Following on the success of her two operatic works for children and teens - Douce et Barbe Bleue, Les Fables Enchantées, Little Thummie and Cendrillon (based on Perrault), as well as the adaptation of Maupassant's short story The Dumpling (2014) - Isabelle Aboulker once again hits the bull's eye with Myla And The Boat-Tree, a commission from the Villecroze Music Academy. In 2015, this musical tale for Narrator, Children's Choir and Instrumental Accompaniment, was awarded the 'Music for Young Performers Prize? by the French Music Publishers Association. Both in the French version and Marci Meth's excellent English translation, it provides the material for an enthralling educational adventure in which children between the ages of five and eight are invited into their first experience of opera and choir singing.With her trademark finesse and sensitivity, the composer tells the story of a little girl dealing with the death of a person she'd cherished above all: her grandfather. Written for choir in unison, this tale wafts shimmering melodies over an instrumental accompaniment suffused in turn with gentle melancholy and light humour. An art that speaks from an open heart.The work was written in three versions:for Narrator, Children's Choir and Piano (AL30732)for Narrator, Children's Choir and Trio (Clarinet in Bb, Cello and Piano: AL30733)for Narrator, Children's Choir and instrumental ensemble (Flute, Oboe, Clarinet in Bb, Bassoon, Horn, Trumpet in C, Trombone, Percussion, 2 Violins, Alto, Cello, Bass: AL30734)Choral score: AL30743 / Choeur A L'Unison Et Trio

Par LIEBMAN DAVID. Each volume of this unique jazz improvisation method includes: State of the art recordings (multi-track digital), recorded in the excellent Bauer Studios, where many of the productions for the record label ECM have been done, and in the Skyline Studios in New York City. Each set contains six complete performances, including opening and closing theme statements, improvised solos and six play-along tracks which feature the rhythm section without soloist. Many performances use the original arrangements from classic jazz recordings (So What, Equinox, A Night In Tunisia, 'Round Midnight, Con Alma, Webb City, Joshua etc.). Because the complete performances were approached as in a professional recording session the play-along versions sound fresh and spontaneous, with much interaction between the rhythm section instruments and the soloists. Piano and bass are clearly separated. Book with helpful commentary and analysis of each recorded performance in English, français and deutsch. Transcribed solos: Each book contains at least one complete solo transcription, many excerpts from other solos (piano and bass solos as well as horn and guitar solos are included) plus appropriate chord/scale information, including modes of the major, harmonic minor, melodic minor and symmetrical scales. Individual instrumental parts in C, B flat, E flat and bass clef: The detachable instrumental parts are extremely practical for both classroom and professional use. Completely notated piano and bass parts: Volume 1, 2, 5, 6, 7 and 8 contain detachable piano (or guitar) and bass parts for all six compositions, volume 3 on 3 tunes (A Night In Tunisia, 'Round Midnight and Embraceable You). Transcribed excerpts from piano and bass accompaniments: Excerpts from piano and bass accompaniments have been selected in order to illustrate the most important techniques for developing accompaniments on these instruments. This includes piano chord voicings, harmonic substitution and embellishment, developing bass lines, interaction with other instruments, etc./ Recueil / Tout Instrument

This three-movement work written in 1953 demonstrates York Bowen’s deep understanding of the Piano and displays his marked individuality. York Bowne was a British composer whose fifty-year career musical career spanned much ofthe 20th century. Bowen was not only a prolific composer he was also a pianist conductor Organist Violinist and Horn player. He premiered many important works and his own music was featured many times at the Proms amongother concert series. Sir Henry J Wood believed Bowen had never received proper recognition and Camille Saint-Saens regarded him as the ‘finest of English composers’ early in his career. His compositional style changed littlethroughout his life so that his later oeuvre was less celebrated than his earlier works as music fashion had moved on.

Andrew Clements of the Guardian newspaper says 'Maw is a composer who has been at pains to remake connections with the late-romantic tradition and Odyssey is a convincing reassertion of its continuing relevance a demonstration that long-range harmonic thinking and thematic development can be still potent resources for the right composer. . .the five-part structure of the work holds together more eloquently than one could possibly imagine; at times the musical language is close to early Berg at others it recalls the English tradition of the same period. It is a tapestry of long-limbed melodies pregnant with thematic possiblities and often punctuated with timpani motifs magical horn solos suspended in space massive climaxes crowned by flaring trumpets lush minutely detailed string writing and intricate webs of woodwind tracery'

Three settings of medieval English dance lyrics-This work is based on three medieval English song fragments the first ?Ich am of Irlande ? an invitation to dance the second ?Of every Kinne tre ? a parallel between the hawthorn and the lover the third ?Maiden in the more lay ? describing a spirit who lives among the flowers. The Viola adds an important dimension to the work from graceful backdrop to lively playmate.

Thomas Baron Pitfield (1903-1999) was a polymath and one of the last of the generation of English composers which came to prominence after the Second World War. Along with his contemporaries such as Michal Tippet andAlan Rawsthorne he helped to revitalise English classical music following the deaths of Elgar Holst and Delius. Apart from composing a vast amount of music most of which has now sadly been forgotten he was also an accomplishedbookbinder calligrapher artist poet cabinet maker and teacher. Tramping Song is a traditional folk song. It has been scored for TTBB Male Voice chorus.

