water. In thissetting for choir and brass phrases for trumpets and then voices- ‘Glory to be God’- Alternate with more meditative moments- ‘who knows how?’. The contrast of the poem- ‘swift slow sweet sour- a dazzle dim‘ quick changes fromsunshine to shadow- are mirrored in the music.Heaven HavenThe stillness and serenity of this poem one of Hopkins’ earliest is in direct contrast to the other. ‘Out of the swing of the sea’ to a gently rockingfigure runs as a sort of undercurrent through the piece. At the end this figure combines with a motive in thirds (heard quietly on the trumpets at the opening) and expands slowly with the choir in eight parts before dying awayinto silence.

Uses: General Baptism Pentecost LentScripture: Zechariah 13:1; Revelation 22:1; Psalm 68:19A lesser-used Welsh tune is visited with an engaging musical treatment and an evocative text in thisoctavo. The lyric washes the listener with compelling imagery of God's cleansing waters of grace. The music is written impressionistically painting an appealing portrait while sensitively gesturing to the main theme's folk roots.Available separately: SATB LiteTrax CD Orchestration (digital score and parts for oboe violin & cello). Duration: ca. 4:20.

Text From 20.000 Leagues Under The Sea. Par BRYARS GAVIN. This piece is one of a series of works that take texts or imagery from the work of Jules Verne. Here the text is taken from 20,000 Leagues under the Sea, a section in which Professor Aronnax describes the scene outside the Nautilus where countless varieties of sea-creatures escort the submarine along the current of the mysterious underwater Black River. Coincidentally the first work that I wrote using Verne as a source, the cantata Effarene (1984), sets an earlier portion of the same chapter for its closing movement and I find the objectivity and invention of Verne's language a constant stimulus. As Raymond Queneau said of Verne: 'What a style! Nothing but nouns.' The piece was written for a concert given by the organist Christopher Bowers-Broadbent at Leicester Cathedral in January 1991 and later recorded by him with soprano Sarah Leonard for ECM New Series in 1993. Gavin Bryars./ Répertoire / Soprano et Orgue

This work takes both its name and inspiration from a lighthouse ?Sword Cape? that keeps watch near Japan?s naval base. The piece describes how come rain or shine the lighthouse bids a safe journey to departing ships guides them during their travels and eventually welcomes them home again. The music evokes many musical images - grand ships sailing by white-capped waves the deep blue of the ocean and the light of ?sword cape? as it silently guides ships over the mysterious waters.

This work takes both its name and inspiration from a lighthouse ?Sword Cape? that keeps watch near Japan?s naval base. The piece describes how come rain or shine the lighthouse bids a safe journey to departing ships guides them during their travels and eventually welcomes them home again. The music evokes many musical images - grand ships sailing by white-capped waves the deep blue of the ocean and the light of ?sword cape? as it silently guides ships over the mysterious waters.