This eclectic collection for solo Flute will delight film fans of all ages! 101 Movie Hits contains a dazzling selection of favourites from the silver screen, including Diamonds Are A Girl's Best Friend (Gentlemen Prefer Blondes), Eye Of The Tiger (Rocky III), Hallelujah (Shrek), Happy (Despicable Me 2), Mrs. Robinson (The Graduate), The Dreame (Sense And Sensibility), Let It Go (Frozen), Summer Nights (Grease), The Music Of Goodbye (Out Of Africa) and more. / Violoncelle

Par BACEWICZ GRAZYNA. Studying the sketches for works which a composer considers to be finished, perfected, is a fascinating activity. It enables one to penetrate the secrets of creative work, to compare the initial outline of a composition with its final version. A sketch is generally left untitled, but it does occur that a composer enhances the status of such a draft by giving it a title, before creating an improved version of that title on the basis of the finished work. The list of compositions by Grazyna Bacewicz, the full catalogue of which is held in the National Library in Warsaw, includes a work for string quartet entitled Quatuor. The manuscript was left undated, but analysis of the music allows us to date this work to the mid-1960s. In the composer?s output from that period, the instrumental tone colouring, often an element that helps to forge a work, takes on particular significance. The first movement of the Quatuor [à cordes] opens with three fifth-tritone chords ?cast forth?, in succession, in saltando-gettato technique by the cello, second violin and first violin. When we look at the beginning of the Seventh String Quartet, from 1965, such a chord appears in the second bar of the cello part. Further comparisons lead to interesting conclusions. The two opening movements are almost identical, built from the same elements, only spatially arranged in a different way. In the structure of the first movement of the Seventh Quartet, one distinguishes two thematic planes, which shape the narrative after the fashion of a sonata allegro. The first theme is a series of episodes of changing texture ? from passagework to chords and short glissandos repeated with varying intensity. The second theme (Meno mosso) displays an imitative form. Both works feature an inverted reprise. For the first 25 bars of the second movement, a nostalgic Grave, the two works sound identical. The continuation of this movement in the Quatuor [à cordes] is more modest than in the analogous segments of the Seventh Quartet, in terms of both changing textures and the use of differentiated means of articulation. Towards the end, a motif from the beginning of this movement returns in modified form. Both the third movements (Capriccioso in the Quatuor [à cordes], Con vivezza in the Seventh Quartet) take the form of a rondo, and appearing in each of them is the same ?warbling? theme, based on scattered notes with grace notes. The Seventh String Quartet is in three movements. The presumed prototype consists of four movements. The last movement of the Quatuor [à cordes] is a Maestoso resembling a mine of textural ideas for other works of a sonoristic provenance from this period. The introduction, constituting a closed narrative whole and a reference point for the rest of the movement, is followed by segments that are dominated by ostinatos of various kinds, including with the use of harmonics, passages built on the progressive shifting of short motifs, and unevenly spread chords. Grazyna Bacewicz used material from earlier works more than once in her compositions. Her oeuvre also includes ?twin? pieces merely scored for a different set of instruments. Yet the self-quotation that occurs in the case of the Quatuor [à cordes] and the Seventh String Quartet ? lengthy passages from another of her works reused with minor modifications ? is an unusual situation. It undermines the former?s status as an independent work. Malgorzata Gasiorowska/ Répertoire / Quatuor à Cordes

for Cello. If you play an instrument and you're a Disney fan, you'll love this collection of 101 favorites to learn and play! Songs include: Beauty and the Beast - Can You Feel the Love Tonight - A Dream Is a Wish Your Heart Makes - Evermore - Go the Distance - He's a Pirate - I See the Light - Kiss the Girl - Let It Go - Mickey Mouse March - Reflection - A Spoonful of Sugar - True Love's Kiss - We're All in This Together - When You Wish upon a Star - A Whole New World - You've Got a Friend in Me - Zip-A-Dee-Doo-Dah - and more./ Recueil / Violoncelle

