Les éléments essentiels de l'interprétation de différents styles musicaux (baroque, classique, dodecaphonique, blues, swing, musiques du monde). Grace aux parties d'accompagnement de piano rassemblées dans un recueil séparé, il est également possible d'interpréter ces pièces en public. / Cor / niveau : Elémentaire / Partition

41 pieces including tangos, milongas, chamames, zambas and chacareras Ausgabe mit CD - CD - violin - English - German - French A beautiful and wide-ranging collection of 41 great tunes from all over Argentina. This collection features tangos, milongas, chamamés, chacareras, zambas and gatos as well as earlier styles and new compositions. Many pieces are presented as duets and there is the opportunity for the solo violinist to play along with the guitar or bandoneón and second violin accompaniment on the MP3 backing tracks. Summaries of the individual tunes and detailed notes on the music of Argentina enable you to get the best out of this exciting and colourful music. A CD of all pieces played by Ros Stephen accompanies the publication, which is suitable for grade 3 and above. MP3 play-along tracks can be downloaded from the Schott Music website. ?I would recommend this volume to anyone interested in exploring traditional music.? (Sarah Kekus (Chair National Association of Music Educators [NAME] 2010-11) ?This is a really appealing book, and great value for money.? (The Strad) ?Additionally, all pieces are expertly played by violinist Stephen. Her extensive notes on the different styles and tunes enable one to get the best out of this colourful and exciting music.? (Australian Strings Association Journal, Stringendo) Contenu - Por Una Cabeza - El Choclo - El Entrerriano - Comme Il Faut - El Marne - Retintin - Hasta El Dia Del Regresso - El Petirrojo - El Portenito - Milonga Rulito - Milonga Pampeana - Suerte Negra - Mas O Menos - Belgique - La Alabanza - El Rio Dulce - El Violin Del Gaucho - Chacarerea De Nuestros Adios - La Flor Del Chanar - La Pollana - Aguara Pope - Maria Pecuri - Chammame del Jacaranda - Naipi y Taroba - El Urutau - El Coati - Manchay Puito - Gato Cordobes - Gato Correntino - Los Amores - Viva Jujuy - El Cuando - La Arunguita - El Palito - El Escondido - La Remesura - Zamba de Vargas - Amame Mucho - La Familiar - Cuando La Luna Nace - La Gallina Alegre

Initially composed in 1907 for Bass Voice and Piano Habanera by Maurice Ravel was transcribed for Flute and Piano for this edition. Based on a Cuban Contradanza it features a special habanera rhythm and is generally performed with sung lyrics. In this edition the Flute is a substitute for the voice. While composing this piece Maurice Ravel was also working on two works also with Spanish influence: 'The Spanish Rhapsody' and 'The Spanish Hour'. This edition which can be used for recitals and exams will enlighten Flute players. Maurice Ravel (1875-1937) is a French composer famous for hisImpressionist contributions. He wrote numerous pieces including 'Daphnis and Chloé' and the famous 'Bollero'.

Initially composed in 1907 for Bass Voice and Piano Habanera by Maurice Ravel was transcribed for Bb Soprano Saxophone and Piano for this edition. Based on a Cuban Contradanza it features a special habanera rhythm and is generally performed with sung lyrics. In this edition the Saxophone is a substitute for the Voice. While composing this piece Maurice Ravel was also working on two works with Spanish influence: 'The Spanish Rhapsody' and 'The Spanish Hour'. This edition which can be used for recitals and exams will enlighten Saxophone players. Maurice Ravel (1875-1937) is a French composeris really famous for his Impressionist contributions. He wrote numerous pieces including 'Daphnis and Chloé' and the famous 'Bollero'.

Suite for symphonic wind band is a rich orchestral piece that taxes the musicians to the utmost. The first part starts with a lyric melody in the French horn section to be taken over by the full orchestra ending in a kind of 'anarchistic entrada'. The second part starts with a transparently orchestrated polyphonic web slowly passing into a richly arranged wave like movement that stops suddenly leading to the third part's 'attaca' start. This third part is a fragile 'adagio con tenerezza'. The finale is extremely virtuous and feriocious. It is a musical expression of anger fear and despair.

