Concerto à flûte à bec, 2 violini, viola e cembalo (c.1731) Ouverture à flûte à bec, 2 violini, viola e cembalo (c.1741) Canon all'unisono a 2 flauti, violoncello o vero viola da gamba et cembalo (c. 1737)Présentation de Susi Möhlmeier et Frédérique Thouvenot : notice biographique - sources - lecture de la partition (articulation, dynamique, rythme, terminologie, agrémentation, ornementation, notation générale, basse continue) - suggestions. Intégrale des oeuvres pour flûte à bec de Graupner. Manuscrits autographes de Graupner, conservés à la Hessische Landes-und Hochschulbibliothek de Darmstadt.Concerto : 2 flûtes à bec, deux violons, alto, basse continue.Ouverture : flûte à bec, deux violons, alto, basse continue.Canon : 2 flûtes à bec, violoncelle ou viole de gambe. / Musique De Chambre / 71 pages / niveau : 1 / Fac-Similés - Format: 24 X 33

Gustav Holst's The Wandering Scholar a one-act chamber opera for Baritone Soprano Tenor Bass and Orchestra. Edited by Benjamin Britten and Imogen Holst. Full score and Orchestral parts are availble for hire. The Wandering Scholar Holst’s last opera was written in 1929-30 and was first performed in The David Lewis Theatre Liverpool in 1934 conducted by Dr. J. E. Wallace and produced by Frederick Wilkinson. This was a few months before Holst’s death and he was too ill to go to the performance. He had no chance to revise the score which has remained unpublished until now. He leftseveral pencil queries in the margins such as ‘Tempo?’ ‘More?’ ‘More harmony?’ etc. And in one of his note-books he left queries about several words in the libretto which he had doubts about. The editors have answered these queries by making some alterations in speed and dynamics and by suggesting metronome marks throughout the work. They have also made several alterations in the libretto which they feel that Holst might have made himself if he had had the chance to revise the work with his friend Clifford Bax.

The Dreamers - A Gothic Tale for Horn Trio by Niels Marthinsen. Programme note: The Dreamers for horn violin and piano is the sixth of a series of seven compositions named after Karen Blixen's collection of short stories Seven Gothic Tales. My musical gothic tales are written for very different ensembles - THE SUPPER AT ELSINORE is a saxophone quartet THE OLD CHEVALIER is for bass trombone and piano THE MONKEY is a chamber orchestra work - but they all share musical material in a criss-cross of contextual references reminiscent of Blixen's narrative complexity: Themes and motivs from one pieceappear in others in new and surprising shapes and combinations. Karen Blixen's THE DREAMERS has the most complex narrative structure of all her seven gothic tales. The story is made up of three tales with different narrators but with the same principal caracter in various disguises all three imbedded within a fourth tale that serves as a framework for the entire short story.The main story line unravels the life of a famous opera diva who looses her voice during a terrible fire. Before this her life was perpetual bliss and the tragedy drives her into assuming different personality guises in order to escape reality.Toward the end she is confronted with her true identity and dies.THE DREAMERS isn't 'about' anything. The music is inspired by the artistic content of Blixen's short story - it's emotionalism dramatic construction atmosphere period and settings - but unfolds in time and musical space in ways that are completely independent of the story's narrative progression...except one might say that the three players try their best to either catch or escape each other and that when they finally meet it happens abruptly even tragically - and only barely provides a little consolation.

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

Polka Schnell F. Klar., 2 Vl., Vla., Vc.. Par STRAUSS JOHANN (FILS). Weil kultivierte Geselligkeit ohne Musik kaum denkbar ist, konnte das traditionsreiche Verlagshaus Doblinger kaum einen besseren Titel als 'Wiener Melange' für seine Reihe mit Alt-Wiener Tanzmusik wählen, in der effektvolle und gut spielbare Bearbeitungen populärer Kompositionen von Johann Strauß Sohn u. a. erschienen sind. Die Besetzung orientiert sich an den Gepflogenheiten bürgerlicher Haus- und Salonmusik - was dem ungarischen Fürsten die eigene Hofkapelle im Ballsaal seiner Wiener Residenz, war dem Geheimen Rat das Streichquartett im großbürgerlichen Salon (oft übernahm dabei der klangstärkere Kontrabass die Stelle des Cellos)./ Répertoire / Musique de Chambre

Composed by the Czech composer Bohuslav Martinü in 1927, La Revue De Cuisine is a ballet initially created for a sextet. This score was reviewed and tailored for an Orchestra.
This ballet, talking about the life of kitchen utensils, is divided in ten sections:
1. Prologue (Allegretto)
2. Introduction (Tempo de marche)
3. Danse du moulinet autour du caudron (Poco meno)
4. Danse du chaudron et du couvercle (Allegro)
5. Tango (Danse d'amour. Lento)
6. Duel (Poco a poco allegro. Tempo di Charleston)
7. Entracte (Lamentation du chaudron. Allegro moderato)
8. Marche funèbre (Adagio)
9. Danse radieuse (Tempo di marche)
10. Fin du drame (Allegretto)
The story focuses on the marriage of the Pot and Lid which is put at risk by the Twirling Stick, and the music features some strong jazz influences.
Bohuslav Martinü(1890-1959) also wrote 13 other ballets, 15 operas and 6 symphonies and some orchestral and chamber music.
Instrumentation: Clarinet, Bassoon, Trumpet, Violin, Cello, Piano. / Partitions classique / Ensemble et orchestre / Musique de chambre / LEDUC

Par ELIA ALESSIO. Commissioned by I Solisti della Scala for the CD ''Octet'', a project conceived by the conductor Andrea Vitello, which includes also the first recording in the performance of I Solisti della Scala of the Octet by Stravinsky and the first world recording of the Octet by Peter Eötvös, the Octet by Alessio Elia is described by the Italian musicologist Guido Barbieri in these terms: ''In the Octet written in 2016 by Alessio Elia, the musical elements, or their strongly contrasted combination, significantly shape the structure of the piece. The utilization of different scales - a technique defined by the composer as ''polysystemism'' - further emphasizes his concept of sound as a phenomenal entity.'' / Date parution : 2022-07-23/ Répertoire / Ensemble de Chambre