Par RAVEL MAURICE. As a prestigious composer of the early 20th century, Maurice Ravel 's Pièce En Forme De Habanera, transcribed for Flute and Guitar by Janet Ketchum and Peter Segal, contains many features which continue to make the composer's music popular and loved to this day. Known for his masterful melodies and rich harmonies, Pièce En Forme De Habanera clearly exemplifies these qualities through flourishing Flute lines and evocative, chordal and rhythmic Guitar accompaniments. Moreover, Habanera rhythms heard throughout the piece create further excitement. All of these musical elements combined create ahighly enjoyable piece for the Flute and Guitar repertoire. In addition, the clear print of separate solo and accompaniment parts in this edition of Pièce En Forme De Habanera add to an irresistible purchase for aspiring Flute players./ Répertoire / Flûte Traversière et Guitare

Par VAUGHAN WILLIAMS RALPH. Quartet in C Minor is in four movements with a total duration of about 25 minutes. The opening Allegro is Dvorák-ish in its lyricism, though there is a darker, more brooding atmosphere towards the close. It is tempting to detect a hint of folk-song in the theme of the Andantino, played by the Viola, but that may be stretching hindsight too far. The movement has a wistful melancholy that carries over into the following Intermezzo, a song-like episode containing some of the most virtuosic writing in the work. The last movement is a theme and six variations with a fugal ending. The theme is ballad-like with a suggestion of 18th-century elegance. Modality creeps into the second Adagio variation and there is rhythmic exhilaration in the succeeding Presto. What can be admired in this attractive quartet is its conciseness. This String Quartet was his first major composition of any kind. / Niveau : Intermédiaire / Répertoire / Quatuor à Cordes

Par BARTOK BELA. Bartok's 'String Quartet No. 5' was commissioned by the formidable Elizabeth Sprague Coolidge, leading patron of chamber music in the U.S. in the first half of the 20th century. Bartok is alleged to have composed the work in a one-month span of isolation in 1934, and it received its premiere in Washington, D.C. by the Kolisch Quartet in 1935. The String Quartet No. 5 was published shortly thereafter by Universal Edition, who now incorporates the score into their UE Study Score Series in a handsome new publication./ Répertoire / Quatuor à Cordes

3 Original Pieces for Clarinet Quartet. Three works with quotations from well-known composers are contained in this tongue-in-cheek collection. Otto M. Schwarz has produced an outstanding recording of these works with members of the Slovak Philharmonic, which is available on all streaming and download platforms. 1. THE AMADEUS WATCH: Wolfgang Amadeus Mozart?s own watch ? if he had one ? ticks away. The ticking carries us back in time with a piece that stylistically imitates the music of the 18th century in melody, harmony and rhythm. 2. COMPOSERS DINNER IN HEAVEN: At the music publisher De Haske, a composers? dinner was an integral part of trade fairs or meetings. The dinner was very popular among anyone who sat at it, not least of all because it offered one the opportunity to chat informally.? Based on such a meeting, Otto M. Schwarz has a composed a work that describes an imaginary dinner of great classical masters on a cloud in the sky. Guess which composers are present by the references in the form of musical quotations and stylistic devices! 3. SCHERZO FOR CLARINET QUARTET: The work, in 12/8 time, moves in a rapid furioso. Underscored by a continues eighth note rhythm, the work creates in the listener the sensation of a frantic rollercoaster ride. The theme moves throughout all the parts and, following a chromatically moving chord sequence, ends in a dramatic crescendo.

Par GRECO JOSE LUIS. The work started out as music for a contemporary ballet choreographed by Paul Selwyn Norton for Spain?s National Dance Company. The first of the three movements, the basis for a set of variations in the ballet, was left stranded. So I decided to add two more movements to round out the arc it seemed to suggest. The three movements are a bit like time travel, in that they evoke the Baroque, the Classical and the early 20th century. / Date parution : 2022-04-01/ Répertoire / Piano

Saint Francois D'Assise is an opera in 3 acts by Olivier Messiaen. This volume is focused on the Act II - 6. Le Prêche Aux Oiseaux which depicts a moment when he preached to the birds, in Assisi. Saint Francis gives the birds his benediction to which they answer by a Concerto. Based on the life of Saint Francis of Assisi, this opera is set in Italy and is composed as per below:Act I: 1. La croix 2. Les laudes 3. Le baiser au lépreux Act II 4. L'ange voyageur 5. L'ange musicien 6. Le prêche aux oiseaux Act II 7. Les stigmates 8. La mort et la nouvelle vie This opera was played at the Paris Opera in 1983. Olivier Messiaen (1908-1992) was a French organist and composer passionate about Ornithology and one of the most important composers of his century. Inspired by Japanese music, he had a very special way of composing and his work can be identified by its complexity, its diatonic aspect, its harmony with limited transposition, its colour and its additive rhythms. He composed many works related to ornithology and birdsong, including the 'Bird Catalogue' in 7 volumes and the 'Treatise on Rhythm, Colour and Ornithology' in 7 volumes. / Chant Et Piano

