SKU: LM.C06671
ISBN 9790230366717.
Thibaut, l'escargot - Antoine, l'iguane - Tristan, l'elephant - Charlotte, la marmotte - Justin, le pingouin.
SKU: LM.C06672
ISBN 9790230366724.
Maria, l'oie - Perrine, la lapine (mesures binaires et ternaires) - Emmanuelle, la sauterelle (quartes et quintes) - Dess-Laura, la chatte angora (chromatismes) - Benoit, le koala (sauts de cordes).
SKU: LM.C06706
ISBN 9790230367066.
Ines, l'anesse (arpeges, 1ere position) - Maelys, l'ecrevisse (quintes et sixtes, 1ere et 2eme positions) - Camille, la chenille (chromatismes, 1ere position) - Marjorie, la souris (doubles cordes, petites notes, 1ere position) - Pauline, la sardine (1ere et 3eme positions).
SKU: LM.C06707
ISBN 9790230367073.
Prune, le poisson lune (1ere, 3eme positions lent, demanches) - Sebastien, le poussin (1ere, 3eme positions, demanches) - Romain, l'oursin (1ere, 3eme positions, tango) - Diane, la cane (1ere, 3eme positions, valse) - Johanna, l'impala (1ere, 3eme positions, variations sur la gamme de re).
SKU: BT.SLB-02032701
230 X 305 inches. French-English-Italian.
Henri Casadesus was passionate about early instruments, as we know from a number of photographs showing him with viola d’amore, the subject of a manual he wrote entitled Tecnique de la viole d’amour. The Concerto en Ut mineur was first published in 1947 by Mica Salabert. The first edition gives the so-called “original†part for solo violocello together with the score which, according to the preface, has been adapted for viola or cello or violin by Casadesus. However, stylistic analysis of the piece, together with some musicological research carried out after the appearance of the first edition reveals that the “original†version for violoncello, on which the adaptation was supposed to be based, cannot be attributed to Johann Christian Bach, but is rather a work imitating his style written two centuries later. In spite of this, Concerto en Ut mineur encountered considerable success and continues to be studied and performed by both violinists and violoncellists today.Henri Gustave Casadesus nourrissait une profonde passion pour les instruments anciens, qu’illustrent notamment plusieurs photographies qui le représentent avec la viole d’amour, un instrument pour lequel il écrivit le traité Technique de la viole d’amour. Le Concerto en ut mineur fut publié pour la première fois en 1947 par Mica Salabert. Dans la première édition imprimée du Concerto en ut mineur, la partie du violoncelle soliste était qualifiée d’« originale » tandis que la partition, d’après la préface citée, est la version d’Henri Casadesus, réadaptée pour alto, violon ou violoncelle. Toutefois, d’après l’analyse du style de la pièce et des recherches musicologiques successives jamais contestées du reste par la famille Casadesus il apparaît que la version « originale » pour violoncelle, de laquelle découlerait l’adaptation, n’est pas attribuable non plus Johann Christian Bach, mais aurait été composée selon sa manière deux siècles après. En dépit de cela, ce concerto a connu une bonne fortune et est encore étudié et interprété aujourd’hui par les altistes et les violoncellistes.
SKU: BT.ALHE32579
French.
1.L'Ardente - 2.L'Interdite - 3.La Toute vive - 4.La Grande Irénée.
SKU: BT.YE0009
Very little is known about the two sonatas which appear here in their original keys. They were placed in the library of the Music School in Oxford at the end of the seventeenth century in a form convenient for playing (i.e.unbound). The library was catalogued by Hake between 1850 and 1855 and the sonatas were eventually bound in 1855 with other instrumental and vocal manuscripts of the same period, some of which are dated 1698.The sonatasare both inscribed on the title page Sonata Violone Solo. Col Basso per l'Organo, o Cembalo. A third sonata bears the words Sonata Violino e Violoncino â?¦ di Giovannino del Violone. Giovannino (=Little, or Young John)musthave been a performer, and although the third sonata has been copied by a different hand, it is conceivable that Giovannino is a connecting link between the three. He cannot, however, be assumed to be theirauthor.The Violone was a six-stringed instrument with frets, and there is evidence to suggest that the Contrabasso of the same period was similar but probably a little larger; the Violoncino (=Little Violone, orVioloncello) must have been smaller. The word 'Violone' was also used as a collective term embracing all members of the Viol family, which means that the sonatas might well have been written for a tenor or a bass Viol, and notnecessarily a Violone as such. Indeed, when they are played on a Violone, or Double Bass the continuo bass line must be played at a lower pitch than the solo instrument, to prevent inversion of the intended harmony. (The use ofa Violone/Double Bass continuo or 16' organ tone would overcome this problem.)The editor has added no ornaments or embellishments to the solo part as it appears in the original manuscript. It is open to debate whether aViolone player, owing to the very nature of his instrument, would have used any but the simplest melodic decorations. Nevertheless, the performer should acquaint himself thoroughly with those seventeenth century traditions thatare known today (see Dart.
SKU: LM.C05257
SKU: LM.C06161
ISBN 9790230361613.
SKU: LM.C06439
ISBN 9790230364393.
SKU: LM.C05456
SKU: BT.ALHE33623
No.1 from '4 Duos'
SKU: HL.50563891
UPC: 073999762570. 9.75x12.5x0.019 inches.
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