Remember fighting off the Sandman, desperately struggling to stay awake at the chance that you might catch a glimpse of Saint Nick. Every rustle or bump made you jolt from your quilted pod and race to the living room where the lit tree posed, draped in soft light. Still no Santa!It took all your energy to climb back into bed with your eyelids drawn and your body heavy. Tucked back in as best as you could with the sheets and pillows slightly disheveled, you dozed off while musical thoughts fill your groggy head. A wide, animated grin filled your face as you dreamt of chilly nights of caroling and warm, fire-lit sing-a-longs.Music has always been an integral part of the holiday season. As everyone knows, there is no better way to celebrate than with a song. Re-live your childhood memories and share your love of music this holiday season with Santa's Little Helper published by Santorella Publications.Santa's Little Helper for Violin isalso written as solos or duets in accommodating keys for Viola, Cello and Bass. This best selling Santorella Publication includes a piano accompaniment CD with lyrics, so the whole family can sing along.The Piano Accompaniment book for this Stringed Instrument Edition is sold separately. Santorella's Horn Edition is also available for trumpet, clarinet, flute, alto sax and trombone.. / Violon

Reflecting many of the composer's childhood memories growing up in the deep South, this work rises high into the sky. Original, folk-style melodies along with contemporary harmonies will make this work a perfect contest or concert piece for your concert band. (6:00) / Concert Band

Pierre Boulez wrote two pieces for solo violin, called ?Anthèmes? I and II. This is the first and shorter of the pair and was composed in 1991 for the Yehudi Menuhin Violin Competition. Taking inspiration from childhood memories of Catholic church services, Boulez created a piece of two distinct sonic worlds, in seven short parts, ending with a ?col legno battuto?, characteristic of Boulez?s witty humour. This arrangement is a direct transposition for cello of the original violin piece. It is not known who produced it but it is known that Boulez heard this version and approved of it.

Par BOULEZ PIERRE. Pierre Boulez wrote two pieces for solo violin, called “Anthèmes” I and II. This is the first and shorter of the pair and was composed in 1991 for the Yehudi Menuhin Violin Competition. Taking inspiration from childhood memories of Catholic church services, Boulez created a piece of two distinct sonic worlds, in seven short parts, ending with a “col legno battuto”, characteristic of Boulez’s witty humour. This arrangement is a direct transposition for cello of the original violin piece. It is not known who produced it but it is known that Boulez heard this version and approved of it./ Répertoire / Violoncelle

Jeg Er Sa Glad Hver Julekveld-This arrangement of the familiar Norwegian carol “I Am So Glad Each Christmas Eve ” offers both an English and optional Norwegian text for two-part treble voices and piano. The music box accompaniment adds to themerriment of the melody and text. Recounting happy childhood memories of decorating the tree delicious smells from the kitchen and the fresh retelling of the Christmas story warms the heart and the soul. A sparkling addition toyour Christmas concert children and parents will love drifting away into their fondest holidays past.

The third and final chapter in the Toy Story trilogy this delightfully charming movie celebrates the importance of childhood memories and imagination. Randy Newman's score complements the story brilliantly and choirs ofall ages will enjoy singing this Oscar-winning song about the joys of having and being a friend. Available separately: SATB SAB 2-Part ShowTrax CD. Combo parts available digitally (tpt 1-2 tsx tbn syn gtr b dm perc).Duration: ca. 3:00.

The Sonatina In E Major For Violin And Piano (Op. 80) was composed in 1915 and first published in 1921. It is written in three movements: Lento - Allegro; Andantino; Lento - Allegretto - Vivace. Although it is one of the composer’s later works it is written in an early style and recalls his childhood memories. Jean Sibelius (1865-1957) was a violinist and composer of the Nationalist school. He remains the leading cultural icon of his native Finland having become the musical and artistic figurehead of the Finnish independence movement during his lifetime. He is best remembered for his symphonic poem Finlandia and alsohis seven symphonies.

Composer/arranger Victoria Ebel-Sabo drew from fond childhood memories when she chose to set this lovely Spanish lullaby. Tecolote (Song of the Little Owl) has a delightful lilting melody and a beautiful guitar-like piano part. Innocence and simplicity set to music.