Carol of Burgundy. Here is a lively and intricate setting of the classic French carol that builds to a powerful close. In imitation of the flute and drum mentioned in the carol, the singers play back and forth with their ?tu-re-lu-re-lu's? and ?pat-a-pat-a-pan's? on interludes throughout the piece. After a straightforward first verse, the second presents the melody mysteriously, in pianissimo octaves, while a ?tu-re-lu-re-lu? ostinato trades off in the inner parts. The third verse presents the melody in a three-part canon, and finally, anchored by a powerful 3-part women's texture reminiscent of Britten's This Little Babe, the fourth verse rises to a powerful and rafter-raising conclusion.

Fassung für Sinfonieorchester-Gabriel Fauré's Requiem Op. 48 for SATB and Piano. Version for Symphony orchestra. The Requiem of Gabriel Fauré is undoubtedly the most important opus among the sacred works of this French master. Beginning with the first performances during the composer?s lifetime it is one of those works whose popularity has never waned. In the absence of an autograph score a new edition of this work posed a challenge in two important respects: on the one hand to present an edition faithful to the often contradictory sources and on the other to render a clear and meaningful musical text of the work.

From Quatre Motets Sur Des Themes Gregoriens-Duruflé grew up in Louviers in the northern French region of Haute-Normandie (Upper Normandy) where as a boy he was a chorister and studied piano. At the age of 17 he moved to Paris to study organ with Charles Tournemire. A year later Duruflé wasadmitted to the Paris Conservatoire where he studied organ piano and composition and was awarded five first prizes in various subjects. Upon graduation Duruflé became musical assistant to Louis Vierne at Notre Dame but soon after this wasappointed organist at Saint Étienne-du-Mont in Paris where he would remain for the rest of his life. In 1943 he was appointed professor of harmony at the Conservatoire a position he maintained for 27 years. From 1926 until 1977 Duruflé published 14compositions including the Requiem Op. 9 (1947). Duruflé traveled extensively as a concert organist and was active as a recording artist. Later in life he and his second wife often performed as an organ duo. The composer suffered severe injuriesin an automobile accident in 1975 which left him nearly bed-ridden for the final decade of his life.Composed in 1960 Quatre Motets sur des thèmes grégoriens Op. 10 (Four Motets on Gregorian Themes) were dedicated to Auguste le Guennant director of the Gregorian Institute in Paris. Each of the four motets begins with an incipit of Gregorianchant which serves as melodic inspiration for the composition that follows. The four motets are (in order): ?Ubi caritas ? ?Tota pulchra es ? ?Tu es Petrus ? and ?Tantum ergo.? ?Ubi caritas? is an early Christian antiphon traditionally used in the Maundy Thursday service during the washing of the feet an act of Jesus from the Last Supper. The antiphon has become closely associated with the Eucharist and is sometimes alsoused at weddings. Duruflé sets only the first of the four stanzas of the text.

Initially composed in 1907 for Bass Voice and Piano Habanera by Maurice Ravel was transcribed for Trumpet and Piano for this edition. Based on a Cuban Contradanza it features a special Habanera rhythm and is generally performed with sung lyrics. In this edition the Trumpet is a substitute for the Voice. While composing this piece Maurice Ravel was also working on two works with Spanish influence: The Spanish Rhapsody and The Spanish Hour. Maurice Ravel (1875-1937) was a French composer who is most famous for his Impressionist compositions. He wrote numerous pieces including Daphnisand Chloé and the famous Bolero.

Rudolf Mauz présente un vaste recueil de musique klezmer et de mélodies juives pour clarinettete. Cet ouvrage se distingue par la présence de pièces pour clarinettete et piano, ainsi par un choix de duos de clarinettetes, parmi lesquelles on trouvera des pièces traditionnelles ou originales dues à Rudolf Mauz. Les partitions sont très soigneusement éditées de manière à procurer des arrangements stylistiquement authentiques.Pages : 88Niveau : moyenLangue : English - French - German - Hungarian / Clarinette / Schott