The Boosey and Hawkes Bartók Edition showcases brand new stylish arrangements of highlights from the leading twentieth century composer for developing musicians to learn and enjoy.Bartók for Flute features selected highlights from Bartók's most popular pedagogical repertoire including For Children, Mikrokosmos, Romanian Folk Dances, Romanian Christmas Carols and others, arranged for flute with piano accompaniment by Hywel Davies. An accompanying audio CD features demonstration and backing tracks. / Flûte Et Piano

Jon Washburn Choral Series-This beautiful Sara Teasdale poem presents initially a comforting vision of the natural beauty of a world returning to equilibrium until we realize that it can only happen after humans are removed from the ?natural?equation.?Written a century ago this timely text is set by Rob Teehan in a lush colorful style which will allow your choir to focus on the poignant text.

Cantata for string orchestra and chorus. Triptych represents the concatenation and re-orchestration of two extant works. Movement I was commissioned with funds from The RVW Trust for the inaugural concert of the Choir of London conducted by Jeremy Summerly in Christ Church, Spitalfields on 18th December, 2004 - the work, premièred as Threnody, was subsequently toured by the Choir to Jerusalem and the West Bank from 19th-26th December, 2004. Movements II and III, commissioned by Portsmouth Grammar School with financial support from the PRS Foundation, were premièred as And There Was a Great Calm in a contiguous version for lower strings and upper voices by the Portsmouth Grammar School Chamber Choir and the London Mozart Players in a concert at Portsmouth Anglican Cathedral on 13th November, 2005 conducted by Nicolae Moldoveanu. The title of this latter section is taken from Thomas Hardy's poem of the same name, written at the signing of the Armistice on 11th November, 1918 - a couplet from which is set, in a moment of tranquillity, in the final movement. Relatively new to living in New York, I am much more aware of the independent, vibrant cultural plurality that exists today - it's probably the single most dazzling facet of the City and is largely responsible for the infamous 'edginess' that pervades daily life there. With this in mind, I set to work on Threnody (movement I here) in 2004 - I wanted to write something that was relevant to the Israeli/Palestinian issue without losing that City 'edge'. The texts, in English, are excerpted from a variety of sources: William Penn, William Blake, the Psalms of David and Muhammad Rajab Al-Bayoumi, an Egyptian poet of the early twentieth-century. Fast and rhythmically influenced by the music of North Africa in its syncopations, this movement was the first composition that evolved entirely from my New York perspective. From the moment that the commission for And There Was a Great Calm (movements II and amp - III here) was offered, I knew the piece I was about to embark upon would end up being linked with Threnody in some way. I realized that what I had been aiming for in Threnody served as a template for this new piece, originally composed for a Remembrance Sunday concert. Musical works connected with commemoration or memorials are often suitably pensive and slow - I wanted to start with that concept, but to bring in some of the relentless urban rhythms that had been such a large influence on my life in the preceding two years. The result is that that the second movement is quiet and gentle (a moment of recollection), while the final movement is much faster and vibrant, returning to a more openly elated rendering of the start of Triptych (the texts here dealing with transmigration and the future). and nbsp - I gratefully acknowledge the assistance of Bruce Ruben and Judith Clurman, as well as that of my parents, with the collation of the texts. Tarik O'Regan New York, February 2006 / Soprano, SATB Et Orchestre De Cordes

