Par DUTILLEUX HENRI. Henri Dutilleux (1916-2013) was greatly influenced by his contemporaries, Ravel, Debussy and Roussel, yet implemented his own, unique style. His Cello Concerto, Tout Un Monde Lontain is considered to be one of the most important 20th century additions to the instrument's repertoire. This Dutilleux Concerto comprises five movements which run seamlessly in to one-another, each inspired by the poetry of Charles Baudelaire. The movements are: 1) Enigme (Enigma), 2) Regard (Gaze), 3) Houles (Surges), 4) Miroirs (Mirrors), and 5) Hymne (Hymn). Tout Un Monde Lontain was first performed in July 1970 by Russiancellist, Mstislav Rostropovich with the Orchestre de Paris. Dutilleux 's Tout Un Monde Lontain remains popular to this day, and including the entire orchestral score, this edition is essential to the advanced cellist's repertoire./ Répertoire / Violoncelle et Orchestre

After hearing Castèréde's Sonatine D'Avril for Flute and Guitar the realisation that his music remains in the shadows of his French contemporaries is one that is hard to fathom. Should you be a fan of Messiaen then Castèréde's Sonatine D'Avril is one for you. Having won prizes in Piano chamber music harmony composition analysis and aesthetics in music whilst studying at Paris Conservatoire it is not surprising that the composer's Sonatine D'Avril is full of musically appealing features. Elements include exquisite use of Flute technique exploiting tonality and clever accompanimentfeatures in the Guitar. From allegro semiquaver passages to luscious melodies Sonatine D'Avril provides an enjoyable listen and fun piece to learn for all advanced flautists and guitarists.

Belgian composer Marcel Poot (1901-1988) was a professional composer professor and musician. He studied at the Belgian Conservatory and went on to attain success as an Organist and composer. His substantial compositions for wind and brass are still performed to this day  Légende for Horn in F and Piano being no exception. In 1925 Poot and several of his contemporaries founded 'The Synthetists' a group to rival 'Les Six' in France. They wished to inject dynamism into the conservative Belgian music scene through the composition of modern pieces. Légende for Horn andPiano reflects this whilst maintaining recognisable musical elements. Poot's Légende published in 1958 is in Ternary Form ending with a fat allegro coda. For intermediate to advanced Horn players Poot's Légende is an exciting addition to the repertoire.

The unprecedented commercial success of the CD of Henryk Miko aj Góreckis Third Symphony in 1991 fifteen years after the date of its composition not only drew the Polish composer to the worlds attention arousing interest in his earlier works but also gave rise to a discussion about the state of culture in what might be described as a decadent period. So was the Third Symphony ahead of its time? Was it justifiable to regard the work as an end-of-the-seventies piece of aesthetical provocation? Should the wilful confusion of high and low aesthetic orders be considered a symbol of the end of post-Enlightenment utopia when the idea of progress in all fields including art constituted the fundamental criterion for evaluation? Attempts to answer these questions have given rise to a certain intellectual confusion leading occasionally to the advancing of false theses such as the attribution of Góreckis compositional output to the New Age spiritual landscape or the comparison of his compositional procedures with those of American minimalist composers. In fact the Third Symphony Symphony of Sorrowful Songs reflects both the composers individual exploration of technique and his attempt to determine his own Christian spiritual identity. The composition is a new manifestation of the sonoristic reductionism technique and the idea of simple music in line with Krzysztof Drobas designation of these phenomena according to which all details and modifications of tone colour are significant. By conferring on the three movements of the composition a form of mystery which negated a rational sense of time and made the work dissolve in a seemingly infinite continuum the composer managed to bring the Symphony within the sphere of folk ceremonial tradition. Anguish the principal theme of the composition presented here through both the mothers suffering after her sons death and the image of a woman prisoner in a Gestapo prison makes real sense only in the light of faith and the drama of Golgotha. Góreckis Third Symphony Symphony of Sorrowful Songs for soprano solo and orchestra dedicated to the composers wife was written in 1976. Commissioned by Südwestfunk in Baden-Baden it was premiered on 4 April 1977 during the 14th International Festival of Contemporary Art in Royan with Stefania Woytowicz as soloist. The same singer has made several recordings of the composition with different orchestras. The CD with Dawn Upshaw as soloist and the London Sinfonietta conducted by David Zinman won a Golden Disc award in 1991. The first movements outer sections (Lento sostenuto tranquillo ma cantabile) consist of an austere ten-part canon on strings. Its Aeolian theme was derived from a Kurpian song notated in Rev. Father W adys aw Skierkowskis collection. The canon is characterized by continual repetition of the theme (and its counterpoint) all its answers being tonal and thus not going beyond the notes of the scale. In this way a vibrating sound magma

