SKU: ST.K49

ISBN 9790220224461.

All eighteen pieces in this collection are reliably dated to the reign of James I, and whether by named composers or anonymous ones, appear in sources other than the notable virginal books preserved in the Fitzwilliam Museum, Cambridge. The contents demonstrate the variety of forms in the keyboard repertoire of this period, from plainsong-based compositions to dances by Orlando Gibbons. The 'Pretty ways for young beginners to look on', possibly by Thomas Tomkins, are a fascinating example of music contemporary to the time, written with the didactic purpose of instructing musicians in the techniques of counterpoint.

CONTENTS
Prelude in d: Edward Gibbons
Gaudent in caelis: Anon.
Miserere: Anon.
Upon a plainsong: Attrib. Orlando Gibbons
Verse in G: Anon.
Fantasia in a: John (or Thomas) Holmes
Fantasia in G: Attrib. Orlando Gibbons
Fantasia in G: Anon.
Pavan in e: Anon.
Galliard in C: Anon.
Galliard in F: Anon.
Fortune my foe: Anon.
Alman in F: Thomas Tomkins
Ballet in G: James Harding, arr. Anon.
Coranto in C: Anon.
Jig in G: Anon.
Tomboy: Anon.
Pretty ways for young beginners to look on: Anon. (Thomas Tomkins?).

SKU: TM.02768XSC

Tenor solo (Arr. for Pavarotti) Key of Bb Attributed to Donizetti. Score in set.

SKU: HL.49014460

ISBN 9790220129674. English.

SKU: BT.DHP-1135481-020

9x12 inches. English-German-French-Dutch.

This work is based on the 13th Century Dies irae (Day of Wrath) attributed to Thomas von Celano. Many famous composers have already employed this originally Gregorian chant in their works, including Berlioz, Saint-Saëns, Mahler and Lizst. In Jan de Haan’s Song of David - the title of which is taken from the third line of the Dies Irae text - the theme is presented in unison initially and then reappears in various guises.

Dit werk is gebaseerd op het 13e eeuwse Gregoriaanse Dies Irae zoals we dit ook kennen uit werken van Berlioz, Saint-Saëns, Mahler en Liszt. Voor de titel van dit werk waarin hij het thema verschillende gedaantes meegeeft, haalde Jan de Haan zijn inspiratie in de derde zin van het Dies Irae, waarin verwezen wordt naar David.

Dieses Werk basiert auf dem Dies Irae (Tag des Zorns) aus dem 13. Jahrhundert, das Thomas von Celano zugeschrieben wird. Bereits mehrere berühmte Komponisten, wie Berlioz, Saint-Saëns, Mahler und Liszt, haben den ursprünglichen gregorianischen Choral in ihren Werken verwendet. In Jan de Haan Song of David, dessen Titel auf die dritte Textzeile von Dies Irae verweist, wird das Thema zunächst einstimmig präsentiert und erscheint dann in verschiedenen Gewändern.

Cette œuvre s’inspire du Dies Irae attribué Tomaso da Celano, que l’on considère comme l’auteur de la version définitive de ce poème écrit au XIIIe siècle. Plusieurs compositeurs célèbres tels que Berlioz, Saint-Saëns, Mahler et Liszt, ont intégré des passages de chant grégorien dans leurs œuvres. Dans sa composition Song of David, dont le titre fait référence la troisième ligne du texte original, Jan de Haan présente un thème l’unisson qui sera repris ensuite dans différentes couleurs orchestrales.

Questo brano si ispira a Dies Irae attribuito a Tommaso da Celano, considerato l’autore della versione de_x001E_finitiva di questo poema scritto nel XIII secolo. Numerosi celebri compositori quali Berlioz, Saint-Saëns, Mahler e Liszt hanno integrato passaggi di questo canto gregoriano nelle loro opere. In Song Of David (il titolo fa riferimento alla terza strofa del testo originale), Jan de Haan presenta un tema all’unisono ripreso in seguito con diverse dinamiche.

SKU: CF.CM9734

ISBN 9781491161142. UPC: 680160919734. Key: A minor. English. Basque Carol.