A New Edition Revised and Edited by the Composer. Par VILLA-LOBOS HEITOR. An exciting assortment of Piano works that are musically and technically rewarding as study pieces, and appealing in recital. The music is on a level with that of the 18th and 19th century masters. This edition has been edited by the composer. Contents: ALMA BRASILEIRA - CHOROS NO.5 BACHIANAS BRASILEIRAS NO.4 - Suite 1. Preludio - Introdução - (Prelude) 2. Coral - Canto Do Sertão (Song of the Jungle) 3. Aria - Cantiga (Song) 4. Dansa - Miudinho (Dance) CAIXINHA DE MUSICA QUEBRADA (The Broken Little Music Box) CARNAVAL DAS CRIANCAS BRASILEIRAS - Suite 1. A Manhã Da Pierrete (Pierrette's Hands) 2. O Chicote Do Diabinho (The Devil's Whip) CICLO BRASILEIRO - Suite 1. Plantio Do Caboclo (Native Planting Songs) 2. Impressões Seresteiras (Mistrel Impressions) 3. Festa No Sertão (Jungle Festival) 4. Dansa Do Indio Branco (Dance of the White Indian) GUIA PRATICO - Album 1 - Five Pieces 1. Acordei De Madrugada (Dawn) 2. A Maré Encheu (Full Tide) 3. A Roseira (The Rose-Bush) 4. Manquinha (Little Lame Girl) 5. Na Corda Da Vióla (On the Strings of a Viola) GUIA PRATICO - Album 8 - Seven Pieces 1. O Limão (Oh, Lemon) 2. Carambola (Goodness!) 3. Pobre Céga (Poor Blind Woman) 4. Pai Francisco (Father Francisco) 5. Xô Passarinho! (Fly! Little Bird) 6. Sinh' Aninha (Farmers' Daughters) 7. Vestidinho Branco (Little White Dress) GUIA PRATICO - Album 9 - Six Pieces 1. Laranjeira Pequenina (The Little Orange Tree) 2. Pombinha, Rolinha (Little Dove, Tiny Dove) 3. O Ciranda, O Cirandinha (Circle Dance) 4. A Velha Que Tinha Nove Filhas (The Old Woman That Had Nine Daughters) 5. Constante (Constant) 6. O Castelo (The Castle) POEMA SINGELO (Simple Song) PROLE DO BEBE - #1 - Suite 1. Moreninha (The Little Paper Doll) 2. Mulatinha (The Little Rubber Doll) 3. O Polichinelo (Clown) SIMPLES COLETANEA - Three Pieces 1. Valsa Mistica (Valse Mystique) 2. Em Um Berço Encantado (Dans Un Berçeau Féerique) 3. Rhodante (Circle Dance) SUITE FLORAL - Op.97 - Three Pieces 1. Idilio Na Rede (Summer Idyll) 2. Uma Camponeza Cantadeira (A Singing Country Girl) 3. Alegria Na Horta (Joy In The Garden) / Niveau : Intermédiaire à Avancé / Répertoire / Piano

Par . Terri Lyne Carrington, Founder and Artistic Director of the Berklee Institute of Jazz and Gender Justice, has curated a wide range of jazz compositions written by women composers, from obscure to popular, historic to current, blues to be bebop, and beyond in this important collection. These compositions are supplementary and alternatives to the jazz standard canon that has served students, teachers and professionals throughout the development of jazz music. The compositions span nearly a century, including Lil Hardin Armstrong's work from 1922 to songs written in 2021 by recent Institute graduates. It features 101 compositions from a remarkable range of acknowledged titans, young visionaries and unsung heroes in jazz: Mary Lou Williams, Alice Coltrane, esperanza spalding, Geri Allen, Maria Schneider, Cecile McLorin Salvant, Cassandra Wilson, Dianne Reeves, Dorothy Ashby, Nubya Garcia, Nicole Mitchell and many others. The book includes a 1922 piece by the influential Lil Hardin Armstrong and songs written in 2021 by emerging artists from Carrington's Berklee Institute of Jazz and Gender Justice. New Standards also celebrates the global world of jazz, from Chilean tenor saxophonist Melissa Aldana to Japanese American pianist Toshiko Akiyoshi and other international composers. / Date parution : 2022-12-12/ Recueil / Tout Instrument

An Oscar-winning lyricist and Songwriters Hall of Famer Yip Harburg collaborated with the finest composers of the 20th century. Featured here are nearly three dozen of his most beloved songs including: April in Paris ?Brother Can You Spare a Dime' ? How Are Things in Glocca Morra ? It's Only a Paper Moon ? Old Devil Moon ? Over the Rainbow ? We're Off to See the Wizard ? and more. Features great photos and anintroduction/career retrospective by Stephen Holden.

The Boosey and Hawkes Bartók Edition showcases brand new stylish arrangements of highlights from the leading twentieth century composer for developing musicians to learn and enjoy.Bartók for Violin features selected highlights from Bartók's most popular pedagogical repertoire including For Children, Mikrokosmos, Romanian Folk Dances, Romanian Christmas Carols and others, arranged for violin with piano accompaniment by Hywel Davies. An accompanying audio CD features demonstration and backing tracks. / Violon Et Piano

This was composed in 1979 and is scored for SATB.This work is a setting of a sixteenth-century poem which is a plea for death to come and bring an end to suffering thereby affording peace.

'Mors et vita' - death and life. This antithesis opens a stanza of the ancient 11th-century Easter sequence 'Victimae paschali laudes', where life and death are locked in mutual struggle. Zsigmond Szathmary's 12-minute composition of 2015, commissioned for the Freiburg Minster, interprets this primal human experience with mighty explosions of sound. Here the organ can show what it's capable of: its grandeur and strength are fully exploited, but not at the expense of soft and gentle contrasts. Typical of Szathmary's compositional style is the alternation of seemingly improvised, recitative-like writing and passages in strict rhythm. Time and again the composer takes up elements from the church hymn 'Christ ist erstanden von der Marter alle' (Christ the Lord is risen again). / Orgue