Référence unique par son ISBN 9790045002893 cette partition musique de Ravel Maurice n'est autre que PAVANE POUR UNE INFANTE DEFUNTE VLC/PIANO (PITSCH) qui a été composée pour 1 Ou 2 Violoncelle(s) Et Piano. Les droits d'auteur de cette partition de musique de style Classique se trouvent chez les éditions Max Eschig. La référence catalogue de cette oeuvre est ED00146304. / 1 Ou 2 Violoncelle(s) Et Piano / Partition

Maurice Ravel mélancolique populaire 'Pavane pour une infante défunte ' composé en 1899 a été écrite à l'origine pour piano avant il arrange pour orchestre en 1910. Bien que dédié à une véritable princesse, la Princesse de Polignac, le travail ne fait pas référence à une personne historique réelle. / Violoncelle Et Piano

extrait de la musique de scène pour « Le Voyageur sans bagages »-A previously unreleased piece by Francis Poulenc published with permission from the Bibliothèque Historique de la Ville de Paris and Benoît Seringe secretary of the Association des amis de Francis Poulenc [Association of the Friends of Francis Poulenc]. Le Voyageur sans bagage [The Traveller Without Luggage] which had been premiered in 1937 with music by Darius Milhaud was reprised on 1 April 1944 at the Théâtre de la Michodière; Francis Poulenc was asked to compose new stage music. The entire unpublished score lay undiscovered until Bérengère del’Épine a librarian at the Bibliothèque Historique de la Ville de Paris announced the existence of a manuscript in the Association de la Régie Théâtrale collection. Poulenc finalised the score between 19 and 21 March 1944. It contains nine songs all written for a small instrumental ensemble including Oboe Clarinet Cello and Piano. However at the end of the manuscript the composer echoes the second song – Lent [Slow] – and creates another version for Cello and Piano; curiously the original version of the song has not been erased in the manuscript. Poulenc seems to suggest that we consider the piece for Cello and Piano that we have published here as a different piece of music. It was premiered on Wednesday 23 January 2013 by Marc Coppey accompanied by Jean-François Heisser in the organ auditorium of the Conservatoire National Supérieur de Musique et Danse de Paris (CNSMDP) during the symposium for the fiftieth anniversary of Poulenc’s death. Given in a dramatic context some elements allow us to get an idea of the character of the piece which Benoît Seringe Poulenc’s beneficiary judiciously chose to name Souvenirs. The main character of Anouilh’s play Gaston is suffering from amnesia at the end of World

Born in Paris in 1899 Francis Poulenc soon became a notable composer and pianist. His Serenade originally composed in 1925-1926 for Voice and Piano met much success as part of his Bawdy Songs. Therefore it was well-received when Maurice Gendron transcribed it for Cello and Piano. Poulenc as a member of Les Six composed music in a style contrary to that of Richard Wagner and impressionists Claude Debussy and Maurice Ravel. Serenade reflects the composer's contrasting style making use of a 6/8 time signature double stops variations in articulation and wide range on the Cello.Being an imaginative and evocative composition Serenade transcribed for Cello and Piano is a pleasurable addition to the repertoire.

Born in Paris in 1899, Francis Poulenc soon became a notable composer and pianist. His Serenade, originally composed in 1925-1926 for Voice and Piano, met much success as part of his Bawdy Songs. Therefore, it was well-received when Maurice Gendron transcribed it for Cello and Piano. Poulenc, as a member of Les Six, composed music in a style contrary to that of Richard Wagner and impressionists Claude Debussy and Maurice Ravel. Serenade reflects the composer's contrasting style, making use of a 6/8 time signature, double stops, variations in articulation and wide range on the Cello. Being an imaginative and evocative composition, Serenade, transcribed for Cello and Piano, is a pleasurable addition to the repertoire.

Die Trois Pièces de concert verströmen rundum französisches Flair. Simon Laks komponierte sie in seinen frühen Pariser Jahren für den ehemaligen Solocellisten des Königlichen Concertgebouw Orchesters, Gérard Hekking, der seit 1927 am Conservatoire lehrte. Der erste Satz variiert ein raffiniert-schlichtes eigenes Thema und bleibt dabei, trotz aller virtuosen Capricen, immer nonchalant. Der langsame zweite Satz ist eine melancholische Romanze über Blues-Harmonien, und der dritte ein Perpetuum mobile - ein Satztypus, den zur selben Epoche etwa auch Maurice Ravel in seiner Kammermusik ähnlich verwandte.Laks schuf von seiner für Violoncello und Klavier vorgesehen Komposition auch eine Fassung für Violine und Klavier - lange verschollen, wurde sie vor wenigen Jahren für die CD-Einspielung bei eda records rekonstruiert / Violoncelle Et Piano