Celebrated Complete Method of Trumpet Valved Cornet and Saxhorn has helped to form many generations of Trumpet Cornet and Saxhorn players. The compilation by French cornetist conductor and composer Jean-Baptiste Arban (1825-1889) successfully addresses requirements of modern technique and contemporary musical writing. Arban studied at the Paris Conservatoire and led a prosperous career as a versatile and accomplished musician. Celebrated Complete Method of Trumpet Valved Cornet and Saxhorn is divided into three parts which incorporate a vast variety of musical elements. Part 3 includes orchestralmusicianship stylistic characteristics competition pieces the higher register difficult passages and 27 modern studies. Containing a large amount of instruction in French English German and Spanish Arban's Celebrated Complete Method of Trumpet Valved Cornet and Saxhorn is not to be missed by aspiring brass players.

with Orchestral Accompaniment-Reprinted from authoritative Breitkopf and Härtel sources this collection features a variety of Brahmss most cherished choral works with orchestral accompaniment. Selections include:- Rhapsodie für eine Altstimme Männerchor und Orchester Op. 53 (Rhapsody for an Alto Mens Choir and Orchestra)- Schicksalslied von Friedrich Hölderlin für Chor und Orchester Op. 54 (Song of Destiny by Friedrich Hölderlin for Choir and Orchestra)- Nänie von Friedrich Schiller für Chor und Orchester Op. 82 (Nänie by Friedrich Schiller for Choir and Orchestra)- Gesang der Parzen von Goethe für sechsstimmigen Chor und Orchester Op. 89 (Song of the Fates by Goethe for Six-Part Chorus and Orchestra)- Ave Maria für Frauenchor mit Orchester oder Orgel-Begleitung Op. 12 (Ave Maria for Womens Chorus with Orchestral or Organ Accompaniment)- Begräbnisgesang für Chor und Blasinstrumente Op. 13 (Funeral Song for Chorus and Wind Instruments)- Gesänge für Frauenchor mit Begleitung von zwei Hörnern und Harfe Op. 17 (Songs for Womens Chorus Accompanied by Two Horns and Harp)- Ellens zweiter Gesang aus Walter Scotts 'Fräulein vom See' von Schubert für Sopran dreistimmigen Frauenchor vier Hörnern und zwei Fagotte Op. 52(Ellens Second Song from Walter Scotts 'Lady of the Lake' by Schubert for Soprano Solo Three-partWomens Chorus Four Horns and Two Bassoons)This edition features a new English translation of the original Editors Commentary as well as new translations of song lyrics.

Mozart’s masterpiece the PostHorn Serenade was composed in 1779 for the Salzburg University’s ‘Finalmusik’ ceremony that year. While the serenade gained its nickname from the call of the postHorn in the final minuet the interior movements feature compelling concertante sections for Flute and Oboe.It is from the fourth movement that English composer Anthony Collins has skillfully adapted this cversion of the Rondo in G major. Collins himself was a composer of some reputation in the 20th century best remembered for his light Orchestra piece Vanity Fair and for his film scores. This adaptation of Mozart’s demanding and elegant rondo brings the piece into the chambermusic repertoire.

The Fantasia for Organ has been described as both ‘fleshy in its Romanticism’ and also by the composer as ‘quite severe in parts’ an apt combination for the vast changes of the beginning of the post-War era.York Bowne was a British composer whose fifty-year career musical career spanned much of the 20th century. Bowen was not only a prolific composer he was also a pianist conductor Organist Violinist and Horn player. He premiered many important works and his own music was featured many times at the Proms among other concert series. Sir Henry J Wood believed Bowen had never received proper recognition and Camille Saint-Saens regarded him as the ‘finest of Englishcomposers’ early in his career. His compositional style changed little throughout his life so that his later oeuvre was less celebrated than his earlier works as music fashion had moved on.

Par ARNOLD MALCOLM. Malcolm Arnold composed his Second Flute Concerto in 1972 for Richard Adeney, who premiered it at the Aldeburgh Festival with the English Chamber Orchestra. Cast in three movements, this delightful 14-minute concerto is scored for solo flute, pairs of oboes and horns, and strings. / Instrumental Music / Répertoire / Flûte Traversière et Piano

Richard Rodney Bennet’s Symphony No. 3 commissioned for the 1987 Three Choirs Festival by the Elgar Foundation with additional funds from West Midlands Arts is now published in a facsimile study score.In contrast with his first two symphonies which were rather extrovert display pieces Symphony No. 3 is quite thoughtful and lyrical in nature more or less monothematic and has a strong feeling of tonality particularly at the opening and closing of the score. The more moderate orchestration (2 Flutes Oboe Cor Anglais 2 Clarinets in B flat Bassoon 2 Horns in F Percussion 1 (small Triangle Tam-tam 3 suspendedCymbals) Percussion 2 (side Drum tubular Bells) Timpani Piano Harp and Strings) also reflects this. Performance time of the three movements is ca. 22 minutes.Sir Richard Rodney Bennett was an English composer of film TV and concert music and also a jazz pianist. He was based in New York City from 1979 until his death there in 2012.

Edition no.: BA 5899-90 ISMN: 9790006543502 Editor: Poetzsch, Ute Arranger: Köhs, Andreas Language(s) of work: German Language(s) of text: German, English Product format: Piano reduction, Urtext edition Binding: Paperback Pages / Format: IX, 83 S. - 27,0 x 19,0 cm Georg Philipp Telemann?s two-part oratorio for St. John?s Day appeared as part of the ?great oratorio year? of 1730/31. Originally performed in two parts, before and after the sermon in the Divine Service, Telemann?s work now belongs rather to the concert hall repertoire. This hitherto unknown work, which lasts 45 minutes, is richly scored for soloists including 2 sopranos, alto, tenor and 3 basses accompanied by strings, flutes, oboes, horns and timpani, with further soloists and choirs also being employed. Performances are planned for the Magdeburg Telemann Festival in March 2014 and the Handel Festival in Halle in June 2014. ? Interesting addition to the repertoire for church as well as concert choirs ? Urtext edition based on the ?Telemann Musical Works? ? Performance practice orientated vocal score (Ger) ? Bilingual preface (Ger/Eng)