Une collection exceptionnelle et variée de la musique vocale du XXe siècle, spécialement sélectionnée pour les premières années. Chansons par les maîtres du XXe siècle dont Bartók, Britten, Copland et Stravinsky ainsi que nouvellement commissionné chansons. Les chansons ont été choisis pour s / Voix Et Piano / Partition

22 fiddle tunes from the golden age of sail, featuring dance tunes, shanties (work songs), recreational 'forebitters' and composed melodies which give the landlubber's take on the romance of the sea. Edward Huws Jones explains that 'during the heyday of sail, the busiest sea-routes of all were the North Atlantic crossings, especially between Liverpool and the American cotton ports- it was the heady mixture of African-American and Irish music which gave birth to the mid-century flowering of the sea shanty. Meanwhile English-speaking vessels were sailing to the Cape, India, Australia and many other far-flung destinations, carrying a two-way traffic of song and dance.? The tunes in this collection can all be played as unaccompanied fiddle tunes, which is how they would have been played in the days of sail. But as in other books in the Fiddler series, the flexible format allows a wide variety of different combinations and ensembles. Suitable for intermediate and elementary standard performers. / 2 Violons, Guitare Et Piano

The title Par-feshani-ye 'Eshq translates in English to The Fluttering Wings Of Love and was taken from a text by the 18th century Sufi poet Bidel. Each brief movement takes a couplet from the poem as inspiration drawing on an extraordinary array of images of clay pots on waterwheels a nightingale?s fluttering wings weighty fetters links and the world?s garden roses. The work is dedicated to friends Renée Reznek and Bruce Wannell. Bruce introduced Harrison to the poetry of Bidel and Renée had the privilege of performing the piece on its premiere performance.Australian born freelancecomposer and performer Sadie Harrison?s unique fusion of elements from indigenous Lithuanian music and poetry with her own modernist often abrasive style have led her to be compared with Bartok but with her own warmth and grandeur. Since 2012 Harrison has been working alongside a long list of well accomplished musicians; Paul Carey Peter Sheppard Skaerved Sergej Okrushko Alex South Duncan Honeybourne are among many who have had the privilege work with Harrison so far. Performances of Harrison's works have been given across the world by Lontano London Chamber Symphony Music Projects/ London Ixion Okeanos Bournemouth Sinfonietta Kokoro and the St. Christopherus Chamber Orchestra and many others.

Ravel, Maurice Tzigane Concert rhapsody for violin and piano In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane'. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane' and both versions remain a 'must' for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition; one of the available sources, consulted for the first time, was a copy of 'Tzigane' from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto. - First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano - Includes Jelly D'Aranyi's fingering

Kevin Volans' String Quartet No. 9: Shiva Dances was commissioned by BBC Radio 3 and first performed by the Smith Quartet at the 2004 Huddersfield Contemporary Music Festival.Kevin Volans (the composer) notes on the piece:In the past I have been interested in trying to go beyond historicism (1970s) beyond style(1980s) and beyond form (1990s) in my work. Looking back over the music of the twentiethcentury I was struck by the fact the nearlyall of it is extremely 'busy' almost cluttered. Italmost seemed that composers felt compelled to look industrious. In the new millennium Ithought it would be interesting to try and eliminate content. I also aspired to movingfrommusic (sound as art) to art (art as sound). This of course has already been done by a numberof composers (many from New York Phil Niblock and La Monte Young to name but two) butit was something I had never tried.AlthoughI found it annoying that the label 'minimalist' was given to my African-based work and fearing this would make the label stick I set out to write a piece which reflected my loveof minimal painting and architecture. The Japanesehave a term 'wabi' meaning 'voluntarypoverty' or 'emptiness' to describe their restrained minimal aesthetic an aesthetic which however pays greatest attention to the quality of material and fine detail. I like to think thatthelack of excessive pitch material in this piece reflects a kind of voluntary poverty.When Shiva is portrayed dancing (as Nataraj) He is depicted in a circle of flames crushing asmall figure the ego underfoot.You get theimpression He dances on the spot not movingaround at all. I like that.The piece is dedicated to Pablo Pascual Cilleruelo.