Volume 4 - Songs 1922-1923-This society edition contains fourteen songs chronologically arranged and each with a detailed preface giving the relevant historical background to the composition. Warlock was very pedantic about original keys. He deplored transpositions but bowed to their necessity in performing editions. In this edition keys have been chosen to suit the medium voice. This generally means a range of about an octave and a fifth with nothing below B flat and nothing above F sharp/G flat.

La version de 1922 des Noces a une place importante dans la production de ballet de Stravinsky. Elle marque la fin de sa période Russe, et le début de sa période néo-classique. Les Noces furent composées après les trois principales périodes de ballets russes, L'Oiseau de Feu, Petroushka, et Le Sacre du Printemps. <br>Partition pour solo, choeurs, quatre pianos et percussions. Durée : environ 35 minutes. Partition complète et parties orchestrales disponible à la location chez l'éditeur. / [Igor Stravinsky: Les Noces (1922- Miniature Score)] / Classique / Partition /

Original And Revised Versions-This is the first single-volume publication of both the out-of-print original and revised versions of Krazy Kat a unique 'jazz pantomime' for piano. Based on George Herriman's hugely influential newspaper comic strip that chronicled the adventures of a lovelorn feline this comic production represents a landmark in American music. The seldom-staged work debuted in 1922 at New York City's Town Hall and a 1940 revival employed the revised edition.John Alden Carpenter's score abounds in lyric warmth harmonic charm and rhythmic vitality. He created this unusual theatrical work for a ballet company headed by a former Ballets Russes performer. CartoonistHerriman designed the production's scenery and costumes and he drew a series of madcap illustrations that are reproduced in this edition. Jazz lovers collectors of rare music and intermediate- to advanced-level pianists will want a copy of this facsimile publication which features the composer's original Program Notes and an illuminating Introduction.Reprint of the George Schirmer Inc. 1922 and 1948 editions.

Par BOURDEAU EUGENE. Eugene Bourdeau came from a family of bassoonists and eventually became the professor of bassoon at the Paris Conservatory from 1891 to 1922. Though not well-known as a composer, he composed three solos for bassoon, consisting of a a variety of styles. The Deuxieme (Second) Solo, composed for the 1907 concours of the Paris Conservatory, is in three sections: a stately introduction, a slow middle section, and a brisk allegretto. Originally in the key of B minor/D major, the entire piece has been transposed up one half-step, to better accommodate the range of the bass clarinet, as well as to make it a more comfortable key.Eugene Bourdeau came from a family of bassoonists and eventually became the professor of bassoon at the Paris Conservatory from 1891 to 1922. Though not well-known as a composer, he composed three solos for bassoon, consisting of a a variety of styles. The Deuxieme (Second) Solo, composed for the 1907 concours of the Paris Conservatory, is in three sections: a stately introduction, a slow middle section, and a brisk allegretto. Originally in the key of B minor/D major, the entire piece has been transposed up one half-step, to better accommodate the range of the bass clarinet, as well as to make it a more comfortable key./ Répertoire / Clarinette Basse et Piano

Par SZYMANOWSKI KAROL. (VII) The Polish idiom appeared in Szymanowskis music in 1920, foreshadowing the beginning of a new period of creativity, later called nationalistic. Before this idiom was realised and such compositions typical of the Polish style as the ballet Harnasie, the Mazurkas, Stabat Mater, Fourth Symphony and Second Violin Concerto had been written, the change in musical thinking and the first experiments in the new language took place in songs. Symptoms of the new style manifested themselves fully in Slopiewnie, Op. 46 bis, composed in the summer of 1921 and published by Universal Edition. In these bizarre songs to bizarre words by Tuwim Szymanowski attempted to crystallize and generalize artistically some primaeval Polish, racial as he described them elements in music. The inspiring factor was undoubtedly the text by Julian Tuwim, abounding in new-coined words and imbued with its own music. It indicated the direction that artistic creativity was to take, and made the full corellation of the verbal and musical layers possible in, as Mieczyslaw Tomaszewski has stated, all the planse of co-operation phonic, structural, expressional and semantic. Based on A. Neuer Commentary to Complete Edition Volume C11 (VIII) Szymanowski did not yield to the temptation of easy over-stilization. Streching out to the deepest ethnic layers of his native musical culture, he made an attempt to mould and suitably fashion a Polish style of musical utterance. This tendency is apparent in the Three Lullabies, Op. 48, to words by Jaroslaw Iwaszkiewicz, composed in 1922 and published by Universal Edition in 1926. In the Lullabies we can find the confirmation of the fact that utterly new atmosphere which, according to the composer, Slopiewnie had introduced into his music, was not a once-for-all phenomemon. The elements of the new musical language, analised in connection with the earlier cycle, may here be regarded as assimilated. These are modalities in vocal melodies (Lullaby I) and cadences (Lullabies I and III), a bourdon effect with a tritone (Lullaby II). However these sometimes sligh and apparently unimportant details recur constatnly, an so acquire the nature of a definite compositional technique establishing a style based in an increasing degree on nationalistic elements. Based on Adam Neuer Commentary to Complete Edition Volume C11 (IX) The Childrens Rhymes, Op. 49, a cycle of twenty short songs by Kazimiera Illakowicz, composed in 1922-23, were a completely new creative experience for Szymanowski. He composed the Rhymes with his 11-year-old niece in mind. She was the daughter of Stanislawa Korwin-Szymanowska, who performed these songs for the first time in Warsaw on 25 February 1924. / Date parution : 2021-12-09/ Recueil / Chant et Piano