The Festival Collection Book 8-The repertoire in The Festival Collection Book 8 was selected for its superior artistic and pedagogical merit. The wide selection encompasses the finest pieces from the Baroque to Contemporary eras that meet the musical and technical needs of the advancing pianist. Based on Urtext sources and original manuscripts these compositions are ideal for recitals festivals competitions and auditions. The great variety of fabulous repertoire will help make selections easier and your student's performance successful. Included are 2 CDs with full performances by Helen Marlais Chiu-Ling Lin and Frances Renzi. About the Pieces and Composerscontains interesting program notes and background info about the composers.

Rockschool Acoustic Grade 8 is for students who have mastered advanced technical control and have a thorough grasp of extended stylistic techniques. At Grade 8 this is shown through mature stylistic conviction, consummate execution of rhythmic complexity, mature and creative stylistic solo and improvisation work as well as a commanding sense of communication and performance. The 2019 Acoustic syllabus is a refreshed approach to acoustic guitar. The syllabus features six tracks for each grade that have been meticulously benchmarked to support students as they learn the instrument. At each grade two of the pieces ask the students to perform without backing track, exploring the sound and resonance of their instrument. The remaining tracks are session style backing tracks that include vocal accompaniment. We've also included the vocal melody lines in the grade books for students who sing and play at the same time. 6 new arrangements of iconic rock, pop, and contemporary music tracks from classic and contemporary artists A diverse selection of contemporary music ever seen in a syllabus making the Grades accessible to everyone without precluding any musical tastes Fact Files: band and artist background information with recommended listening Walkthroughs: in-depth guidance on every track Downloadable audio: easily access audio content online All the essential music theory and technique you need to pass your exams

Rockschool Acoustic Grade 6 is for students who have begun to develop advanced technical control and a competent grasp of stylistic techniques. At Grade 6 this is shown through mature stylistic conviction, execution of rhythmic complexity, creative and stylistic solo and improvisation work as well as a secure sense of communication and performance. The 2019 Acoustic syllabus is a refreshed approach to acoustic guitar. The syllabus features six tracks for each grade that have been meticulously benchmarked to support students as they learn the instrument. At each grade two of the pieces ask the students to perform without backing track, exploring the sound and resonance of their instrument. The remaining tracks are session style backing tracks that include vocal accompaniment. We've also included the vocal melody lines in the grade books for students who sing and play at the same time. 6 new arrangements of iconic rock, pop, and contemporary music tracks from classic and contemporary artists A diverse selection of contemporary music ever seen in a syllabus making the Grades accessible to everyone without precluding any musical tastes Fact Files: band and artist background information with recommended listening Walkthroughs: in-depth guidance on every track Downloadable audio: easily access audio content online All the essential music theory and technique you need to pass your exams

The Drum Set Crash Course DVD offers an even easier-to-follow visual representation of the material Russ covered in his highly acclaimed book of the same title. In the DVD Russ covers everything from developing two-limbindependance as well as how to master more than 18 different styles of music including rock jazz R

The Rockschool Piano Method series are a great way to introduce contemporary piano skills to students who are new to the instrument. These books support the progression into the Graded Music system and will prepare readers for a lifelong journey into playing and enjoying music. The Rockschool Piano Method Book 2 advances the skills gained from Book 1 so that by the middle of the book readers are prepared to take a Rockschool Debut Piano exam, and by the end of the book readers should be proficient enough to enter Grade 1. 10 Progressive Topics 2 Rockschool Grade Pieces Newly Composed Exercises, Games