Par BACH JOHANN SEBASTIAN. Cantata No. 211: Schweigt stille, plaudert nicht (Be quiet, chatter not) BWV 211. The Coffee Cantata (BA 10211) and the Peasant Cantata (BA 10212) both on librettos by Picander, are among the best-known and most frequently performed of Bach's secular cantatas. Written in or around 1733, the Coffee Cantata deals humorously with the importance of the newly fashionable beverage. This is demonstrated in the soprano aria ; Ah, how sweet the coffee tastes, lovelier than a thousand kisses, milder than Muscatel. Both cantatas reveal Bach's mastery in their unusual subject-matter, formal design, andmusical workmanship. Now they appear in separate editions based on the ; New Bach Edition with straightforward and easy-to-play piano reductions by Andreas Köhs. - Urtext of the ; New Bach Edition. - Straightforward and easy-to-play piano reduction. - Vocal score (BA10211-90), performance material (BA10211) and study score (TP1211) available for sale/ Répertoire / Partition de Poche

A must-own for any Phil Collins fan this anthology features 27 top hits from the pop icon's highly successful solo career including: 'Against All Odds (Take a Look at Me Now)' 'Another Day in Paradise' 'Do You Remember' 'Easy Lover' 'I Don't Care Anymore' 'I Missed Again' 'In the Air Tonight' 'One More Night' 'Separate Lives' 'Sussudio' 'Take Me Home' 'Two Worlds' 'We Wait and We Wonder' 'You Can't Hurry Love' 'You'll Be in My Heart' and more.

From the youthful exuberance of Abduction from the Seraglio to the spectacular romanticism of The Magic Flute, Mozart's operas have enchanted audiences for more than 200 years. This handsome and inexpensive compilation encompasses 36 arias from such all-time favorites as The Marriage of Figaro, Così fan tutte, The Magic Flute, and Don Giovanni. Content :
IDOMENEO, RÈ DI CRETA / IDOMENEO, KING OF CRETE K366
Ilia's recitative and aria, Act I
[1] Quando avran fine omai'Padre, germani, addio!
Elettra's aria, Act I
[2] Tutte nel cor vi sento
Ilia's aria, Act II
[3] Se il padre perdei
Elettra's aria and marcia, Act II
[4] Idol mio, se ritroso altro amante'Odo da lunge armonioso suono
Ilia's aria, Act III
[5] Zeffiretti lusinghieri
Elettra's aria, Act III
[6] D'Oreste, d'Ajace
DIE ENTFÜHRUNG AUS DEM SERAIL / THE ABDUCTION FROM THE SERAGLIO K384
Konstanze's aria, Act I
[7] ach ich liebte
Blonde's aria, Act II
[8] Durch Zärtlichkeit und Schmeicheln
Konstanze's recitative and aria, Act II
[9] Welcher Wechsel herrscht in meiner Seele'Traurigkeit
Konstanze's aria, Act II
[10] Martern aller Arten
Blonde's rondo, Act II
[11] Welche Wonne, welche Lust
LE NOZZE DI FIGARO / THE MARRIAGE OF FIGARO K492
Cherubino's aria, Act I
[12] Non sò più cosa son, cosa faccio
Countess Almaviva's aria, Act II
[13] Porgi, amor
Cherubino's arietta, Act II
[14] Voi che sapete
Susanna's aria, Act II
[15] Venite, inginocchiatevi!
Countess Almaviva's recitative and aria, Act III
[16] E Susanna non vien''Dove sono'Ah! Se almen la mia costanza
Barbarina's cavatina, Act IV
[17] L'ho perduta! Me mechina!
Susanna's recitative and aria, Act IV
[18] Giunse al fin il momento'Deh vieni, non tardar
DON GIOVANNI K527
Donna Elvira's aria, Act I
[19] Ah! Fuggi il traditor!
Donna Anna's aria, Act I
[20] Or sai chi l'onore
Zerlina's aria, Act I
[21] Batti, batti
Zerlina's aria, Act II
[22] Vedrai, carino
Donna Elvira's recitative and aria, Act II
[23] In quali eccessi Mi tradì
Donna Anna's recitative and aria (rondò), Act II
[24] Crudele''Troppo mi spiace'Non mi dir
COSÌ FAN TUTTE K588
Dorabella's recitative and aria, Act I / Scene 3
[25] Ah scostati'Smanie implacabili
Despina's aria, Act I / Scene 3
[26] In uomini, in soldati
Fiordiligi's recitative and aria, Act I / Scene 3
[27] Temerari, sortite'Come scoglio'Rispettate, anime ingrate
Despina's aria, At II / Scene 1
[28] Una donna a quindici anni'Dee in un momento
Fiordiligi's rondò, Act II / Sce
[29] Per pietà, ben mio, perdona'A chi mai mancò
Dorabella's aria, Act II / Scene 3
[30] È amore un ladroncello
DIE ZAUBERFLÖTE / THE MAGIC FLUTE K620
The Queen of the Night's recitative and aria, Act I
[31] O zitt're nicht, mein lieber Sohn!'Zum Leiden bin ich auserkoren
The Queen of the Night's aria
[32] Der Hölle Rache
Pamina's aria, Act II
[33] Ach, ich fühl's
LA CLEMENZA DI TITO K621
Vitellia's aria, Act I
[34] Deh se piacer mi vuoi'Che ceicamente crede
Servilia's aria-minuet, Act II
[35] S'altro che lagrime
Vitellia's recitative obbligato and rondò, Act II
[36] Ecco il punto, O Vitellia'Non più di fiori vaghe catene