5 original pieaces for piano. Par DAVIDSON BRIAN. Embark on a delightful musical adventure through cherished childhood memories with Nursery Suite. This enchanting piano book, thoughtfully composed for adult players, invites you to rediscover the whimsical world of traditional nursery rhymes in a captivating and sophisticated way. Within its pages, you will find a collection of five enchanting pieces, each inspired by a beloved nursery rhyme. Designed to be accessible, Nursery Suite offers a delightful challenge that will inspire and delight players of all skill levels. Whether you perform these pieces in the comfort of your home or on a grand stage, the audience will be captivated by the unique blend of nostalgia and artistry that this collection brings to life. / Date parution : 2023-10-31/ Recueil / Piano

Recall - Concerto for Accordion and Orchestra by Per Nørgård. Reduced version (1977). I. Cántico AnticoII. Villanesca III.Rondino. Programme note Recall was composed as a tribute to my recollections of the vitality of Balkan folklore – as perceived by an urban Scandinavian. So the listener will listen in vainfor any “Authencity” of material. The slow introduction and the fast main movement unfold freely in their own way which never is far from adopting sounds melodies and rhythms which are far more “1960s inDenmark” than “perennial folklore”: it is an entertainment (recall) based on childhood memories seen (heard) through a grown up´s eyes (ears). Anyway so I remember “Recall”today… Per Nørgård (1990) Parts are available on hire: hire@ewh.dk Orig 1968 version: WH31266 Concert version for Accordion and Piano available: WH30062  

Recall (1968) - Concerto for Accordion and Orchestra by Per Nørgård. I. Cántico AnticoII. Villanesca III. Rondino. Programme note Recall was composed as a tribute to my recollections of the vitality of Balkan folklore – as perceived by an urban Scandinavian. So the listener will listen in vain for any “Authencity” of material. The slow introduction and the fast main movement unfold freely in their own way which never is far from adopting sounds melodies and rhythms which are far more “1960s in Denmark”than “perennial folklore”: it is an entertainment (recall) based on childhood memories seen (heard) through a grown up´s eyes (ears). Anyway so I remember “Recall” today… Per Nørgård (1990) Parts are available on hire: hire@ewh.dk Reduced version: KP00318 Concert version for Accordion and Piano available: WH30062  

Britta Byström's Trumpet Concerto No.2 Screen Memories for Trumpet solo and Orchestra (2012). Trumpet solo part: WH31514B Dedicated to Tine Thing Helseth. Premiered February 28 2013 by the Nordic Chamber Orchestra  and Tine Thing Helseth conducted by Johannes Gustavsson at Stadshuset in Sundsvall Sweden. Programme note Screen Memories is the English translation of a Freudian term (Deckerinnerung is the original German term). In Swedish it is called 'täckminnen'. The term means strong but seemingly meaningless childhoodmemories as 'cover' for substantial memory.  The title is something of a pun as the work is based on the composition Voyage Into the Golden Screen  (1968-69) by Danish composer Per Nørgård – a modern classic in which Nørgård presents his compositional technique known as the infinity series. The technique which I freely apply in the “Trumpet Concerto” enables the development of an endless melody! In that sense “Screen Memories” adapts a second understanding: memories of the composition of Nørgård.  Nørgård in turn adopted the title from a song by British songwriter Donovan – the first phrase of this song is in my trumpet concerto. And then there's a third musical reference: the second movement of Beethoven's Piano Sonata No. 8 'Pathetique'. I once heard it in concert while a massive rainstorm appeared and nearly drowned the music. A musical memory incorporated in the composition (the percussionist uses a “rain stick”).  Screen Memories thus becomes a concert full of musical memories dressed in new clothes. It is written for and dedicated to the soloist Tine Thing Helseth whose soft and virtuoso

