For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Traditional pop and vocal standards. Series: Hal Leonard Fake Books. 424 pages. 9x12 inches. Published by Hal Leonard.

Guitar solo - Advanced

SKU: DZ.DZ-4287

Composed by Francisco Braga. Arranged by Luciano Lima. Score. Les Productions d'OZ #DZ 4287. Published by Les Productions d'OZ (DZ.DZ-4287).

ISBN 9782898522048.

Antônio Francisco Braga (1868-1945) belongs to the generation of Brazilian composers of the first republican period, aesthetically tied to romanticism, alongside Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914), and Barrozo Neto (1881-1941). Born in Rio de Janeiro, on April 15th, 1868, he began his musical studies at the Asilo dos Meninos Desvalidos, in 1876. In 1883, he enrolled at the Imperial Conservatório de Música where he studied harmony and counterpoint with Carlos de Mesquita – a former student of César Franck, Durand, and Massenet – and clarinet with Antônio Luís de Moura. Braga's first compositions date from this period: Sonho de Dante (1885), Dolce far niente (1886), the first Valse Romantique for piano (1886), among others.
In 1887, he premiered his first symphonic work, Fantasia-Abertura. In 1890, being one of the finalists in a competition to choose the new Brazilian national anthem, Braga was awarded a scholarship to study in Europe, where he took classes with Jules Massenet at the Paris Conservatory. During this period, he wrote some of his most important symphonic works, Paysage, Cauchemar, Episódio Sinfônico, and Marabá (which was performed by Richard Strauss and the Vienna Philharmonic in 1920, in Brazil). His opera Jupyra is considered one of the greatest Brazilian compositions of that genre.
Back in Brazil, he was appointed professor of counterpoint, fugue, and composition at the Instituto Nacional de Música, in 1902. There, some of the finest Brazilian composers studied with him, like Glauco Velásquez and Lorenzo Fernândez.
Braga wrote operas, symphonic works, songs, sacred music, two Masses, music for piano, different chamber formations, band, and choir. He is the author of many patriotic hymns, the most popular of which is Hino à Bandeira (with lyrics by Olavo Bilac). He explored Brazilian nationalist elements in some of his works, as in Variações sobre um Tema Brasileiro and in the Trio for violin, cello and piano, whose third movement is based on a lundu (a musical genre and dance of Afro-Brazilian origin).
In addition to being a composer, Braga was one of the most active conductors of his time, having been ahead of three orchestras in Rio de Janeiro: Instituto Nacional de Música, Sociedade de Concertos Sinfônicos, and Theatro Municipal. Braga conducted the Brazilian premiere of major symphonic works such as La Mer (Debussy), Pacific 231 (Honegger) besides other numerous Brazilian compositions.
In 1938, he retired from Instituto Nacional de Música. He passed away on March 14th, 1945, in Rio de Janeiro.
Unfortunately, Francisco Braga never wrote for the guitar. However, over a century ago his music had already been incorporated to its repertoire. According to information found in newspapers of the time, Spanish guitarist Josefina Robledo included transcriptions of pieces by Braga in her programs when she performed in Brazil: Gavota e Minuete (from the melodrama Contratador de Diamantes), in 1919, in São Paulo, and the waltz-caprice Corrupio, in 1921, in Rio de Janeiro.
The piano score of Madrigal Pavane was dedicated to Alexina Leitão and published by Casa Vieira Machado, in 1901. According to the composer’s catalogue, there are two other versions of this piece: strings orchestra (1901) and quartet (which is still in manuscript). Dedicated to Braga’s childhood friend José de Souza Rocha, Timburibá (the name of a Brazilian tree) is a tango for piano from 1886, published by Narciso & Arthur Napoleão.

