Par DUCKETT RICHARD / LOANE C.. Suitable for use by individuals, as well as tutors working with student ensembles, the Team Strings series has been developed to introduce musicians to playing as part of a group. All of the books in the series are fully integrated, allowing students using Team Strings to play in ensembles with students using Team Woodwind, Team Brass, Team Percussion and Team Recorder. Team Strings: Viola is a flexible and adaptable course ideal for beginner Viola players. The tutor can be tailored to suit the specific needs of each student. Each piece is carefully graded to ensure a logical progression at a sensible pace and students are introduced to a wide variety of musical styles throughout the book. Team Strings has been specially written to support almost any combination of string instruments that the teacher may encounter. Imaginative Piano Accompaniments have been provided as well as helpful notes and clear ensemble scores to aid the teacher. Team Strings also includes all of the scales for the relevant grades set by the major examination boards. This volume comes complete with a CD of backing tracks designed to add a third dimension to practice sessions or performance when an accompanist is not available. / Niveau : Débutant / Recueil / Alto

Béla Bartók composed his 44 Violin Duos in 1931, at the urging of the German violin pedagogue Erich Doflein. With two exceptions, all the pieces are based on original folk music themes, most of which the composer himself collected in the course of his numerous collecting trips to the Carpathian Basin and in Algeria. Although conceived as parts of a pedagogically motivated set, these little pieces are highly effective in concert performance as well. The viola transcriptions follow Bartóks original faithfully. / 2 Altos

Three Movements For Improvising Oboe, Soprano Sax, Viola, Cello. Par LIEBMAN DAVID. It is natural as we age to contemplate the finality of passing on, if not personally, then certainly as an effect from others around you whom have left this space. Having to endure the passing of family and friends is of course very trying. This is especially true when the perception is that someone 'passed before their time” though there are those of us who believe in fate implying that the Force works in its own mysterious way. In some ways I can subscribe to that concept, but for me when someone passes early, say in their fifth or sixth decade of life, it is 'before their time.” Composers often commemorate passings with music as a means to mourn and as well to celebrate the life of an individual who meant something to them. Such is the nature of this piece. Movement 1 - Past uses as source material themes I wrote for my mother Frances and father Leo when they passed - movement 2 - Present centers around a choral ('Prayer for Mike”) I wrote for my dear friend, saxophonist Michael Brecker when he passed a few years ago. This same period also saw the passing of other friends and associates whom I had known for years, all way too premature, beginning with JF Jenny Clarke and Bob Berg, Hans Gruber, Thomas Stowsand, David Baker, James Williams, Dennis Irwin, John Stubblefield. The final movement - ­Future is a requiem of sorts for all of us still here. With its improvisational character, it is meant to suggest the positive implications of living life to its fullest./ Recueil / Hautbois, Saxophone Soprano, Alto et Violoncelle

Par CASABLANCAS BENET. The String Quartet no. 4, subtitled 'Dedication', was commissioned by the CNDM of Madrid to celebrate the 250th Anniversary of Beethoven and was written for, and dedicated to, the Cuarteto Casals (2017). This one-movement work,lasting some 11 minutes, is based on a small motif from the op quartet. 130 as a tribute to the German master. The work, that explores the full range of the technical, musical, and emotional scope of the quartet medium, has aternary arrangement, with a slow introduction and a conclusive stretta on the B-flat note (like the one that opens Op. 130). Its course includes marked contrasts between the contemplative, lyrical, static and suspensive sections -in the manner of stagnations - and those with a more lively tempo, playful and occasionally festive./ 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

Per Clarinetto, 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 / Clarinette, Violoncelle et Piano

