Nouvelle collection play-along disponible ! 15 tubes presentes avec une demo professionnelle et des pistes d'accompagnement pour que vous puissiez jouer et sonner comme un pro ! Titres inclus : Evermore - Into the Unknown - It's All Right - Remember Me (Ernesto de la Cruz) - Speechless - Try Everything - You're Welcome - et bien d'autres. L'acces aux fichiers audio se fait en ligne a l'aide du code qui se trouve a l'interieur du recueil et peut tre ecoute ou telecharge. Les fichiers audio comprennent un PLAYBACK , un lecteur audio multifonctionnel qui vous permet de ralentir l'audio, de definir des boucles, de changer de tonalite et de faire un panoramique a gauche ou a droite.
1. It's All Right
2. Speechless
3. Never Too Late
4. Touch The Sky
5. Lava
6. Try Everything
7. How Far I'll Go
8. You're Welcome
9. Evermore
10. How Does a Moment Last Forever
11. Remember Me (Ernesto de la Cruz)
12. The Place Where Lost Things Go
13. The Ballad Of The Lonesome Cowboy
14. Into the Unknown
15. Lead The Way
/ Partitions variété - pop - rock / Musique films - comédies musicales / / HAL LEONARD

A modern sequel to the music of the Romantic era. The first movement hints at the chromatic of 'Tristan?- cantilena lines convey a mournful scene. It is succeeded by a brilliant scherzo with the cryptic title 'Erste fremde Szene? (First Foreign/Unknown Scene - one is invited to solve this riddle), while the third movement, with its singing quality, is related to the first. The final movement, a 'Zweite fremde Szene? ('Second Foreign/Unknown Scene?), alludes to the 'last dance? tradition, with its ironic undertones and the copious use of sixths, counterpointed with tarantella rhythms. A rewarding, striking work, equally valuable for concerts combining older compositions with new works as for contemporary music programmes. / Quatuor A Cordes

Ysaÿe’s Cello Sonata unlike its companion piece for Violin solo has remained relatively unknown. All the same it merits special attention as it was written at the same time as the Violin Sonatas andhas the same superior qualities of musicianship. Our edition draws on a previously disregarded autograph manuscript from a private collection that provides interesting insights not found in the original print. To accompany thepublication of Ysaÿe’s violin sonatas which Henle has also issued in 2004 we are now offering the Cello Sonata in an urtext edition prepared by Christian Bellisario with detailed editorial comments. Abrilliant addition to the repertoire for unaccompanied String instruments.

C-Dur. Par MOZART WOLFGANG AMADEUS. Mozart’s 'Adagio in C major' for English horn, 2 violins and violoncello KV 580a has survived as a fragment but based on a comparison of analogous passages the editor, Helmut Renz, was able to complete the movement. In the Carus edition an arrangement by an unknown author from before 1900 for oboe and string quartet has also been included. The arrangement is written in G major, which is more playable on the oboe./ Répertoire / Cor Anglais, 2 Violons et Violoncelle (Arr. Hautbo

Performance Score and Parts-This scholarly-critical edition is based on all the known sources whether printed or handwritten that have come down to us for these frequently played pieces. By closely scrutinizing the source material the editor has arrived at interesting findings that considerably differ from earlier editions of these works. Rather than taking as her principal source Le Clerc’s 1740 print of Sonatas I to VI – an edition probably made without the composer’s consent – the editor has examined the Naples and Wiesentheid manuscripts prepared under Vivaldi’s direct supervision. The editor has also managed to identify a previously unknown source forSonata RV 44. All departures from the sources in the printed text and all editorial additions are listed in the critical report. Cellists are thus given ready access to every alternative reading including deleted bars and the many inevitable variants in articulation. A detailed preface provides essential information on sources and their assessment with a section on performance practice offering valuable suggestions on interpretation. All of Antonio Vivaldi's works for violoncello and continuo in a single edition Scholarly-critical edition for performance purposes Detailed preface on sources and performance practice (German/English) With new findings that considerably differ from earlier editions 'This edition is invaluable for all performers of the Sonatas .' (Ensemble January 2004) 'This is certainly the definitive edition of these works.'(Strings August/September 2003)