Make the silence talk'La Muette knew how to make the silence talk like no one', writes Djavann in his book (La Muette, © Flammarion 2008). Those words deeply touched me for they express one of the most beautiful metaphors in music. Through the lines of discourse, beyond words, I was listening to the silence of 'La Muette'. A rare and intense listening which joins the same internal listening I use when I'm writing my score. I was listening to La Muette, I decided to write a new piece to make the silent voice of La Muette told by Chahdortt Djavann sound through music. Choosing the extracts The text put in music is composed of short extracts from Djavann's story. I focused on this woman's portrait, who conquers her freedom through silence in which she forms a strong love relationship with her niece Fatemeh on the one hand, and the Uncle on the other hand. 'She had made her silence become her art of living, her freedom' writes Djavann. The extremely dramatic tension, the flow of the singing in Persian language, and the oppression in relation to the Iranian context are trying to underline the independent beauty of that woman who resists and exists without a voice. Story A young 15 years old Iranian girl named Fatemeh is in jail. Waiting for her death sentence, she writes the story of her aunt on a small notebook, 'so that someone remembers La Muette and myself'. The young teenager was raised by her aunt who becomes mute because she decided to stop talking on a dark day of her own childhood when she was interrogated, never to tell THE truth. An aunt whose silence makes even more fascinating, haughty, with an insolent look, cigarette at her lips, bare-footed and without any scarf on her head. 'La Muette' had made her silence become her art of living, her freedom. Around her, women start to talk, even considering her mad, for only a mad person could act this way. Fatemeh loves her mute aunt unconditionally, that is how she wants to become a woman, by being like her, fascinated by her silence and her excesses. La Muette embodies a figure of Freedom and makes us remember that in some countries, the woman who won't be submissive risks capital punishment. She will be hung. Following this beautiful text by Chahdortt Djavann, 'La Muette', a powerful text, stiff, tensed, without any lyricism nor compromises, which takes place in Iran under the Mollahs' regime. Persian: Phonological material / Compositional material Djavann's story is written in French. I asked Baharé Khadjé-Nouri to translate the text into Persian, and worked with her on pronunciation, accentuation, metric and the structure of the language, and I thank her again for that. I spent a long time having some people reading me the text in Persian and through listening I immersed myself in that sound universe. From this linguistic material, the beginning of the piece starts with the constitution of a tank of sound objects which will constitute parts of the compositional material. To compose the phonological tank, I worked on writing the pronunciation that lies at the origin of every possible vocal composition, writing the tone as well as the 'percussive - resounding' aspects of phonemes, multiple uses of fricative consonants or sibilants. Finally I used the vocal treatment of the phoneme through modes of play in relation to sprechsang: sing -inspire, or -expire, -blow, -chanting, -whispering, -spitting, -speaking. But a purely phonetic analysis of the vocal structures composing the sung part would reduce the word to its mere phonetic entity. The phonological material then constituted a compositional material by giving to the sung word its semantic entity. Form of the piece To strip the drama off every narrative element, at least of the discursive and linear character of the story, I first re-organized parts of the text extracted from the whole book in an order fitting the form I wanted to give to the piece (except for the beginning and ending which are kept in their linear forms). I imagined Fatemeh in jail, whose memories bounced between the four walls of her cell: recurring musical material, re-injected in an obsessive way, disjointed and contrasted, continuously modified each time, bouncing from one sequence to the next in another state. The piece is divided into 5 sequences, between each of them is an instrumental interlude with a voice-off, the voice of the present in the cell that contrasts with the singing voice of the sequence, evocation of memories of La Muette (sequence 1: preamble, sequence 2: portrait of La Muette, sequence 3: La Muette and Fatemeh, sequence 4: La Muette and the Uncle, sequence 5: epilogue). Electroacoustic setupFor this piece, I wrote the electroacoustic parts myself at the same time I was writing the instrumental parts. The electroacoustic setup is here considered as a whole instrument, an instrument added to the 12 others electroacoustic instruments and to Donatienne's voice. The electroacoustic sounds are divided into three types: - Samples from the singer's voice and instruments of the TM+ ensemble transformed - The narrator's voice Baharé Khadjé-Nouri in Persian, original version or transformed - Extra-musical sounds As for the synchronization between the acoustic and the electroacoustic scores, we will use for the first time an innovative application developed by Frédéric Bevilacqua and Bruno Zamborlin, not to follow the moves as we did it in StreicherKreis (my string quartet created in November 2008), but to follow the voice and orchestra. Thus, we will be using an 'audio-following', which constituted a first. This setup of recognition and following will allow the synchronization between instrumental and electroacoustic scores in a musical and precise way. Concerning the interactivity between performers and device, it will all be in real-time. Characteristics of the musicians' sound will 'interpret' what comes out of the speakers. The musicians will define the settings of the sound transformations, in terms of space, transposition, tone or length. This new piece expresses a message through the choice of subject that goes beyond strictly music. For me, it is important that both the composer and writer can invest their work into problematics which they're confronted to because they are immediate witnesses. / Soprano Et Percussions