Symphony No.5 Op.50 was composed by Carl Nielsen in 1922. Carl Nielsen (1865-1931) was a Danish musician often seen as his country’s greatest composer. While his operas and songs have become embedded in the cultural heritage of his native Denmark internationally he is better known for his symphonies and concertos – distinguished by his prominent use of Brass instruments and dramatic changes in tonality. His Symphony No.5 (Op. 50 FS. 97) was composed in 1922 and is often seen as his “War Symphony” despite the composer denying any such direct influence. Strangely it is formed ofonly two movements and does not have any title. Often said to be a modernist piece it is constantly restless some would say pulsating. Brought to fame by Leonard Bernstein in 1962 scholars and musicians are still trying to understand this enigmatic work.

Arr. Wil Van Der Beek. Addio Napoli est un medley de mélodies populaires napolitaines telles que Torna a Surriento d’Ernesto de Curtis (1875-1937), la Danse napolitaine du ballet Le Lac des cygnes de Piotr Illitch Tchaïkovski (1840-1893), Maria, Mari !, une chanson napolitaine du compositeur Eduardo di Capua (1865-1917), et bien sûr Funiculì, Funiculà de Luigi Denza (1846-1922). Ce medley entraînant de l’arrangeur Will Van der Beek vous propose de nombreuses mélodiesentraînantes, ce qui en fera une oeuvre idéale pour tous vos concerts ! / Niveau : 3 / Classique / Date parution : 1905-07-09/ Recueil / Concert Band ou Harmonie

In F-A Brown Bird Singing (published in 1922) is second only to the Roses of Picardy in popularity among Wood’s vast oeuvre. With lyrics by composer Royden Barrie the romantic words are well matched to the touching melody. The songhas been recorded many times since it appeared including a version by jazz songstress Peggy Lee and one arranged for zither.Haydn Wood earned his reputation as a giant of British light music in the twentieth century through aprolific career that encompassed performance as Violin soloist and conductor and as well as composer of some of the nation’s favourite melodies. Wood was not only was a gifted and popular creator of Orchestral works and musicaltheatre but also the composer more than 200 songs in his lifetime -- perhaps inspired by his long and happy marriage to singer Dorothy Court -- many of them the greatest hits of their era.

1st to 7th Position. Par RIEDING OSKAR. Le violoniste Oskar Rieding a écrit quelques Concertos pour jeunes artistes, et ce sont donc inclus dans le cadre de cette série de ' Concertos facile et Concertinos '. Concerto en mi mineur (Op.7), écrit en 1922, est pour violon avec accompagnement au Piano. / Niveau : Elémentaire / Rép Classique / Répertoire / Violon et Piano

For Fanfare Band. Par CESARINI FRANCO. Franco Cesarini a composé A Glorious Fanfare à la demande de l?Association des Musiques de Zoug (Zuger Blasmusikverband) en Suisse, pour célébrer le centenaire de cette association (1922-2022). br>La composition est la dernière d\'une trilogie de pétillantes pièces d\'ouverture de concert (qui composent l\'opus 38), avec A Triumphant Fanfare et A Joyful Fanfare. Une majestueuse fanfare confiée aux trompettes introduit la pièce. Par la suite, une variante cantabile du même thème est présentée, qui mène à un final aux sonorités riches et impressionnantes. Une pièce d?ouverture idéale qui séduira votre public ! / Date parution : 2022-07-23/ Répertoire / Fanfare

A study score of Walton's String Quartet (1922) and String Quartet in A minor off-printed from the William Walton Edition Chamber Music volume.

Three Sketches for Flute Violin and Piano were written circa 1936. They are subtitled In The Woods - The Lake At Sunset - The Merry-Go-Round. The collection is dedicated to Joseph Slater aBritish flautist who made regular performances and broadcasts from 1922 to 1951 including numerous radio performances while simultaneously serving in the Army during the Second World War.Muriel Talbot Hodge wasone of the most popular composers of English chamber music in the years between the two world wars the time often seen as the ?last hurrah? for the genre. Her music was praised at the time for its exquisite and intimate nature displaying an ?unusual charm and substance?.

À la fin de l'année 1922, Milhaud compte à son actif une dizaine d''uvres de chambre mais cette année-là est particulièrement productive. La Sonatine pour flûte et piano, op. 76, émerge au sein de ce bouillonnement fécond. Milhaud l'écrit à Aix-en-Provence et elle sera créée par les deux dédicataires, Louis Fleury et Jean Wiéner, au Théâtre des Champs-Élysées, le
18 janvier 1923, dans le cadre du Cinquième Concert Jean Wiéner. / Partitions variété - pop - rock / Variété internationale / Vents / DURAND