Arrangement : Jean-Marc Legrand. Par PERGOLESI GIOVANNI BAPTISTA. Le célèbre Salve Regina adapté pour voix et clavier par Joseph COPPEY. / Niveau : Avancé / baroque / Répertoire / Voix Aigüe et clavier

Edition : Paris, C. Ballard, 1687Ces motets, assez courts et offrant peu de difficultés, sont une excellente introduction au répertoire vocal français de la seconde moitié du XVIIe siècle. - Présentation de : Philippe Lescat : L'oeuvre de LebègueJean Saint-Arroman : Bibliographie des motets - comparaison des sources Motet pour deux voix de dessus et basse continue : O crux ave (page 11)Tous les autres motets sont écrits pour une voix de dessus et basse continue.Motets dans lesquels la main droite de l'orgue est écrite entre les phrases de chant : Veni Sancte Spiritus (page 1) - O Rex gloriae (page 14) - Parasti in conspectu (page 18) - Vidi speciosam (page 24) - O salutaris hostia (page 35) - Anima Christi (page 39) - Ave verum (page 44) - Salve Regina (page 49) - Regina Coeli (page 56) - Exultet Omnium (page 60) - Domine salvum fac Regem (page 65) - Domine salvum fac Regem (page 68). / Voix Et Basse Continue (1 Ou 2 Voix De Dessus) / 98 pages / niveau : 1 / Fac-Similés - Format: 23.5 X 32.5

Par TOMASI HENRI. French composer and conductor, Henri Tomasi (1901-1971) published Variations Gregoriennes Sur Un Salve Regina 1964. As with his other wind compositions, Gregorian Variations for Trumpet and String Orchestra and Organ reduction was well-received by audiences. Tomasi was born in Marseille, but his Father and Mother were originally from La Casinca in Corsica. Despite being pressured in to musical studies by his parents, Tomasi dreamed of becoming a sailor, and during the summer, he stayed with his Grandmother in Corsica where he learnt traditional Corsican songs. However, in1921, he began his studies at the Paris Conservatoire and went on to become a high profile composer and conductor. Tomasi did not forget his Corsican routes, often incorporating themes of the songs he had learnt during the summers with his Grandmother into his compositions. Variations Gregoriennes Sur Un Salve Regina is a highly unusual and modern work based on an old Marian Hymn (a song for the Virgin Mary). The variations exploit tonality, rhythm and structure amongst other aspects. This Tomasi piece is suitable for advanced trumpeters, providing an exciting, alternative addition to the instrument's repertoire./ Répertoire / Trompette et Orgue

Cantilena Choralis. Par SCHROEDER HERMANN. Ce peu de travail était composé à la suggestion de l'organiste belge Jef Anseeuw, qui a effectué la première mondiale à la Kerk Heilig-Hart à Izegem sur 25 septembre 1982 avec Lieven Vanderwalle sur le violoncelle. La pièce commence avec une paraphrase du motif initial ' Salve Regina ', ce qui est intonated par le violoncelle dans le registre faible. Le violoncelle joue ensuite la mélodie entière de la chanson. L'accompagnement de l'orgue décent est limitée à quelques intermèdes courts dans lequel des motifs de la mélodie grégorienne, comme dans un prélude choral classique, sont jouées à l'avance de manière imitative. La composition lyrique, méditative est idéale pour les services ou les concerts et peut être combinée comme un morceau d'introduction à la composition de l'orgue à grande échelle 'Salve Regina' de l'antienne Schröder' Marianische' (ED 4538)./ Répertoire / Violoncelle et Orgue

Judith Weir's Ave Regina Caelorum for unaccompanied choir SSATBB.This piece was commissioned by Merton College Oxford as part of the Merton Choirbook a collection of music being assembled tocelebrate Merton College’s 750th anniversary in 2014.Ave Regina Caelorum was first performed on 8th July 2014 in Gloucester Cathedral as part of the Cheltenham Music Festival by the Choir of MertonCollege conducted by Benjamin Nicholas.

Ed. critica di M. Talbot - Riduzione per canto e pianoforte di A. Frigé. Par VIVALDI ANTONIO. The present volume contains all three settings by Vivaldi of the Marian antiphon Salve Regina that have come down to us. All three are for solo voice: soprano in the case of RV 617, and contralto in that of RV 616 and RV 618. The last two settings are scored for two instrumental cori and introduce woodwind instruments, respectively a flute and a pair of oboes, whereas the instrumentation of the first is confined to strings disposed in a single coro, although a solo violin is employed in three movements. RV 617, preserved in a non-autograph source in Brno, belongs to Vivaldi's first period of sacred music composition at the Pietà (1713-1717), while RV 616 and RV 618 are works of his maturity dating from the years around 1730. RV 617 is laid out in four movements, RV 616 and 618 in six movements. All three works are noteworthy for the tenderness of their expression and skilful writing for both the voice and the instruments. The Introduction and Critical Commentary for these vocal scores, prepared by Antonio Frigé, are closely based on those of the Critical Editions by Michael Talbot, published in 1998, 1990 and 1994. / Niveau : Intermédiaire / Classique / Répertoire / Chant et Piano

The Piano is often mistakenly viewed as taking a secondary role to the guitar in the world of rock music, with the industry often favouring the eye-catching antics of a larger-than-life axe-weilding hero to the seated sincerity of the Piano. In the meantime, a new generation of bands and artists are correcting the balance, pushing the Piano to the front of the stage and writing music with a passion and depth that challenges the preconceptions. This generous selection of the very best contemporary pop and rock songs by some of the most intriguing and creative artists of recent years, all selected for the modern Pianist. The chosen artists include Mercury Music Award-winners Antony and The Johnsons, Montreal's cinematic folk-rockers The Arcade Fire and the addictively eccentric Regina Spektor. Each song has been carefully transcribed from the original recording, and includes full lyrics and guitar chords. / Niveau : Elémentaire / Recueil / Piano, Chant et Guitare

Ave Regina Coelorum has been beautifully composed by Welsh composer Rhian Samuel for SSAA soloists and SATB divided chorus. Rhian Samuel has composed over 80 published works and her music has been performed in many different countries.

Marienantiphon. Par MOZART WOLFGANG AMADEUS. Im Gegensatz zu den beiden 'Regina coeli'-Vertonungen KV 74 und 127, die mit Solosopran und Chor besetzt sind, verwendet Mozart in KV 276 das Solistenquartett, das ähnlich wie in den Salzburger Messen oft nur in kurzen Einwürfen mit dem Chor dialogisiert. Zudem besteht die vorliegende Vertonung nur aus einem Satz, während die anderen beiden mehrere kontrastierende Sätze aufweisen. / Hymnes et chorals / Date parution : 1990-02-01/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet