SKU: FL.FX074315

A pleasant habanera to work for for a contest, an exam and a concert. From 4 years of instrument practice. - Jerome NAULAIS ; Instruments: 1 C Tuba 1 Piano; Difficuly Level: Grade 3; Duration: 2 mn 15; Musical Style: Classical, Educational; Category: Original Composition; Composer: Jerome NAULAIS.

SKU: FL.FX074307

A pleasant habanera to work for for a contest, an exam and a concert. From 3-4 years of instrument practice. - Jerome NAULAIS ; Instruments: 1 Flute 1 Piano; Difficuly Level: Grade 2; Duration: 2 mn 15; Musical Style: Classical, Educational; Category: Original Composition; Composer: Jerome NAULAIS.

SKU: FL.FX074408

Instruments:Cello Quartet: 4 Cellos; Difficuly Level: Grade 2; Duration: 0 mn 35 s; Musical Style: Classical; Category: Arrangement; Composer: Franz LISZT; Arranger: Eric VIRETON.

SKU: PR.14440265S

UPC: 680160027910.

The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed. Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler. An annunicatory 'leaping motive' (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force. A five-note motive, usually very deliberate, also keeps recurring like an insistent caller. All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic 'grammar' spoken tends to recall the jazz world of my youth. To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms. The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda. The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like 'call-and-response.' It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani. The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto. All three movements make much use of canonic stretti, similar gestures, and repetition. For example, the climax of movement III's Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.
The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed.  Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler.An annunicatory ‘leaping motive’ (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force.  A five-note motive, usually very deliberate, also keeps recurring like an insistent caller.  All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic ‘grammar’ spoken tends to recall the jazz world of my youth.To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms.  The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda.  The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like ‘call-and-response.’  It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani.  The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto.All three movements make much use of canonic stretti, similar gestures, and repetition.  For example, the climax of movement III’s Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.

SKU: FL.FX073801

Small suite in a classical style for a young instrumentalist solo - Pascal PROUST ;

A piece to be played from 4 years of instrument practice ; Instruments: 1 Solo Alto Saxophone; Difficuly Level: Grade 3.

SKU: HL.14002489

Yung-Yang is a song for medium Voice with Piano accompaniment. It is based on a ninth century Chinese text, which was translated into English in 1916 by Launcelot Cranmer-Byng, and set to music in 1919.

Sir Granville Bantock (1868-1946) was a British composer, conductor and educator. He channelled his energetic and creative personality into many musical projects, championing the works of Jean Sibelius, founding the City of Birmingham Symphony Orchestra, and composing many splendid classical pieces. Viewed by his contemporaries as out-of-date, his music is now being appreciated as one of the last great contributions from theEnglish Romantic movement.

SKU: HL.49046422

ISBN 9781540090669. UPC: 840126916454.

Beethovens Birthday Boogie is a tribute to one of the greatest composers in musical history: in 2020 the music world will mark the 250th anniversary of his birth. This piano piece works in several Beethoven themes from the Fifth and Ninth Symphonies, presented inthe guise of a Boogie. It begins with what may be the most famous four-note motif in classical music, the musical symbol representing Beethoven. This is immediately followed by the theme from the Ode to Joy, this time in ternary rhythm, accompanied by aplayful Boogie-Woogie figure; another musical quotation is then followed by a brilliant cadenza. An imperfect cadence ending on the dominant leads into a solemn version of the familiar Happy Birthday tune in the style of Beethoven, then the piece ends with two characteristic jazz chords.