for Viola. Par . Les musiciens apprécieront cette fabuleuse collection de 101 chansons classiques apaisantes : Ave Maria, Op. 52, No. 6 - Bridge over Troubled Water - Come Away with Me - Desperado - Edelweiss - Faithfully - In Your Eyes - Misty - Nobody Does It Better - Yesterday - et plus encore. / Date parution : 2022-05-31/ Recueil / Alto

Les joueurs d'alto aimeront les 15 favoris folkloriques dans cette collection, à condition complète avec playback sur CD: A-Tisket A-Tasket - Bury Me Not on the Lone Prairie - (Oh, My Darling) Clementine - Frere Jacques (Are You Sleeping?) - The Galway Piper - Greensleeves - Home on the Range / Alto

An amazing selection from VH-1's 100 Greatest Songs Of Rock and Roll, arranged for solo Viola.Includes the songs: All Along the Watchtower, All Shook Up, American Pie, Beat It, Blowin' in the Wind, Blue Suede Shoes, Bohemian Rhapsody, Born to Be Wild, Born to Run, Bridge over Troubled Water, California Dreamin', Dream On, Every Breath You Take, Fire and Rain, Free Bird, Gloria, Good Vibrations, Great Balls of Fire, A Hard Day's Night, Hey Jude, Hotel California, (I Can't Get No) Satisfaction, I Heard It Through the Grapevine, Imagine, Jump, Layla, Let It Be, London Calling, Maggie May, My Generation, Piano Man, Proud Mary, Respect, Rock Around the Clock, Roxanne, Smells like Teen Spirit, Stairway to Heaven, Stand by Me, Sunshine of Your Love, Superstition, We Are the Champions, When Doves Cry, Yesterday, You Shook Me All Night Long and more. / Alto

for Viola. Instrumentalists will love this jam-packed collection of 101 timeless pop hits and favorite standards/ Recueil / Alto

For Flute, Clarinet In Bb, Harp, and String Quartet. Par LASH HANNAH. Form and Postlude is a piece in one continuous movement but with a distinct postlude which ends the work. I play throughout with the idea of pacing on many levels: the largest level is the idea of proportion of sections to one another, then harmonic rhythm (in the broad sense), then harmonic rhythm on a more local level, and of course then on the surface of the music there is instrumental texture and how fast the notes go by. Along with this sense of play in terms of the pacing and motion is the idea of color. I love this ensemble, and its palette of color has been part of my DNA, as it were, for many years, because Ravel’s wonderful work Introduction et Allegro is such a cornerstone in the harpist’s repertoire. While composing, I found myself feeling that I was entering into this colorful world that is possible with this combination of instruments, almost as if it were possible to step into a painter’s palette in a real and visceral way, physically interacting with all the different colors. The title Form and Postlude nods to Ravel’s Introduction et Allegro, although my piece lives in its own very distinct space apart from Ravel. – Hannah Lash/ Répertoire / Flûte Traversière, Clarinette, Harpe et Quatuor à

Born in South Africa, but now an Irish citizen, Kevin Volans' musical idiom has been shaped by an unusually diverse range of experiences, including studies with Stockhausen in Cologne, field trips to South Africa to study traditional music, his own involvement with the New Simplicity movement, his collection of contemporary art and African textiles, friendships with composers like Morton Feldman and Gerald Barry, as well as a love of virtuoso piano music which he performs, broadcasts and records. While having an easily recognised, unique voice, Volans' music resists compartmentalisation. He is as comfortable working in conventional genres as embarking on innovative collaborations with artists of other disciplines.String Quartet #1 (White Man Sleeps) was written for the Kronos Quartet and was first performed by them in July 1986, London.The title 'White Man Sleeps' comes from a moment in nyanga Panpipe music where the performers leave off playing their loud pipes for a few cycles and dance only to the sound of their ankle rattles, to let the white landowner sleep - for a minute or two.'In composing this piece I drew from the following sources: the first movement owes something to the style of Basotho concertina music - the second and fourth movements are drawn from traditional Nyungwe music played by Makina Chirenje and his Nyanga panpipe group at Nsava, Tete, Mozambique, recorded and transcribed by Andrew Tracey (to be found in an article entitled 'The nyanga Panpipe dance' in African Music, Vol.5, #1 (1971) - the third movement derives from the San bow music (recorded by Tony Traill of the University of Witwatersrand) and from Basotho lesiba music, transcribed by myself - in the fifth movement I added my own invented folklore. My approach to the original music was anything but purist - it is played in Western tuning, filtered, slowed down by a few 'time-octaves?, cast into non-African metres (like the 13-beat pattern of the first dance) and redistributed between the players in several ways. I also used interlocking techniques where they were absent in the original models and vice versa' - Kevin VolansDuration 24 minutes. Parts available: CH61205. / Quatuor A Cordes (Conducteur)

