Matériel : Conducteur et Parties séparées
SKU: CL.016-0068-00
SKU: BT.SLB-00595000
English-German-French- Italian.
This volume in the series “Les éditions originales Durand • Salabert • Eschig†contains Frederic Mompou’s works for piano taken from the editions in Salabert catalogue. The original engravings are reproduced, giving musicians a valuable record of howthese major works were first published, whether in the composer’s lifetime or posthumously.Der vorliegende Band aus der Reihe Les éditions originales Durand • Salabert • Eschig enthält die Werke für Klavier von Frederic Mompou aus dem Salabert-Katalog. Abgedruckt ist der ursprüngliche Notensatz, der den Interpreten ein lebendiges Bildvon den Erstausgaben vermittelt, wie sie zu Lebzeiten des Komponisten und nach seinem Tod veröffentlicht wurden.Ce volume dans la série «Les éditions originales Durand • Salabert • Eschig» présente le répertoire pour piano de Frederic Mompou repris des éditions qui figurent au catalogue Salabert. Ces gravures originales, publiées du vivant du compositeur ou titre posthume, fournissent aux interprètes un cliché de l’apparence initiale de ces œuvres devenues incontournables.I n questo volume della collana “Les éditions originales Durand • Salabert • Eschig†è presentata l’opera per pianoforte di Frederic Mompou tratta dalle edizioni del catalogo Salabert. Le incisioni originali qui riprodotte forniscono agli interpretil’immagi ne di come tali opere siano state pubblicate per la prima volta, vivente il compositore o postume.
SKU: BT.DHP-1012670-401
ISBN 9789043150200. International.
The four dances featured in this new volume aim to complement individual instrumental teaching and to develop the studentsâ?? taste for ensemble playing. De vier dansen in Four by Four zijn bedoeld als aanvulling op de individuele studie, en vooral gericht op de ontwikkeling van de belangstelling van de student voor het ensemblespel. De arrangementen zijn speciaal geschrevenvoor instrumentalisten die al twee of drie jaar spelen. In deze kwartetten heeft elke partij een specifieke, essentiële rol te vervullen op het melodische, ritmische en harmonische vlak.Vier Tänze für vier Violinen. Die Tänze in Four by Four sollen vor allem den SpaÃ? am gemeinsamen Musizieren wecken. In diesen Quartetten kommt jeder Stimme eine besondere Rolle zu, sowohl in melodischer als auch in rhythmischer und harmonischer Hinsicht. Les quatre danses qui composent ce recueil ont pour objectif de compléter la formation individuelle et, surtout, de faire aimer la musique dâ??ensemble. Les arrangements ont été spécialement écrits pour des violonistes ayant déj 2 ou 3 années de pratique. Dans ces quatuors, chaque partie a un rôle précis et indispensable, que ce soit au niveau mélodique, rythmique, ou encore harmonique.MULBERRY BUSHCette célèbre danse traditionnelle anglaise, caractérisée par un 6/8 allant, débute par une exposition du thème, dâ??abord lâ??unisson octavié, puis sous forme de mélodie harmonisée. Contrastant avec lâ??introduction, un développement de la mélodie sâ??ensuit, soutenu par des notes en valeurslongues. Une reprise du thème mène le développement vers une conclusion colorée.HAURRAK IKA SUZUELa gaieté se manifeste dès lâ??introduction de cette danse traditionnelle caractère ostinato ternaire. Lâ??accompagnement de la quatrième voix nous plonge dans un mouvement de valse malgré le chiffrage de mesure en 6/8. La mélodie est alternativement exposée par les première et quatrième voix tandis que les deuxième et troisième voix, plus discrètes, développent un soutien harmonique.BOUBLITCKHYCet te danse aux accents typiquement russes est particulièrement intéressante dans la mesure où elle permet aux instrumentistes dâ??élaborer une lecture très personnelle. Malgré les indications de tempos, lâ??interprétation reste libre, dégageant un charme unique mêlant joie et nostalgie.DANSE BASQUE ESPAGNOLEDès les premières mesures de cette charmante Danse basque espagnole, la musique dépeint lâ??ambiance de cette magnifique région dâ??Espagne. Lâ??introduction lâ??unisson affirme admirablement le mode mineur quand survient, le mode Majeur. Le contraste est saisissant. La mécanique dâ??opposition entre Majeur et mineur sâ??installe et se répète avant dâ??aboutir une conclusion brève mais déterminée. Lâ??insegnamento di uno strumento è spesso individuale. Seppure necessario, questo approccio resta insufficiente per rispondere alle esigenze pedagogiche di oggi. Le quattro danze (Mulberry Bush, Haurrak Ika Suzue, Boublitchky, Danza basca spagnola) di questa raccolta hanno lo scopo di completare lâ??insegnamento individuale e, soprattutto, di far amare la musica dâ??ensemble.
