Par LEGAZA JOSE MARIA. Lettres de plusieurs auteurs une collection de oeuvres du compositeur prolifique de chanson Granada Jose Maria Legaza, tous présentés pour voix et Piano. Comprend une biographie du master en anglais et en espagnol./ Recueil / Piano, Chant et Guitare

15 Bossa Nova Standards Arranged For Guitar.. Par ONGARELLO ANTONIO. by Antonio Ongarello. 15 Bossa Nova standards arranged for guitar. / Jazz / Tablatures / Guitare Tablatures

Vivez la musique excitante de la tradition Marichi! Tout au long de mariachi interprète et pédagogue John Nieto rejoint Bob Phillips de fournir authentiques paramètres d'orchestre de familiers, des airs traditionnels pour orchestre à cordes seules, groupe de mariachis seul ou orchestre à cordes et bande de mariachi ensemble. Trompette livres et d'accompagnement sont disponibles pour fournir des pièces optionnelles pour trompette, guitare, Guitarron, vihuela, piano et harpe. Historique idées de fond et la disposition sont fournis dans le manuel de l'enseignant. / Violon

Ce livre et son CD vont vous aider à choisir la musique pour votre mariage, que vous ayiez pris des leçons de piano depuis votre enfance ou que vous chantiez sous la douche. Contient trente morceaux pour chaque partie de la cérémonie, ainsi que des trucs et astuces pour que ce jour soit parfait. / Variétés Internationale / Partition CD /

Par CURATOLO KATHERINE. Pour alto solo, ce livre est une collection d'arrangements de mariage simple, sans piano. A l'intérieur vous trouverez des musiques les plus fréquemment demandés pour les cérémonies de mariage, des plats traditionnels de belles pièces classiques qui ne manqueront pas d'offrir une expérience musicale élégante. / Niveau : Intermédiaire à Avancé / Recueil / Alto

Ed. Critica Di Alessandro Borin - Ril. Brochure. Par VIVALDI ANTONIO. La Gloria e Imeneo, RV 687, belongs to a group of so-called ‘French serenatas’ by Antonio Vivaldi, namely a series of works composed and performed between the mid-1710s and mid- 1720s of the eighteenth century in celebration of importantrecurrent and non-recurrent events relating to the Kingdom of France and its diplomatic representatives resident in Italy. This serenata was indeed commissioned from Vivaldi by the French ambassador in Venice, Jacques-Vincent Languet, Count of Gergy, on the occasion of the wedding of Louis XV to the Polish princess Maria Leszczyska, and was performed during a festa that took place in the ambassador’s garden on the evening of 12 September 1725. This critical edition is based on the autographscore held by Biblioteca Nazionale Universitaria of Turin. It also includes an Introduction that describes the genesis and the first performance of the Serenata, the state of the sources and its musical content. The critical edition includes anapparatus that records all the variants between the autograph score and the secondary collate sources, and a diplomatic- interpretative edition of the poetic text, inferred – since no libretto has come down to us – by the words underlaid to the notesin the manuscript of the serenata. La Gloria E Imeneo, RV 687, belongs to a group of so-called ‘ French serenatas' by Antonio Vivaldi, namely a series of works composed and performed between the mid-1710s and mid-1720s of the eighteenth century in celebration of important recurrent and non-recurrent events relating to the Kingdom of France and its diplomatic representatives resident in Italy. This serenata was indeed commissioned from Vivaldi by the French ambassador in Venice, Jacques-Vincent Languet, Count of Gergy, on the occasion of the wedding of Louis XV to the Polish princess Maria Leszczyska, and was performed during a festa that took place inthe ambassador's garden on the evening of 12 September 1725. This critical edition is based on the autograph score held by Biblioteca Nazionale Universitaria of Turin. It also includes an Introduction that describes the genesis and the first performance of the Serenata, the state of the sources and its musical content. The critical edition includes an apparatus that records all the variants between the autograph score and the secondary collate sources, and a diplomatic- interpretative edition of the poetic text, inferred & since no libretto has come down to us & by the words underlaid to the notes in the manuscript of the serenata. / Niveau : Intermédiaire à Avancé / Classique / Date parution : 1905-07-08/ Répertoire / SATB, Violon, Alto et Basse Continue

con due violini e due violoncelli, archi e basso continuo - A cura di Federico Maria Sardelli. Par VIVALDI ANTONIO. Con Due Violini E Due Violoncelli, Archi E Basso Continuo - A Cura Di Federico Maria Sardelli / Niveau : Intermédiaire / Date parution : 1905-07-09/ Répertoire / 2 Violons, 2 Violoncelles, Cordes et Basse Continu

