Score-Silvestre Revueltas' ‘Sensemaya’ was written in 1937 for chamber orchestra; one year later the composer transcribed it for a huge orchestra of twenty-seven wind instruments fourteen percussion instruments and strings. The rhythms are laid out precisely and have considerable visceral impact very much in a manner that recalls Igor Stravinsky's The Rite of Spring. However Revueltas' masterful orchestration and ability to evoke the ancient Maya civilization with decidedly modern music are uniquely his own. It is a unique orchestral spectacle something only Revueltas could have written and in its way it is one of the most brutal works of its time. The workbegins with a low note in the bassoon as the percussion plays the sinuous syncopated rhythm that drives the work. Soon a solo horn enters playing the first of this work's two major themes a muscular ominous motif. Other horns join the first one to play the theme growing louder and more emphatic but rigorously yoked to the underlying rhythm. Eventually the horns blast as loudly as they can with obsessive trills on the bassoon far underneath and the violins enter with the slashing second theme. The horns take up this new theme and bring it to a climax after which the music returns to its opening texture. This recapitulation brings with it a mood of foreboding. The rhythm becomes even more obsessive and finally the music reaches a massive climax during which both themes are played overlapping sometimes in part and sometimes in whole by woodwinds brass and violins in what sounds like a musical riot. The coda feels like the final dropping of a knife.

Ce n'est pas seulement en ce qui concerne l'instrumentation que le Sonanzen quintette à cordes (un jeu de 'consonance' les mots et 'dissonance') suit l'exemple célèbre de Schubert, et même Tristan de Wagner est présent sous la forme de citations pour exprimer un classique musique d'amour et d'adieu. La prise de Hölderlin 'Wie der Zwist der Liebenden sind die Welt der Dissonanzen' comme un mot d'ordre, le travail a été composé comme une 'tentative de l'impossible rêve de l'amour - et sa transcendance'. / Quintette A Cordes

Im Kahlenbergerdorfel (Score And Parts)-Two pieces played by the James Last Orchestra Ja der Sonnenschein and Im Kahlenbergerdörfel are arranged by Hans Creutziger for a small emsemble.

Per Voce E Pianoforte. Par SANGIACOMO-OLIVIERI ELSA. Italian / Classique / Date parution : 1905-06-05/ Répertoire / Chant et Piano

Lauda Drammatica Di Jacopone Da Todi Per Coro E Pianoforte. Par SANGIACOMO-OLIVIERI ELSA. Lauda Drammatica Di Jacopone Da Todi Per Coro E Pianoforte / Classique / Date parution : 1905-06-05/ Répertoire / Chant et Piano

Masterpieces of Italian Opera-The verismo opera Pagliacci by Ruggero Leoncavallo is the first work in Bärenreiter's new series ?Masterpieces of Italian Opera? (MIO). Pagliacci which was Leoncavallo's most successful work has remained an integral part of opera literature up until today. The role of Canio the tragic clown helped many singers achieve successful performances and iconic interpretations.The new edition of Pagliacci edited by Andreas Giger is the first to follow clear editorial guidelines documenting all amendments of the musical text in a Critical Commentary. It presents the opera in two versions both of which were regarded as complete in their time: The version Leoncavallo presented to the Italian publisher Sonzogno (one act without Prologue and Intermezzo) and the ?final version? (two acts with Prologue and Intermezzo) the conception of which was influenced by Victor Maurel Sonzogno as well as the experiences collected during the first series of performances. The new edition follows the autograph score of the composer as closely as current opera practice allows correcting erroneous pitches adjusting articulation markings slurs and offering dynamic marks that were not included in previous editions. Additionally instrumentation issues have been addressed.There are several secondary sources for Pagliacci that offer a substantial amount of performance suggestions not all of which can be attributed to Leoncavallo with certainty. While previous editions mostly include these instructions they have only been adapted into this edition as demanded by musical logic in cases where they can be attributed to the composer with certainty and based on practical value (such as metronome markings or puntature). In all cases they have been offset typographically from autograph markings. An important secondary source namely a copy of the first printed score contains corrections in the composer's hand. Bärenreiter's new edition is the first to offer this valuable information to performers and scholars.The libretto for Pagliacci was written by Leoncavallo himself. Regarding vocal text and stage directions the new edition follows the autograph as well as secondary sources authorized by Leoncavallo. As a result of clearly stated editorial guidelines and their execution this new edition of Pagliacci offers a consistent score that closely follows Leoncavallo's intentions.The verismo opera Pagliacci by Ruggero Leoncavallo is the first work in Bärenreiter's new series ?Masterpieces of Italian Opera? (MIO). Pagliacci which was Leoncavallo's most successful work has remained an integral part of opera literature up until today. The role of Canio the tragic clown helped many singers achieve successful performances and iconic interpretations.The new edition of Pagliacci edited by Andreas Giger is the first to follow clear editorial guidelines documenting all amendments of the musical text in a Critical Commentar