Par PESSON GERARD. Le terme, 'cassation' naguère été utilisé en musique qu'au XVIIIe siècle dans le sens assez vague de divertimento. Son étymologie est très controversée. La cassation est souvent donnée comme sérénade des adieux ou morceau qui devait achever un moment de musique - venant en cela peut-être du mot italien cassazione. Mais on le fait dériver aussi de l'expression allemande gassatim gehen, avec un sens de promenade nocturne et amoureuse (du mot Gasse : chemin, voie, ruelle). Le mot, et le genre qui en découle, combinent ainsi la dédicace, la notion d'envoi (aspect sérénade), mais aussi l'idée de promenade nocturne, de surprise offerte aux complices du moment ou de la solennité. Dans Cassation, un équipement pour la nudité - un 'nécessaire à sérénade' - équivaut à l'attirail pour s'adapter à la pénombre. Les musiciens du trio jouent le plus souvent quasi chitarra (avec ou sans plectre), ne prenant l'archet (le plus souvent con legno) que pour les dernières minutes de la musique. Le piano semble en travaux (bien que la musique continue). La clarinette, elle, fait souvent ce geste de réparation, chassant par un souffle blanc les impuretés qui pourraient compromettre le chant. Même si le chant, très embusqué, tarde en effet à venir. Traversée haptique, où l'avancée se fait plus souvent à tâtons. Dans cette sérénade-toccata où la vérification par le toucher est simultanée au lancer, j'ai voulu évoquer la vivacité tactile comme art suprême de la perception, telle que Diderot le décrivait chez Mélanie de Salignac (la plus belle 'aveugle des Lumières') dans son Addition à la Lettre aux aveugles. Un braille auditif, non surtitré. Le geste instrumental prenant appui sur ses propres vides reconstruit une énergie en cherchant son équilibre par la vitesse, ou dans l'empreinte d'un son révoqué par le geste même. Ce que Simon Hantaï a appelé la mutilation qualifiante. Cependant, cette course haletante doit garder, par-delà le saut d'obstacles, le caractère de son genre d'origine, le divertimento, même s'il confine ici, souvent furioso, à la sérénade - poursuite, par griffures, itérations, effacements, retournement du Geste qui va chercher la conséquence en son envers. Pas ici de réminiscence, mais ce qu'on pourrait appeler le référent au radoub (un premier titre de l'oeuvre était Wrack - 'épave' en allemand). Il se trouve cependant que certains éléments du matériau de Cassation croisent le beau thème-accord écrit par Wagner à l'époque de Tristan puis retouché à Palerme trente ans plus tard. C'est un fragment de quelques mesures, la dernière musique notée par lui, sérénade immobile offerte à Cosima pendant l'hiver de 1882 (et utilisée par Visconti pour le générique de fin de son film Ludwig.) / contemporain / Répertoire / Clarinette, Trio à Cordes et Piano

For String Quartet Volume 1. Par BACH JOHANN-SEBASTIAN. The idea for these arrangements came to me whilst listening to the Hagen Quartet's beautiful recording of the fugues that form part of Haydn's 'Sun Quartets', Op. 20. The spirit and influence of J.S. Bach, in particular his Well Tempered Clavier, Book II, courses through these three miraculous Haydn fugues. Like the viol consort, the string quartet suits this kind of composition (the fugue), with all four instruments sufficiently similar in character to each other to match the extraordinary unity and economy of the counterpoint. A string quartet playing Bach fugues is a good example of a harmonious relationship between form andcontent: just as there is a unifying principle behind the construction of the four string instruments, so there is (usually) a single theme or subject that unifies the construction of a four-part fugue. Thus the form enacts the content, telling you something about the text and message within. Apart from Haydn's and a handful of other composers' wondrous creations, there's little fugal writing for string quartet, at least in comparison with the abundance of other forms. This was another reason to make these arrangements. The quartet offers a melodic independence impossible to achieve on a single instrument. And I believe the technical and interpretative challenges posed by this repertoire and ndash - lightness of sound and rhythmic fluidity, for example - will be very valuable to quartets seeking the holy grail: a unified sound. Perhaps the simplest and most compelling reason for this work is that I just love this music more than I can say. These dazzling pieces, mostly fast, bright and in major keys, show Bach at his most playful, funny and mischievous, composing for an instrument rarely associated with these qualities. And so I'm very happy to offer string quartets these little know fugues, written by my favourite composer - a violinist and violist himself, but above all a / Classique / Date parution : 2018-05-04/ Répertoire / Quatuor à Cordes

Brass Quartet-Org-Vces-Vocal Score Mfb604V. Par PACHELBEL JOHANN / KING. Transcribed by popular brass arranger, Robert King, this edition of Johann Pachelbel 's Nun danket alle Gott provides an exciting performance piece for Choir, Organ and a large Brass Ensemble. Pachelbel (1653-1906) is, of course best remembered today for his Canon in D. However, his vocal music is also significant. Nun danket alle Gott is a motet based on a short passage from Ecclesiastes. An important feature of the work is that the endings of sections are in four-part chorale settings, with the sopranos singing long notes values whilst the other voices present shorter note values. King 's arrangement of this historical work makes for an exciting performance./ Répertoire / Quatuor de Cuivres, Orgue et Voix