Travellers Tales 'avec leurs titres et descriptifs contiennent imagination contrôlée défis techniques et musicales qui non seulement améliorer la situation d'enseignement, mais de fournir du matériel excellent concert lorsqu'il est effectué avec les accompagnements au piano - que ce soit en direct ou avec le CD. Beaucoup de pièces afficher le fun et l'humour devrait de ce compositeur, et également créer des moments de magie. Un voyage musical de découverte! / Flûte Traversière / 44 pages / niveau : Elementaire / Partition Cd

Le compositeur Maurice Ravel est toujours heureux de revenir dans son Pays basque natal pour retrouver Inès, sa petite nièce qui adore danser. Mais il ne se doute pas encore que le morceau, qu?il va composer
spécialement pour elle, va devenir l?un des plus grands tubes du répertoire... / Enfance / Livre CD /

In search of 'La Valse'-Winning Performance EBBC Lille 2016 Raveling Unraveling In Search of ‘La Valse’ was written for the Cory Band as their own-choice test piece for the 2016 European Brass Band Championships in Lille. The piece found its genesis in Sparke’s The Unknown Journey (2014) for concert band and the use of Ravel’s La Valse as a structural undercurrent to the original piece is an act of reverence. Sparke’s aim was to produce a work that is organic rather than episodic in nature. The composer’s view is that little in music does this better than La Valse and for this reason he uses various sections of this masterpiece both manipulated and quoted verbatim (including much of itsstunningclosing passages) to provide the overall geography of his new work. As the music progresses more of the Ravel appears surfacing completely as the piece reaches its climax - a gesture of homage to the French master.

pour voix moyenne ou grave-The melodies of MAURICE RAVEL (1875-1937) span the entire chronology of his creative output from his earliest song BALLADE DE LA REINE MORTE D`AIMER (1893) written during his student years at the Paris Conservatory to the cycle DON QUICHOTTE ÀDULCINÉE (1932-33) his last compositions in any genre. In his songs Ravel’s text settings display a meticulous attention to detail. Ravel´s melodies are elegant and refined classical in their phrase structure. In his treatment of rhythm Ravelfinds subtlety within traditional meters and dance forms-minuet waltz folk dances (especially Spanish dance) -also shape the rhythm in many of his songs.

Maurice RavelConcerto pour piano en Sol majeurPeter Jost (Editeur)Pascal Rogé (Doigtés)Johannes Umbreit (Réduction pour piano) réduction pour piano, Edition Urtext, reliure paperbackConcertos pour pianoDeux partitions sont nécessaires pour une représentationLes premiers projets de concerto pour piano de Ravel datent de 1906, mais il fallut attendre le début de l’année 1929 pour qu’il s’y consacre sérieusement. Il déclara plus tard qu’il avait composé «dans l’esprit des concertos de Mozart et de Saint-Saëns», que la musique devait être «joyeuse et brillante», sans viser «la profondeur ou les effets dramatiques». L’énergie rythmique et les emprunts au jazz caractérisent les mouvements extrêmes, tandis que le mouvement lent, où les temps forts de la mesure sont subtilement décalés, est entièrement dédié à l’élément mélodique. Outre les manuscrits et les différentes versions imprimées, cette édition Henle de la partition originale s’appuie également sur un enregistrement sonore réalisé sous la supervision du compositeur par la dédicataire de l’œuvre, Marguerite Long. Depuis le succès rencontré lors de sa création en janvier 1932, le concerto appartient au répertoire de tous les grands pianistes, dont en particulier l’expert de musique française Pascal Rogé à qui nous devons les doigtés de la partie de soliste. / Piano / Henle Verlag

Oratorio for Solo Tenor, Solo Violin, SATB, Children's Choir and Orchestra of Strings, Harp and Perc. Par ROTH ALEC. Alec Roth’s The Traveller is an oratorio for solo tenor, solo violin, SATB choir, children’s choir and an orchestra of strings, harp and percussion. In addition to writing six new poems for the piece, Vikram Seth has made English translations of twenty Indian texts from a rich variety of traditions and languages, including Sanskrit, Pali, Hindi, Urdu, Bengali, and Tamil. Taking as its theme the Ages of Man, the work is divided into six main sections: Unborn – Child – Youth – Adult – Old – Dead, followed by a short epilogue. In this universal tale of Man’s journey through life, the role of The Traveller is taken by the solo violin, The Companions by the Choir and The Poet by the tenor soloist. The Traveller was commissioned jointly by the Salisbury, Chelsea and Lichfield Festivals with funds provided by the Arts Council of England and the PRS Foundation. It was first performed by Mark Padmore (tenor), Philippe Honoré (violin) and the Britten Sinfonia, conducted by the composer, with the Salisbury Festival Chorus and Salisbury Area Young Musicians Junior Choir, at Salisbury Cathedral on 31 May 2008. This edition (EP73536a) is the vocal score. The full score (EP73536) is available to purchase and the orchestral materials are available for hire. / Date parution : 2022-07-23/ Répertoire / Ténor Solo, Violon Solo, SATB, Chœur d'Enfants et

Ravel, Maurice Tzigane Concert rhapsody for violin and piano In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D?Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D?Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel?s virtuoso classic ?Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated ?Tzigane? and both versions remain a ?must? for music-lovers and aspiring violinists today. Jelly D?Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel?s masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer?s earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition; one of the available sources, consulted for the first time, was a copy of ?Tzigane? from the estate of Jelly D?Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D?Aranyi. D?Aranyi?s alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D?Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto. - First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano - Includes Jelly D?Aranyi?s fingering

