A superb way to keep your concert performance vibrant and interesting is the inclusion of one or two feature pieces. The natural contrast that happens when you include a section feature or solo keeps the audience focused and enlivens your program.Feature your agile and expressive Flute section this season with FLIRTATIONS FOR FLUTE by James Curnow! With its light and frivolous air Flirtations For Flute was composed specifically for use by many different combinations of Flutes from a solo to an entire Flute section. The piece focuses on the fast paced flexible side of the instrument’s capabilities.

Score-Of almost any of the works of Bloch's maturity the 'Sinfonia Breve' has the least amount of Jewish ‘flavour’. In 1952 when this piece was written Bloch was exploring some other vocabularies rather than the one that is most often identified with him. His flirtation with (twelve-tone techniques still sounds like Bloch. The title of the work indicates a more formal structure than many of his more poetic creations. It does follow the classical four movement pattern and Bloch links them by utilizing appropriately transformed thematic material. The first movement commences with an important thrusting theme. The second movement is meditative and quite beautiful. Thestring section dominates and Bloch exhibits the same mastery of counterpoint that one finds in his string quartets. The Scherzo begins with an off-beat major 7th figure. The first trio is a slower lyrical contrast. The second trio has the most exotic writing of the whole Sinfonia. The finale recalls much of the important material from the previous movements. This grand summation ends calmly.

Acte de Ballet. Par RAMEAU JEAN-PHILIPPE. Rameau Io RCT 45 (Vocal Score) In Rameau's operatic oeuvre, 'Io' is certainly the work shrouded in the most mystery: the acte de ballet has survived only in the form of a copy of the score and parts which was made by a collector from the generation after Rameau from the autograph that now is lost. Although the copy seems to have been used, presumably for a trial read-through, the work was apparently never regularly performed during Rameau's lifetime. And for good reason: the work breaks off abruptly at the beginning of the divertissement; neither the librettist nor a plan for a theatre location are known. Because of its incompleteness, 'Io' was long regarded as Rameau's last work, but there is much to suggest that the composition must have been written between 1740 and 1745. The introduction to this edition examines the references regarding the dating as well as various hypotheses about performance possibilities and librettists. The plot revolves around one of those typical mythological flirtations that are inevitably to be expected when Jupiter and a nymph, here Io, are involved. With the appearance of madness, La Folia, the work reaches a dramaturgical climax. However after this, the opera breaks off. In order to make the piece performable, the editors of ?Opera Omnia Rameau? propose an addition to the divertissement as well as an ending borrowed from the ballet bouffon 'Platée' in its 1745 version, which shows numerous parallels to 'Io'. Thus, these additions come as close as possible to Rameau's style of the 1740s while bringing the plot to a conclusion. - Fragmentary work completed with original music by Rameau - Based on the score of ?Opera Omnia Rameau?, Volume V/1 - Particularly suitable for academies and conservatories as few soloists are required and the few choral movements can be sung by soloists / Date parution : 2023-06-01/ Répertoire / Opéra