A Basque Carol (also known as Gabriel's Message) holds a special place in Western music. The carol originates from Basque country around the 13th century, based on the Latin hymn, Angelus ad Virginem (likely of Franciscan origin). The tune quickly spread throughout Europe, finding popularity in Britain where it was even referenced in Chaucer's Canterbury Tales: Playing so sweetly that the chamber rang; / and Angelus ad virginem he sang. . .. Interestingly, the melody we know and love today is derived from the original Basque version. In my view, this tune is a perfect example of melody-crafting. It is at once hauntingly beautiful, yet warm and joyous. Its contours are complex, dramatic, yet singable. I believe this melodic accessibility is the key to the song's lasting popularity. I would also attribute A Basque Carol's continued popularity to its elegant translation into English (by Sabine Baring-Gould, who rediscovered the original Basque tune). Translations often risk sounding unimaginative, coarse, and blunt. This translation is strikingly different. It was graced with an especially poetic translation including lines such as his wings as drifted snow, his eyes as flame. I am very excited to offer a new perspective on this classic carol, joining the tradition of composers preserving and reimagining a priceless medieval melody. My first goal was to create a flowing, richly-textured, even cinematic string accompaniment for the choir. This approach was very much inspired by the dense, string-writing style of English composer Ralph Vaughan Williams. My second goal was to make the arrangement flexible enough to be performed with only choir, only strings, or (best of all) both ensembles combined. To further complement this approach, I've added an obligato line for a solo recorder (solo flute or violin work just as well). If you listen carefully, you will hear a quote from my other favorite holiday carol, Jesu Bambino. I hope you enjoy performing A Basque Carol. I especially hope that you sense the ancient magic cast into this tune, hearing the ineffable qualities that have compelled us to sustain it for nearly a millennium. Whether you're a choir, a string orchestra, or a combined ensemble, this arrangement of A Basque Carol will surely be a haunting and lovely addition to your next holiday program!.
A Basque Carol (also known as Gabriel’s Message) holds a special place in Western music. The carol originates from Basque country around the 13th century, based on the Latin hymn, Angelus ad Virginem (likely of Franciscan origin). The tune quickly spread throughout Europe, finding popularity in Britain where it was even referenced in Chaucer’s Canterbury Tales:  “Playing so sweetly that the chamber rang; / and Angelus ad virginem he sang. . .”.Interestingly, the melody we know and love today is derived from the original Basque version. In my view, this tune is a perfect example of melody-crafting. It is at once hauntingly beautiful, yet warm and joyous. Its contours are complex, dramatic, yet singable. I believe this melodic accessibility is the key to the song’s lasting popularity. I would also attribute A Basque Carol’s continued popularity to its elegant translation into English (by Sabine Baring-Gould, who rediscovered the original Basque tune). Translations often risk sounding unimaginative, coarse, and blunt. This translation is strikingly different. It was graced with an especially poetic translation including lines such as “his wings as drifted snow, his eyes as flame.”I am very excited to offer a new perspective on this classic carol, joining the tradition of composers preserving and reimagining a priceless medieval melody. My first goal was to create a flowing, richly-textured, even cinematic string accompaniment for the choir. This approach was very much inspired by the dense, string-writing style of English composer Ralph Vaughan Williams. My second goal was to make the arrangement flexible enough to be performed with only choir, only strings, or (best of all) both ensembles combined. To further complement this approach, I’ve added an obligato line for a solo recorder (solo flute or violin work just as well). If you listen carefully, you will hear a quote from my other favorite holiday carol, Jesu Bambino.I hope you enjoy performing A Basque Carol. I especially hope that you sense the ancient magic cast into this tune, hearing the ineffable qualities that have compelled us to sustain it for nearly a millennium. Whether you’re a choir, a string orchestra, or a combined ensemble, this arrangement of A Basque Carol will surely be a haunting and lovely addition to your next holiday program!

SKU: BU.EBR-A101

ISBN 9790560153797. 8.58 x 12.48 inches.

La collection ANACROUSE offre aux pianistes novices et confirmés un large choix d’œuvres classiques, allant de la Renaissance à l’époque moderne.

Proposer tout à la fois des « incontournables » du répertoire classique et des pièces de compositeurs parfois oubliés, toutes d’une valeur pédagogique indéniable, tels sont les objectifs que nous nous sommes fixés. Chaque pièce, vendue à l’unité, a fait l’objet d’un travail éditorial attentif, tant sur le plan de l’établissement du texte musical que de sa gravure, afin de garantir aux musiciens les conditions indispensables aux plaisirs tirés du commerce fréquent de ces œuvres.