This collection of sheet music by the great French composer Maurice Ravel features 19 of his greatest pieces all newly-arranged especially for this volume. The subtle melodies and achingly beautiful harmonies of theselush Impressionist pieces truly do illustrate the sheer Joy Of Ravel. The pieces by Ravel included in this collection rank alongside Debussy as some of the prettiest Piano music evercomposed. Ravel himself categorically refused the term 'Impressionist' believing it to be reserved for paintings only but his?music so closely resembles the colourful flourishing and affective beauty of those worksof art that it is difficult to resist such a description. Featuring works like Boléro Jeux D'Eau Pavane Pour Une Infante Défunte as well as excerpts from La Valse The Joy Of Ravel?forsolo Piano sound utterly divine. Pieces like Menuet Antique Prélude and the selections from Le Tombeau De Couperin?perfectly encapsulate what makes Ravel's compositions soincredible. His perfectionist methods resulted in extended harmonies complexly musical modulations and masterful melodies that make these 19 works of art an unabashed joy to play and to hear. One of the great things about thissheet music book is the visual beauty of the music. With lilting notes and extensive ties this is not only a work full of aural pleasure but it's some of the nicest-looking notation out there. Certainly in this case what you seeis what you get simply The Joy Of Ravel. The Joy Of...?series is a constantly growing collection of musical editions that is now recognised and loved throughout theworld. Originally compiled by the editorial hand of renowned teacher arranger and musicologist Denes Agay the series continues to reflect his influence and covers a wide variety of musical genres including the classics folk

for the Left Hand for Piano and Orchestra-In 1929 Paul Wittgenstein a pianist and war veteran who lost his right arm in the Great War commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel’s most thrilling compositions and for Wittgenstein the most important of the many works he commissioned over the course of his career.This scholarly-critical edition of Ravel’s Piano Concerto For The Left Hand is based on previously inaccessible and unknown sources. The editor Douglas Woodfull-Harris was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace the work’s evolutionfrom Ravel’s autograph working copy to the first printed edition.A source of key importance to our new edition is a handwritten French copy of Ravel’s own Piano reduction (the autograph is inaccessible) that he gave to Wittgenstein to facilitate rehearsing the work. This copy is the sole source reflecting Wittgenstein’s own interpretation and containing his changes to the final cadenza. It also helps us to understand omissions in the first edition of the score as well as the Piano reduction and enabled the editor amongst other things to correct a great many notes which could be found in previous editions including the solo Piano part.The Piano reduction in our edition contains both Ravel’s and Wittgenstein’s fingering. Also included is a solo part without fingering thereby giving pianists the opportunity to enter their own fingering after having studied those of Ravel and Wittgenstein.Score and orchestral parts in large format (25.5 x 32.5 cm)Includes source descriptions and a Critical Commentary with alternative readings (Eng)Informative Introduction on the work’s history and genesis (Ger/Eng/Fr)With facsimile pagesPiano reduction with separate Urtext solo part enclosedFull score & parts (BA7881) and two-Piano reduction (BA7881-90) available for sale

for the Left Hand for Piano and Orchestra-In 1929 Paul Wittgenstein a pianist and war veteran who lost his right arm in the Great War commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel’s most thrilling compositions and for Wittgenstein the most important of the many works he commissioned over the course of his career. This scholarly-critical edition of Ravel’s Piano Concerto For The Left Hand is based on previously inaccessible and unknown sources. The editor Douglas Woodfull-Harris was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace thework’s evolution from Ravel’s autograph working copy to the first printed edition. A source of key importance to our new edition is a handwritten French copy of Ravel’s own Piano reduction (the autograph is inaccessible) that he gave to Wittgenstein to facilitate rehearsing the work. This copy is the sole source reflecting Wittgenstein’s own interpretation and containing his changes to the final cadenza. It also helps us to understand omissions in the first edition of the score as well as the Piano reduction and enabled the editor amongst other things to correct a great many notes which could be found in previous editions including the solo Piano part. The Piano reduction in our edition contains both Ravel’s and Wittgenstein’s fingering. Also included is a solo part without fingering thereby giving pianists the opportunity to enter their own fingering after having studied those of Ravel and Wittgenstein. Score and orchestral parts in large format (25.5 x 32.5 cm) Includes source descriptions and a Critical Commentary with alternative readings (Eng) Informative Introduction on the work’s history and genesis (Ger/Eng/Fr) With facsimile pages Piano reduction with separate Urtext solo part enclosed Full score & parts (BA7881) and two-Piano reduction (BA7881-90) available for sale.

In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane? and both versions remain a 'must? for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition - one of the available sources, consulted for the first time, was a copy of 'Tzigane? from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.- First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano- Includes Jelly D'Aranyi's fingering / Alto

Concert rhapsody for violin and piano-In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim Jelly D?Aranyi in concert in London. Following the performance Ravel spent the remainder of the evening requesting D?Aranyi to play numerous gypsy tunes on her violin probing her on the technical limits of the instrument. The result of this encounter is Ravel?s virtuoso classic ?Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano producing a sound similar to the rich overtones of the Cimbalon) the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel laterorchestrated ?Tzigane? and both versions remain a ?must? for music-lovers and aspiring violinists today. Jelly D?Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel?s masterpiece. It is published both in the orchestral version complete with full score and performance material as well as in the composer?s earlier version for violin and piano. All known sources including letters have been drawn on for the new edition; one of the available sources consulted for the first time was a copy of ?Tzigane? from the estate of Jelly D?Aranyi which is today part of a private collection. The version for piano and violin contains besides the Urtext part a second violin part as a facsimile with performance instructions by Jelly D?Aranyi. D?Aranyi?s alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D?Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.First scholarly-critical Urtext edition of the work Presented are both versions: for violin and orchestra and for violin and pianoIncludes Jelly D?Aranyi?s fingering