Le village de Guflina offre le meilleur point de vue sur les vallées du massif alpin du Liechtenstein. On raconte qu?une caverne se trouverait sous le promontoire qui s?avance en saillie. Dans cette caverne vivait jadis unterrible dragon qui saccageait les prés alentours et répandait la terreur parmi la population. En ces temps-là vivait à Guflina un géant dont la force valait celle de douze hommes. Les paysans en détresse le supplièrent de leur venir en aide. Le géant accepta et l?aventure commença?

Judith Weir's Madrigal for TTBB choir unaccompanied. This work was commissioned by the BBC Singers in celebration of the sixtieth birthday of Stephen Cleobury. The lyrics are from aSardinian folk tale.

Ce poème symphonique reflète l'histoire de la Real Sociedad Económica de Amigos del País de Valence en Espagne une association dynamique qui cherche à stimuler la prospérité et le développement de Valence à travers la communication et l'éducation. En dix-huit minutes Luces y Sombras ('La lumière et l'ombre') dépeint les phases de mutation de cette association née dans l'Europe des Lumières et nous donne un bref aperçu de l'histoire glorieuse et sombre de Valence.

Par SCHWARZ OTTO M.. Le village de Guflina offre le meilleur point de vue sur les valle´es du massif alpin du Liechtenstein. On raconte qu’une caverne se trouverait sous le promontoire qui s’avance en saillie. Dans cette caverne, vivait jadis un terrible dragon qui saccageait les pre´s alentours et re´pandait la terreur parmi la population. En ces temps-la` vivait a` Guflina un ge´ant dont la force valait celle de douze hommes. Les paysans en de´tresse le supplie`rent de leur venir en aide. Le ge´ant accepta et entreprit de se battre contre le dragon. Il alla se mettre en embuscade sur le promontoire au-dessus de la caverne. Constatant que le dragon n’e´tait pas dispose´ a` en sortir, il se mit a` jeter des pierres dans la caverne. Le combat e´clata imme´diatement et le ge´ant finit par l’emporter de justesse. Depuis ce jour-la`, la population vit dans la paix et la prospe´rite´. / Date parution : 2021-12-09/ Répertoire / Concert Band/Harmonie

Par DAVIS CARL. Composed for one of the world's leading saxophonists, John Harle, on the occasion of his sixtieth birthday, Charlie's Flea Circus is a delightful 5-minute work for saxophone and piano by Carl Davis. Taking in waltzes and mazurkas, this characterful and witty work makes a wonderful addition to the repertoire and is presented here in a versions for alto saxophone and piano, or alto doubling sopranino saxophone and piano. / Instrumental Music / Répertoire / Saxophone Soprano, Saxophone Alto et Piano

Par ARNOLD MALCOLM. Written to celebrate the sixtieth birthday of the legendary oboist Leon Goossens, and first performed by him and the Carter Trio in 1958, this delightful 13-minute quartet is a fine showcase of Malcolm Arnold?s melodic gifts.  The work unfolds over three elegant movements, always engaging and directly communicative. / Ensemble Music / Répertoire / Hautbois, Violon, Alto et Violoncelle

Easy arrangements of 16 super hits from Phil Collins' solo career. Includes: Against All Odds · Another Day in Paradise · Both Sides of the Story · Easy Lover · A Groovy Kind of Love · In the Air Tonight · One More Night · Separate Lives · Something Happened on the Way to Heaven · Sussudio · Take Me Home · True Colors · Two Hearts · You Can't Hurry Love · and more.

'The idea for this set of pieces initially came from writing one as a sixtieth birthday present (I shall not mention which one!). Having written one Baroque-titled piece I gradually added more until a whole suite of Baroque dances was completed.The stimulus of writing a modern set of piano pieces based on Baroque models (in my case a mixture of the English and French Suites of Bach) is nothing new of course. Many twentieth-century composers were inspired by the rigours of devising new ways of looking at Baroque dances and in the process brought new life to the forms (in the case of Schoenberg?s Piano Suite of 1925 actually liberating his new method of 12- notecomposition from theory into practice).For my part the challenge was to write a set of pieces for the piano which would be technically suitable for both young and mature pianists whilst still responding to the compositional demands of creating interesting material mainly organised through contrapuntal means (often just two-part counterpoint as in Bourr?e 1 or the Gigue) but sometimes through harmonic means (as in the Sarabande or Gavotte).In addition the more personal nature of the genesis of the album resulted in each piece or dance being dedicated to a particular friend. Whilst their pianistic skills might vary quite considerably they all share a great love of music - something which unites us all.'???????????? - Edward Gregson1. Paul?s Prelude2. Adam?s Allemande3. Clare?s Courante4. Stefan?s Sarabande5. Gaynor?s Gavotte6. Brian?s Bourr?e (Bour?e 1)7. Bethan?s Bour?e (Bour?e 2)8. Maggie?s Minuet9. Gavin?s Gigue10. Phil?s Postlude