Depuis 1938, les éditions Chant du Monde se sont attelées à produire des partitions de compositeurs d'origine slave ou de l'Europe de l'Est. C'est ainsi qu'ils ont pris la décision d'éditer la partition Sonate no2 op.94 de Prokofiev Sergei. Cette partition s'adresse aux joueurs de Flûte Traversière / Flûte Traversière Et Piano / Partition

Par VOIRPY ALAIN. Chants et danses populaires d'Europe. / Niveau : Débutant / classique / Répertoire / Flûte Traversière et Piano

Les Balkans - où l'Europe rencontre l'Asie ...Toute la diversité culturelle des Balkans se reflète dans sa musique variée et colorée. La sélection de Hidan Mamudov des morceaux de la région, dans des arrangements pour les éditions d'ensemble et séparés play-along pour instruments solistes, offrira de nouvelles expériences pour les joueurs de niveau moyen et au-delà ...Les morceaux sont choisis parmi la Turquie, la Hongrie, la Croatie, la Bulgarie, la Macédoine, la Serbie et la Bosnie-Herzégovine. Inclus sont fascinantes notes historiques sur la musique et les descriptions des instruments traditionnels. Techniques de jeu particulières sont expliquées et conseils sur les performances aideront les joueurs à obtenir un son authentique. Tout cela, avec les CDs de spectacles de démonstration et des pistes Play-Along est sûr d'être source d'inspiration. / Flûte Et Piano

From Fancies Pour Piano-This Sérénade is the first of 7 pieces collectively called 'Fancies' originally written for piano in 1915.Gabriel Marie Grovlez (1879-1944) was born in Lille Northern France in 1879 and died in war-torn Paris in 1944. From among his teachers who include Gédalge and Lavignac Fauré must surely rank as his strongest influence and this is readily heard in his small but significant oeuvre of solo piano pieces as well as his music for stage and chamber ensembles. Interestingly most of the piano music was published over a period of around a dozen years (1907-1919) and in the lull between these works and his Impressions (two pieces) of 1934 Grovlez wascompositionally preoccupied with songs and chamber pieces many of which languish patiently on the shelf awaiting a wholehearted appraisal. There is as well as his notable penchant for elegance and poetical lyricism a considerable wit to enjoy too (take Les nes The Donkeys from L'Almanach aux images for example) and indeed the fact that Grovlez's middle years were spent fulfilling the duties of assistant conductor and choir leader of the Opéra-Comique seems especially revealing of the man's musical personality and capacity for successfully intertwining serious and less serious genres.Grovlez was quite a cosmopolitan character; besides making a notable mark in his native country (he was latterly a professor of chamber music at the Paris Conservatoire) he travelled to the United States and Africa as well as across Europe. Although we tend to remember Grovlez today for his influence primarily as a composer in the mould of Fauré or Debussy bringing a quirky quality to some of his writing more than occasionally reminiscent of Poulenc it was as a conductor that Grovlez initially made an impact. Moreover we should not overlook the fact that he gave the inaugural performances of some highly treasured works by the likes of Ravel (Ma Mère l'Oye) and Fauré (Dolly Suite) a piano duet which has earned an especially important

Ernesto Köhler's fantastic Flute Concerto Op. 97 actually requires the accompaniment of a large orchestra. The orchestral material is available on hire with Musikverlag Zimmermann. The Concerto is characterized mainly by the high virtuosity. The audience in the early 20th century loved the display of technical possibilities of a musical instrument. Ernesto Köhler himself was regarded as unsurpassed in the clean interpretation of his work and the fine tone he coaxed from the flute. His Concerto was frequently performed by leading soloists in Europe and America in his time.

Blavet was the composer whose playing set new technical standards throughout Europe and was highly regarded for its brilliance ravishing beauty of tone and purity of intonation.