The Bartók Performing Editions-Instruktive Ausgaben von Béla Bártok. Par BARTOK BELA. Bartók probably first played pieces by Domenico Scarlatti in public in 1911. During the next two decades he featured them in his piano recitals more than 60 times. His dedication to Italian and French Baroque music is also illustrated by the fact that in 1920, he signed a contract with the Budapest publisher Rozsnyai to edit seven volumes of Baroque keyboard music. His plan was to select compositions by Couperin and Rameau in addition to pieces by Scarlatti, but during the 1920s it ended up being only two volumes of Couperin and another two comprising ten compositions by Scarlatti. In editing these masterpieces, Bartók's aim was primarily to counterbalance or even overshadow the works by the 'Mendelssohn-Schumann epigones' used in primary and secondary musical education. The present single-volume collection comprises Bartók's two Scarlatti volumes, complete with an editorial preface, his detailed performing instructions, and his commentary. The editor recommends these compositions for pianists with at least five years' experience, and give practical recommendations for the grouping of individual items to form charming 'sonatina-like' sets of pieces./ Répertoire / Piano

For Children's and Female Voices. Béla Bartók Complete Critical Edition (Z. 15009), this volume includes Bartók's complete works for children's and female voices. The lyrics in this Urtext edition are in the original languages, but literal English translations are provided in the appendix, which also includes English versions of those of the 27 Two- and Three-Part Choruses that were authorized by the composer.The edition is complete with an informative preface (in Hungarian, English, and German) and detailed Editorial Comments (in Hungarian and English). The Comments give an overview of the textual, folk-music, and compositional sources, and provide detailed information on the performance practice of Bartók's choral works. The edition has been printed on high-quality and environmentally-friendly paper.This volume is also available cloth-bound, along with the volumes for male voices and for mixed voices, in slipcase (Z. 20076). Separate editions of each work included in this volume are also available.

For Male Voices. Béla Bartók Complete Critical Edition (Z. 15009), this volume includes Bartók's complete works for children's and female voices. The lyrics in this Urtext edition are in the original languages, but literal English translations are provided in the appendix, which also includes English versions of those of the 27 Two- and Three-Part Choruses that were authorized by the composer.The edition is complete with an informative preface (in Hungarian, English, and German) and detailed Editorial Comments (in Hungarian and English). The Comments give an overview of the textual, folk-music, and compositional sources, and provide detailed information on the performance practice of Bartók's choral works. The edition has been printed on high-quality and environmentally-friendly paper.This volume is also available cloth-bound, along with the volumes for male voices and for mixed voices, in slipcase (Z. 20076). Separate editions of each work included in this volume are also available.

Long before his famous Mikrokosmos Bartók composed a comprehensive collection of little piano pieces entitled For Children. Written in 1908 1911 its two volumes are based on Hungarian and Slovakian folk tunes respectively. Bothare organised in ascending difficulty from simple two-part pieces to Impressionistic miniatures and they offer everything that children’s hands can manage. Bartók revised this collection in the 1940s. He did not just makemusical improvements but also gave every movement a title. This revised version forms the main text of our Urtext edition while an appendix offers movements from the early version that diverge significantly from the revisedones. As always in Henle’s Bartók editions there are indications regarding performance practice and insights into how the composer himself played these pieces.

The Children's and Female Choruses were composed in a single burst of creative activity at the zenith of Bartók's career, in the summer of 1935, between such masterpieces as the String Quartet #5 and the Music for Strings, Percussion and Celesta. These short choral pieces are based on folk texts that Bartók further polished and stylized. The music, however, is wholly the composer's own, although it frequently includes motifs, rhythmic formulas and line structures reminiscent of Hungarian folk songs. Both editions contain nine of the two-part pieces of the set, transcribed idiomatically but faithfully for descant and treble recorders, respectively. / 2 Flûtes A Bec Soprano

The New Essential Companion. Henrik Wiese, the internationally renowned orchestral and solo flautist, has spent four years compiling what promises to be the definitive guide to audition repertoire for students preparing for a seat in a professional orchestra. He has worked with his own students in Salzburg as they engaged in auditions, as well as with other professional players and his teaching colleagues at the conservatorium. He sourced repertoire lists from job advertisements past and present and referred to other audition lists such as those of Baxtresser and Wye. Considerable research has gone into the differences between existing editions of the chosen pieces even, surprisingly, from twentieth century composers such as Prokofiev and Stravinsky. 'The Flute Audition” then looks at practical matters such as page turns and metronome markings. Wiese comments, for example, that Hindemith's own recording takes a passage from 'Symphonic Metamorphoses” markedly slower than in the score. The result of all this painstaking research is the most comprehensive collection of international audition pieces yet published in a single volume. 'This is an excellent collection of orchestral excerpts for the next generation of young musicians. You can use it to prepare for auditions anywhere in the world. Whether it's for an opera house, symphony or chamber orchestra, everything you need is here.'/ Recueil / Flûte Traversière

Bartók Béla: Mikrokosmos pour piano 1
New Definitive Edition
Edité par Bartók Péter
Béla Bartók's Mikrokosmos series contains 153 progressive piano pieces published across six volumes by Editio Musica Budapest. The series, which was written between 1926 and 1939, starts with very easy beginner etudes and progresses to difficult advanced technical displays, and remains an essential part of modern piano lessons and education.
The word Mikrokosmos may be interpreted as a series of pieces in many different styles, representing a small world. Or it may be interpreted as world of the little ones, the children.
Contenu
1.
Mélodie a l'unisson

2.
Mélodie a l'unisson

3.
Mélodie a l'unisson

4.
Mélodie a l'unisson

5.
Mélodie a l'unisson

6.
Mélodie a l'unisson

7.
Notes pointées

8.
Répétition (1)

9.
Rythme syncopé (1)

10.
Mains alternées

11.
Mouvement parallele

12.
Mouvements et reflets

13.
Changement de position

14.
Question et réponse

15.
Chanson villageoise

16.
Mouvement parallele avec changement de position

17.
Mouvement contraire (1)

18.
Mélodie a l'unisson

19.
Mélodie a l'unisson

20.
Mélodie a l'unisson

21.
Mélodie a l'unisson

22.
Imitation et contrepoint

23.
Imitation et inversion (1)

24.
Pastorale

25.
Imitation et inversion (2)

26.
Répétition (2)

27.
Rythme syncopé (2)

28.
Canon a l'octave

29.
Reflet d'imitation

30.
Canon a la quinte inférieure

31.
Danse en forme de canon

32.
En mode dorien

33.
Danse lente

34.
En mode phrygien

35.
Choral

36.
Canon libre / Partitions classique / Piano - instruments à clavier / Piano / EMB (Editio Musica Budapest)

The series For Children (together with Mikrokosmos) belongs undoubtedly to the basic works of piano instruction. It is learned from almost all over the world. The present edition was prepared by the composer's son Péter Bartók living in the United States who used all available manuscripts and other documents which helped clarify the uncertainties concerning the music text. In order to meet this objective, a completely new engraving was made and the editor described the historical background of the emergence and the editions of the work as well as the nature of the corrections. The two volumes based on Hungarian folksongs appear now contracted to one volume with Hungarian and German titles, folksong texts and explanatory notes. / Piano

For Children Vol. 1. Bartók composed his first pedagogical collection For Children between 1908 and 1911. The first edition was issued between 1909 and 1911 in four volumes, comprising two of Hungarian and two of Slovak folk song arrangements. After moving to America, Bartók considered it important to produce new editions of his earlier works. Thus in autumn 1943, together with his new publisher Boosey

Les Editions Lugdivine sont heureuses et fières de vous annoncer la création de Musicologies Nouvelles. Une nouvelle collection qui répond à la volonté d?offrir à tous les professionnels du monde de l?enseignement musical des outils en phase avec leurs besoins, en termes de formation et d?application. Cette collection s?appuie sur la publication annuelle de trois revues spécifiquement dédiées : - au programme d?agrégation (Musicologies Nouvelles Agrégation), - au programme du Bac (Musicologies Nouvelles Bac) - à un dossier spécial (Musicologies Nouvelles Dossier spécial). Toute l?équipe éditoriale, regroupée autour de Mihu Iliescu et Laurence Le Diagon-Jacquin, ainsi que les différents rédacteurs ponctuels apportent toute leur expérience et leurs compétences pour garantir un niveau d?excellence en rapport avec l?ambition de cette publication. Musicologies nouvelles : pourquoi une nouvelle revue ? L'éditorial de Jean-Jacques Nattiez - Professeur émérite de l?Université de Montréal - Président d?honneur du comité de rédaction de Musicologies nouvelles Thèmes Agrégation 2017 Livre 21 X 28 cm 168 pages - Voix de ville et airs de cour : l?avènement de la monodie accompagnée en France (1576 - 1696). - Poème symphonique et identité culturelle. Les auteurs collaborant à ce numéro : Nahéma Khattabi, Alice Tacaille, Catherine Massip, Catherine Deutsch, Olivier Bettens. Laurent Guillo, Marie Demeilliez, Yann Mahé, Robin Joly, Mathilde Vittu, Damien Erhardt, Michael Saffle (article en anglais), Bruno Moysan, Jean-Christophe Branger, Jean-Jacques Velly, Liliana-Isabela Apostu, Antonin Servière... SOMMAIRE La monodie en français avant Chardavoine : plaisirs et pouvoirs de la voix seule Alice Tacaille Université Paris-Sorbonne, IReMus-CNRS, UMR 8223 Les voix de ville recueillis par Jehan Chardavoine : un corpus de chansons à danser Robin Joly Doctorant au CESR de Tours Voix de ville et air de cour : le chant soliste en France à la fin de la Renaissance Nahéma Khattabi Agrégée de musique et docteur en musicologie Les prosodies du français chanté, de Chardavoine à Bacilly Olivier Bettens Le développement de la monodie en France et son rôle dans la sociabilité du XVIIe siècle Catherine Massip IReMus L?air de cour, champ expérimental de l?édition musicale dans le dernier tiers du XVIIe siècle Laurent Guillo IReMus Aria et artifice contrapuntique au tournant du XVIIe siècle en Italie Catherine Deutsch Université Paris-Sorbonne/(IReMus) Quel(s) solfège(s) pour l?air de la seconde moitié du XVIIe siècle ? Théorie et pratique autour de deux manuscrits et d?un air de Sébastien Le Camus Mathilde Vittu Conservatoire de Paris - CNSMDP Tablatures et basses continues : l?accompagnement des airs de cour Marie Demeilliez Université Grenoble Alpes Entre monodie accompagnée et polyphonie : le cas du dernier recueil d?airs de Michel Lambert (1689) Yann Mahé Université de Toulouse Jean Jaurès. Il Laboratorio (EA 4590) Musique et transferts culturels. Le poème symphonique entre la France et l?Allemagne (1854-1914) Damien Ehrhardt Université d?Evry Val d?Essonne / Université Paris-Saclay Liszt, Musical Transnationalism, and the Symphonic Poem Michael Saffle Virginia Polytechnic Institute and State University Frontières, forme et signification dans le Poème symphonique lisztien Bruno Moysan Forme et signification particulières dans le dernier poème symphonique de Liszt Laurence Le Diagon-Jacquin Université de Franche-Comté (ELLIADD) Transcender le message lisztien : Massenet et le poème symphonique. Des suites d?orchestres à Thaïs Jean-Christophe Branger Université de Lorraine À la recherche de l?expression : les poèmes symphoniques de Richard Strauss Jean-Jacques Velly Université Paris-Sorbonne Les poèmes symphoniques de Georges Enesco et Béla Bartók : une marque d?identité culturelle et nationale Liliana-Isabela Apostu Institut für Musik, Oldenburg Tapiola de Jean Sibelius : entre identité nationale et incarnation du Nord Antonin Servière Compositeur et musicologue

Charlotte, ailé un peu être, invite tous les enfants à passer une journée pleine de musique avec elle. Chaque heure, elle rencontre un autre compositeur sur le beffroi et embarque sur différentes aventures où elle apprend également sur les genres musicaux (Orchestre symphonique, opéra, ballet) ou termes de théorie de la musique (indications de tempo, échelles, intervalles). En outre, le livre contient des anecdotes et des citations de la musiciens ainsi que des énigmes de musique intéressant attendent d'être résolu.Pour une journée entière, les jeunes lecteurs sont accompagnés par Charlotte joyeux qui est exalté par la musique ancienne et nouvelle. Qui est Charlotte va rencontrer le matin - et qui le soir ? Walther von der Vogelweide, Johann Sebastian Bach, Wolfgang Amadeus Mozart, Robert Schumann, Piotr Ilitch Tchaïkovski, Claude Debussy ou même Charles Ives ? -Cet ouvrage richement illustré fournit des portraits de 15 compositeurs, du moyen âge à nos jours.Adjugé le Deutscher Musikeditionspreis 2008. / Divers

Original Compositions Arrangements Cadenzas and Editions-World-famous violinist Rachel Barton Pine compiled a collection of 19 pieces mainly for unaccompanied Violin ranging from her original compositions and cadenzas to new arrangements of existing Violin staples.Pine was inspired to create it when she was asked to write a cadenza for Meude-Monpas' Concerto No.1 in D Major a rediscovered concerto that had not been played since the composer's lifetime in the eighteenth century.Highlights include an original cadenza for Paganini's Violin Concerto No.2 in B Minor a new arrangement of The Star-Spangled Banner and many others. The book also contains a lengthy introductiondiscussing her love of composition and arrangements.Fans and budding virtuosos alike will delight in this unique and personal collection.Piano accompaniment is included on the CD in PDF format.

RÉVISION ET PARTIE DE CELLO II, XAVIER GAGNEPAIN. Par POPPER DAVID. Les 40 études opus 73 de Popper constituent un précieux élément du patrimoine éducatif du violoncelliste. ?Hohe Schule des Violoncellspiels?, le titre du recueil laisse entrevoir la hauteur des sommets vers lesquels l?auteur prétend conduire les instrumentistes qui s?y confrontent. Cette nouvelle édition a pour ambition de restituer fidèlement le texte original et de respecter intégralement les choix instrumentaux de l?auteur (articulations, doigtés et indications techniques). En s?y conformant avec rigueur, le violoncelliste s?approchera au plus près de la palette expressive et technique de l?un des plus grands maîtres de l?histoire du violoncelle. L?apport de Popper à la musique ne s?est pas limité à son grand niveau instrumental. Sa proximité avec Brahms, Liszt, Hans van Bülow, Bartok ou Hubai en a fait un acteur important de la vie artistique de son époque. Tour à tour soliste ou chambriste, violoncelle solo d?orchestre ou professeur, il était aussi excellent pianiste. Et, en tant que compositeur - outre ses séries d?études - il nous a légué de véritable bijoux qui ont grandement élargi le répertoire de son instrument. Sa finesse et son savoir-faire de compositeur se retrouvent dans la qualité musicale des 40 études op.73. Elles suivent toutes une trame harmonique latente d?une grande richesse, dissimulée derrière une présentation généralement monodique. La réalisation d?un accompagnement pour second violoncelle a pour objectif d?aider l?interprète a en découvrir la beauté cachée. Ce support peut aussi le guider dans son travail d?intonation et d?organisation rythmique. Il permet enfin de présenter ces études au public sous un jour moins aride. Xavier Gagnepain/ Etude / 1-2 Violoncelles

Confirmé
Imrprovisation avec les modes (grecs, grecs altérés, de Bartok), harmonisation d'une basse et d'unre ligne mélodique, application à la composition, au déchiffrage et à l'arrangement.... par J.J Rébillard / Livre /