Un travail différent de 'Rhapsody in Blue ', le' Concerto pour piano en fa 'ou d'autres oeuvres de concert, mais une' charmante 'pièce, a admis Ira Gershwin, frère de l'écrivain et le texte de George Gershwin (1898-1937). En fait, 'Lullaby' la mise en quatuor à cordes est une oeuvre exceptionnelle: en dehors des 'Short Story' pour violon et piano la seule oeuvre originale de musique de chambre du compositeur, sans compter les oeuvres pour piano seulement. Gershwin fait un nom pour lui-même avec des comédies musicales, 'Porgy and Bess' de l'opéra jazz, des chansons, des pièces orchestrales comme 'Un Américain à Paris' ou 'Rhapsody', mais en 1919/1920, il a eu le temps pour ce petit travail occasionnel qui a été créée plusieurs fois dans un cadre privé et dont le thème qu'il a utilisé dans son travail sur scène 'Blue Monday' en 1922. Ce n'est que plusieurs années plus tard, le 29 Octobre 1967, il a été exécuté publiquement lors d'un concert pour la première fois. Il s'agit d'une charmante miniature, avec des effets sonores et délicieux accents puissants - un atout précieux pour le répertoire du quatuor. / Quatuor A Cordes

Le style décontracté de David Benoit est apparent dans cette composition Jobim-esque de son CD 2006 ' Full Circle '. Caractéristiques de la version de Mark lisse des harmonies et des lignes fluides dans une excellente adaptation pour convenable pour festivals ou occasionnels concerts de jazz ensemble. / Saxophone Alto, Saxophone Tenor, Saxophone Baryton, Trompette, Trombone, Guitare, Piano, Contrebasse, Percussions, Tambours Congas, Vibraphone Et Flûte Traversière En Partition

Les six sonates pour flûte de J.S. Bach se divisent en deux groupes de trois. Dans nos 1-3 le compositeur a fourni une partie de clavier concertante, où la droite est aussi importante que musicalement la flûte et des lignes de basse, en dehors du passage occasionnel quand il revient à une basse chiffrée. N o 4-6, cependant, d'adopter le modèle en quatre mouvements favorisés, par exemple, de Telemann. Cette édition est a été édité et réalisé par William Bennett. La partie de flûte solo est également inclus sur un encart séparé. / Flûte Traversière / niveau : Intermédiaire / Avancé / Partition

5 mélodies sur des textes de Jules Renard. Par RAVEL MAURICE. Cette orchestration, réalisée pour un ensemble de 15 instruments, peut aussi être jouée par un petit orchestre symphonique. Il est ainsi possible, sans modifier les parties des instruments à vent, d'augmenter les pupitres de cordes. Dans cette édition, les mentions (solo) placées occasionnellement au-dessus des parties de cordes ne concernent donc que la version symphonique. / Date parution : 2023-03-11/ Répertoire / Chant et Piano

The Village Church-The Piano music of Jean Sibelius ranks among the greatest of Finnish music and his 1924 set Five Charactereistic Impressions demonstrates his importance. The first of this set The Village Church is a ceremonial theme bringing to mind the oaccasions and events that surround a small place of worship and that is perfect for ushering in the start of a programme. An impressionist piece that captures the imagery of reality with tonality colour and a solemn pace.

Oratorio in three parts. Par HAENDEL GEORG FRIEDRICH. In quite characteristic fashion for the times, Handel's opera ; Alessandro looks at various episodes in the life and rule of Alexander the Great (356 323 BC). This legendary warrior and military commander conquered large parts of the world before meeting an untimely end at the age of 32. A central conflict in Handel's opera is Alessandro being in love with two women, Lisaura and Rossane, who compete for his favour. In addition, his claim to be of divine parentage is underlined, occasioning him to demand the subservience of his followers, which meets with vigorous disapproval. Handel composed ; Alessandro for the Royal Academyof Music to a libretto by Paolo Antonio Rolli in the 1725/26 season. The work was premiered at the King's Theatre in London on 5 May 1726. ; Alessandro was the first of five operas for the Royal Academy, operas which saw Handel compose for three of the most famous singers of his time: Francesco Bernardi (called Senesino) Francesca Cuzzoni and Faustina Bordoni. Ortensio Mauro's libretto ; La superbia d'Alessandro, which was performed for the first time in Hanover in 1690 in a musical setting by Agostino Steffani and staged again in the city the following year under the title ; Il zelo di Leonato but with numerous alterations, served as the source text for Handel's ; Alessandro. One of the main aspects Rolli had to consider when preparing the libretto for the London performances was to keep the roles of the famous singers of the Royal Academy well balanced, yet at the same time to engineer a musical contest between the prima donnas Cuzzoni and Bordoni (Lisaura and Rossane) as well. From a business point of view, it made good sense, for such rivalry would surely increase public interest in the opera. It is no longer possible to ascertain which changes Handel made during the following performance series of the 1727/28 season. For the performance series of 1732/33, Handel made substantial revisions to the opera: six numbers were deleted in their entirety, the finale in part as well, and the recitatives were made much shorter, with the parts of Cleone and Leonato omitted / Oratorio / Répertoire / Choeur Mixte

Le style décontracté de David Benoit est apparent dans cette composition Jobim-esque de son CD 2006 and ldquo-Full Circle. and rdquo - version de Mark caractéristiques lisse des harmonies et des lignes fluides dans une excellente adaptation pour convenable pour festivals ou occasionnels concerts de jazz ensemble. / Saxophone Alto, Saxophone Tenor, Saxophone Baryton, Trompette, Trombone, Guitare, Piano, Contrebasse, Percussions, Tambours Congas, Vibraphone Et Flûte Traversière En Partition

Avec des mots par le compositeur, ' Otter Island ', dédié à June Keyte et les enfants and rsquo s - voix de Enfield, explore une narration descriptive en combinaison avec la musique courante qui a une suggestion occasionnelle de style folk. Ecrit pour enfants and rsquo voix -s à l'unisson, cette pièce innocente, jeune reflète une affinité pour les jeunes qui a grandi à travers le compositeur and rsquo -s importants travaux dans l'éducation. / Choeur D'Enfants (Pour 1 Partie)

Par ROSS STEVE. Dans cette vidéo, l'instructeur, Steve Ross vous enseigne étape par étape sa méthode éprouvée qui vous permettra de démarrer jouer roght loin et vous n'avez même pas à lire la musique! Le style de Steve enseignant occasionnel est intéressante et très efficace. Utiliser des diagrammes simples, des trucs chauds et les raccourcis, vous allez vite apprendre toutes les techniques de base nécessaires qui vous permettent de commencer à jouer une combinaison spéciale de chansons qui sont inclus dans cet accompagnement Jouer La Nuit Guitar Songbook. Cette vidéo comprend: Guitar Styles Le Capo La séquence E Introduction Pour Guitare Méthodes Tuning Progressions Country Folk tablature La main droite Progression rocher Chords / Niveau : Débutant / Accessoire / K7 Vidéo

Pieces of the World is a soulful look at the many faces and backgrounds that make up our world. Arranged for SAB voices one or more soloists and rhythm combo this gospel-style ballad is perfect for graduation ceremonies or anyoccasion celebrating multiculturalism ethnic diversity and world community.

Music for Pageantry and Patriotism arranged for piano voice & guitar-From John Dowland's Galliard dedicated to the Virgin Queen through Handel’s Water Music for George I to Elgar's Imperial March marking Queen Victoria's Diamond Jubilee classical music hasbestowed upon Britain an unmatched musical legacy celebrating both king and country.As well as the triumphal music for state occasions this collection also features some of the quintessential music from Britain’slong history from the Elizabethan folk tune Greensleeves to Holst’s 1920s setting of Spring-Rice’s patriotic poem I Vow To Thee My Country.For every age new music is composed to match theoccasion each adding to Britain’s uniquely impressive musical heritage. This is a collection of the very best.

