Instrumental Play-Along-15 solo arrangements of huge hits by the Lads from Liverpool are included in this collection perfect for budding instrumentalists. It features online access to audio demonstration tracks for download or streaming to help you hear how the song should sound. Songs include: All You Need Is Love Blackbird Day Tripper Eleanor Rigby Get Back Here There and Everywhere Hey Jude I Will Let It Be Lucy in the Sky with Diamonds Ob-La-Di Ob-La-Da Penny Lane Something Ticket to Ride Yesterday.

Le nouveau Robert Schumann Edition (RSA) est conçu comme une édition historico-critique des oeuvres recueillies. Ils seront soigneusement étudiés et préparés selon des techniques musicologiques et rédactionnelles actuelles et présentés dans leur intégralité. Brouillons, des croquis et des fragments, bref, tout ce qui est parvenu à nous comme étant authentiquement par Schumann et qui, dans la plupart des cas, a été délibérément préservé par lui, seront rassemblées, évalué quant à son importance et documentés dans une forme ou une autre, dans l'édition des oeuvres complètes.C'est le but de l'édition de reproduire des textes authentiques qui - après avoir corrigé copistes, copies et d'impression des erreurs et éradiquées ajouts et autres corruptions textuelles - aborderont aussi étroitement que possible l'intention des originaux.L'édition critique formeront la base du matériel de rendement précis pour le travail de Robert Schumann. / Quatuor A Cordes

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 KREISLER FRITZ. Apart from the collection of Classical Manuscripts composed by the violin virtuoso Fritz Kreisler (1875-1962) which he had passed off as transcriptions of settings of old masters, the violinist published original works early on as well. Kreisler himself liked to play them as encore pieces, thus sweetening many a concert with this 'musical confectionery'. Famous tunes are, for example, Liebesfreud, Liebesleid and Schön Rosmarin, his old Viennese dance tunes, in which Kreisler evoked the coffee-house atmosphere of his home town with beautiful melodies and mellifluous harmonies. Another wonderful example is his Marche miniature viennoise, with its humorous theme and a rather march-like middle section - and everywhere, Kreisler takes the audience by surprise with a little Viennese snide humour. Kreisler's original compositions are lovely miniatures, lively and catchy, even with a touch of melancholy - yet full of charm and elegance. Arranged for string trio, they are enjoyable to play and worth listening to and a valuable addition to the repertoire - ideal for sociable music-making or as pieces to end a 'serious' concert./ Répertoire / Trio à Cordes

a cura di Federico Maria Sardelli. Par VIVALDI ANTONIO. Among Vivaldi’s many flute and recorder concertos, two, both for transverse flute, were known until a few years ago only in incomplete form: RV 431 and 432. Both are written in the comfortable and expressive key of E minor, are transmitted inautograph manuscripts and lack their second movement (RV 432 also lacks its third movement). The seemingly enigmatic instruction “Grave sopra il libro” replacing the second movement has given rise to the most fanciful hypotheses. The discovery in Edinburgh, in 2010, of a concerto for transverse flute in D minor entitled “Il gran Mogol” suddenly shed light on the situation: this was an earlier version of RV 431, now complete with its middle movement, a “Larghetto” that is verypossibly identical with the one missing in RV 431. This “Gran Mogol”, which belonged to Robert Kerr, a Scottish nobleman and amateur flautist, was already known by name to scholars on account of its listing in an eighteenth-century catalogue as partof a set of Vivaldi concertos bearing geographical titles: more recently, there has come to light a letter written by Vivaldi three months before his death in which the composer describes this set in detail. It is very likely that RV 431 and RV 432belonged to this group of works, the last known collection of its kind in Vivaldi’s oeuvre. This critical edition places these closely related works side by side for the first time, placing them in their historical context and making them performable through its reconstruction of some lost parts. / Niveau : Intermédiaire / Date parution : 1905-07-09/ Répertoire / Flûte Traversière Cordes et Basse Continue

Instrumental Play-Along® Series-Solo arrangements for 9 Marc Shaiman songs from the 2018 movie are featured in this collection perfect for budding instrumentalists. It features online access to audio demonstration and backing tracks for download or streaming to help you hear how the song should sound and then to play-along and sound like a pro!

Original Manuscript Edition-Almost 100 years after the first publication of Debussy's Sonate Pour Flute Alto Et Harpe by Durand et Cie this seminal work in the chamber music literature has been meticulously compared contrasted and corrected against Debussy's handwritten and autographed 1915 manuscript. Using photographs provided by the National Library of France harpist Carl Swanson has documented and corrected nearly 300 discrepancies between the composer's intent and the Durand 1916 edition.The corrections made in this edition consist of musical indications being omitted misplaced or inverted; dynamic markings that are in the manuscriptbut not the printed version have been added wrong and misaligned notes have been corrected musical indications previously omitted in individual parts have been added and intended durations of dynamic and tempo changes have been corrected.Debussy was one of the first composers to make extensive use of musical indications and was extremely meticulous in his scores. To read a score of his with missing misplaced or wrong directions is a significant as reading a score with missing or incorrect notes. Now for the first time in history Debussy's Sonate Pour Flute Alto Et Harpe has been printed exactly as the composer intended.

