Par SCHWEITZER BENJAMIN. The chiaroscuro-technique developed by painters of the Italian renaissance served to intensify contrasts and effects of optical depth. In Klar/Obskur, I tried to transfer the general idea of this technique on the rather unusual instrumentation of two double-reed woodwinds and piano. On the one hand, a clear, well articulated playing is characteristic for these instruments, on the other hand, they have an often underestimated potential of „twilight“: air-sounds and fragile, shady colours have a especially attractive when being produced by double-reed instruments (which are often, and superficially regarded as being less capable of differentiated sounds than flute or clarinet). The piano, too, has a broad bandwidth of possibilities between percussive and delicate playing to complement the woodwinds which, in return, can absorb and continue the fading piano sounds. The beginning introduces the two contrasting elements that form the basic material for the piece: a clear, sharp chord, followed by fragile, dim sounds. The changes between these elements as well as their combination and amalgamation produce an enormous spectrum of colours and gesture. After this „motto-like“ opening follow four quite clearly separated short sections, each of them being characterised by a well-defined texture: a partly almost imperceptible air-sound passage, a short sequence of microintervallic notes, a burst of virtuosity and a recourse to the fragile sounds of the beginning. The second, longer main part consists of three sections merging subtly into each other: a short unisono-passage, marked elastic [federnd], is being dissolved into its basic elements; from these remainders, a confrontation of low, ‚arcane‘ bassoon and piano sounds and a strongly ornamented melodic line of the oboe emerges, leading to a short but powerful climax. The piece is concluded by an extended, relaxed epilogue, containing a short piano solo and a duet of oboe and bassoon and, finally, a quotation of the „elastic“ character of the middle section. Benjamin Schweitzer / Date parution : 2007-11-20/ Répertoire / Hautbois, Basson et Piano

Music Minus One Clarinet or Soprano Sax-Such jazz legends as Dick Wellstood Alphonse 'Doc' Cheatham and George Duvivier and more back you up in this amazing collection of New York-style Dixieland standards. After the break-up of the big-band era around 1950 many of the finest 'swing' or mainstream players found themselves without an outlet for their abilities and took to playing 'Dixieland' in New York clubs such as Eddie Condon's and the Metropole. And so was born a new style of Dixieland jazz minus the banjos tubas steamboats and magnolias! It is this version we celebrate on this album. We encourage you the soloist to invent counter-melodies rather than mere harmony parts. This is a music of loose weavingparts not one of precision ensemble figures. And in short it is one of the greatest improvisational experiences any jazz player could hope to have. Includes a high-quality printed music score and compact disc featuring stereo accompaniments to each piece. Performed by Kenny Davern clarinet Accompaniment: Kenny Davern clarinet and soprano sax 'Doc' Cheatham trumpet Vic Dickenson trombone Dick Wellstood piano George Duvivier bass Gus Johnson Jr. drums

Par . Here we present 'Griffenfeldt», a folk-dance in the style of a Norwegian «reinlender». This arrangement can be used as the first item in a concert, or after an interval. The musicians can come on stage as they join in. That is why two of the measures are notated 'repeat till ready', here you have to wait until everyone is in place! If everyone is ready from the start, the repetition can be omitted. Be sure to play with a bouncy but singing style, not with short and harsh articulations. Do the trills on the beat, but these can also be omitted if it makes it too difficult. To bring out the folk music style a little extra, you can ask the musicians to play on the 'backbeat', i.e. emphasize the last half of each quarter-note. In addition, the music will really come to life if all 'solo' places are done standing up. The musician Ånon Egeland tells this story: «This song got its name from a party where it all just got a bit too lively: one of the party-goers started shooting into the ceiling with a gun just as this reinlender was being played. The fiddler - or was it the man with the gun? - was called Griffenfeldt, and that gave the name for the song.» / Date parution : 2023-07-31/ Répertoire / Ensemble de Cuivres