SKU: CL.072-2055-19
CONTENTS: * Burr's Triumphal March * The Crimson Flush March * Belford's Carnival March * International Vaudeville March * From Tropic to Tropic March * Olympia Hippodrome March * Rival Rovers March * Across the Atlantic March * Memphis the Majestic March * Colossus of Columbia March * Embossing the Emblem March * Patriots of the Potomac March * The Exposition Four March * Salute to Seattle March * The Cantonians March * The Southerner March *.
SKU: CL.013-0873-00
SKU: CL.072-2055-17
SKU: CL.013-0303-00
A later edition (013-0873-00) is also published.
SKU: AP.12-0571572006
ISBN 9780571572007. English.
Thomas Adès's Piano Quintet (2000) is a vivid reimagining of sonata form (complete with exposition repeat). Whilst its themes are recognizably tonal, these simple building blocks are the starting points for rich and intricate processes of transformation. The long exposition is full of subtle metrical juxtapositions, with the piano and string quartet often playing in different time signatures simultaneously, creating a disorienting sense that the music is continually shifting in and out of temporal focus. After the extremes of the central development section, the recapitulation is a gigantic accelerando which speeds up to four times the original speed, and generates enormous, seemingly unstoppable momentum. The effect is of a dramatic and temporal compression: it is as if the whole work were squeezed into this musical black hole. This product is the set of instrumental parts.
SKU: HL.49018232
ISBN 9790543503601. 9.0x12.0x0.074 inches.
This sonata is composed for Orff instrumentarium with the intention of offering the sonata form in a lively way.The allegro follows the classical sonata form: an exposition of the two themes, a development with the technic of question-answer and a re-exposition rich in instrumental colours.The andante, a minuet of quiet and elegant character, contrasts the more flowing and bright trio.The vivace, in rondo form, offers a symmetry between the merry refrain, coming again four times, and the verses.
SKU: HL.14016916
9.0x12.0x0.173 inches.
Les titres de ce recueil sont issus du grand repertoire des Standards de jazz et de Blues. Ce volume est concu en deux parties. La premiere partie presente tous les themes, tels que joues par le saxophoniste tenor sur le CD Audio fourni avec ce recueil. La seconde partie offre a l'instrumentiste les cles pour une improvisation reussie. Au debut de chaque partie, une notice pedagogique donne des pistes de travail a explorer ainsi que des conseils sur la maniere d'utiliser au mieux ce livre. Les professeurs trouveront aussi dans ce volume un bon repertoire de base pour initier leurs eleves a l'etude des musiques improvisees que sont le jazz et le blues. Concernant l'utilisation du CD audio, une plage est laissee a l'accord de l'instrument, puis chaque oeuvre est developpee de la maniere suivasnte: Le theme de base est jour par le saxophoniste tenor (accompagne par le trio Claviers-Basse-Batterie) afin de 'montrer le chemin' au musicien Le theme original n'est plus joue par le saxophoniste et laisse entierement place a l'instrumentiste qui, accompagne de la section rhythmique, pourra laisser libre cours a sa creativite (exposition du theme puis improvisationsur la structure harmonique). Nous vous souhaitons un excellent voyage au pays du jazz du blues et esperons vous apprter un reel plaisir a jouer ces oeuvres. The titles in this collection are abstracts from the great repertory of the Standards of Jazz and Blues. This book is made of two parts. The first one presents all the themes such as perfromed by the Tenor Saxophonist on the Audio CD play along furnished with this volume. The second part offers the performer keys for a succesfull improvisation. At the beginning of each part, a pedagogical content gives work trails to explore so as advice on how to use at best this book. Music teachers will also find in this volume a good basic repertory to introduce improvised music styles such a Jazz and Blues to their students. The first track on the Audio CD is for tuning, then each title is developed as follows: The basic theme is played by the tenor saxophonist, accompanied by the keyboard/bass/drum trio, to show the method to the musician The original theme is no more interpreted by the saxophonist and place is left entirely at the performer's disposal who, accompanied by the rhythm section, will give free reins to his creativity (theme exposition followed by an improvisation on the harmonic structure).
