SKU: HL.49005565
ISBN 9790001059848. UPC: 073999543742. 9.0x12.0x0.234 inches.
Solo (S or T), Men's Choir (TTBB), String Orchestra and 3 Trumpets ad lib.
SKU: CY.CC3098
ISBN 9790530110751. 8.5 x 11 in inches.
James Haynor's arrangement of Wagner opera highlights for 10-part Brass Choir Timpani and Percussion is a real crackerjack featuring the following selections: 1. Pilgrim's Chorus from Lohengrin 2. Prelude to Act III from Lohengrin 3. Finale from Tristan and Isolde 4. The Flying Dutchman 5. Elsa's Procession to the Cathedral from Lohengrin 6. Ride of the Valkyries This work is for advanced performers and is about 8 minutes in length. Instrumentation is: 4 Trumpets in B-flat, 2 Horns, 3 Trombones, 1 Tuba (or 2 Tubas and 2 Trombones), Timpani and Percussion.
SKU: HL.49004652
ISBN 9790001048798. UPC: 073999853704. 7.5x10.75x0.091 inches.
SKU: CY.CC2869
Jan Freidlin's lush and beautiful Romantic Concerto for Trombone, Piano and Strings was composed in 2004 and is in the traditional three movements. The 15-minute work is appropriate for advanced performers.A 4 1/2 minute sample of the Concerto (on our site) is beautifully performed by the Odessa Philharmonic Chamber Orchestra, Conductor Igor Shavruk and Trombone solist Andrei Sokolov.Below is what the composer has written about his work: Written in 2004 , this composition combines three contrasting movements, however their style is not typical of a classical concerto, nor of a romantic work.The 1st movement - Moderato has a long recitative-like introduction performed by the soloist over a background of aleatoric sounds of divisi strings. The tonality is indefinite with many harmonic changes.

The music gradually builds up more and more leading the listener to the 2nd movement - Vivace energico in which the Piano makes its first appearance, adding rhythmic complexity. In the 2nd movement the main motive from the 1st movement is reintroduced and the mood gains in intensity with various syncopated rhythmic phrases as the orchestra and solo Trombonist accelerate together into a major climax.

With the energy drained out of the music by the conclusion of the 2nd movement the listener is brought to the 3rd movement - Adagietto. This movement is absolutely lyrical, elegiac and unexpectedly tonal. Its main melody has an atmosphere of nostalgia leading to the emotional center of the whole work, the softest climax of the Concerto . The soloist plays it in many tonalities, then gradually this warm wave eases, leaving the listener in a cathartic condition.The Concerto contains many virtuosic moments for the soloist that sound very expressive and heroic.Jan Freidlin
SKU: DZ.DZ-4308
ISBN 9782898522253.
Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.FRANCESCO BIRAGHIAu lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture àlaquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'à Âuvre m'a amené àtrouver des titres qui invitaient l'interprète àapprofondir l'inspiration esthétique de l'à Âuvre. J'ai donc suggéré àGiorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu àquatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée àla Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue àla manière de Buxtehude (qui vivait àLübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né àHalle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait àMagdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'à Âuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'à Âil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des à Âuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'àcelle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'à Âuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'àla fin de la Chaconne de Magdebourg. Je souhaite àGiorgio et àë notre û Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.FRANCESCO BIRAGHI.
SKU: FZ.5845
ISBN 9790230658454. 22.00 x 31.00 cm inches.
These original publications of Mancini, Telemann, Chedeville and Haendel are in facsimile on Fac-similes et Enseignement collection. Mancini Francesco : XII Solos for a flute or violin with a thorough bass. London, Walsh and Hare, 1727. Sonate XII : Allegro, Largo, Allegro. Telemann Georg Philipp : Der getreue Music-Meister. Hamburg, 1728. Neunzehnte Lection : Cantabile, Allegro, Grave, Vivace. Chedeville Nicolas : Il pastor fido. Sonates pour la musette, viole, flute, hautbois, violon, avec la basse continue. Paris, Bovin, 1737. Sonata VI : Vivace, Allabreve, Largo, Allegro ma non presto. Haendel Georg Friedrich : Sonates pour un traversiere, un violon ou hautbois con basso continuo. Amsterdam, Roger, 1727. Sonata VII : Larghetto, Allegro, Larghetto, Allegro. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. This facsimile was realized by Susi Mohlmeier and Frederique Thouvenot for recorder. Facsimile of copies from: - British Library of London (England). - National Library of Paris (France). - Bayerische Staatsbibliothek of Munich (Germany). Anne Fuzeau Classique propose period copies of classical music scores.
SKU: CY.CC2624
The well-known Maple Leaf Rag is one of Joplin's early works, written in 1899. It has been recorded by countless artists and has come back into the mainstream after the Ragtime revival of the 1970's.Joplin lived and performed for a while in Sedalia, Missouri, working at the Maple Leaf Club, from where some believe the work got its name.Michael McGuire's 3 minute arrangement for six Trombones is for advanced performers.
SKU: HL.49044499
ISBN 9790001195874. 9.0x12.0x0.218 inches.
With his 'Omaggio a Vivaldi' Enjott Schneider drew a musical portrait of the Italian Baroque master. Whereas the first movement illuminates the topic of Vivaldi's scandalous relationship with the prima donna Anna who was his junior by 25 years, the second movement focuses on the composer of magical dream worlds who was far ahead of his time. The final virtuoso picture characterizes Vivaldi in the way that many of his contemporaries saw him: as a manically composing eccentric.The Concerto for recorder, strings and harpsichord is dedicated to the virtuoso flutist Stefan Temmingh. Created by the composer himself, the piano score now makes this interesting piece accessible for chamber music purposes.
SKU: CY.CC2578
The Cello Sonata No. 2 was published in 1887, more than 20 years after his first. The Sonata is dedicated to Robert Hausmann who had premiered the 1st Sonata and was a collaborator with Joseph Joachim in the premier of the Double Concerto.The work is in four movements:Allegro vivaceAdagioAllegro passionataAllegro molto (rondo)Sonata No. 2 is a major work of over 30 minutes in length, having been exquisitely arranged by Ralph Sauer for advanced performers,Cherry Classics is the distributor for Balquhidder Music.