Folksong from the Hebrides. Par REINSHAGEN FRANK. Writing these arrangements, Frank Reinshagen has created little masterpieces, which broaden the rhythmical and harmonic context of the original tunes in an interesting manner without detracting from their archaic and melancholic character. These original tunes are - in a direct or wider sense - of „Celtic origin', in other words, they have been borrowed from the Irish, Scottish and Gaelic musical tradition. These through-composed arrangements are rather easy to perform from the rhythmical and technical point of view. Yet, they are quite demanding in respect of the key they are written in, their intonation and, especially, their interpretation. Their different instrumentations are fully compatible with each other and, due to their overall structure, they are also suitable to be played with multi-scored parts. Annotation on 'Aignish on the Machair'. The arrangement of Aignish on the Machair illustrates, above all, the melancholic character inherent in the harmonies of the original tune. A short rubato passage is followed by several variations over the flowing melody in 3/4 time. The short triplet passages embedded in these variations are quite demanding from the technical point of view - considering the key they are written in, however, these passages are not too difficult to play./ Répertoire / Quatuor de Cuivres

Herrmann wanted to write a musical portrait of his friend and colleague Alfred Hitchcok so choose motifs from the movie The Trouble With Harry one of Hitchcockâ??s more personal and humorous films. This single-movement work for Orchestra employs some of the more familiar elements of Herrmannâ??s compositional style: short musical phrases repeated and then repeated again in other positions sharp use of dynamics among them. From the first note the creepiness begins.Bernard Herrmann was among the very greatest of all composers of music for cinema and there are many who avow that he was the greatest of all. A very short list of the films for which this award-winning composercreated soundtracks includes Citizen Kane The Man Who Knew Too Much Vertigo Jason and Argonauts Fahrenheit 451 Obsession and Taxi Driver. He had a long and fertile association with Alfred Hitchcock during the most productive period of Hitchcockâ??s career and with Orson Welles from the time of the Mercury Theatre on the Air. In addition to his conducting and composing work for the entertainment world Herrmann wrote concert pieces including a symphony opera and cantata.

An easy Piano arrangement with lyrics for the soundtrack song for the Disney short Frozen Fever. Includes the dialogue within the song, too. / Piano

Wq 217. Par BACH CARL PHILIPP EMMANUEL. His Heilig Wq 217 is just 6 minutes long. Bach, however, put all his art into these few minutes, as he himself wrote to his publisher: „ Here I have proved the most daring and hard work . . . It will be my swan song of this nature, and serve to ensure that you do not forget myself too soon after my death“. The work requires an extraordinary instrumentation: two full orchestras with 3 Trumpets, 2 Oboes and Strings and two mixed choirs. A sensitive alto solo initiates the work and prepares the dialogue between the choirs of angels and of peoples. It is a musical highlight, when the angel choir modulates from F minor via the tritone interval to B major, initiating the tutti fortissimo. A strong four-part fugue concludes the short work. / Messe / Date parution : 1973-01-01/ Répertoire / Solo A, Choeur SATB/SATB, 2 Orchestres: 2 Hautbois

The Young Pianist's Activity Book is designed to stimulate the imagination and arouse a questioning attitude. Finding out about musical sounds and exploring the notes of the keyboard of a piano or an electronic keyboard are made into a game a kind of musical treasure hunt. The young player is asked to discover things about the keyboard and the music; to write down observations using colours and to experiment with sound.There are short original pieces to play which also encourage a different approach to the development of technique i.e. the necessary physical freedom to move around the keyboard. There are also the author's adaptations of orchestral worksby famous composers. The story behind the music is featured in the 'Read and Colour' sections giving a more friendly approach to the great composer. Here too there are suggestions for further listening.The activity book is not meant as a substitute for the usual primer or books of graded pieces but to complement them. The material is useful for the development of aural ability and improvisation aspects which increasingly form part of or are options in the national graded piano and keyboard examinations. Some items may need the help of a teacher but others could be attempted between lessons according to the individual pupil.

America the Beautiful-The perfect arrangement for your Beginning Band’s first patriotic performance! There are lots of opportunities for young players to solidify basic skills here. A few easy accidentals articulations dynamics and phrasing can all be taught while rehearsing Sea to Shining Seay. There are many more uses for this arrangement than the typical concert setting too. Does your student body meet at the flag pole on Monday mornings for a flag salute? Play it there. How about a short performance at a school board meeting? The possibilities are endless!Don’t miss it!

Hal Leonard Student Piano Library Showcase Solo Level 5/Intermediate-A gently grotesque troll dance not too frightening but with enough of a macabre twist to fit the title aptly this piano solo works its magic through short motives and alternating hand passages. Great pedagogical material throughout. Intermediate (HLSPL Level 5); 6/8 meter; quick tempo; 16ths; pedal; hand position shifts; reading range: full staff; 8va; 37 measures; Performance time: 1 minute 20 seconds.