SKU: HL.14036341
ISBN 9780711955080.
Comm issioned by the BBC and premiered by the Chilingirian String Quartet. Quoting Wood: In my Second and Third Quartets I attempted sectional, agglutinative forms: in my Fourth I return to the conventional four movement form of my First Quartet of 1962. Both works build up (as in the 19th century symphony) to the Finale, thus making it the most substantial movement, which provides a climax to the work. The First Movement has, in both works, only the status of an Introduction. But there the consciously willed resemblances end. This Introduction follows the Second Quartet to a certain extent, in that it provides a sort of 'cauldron', from which elements to be used later can all be plucked. Its opening will reappear at various points throughout the work, most completely at a climatic point of the Finale (bar 110). Subsequent material will be more fully worked out in the second movement, a large Scherzo. The Introduction concludes with an unusually placed violin cadenza (itself a rare feature in a string quartet, the idea lifted from Elliott Carter's First Quartet) of which the opening is to reappear halfway through the Finale. The Scherzo (which follows attacca) does not have at its centre a discretely characterized Trio: a figure in double-stops like a distant fanfare supplies the necessary contrast of a second idea. The Slow Movement has a secondary idea first heard on the cello and marked appassionato: an agitato middle section recalls the opening of the work, but in a formulation which will be found closely to anticipate its reappearance in the Finale. The Finale is planned on a broad scale. Only after a fully worked exposition of both primary and secondary material does the opening of the whole work return, now in a greatly extended form. Then, at bar 140, the tune of the violin cadenza is first harmonized in fanfare style on the upper instruments, then presented as a chorale on the lower ones, with a rushing semiquaver accompaniment above. This climatic activity mounts to the very end. The work is dedicated to the Chilingirian Quartet, old friends over many years. Score available separately: SOS04044.
SKU: HL.14008374
ISBN 9781846096150. UPC: 884088435202. 8.25x11.75x0.105 inches.
The Full Score for Peter Maxwell Davies' fourth in a series of ten string quartets commissioned by the Naxos Recording company, first performed by the Maggini Quartet on 20th August 2004 at the Chapel of the Royal Palace, Oslo, Norway, as part of the Olso Chamber Music Festival. Composer Note: The fourth Naxos quartet was written in January and February of 2004, with the intention of producing something lighter and much less fierce than its predecessor, an unpremeditated and spontaneous reaction to the illegal invasion of Iraq. I returned to the well-known Brueghel picture of children's games (1560, now in Vienna), which had been the inspiration for my sixth Strathclyde Concerto, for flute and orchestra. These illustrations liberated my musical imagination, but I feel it would limit the listener's perception to be too specific about which game relates to exactly which section of the work. Suffice it to say that there is vigorous play - leap-frog, bind the devil with a cord, truss, wrestling - alongside quieter pastimes - masks, guess whom I shall choose, courting, odds and evens. The single movement juxtaposes these activities as abruptly and intimately as they occur in Brueghel. Rather as the eye is taken into different perspectives and proportions of scale within the picture, taking liberties which would never be present in, for instance, Brunelleschi architectural drawings, so here, with a constant sequence of transformation processes, I have distorted the neat, precise implications of modal progression, expressed in the unison opening phrase (from F to B through A sharp/B flat), so that the ear is led, en route, into the sound equivalents of strange passageways and closed rooms: sicut exposition ludus. As work on the quartet progressed I became aware that I was reading into, and behind the games, adult motives and implications, concerning aggression and war, with their consequences. It was impossible to escape into innocent childhood fantasy. The nature of the F to B progression underlying the whole construction derives from a passage in the development of the first movement of Mahler's Third Symphony, and the opening of Schoenberg's Second String Quartet. However, unlike in these models, here a real - if temporary - sense of resolution occurs at the close of the quartet: as when the curtain falls on the reconciled Count and Countess in 'Figaro' one wonders how long the F/B truce will hold, and games break out again. The quartet is dedicated to Giuseppe Rebecchini, Roman architect, and friend since the nineteen-fifties.
