Edition : Paris, l'Auteur, Bayard, Leclerc, s.d. (=1744)Pièces à deux instruments égaux, particulièrement deux flûtes seules, de différents auteurs, dont Blavet. Certaines pièces suivies de variations.Présentation par Jean SaintArroman : Utilisation pédagogique des pièces.Ces trois recueils de pièces à deux flûtes seules, offrent un panorama de la musique du milieu du XVIIIe siècle en France, avec l'ajout de quelques airs étrangers. Les pièces sont de difficultés variées. Les phrasés sont très bien indiqués, et l'agrémentation, détaillée dans l'introduction, est très représentative du classicisme français. / Musique De Chambre / 96 pages / niveau : 1 / Fac-Similés - Format: 23.5 X 31.5

The trio sonatas by Leclair are one of the bests in their genre. They can be placed on th esame level with Händel and Telemann. An opening overture follows a glorious round dance.

Par OKPEBHOLO SHAWN E.. Although Zoom! by Shawn Okpebholo was commissioned by the US Air Force Band, its title refers less to the speed of supersonic fighter jets than to the brand of telecommunications software that allowed digital reunions between isolated loved ones during the 2020 pandemic, and to the race for a life-saving vaccine. The seven-minute piece for strings and percussion evokes the glimmers of hope and joy that manage to survive in times of darkness. Zoom! received a streaming premiere, performed in December 2021 by the strings and percussion of the US Air Force Band under the baton of Col. Don Schofield. This score is published as part of the Peters Contemporary Library, with parts available on hire. / Date parution : 2022-09-07/ Répertoire / Ensemble de Chambre

For Chamber Ensemble.Commissioned by the Hebrides Ensemble and first performed on their Scottish tour in March 2010.In Seven Pierrot Miniatures I took the Commedia dell’arte character Pierrot as my primary sourceof inspiration. Other more tenuous links to Schoenberg’s Pierrot Lunaire also served as a starting point in forming the general shape of the work. The piece is cast in seven short movements whereas the Schoenberg comprises threesets of seven movements. Although there is no part for voice I have taken seven poems by Albert Giraud (none of them set in Pierrot Lunaire) as points of departure:1. The Clouds2. Decor3. Absinthe4.Suicide5. The Church6. Sunset7. The HarpEach movement takes its impetus from the corresponding poem but in the piece as a whole I wanted to explore the extreme contrasts of the multi-faceted character ofPierrot in a musical setting. There is an almost mirror-like quality to the form of the piece and a sense of ending where it has begun: movements 1 3 5 and 7 are closely linked both in terms of their musical material and asense of melancholy dream-like quality and longing. Movements 2 and 6 are also strongly connected with allusions to the more mischievous violent side of Pierrot. Movement 4 serves as a sort-of pivotal point within the work juxtaposing a surreal shimmering calm with brutal outbursts. There is never any direct repetition yet there is a strong sense of material returning and mutating as the workunfolds.InstrumentationFlute doubling piccoloClarinet in Bb doubling Bass Clarinet in BbViolin doubling ViolaCelloPiano

Surtout connu comme compositeur d'opéra, Donizetti est néanmoins le représentant italien le plus important du quatuor à cordes genre. Alors que les premiers quatuors peuvent encore être considérés comme des expériences de la jeune compositeur avec une forme stricte classique, lepièces intermédiaires et sont ultérieurement une l'expression sans équivoque de son maturité esprit musical / Musique De Chambre