String Quartet No.2 was composed by Hans Abrahamsen in 1981. Programme note: Hans Abrahamsens's second string quartet was commissioned by the Lerchenborg music-week of 1981 during which it was first performed by the Gaudeamus Quartet. In Hans Abrahamsen's second quartet it is the continuous alternation of soberness and drama that first catches the listner's ears: the lyrical/gestural tradition as we know it from Arnold Schoenberg and Alban Berg pitched - not against - but around the 'sober barbarism' which is characteristic of rhytmic neo-classicism. Both the first and the last movement of th is quartet are emotional at manylevels: sad - and still seething with life and always unpredictable in their development it is night twilight and white-hot light. Sparkling diamonds set off by scarlett velvet. The two middle movements link the contrasts without cushioning: the second movement a gruelling stripped rhythmical drill followed by a hushed far-off dance in triple meter which shifts and hesitates all the time though. There is an ambience of the classics glimpsed through many veils. The second quartet is music which is fraught with danger in its ambiguous relation to tradition: the past emerges as a most relevant and living ghost. The Beauty and the Beast as musical drama.

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 tostudy 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 virtuosopiano 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 oninnovative collaborations with artists of other disciplines. String Quartet No.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 whitelandowner 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 drawnfrom 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 AfricanMusic Vol.5 No.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 owninvented 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

At last the excitement of traditional folk fiddling can be experienced by your entire string orchestra! Written by two renowned educators, this fun and motivating collection of 16 cross-cultural fiddle tunes is presented in a unique format that makes it perfect for players of any level or age. Each tune includes a solo version, followed by a 3-part 'arrangement' for group performance. Chord symbols, for improvisation of additional instruments (guitar, mandolin, etc.) are also included. / Alto

from the Old Viennese dance tunes-Apart from the collection of 'Classical Manuscripts' composed by Fritz Kreisler (1875-1962) and passed off by him as transcriptions of movements by old masters the violonist published original works very early. Kreisler himself liked to play them as encore pieces sweetening many a concert with such pieces of 'musical confectionary'. The most famous miniatures are undoubtedly 'Love's Joy' and 'Love's Sorrow' two 'old Viennese dance-tunes' in which Kreisler evoked the coffee-house atmosphere of his home town with wonderful melodies and beguiling harmonies. The miniatures are endearing lively and catchy yet with an elegiac air but full of charm and elegance. Thesemagnificent salon pieces are now available in an arrangement for string trio by Wolfgang Birtel.

Holmboe's last quartet work which is unoffi­cially also String Quartet No. 21 was the last work he ever composed and was unfinished on his death in 1996. His pupil Per Nørgård has finished the quartet and himself characterizes his contribution by saying that the score existed “in an only partly completed form which could however be written out with only a few cases of doubt”. With only two movements and a play­ing time of about nine minutes it is at its exist­ing length the shortest of Holmboe's string quar­tets. The first movement takes the form of one long arch in a rocking triple time which constantly shiftsamong different tempo and pulse sensations. At the same time the rhythmic en­ergy increases until the movement in a faster Con moto tempo accelerates to a more flowing 12/8 time coloured both rhythmically by cross-­rhythms in duple time and timbrally by harmon­ics in the viola. In its middle section Con fuoco the movement culminates in both tempo and expression until it falls calm in brief recapitula­tions in reverse order of the first two sections. The rocking feeling continues in the second movement but now at a more extroverted level from the outset Allegro and pizzicato. The en­ergy builds up further as the mood intensifies to Con fuoco while all instruments go over to bowed playing but like the first movement this movement ends Adagio here however not as a gradual attenuation but through a sudden shift in tempo to a calm imitative passage before the movement slowly thins out to the almost inaudible through a last dense open sounding chord with a brief violin solo above it. The quartet is dedicated to Holmboe's wife MeLa May Holmboe and was given its first performance by the Kontra Quartet on 22nd March 1997 at the Carl Nielsen Academy of Music in Odense Denmark.

Instrumental Accompaniment-In this suite - inspired by a trip to Switzerland - each song is a postcard capturing lush romantic moments in full. The songs are dedicated to Jerusalem born Hila Plitmann - poet of the beautiful text and the composer's wife. The suite is scored for SATB chorus with either string quartet accompaniment or piano and violin.

Chamber Music Excerpts For Practice-Naughty bits – those tricky passages in chamber music that appear out of nowhere and which can trip you up when it was all going so well even for the violist! The 'naughty bit' might be a passage in a high position possibly in the treble clef a tricky rhythm some awkward and unexpected accidentals or a run of fast notes. But wouldn't life be better if you had had a chance to practise those passages in advance? So here's the solution: a volume of those awkward Viola passages from Beethoven and Mozart String Quartets for you to practise so that you can play them already prepared for those 'naughty bits'. SJ Music also publishes NaughtyBits for cellists from Beethoven's quartets (U1990-2) Haydn quartets (U1989-4) and from quintets sextets and octets from the classical repertoire (U1992-8) and for 2nd violinists from Beethoven quartets (one volume: U1991-2)