Antônio Francisco Braga (1868-1945) appartient à la génération des compositeurs brésiliens de la première période républicaine, esthétiquement liés au romantisme, aux côtés de Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914) , et Barrozo Neto (1881-1941). Né à Rio de Janeiro, le 15 avril 1868, il commence ses études musicales à l'Asilo dos Meninos Desvalidos, en 1876. En 1883, il s'inscrit au Imperial Conservatório de Música où il étudie l'harmonie et le contrepoint avec Carlos de Mesquita – ancien élève de César Franck, Durand et Massenet – et clarinette avec Antônio Luís de Moura. De cette période datent les premières compositions de Braga : « Sonho de Dante » (1885), « Dolce far niente » (1886), la première « Valse Romantique » pour piano (1886), entre autres.
En 1887, il crée sa première œuvre symphonique, « Fantasia-Abertura ». En 1890, étant l'un des finalistes d'un concours pour choisir le nouvel hymne national brésilien, Braga obtient une bourse pour étudier en Europe, où il suit les cours de Jules Massenet au Conservatoire de Paris. Durant cette période, il écrit certaines de ses œuvres symphoniques les plus importantes, « Paysage », « Cauchemar », « Episódio Sinfônico » et « Marabá » (interprétée par Richard Strauss et la Philharmonie de Vienne en 1920, au Brésil). Son opéra « Jupyra » est considéré comme l'une des plus grandes compositions brésiliennes de ce genre.
De retour au Brésil, il fut nommé professeur de contrepoint, de fugue et de composition à l'Instituto Nacional de Música, en 1902. Là, certains des meilleurs compositeurs brésiliens étudièrent avec lui, comme Glauco Velásquez et Lorenzo Fernândez.
Braga a écrit des opéras, des œuvres symphoniques, des chansons, de la musique sacrée, deux messes, de la musique pour piano, différentes formations de chambre, un orchestre et une chorale. Il est l'auteur de nombreux hymnes patriotiques, dont le plus populaire est « Hino à Bandeira » (avec des paroles d'Olavo Bilac). Il a exploré des éléments nationalistes brésiliens dans certaines de ses œuvres, comme dans « Variações sobre um Tema Brasileiro » et dans le Trio pour violon, violoncelle et piano, dont le troisième mouvement est basé sur un « lundu » (un genre musical et une danse afro-américaine). Origine brésilienne).
En plus d'être compositeur, Braga a été l'un des chefs d'orchestre les plus actifs de son époque, ayant dirigé trois orchestres à Rio de Janeiro : « Instituto Nacional de Música », « Sociedade de Concertos Sinfônicos » et « Theatro Municipal ». Braga a dirigé la première brésilienne d'œuvres symphoniques majeures telles que « La Mer » (Debussy), « Pacific 231 » (Honegger) ainsi que de nombreuses autres compositions brésiliennes.
En 1938, il prend sa retraite de l'Instituto Nacional de Música. Il est décédé le 14 mars 1945 à Rio de Janeiro.
Malheureusement, Francisco Braga n’a jamais écrit pour la guitare. Cependant, il y a plus d'un siècle, sa musique était déjà incorporée à son répertoire. Selon des informations trouvées dans les journaux de l'époque, la guitariste espagnole Josefina Robledo incluait des transcriptions de pièces de Braga dans ses programmes lorsqu'elle se produisait au Brésil : « Gavota e Minuete » (du mélodrame « Contratador de Diamantes »), en 1919, à São Paulo, et la valse-caprice « Corrupio », en 1921, à Rio de Janeiro.
La partition pour piano de « Madrigal Pavane » a été dédiée à Alexina Leitão et publiée par « Casa Vieira Machado », en 1901. Selon le catalogue du compositeur, il existe deux autres versions de cette pièce : orchestre à cordes (1901) et quatuor (qui est encore manuscrit). Dédié à José de Souza Rocha, ami d'enfance de Braga, « Timburibá » (nom d'un arbre brésilien) est un tango pour piano de 1886, publié par « Narciso & Arthur Napoleão ».
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SKU: GI.G-1064

Composed by Tony Alonso S.J. Sacred. GIA Publications #1064. Published by GIA Publications (GI.G-1064).

UPC: 785147006428.

From the music of the Buena Vista Social Club to Gloria Estefan, the lyrical melodies and infectious rhythms of Cuban music have become embedded in U.S. culture. With Caminemos con Jesús / Let Us Walk with Jesus, composer Tony Alonso presents a groundbreaking collection of liturgical music that calls on his own Cuban musical heritage to provide new ways of singing the liturgy in Spanish, English or bilingually. The first project of its kind, Caminemos con Jesús not only utilizes rich Cuban idioms but also explores what style and musical form can teach us about praying together across cultural and linguistic boundaries. The dynamic call-and-response form that is a hallmark of traditional Cuban music makes these songs especially compelling choices for bilingual worship, allowing assemblies to learn, internalize, and pray easily in both Spanish and English. “Qué Alegría Cuando Me Dijeron / I Rejoiced When I Heard Them Say” uses the words of the psalm as a rhythmic mantra, creating a fresh and engaging way to gather as the Body of Christ. “Letanía a la Madre de las Américas / Litany of Mary of The Americas,” invokes the Mary of many names and nations with a simple yet strong response that will enliven Marian feasts throughout the year. The gentle simplicity of “Tres Guajiros / Three Peasants” re-imagines the story of the Magi as humble peasants bringing gifts of the land to honor the newborn Jesus. Also, in this collection and for the first time in published form, is Gloria Estefan’s “Caridad,” a powerful and poetic prayer to Our Lady of Charity, the patroness of Cuba. All of the pieces of this collection focus on the importance of bringing the voices of the assembly to the forefront while the arrangements are skillfully crafted to be accessible to musicians of all abilities. In addition to the spiral-bound edition, individual octavos, and flute and brass parts, Caminemos con Jesús offers a special edition featuring parts for guitar, percussion and other instruments central to Cuban music. The studio recording is a stunning source of prayer and inspiration, produced in Miami by Grammy Award winner Juan Delgado and featuring some of the finest Cuban-American musicians today.  GIA Publications, Inc. is committed to responding to the rich diversity of the contemporary Church. With Caminemos con Jesús, we offer you our very best bilingual music for the liturgical year.  “The music of my father’s Cuban homeland has been the language of my heart for as long as I can remember. These songs infuse that rich tradition with the unique sabor of my own experience as a Cuban-American in a distinctly liturgical shape that I hope will inspire others in their daily camino con Jesús.” –Tony Alonso Featuring “Live Mercy, Be Holy / Vive la Misericordia, Vive la Santidad,” the 2020 Los Angeles Religious Education Congress theme song! Desde la música de Buena Vista Social Club hasta la de Gloria Estefan, las melodías líricas y ritmos contagiosos de la música cubana son incrustados en la cultura estadounidense. Con Caminemos con Jesús / Let Us Walk with Jesus, el compositor Tony Alonso presenta una colección innovadora de música litúrgica que incorpora su herencia musical cubana para producir una manera nueva de cantar la liturgia — en español, inglés o bilingüemente. El primer proyecto de este tipo, Caminemos con Jesús no sólo utiliza modismos ricos de Cuba sino también explora lo que el estilo y la forma musical nos pueden enseñar con respeto a rezar juntos a través de los límites culturales y lingüísticos.  La forma dinámica de llamada-y-respuesta que es un sello distintivo de la música cubana tradicional crea opciones cautivadoras para los rituales bilingües donde la asamblea puede aprender, interiorizar y rezar facilmente tanto en español como en inglés. “Qué Alegría Cuando Me Dijeron” incorpora la letra del salmo como una mantra rítmica, creando una manera original para congregar al Cuerpo de Cristo. La “Letanía a la Madre de las Américas,” la cual invoca a la María de muchos nombres y naciones utilizando una respuesta sencilla y fuerte, enriquecerá a las fiestas marianas de muchos pueblos durante todo el año. La sencillez suave de “Tres Guajiros” reimagina la historia de los Reyes Magos como guajiros humildes, trayendo regalos de la tierra para honrar al recién nacido Jesús. También se encuentra en esta colección, por la primera vez en forma publicada, el tema musical “Caridad” por Gloria Estefan, que es una oración poderosa y poética a Nuestra Madre de Caridad, la patrona de Cuba. Todas las piezas en esta colección se enfocan en la importancia de las voces de la asamblea mientras los arreglos son accesibles para los músicos de todas habilidades. Además de la edición con espiral, las partituras corales individuales, y las ediciones para flauta y instrumentos de metal, Caminemos con Jesús también ofrece una edición para guitarra con partituras adicionales para percusión y otros instrumentos centrales en la música cubana. La grabación del estudio es espectacular, una fuente de oración y inspiración. Producido en Miami por el ganador de Grammy Juan Delgado, el álbum destaca los talentos de unos de los mejores músicos cubano-americanos de hoy día.  GIA Publications, Inc. está comprometido a responder a la diversidad rica de la Iglesia actual. En Caminemos con Jesús, les ofrecemos nuestra mejor música bilingüe para todo el año litúrgico. “La música de la tierra cubana de mi padre ha sido el lenguaje de mi corazón desde que yo tengo memoria. Estas canciones infunden esa rica tradición del sabor único de mi propia experiencia como cubanoamericano con una forma claramente litúrgica. Es mi deseo que esta obra inspire a los demás en su propio camino diario con Jesús”. –Tony Alonso  Incluye el canto tema, “Vive la Misericordia, Vive la Santidad / Live Mercy, Be Holy,” compuesto para el Congreso de Educación Religiosa de Los Angeles del 2020. CONTENTS / CONTENIDO: Arriba los Corazones / We Lift Up Our Hearts • Caminemos con Jesús / Let Us Walk with Jesus • Cántico de Daniel / Canticle of Daniel • Caridad / Our Lady of Charity • Letanía del Santo Nombre de Jesús / Litany of the Holy Name of Jesus • Letanía a la Madre de las Américas / Litany to the Mother of the Americas • Qué Alegría Cuando Me Dijeron / I Rejoiced When I Heard them Say • Una Gran Nube de Testigos / A Wondrous Cloud of Witnesses • Tres Guajiros / Three Peasants • Vayan Por el Mundo Entero / Go Out to All the World • Vive la Misericordia, Vive la Santidad / Live Mercy, Be Holy.  .

Piano (4 hands) (Piano For 2 Players) - easy to intermediate

SKU: HL.49043954

Original works from the Classical to the Modern era. Edited by Monika Twelsiek. This edition: Saddle stitching. Sheet music. Piano Duet. Leichte vierhandige originale Klavierwerke, einige in der Bearbeitung bedeutender Zeitgenossen. Die fruhesten Werke stammen aus dem 18. Jahrhundert, die jungsten aus unserer Zeit. Softcover. 86 pages. Schott Music #ED21684. Published by Schott Music (HL.49043954).

ISBN 9783795748265. UPC: 841886021105. 9.25x12.0x0.386 inches.

This 'treasure chest' contains - in chronological order - easy original piano pieces by classical composers, some of them arranged as duets by well-known contemporaries. The earliest pieces are from the 18th Century, stylistically they range from Classical to Romantic, through to Jazz, Rock and Pop. The collection also features an improvisatory piece with partly graphic notation. All of the pieces are approachable and even the sometimes more demanding Secondo parts are well within the range of piano students and amateur players.

A Clare Benediction Composed by John Rutter A Prayer Of St Richard Of Chichester Composed by L. J. White Alleluia Composed by William Boyce Author Of Life Divine Composed by Cecilia Mcdowall Be Still For The Presence Of The Lord Composed by David Evans; Arranged by Richard Shephard Bread Of The World Composed by Scottish Traditional; Arranged by Alan Bullard Brightest And Best Composed by Malcolm Archer Christ Is The World's True Light Composed by W. K. Stanton Christ The Lord Is Risen Again Composed by Richard Shephard Christians Shout For Joy And Gladness Composed by Johann Sebastian Bach Come Down, O Love Divine Composed by Hilary Tadman-robins Plainsong: Creator Of The Stars Arranged by John Scott Drop, Drop Slow Tears Composed by Kerry Andrew Evening Service In C Composed by Frank Henry Shera Fairest Lord Jesus Composed by Martin How Gabriel To Mary Came Composed by 14th Century Irish; Arranged by Alan Bullard Give Thanks To God Composed by Botswanan Traditional; Arranged by Alan Bullard God Be In My Head Composed by Armstrong Gibbs God In Mine Eternity Composed by Alan Bullard God So Loved The World Composed by Alan Bullard God That Madest Earth And Heaven Composed by Welsh Traditional; Arranged by David Thorne Hail, Virgin Mary (Ave Maria) Composed by Franz Liszt Hark, The Glad Sound Composed by David Thorne Harvest Carol Composed by Ian Ray He Is Risen Composed by Cecil Cope Hide Not Thy Face Composed by Richard Farrant see all... Holy, Holy, Holy, Holy Is The Lord Composed by Franz Schubert; Arranged by Alan Bullard Holy, Holy, Holy! Lord God Almighty Composed by Alan Smith Hosanna To The Son Of David Composed by Georg Philipp Telemann Irish Blessing Composed by Bob Chilcott Jesu, Lamb Of God, Redeemer (Ave Verum Corpus) Composed by Edward Elgar Jesus Christ The Apple Tree Composed by English Traditional; Arranged by Alan Bullard Jubilate (Let Us Praise You) Composed by Wolfgang Amadeus Mozart Lamb Of God (Agnus Dei) Composed by Samuel Webbe Let All Mortal Flesh Keep Silence Composed by Stephen Cleobury Like The Murmur Of The Dove's Song Composed by Alan Smith Lord, In Thy Mercy Composed by Felix Bartholdy Mendelssohn Magnificat And Nunc Dimittis In C Composed by F. H. Shera Never Weather-beaten Sail Composed by Thomas Campion; Arranged by Alan Bullard Now The Green Blade Riseth Composed by French Traditional; Arranged by Alan Bullard O Breath Of Life Composed by English Traditional; Arranged