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 BARGIELSKI ZBIGNIEW . After the first performance of my Fourth Quartet, in Salzburg in 1997, the artists of the excellent Hugo Wolf Quartett approached me with the appealing proposition that I write a new quartet. Rather problematic, however, proved to be the musicians’ delicate suggestion that I invest the work with elements of a more pungent expression and elements of folklore – ideally Polish. That suggestion meant that I did not immediately come to a decision, since folklore had not been (with the exception of a few works for accordion) the object of my interest. However, in defiance of my aesthetic outlook at that time, I decided to take up this interesting invitation and tackle what was for me a difficult problem. Ultimately, I found a way out of this rather ambiguous situation by employing a sort of dodge: I gave the new work a title. In a way, ‘The time that has passed’ substantiates the current to which I referred while writing this composition. The title and the subtitles of the work’s movements, which sound quite exotic in our day and age (there are as many as nine movements), justify the curious marriage between the somewhat nostalgic past and a present that has not yet been particularly well ‘assimilated’. I hope that these feuilles d’album will discharge their ‘toning’ function well. - Zbigniew Bargielski/ Répertoire / Quatuor à Cordes

Par IGUDESMAN ALEKSEY. “This flute quartet is filled with pictures out of my own mind. The idea is to walk through a fictional gallery that exists exclusively in my head. The pictures one sees are moods, feelings and the inner secrets of a person. After one round, one returns to the beginning of the inner gallery and starts walking faster. The musical material repeats in a more compact way, where smaller fragments are seen or “felt”. The next round is even faster and so on, culminating in a frantic run through the imaginary gallery. The work culminates in a slow pensive reflective section, a type of emotional exhaustion, followed by a last furious sprint towards the end of the confusing and contradicting pictures in the gallery of my mind.” Aleksey Igudesman – 2017/ Recueil / Flûte Traversière, Violon, Alto et Violoncelle ou

Par MUSTONEN OLLI. The first movement of my Piano Quintet is filled with drama and passion. Its atmosphere can be related to my Second Symphony Johannes Angelos. The second movement is a set of polyphonic variations in a form reminiscent of a passacaglia. The music seems to be hypnotized by a theme consisting of a chromatic cluster of ten notes. In the beginning of the last movement, materials from the previous movements start to reappear, but this time in a mysterious, incoherent way. The strings find new music resembling a fragmented hymn. Fast-moving triplets start to appear and the music reaches a joyful and ecstatic conclusion. Olli Mustonen / Niveau : 5 / Répertoire / 2 Violons, Alto, Violoncelle et Piano

Les musiciens vont adorer cette énorme collection de classiques du jazz, notamment : All of Me - Autumn Leaves - Bewitched - Blue Skies - Body and Soul - Cheek to Cheek - Come Rain or Come Shine - Don't Get Around Much Anymore - A Fine Romance - Here's to Life - I Could Write a Book - In the Wee Small Hours of the Morning - It Could Happen to You - The Lady Is a Tramp - Like Someone in Love - Lullaby of Birdland - Manhattan - Misty - My One and Only Love - The Nearness of You - On Green Dolphin Street - Satin Doll - Stella by Starlight - Tangerine - Unforgettable - The Way You Look Tonight - Yesterdays - et bien d'autres. / Alto / Hal Leonard

Par VASKS PETERIS. This work of ca. 12 minutes' duration was composed at the suggestion of the cellist Sol Gabetta in remembrance of the great mystic St. Teresa of Avila. Premiered in 2014, it will surely find its way into the duo literature./ Répertoire / Violon et Violoncelle

12 solos arrangés pour alto. Ce songbook rassemble les partitions des bandes originales de Shrek et Shrek 2 un CD audio pour vous accompagnez. / Here's a very special chance to add the wonderful / Recueil / Alto et Piano