SKU: FZ.50500

ISBN 9790049505000. 21.00 x 29.70 cm inches.

This facsimile of an original by Jacques Christophe Naudot is part of our French classical music collection. Oeuvre XI. Edition : L'Auteur, Boivin, Le Clerc, s. d. (= c. 1737). These were the first flute concertos to be published in France. A particular advantage of this fine music of Italian inspiration is that it requires only seven musicians. The solo flute has a true soloist part. The first violin part is also interesting. Presentation by Mi-Sung Kim and Emilie Stahl (CeFEdeM ile-de-France) : Vie et oeuvre de Naudot.
Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches.
Facsimile of a copy in the Nationale Library of Paris (France). Anne Fuzeau Classique propose period copies of classical music scores.

SKU: YM.GTP01098098

ISBN 9784636980981 . LiSA; Yuki Kajiura.

Includes three different arrangements of Homura, the theme song of Demon Slayer -Kimetsu no Yaiba- The Movie: Mugen Train, sung by the singer LiSA. The intermediate arrangement closely replicates the atmosphere of the original song, the easy arrangement is suitable for those who are not good at reading music, and the vocal and piano arrangement allows players to enjoy the song with piano accompaniment. Includes 8 bonus pages in color. Piano mini album series

1. Homura: Piano Solo - Intermediate
2. Homura: Piano Solo - Easy
3. Homura: Vocal and Piano - Intermediate.

SKU: PR.41641511L

UPC: 680160621293.

Commissioned by Kennesaw State University Symphony Orchestra in 2012, Chinese Rap for violin and orchestra is premiered by Prof. Helen Kim as the soloist and the KSUSO led by Prof. Michael Alexander at Bailey Center in KSU, GA on Feb. 17, 2014. The work is inspired by Chinese folk musical story telling, Quyi, in a form of mixed reciting and singing style, with interludes played by percussion and plucking instruments in accompaniment. The folk musical story telling is sung in dialects from different geographic regions. I mixed all these elements in a complex three-part form, with an introduction, a cadenza in the middle, and a coda as the frame in the structure. The melodies are delicate and leisurely, and the rhythmic parts are energetic, vivid and lively. There are big contrasts between sections, which are juxtaposed and connected smoothly and congenially.
Commissioned by Kennesaw State University Symphony Orchestra in 2012,Chinese Rap for violin and orchestra is premiered by Prof. Helen Kim as thesoloist and the KSUSO led by Prof. Michael Alexander at Bailey Center inKSU, GA on Feb. 17, 2014. The work is inspired by Chinese folk musical storytelling, Quyi, in a form of mixed reciting and singing style, with interludesplayed by percussion and plucking instruments in accompaniment. The folkmusical story telling is sung in dialects from different geographic regions. Imixed all these elements in a complex three-part form, with an introduction, a cadenza in the middle, and a coda as the frame in the structure. The melodies are delicate and leisurely, and the rhythmic parts are energetic, vivid and lively. There are big contrasts between sections, which are juxtaposed and connected smoothly and congenially.

SKU: PR.11641373L

UPC: 680160680337.

The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra.