Par GOUNOD CHARLES. Gounod, comme Berlioz à la même époque, eut le grand mérite d'avoir donné à la mélodie un relief qu'elle n'avait pas eu jusque là en France. C'est avec lui que naît véritablement la mélodie française qui se substitue peu à peu à la romance, plus simple et d'un accompagnement moins raffiné. Gounod, en particulier dans ses premières oeuvres, choisit de beaux textes et calque avec un grand talent sa mélodie sur le 'chant' du langage français, en respectant le rythme établi par le poète. Nous avons voulu présenter une anthologie des mélodies qui nous ont semblé les mieux adaptées au goût d'aujourd'hui. Les Editions Henry Lemoine, qui furent à l'époque l'un des principaux éditeurs de Charles Gounod, souhaitent ainsi contribuer à faire aimer ces oeuvres au même titre que celles de compositeurs plus souvent interprétés et qui doivent peut-être quelque chose à Gounod... Jacqueline Bonnardot / classique / Répertoire / Voix Moyenne et Piano

Tonalité : D-Dur - Mh 797. Par HAYDN JOHANN MICHAEL. Michael Haydns festliche 'Missa sub titulo Sanctae Theresiae' ist ein Auftragswerk von Marie-Thérèse, der Gemahlin Kaiser Franz I. von Österreich, und entstand im Sommer 1801. Charles H. Shermans Edition enthält, neben mehreren Facsimilia, die Erstfassung der Fuge 'In gloria Dei Patris' sowie eine ausführliche biografische Einleitung, aus der hervorgeht, dass die Zeitgenossen Michael Haydn als Kirchenkomponisten durchaus neben, wenn nicht gar über seinen Bruder Joseph und W. A. Mozart stellten. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Trompett

Tonalité : D-Dur - Mh 797. Par HAYDN JOHANN MICHAEL. Michael Haydns festliche 'Missa sub titulo Sanctae Theresiae' ist ein Auftragswerk von Marie-Thérèse, der Gemahlin Kaiser Franz I. von Österreich, und entstand im Sommer 1801. Charles H. Shermans Edition enthält, neben mehreren Facsimilia, die Erstfassung der Fuge 'In gloria Dei Patris' sowie eine ausführliche biografische Einleitung, aus der hervorgeht, dass die Zeitgenossen Michael Haydn als Kirchenkomponisten durchaus neben, wenn nicht gar über seinen Bruder Joseph und W. A. Mozart stellten. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Trompett

Tonalité : D-Dur - Mh 797. Par HAYDN JOHANN MICHAEL. Michael Haydns festliche 'Missa sub titulo Sanctae Theresiae' ist ein Auftragswerk von Marie-Thérèse, der Gemahlin Kaiser Franz I. von Österreich, und entstand im Sommer 1801. Charles H. Shermans Edition enthält, neben mehreren Facsimilia, die Erstfassung der Fuge 'In gloria Dei Patris' sowie eine ausführliche biografische Einleitung, aus der hervorgeht, dass die Zeitgenossen Michael Haydn als Kirchenkomponisten durchaus neben, wenn nicht gar über seinen Bruder Joseph und W. A. Mozart stellten. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Trompett

A collection of chants designed for use by Church choirs. A considerable number of Cathedral Psalter Chants which have stood the test of time have been retained and favourites form other sources have been added. Besides these many new ones by 20th century composers will be found including 43 double and 20 single chants which have been specially written for this book.Edited by Charles H. Lloyd.

Tonalité : D-Dur - Mh 797. Par HAYDN JOHANN MICHAEL. Michael Haydns festliche 'Missa sub titulo Sanctae Theresiae' ist ein Auftragswerk von Marie-Thérèse, der Gemahlin Kaiser Franz I. von Österreich, und entstand im Sommer 1801. Charles H. Shermans Edition enthält, neben mehreren Facsimilia, die Erstfassung der Fuge 'In gloria Dei Patris' sowie eine ausführliche biografische Einleitung, aus der hervorgeht, dass die Zeitgenossen Michael Haydn als Kirchenkomponisten durchaus neben, wenn nicht gar über seinen Bruder Joseph und W. A. Mozart stellten. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Trompett

2me Polonaise brillante pour violon avec acompagnement de piano op.21 Henryk Wieniawski wrote only two polonaises. The first one, op. 4 in D minor, is one of his youthful works; the other, op. 21 in A major, is one of the last works he composed. Moreover, H. Wieniawski is the co-author of another polonaise, op. 8, for violin and piano, which he wrote with his brother Józef Wieniawski, a pianist. The latter polonaise, like the Polonaise in D minor op. 4, is also a youthful composition (1852). The polonaise as a genre, therefore, does not occupy much space in Wieniawskis heritage. Nonetheless, both polonaises, in D minor and A major, constitute an essential part of his artistic inheritance. Likewise, both polonaises had been composed in two versions: for violin and orchestra, and for violin and piano. The Polonaise in A major was completed in 1870. It is not known precisely which of the versions, the one with the piano, or the one with the orchestra first came into being. It was the version with orchestra that the composer performed for the first time on 17 March 1870, in the Grand Theatre in St. Petersburg. But merely two months later he performed the Polonaise in Warsaw, accompanied by his brother Józef at the piano. It is quite possible that Wieniawski had already performed this version of the Polonaise. It is certain, nonetheless, that both versions either appeared simultaneously, or one was composed shortly after the other. From its first public performance until the end of his concert career, Wieniawski often included this Polonaise in his concert repertoire, playing one version or another, the choice depending on the needs and circumstances. Just to mention one occasion, he played the orchestral version during a concert tour of Sweden in 1870, when he dedicated and presented a manuscript of this piece to King Charles XV of Sweden. The dedication, however, was changed in print, and both versions were eventually dedicated to François van Hal. Both versions were published simultaneously, by Schott Publishers in Mainz, with the same plate number, though the orchestral version appeared only in parts, which was a common practice in those days. The piece was most probably not published earlier than 18751. The Polonaise was praised by the critics. The reviews reported that it was a magnificent piece2, and this opinion was shared by later critical reviews, both Russian and West European. The Polonaise remained popular after the composer had died, which is evident from the number of later editions of the piece (more than ten) issued by different publishers, mostly German, and prepared by different editors. In Poland, the Polonaise was published twice after the Second World War. All the editions introduced some more or less significant changes into the text, mostly concerning performance indications, but in a sense blurring the composers intentions. All those changes were pertinent to the violin and piano version, and it was mostly in this form that the piece appeared in concert and teaching repertoires. The performances with an orchestra were much more seldom which was, among other factors, due to limited availability of the orchestral version, as it had never been published again after the first edition, until now. The Polonaise in A major was composed approximately at the same time as the Violin Concerto No. 2 in D minor3. This convergence in time had influenced a certain similarity with regard to both composition and technical means, and also to the themes. In particular, the similarity becomes quite obvious in the second theme of the Allegro in the Concerto, and in the theme of the Polonaise. The Polonaise in A major is also in a certain way similar to the first Polonaise (in D minor), the motifs of the themes in both polonaises are alike. However, both pieces differ in style. The Polonaise in D minor shows the composers fascination with technical writing. Wieniawski makes the most of double-stops, chords, and all other sophisticated virtuoso techniques. The Polonaise in A major, written 18 years later, is much more mature. Although it is a virtuosic piece as well, the techniques used are somewhat more limited and subordinated to the expression. The virtuoso character of this piece is more fragile, much closer to the brillant style. At the same time, the Polonaise is typical of Wieniawskis violin playing technique. Here the composer uses the means regarded by his contemporaries to be typical of him, e.g., long staccato fragments played with one bow. The Polonaise is a concert piece in one movement extended form with a considerably abbreviated return of the first section at the end. The middle section is contrasting in character, due to the modulation to F major, change of tempo (meno mosso) and the reduction in the number of instruments (in the orchestral version). All the sections show thematic similarity. The first section, too, consists of three subsections, including a contrasting middle subsection (in E major). Zofia Chechlińska Footnotes 1. See The Critical Commentary, p. ? and onward. 2. See V. Grigoriev, Henryk Wieniawski. Życie i twórczość. [Life and Work] Warszawa - Poznań 1986, p. 184. 3. The first version of the Concerto No. 2 in D minor was completed in 1862, but in 1870, i.e., not until the Polonaise in A major was completed, Wieniawski had been working on the Concerto and implemented quite a few changes. Publisher: PWM/Towarzystwo Muzyczne im. Henryka Wieniawskiego w Poznaniu Series: Henryk Wieniawski - Complete Works Cover: softback Nr ISMN: 979-0-2740-0753-9 Number of pages: 34+8 Format: N4 stoj. 235x305 Language version of text: pol., Eng.

The text comes from Charles Wesley of the 18th century but the music comes from 21st century England. Clothed in a garb of lofty cathedrals the music begins majesticlly. Suddenly a stunning contrast in delicate a pappella counterpoint captures our imagination saying Christ has opened Paradise. This is truly an Easter anthem with a great deal to say.

Jazz Play-Along Volume 56-The songs of Hoagy Carmichael have formed a significant part of the Jazz repertoire for decades and his timeless classics Georgia On My Mind and Stardust have been performed by countless great players including Ray Charles Louis Armstrong and Martin Taylor. This set contains a versatile Play-along CD for improvisation study and performance and with a choice of backing tracks (A split track with melody removable bass and piano parts and a full stereo rhythm section) and easy to read authentic and accurate lead sheets players of all instruments will enjoy these terrific pieces.

Maintenant vous pouvez jouer quatre-vingt-cinq rock et pop classiques de l'hé-journée de la musique de guitare et de l'époque qui nous a Rock ' ne Roll, les années 1950. Y compris vos hits favourtie de Paul Anka, Chuck Berry, Johnny Cash, Eddie Cochran, Buddy Holly, Jerry Lee Lewis, Dean Martin, Ricky Nelson, Roy Orbison, Elvis Presley et légendes plus nombreux ! Toutes les chansons ont été pris pour guitare dans les touches originales de réels succès enregistrements. Chords complètes avec paroles complètes, boîtes de guitare et un guide de jeu. / Chant Et Guitare / 192 pages / Partition

Carol with words translated from the French 'Quittez Pasteurs' by Alice Raleigh. Harmonised and arranged for SATB Choir A Cappella by C.H. Kitson.