b minor-Like every other great 19th-century solo concerto Dvorák?s famous Cello Concerto was a collaboration between composer and virtuoso. It has long been known that certain solo passages in Dvorák?s autograph score were actually written by the cellist Hanu? Wihan; but Bärenreiter?s edition now reveals that some details in the Orchestral parts are also in his writing showing just how closely the two musicians were working together.The editor Jonathan Del Mar has painstakingly examined all the surviving sources including two that have hitherto been either ignored or crucially undervalued in order to produce anauthoritative edition which restores for the first time since the original edition was published in 1896 - Dvorák?s final and definitive version of the solo Cello part. This differs in details in almost every bar from the version found in all other modern editions while hundreds of corrections have also been made to the Orchestral parts.- With Dvorák?s final and definitive version of the solo Cello part.- With hundreds of corrections in the solo Cello part as well as the Orchestral parts.- With hitherto unknown details regarding the collaboration between Dvorák and Wihan.- With Dvorák?s original Piano reduction.- With Feuermann's and Casals' alternatives to a passage in the first movement.- Full score performance material (BA9045) Cello & Piano (BA9045-90) & Facsimile (BVK1849) available for sale.

Par BERNOTAS CHRIS. If there is one thing music educators are it is resilient! Resilience, by Chris M. Bernotas, is dedicated to all music educators in recognition of how they always adapt to the unknown and rise to every challenge. This overture is the perfect concert opener for your first-year string orchestra. Using only the notes in the key of D, and melodic parts for all, every student will shine. Violin 2 and Viola are doubled, as are Cello and String Bass, making it very flexible and perfect for any mix of instruments. Correlated to Sound Innovations, Book 2, Level 2. (1:40) / Date parution : 2022-10-12/ Répertoire / Orchestre à Cordes

Like every other great 19th-century solo concerto Dvorák?s famous Cello Concerto was a collaboration between composer and virtuoso. It has long been known that certain solo passages in Dvorák?s autograph score were actually written by the cellist Hanu? Wihan; but Bärenreiter?s edition now reveals that some details in the Orchestral parts are also in his writing showing just how closely the two musicians were working together.The editor Jonathan Del Mar has painstakingly examined all the surviving sources including two that have hitherto been either ignored or crucially undervalued in order to produce anauthoritative edition which restores for the first time since the original edition was published in 1896 - Dvorák?s final and definitive version of the solo Cello part. This differs in details in almost every bar from the version found in all other modern editions while hundreds of corrections have also been made to the Orchestral parts.- With Dvorák?s final and definitive version of the solo Cello part.- With hundreds of corrections in the solo Cello part as well as the Orchestral parts.- With hitherto unknown details regarding the collaboration between Dvorák and Wihan.- With Dvorák?s original Piano reduction.- With Feuermann's and Casals' alternatives to a passage in the first movement.- Full score performance material (BA9045) Cello & Piano (BA9045-90) & Facsimile (BVK1849) available for sale.

Salut d'amour op. 12 for Violoncello and Piano-Edward Elgar’s Salut D’Amour is one of those pieces by the British composer that has a particularly haunting melody. Composed in 1888 for his future wife Caroline Alice Roberts the work became anenormous success early on. There are numerous arrangements but the only versions for which the autograph manuscripts survive are those for Violin and Piano (HN 1188) Piano solo (HN 1190) and Violoncello and Piano.Up tonow there has only been an arrangement of the Cello part made by the original publisher presumably with Elgar’s approval. We are now for the very first time publishing the version following Elgar’s autographmanuscript which for unknown reasons had never been released. In addition we are publishing the trusted musical text from the first edition.

Fragments K. 442-Mozart often began work on a composition only to put it aside unfinished. Some of these fragments contain wonderful music as is proved by these three Piano trio fragments. Mozart composed them at different times as individual movements though the posthumous first edition brought them together as a supposedly new and unknown Piano trio by the composer and on this basis they were given the number ?442? in Köchel?s catalogue. The first edition used completions by Mozart?s friend Abbé Maximilian Stadler that were stylistically correct but possessed little originality. This Henle Urtext edition offers both these versions andnewly-composed highly rewarding completions by Robert D. Levin.

Besides two genuine Cello 'hits' from the pen of Felix Mendelssohn Bartholdy the 'Variations Op. 17' and the 'Song Without Words Op. 109' this urtext edition contains a little sensation: thepremière publication of a delightful and previously unknown original piece for Cello and Piano. Mendelssohn wrote it down in the album of his friend the distinguished cellist Julius Rietz in 1835 while at the pinnacleof his creative powers. All cellists will be happy to welcome this 'Album Leaf' into their repertoire.