A Cura Di Federico Maria Sardelli. Par VIVALDI ANTONIO. RIDUZIONE PER CANTO E PIANOFORTE A CURA DI ANTONIO FRIGE'/ Répertoire / Chant et Piano

Edizione Critica A Cura Di Federico Maria Sardelli - Ril. Brochure. Par VIVALDI ANTONIO. Antonio Vivaldi’s second published collection is fundamental to an understanding of the leap he took, at the end of the first decade of the eighteenth century, from provincial obscurity to Europe-wide fame. This edition asks and answers the hardquestions surrounding its exact date, its choice of dedicatee and its Venetian context. Through analysis of the two different printing techniques employed - movable type and engraving - and through comparison of the sources, it has proved possible toreconstruct the context in which the opus achieved publication and establish what its truly innovative aspects were; the edition sheds light on the reception of the work, listing the huge number of composers who derived or appropriated musical ideasand solutions from it. This second published collection by Vivaldi, for too long unjustly neglected by critics and performers, may be considered a manifesto for the new musical language invented by Vivaldi for chamber music, which took shape atalmost the same time as his other great manifesto, that for the new-style solo concerto, shortly afterwards to emerge as the collection entitled L’estro armonico. RV 27, 31, 14, 20, 36, 1, 8, 23, 16, 21, 9, 32 / Niveau : Intermédiaire à Avancé / Classique / Date parution : 1905-07-07/ Répertoire / Violon et Basse Continue

Arrangeur: Rita Maria Fleres. Par VIVALDI ANTONIO. English-German-French/ Répertoire / Guitare et Clavecin

Ed. critica P. Everett - Riduzione per canto e pianoforte di A. Frigé. Par VIVALDI ANTONIO. This volume presents the vocal score of Vivaldi's Stabat Mater RV 621 for alto, strings and continuo, based on the critical edition by Paul Everett. Composed for the church of Santa Maria della Pace in Brescia, it was performed, for the first time, on 8 March 1712, for the Seven Sorrows of the Virgin Mary celebration. It is considered as one of the most inspired and celebrated Vivaldian works. Together with the Gloria RV 589 and the Quattro stagioni, it dates from a juvenile period. / Niveau : Intermédiaire / Répertoire / Chant et Piano

a cura di Federico Maria Sardelli. Par VIVALDI ANTONIO. Among Vivaldi’s many flute and recorder concertos, two, both for transverse flute, were known until a few years ago only in incomplete form: RV 431 and 432. Both are written in the comfortable and expressive key of E minor, are transmitted inautograph manuscripts and lack their second movement (RV 432 also lacks its third movement). The seemingly enigmatic instruction “Grave sopra il libro” replacing the second movement has given rise to the most fanciful hypotheses. The discovery in Edinburgh, in 2010, of a concerto for transverse flute in D minor entitled “Il gran Mogol” suddenly shed light on the situation: this was an earlier version of RV 431, now complete with its middle movement, a “Larghetto” that is verypossibly identical with the one missing in RV 431. This “Gran Mogol”, which belonged to Robert Kerr, a Scottish nobleman and amateur flautist, was already known by name to scholars on account of its listing in an eighteenth-century catalogue as partof a set of Vivaldi concertos bearing geographical titles: more recently, there has come to light a letter written by Vivaldi three months before his death in which the composer describes this set in detail. It is very likely that RV 431 and RV 432belonged to this group of works, the last known collection of its kind in Vivaldi’s oeuvre. This critical edition places these closely related works side by side for the first time, placing them in their historical context and making them performable through its reconstruction of some lost parts. / Niveau : Intermédiaire / Date parution : 1905-07-09/ Répertoire / Flûte Traversière Cordes et Basse Continue