Pièce pour cor et orchestre d'harmonie-Durant toute une vie un homme s'est consacré à un autre monde un monde imaginaire drapé du mystère de la littérature fantastique et des légendes. Nous entrons dans une autre dimension. La Terre du Milieu est née et dans la force de sa flamme créatrice John Ronald Reuel Tolkien (1892-1973) a donné vie à toutes les créatures fabuleuses qui la peuplent : nains elfes dragons et hobbits. Nous sommes au Troisième Âge de la Terre du Milieu quelques décennies avant la trilogie du Seigneur des Anneaux. Nous sommes à l?ère de Bilbon Sacquet ou Bilbon le Hobbit un être de petite taille qui vit paisiblement avec ses semblables dans un pays de collines verdoyantes la Comté. Paix précaire depuis que Bilbon a trouvé l?Anneau Unique jadis forgé par Sauron le maître du Mal. Car l?Anneau souverain est doté d?un pouvoir immense qui permet à son détenteur de se rendre invisible et gouverner les possesseurs des autres Anneaux. Sauron le Maléfique avide de pouvoir décide de reconquérir l?Anneau Unique par tous les moyens.Fasciné par les œuvres des maîtres de la musique de film Maxime Aulio structure cette pièce concertante à leur manière. Et tel un générique de fin sa musique revient sur les passages et personnages fondamentaux du roman. La vision de Maxime Aulio est grandiose. Des paysages de la Comté à la Terre du Milieu des Grands Dragons à Gandalf le Magicien Bilbon Sacquet raconte son histoire au travers d?arabesques virtuoses et éthérées interprétées par le soliste. Bilbo the Hobbit (Bilbon le Hobbit) a été créé par la Musique des Équipages de la Flotte de Brest et Jean-Pierre Cenedese Cor.

Collection of Upbeat Rounds for Classroom and Performance-It's time to get a round to it! Experience part-singing fun your students will want to perform again and again. This rockin' collection of 16 rounds features some familiar and some brand new rounds crafted with unique pianoaccompaniments that bring the arrangements to life. Six of the rounds come in an expanded format with a separate CD recording of full performance and accompaniment tracks for easy programming. The remaining ten rounds offeradditional simple Orff accompaniments and riser choreography for many classroom and performance opportunities. All this and reproducible singer pages are featured in the Teacher book. For extra value the Classroom Kit includesbook and CD. Recorded rounds include: A Ram Sam Sam Rockin' a Round Row Your Boat Songs of the Seasons Sunshine White Coral Bells. Non-Recorded Rounds include: Autumn Blessings By the Singing Water FrogMusic Make New Friends Music Alone Shall Live Now Is the Time to Sing Peace Round Sing Lullaby Spring Thing We'll Get a Round to It. Available separately: Teacher Edition (with reproducible singer pages) Performance/Accompaniment CD Classroom Kit (Teacher and P/A CD). Suggested for grades 3-6.

This Rock Keyboard method explains comping and soloing techniques in various music styles: - Classic rock - Pop Rock - Blues Rock - Southern Rock - Hard rock - Progressive Rock - Alternative Rock - Heavy Metal The CD included features a full band-keyboard, guitar, bass, and drums-so you can hear how your parts fit in with the total groove.

Cantiones profanae Instrument : soloists (STBar), mixed choir (SATB), children's choir and orchestra Type : choral score Nombre de Pages : 72 Carl Orff's masterpiece composed in 1936 undoubtedly is one of the best-known musical creations throughout the world. By popular request, we now publish a comprehensive choral score uniting all choral parts in one volume of excellent quality and print. This choral score complements the hitherto available choral parts (ED 4920-01 and -02) presenting female and male voices in separate editions, as well as the piano score ED 2877. The new choral score makes rehearsing and studying this extraordinary work much easier for every singer and music lover. Content : Fortuna Imperatrix Mundi: 1. O Fortuna - 2. Fortune plango vulnera - I Primo vere: 3. Veris leta facies - 4. Omnia sol temperat - 5. Ecce gratum - Uf dem anger: 6. Tanz - 7. Floret silva - 8. Chramer, gip die varwe mir - 9. Reie - Swaz hie gat umbe - Chume, chum, geselle min - Swaz hie gat umbe - 10. Were diu werlt alle min - II In Taberna: 11. Estuans interius - 12. Olim lacus colueram - 13. Ego sum abbas - 14. In taberna quando sumus - III Cour d'amours: 15. Amor volat undique - 16. Dies, nox et omnia - 17. Stetit puella - 18. Circa mea pectora - 19. Si puer cum puellula - 20. Veni, veni, venias - 21. In trutina - 22. Tempus et iocundum - 34. Dulcissime - Blanziflor et Helena: 24. Ave formosissima - Fortuna Imperatrix Mundi: 25. O Fortuna