SKU: HL.50601598
8.0x11.75 inches.
The catalogue of Edison Denisov's works includes 16 concertos. It was a genre to which he returned time and again throughout his life, from the Concerto for Cello and Orchestra of 1972 to the Double Concerto for Flute, Clarinet and Orchestra of 1996.In Denisov's music the role of the soloist, or rather the protagonist, is extraordinarily important, not so much for its virtuosity as for its confessional character. The solo part is a monologue distinguished by poetic diction and a very personal message from thecomposer. The dramaturgical conception of the Concerto for Saxophone and Orchestra, a reworking of the Viola Concerto of 1986, draws on traditional sonata form, thereby reaffirming the ubiquitous classicism in Denisov's thought. In this late work, we find all the typical features of his style: sinuous melodic lines layered into dense contrapuntal textures, and an interplay of orchestral colours, with pure sonorities contrasting with complex mixtures of sounds. It is a perfect dramaturgy that governs the evolution of the music to the very end. The first movement assumes the role of a sonata-allegro, with the standard formal sections of exposition, development,recapitulatio n and coda. The second movement is an Adagio for strings. The third takes the form of a little contrasting intermezzo that introduces both new thematic material and a new range of colours. Here tunefulness gives way to pointillism enriched with soniceffects. The only movement with a virtuosic solo part, its nervousness and inner tension set it worlds apart from the second and fourth movements that surround it. The fourth movement assumes the traditional form of a final set of variations. It is the dramaturgical and semantic heart of the concerto. The theme of the variations is Franz Schubert's Impromptu in B-flat major, op. 142, which in this case is 'born' from the celesta as the product of a dodecaphonic string cluster. This finale represents Denisov's homage to his great mentor, Schubert's music being for him a symbol of eternal and universal beauty. 'The attentive listener', Denisov stressed, 'will recognise that the Impromptu theme is already suggested very slowly in the course of the three preceding movements, not only thematically, but also psychologically. That's what makes the appearance of the Schubert theme sound so natural.' The variations relate to the variation genre less in their form than in their spiritual and conceptual metamorphoses. It is, one might say, 'music round about Schubert'. (Ekaterina Kouprovskaia-Denisova).
SKU: HL.49019910
ISBN 9790220134395. UPC: 888680089528. 8.25x11.75x0.25 inches.
My Concerto for Orchestra (2007) is a twenty-minute work in which different sections of the orchestra, as well as individual solos and duos from within the orchestra, are highlighted as the music unfolds. The work continues my interest in two-movement forms that began with my Cello Concerto (1991), and was later developed in Sortilege (1996) and Symphony (Broken Consort) (2004). In these works, and in the Concerto for Orchestra, each movement is given equal weight and importance with the second developing earlier material and taking it in new directions.The two-movement form of the Concerto for Orchestra derives from a symphonic sonata structure, reshaping the traditional four-movement form and combining this with aspects of sonata form, a tradition that goes back to Liszt, Schoenberg and Sibelius:1st movement (i) exposition of ideas - dramatic and sudden (ii) scherzo and development 1 - resolute2nd movement (iii) adagio - calm and unhurried (iv) development 2 with recapitulation - intense and energeticThe Concerto for Orchestra was commissioned by the Musikalische Akademie des Nationaltheatre-Orchester s Mannheim with the support of Die Landesbank Baden-Wurttemberg for its first two performances on 31st March and 1st April 2008 conducted by Friedemann Layer. The score is dedicated in friendship and admiration to Ronald Zollman.John Casken3(3.pic).2. ca.2(2.Ebcl).bcl.3(3.cbsn )-4.3(1.Dtpt).2.btbn.1-ti mp.3perc(crot, vib, tub bells, sizz cym, Chinese cym, h.h, Swiss cow-bell, gong, horizontal gong, 2tam-t, tamb, bng, s.d, 5tom-t, b.d, clav, casts, marac, 5tempbl, wdbl, cabaca, vibraslap)-hp-str.
SKU: FZ.5850
ISBN 9790230658508. 24.00 x 33.00 cm inches.
