Par LOEB DAVID. David Loeb's new collection Fantasias on Eurasian Melodies, for piccolo alone, gathers together his Balinese Fantasies, Tibetan Fantasias, and Preludes on Eurasian materials for a thorough tour through these interconnected musical languages. The Fantasias, distinct among Loeb's works, draw on native musical sources while building complex, intriguing music more akin to concert repertoire than native folk music. The Balinese Fantasies utilize several Balinese scale types, rarely combined in single native works. Here they are allowed to intermingle freely throughout the fantasies, and within the ornamentations and variations. The Tibetan Fantasias are evocations of images, tone poemsfor the solo piccolo player. Surprising complexity hides within the three works - the first a beautiful day on a highland plain, the second a moonlight night, and the third a Tibetan minstrel song painted with a particularly haunting brush. The Preludes draw from a huge variety of traditions, even occasionally crossing languages within single movements, though each movement still emphasizes a single mood. This collection contains the previous stand-alone books - catalog numbers P-04, P-09, and P-17. David Loeb's new collection Fantasias on Eurasian Melodies, for piccolo alone, gathers together his Balinese Fantasies, Tibetan Fantasias, and Preludes on Eurasian materials for a thorough tour through these interconnected musical languages. The Fantasias, distinct among Loeb's works, draw on native musical sources while building complex, intriguing music more akin to concert repertoire than native folk music. The Balinese Fantasies utilize several Balinese scale types, rarely combined in single native works. Here they are allowed to intermingle freely throughout the fantasies, and within the ornamentations and variations. The Tibetan Fantasias are evocations of images, tone poemsfor the solo piccolo player. Surprising complexity hides within the three works - the first a beautiful day on a highland plain, the second a moonlight night, and the third a Tibetan minstrel song painted with a particularly haunting brush. The Preludes draw from a huge variety of traditions, even occasionally crossing languages within single movements, though each movement still emphasizes a single mood. This collection contains the previous stand-alone books - catalog numbers P-04, P-09, and P-17./ Répertoire / Piccolo

Par LOEB DAVID. There are various traditions of performing on high pipes throughout the world. By thinking of the piccolo as the modern instrument repository for these traditions and this music, in the same sense that the piano is the modern instrument repository for all keyboard music, the piccolo's potential repertoire is vastly enlarged. It was with this definition of the piccolo in mind that David Loeb wrote these works, though the piccoloist need not copy all of the performance techniques of the original instruments. This new collection for piccolo alone explicitly emphasizes explorations of different Asian instruments. It combines both previous Studies on East Asian Pipes (P-02, P-05), the Lyric Pieces (P-22) - works originally for the shinobue, ryuteki, and shakuhachi, and Of Dreams and Promises (P-18), a deeper look at the shinobue's abilities and sound./ Répertoire / Piccolo

Par LOEB DAVID. David Loeb's Japanese Tone Poems for piccolo alone collects particularly evocative Japanese works from his ouevre - Nightcolors (P-15), Piccolo Perspectives (P-21), and Snowsounds (P-24), unique in their vivid portrayal of ancient mountainous forests, winter scenes, and ekphrastic musical descriptions of images inscribed on woodblocks and ceramics, a double-set of tone poems, perhaps. Despite the name, this collection also includes two works that use Dutch and Korean imagery, due to their tight integration and relation to Japanese sources and Japanese musical ideas.David Loeb's Japanese Tone Poems for piccolo alone collects particularly evocative Japanese works from his ouevre - Nightcolors (P-15), Piccolo Perspectives (P-21), and Snowsounds (P-24), unique in their vivid portrayal of ancient mountainous forests, winter scenes, and ekphrastic musical descriptions of images inscribed on woodblocks and ceramics, a double-set of tone poems, perhaps. Despite the name, this collection also includes two works that use Dutch and Korean imagery, due to their tight integration and relation to Japanese sources and Japanese musical ideas./ Répertoire / Piccolo

Etude, Méthode, Exercice, tout est bon pour apprendre et perfectionner son apprentissage musical. A travers, cette partition pour Piccolo vous pourrez découvrir l'oeuvre ayant pour titre TIPBOEK DWARSFLUIT EN PICCOLO qui a été éditée par la maison d'édition De Haske Publications. / Piccolo / Partition

Par LOEB DAVID. David Loeb presents the collection Japanese Landscapes and Legends for piccolo alone, an aggregation of previously stand-alone works - the Four Japanese Legends (P-12), Scenes from the Japanese Countryside (P-14), and the Preludes Vol. III (P-31). These works are almost entirely direct suggestions of stories and geographic locations from across Japan, though they also reach into the deep past of Chinese origins and the dispersal of musical ideas and oral tradition through Japan and Korea. The opening Four Legends are stories narrated by piccolo, the Eight Views and stand-alone vignettes are tone paintings of landscapes and moment of time - snowfall, bird migration, rain falling onrivers, and others. David Loeb presents the collection Japanese Landscapes and Legends for piccolo alone, an aggregation of previously stand-alone works - the Four Japanese Legends (P-12), Scenes from the Japanese Countryside (P-14), and the Preludes Vol. III (P-31). These works are almost entirely direct suggestions of stories and geographic locations from across Japan, though they also reach into the deep past of Chinese origins and the dispersal of musical ideas and oral tradition through Japan and Korea. The opening Four Legends are stories narrated by piccolo, the Eight Views and stand-alone vignettes are tone paintings of landscapes and moment of time - snowfall, bird migration, rain falling onrivers, and others./ Répertoire / Piccolo

Par LOEB DAVID. This collection of pieces by David Loeb, written for piccolo alone, derive from melodies of the Sephardic tradition, an oral tradition remarkably well preserved despite dispersion and fragmentation of the Spanish Jewish community more than five centuries ago. The melodies display a remarkably hybrid aspect, with elements of Jewish, Islamic, Central European and indigenous Spanish musical traditions present in varying extents, always blended with consummate skill and taste. Some melodies seem Medieval, with comparatively static harmonic implications, while the more chromatic and harmonically active melodies suggest a close affinity with the Renaissance. In five movements: Por qué llorax blanca niña, Morena ma llaman, Ya viene el cativo, Nani, nani, Una matica de ruda./ Répertoire / Piccolo