This collection of 45 piano duets (for one piano, four hands) consists of selections for teachers and students at the elementary to late elementary levels. Duet repertoire from the 18th, 19th, and early 20th centuries are included by such composers as Cui, Diabelli, Enke, Foote, Godowsky, Gurlitt, Löw, Reinecke, Sartorio, and more. Students will improve in musicianship, ensemble performance, fingering, and rhythmic control while enjoying this delightful duet literature. To facilitate reading, the primo and secondo parts are on separate pages. The comb binding creates a lay-flat book that is perfect for study and performance. Essential ornamentation is realized in footnotes, both parts contain measure numbers for convenient reference, and brief composer biographies are included. / Piano 4 Mains

Telemann, Georg Philipp Gott der Hoffnung erfülle euch TVWV 1:634 Cantata for Whit Sunday In 1717 Telemann composed his cantata ?Gott der Hoffnung erfülle euch? for the first day of Whitsun based on a text by Erdmann Neumeister. It forms part of the ?Concerten-Jahrgang?, also known as ?Das Harmonische Zion? or ?Italienischer Jahrgang? where all the cantatas are conceived as concertos for vocal and instrumental parts and have been colourfully scored. This particular work includes two oboes, two Corni da Caccia and strings. Vocal soloists, choir and instruments alternate and have equal musical standing in this festive Whitsun cantata which provides a valuable addition to the church service or concert repertoire. ? Urtext edition based on ?Georg Philipp Telemann, Musical Works? ? Cantata for the first day of Whitsun ? Ideal for church services and concerts ? An attractive addition to the repertoire with a view to the 250th anniversary of Telemann?s death (2017) Edition no.: BA 5898-90 ISMN: 9790006562688 Editor: Richter, Maik Language(s) of work: German Language(s) of text: German, English Product format: Piano reduction, Urtext edition Binding: Stapled Pages / Format: VI, 21 S. - 27,0 x 19,0 cm

Par HAHN REYNALDO. Le Rossignol Eperdu & Vol. 2 is the second volume of a set of two by Reynaldo Hahn. It features three main parts for advanced pianists. This volume 2 includes: II. Orient 31. En caï que 32. Narghile 33. Les Chiens de Galata (Effet de nuit sur la Corne d'Or) 34. Rêverie nocturne sur le Bosphore 35. La Rose de Blida 36. L'Oasis (Biskra) III. Carnet de Voyage 37. L'Ange Verrier (Cathedrale de Bourges) 38. Le Jardin de Petrarque 39. La Nativite (Crèche de Nuremberg) 40. Faunesse dansante (Le Rosso & Palais de Fontainebleau) 41. Les Noces du Duc de Joyeuse (Musee de Versailles) 42. Le Petit Mail (Rêveries de Calvin adolescent) 43. Les Pages d'Elizabeth (Temple Gardens) 44. La Jeunesse et l'Ete ornaent de fleurs le tombeau de Pergolène 45. Vieux bahuts (Musee d'Orleans) IV. Versailles 46. Hommage à Martius 47. La Reine au jardin 48. Le Reveil de Flore 49. Le Banc songeur 50. La Fête de Terpsichore 51. Adieux au soir tombant 52. Hivernale 53. Le Pèlerinage inutile Reynaldo Hahn was a naturalised French composer, conductor, theatre director and singer. Best known as a composer of songs, he also wrote many pieces and melodies for different instruments./ Répertoire / Piano

