Coffret 4 DVD qui regroupe les meilleurs moments du Modern Drummer Festival de 2008, des performances live et des interviews d'artistes. Vous y retrouverez notamment le Bill Stewart Group, le Billy Ward Trio ainsi que le Thomas Pridgen Trio. / Batterie

Les Grammy Awards: Chanson de l'année 1958-1969 est un songbook emballé qui donne un aperçu parfait de la décennie en mettant en vedette arrangements de chaque chanson en nomination pour (et, bien sûr, le gagnant) pour le Grammy Award de la chanson de l'année.Ce volume comporte près de 60 hits de la décennie, y compris Battle of New Orleans, Born Free, Hey Jude, Mme Robinson et Moon River, pour n'en nommer que quelques-uns.La partition dans Les Grammy Awards: Chanson de l'année 1958-1969 a été savamment arrangé pour Piano, Voix et Guitare. / Piano/Vocal/Guitare (PVG)

Les Grammy Awards: Chanson de l'année 1990-1999 comporte une prestigieuse brochette de près de 50 des plus grands succès de la décennie qui ont été nommés pour la chanson de l'année, y compris les gagnants.Les Grammy Awards: Chanson de l'année 1990-1999 est un instantané parfait de certains de la musique du meilleur 90.Savamment disposés pour Piano, Voix et Guitare et avec des chansons comme Another Day In Paradise, Tears In Heaven, Kiss From A Rose et Iris, pour n'en nommer que quelques-uns, strong> Les Grammy Awards: Chanson de l'année 1990-1999 est le parfait , Chants pour les éclectiques 90. / Piano/Vocal/Guitare (PVG)

Les Grammy Awards: Meilleure chanson country 1964-2011 compte en tout 47 chansons jugées Best Country Song par la Recording Academy, y compris le roi de la route, On The Road Again, 9-5, tu es Still The One et The Gambler.La partition dans ce songbook a été savamment arrangé pour Piano, Voix et Guitare. Il s'agit d'une grande collection tout au long de classiques de pays et journée Country Hits plus modernes. / Piano/Vocal/Guitare (PVG)

Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie

for solo cello. Par LARCHER THOMAS. I do not compose my pieces for a certain voice range or orchestration, but for musicians, for people. It is almost impossible for me to produce a piece without having a particular person in mind or to hear him/her inwardly. No matter how standardized the interpretation of classical music is, and no matter how many coordinates have been fixed and defined, I do not want to have them seen (and therewith the notation) as determining and limiting signs, but rather as guideposts towards the creation of vital, organic music. In differentiated music, two participants are necessary in order for a piece to evolve-- the composer and the musician. Just as there is no one way for a composer to express himself or to notate music, etc., neither is there one way for a musician to read the notation, to interpret, or to live. We find ourselves, for this reason, in a network of meanings, gestures, and signs which have to be fathomed and expanded together. The tone, the breath, the gestures, the dedication, and the potentialities of a musician were also ultimately decisive for the form of this piece. It is music which pushes the expressive and technical possibilities of the instrument to its very limits. It is music in which the musician has to transport the contexts and expression over and above the notation. It was not necessary for me to find a new form for this piece; it is a work which can and should be performed in a ‘normal’ concert situation. I deliberately wanted to integrate the perhaps new and unusual content into a familiar form (thus the title ‘Sonata’) And I also wanted to embed the aforementioned extreme situations (in which the technical extremes are synonyms for tension, isolation, loss or tenderness) in an organic process in order for the listener to be able to empathize with and comprehend what is expressed in the piece. I would like to thank Natalie Clein, to whom the Sonata is dedicated, for inspiring this piece and for the path that led to the realization of the music. Thomas Larcher/ Répertoire / Violoncelle

Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Hymns for four-part mixed choir a cappella (1846, St. Florian) No. 1 in E flat major (WAB 41/3): Quite Slow No. 2 in C major (WAB 41/4): Andante No. 3 in B flat major (WAB 41/1): Slow No. 4 in A flat major (WAB 41/2): Slow Hymn for five-part (2 S, A, T, B) mixed choir and organ No. 5 in D major: Solemnly They are simple works, completely subordinate to their liturgical use, which nevertheless already show numerous characteristics of personal expression. These small pieces were able to stand up to the harsh scrutiny of the mature master: in 1888, Bruckner subjected them to a revision in which he made only minor corrections. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie

Détendez-vous avec cette compilation tranquille de dix-huit pièces de compositeurs maîtres de la période classique à nos jours. Featuring facile à lire, des arrangements simplifiés pour piano, ces pièces apaisants de la classique, romantique et contemporain ères vous donnera l'occasion idéale pour se détendre au Piano. Comprend : Hoppipolla le thème de la série TV de planète Terre, À l'ouest par Howard Shore et météo tempête par Craig Armstrong, tant dans les arrangements simples pour la première fois. De la beauté fascinant de Adagio pour cordes de la paisible méandres Six Feet Under thématique, il y aura quelque chose à vous détendre et à inciter calme, même dans les plus stressées. / Piano / 48 pages / Partition

Par ADES THOMAS. Thomas Adès’s second work for string quartet, The Four Quarters was written for the Emerson Quartet and was premiered by them at Carnegie Hall in 2011. The winner of the 2012 British Composer Award for Chamber Composition, the 20-minute work charts the progress of a day. Glassy harmonics typify the opening movement Nightfalls, whilst playful pizzicati abound in Serenade – Morning Dew. A sombre third movement, Days, is underpinned by a searching ostinato before the work breaks free from conventional time in The Twenty-Fifth Hour, the glittering finale which swings and dances in the unusual time signature of 25/16. / Ensemble Music / Répertoire / Quatuor à Cordes

Ce recueil rassemble quelques-unes des plus belles pièces pour flûte composées au fil des siècles par de célèbres compositeurs anglais, du maître de la Renaissance Thomas Morley au compositeur contemporain Colin Cowles. Chacune de ces pièces possède un charme typiquement anglais alliant l'art de la phrase longue et et la beauté des mélodies solennelles. Le compact disc contient une version intégrale et une version avec l'accompagnement seul confié au piano. / Flûte Traversière / 40 pages / niveau : Facile - Elémentaire / Partition Cd