20 morceaux récréatifs extraits de la Méthode Rose et arrangés par Alfred Herzog pour diverses formations hétérogènes constituent ce recueil qui fait entrevoir aux jeunes musiciens du premier cycle quelques réalités de la pratique collective.

Le piano est toujours présent, entouré de la flûte, de la clarinette, du violon ou violoncelle et parfois d'une percussion, selon la nature de l'ensemble.

Une construction mélodique et rythmique stimulante de chaque partie favorise le travail individuel. A noter que le recueil ne contient pas de parties séparées afin que chaque instrumentiste puisse lire le texte musical dans sa globalité. / Classique / Partition CD /

Musique A Grande Vitesse (MGV ) translates as 'high speed music' and was commissioned by the Festival de Lille for the inauguration of the TGV North European Paris-Lille line in 1993.The piece runs continuously, but was conceived as an abstract, imaginary journey- or rather five inter-connected journeys, each ending with a slow, mainly stepwise melody which is only heard in its 'genuine' form when the piece reaches its destination.Thematic 'transformation' is a key to MGV as a whole. Throughout the piece ideas - rhythmic, melodic, harmonic, motivic, textural - constantly change their identity as they pass through different musical 'environments'.The opening bars establish both a recurrent rhythmic principle - 9, 11, or 13-beat rhythmic cycles heard against a regular 8 - and a harmonic process - chord sequences (mainly over C and E) which have the note E in common. (Coincidentally, MGV begins in C and ends in E). A later scalic, syncopated figure (again first heard over C, E and A) begins the second section, featuring Brass, in D flat.The topography of MGV should be experienced without reference to planning, description or timetables. The piece's tempo changes and unpredictable slowings down bear no logical relation to the high speed of the Paris-Lille journey, while the temptation to treat MGV as a concerto grosso, with the Michael Nyman band as the ripeno, was resisted: more suitably the band (amplified in live performance) lays down the tracks on which MGV runs. / Orchestre

Par KRAUS JOSEPH MARTIN. The first volume of the new scholarly edition contains the complete chamber music without a keyboard instrument. The most important group of works comprises the string quartets, 10 of which have survived. They were composed during the 1770s, whenHaydn was developing this class of music. The differing balance between such contrasting musical elements as entries in imitation, courtly melody, swift changes of tempo and unexpected modulations gives each of the quartets its special charm. Thefact that six of them were published in 1784 as Krauss 'Opus 1' by the publisher J. J. Hummel shows that the composer himself was convinced by his quartets. With the Flute quintet this volume alsocontains another key work in Kraus’s chamber music. Composed in Vienna about 1783 and also issued in manuscript copies, this work was printed by Ignaz Pleyel in Paris in 1799./ Répertoire / Ensemble de Chambre

Par MOZART WOLFGANG AMADEUS. Fine edition contains all eight Piano trios, the two Piano quartets and the Piano quintet, reprinted from the definitive Breitkopf and Hartel editions. All of these works display the melodic richness, inventiveness and inimitable grace that characterize Mozart's finest compositions. Indispensable for pianists and chamber musicians. Fine edition contains all eight Piano trios, the two Piano quartets and the Piano quintet, reprinted from the definitive Breitkopf and Hartel editions. All of these works display the melodic richness, inventiveness and inimitable grace that characterize Mozart's finest compositions. Indispensable for pianists and chamber musicians./ Répertoire / Musique de Chambre

Par GURLITT MANFRED. Langue: English(US)/Deutsch/Français/Nederlands / Musique contemporaine / Répertoire / Ensemble de Chambre

Par CONNESSON GUILLAUME. Arrangeur : Vlarko Nushev Ce Divertimento est un arrangement de mon Sextuor réalisé par Vlatko Nushev. Divertimento était d'ailleurs le titre que j'avais envisagé au départ, car l' œuvre fut écrite pour un concert de nouvel an au Châtelet à Paris en 1998, à la demande d'Éric Le Sage et Paul Meyer. C'est donc une partition placée sous le signe de la joie et de la bonne humeur avec une suspension mélancolique dans le mouvement lent. Le premier mouvement Dynamique est une série de variations qui multiplie les processus rythmiques hérités de la musique répétitive américaine. Le Nocturne central est une confidence douce et douloureuse chantée par la clarinette sur les tapis harmoniques des cordes et du piano. Enfin le Festif libère une joie fébrile autour de motifs parmi lesquels on trouve un clin d' œil à la Truite de Schubert. La partition s'achève sur un pied de nez cadentiel. Guillaume CONNESSON / Date parution : 2022-11-29/ Répertoire / Ensemble de Chambre