Yagibushi is a type of Japanese folksong. Yagi is a place between Kyoto and west of the Kansai district in Japan with bushi meaning song. There is a distinct rhythm and narrow melodic range usually sung by a chorus in unison which characterizes this type of work song drinking song and dance song. The accompaniment to the Yagibushi is usually perfomed with the Shamisen (long-neck lute) hand clapping and a variety of percussion instruments.

Par GROSLEZIAT / DEGANS. Ce recueil réunit une trentaine de comptines, chansons et berceuses de Chine et d'Asie (Vietnam, Cambodge, Laos, Corée du sud, Japon, Thaïlande). On trouve les langues nationales de chaque pays mais également les langues régionales comme le xian du sud de la Chine ainsi que des dialectes du Nord et du Sud du Vietnam. L'instrumentation fait la part belle aux instruments traditionnels d'Asie : les sonorités rauques du khêne, orgue à  bouche laotien, le khong cambodgien, le yangkin ou cithare chinoise proche du cymbalum hongrois, le pipa, la guimbarde très répandue en Chine ou au Vietnam, l'erhu, violon chinois au son langoureux, utilisé dans l'opéra chinois, le shamisen surnommé banjo japonais, luth à  trois cordes, la flûte shakuhachi, dont les sonorités uniques au monde inspirait les moines boudhistes et perdure en musique contemporaine, le koto est également à  l'honneur, cithare japonaise et bien d'autres encore... / / Livre / Livres

For Piano. Par BARRY GERALD. This work for solo piano is taken from the ensemble work Things That Gain By Being Painted for soprano, speaker, cello and piano. The title comes from the Pillow Book of Sei Shonagon written in the 10th century by a lady-in-waiting at the Japanese court. / Niveau : Avancé / Répertoire / Piano

Par SPARKE PHILIP. Reflections on an Old Japanese Folk Song est basé sur la mélodie Suiryo-Bushi, qui est issue de la tradition de shamisen. L’oeuvre commence par deux versions différentes de la mélodie, suivies par plusieurs variations sur le thème enentier ou en partie, chacune dans son propre style. La section finale est dans la forme d’un scherzo, qui prend le rôle d’accompagnement à la fin, lors de la dernière présentation du thème folklorique. / Niveau : 5 / Répertoire / Concert Band ou Harmonie

A moving Christmas cantata which has become a classic over the years. Richard Hepburn's masterpiece for children contains narration in story sequence telling the Biblical Nativity for concert use or with tableau or mime. Songscan also be used individually as part of any Christmas program. The music is excellent whilst being reasonably simple and complements the feel of this traditional Nativity play. Arranged by Alison Hedger for piano voice withoptional second parts and two recorders. Guitar chords are given. Duration: 25 mins. You will require a license to perform this work at your school/youth theatre; please click here for more information and our application form.