These early music methods are in facsimile in four books. ANCELET - Jacques-Laurent BETHISY - Sebastien de BROSSARD (1-2) - Michel CORRETTE (1) - Jean-Baptiste DOMENJOUD - Pierre DUPONT - Encyclopedie - F. A. P. de GARSAULT - Francesco GEMINIANI - Marin MERSENNE - Michel Pignolet de MONTECLAIR - Leopold MOZART. Table of contents: Mersenne Marin: Harmonie universelle - 1636. Brossard Sebastien de: Dictionnaire de musiqua - 1703. Brossard Sebastien de: [Methode de violon manuscrite] - c. 1711. Monteclair Michel Pignolet de: Methode facile pour apprendre a jouer du violon - 1711. Dupont Pierre: Principes de violon - 1718. Corrette Michel: L'ecole d'Orphee - 1738. Dupont Pierre: Principes de violon '(seconde edition) - 1740. Encyclopedie: Articles sur le violon et la lutherie - 1751/1772. Geminiani Francesco: L'art de jouer du violon - 1752. Ancelet: Observations sur la musique - 1757. Domenjoud Jean-Baptiste: De la preference des vis aux chevilles - 1757. Garsault F. A. P. de: Notionnaire, ou memorial raisonne - 1761. Bethisy Jacques Laurent: Exposition de la theorie - 1764. Mozart Leopold: Methode raisonnee pour apprendre a jouer du violon - 1770. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of copies from: - British Library of London (England). - National Library of Paris (France). - Library of Congress, Washington (USA). - Bayerische Staatsbibliothek of Munich (Germany). - In Private collection. Anne Fuzeau Classique propose the complete theoretic documentation, methods, classical music scores on the violin.
SKU: BT.DHP-1115053-140
A3 (420X297) inches.
...Then Thy Words Will Take Wing... is a four movement composition based upon drawings made by Russian painter Zinovii Tolkatchev (1903-1970), who served as official artist during the liberation of concentration camps in Auschwitz. After the war, Tolkatchev’s works were published and now tour the world as a travelling exhibition. This composition is a tribute to the victims of the Holocaust who still remain nameless, and is a powerful piece to include in any concert programme.“ …dan zullen uw woorden vleugels krijgen...†is een vierdelige compositie gebaseerd op vier tekeningen van de Wit-Russische schilder Zinovii Tolkatchev (1903-1970). Tijdens de bevrijding van de concentratiekampen Auschwitz en Majdanekwas Tolkatchev bij het Rode Leger in dienst als tekenaar. Na de oorlog verschenen de tekening van Tolkatchevs in albumvorm en momenteel reizen ze de wereld over, te bekijken bij tentoonstellingen. De compositie is een eerbetoonaan alle naamloze slachtoffers van de Holocaust en grijpt daarbij ook terug op de hoofdgedachte van de Yad Vashems, het gedenkbeeld van de Holocaust in Jeruzalem.Für Blasorchester, Violoncello und Kinderchor...dann wachsen Flügel Deinen Worten...“ ist eine viersätzige Komposition nach Zeichnungen des weißrussischen Malers Zinovii Tolkatchev (1903-1970), der bei der Befreiung der Konzentrationslager Auschwitz und Majdanek in der Roten Armee als Zeichner diente. Nach dem Krieg wurden seine Bilder veröffentlicht und wandern jetzt in einer Ausstellung um die Welt. Diese Komposition will an die vielen namenlos gebliebenen Opfern des Holocaust erinnern und damit einen der Leitgedanken Yad Vashems, der Holocaust-Gedenkstätte in Jerusalem, vermitteln.†Alors tes paroles s’envolent en chanson… est une oeuvre en quatre mouvements s’inspirant de quatre dessins du peintre biélorusse Zinovii Tolkatchev (1903-1970) qui servait dans l’Armée rouge en tant qu’illustrateur lors de la libération des camps de concentration d’Auschwitz et de Majdanek, sa t che consistant réaliser des croquis des atrocités commises. Plus tard, les enfants de Tolkatchev firent don de la série au mémorial Yad Vashem de Jérusalem. Ces dessins sont rassemblés en une exposition qui fait aujourd’hui le tour du monde.Un brano in quattro movimenti che si ispirano a quattro dipinti del pittore bielorusso Zinovii Tolkachev (1903-1970) che servì nell’Armata Rossa come illustratore durante la liberazione dei campi di concentramento di Auschwitz e Majdanek. Il suo compito era realizzare schizzi delle atrocit commesse. In seguito, i figli di Tolkachev decisero di donare la serie di disegni al Memorial Yad Vashem di Gerusalemme, disegni ora oggetto di una mostra itinerante.