For Violin, Viola and Piano (Reduced from the orchestra version). Britten was so remarkably prolific as a young composer that many of the works from his teens were put aside to await revision or completion as he rushed on to the next piece. This was particularly the case around the time of his Opus 1 Sinfonietta , composed in the summer of 1932, his second year as a student at the Royal College Of Music. The Sinfonietta was written (in less than three weeks) very soon after Britten had completed the first draft of the Double Concerto - but after finishing the Sinfonietta he went back to revise the Concerto's second movement. He started work on his Op.2 Phantasy for Oboe and String Trio a few weeks later. Although the Concerto follows the same three-movement pattern as the Sinfonietta , it is more ambitious in scale - and since the sketch is, unusually for Britten, complete in practically every detail, it is puzzling that he never made a full score of the work after finishing the composition, and seems to have made no attempt to get it performed. It is not clear if he had particular performers in mind (he was, of course, a Viola player, although he is not likely to have intended the part for himself). He showed the work to his composition teacher at the college, John Ireland, who, as Britten recorded in his diary, was 'pretty pleased' with it - but it is distinctly possible that his experience in rehearsing the Sinfonietta with a student orchestra in 1932 ('I have never heard such an appalling row!' reads another diary entry) discouraged him from going on to complete the Double Concerto in score. He was not to hear any of his orchestral works until the first performance of Our Hunting Fathers in 1936. In the absence of Britten's full score it was necessary for me to prepare the work from the sketch. But the instrumentation is so carefully indicated in the draft that the resulting score is not far from being 100% Britten - only between bars 70 and 74 of the slow movement did there seem to be any need to add anything significant to Britten's texture. The Double Concerto (Britten's manuscript title was 'Concerto In B Minor', but he referred to it in his diary, in characteristic shorthand, as '2ble Concerto') is the most recent addition to his corpus of works, mostly dating from Britten's youth and early maturity, that, since his death, have been revived after many years, or performed for the first time. Britten himself occasionally returned to his early works, and in his last years revised both the early String Quartet In D of 1931 and the opera Paul Bunyan . The Piano score published separately is not a reduction from the orchestral score, but a transcription of Britten's composition sketch, including his indications of instrumentation. The first performance of the Double Concerto was given at the 50th Aldeburgh Festival by Katherine Hunka and Philip Dukes, with the Britten-Pears Orchestra conducted by Kent Nagano, on June 15th 1997. -Colin Matthews / Violon, Alto Et Piano

Job (Vocal Score)-A substantial work for four soli SATB chorus and orchestra using text from the translation of Stephen Mitchell's The Book Of Job. Like Vaughan Williams in his Job: A Masque for Dancing Davies was inspired inpart by William Blake's 21 engravings for the Book of Job. His oratorio however is less dependent on find parallels for Blake's visual details given the direct poetry in David Lemon's adaptation of the Stephen Mitchelltranslation from the biblical original it is hardly surprising that the spotlight should be so much on Job's suffering litany. The baritone has the lion's share of the setting though the other soloists occasionally reinforce hisplea and chorale-like episodes universalize his predicament. Davies frames with work with two seminal plainsong-like passages; there is also plenty of dramatic contrast both within Job's monologues and in the vivid orchestralwriting for the smarmy Comforters the initially shrill God who finally appears out of a dazzling orchestral whirlwind and the animal life he uses to illustrate the wonders of creation to a humbled Job.Commissioned by theUniversity of British Colombia it was first performed in May 1997 by Valdine Anderson (soprano) Linda Maguire (mezzo soprano) Paul Moore (tenor) and Kevin McMillan (baritone) with the Vancouver Bach Choir and the CBC VancouverOrchestra conducted by the composer.Vocal score with piano reduction of the orchestral score. Duration c. 70mins.

Par HUMMEL BERTOLD. With the Eight Fragments Bertold Hummel has successfully created a most impressive work. Uncommonly concentrated in the evoking of atmosphere and reflecting the texts strongly, these 'dark grey songs' - to quote Ludwig Hirsch - develop a sadly expressive, almost somnambulant charm. These songs seem to have become Bertold Hummel's completely inwardly turned 'Winterreise', the epigram of a psychosis, full of concealed suggestion and dark references, but always more full of hope. The 'sun' becomes the constantly invoked bearer of hope. The music is highly expressive, exploiting the various performing and bowing possibilities of the stringed instruments and their capacity for nuances to the limits; occasionally oppressive visions in sound appear. It is music in danger, of a most fragile balance. Nor are subtle musical references missing. With only one note, following the word 'music', harmony and tonality are conjured up. / Date parution : 2007-11-20/ Répertoire / Baryton et Quatuor à Cordes

For SSATB (with divisions) unaccompanied. This setting of a poem by William Blake is evocative and appealing. Jackson ingeniously offsets simple pure harmonies against moments of chromaticism to create beautiful fresh music which perfectly captures the essence of the words.New Horizons showcases the wealth of exciting innovative and occasionally challenging choral music being written today. It encompasses the whole gamut of small-scale choral genres both secular and sacred and includes pieces for upper-voice and mixed choirs. With titles by some of the most accomplished choral composers active in Great Britain and abroad the series introduces new repertoireand fresh talent to a broad spectrum of choirs.New Horizons features composers with growing reputations for quality composition reflecting a strong individual voice. The series is continually expanding and should be the first place to look for attractive and performable contemporary choral music.