Instrumentation: piano Edition: score Publisher: Eberhard Mayer OEuvres pour piano/Klaviermusik/Piano Music Edition en 10 recueils/Edition in 10 Bänden/Edition in 10 volumes Volume 1: Femmes de Légende Editor: Eberhard Mayer Item no.: fue 4180 Difficulty: medium ISMN: 979-0-50012-918-9 Contents: Mélisande, Desdémona, Ophelie, Viviane, Ph?bé, Omphale und Salomé The pieces for piano represent a great stylistic variety. One gets the impression that Mel Bonis may have intended to give a summary of musical development, not quoting historic styles but adapting the past through her personal tone and to translate it into contemporary musical language. The first volume includes an original series of musical portraits dedicated to legendary women, where Mel Bonis explores the enigmatic feminine universe. ?Femmes de légende? A collection we have called ?Femmes de légende? contains seven piano pieces by Mel Bonis named after women whose fates have become legendary. They have not always been arranged in this way. The first piece, ?Mélisande?, was published separately by Alphonse Leduc in 1898. In 1909, a collection called ?Trois pièces pour piano? (Three pieces for the piano), dedicated to the composer Paul Locard and which included ?Ph?bé?, ?Viviane? and ?Salomé?, was published by Leduc. In 1913, ?Mélisande? was added to the four last pieces for a final collection called ?Cinq pièces?. ?Omphale? appeared in a Berlin edition ?Signale für die musikalische Welt? in 1910. As to ?Ophélie?, it was never published in Mel Bonis? lifetime and we discovered a manu-script in 1997 without any indication at all of when it was writ-ten. ?Ophélie? was first published by the publishing house Ar-miane in Versailles in 1998. Mélisande (1898) Written before Debussy?s famous opera, Mel Bonis? piano piece ?Mélisande? was also inspired by the poet Maeterlinck (Mélisande, 1893). These short pages of magical harmonies, of radi-ant impressionist colours use music to describe Mélisande?s hair as described by Pelleas: ?your hair and its beautiful light... It escapes everywhere, it shivers, it shakes, it trembles in my hand like a golden bird.? This piece enjoyed quite a success in Mel Bonis? lifetime. She noted of it ?my favourite? in the margin of her hand-written catalogue. Desdémona (1913) The female heroine in Shakespeare?s ?Othello? inspired Mel Bonis to write a nostalgic piece with a fairly easy, rather classical beginning, a kind of romance without words, of great elegance and of a deep and melancholic beauty. Ophélie Ophelia, the lover of Shakespeare?s Hamlet, is a deeply melan-cholic character who goes mad and drowns in mysterious cir-cumstances. Ophelia inspired the poet Rimbaud and the painter Millais ? each of them created a masterpiece. Mel Bonis too evokes images of water, sadness and death in music for a third work of art. With its delicate and chilling beauty and also with its moments of passion, this impressionist piece - the work which owes most to Debussy - calls for great intelligence when performed. Viviane (1909) The figure of the fairy of the lake is musically described here in a well-structured, many-facetted piece; first of all, the initial dancing theme has an air of the ?salon? about it, typical of its time, evoking the fairy?s charm, her smile. Then follow succes-sions of majestic chords and fluent harmonies which represent the underwater castle and the fairy?s power. This piece is easily approachable. Ph?bé (1909) The sister of Phoebus, the sun, symbolises the moon, the night, chastity. The piece creates an impression of night. Steeped in twilight, languor and a sense of immense space, the atmosphere is one of unreality. This feeling of alienation is reinforced by the incoherence of rhythm between the two hands. Salomé (1909) Inspired by the Orient, Mel Bonis creates a very original musical illustration of the biblical character of Salome. She is characterised by shifting moods in which slow syncopes follow light glissandos, and urgent, mysterious psalmodies accompany sensual melopeias, where surprising tempo varia-tions lead to outbreaks of violence. With its relatively difficult beginning, this piece is especially interesting from the viewpoint of research into interpretation. Omphale (1910) The queen of Lydia is a female character from the violent depths of Greek mythology. This powerful female is described here with glittering sensuality and Oriental subtlety. The impressive work shows a complex structure both in harmony and rhythm, it is a lively and rich work which calls for much thought and great virtuosity on the performer?s part. ?Omphale? was awarded a prize for composition by the Berlin magazine ?Signale für die musikalische Welt? in 1910.