by Alan Bullard O For A Closer Walk With God Composed by Charles Villiers Stanford O God Of Mercy Composed by Simon Lole O God, Your Goodness Composed by Ludwig Van Beethoven O Praise God In His Holiness Composed by John Weldon Panis Angelicus Composed by Cesar Auguste Franck Peace Between Nations Composed by Christopher Wiggins Pie Jesu Composed by Gabriel Faure Praise To The Trinity Composed by Hildegard Of Bingen Psalm 150 Composed by Bob Chilcott Rejoice In The Lord Always Composed by Christopher Wiggins Shout For Joy Composed by African Traditional; Arranged by Alan Bullard Star Of Wonder Composed by Alan Bullard The Eternal Gifts Of Christ The King Composed by Guidetti/henry G. Ley The Heavens Sing Praises To God Composed by Ludwig Van Beethoven The Lord Ascendeth Composed by Michael Praetorius The Lord Bless You And Keep You Composed by John Rutter The Lord's My Shepherd Composed by Bob Chilcott The Peace Of God Composed by Alan Bullard The True And Living Bread Composed by David Blackwell There Is No Rose Composed by Andrew Smith Thou Visitest The Earth Composed by Maurice Greene To Be A Pilgrim Composed by Nick Burt Were You There? Composed by American Spiritual; Arranged by Peter Hunt Where All Charity And Love Are (Ubi Caritas) Arranged by Alan Bullard Wondrous Cross Composed by Philip Wilby The Oxford Book of Flexible Anthems by Alan Bullard (1947-). For flexible instrumentation. Mixed Voices. Sacred. Paperback. 296 pages. Published by Oxford University Press

Voice and Piano. By Various. Arranged by A. Parisotti. Vocal Collection. Size 9x12 inches. 196 pages. Published by Ricordi.

Guitar solo - Advanced

SKU: DZ.DZ-4308

Composed by Giorgio Mirto. Score. Les Productions d'OZ #DZ 4308. Published by Les Productions d'OZ (DZ.DZ-4308).

ISBN 9782898522253.

Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.

FRANCESCO BIRAGHI

Au lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.

FRANCESCO BIRAGHI.

Concert Band - Grade 6

SKU: BT.EMBZ14691SET

Composed by Kamillo Lendvay. EMB Concert Band Series. Concert Piece. Set (Score & Parts). Composed 2010. 454 pages. Editio Musica Budapest #EMBZ14691SET. Published by Editio Musica Budapest (BT.EMBZ14691SET).

9x12 inches.

The world-famous Hungarian composer Kamilló Lendvay (b. 1928) has written not only operas, oratorios, cantatas, symphonies, concertos, chamber music and solo instrumental works but also a considerable number of pieces for wind ensembles. His Wind Symphony, composed in 2007-2008, consists of four movements: I. Invocation of the Muse - II. Sunrise in Copacabana - III. The Iguazu Falls - IV. Rio Carnival. The work was written for professional ensembles and will have its premiere in Szeged on April 16, 2010, performed by the Concert Wind Ensemble of the Faculty of Music of Szeged University, conducted by József Csikota.

Der weltweit bekannte ungarische Komponist, Kamilló Lendvay (*1928), komponierte neben Opern, Oratorien, Kantaten, Symphonien und Konzerten, Kammermusik und seinen Werken für Soloinstrumente, eine große Anzahl an Stücken für Bläserensembles. Die 2007-2008 entstandene Bläser-Symphonie ist vier-sätzig: I. Invokation zu den Musen - II. Sonnenaufgang an der Copacabana - III. Die Iguazu-Wasserfälle - IV. Karneval in Rio. Das Werk wurde für professionelle Ensembles komponiert, seine Uraufführung findet am 16. April 2010 in Szeged statt. Mitwirkende: Bläserorchester der Musikalischen Fakultät der Universität der Wissenschaften Szeged, unter der Leitung von József Csikota.