Les partitions sont proposées sous la forme d’ouvrages traditionnels (feuillets papier), et disponibles également par téléchargement.



Les cancans, que l'on attribue souvent à Jacques Offenbach, ne sont en réalité que des détournements de ses compositions. Le cas le plus célèbre est celui du galop infernal (nom d'un pas de danse), issu de l’œuvre Orphée aux enfers (1858), que l'on se permet souvent de renommer French Cancan. Cette transformation est faite de manière abusive, car l’appellation de French Cancan n'existait pas à l’époque où Jacques Offenbach composait.
Le cancan est une danse populaire, inventée au début du XIXème siècle. Il était à la base exécutée en couple dans les bals et les cabarets, et faisait partie des danses très mal vues par les familles mondaines. Le nom Cancan, attribué semble t’il à l’origine parce que les danseurs imitaient la démarche et le cri de l’oie, est ensuite devenu, par une transformation touristique d'origine anglaise (coincoin / cancan) le French Cancan.
Cette danse donne l'image d'une société parisienne frivole, proche de celle décrite de façon caricaturale dans La vie parisienne. Les femmes sont vite seules à le danser, en rang, face au public, et les nombreux pas de pattes en l’air laissent souvent apparaître les dessous raffinés de l’époque…que le peintre Toulouse-Lautrec aura plaisir à illustrer.

SKU: BT.GOB-000801-020

Glitter and glamour, good-looking people, a lot of Bling Bling and fast cars images like these will cross our minds when we think of the movie world. However, reality proves to be different : as a rule, a tremendous amount of work will have been done on the set before a film is ready to be shown on the big screen.
A visit to an actual movie set inspired John Emerson Blackstone to write a composition bearing the same name. He had both seen a number of characteristic attributes and heard the typical phrases used in film making, and he incorporated them into ‘On the Movie Set’ .

In the first part, ‘The Clapboard’, a ‘director’s assistant’ is supposed to shout “Quieton the set’” and “Action!”, as is done before a real scene is shot. Subsequently, in order to create the right atmosphere, the clacking of a ‘Clapboard’ should be heard.
During a romantic scene we should be transported to another world by means of sweet sounds in the background, so romantic music is of course heard in the next part, ‘Love Scene’.
At the end of a long working day ‘It’s a wrap’ is called on the set to inform everyone that the filming on that day is completed.

Now there is only one more thing left to dream of : an Oscar.....

Perf. Note:
The use of the right props will add to the performance and appreciation of ‘On the Movie Set’. A red carpet and a glamorous reception should give your audience the feeling they are attending a real ‘opening night’!

‘Glamour’ en ‘Glitter’, mooie mensen, veel ‘bling bling’ en snelle auto’s. Zomaar een aantal zaken waar we aan denken als het om de filmwereld gaat. Maar voordat de film klaar is voor de bioscoop moet er doorgaans hard gewerkt wordentijdens het draaien op de filmset.
Een bezoekje op een filmset inspireerde John Emerson Blackstone tot het schrijven van ‘On the Movieset’. Hij zag een aantal zeer karakteristieke attributen en hoorde kreten die hij verwerktein deze compositie.

In het eerste deel: ‘The Clapboard’, is het de bedoeling dat de assistent van de regisseur ‘de bekende kreten’ (Quiet on the set of And Action!) roept, voordat er een take opgenomen wordt. Daarnamoet natuurlijk met een ‘Clapboard’ geklakt worden.
Bij een ‘Love Scene’ hoort uiteraard sfeerverhogende romantische muziek. Want zwijmelen bij een film gaat nu eenmaal niet zonder zoete klanken.
Aan het einde van eenlange dag klinkt altijd ‘It’s a wrap’. Dit betekent dat het laatste shot van de dag gemaakt is.

Nu maar hopen dat er een oscar in het verschiet ligt.

Perf. Note:
Het gebruik van de juiste rekwisieten zalde uitvoering en waardering van ‘On the Movieset’ ten goede komen. Een rode loper en een chique ontvangst zullen uw gasten een echt ‘premi?re’ gevoel geven.