Par IRELAND JOHN. John Ireland's Cavatina for violin and piano, which was probably composed in 1904, shows the composer's mastery of the popular salon style of the time. Unavailable for many years, it is now reissued in a new edition that includes a scholarly note by Geoffrey Bush, Music Advisor to the John Ireland Trust./ Répertoire / Violon et Piano

Par IRELAND JOHN. The reminiscent piano works of John Ireland are brought together in their entirety in this five-volume set. These authoritative editions arrange all of Ireland's solo piano compositions in chronological order, with corrections on previous editions made by Alan Rowlands and Eric Parkin./ Répertoire / Piano

Par IRELAND JOHN. The reminiscent piano works of John Ireland are brought together in their entirety in this five-volume set. These authoritative editions arrange all of Ireland's solo piano compositions in chronological order, with corrections on previous editions made by Alan Rowlands and Eric Parkin./ Répertoire / Piano

Forty-four folk favourites including 'The Foggy, Foggy Dew', 'John Peel', 'Lincolnshire Poacher', 'The Blue Bells Of Scotland' and 'Loch Lomond'.Forty-four folk favourites, all in simple arrangements for piano, organ or electronic keybord. Includes The Foggy, Foggy Dew, John Peel, Lincolnshire Poacher, The Blue Bells Of Scotland and Loch Lomond. / Chant Et Guitare / 88 pages / Partition

Violin and Piano. Par IRELAND JOHN. Although one of Ireland's earliest published works, his Berceuse for violin and piano of 1902 displays the exemplary grace of salon music at its most sophisticated. The finely crafted melody wears lightly the elegance of the genre, as perfectly expressed in Elgar's Chanson de Matin and Salut d'Amour. In the accompaniment, details of harmony suggest the influence of Tchaikovsky and a passionate utterance more typically Russian than English. Liberated by the innovations of Debussy and Ravel, Ireland in his later songs and piano solos would recreate this quality on his own terms - but the essence of his uniquely romantic voice feels already embryonically present in this exquisite Edwardian miniature./ Répertoire / Violon et Piano

For Violin, Viola and Piano (Reduced from the orchestra version). Britten was so remarkably prolific as a young composer that many of the works from his teens were put aside to await revision or completion as he rushed on to the next piece. This was particularly the case around the time of his Opus 1 Sinfonietta , composed in the summer of 1932, his second year as a student at the Royal College Of Music. The Sinfonietta was written (in less than three weeks) very soon after Britten had completed the first draft of the Double Concerto - but after finishing the Sinfonietta he went back to revise the Concerto's second movement. He started work on his Op.2 Phantasy for Oboe and String Trio a few weeks later. Although the Concerto follows the same three-movement pattern as the Sinfonietta , it is more ambitious in scale - and since the sketch is, unusually for Britten, complete in practically every detail, it is puzzling that he never made a full score of the work after finishing the composition, and seems to have made no attempt to get it performed. It is not clear if he had particular performers in mind (he was, of course, a Viola player, although he is not likely to have intended the part for himself). He showed the work to his composition teacher at the college, John Ireland, who, as Britten recorded in his diary, was 'pretty pleased' with it - but it is distinctly possible that his experience in rehearsing the Sinfonietta with a student orchestra in 1932 ('I have never heard such an appalling row!' reads another diary entry) discouraged him from going on to complete the Double Concerto in score. He was not to hear any of his orchestral works until the first performance of Our Hunting Fathers in 1936. In the absence of Britten's full score it was necessary for me to prepare the work from the sketch. But the instrumentation is so carefully indicated in the draft that the resulting score is not far from being 100% Britten - only between bars 70 and 74 of the slow movement did there seem to be any need to add anything significant to Britten's texture. The Double Concerto (Britten's manuscript title was 'Concerto In B Minor', but he referred to it in his diary, in characteristic shorthand, as '2ble Concerto') is the most recent addition to his corpus of works, mostly dating from Britten's youth and early maturity, that, since his death, have been revived after many years, or performed for the first time. Britten himself occasionally returned to his early works, and in his last years revised both the early String Quartet In D of 1931 and the opera Paul Bunyan . The Piano score published separately is not a reduction from the orchestral score, but a transcription of Britten's composition sketch, including his indications of instrumentation. The first performance of the Double Concerto was given at the 50th Aldeburgh Festival by Katherine Hunka and Philip Dukes, with the Britten-Pears Orchestra conducted by Kent Nagano, on June 15th 1997. -Colin Matthews / Violon, Alto Et Piano

L'accompagnement CD Double ensemble de plus de 100 titres de démonstration pour traditionnel lente Airs d'Irlande OMB99 de Tomas O'Canainn). Ces deux CD contiennent plus d'une centaine des plus beaux airs présentés dans le livre. Comprend des représentations par Sinead Cahir, Donal Mac o'Bhaird et, bien entendu, O'Canainn lui-même. / Rép International / Recueil / Tout Instrument

Arrangeur: Edward Huws Jones. Par HUWS JONES EDWARD. La série 'Fiddler Collection' dispose maintenant d' un enregistrement professionnel, non seulement pour étudier mais aussi pour accompagner les concerts. Des musiques authentiques, parfois connues, parfois moins, mais dont l' arrangement est toujours fidèle à l' original, vous permettront de créer vos propres groupes de ceilidh, charanga ou bluegrass club. / Niveau : Moyen / Recueil / Violon et Piano