Par WYE TREVOR. Une collection de oeuvres classiques d'accompagnement flûte et Piano, édité par Trevor Wye. Volume deux comprend la musique de Telemann, Donjon, Vivaldi, Chopin, Jacob. Tous ces Solos flûte ont été soigneusement et spécialement sélectionnés pour leur intérêt mélodique. Adapté pour les joueurs de grade 3-4. / Niveau : Elémentaire / Rép Classique / Recueil / Flûte Traversière

This attractive collection of 11 major works for the solo Flute is designed to showcase the wide range of capabilities of the Flute and the flautist. The expressive and challenging pieces were all originally written by great composers with the solo Flute in mind (not transcribed from other instrumentations) making the bond between instrument musician and music more organic.The careful selection marks the peak of Flute solo music in the Baroque and early Classical era with sonatas and fantasies from J.S. Bach Telemann and C.P.E. Bach whose Sonata in A minor is regarded to be the last significant piece for solo Flute for the next 150 years untilDebussy’s Syrinx in 1913 which is also included in this selection. Edited by the professional flautist and Flute instructor Trevor Wye Music For Solo Flute provides all the staple pieces of an advanced player’s solo repertoire.

14 Popular Works-14 popular works for Flute with Piano accompaniment featuring selected works from the major exam board syllabuses spanning Grades 5 to 8 and beyond. Includes pull-out part and performance notes by Trevor Wye.

Brahms completed his Cello Sonata Op.99 during the productive summer of 1886. The first public performance took place in Vienna on 24 November of the same year. Robert Hausmann played the Cello part and the composer himself was his partner at the Piano. Even though the work was generally received positively it took some years until it was fully appreciated and gained its irrevocable place in the Cello repertoire.Of particular value to the editors were the two early performance editions of the Cello Sonata Op.99 by Hugo Becker and Carl Friedberg as well as by Julius Klengel. Both cellists Becker and Klengel had aconnection to Brahms who very much admired and trusted Becker's playing and who performed together with Klengel. This edition not only incorporates Becker's and Klengel's performance markings but also Hausmann's for whom the piece was written. As such the Barenreiter edition comes with a Cello part marked with fingering and bowing by the editors which are based on the practices of Brahms' contemporaries. We also provide an unmarked Urtext part.An important part of this edition is the extensive Preface. Firstly it informs about the work's origin early performances its publication as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors take the premise that already a few decades after Brahms' death a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. In a very concrete and practical way the editors summarize some of the key issues in understanding Brahms' notation with regard to rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding Piano arpeggiation and dislocation String Instrument fingering String Instrument harmonics and vibrato. In this way the edition offers an exciting and often surprising insight into Romantic musical interpretation.- A pioneering Urtext edition.- With an unmarked Urtext part.- With a second part including fingering and bowing based on the practices of contemporaries of Brahms.- With

Description Volume 3 contains six easy and tuneful duo-sonatas by the early 19th Century composer Eugene Walkiers. Op.55a(2). Songlist Duo I - Allegro Con Brio Duo I - Andantino Duo I - Rondo Duo II - Allegro Duo II - Andante Duo II - Rondo Duo III - Allegro Marziale Duo III - Allegro Vivo Duo IV - Allegro Agitato Duo IV - Romance Duo IV - Scherzo Duo V - Bolero Duo V - Risoluto Duo VI - Andante Duo VI - Polonaise

Mathias' Sonatina, originally composed in 1953 but revised in 1986, is a slighter yet more approachable work. A considerable amount of straight repetition renders the music easily assimilable. For instance, both main themes in the opening sonata movement are repeated during the exposition; similarly a large stretch of the development consists simply of a transposed version of a previous passage. Only in the third and final movement does the structure become more complex, with the combination of variants of the main themes of the first movement. But such subtleties pale into insignificance when compared with the rhythmic ebullience and good humour of the outer movements, and the suave, urbane lyricism of the central Andante. If the listener is entertained agreeably, the Sonatina has done its job well. © Trevor Bray