Revisiting The Don is a piece of music composed by Michael Nyman for the album 'Mozart 252', a celebration of the 250th anniversary of Mozart's birth. Revisiting The Don is one of the two newly-composed works on this album and is arranged here as parts for String Quintet. Nyman himself states that 'as the title suggests, I revisit the same harmonic material that makes 'In Re Don Giovanni' so powerful, and come up with more lyrical 'solutions'.' The result is a wonderful piece, beginning with a smooth staccato that lays the foundations for wonderful lilting melodies. The piece gradually progresses to widen out the warm strings, making this piece a real joy to play. / Quintette A Cordes

The long awaited Sassmannshaus method ?Early Start on the Double Bass? is now here. At last students of the largest instrument in the string family can make use of this tried and tested method for beginners, developed by Egon Sassmannshaus for the other string instruments and applied here to the double bass by Holger Sassmannshaus and J. Peter Close. This method will meet the needs of the growing number of young bass students.?Early Start on the Double Bass? encompasses everything that one would expect from a Sassmannshaus method: an easy start, progression at a suitable rate, many cross-references to the other string instruments, songs and scales in different positions from early on, as well as many duets. Lively and colourful illustrations by Charlotte Panowsky complete the edition.For more than three decades ?The Sassmannshaus Tradition? has been the household name for excellence in beginner string methods in German-speaking countries. The English editions for violin, viola and violoncello, which were introduced to the international market in 2008, have proven to be very successful, particularly in the United States.Kids to the Bass!While children learning other string instruments can start as early as the age of four, the appropriate age to begin the double bass is approximately eight (possibly even six); this allows for a faster progression than on the other string instruments, and the method consists of only three volumes. The first volume will be published separately in an English and a German edition; the following two volumes will have German and English text in each book. Original compositions by Boguslaw Furtok enrich the volumes.- Based on the tried-and-tested Sassmannshaus methods for violin, viola and cello- Volume 1: Separate editions in German and English- Volumes 2 and 3: Bilingual, German/English editions- Moderate increase in difficulty- Position playing, duets- Includes new original compositions to B. Furtok- Volume 3 with piano accompaniments to 7 piecesThe authorsHolger Sassmannshaus is a double bass player with the Niederrheinische Sinfoniker in Mönchengladbach/Krefeld. He also teaches the double bass and performs with several other ensembles.J. Peter Close is a teacher for violoncello and double bass in Munich.

Suite pour violoncelle et piano. Par LAKS SIMON. Simon Laks (1901-1983), who moved from Warsaw to Paris in 1926 at the age of 25, belonged to the large group of composers from Central and Eastern European countries who went down in 20th-century music history as the „École de Paris“. Slavic temperament amalgamated in their music with French esprit, the folklore of their native countries combined with the stylistic elements of neoclassicism and jazz typical of the time. As a member of the „Association of Young Polish Musicians“, Laks quickly made his way into French musical life. However, his career was ended with the beginning of World War 2 due to the collaboration of the Vichy government with Nazi Germany. Internment in 1941 was followed by deportation to Auschwitz in 1942. Laks survived the Shoah as a member and later leader of a camp band in Birkenau, which he testified to in his moving book Music in Auschwitz. After the traumatic experiences, Laks did not return to regular compositional activity until the 1960s, producing an opera, songs, and chamber music works, some of which were awarded important composition prizes. At the peak of this optimistic creative phase, he composed incidental music for Peretz Hirschbein's famous Yiddish comedy Dem Schmids Techter (The Blacksmith's Daughters), which premiered in New York in 1918, for a new production of the play at the Théâtre de l’Entrepôt in Paris. Along with Prokofiev's Overture on Hebrew Themes and Shostakovich's cycle From Yiddish (Jewish) Folk Poetry, it is one of the most significant 20th-century explorations of art music with Jewish folklore – homage to a culture irreparably destroyed. From the original score, Holger Groschopp compiled two suites, for violoncello and piano and piano solo, that capture the essence of Lak‘s enchanting drama music. The premiere recording of the suites with Holger Groschopp and Adele Bitter was awarded the Opus Klassik 2023 in the category Editorial Achievement of the Year. . / Date parution : 2024-01-06/ Répertoire / Violoncelle et Piano

