Par BRIDGE FRANK. A collection of four songs by Frank Bridge. Includes: Day After Day, Speak To Me, My Love!, Dweller In My Deathless Dreams, and Journey's End. A collection of four songs by Frank Bridge. Includes: Day After Day, Speak To Me, My Love!, Dweller In My Deathless Dreams, and Journey's End./ Répertoire / Chant et Piano

Par BRIDGE FRANK. Frank Bridge was one of the finest English composers of the first half of the 20th century. The Pageant of London is his only work for wind band, comprising of two marches, one scored from Bridge’s best known organ piece and including the chimes ofBig Ben, plus three short renaissance pastiche items, one arranged from Playford (later used by Peter Warlock in Capriol Suite). The music is tuneful, approachable and, in the words of wind band ‘legend’ Timothy Reynish makes a fine alternative toHolst’s two suites, which were composed around the same time. Reynish has introduced this work to concert bands right across the world. It has been performed in USA and the Far East, recorded by the celebrated Kosei Wind Orchestra of Japan and alsoby the BBC National Orchestra of Wales in the Chandos edition of Bridge Orchestral Music./ Répertoire / Orchestre D'Harmonie

Par BRIDGE FRANK. Frank Bridge's Miniatures for Violin, Cello and Piano. Set 2 (Nos. 4-6)/ Répertoire / Trio avec Piano

Par BRIDGE FRANK. Frank Bridge's Miniatures For Violin, Cello And Piano - Set 3. Nos. 7-9./ Répertoire / Trio avec Piano

Par BRIDGE FRANK. Originally composed in 1930 for Cello and Orchestra, this is a chamber arrangement of a sombre and poignant war requiem by Frank Bridge. / Niveau : Elémentaire / Répertoire / Violoncelle et Piano

Par BRIDGE FRANK. Two small chamber works by Frank Bridge, available together for performance by Cello and Piano. Edited by Julian Lloyd Webber./ Répertoire / Violoncelle et Piano

Par BRIDGE FRANK. Bridge's major piano work, reissued in 1980 with an introduction by John Bishop, is a masterpiece of the 20th century./ Répertoire / Piano

Century Spain. Par KOONCE FRANK. Scholarly editions, which serve different purposes than performance editions, are not often designed with the modern guitarist in mind. For instance, Renaissance vihuela tablatures are usually transcribed with the open first string as G, not E. Most are presented in double-staff notation, a medium that is superior for realizing counterpoint but unconventional as guitar notation. Furthermore, these editions sometimes give idealized, but not realistic, solutions for voicing, note duration, and other matters that need to be considered within the limitations of our instrument. Guitarists who try to play from these editions essentially are faced with the task of transcribing thetranscription!This 188-page anthology is designed as a companion volume to The Baroque Guitar in Spain and the New World (MB21122). It includes representative selections, edited for modern guitar, from the seven books for vihuela that were published in Spain between 1536 and 1576. As well as being fun and entertaining music for all to enjoy, these collections are intended to help bridge the gap between scholarly editions and performance editions by providing a hands-on introduction to tablature transcription and to issues concerning historically informed performance of early music on the guitar. * A 188-page anthology, edited for modern guitar, from the seven books for vihuela that were published in Spain between 1536 and 1576. * A companion volume to The Baroque Guitar in Spain and the New World (MB21122). * Intended to help bridge the gap between scholarly editions and performance editions. * An introduction to tablature transcription and to issues concerning historically informed performance of early music on the modern guitar. Scholarly editions, which serve different purposes than performance editions, are not often designed with the modern guitarist in mind. For instance, Renaissance vihuela tablatures are usually transcribed with the open firststring as G, not E. Most are presented in double-staff notation, a medium that is superior for realizing counterpoint but unconventional as guitar notation. Furthermore, these editions sometimes give idealized, but not realistic, solutions for voicing, note duration, and other matters that need to be considered within the limitations of our instrument. Guitarists who try to play from these editions essentially are faced with the task of transcribing thetranscription!This 188-page anthology is designed as a companion volume to The Baroque Guitar in Spain and the New World (MB21122). It includes representative selections, edited for modern guitar, from the seven books for vihuelathat were published in Spain between 1536 and 1576. As well as being fun and entertaining music for all to enjoy, these collections are intended to help bridge the gap between scholarly editions and performance editions byproviding a hands-on introduction to tablature transcription and to issues concerning historically informed performance of early music on the guitar. A 188-page anthology, edited for modern guitar, from the seven books forvihuela that were published in Spain between 1536 and 1576 A companion volume to The Baroque Guitar in Spain and the New World (MB21122) Intended to help bridge the gap between scholarly editions and performance editions Anintroduction to tablature transcription and to issues concerning historically informed performance of early music on the modern guitar. / Niveau : Intermédiaire / Tablatures / Guitare Tablatures

Par GOODALL HOWARD. La bande originale de la smash frappé film du premier roman de Helen Fielding, le journal de Bridget Jones. Initialement conçu comme une chronique hebdomadaire dans The Independent dimanche, c'est pour tenir compte de la vie urbaine de Londres et d'appel aux jeunes femmes professionnelles. / Rép International / Recueil / Piano, Chant et Guitare