Seit längerem setzt sich Manfred Trojahn kompositorisch mit Texten auseinander die ?das Scheitern des Künstlers aus unterschiedlichen Perspektiven? reflektieren. Vor allem ?Le Ceneri di Gramsci? von Pier Paolo Pasolini und ?Ein Brief? von Hugo von Hofmannsthal bilden den geistigen die gleichnamigen Kompositionen Trojahns den ästhetischen und klangsprachlichen Hintergrund des V. Streichquartetts. Es wurde für das Kuss Quartett geschrieben. In drei Sätzen komponierte Trojahn eine expressive Musik mit zum Teil schroffen Kontrasten in der sich polyphone und blockartige Strukturen gegenüberstehen und ein dichtes vom Hörer nachvollziehbares Netz motivischer Verbindungen geschaffenwird.

Par LABROUSSE-BAERT SARAH. Un cahier de gammes et arpèges complet, pour le 1er cycle, en 1ère position, où les élèves étudieront avec plaisir / Niveau : Facile / Etude / Alto

for String Quartet-This is the full score of Aheym for String Quartet composed by Bryce Dessner best known as the guitarist of The National but also an acclaimed composer in his ownright. Composed in 2009 for the Kronos Quartet for their performance in Brooklyn's Prospect Park for the Celebrate Brooklyn! festival Aheym (meaning 'homeward' in Yiddish) was directly inspiredby his grandmother's migration to America. Dessner states that the stories and information she used to tell them permeated their collective imagination and created a close connection to the past. He dedicatesAheym to his grandmother Sarah Dessner.  The score in this edition was first performed on the 12th of March 2009 at the MusicNOW Festival and on the 18th of July 2009 inProspect Park Brooklyn. The work lasts around 10 minutes and is filled with dynamic tempo changes a mix of staccato and smooth playing and all-round excitement. It's a fantastic piece to play and the genius composition will keepaudiences on their toes.

Par LABROUSSE-BAERT SARAH. Un 2e Volume qui accompagne les élèves à partir du 2e cycle jusqu'au cycle spécialisé, avec de nombreux exercices complémentaires, et une écriture très pédagogique des gammes en double-cordes / Niveau : Intermédiaire / Etude / Alto

For flute, alto saxophone, guitar and percussion. Par AHO KALEVI. Kalevi Aho composed Quartet for flute, alto saxophone, guitar & percussion in 1982 for Cluster ensemble, which is the reason for the particular combination of instruments. The work was premiered in Amsterdam. Dramatic and tragic evolution of the three-movement work culminates in the wild percussion cadenza, which is followed by a quiet epilogue. Duration: 22'. Percussion instruments needed: vibraphone, xylophone, crotales,glockenspiel, snare drum, field drum, 2 tom-toms (low&very low), chinese cymbal, tam-tam. A bow is also needed. This product includes a study score (A4) and a set of parts (B4). / Date parution : 2023-06-01/ Répertoire / Flûte, Saxophone Alto, Guitare et Percussion

Par AHO KALEVI. In spring 2020, coronavirus began spreading throughout the world and in many places people were subjected to quarantine. It was then that Hiyoli Togawa, a violist, proposed that the BIS record label release a viola disc entitled Songs of Solitude of short compositions by different contemporary composers, as a sort of reflection of the present time and offering comfort to listeners in their solitude. Hiyoli asked Kalevi Aho (b. 1949) to compose a piece in which she could play and sing simultaneously. The meditative, melancholy Am Horizont is dedicated to Hiyoli Togawa and composed in April 2020. Duration: c. 5'30''./ Répertoire / Alto et Voix

for Viola and Piano-Brahms had already announced his 'retirement' from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld?s much admired playing and inspired him to write two Clarinet sonatas in the summer of the same year. It remains unclear when exactly Brahms drafted Viola parts to his two sonatas. In any case the Viola and Clarinet versions of the works were first published by Simrock at the same time in 1895. Today there is no doubt about Brahms? authorship of the Viola parts. They include important differences fromthe Clarinet original in order to do justice to this string instrument.An important part of this edition is the extensive preface. Firstly it informs about the sonatas? origins their compositional process pre-publication performances their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from the premise that already a few decades after Brahms' death a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. On the basis of manifold sources which include memoirs by pupils and chamber music partners treatises and essays early instructive editions and historical recordings the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding Piano arpeggiation and dislocation string instrument fingering string instrument harmonics and vibrato the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time the edition offers an exciting and often surprising insight into musical interpretation of the German Romantic Era in general.A pioneering Urtext editionWith an unmarked Urtext partWith a second part including fingering and bowing based on the practices of contemporaries of BrahmsWith an extensive Performance Practice

Chaconne. Par LERDAHL FRED. Chaconne (2016), for string quartet, was commissioned by the Daedalus Quartet to celebrate its 15th anniversary. The commission was supported by New Music USA, made possible by annual program support and/or endowment gifts from Pennsylvania Council on the Arts, Helen F. Whitaker Fund, and Aaron Copland Fund for Music. My music has a substantial history with Daedalus. I composed the Third String Quartet (2008) for them, and subsequently they performed my three string quartets on several occasions and recorded them brilliantly on Bridge Records (Bridge 9352: Music of Fred Lerdahl, vol. 3). Chaconne is in one movement lasting 19 minutes. It is effectively my fourth string quartet. Quartets 1-3 form a unified cycle lasting 70 minutes. When I finished the cycle, I thought I would never write again for the medium; yet I could not resist the opportunity of working again with Daedalus. The issue was how to compose another string quartet unrelated to the earlier cycle. The solution came from my solo cello piece There and Back Again (2010), which was based on a four-bar variation pattern from a 17th-century chaconne. Unlike the asymmetrical phrases and expanding variations of much of my music, the chaconne form requires symmetrical phrases and strictly periodic variations. I wished to work again with these symmetries but on a larger scale. Chaconne also differs in character and expression from the three-quartet cycle. The cycle is inward and intense, a kind of psychological excavation. Chaconne is, for the most part, transparent and playful. Many of its textures emerge from little canons, not completely unlike the rounds that children sing. Any composer who writes in chaconne form (one thinks above all of the last movement of Bach’s D minor violin partita and the finale of Brahms’s Fourth Symphony) is confronted with the challenge of how to create a larger form out of a constantly repeating pattern. My Chaconne grows from paired antecedent-consequent phrases, each variation lasting eight bars. The 50 variations group into three large rotations, forming three arcs of tension and relaxation, with subtle parallel connections across the rotations. Notwithstanding my attraction to chaconne form, I purposefully disguised its symmetries and periodicities in order to build an overall dramatic shape. Fred Lerdahl/ Répertoire / Quatuor à Cordes

Wind Quintet. Par AHO KALEVI. Wind Quintet/ Répertoire / Flûte Traversière, Hautbois, Clarinette, Cor et Ba

For Alto Saxophone, Bassoon, Viola, Cello And Double Bass. Par AHO KALEVI. / Répertoire / Saxophone Alto, Basson, Alto, Violoncelle et Contr

Par TROJAHN MANFRED. / Répertoire / Flûte Traversière Alto (Grande Flûte Traversière)