The circumstances in which these poetic ?Soirée Pieces? (thus their original title) came into being are quite surprising. In 1849 Dresden was seized by violent political turmoil that ultimately forced Schumann to fleewith Clara to the countryside. Yet none of this is apparent in the music of these three pieces whose idyllic character signifies a longing for harmony and seclusion. Originally conceived for the Clarinet they were accompanied byalternative parts for Violin and Cello as early as the original print. We have subjected our editions to a thoroughgoing critique and include a section of detailed editorial notes.

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 The entire unpublished score lay undiscovered until Bérengère del’Épine a librarian at the Bibliothèque Historique de la Ville de Paris announced the existence of a manuscript in the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

20 easy carols for winter, Advent and Christmas for 1-3 violincellos and piano. Par . What would Christmas time be without making music together? Advent, Christmas, and winter songs play an important role for all beginners on a melody instrument, because with these they can show off their progress on the instrument during the first year. And nothing is better suited to this than well-loved and popular Christmas classics.The volumes in our series for instrumental teaching, developed in collaboration with the Landesakademie für die musizierende Jugend in Baden-Württemberg, all contain 20 easy carols arranged in progressive level of difficulty. Experienced instrumental teachers have made a selection of carols for each instrument according to specific criteria. These can be mastered as part of music school lessons after just a few weeks and months. All the carols have been chosen and transposed so that the range and fingering combinations do not exceed the level of difficulty for the first three years of learning.The piano accompaniment is of moderate difficulty. For many of the carols, an ad lib upper or lower part is included which can also be played by instrumental pupils. The volumes are therefore suitable for individual as well as group tuition.The arrangements are based on the piano and instrumental books from the CHRISTMAS CAROLS project (Carus 2.403/03 und 2.404/03) which is part of the LIEDERPROJEKT, the charitable project to further singing with children. The books contain singing texts for all the carols, providing a full range of options for singing and playing together at Christmas.All the books include the printed music of the piano accompaniment. Digital playalong tracks are available for all the books.Further editions for flute, clarinet, alto saxophone, trumpet, violin, cello / Date parution : 2022-10-12/ Recueil / Violoncelle et Piano

Hungarian Rondo was composed by Zoltán Kodály in December 1917, drawing on material from the incidental music he had written for Zsigmond Móriczs play Pacsirtaszó (Skylarking). The rondo form is shaped out of four new-style Hungarian folk songs and an instrumental dance melody. Kodály prepared the piece in two somewhat different versions, one for two clarinets, two bassoons and string orchestra, and the other for cello and piano. The orchestral version received its first performance in Vienna on 12 January 1918 at a 'historical concert' organized by the War Ministry of the Austro-Hungarian Monarchy. The cello version was premi?red by Miklós Zsámboky and Ottó Herz at the Budapest Academy of Music on 4 November 1927. Neither version appeared in print in the composers lifetime. The version for string orchestra was edited in 1976 by Ferenc Farkas and István Máriássy (and is distributed as a hire material under the order number K-1). The cello version appears here in print for the first time. The publication is based on the composers surviving manuscript and a contemporary manuscript copy of this. The fingerings are by the editor. / Violoncelle Et Piano

Le pre?sent catalogue des oeuvres musicales de Maurice Emmanuel est a? ce jour la seule publication rendant compte de l'inte?gralite? des partitions qui nous sont parvenues. On pourra s'e?tonner a? bon droit qu'il ait fallu attendre pre?s de 80 anne?es apre?s la disparition du compositeur pour qu'il soit possible d'en prendre connaissance, et un tel retard me?rite certainement quelques explications.Nous avons fait le choix de pre?senter e?galement le document de Frank Emmanuel, qui donne des indications inte?ressantes, notamment sur les premiers interpre?tes (sur ce point, le texte a e?te? enrichi et actualise?), ainsi que le catalogue de Radio France dans sa version la plus re?cente. Enfin, un e?crit de Maurice Emmanuel lui-me?me fait part de ses volonte?s explicites, e?clairant par-la? les fragments d'un chantier d'archives trop longtemps reste? dans l'ombre. On peut penser, cependant, que le catalogue complet - le temps passe? permettant peut-e?tre de s'affranchir quelque peu de la terrible autocensure du compositeur - re?servera de belles de?couvertes, et qu'il pre?tera ainsi son concours aux promesses de l'avenir. / Livre