Par PINTSCHER MATTHIAS. / Répertoire / Accordéon, Violon I, Violon II, Viole et Violoncel

Feuersnot - Salome. Par STRAUSS RICHARD. Feuersnot - Salome/ Répertoire / Hautbois I/II, Cor Anglais I/II, Heckelphone

Guntram - Elektra. Par STRAUSS RICHARD. Guntram - Elektra/ Répertoire / Hautbois I/II, Cor Anglais I/II, Heckelphone

I-Iii Bk 1. Par ROSETTI FRANZ ANTON (ROSLER). / Répertoire / Violon I, Violon II, Alto et Violoncelle

Frank Sinatra, chanteur et acteur de l'Academy Award-winning, signé avec Capitol Records dans les années 1950 et a sorti plusieurs albums acclamé par la critique (In the Wee petites heures, Songs For Swingin ' Lovers, Come Fly With Me, seuls le Lonely et Nice 'n' Easy). Plus tard, il quitte Capitol pour créer son propre label, Reprise Records, fait des tournées internationales et fraternisait avec le ' Rat Pack ' et le président John f. Kennedy. En 1965, Sinatra enregistré la rétrospective septembre de mes années et a marqué des hits avec des inconnus dans la nuit et My Way. Arrangement de Mark Freeh rassemble trois chansons classiques dans une suite pour instruments solo et bande : I've Got vous Under My Skin (flugel solo), All The Way (solo de trombone) et New York, New York (solo de cornet ou euphonium). / Brass Band

für Solo-Holzblasinstrument und Streicher / Einzelstimme. Par REICHE JOHANNES. / Répertoire / Violon I, Violon II, Alto, Violoncelle et Contreba

Par ZEHM FRIEDRICH. Satire Für Einen Dirigenten Und 10 Bläser/ Répertoire / Flûte Traversière I (Aussi Alarm Sifflet), Flûte T

Par RIXNER JOSEF. Aus Der Suite 'Frohes Wochenend' / Date parution : 1976-06-30/ Répertoire / Mandoline et Orchestre (Mandoline I, II, III, Mand

Iv-Vi Bk 2. Par ROSETTI FRANZ ANTON (ROSLER). / Répertoire / Violon I, Violon II, Alto et Violoncelle

Instrumentalausgabe. Par ROEDER. Weihnachtslieder In Leichten Dreistimmigen Sätzen (1978)/ Répertoire / Cordes (Violon I, Viole (Violon II) et Violoncelle

Par RIXNER JOSEF. Aus Der Suite 'Frohes Wochenend' / Date parution : 1976-06-30/ Répertoire / Mandoline et Orchestre (Mandoline I, II, III, Mand

Par COHEN JONATHAN. Cohen's compositions for flute ensembles, ranging from duets through large choirs, are well known and frequently performed. Less familiar than his flute chamber music is a treasure chest of gems for mixed wind trio, mostly written for the Fortunata Trio. Playdates, Book I introduces three of these short, charming works: Stalking the Wild Catnip Mouse, I'm Skipping, Even If Everyone Is Watching, and But I Always Have This Much Sugar for Breakfast! Cohen's compositions for flute ensembles, ranging from duets through large choirs, are well known and frequently performed. Less familiar than his flute chamber music is a treasure chest of gems for mixed wind trio, mostly written for the Fortunata Trio. Playdates, Book I introduces three of these short, charming works: Stalking the Wild Catnip Mouse, I'm Skipping, Even If Everyone Is Watching, and But I Always Have This Much Sugar for Breakfast!/ Répertoire / Flûte Traversière, Clarinette en Sib et Basson

For Flute, Clarinet In Bb, and Piano. Par JALBERT PIERRE. Triple Set was commissioned by the Flute/Clarinet Duos Consortium, an organization of 17 groups which will give the premiere performances of the work. I’ve always been fascinated by the flute and clarinet, and when I was approached by my colleagues at Rice (Leone Buyse and Michael Webster) to write a piece for flute, clarinet and piano (I’m a pianist myself), for the Flute/Clarinet Duos Consortium, I was happy to oblige. Both of my sons also play the clarinet, so many of these sounds are around me all the time. The piece is in three contrasting movements. The first movement, Driving, marked “With great energy”, is rhythmically propelled forward by the piano’s muted strings and the flute and clarinet playing at first in rhythmic unison, then each taking a turn at solos while the other participates in the accompanimental syncopations. The second movement, Still, is marked “Timeless” and slowly unfolds its melodic and harmonic ideas. The third movement, Relentless, is a kind of 6/8 scherzo, which vigorously and relentlessly propels itself forward to the end, with just two minor interruptions of quasi-cadenza like passages for flute and clarinet duo. - Pierre Jalbert/ Répertoire / Flûte Traversière, Clarinette et Piano

Par HAYDN JOSEPH. Only eleven of the over one hundred symphonies by Joseph Haydn are composed in a minor key. Written in the early 1770s, the Symphony Hob.I:52 in C minor bears some similarities to the slightly earlier Symphony in E minor Hob.I:44 (?Mourning?, BA 10988), not only because they both are composed in a minor key but also because they both feature a pair of horns tuned at different pitches. Haydn seems to have experimented with differently tuned horns inspired by an article in Johann Adam Hiller?s journal ?Musikalische Nachrichten und Anmerkungen? of July 1770, which suggested to tune the horns a minor third apart in order to expand the total horn range. While Haydn followed this recommendation just like that in the E-minor symphony, he chose to have the horns tuned a major sixth apart (high C and E-flat) in the outer movements of the C-minor symphony Hob. I:52, resulting in an unusual horn sound within the orchestral texture. In continuation of the collaboration between Bärenreiter and G. Henle Verlag, this edition is based on the Urtext of the Complete Edition ?Joseph Haydn Works? published by G. Henle Verlag. - Urtext of the Complete Edition ?Joseph Haydn Works? published by G. Henle Verlag - Orchestral parts in a large format (25.5 cm x 32.5 cm) / Date parution : 2022-11-08/ Répertoire / Orchestre

Par HENZE HANS WERNER. The making of El Cimarrón began in about 1986, with a conversation I had with Hans Magnus Enzensberger about the difficulties of writing political songs today that would go beyond the achievements of Eisler, Weill and Dessau in this field. It seemed to me that I might try to tackle the problem by writing a cycle with a variety of musical materials out of which perhaps something novel might emerge in a new and different context, almost by chance. Enzensberger told me of the recent publication of a biography by Estéban Montejo, an old Afrocuban who lived in Havana and who recalled his adolescence as a slave, and suggested that I should set episodes from this book that he, Enzensberger, would select for my experimentation. El Cimarrón, however, did not turn into a cycle of songs and was, indeed, not even intended as such - what came out of the work is a new form of theatrical music making. Singer, flautist and guitarist are occasionally required to play percussion instruments. - Hans Werner Henze/ Répertoire / Baryton, Flûte, Guitare et Percussion