Persian March

Scène d'intermède pour groupe des Flûtes à bec, Vibraphone et Percussion arrangée par A. Rosenstengel du morceau Orchestral original par Albert W. Ketelbey. Une atmosphère orientale se répand de ce morceau. Les chameliers approchant lentement du marche, on entend dans le tumulte les mendiants réclamer leur 'Backchiche'. La belle princesse entourée de ses servantes fait son apparition et s'arrête a regarder les jongleurs et charmeurs des serpents. L'arrive du Calife interrompt l'entrain du marché, la princesse prépare son départ et les chameliers continuent leur chemin. Les thèmes de la princesse et des chameliers s'éteignent dans la lointain et la marché devient désert. / Scores

Intermezzo-Szene bearbeitet für Flötengruppe Metallophon und Schlagwerk von A. Rosenstengel. Diese Komposition gehöret zu seinen bekannt testen Orchesterwerken. Eine echt orientalische Atmosphäre beherrscht dieses Werk. Die Kameltreiber kommen allmählich näher die Rufe der Bettler nach Gaben werden erhört. Die schöne Prinzessin tritt auf von ihren Dienerinnen begleitet. Die Prinzessin bleibt stehen um sich an den Gauklern und Schlangenbeschworen zu ergötzen. Der Kalif schreitet jetzt über die Markt und unterbricht die Unterhaltung. Die Prinzessin macht sich zum Aufbruch bereit und die Karawane setzt ihre Reise fort. Die Motive der Prinzessin und der Kameltreiber hört mannoch in der Ferne und der Marktplatz wird wieder einsam.Scène d'intermède pour groupe des Fl tes bec Vibraphone et Percussion arrangée par A. Rosenstengel du morceau Orchestral original par Albert W. Ketelbey. Une atmosphère orientale se répand de ce morceau. Les chameliers approchant lentement du marche on entend dans le tumulte les mendiants réclamer leur ?Backchiche?. La belle princesse entourée de ses servantes fait son apparition et s'arrête a regarder les jongleurs et charmeurs des serpents. L?arrive du Calife interrompt l?entrain du marché la princesse prépare son départ et les chameliers continuent leur chemin. Les thèmes de la princesse et des chameliers s'éteignent dans la lointain et la marché devient désert.Intermezzo scene for Recorder/Flute group Vibraphone and Percussion arranged by A. Rosenstengel from the original Orchestral piece by Albert W. Ketelbey. An oriental atmosphere pervades this work. The cattle-drivers slowly approach the market; the cries of beggars are heard across the bustle. The beautiful princess enters carried by her servants - she stays to watch the jugglers and snake-charmer. The Caliph now passes through the market and interrupts the entertainment the princess prepares to depart and the caravan resumes its journey as the sounds of the Persian Market fade into the distance.

Ashoob (Calligraphy No. 14) was written for Dariush Saghafi and the Carpe Diem String Quartet. Reza Valis ?Calligraphies? series isa set of an ongoing cycle of works based on the Persian modal system the ?Dastgâh? which he has been composing since2000. The basic compositional material of the work is derived from a fast tempo genre called the ?Reng ? which is usually performed at the end of a traditional Persian music concert. Versions for Persian Santoor with string quartet (original) andfor string quartet only are available from the publisher. The original version was premiered on March 18-20 2016 at the McConnell Arts Center in Columbus Ohio by Dariush Saghafi Santoor and the Carpe Diem String Quartet.

Par RAMEAU JEAN-PHILIPPE. Richer than ever – Rameau’s “Zoroastre” in the version of 1756. Opera in five acts. Rameau’s revised version of his opera “Zoroastre”, which could be heard and seen between 20 January 1756 and 26 March 1757 at the Académie royale de musique, was favourably received. Also from today’s point of view the work profits dramaturgically from many of the changes and seems altogether richer and more tightly woven than the original of 1749. The subject matter of the libretto, derived from Ancient Persian sources, is timeless: the struggle between good and bad. The good is embodied by the religious reformer Zoroastre, a representative of the supreme light being Orosmade. He is opposed by the ambitious magician Abramane who serves Ariman, the spirit of the dark. The opera includes some of Rameau’s most ecstatic and spiritual musical numbers, such as the episode of sun worship in Act 3 with the sublime „Hymne à la Lumière“, which, for unknown reasons, was not integrated in the revision of 1756. It is therefore included in Appendix 3 of this Bärenreiter edition. Incidentally, with “Zoroastre” the prologue, wh ich had been customary since the beginnings of French opera in the 1670s, was abandoned. Instead Rameau was the first to introduce an overture which set the scene for the entire drama and thereby anticipated Gluck’s opera reform by many years. Here we present the instrumental numbers for concert performance. - Based on the first scholarly-critical edition, published as part of “Opera Omnia Rameau” - Instrumental numbers in order of performance, but also grouped by key in the list of contents, enabling them to be combined freely into orchestral suites - Published with performance material on hire / Date parution : 2022-11-08/ Répertoire / Orchestre