SKU: BT.DHP-1115053-010
9x12 inches.
...Then Thy Words Will Take Wing... is a four movement composition based upon drawings made by Russian painter Zinovii Tolkatchev (1903-1970), who served as official artist during the liberation of concentration camps in Auschwitz. After the war, Tolkatchev’s works were published and now tour the world as a travelling exhibition. This composition is a tribute to the victims of the Holocaust who still remain nameless, and is a powerful piece to include in any concert programme.“ …dan zullen uw woorden vleugels krijgen...†is een vierdelige compositie gebaseerd op vier tekeningen van de Wit-Russische schilder Zinovii Tolkatchev (1903-1970). Tijdens de bevrijding van de concentratiekampen Auschwitz en Majdanekwas Tolkatchev bij het Rode Leger in dienst als tekenaar. Na de oorlog verschenen de tekening van Tolkatchevs in albumvorm en momenteel reizen ze de wereld over, te bekijken bij tentoonstellingen. De compositie is een eerbetoonaan alle naamloze slachtoffers van de Holocaust en grijpt daarbij ook terug op de hoofdgedachte van de Yad Vashems, het gedenkbeeld van de Holocaust in Jeruzalem....dann wachsen Flügel Deinen Worten...“ ist eine viersätzige Komposition nach Zeichnungen des weißrussischen Malers Zinovii Tolkatchev (1903-1970), der bei der Befreiung der Konzentrationslager Auschwitz und Majdanek in der Roten Armee als Zeichner diente. Nach dem Krieg wurden seine Bilder veröffentlicht und wandern jetzt in einer Ausstellung um die Welt. Diese Komposition will an die vielen namenlos gebliebenen Opfern des Holocaust erinnern und damit einen der Leitgedanken Yad Vashems, der Holocaust-Gedenkstätte in Jerusalem, vermitteln.†Alors tes paroles s’envolent en chanson… est une oeuvre en quatre mouvements s’inspirant de quatre dessins du peintre biélorusse Zinovii Tolkatchev (1903-1970) qui servait dans l’Armée rouge en tant qu’illustrateur lors de la libération des camps de concentration d’Auschwitz et de Majdanek, sa t che consistant réaliser des croquis des atrocités commises. Plus tard, les enfants de Tolkatchev firent don de la série au mémorial Yad Vashem de Jérusalem. Ces dessins sont rassemblés en une exposition qui fait aujourd’hui le tour du monde.Un brano in quattro movimenti che si ispirano a quattro dipinti del pittore bielorusso Zinovii Tolkachev (1903-1970) che servì nell’Armata Rossa come illustratore durante la liberazione dei campi di concentramento di Auschwitz e Majdanek. Il suo compito era realizzare schizzi delle atrocit commesse. In seguito, i figli di Tolkachev decisero di donare la serie di disegni al Memorial Yad Vashem di Gerusalemme, disegni ora oggetto di una mostra itinerante.
SKU: CY.CC2726
The first movement, Prologue, consists of an Exposition (bars 1-42) with a main theme followed by four development sections and ending with a return to the main theme before a short coda. The second movement, Variants is a set of seven variations on the theme presented in the opening with descriptive terms pointing out the contrasts between the variations. The final movement is titled an Epilogue follows the general structure of ABCDCEBA which is a modified arch form with an abundant use of dance-like syncopated rhythms but a lyric and less active middle section D for contrast.This work of about 17 minutes in length is suitable for advanced performers.
SKU: AP.1-ADV7538
UPC: 805095075380. English.
Written in the final year of his life, this adaptation of Mozart's famous overture from the opera The Magic Flute, merges the principles of sonata and fugue forms. Opening with majestic chords, the allegro is a four-part fugal exposition followed by a soaring melodic theme. Arranged for SAATBar saxopone quintet.