Le célèbre compositeur hongrois, Kamilló Lendvay (Budapest, 1928), est l’auteur d’une impressionnante série d’opéras, d’oratorios, de cantates, de symphonies, concerti, oeuvres de musique de chambre, oeuvres solos et créations pour Orchestres Vent. En 2007-2008, il compose sa Symphonie n° 6 pour Orchestre Vent en quatre tableaux aux couleurs du Brésil : I. Invocation aux Muses - II. Lever de soleil sur Copacabana - III. Les chutes d’Iguazú - IV. Carnaval de Rio.

Conosciuto in tutto il mondo, il compositore ungherese Kamillo Lendvay (1928), ha composto, accanto ad opere, oratori, sonate, sinfonie, concerti, musica da camera e pezzi per strumenti solistici, un importante numero di brani per ensemble di fi ati. La sua sinfonia per sei fiati composta tra il 2007 e il 2008, è costituita da quattro movimenti.

Upper Voices a Cappella (EQUAL VOICES)

SKU: HL.50488363

Composed by C. Kreek. EMB. Classical. Part. 4 pages. Editio Musica Budapest #Z5709. Published by Editio Musica Budapest (HL.50488363).

ISBN 9790080057094. 6.75x9.5x0.015 inches. Hungarian. Istvan Parkai; Katalin Nadas.

Descant recorder - easy

SKU: HL.49007511

German Text. Composed by Gerhard Engel, Gudrun Heyens, Hans-Martin Linde, and Konrad Huenteler. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Student book. 80 pages. Schott Music #ED 7771. Published by Schott Music (HL.49007511).

ISBN 9783795750671. UPC: 073999263855. 9.0x12.0x0.199 inches. German. Christa Estenfeld-Kropp.

Where in volume 1 the notes in the octave c1 * d2 were carefully introduced and consolidated, volume 2 expands the range of notes to include c3 and gradually introduces chromatic notes. Rhythmic knowledge is extended (semiquavers, dotted crotchets) and different playing styles are practised (legato, staccato, portato). Lots of songs from all over the world, together with increasing numbers of original pieces, provide varied and colourful teaching repertoire. The teacher's book deals with the prerequisites for starting lessons (buying and caring for an instrument, the principles of teaching) and gives plenty of practical tips for lessons and suggestions for introducing each piece. Following on from volume 2, the publishers now present a tutor book for treble [alto] recorder that continues to feature the descant [soprano] recorder too (ED 8641/ED 8642).

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Sleigh Bells, Snare Drum, Suspended Cymbal, Timpani, Triangle and more.

SKU: CF.YPS259F

Composed by Michael J. Miller. Full score. 12 pages. Carl Fischer Music #YPS259F. Published by Carl Fischer Music (CF.YPS259F).

ISBN 9781491163993. UPC: 680160922789.

Silent Midwinter’s Noel is a fantasia on three traditional Christmas tunes. The introduction of the piece, an Adagietto, alternates between melodic statements of In The Bleak Midwinter and Silent Night. The second main section of the piece, an Allegro, primarily juxtaposes The First Noel and Silent Night.The tempo markings throughout the score are mostly suggestions. The conductor may choose to deviate within five to ten clicks in either direction on their metronome. During the Adagietto, the conductor may also choose to draw out harmonic cadences for increased tension and resolution.The piece is scored in Eb and F major to allow younger performers to achieve excellent intonation. Performers should strive to produce characteristic sounds, especially when playing melodic statements. The tunes within this piece are all carols, and should be played as such. The conductor may choose to teach the performers how to sing the carols for added educational value. Lyrics for the carols are included below:Silent NightSilent night! Holy night!All is calm, all is brightRound yon virgin mother and child!Holy infant, so tender and mild,Sleep in heavenly peace!Sleep in heavenly peace!In the Bleak MidwinterIn the bleak midwinterfrosty wind made moan,earth stood hard as iron,water like a stone:snow had fallen,snow on snow, snow on snow,in the bleak midwinter,long ago.The First NoelThe First Noel the angel did sayWas to certain poor shepherdsin fields as they lay;In fields as they lay, keeping their sheep,On a cold winter's night that was so deep.Noel, Noel, Noel, Noel,Born is the King of Israel.