Oper in Funf Akten Version 1756. Par RAMEAU JEAN-PHILIPPE. Richer than ever ? Rameau?s ?Zoroastre? in the version of 1756. Opera in five acts. Rameau?s revised version of his opera ?Zoroastre?, which could be heard and seen between 20 January 1756 and 26 March 1757 at the Académie royale de musique, was favourably received. Also from today?s point of view the work profits dramaturgically from many of the changes and seems altogether richer and more tightly woven than the original of 1749. The subject matter of the libretto, derived from Ancient Persian sources, is timeless: the struggle between good and bad. The good is embodied by the religious reformer Zoroastre, a representative of the supreme light being Orosmade. He is opposed by the ambitious magician Abramane who serves Ariman, the spirit of the dark. The opera includes some of Rameau?s most ecstatic and spiritual musical numbers, such as the episode of sun worship in Act 3 with the sublime ?Hymne à la Lumière?, which, for unknown reasons, was not integrated in the revision of 1756. It is therefore included in Appendix 3 of this Bärenreiter edition. Incidentally, with ?Zoroastre? the prologue, wh ich had been customary since the beginnings of French opera in the 1670s, was abandoned. Instead Rameau was the first to introduce an overture which set the scene for the entire drama and thereby anticipated Gluck?s opera reform by many years. - One of Rameau?s main works for the stage, now available with all its versions - With a straight-forward piano reduction in the vocal score by François Saint-Yves - Available on sale full score (B0A8867-01) and vocal score (BA08867-90) - Performance material available for hire BA08867-72 - Jean-Philippe Rameau - Opera Omnia (OOR) IV/26 / Date parution : 2022-07-30/ Répertoire / Chant et Piano

Oper in Funf Akten Version 1756. Par RAMEAU JEAN-PHILIPPE. Richer than ever ? Rameau?s ?Zoroastre? in the version of 1756. Opera in five acts. Rameau?s revised version of his opera ?Zoroastre?, which could be heard and seen between 20 January 1756 and 26 March 1757 at the Académie royale de musique, was favourably received. Also from today?s point of view the work profits dramaturgically from many of the changes and seems altogether richer and more tightly woven than the original of 1749. The subject matter of the libretto, derived from Ancient Persian sources, is timeless: the struggle between good and bad. The good is embodied by the religious reformer Zoroastre, a representative of the supreme light being Orosmade. He is opposed by the ambitious magician Abramane who serves Ariman, the spirit of the dark. The opera includes some of Rameau?s most ecstatic and spiritual musical numbers, such as the episode of sun worship in Act 3 with the sublime ?Hymne à la Lumière?, which, for unknown reasons, was not integrated in the revision of 1756. It is therefore included in Appendix 3 of this Bärenreiter edition. Incidentally, with ?Zoroastre? the prologue, wh ich had been customary since the beginnings of French opera in the 1670s, was abandoned. Instead Rameau was the first to introduce an overture which set the scene for the entire drama and thereby anticipated Gluck?s opera reform by many years. - One of Rameau?s main works for the stage, now available with all its versions - With a straight-forward piano reduction in the vocal score by François Saint-Yves - Available on sale full score (B0A8867-01) and vocal score (BA08867-90) - Performance material available for hire BA08867-72 - Jean-Philippe Rameau - Opera Omnia (OOR) IV/26 / Date parution : 2022-07-30/ Répertoire / Chant et Piano

Music through the Ages in Two Volumes-Time Pieces is an exciting series of repertoire which explores the wealth of music written from the sixteenth century to the present day. The pieces are presented chronologically within each volume and all include the year in which they were written too. This series allows the pupil to get a real feel for the different styles of music through time providing performance confidence and experience at the earliest stages. The book will prove an invaluable varied source of further study and recital repertoire.