2me Polonaise brillante pour violon avec acompagnement de piano op.21 Henryk Wieniawski wrote only two polonaises. The first one, op. 4 in D minor, is one of his youthful works; the other, op. 21 in A major, is one of the last works he composed. Moreover, H. Wieniawski is the co-author of another polonaise, op. 8, for violin and piano, which he wrote with his brother Józef Wieniawski, a pianist. The latter polonaise, like the Polonaise in D minor op. 4, is also a youthful composition (1852). The polonaise as a genre, therefore, does not occupy much space in Wieniawskis heritage. Nonetheless, both polonaises, in D minor and A major, constitute an essential part of his artistic inheritance. Likewise, both polonaises had been composed in two versions: for violin and orchestra, and for violin and piano. The Polonaise in A major was completed in 1870. It is not known precisely which of the versions, the one with the piano, or the one with the orchestra first came into being. It was the version with orchestra that the composer performed for the first time on 17 March 1870, in the Grand Theatre in St. Petersburg. But merely two months later he performed the Polonaise in Warsaw, accompanied by his brother Józef at the piano. It is quite possible that Wieniawski had already performed this version of the Polonaise. It is certain, nonetheless, that both versions either appeared simultaneously, or one was composed shortly after the other. From its first public performance until the end of his concert career, Wieniawski often included this Polonaise in his concert repertoire, playing one version or another, the choice depending on the needs and circumstances. Just to mention one occasion, he played the orchestral version during a concert tour of Sweden in 1870, when he dedicated and presented a manuscript of this piece to King Charles XV of Sweden. The dedication, however, was changed in print, and both versions were eventually dedicated to François van Hal. Both versions were published simultaneously, by Schott Publishers in Mainz, with the same plate number, though the orchestral version appeared only in parts, which was a common practice in those days. The piece was most probably not published earlier than 18751. The Polonaise was praised by the critics. The reviews reported that it was a magnificent piece2, and this opinion was shared by later critical reviews, both Russian and West European. The Polonaise remained popular after the composer had died, which is evident from the number of later editions of the piece (more than ten) issued by different publishers, mostly German, and prepared by different editors. In Poland, the Polonaise was published twice after the Second World War. All the editions introduced some more or less significant changes into the text, mostly concerning performance indications, but in a sense blurring the composers intentions. All those changes were pertinent to the violin and piano version, and it was mostly in this form that the piece appeared in concert and teaching repertoires. The performances with an orchestra were much more seldom which was, among other factors, due to limited availability of the orchestral version, as it had never been published again after the first edition, until now. The Polonaise in A major was composed approximately at the same time as the Violin Concerto No. 2 in D minor3. This convergence in time had influenced a certain similarity with regard to both composition and technical means, and also to the themes. In particular, the similarity becomes quite obvious in the second theme of the Allegro in the Concerto, and in the theme of the Polonaise. The Polonaise in A major is also in a certain way similar to the first Polonaise (in D minor), the motifs of the themes in both polonaises are alike. However, both pieces differ in style. The Polonaise in D minor shows the composers fascination with technical writing. Wieniawski makes the most of double-stops, chords, and all other sophisticated virtuoso techniques. The Polonaise in A major, written 18 years later, is much more mature. Although it is a virtuosic piece as well, the techniques used are somewhat more limited and subordinated to the expression. The virtuoso character of this piece is more fragile, much closer to the brillant style. At the same time, the Polonaise is typical of Wieniawskis violin playing technique. Here the composer uses the means regarded by his contemporaries to be typical of him, e.g., long staccato fragments played with one bow. The Polonaise is a concert piece in one movement extended form with a considerably abbreviated return of the first section at the end. The middle section is contrasting in character, due to the modulation to F major, change of tempo (meno mosso) and the reduction in the number of instruments (in the orchestral version). All the sections show thematic similarity. The first section, too, consists of three subsections, including a contrasting middle subsection (in E major). Zofia Chechlińska Footnotes 1. See The Critical Commentary, p. ? and onward. 2. See V. Grigoriev, Henryk Wieniawski. Życie i twórczość. [Life and Work] Warszawa - Poznań 1986, p. 184. 3. The first version of the Concerto No. 2 in D minor was completed in 1862, but in 1870, i.e., not until the Polonaise in A major was completed, Wieniawski had been working on the Concerto and implemented quite a few changes. Publisher: PWM/Towarzystwo Muzyczne im. Henryka Wieniawskiego w Poznaniu Series: Henryk Wieniawski - Complete Works Cover: softback Nr ISMN: 979-0-2740-0753-9 Number of pages: 34+8 Format: N4 stoj. 235x305 Language version of text: pol., Eng.