Par SCHLEE THOMAS DANIEL. For composer Thomas Daniel Schlee, the 'intimate sound possibilities of the string quartet” have the potential 'to formulate an, albeit 'only' individual, solution to the somewhat forlorn condition of new art music within society that we are unfortunately experiencing today.” Schlee's Fourth String Quartet opens with a pure C major sound, out of which he develops a harmonically free band of voices: 'The pure as a source, not pleasing”! After a melodically dominating episode and a continuation of the 'swinging tone-motion from the beginning”, a thematically solidified section follows. It is met by a second, more extensive melodic episode, followed by a 'nightly scene”. Coming full circle, the opening music of the piece finds its continuation, leading into a lament – first articulated by the ensemble, then finally as 'the viola's long, forlorn search for the melody symbolizing a farewell.”/ Répertoire / Quatuor à Cordes

Per Violino, Violoncello E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Répertoire / Violon, Violoncelle et Piano

The quartet in a minor is one of the chamber music works with which Schubert wanted to 'pave the way to the great symphony? in spring 1824. At the same time he was paving his way to a wider audience, as the 'Rosamunde? Quartet was the first and only string quartet that was not only publicly performed in Schubert's lifetime but also published in parts. It is fortunate for us that this was the case because the autograph of this much-loved quartet is missing today and the only source for the work is the first edition. And this is precisely where the challenge lies, as the parts exhibit some inaccuracies regarding the articulation and dynamics. They have had to be carefully resolved, something which our new Urtext edition has done in an exemplary fashion. Its name can be traced back to Schubert's incidental music to the play Rosamunde, which can be heard at the beginning of the Andante. Quite a few people might, however, be reminded of the Impromptu in B flat major op. post. 142 #3, in which Schubert later once again took up the beautiful melody. / 2 Violons, Alto Et Violoncelle

Par SPATA DOUG. Beginning string students will have a diabolically good time with this all-pizzicato selection. Gleefully sinister melodies pass between all sections and simple quarter and half note accompaniment parts help keep everyone together. The optional piano accompaniment sets the pace with even 8th notes, helping young players subdivide their rhythms. Part independence and note range are minimized while doubling and repetition are emphasized, making this an easy piece for kids to master. Midnight Mischief by Doug Spata is a fun piece that kids will love to play while supporting essential ensemble playing and listening skills. (2:05). / Date parution : 2022-10-12/ Répertoire / Orchestre à Cordes

Par SCHLEE THOMAS DANIEL. For composer Thomas Daniel Schlee, the 'intimate sound possibilities of the string quartet” have the potential 'to formulate an, albeit 'only' individual, solution to the somewhat forlorn condition of new art music within society that we are unfortunately experiencing today.” Schlee's Fourth String Quartet opens with a pure C major sound, out of which he develops a harmonically free band of voices: 'The pure as a source, not pleasing”! After a melodically dominating episode and a continuation of the 'swinging tone-motion from the beginning”, a thematically solidified section follows. It is met by a second, more extensive melodic episode, followed by a 'nightly scene”. Coming full circle, the opening music of the piece finds its continuation, leading into a lament – first articulated by the ensemble, then finally as 'the viola's long, forlorn search for the melody symbolizing a farewell.”/ Répertoire / Quatuor à Cordes

for String Orchestra Score. Par HAENDEL GEORG FRIEDRICH. In the key of G Major, the work begins with a Moderato where dotted rhythms are abundant. A brief Adagio intervenes and we continue with a slightly fugal, crisply rhythmic Allegro, with 16th note passage work for the upper strings. After another brief Adagio, Handel finishes with a lyric Minuet. All sections are active throughout. This Overture is a wonderful introduction to the Baroque period and the bowing and ornamental styles that go with it./ Répertoire / Orchestre à Cordes

from Porgy and BessInstrument : string quartet (double bass ad lib.)Type : score and partsNombre de Pages : 16There is hardly any other lullaby in the field of classical music - apart from Brahms' 'Guten Abend, gute Nacht' - that has gained such popularity as George Gershwin's (1898-1937) 'Summertime'. It is a song from his opera Porgy and Bessâ'' which was premiered in New York on 10 October 1935 with only moderate success at first. Every important jazz musician insisted on presenting his own version of this rather evocative and catchy song with which Clara rocks her child to sleep at the beginning of the opera. The present version now offers the opportunity to play this famous 'Summertime' with a string quartet (and double-bass ad lib.) or string orchestra - let's swing!