Par DYENS ROLAND. / Niveau : Intermédiaire / classique / Répertoire / 4 Guitares

Par KLEYNJANS FRANCIS. / Niveau : Elémentaire / classique / Répertoire / 4 Guitares

Par TESAR MILAN. / Niveau : Elémentaire / classique / Répertoire / 4 Guitares

Les trois bagatelles ont été composées pour un quatuor d'amis. Elles sont écrites dans un style mélodique et harmonique qui rend hommage aux compositeurs français du dé­but du 20e siècle.Né en 1936, Philippe Sagnier, pianiste de formation, a fait ses études musicales au C.N.S.M de Paris, où il obtint plusieurs premiers prix. En 1961 il est lauréat de la classe de composition de Tony Aubin. Musicien à la radio, puis claveciniste du ballet du Marais. Il fut professeur, puis directeur d'écoles nationales de musique. Depuis 1998, i se consacre à la composition. / Guitare / Partition

Vol. 1: Albéniz Granados Turina De Falla. This series presents some of the most significant works of European and Latin American music from the last three centuries transcribed for chamber guitar ensemble (in formations ranging from duo to quartet). The works contained in each volume have been selected both for their intrinsic artistic value and their potential to enhance sound production and playing technique. All of the transcriptions are strictly faithful to the original texts and have been reworked in order to make them suitable for players at all levels, from novice to professional. ?Guitar Ensemble? is therefore an effective aid for the study of ensemble music from middle and high school up to a conservatory level. Spanish Portrait is an anthology of the works of the most important Iberian composers of the late eighteenth and mid-nineteenth century: Isaac Albéniz (1860-1909), Enrique Granados (1867-1916), Manuel De Falla (1876-1946), and Joaquín Turina (1882-1949).

'This music grew out of necessity. A large number of guitarists with a wide range of technical ability were brought together as an ensemble to be trained in as musical a way as possible By writing parts from the 4th to the 1st progressively more demanding the idea of ensemble playing has proved not only successful musically but also technically accommodating; therefore this material should be ideally suited for class tuition. The absence of fingering is intentional; on closer acquaintance with the music players should experiment with various fingerings. Dynamics noted in the score are only suggestions which can be altered according to individualtaste. The possibilities for interesting and exciting colours and sonorities are almost inexhaustible and should be one of the more appealing aspects of such music-making. If this music succeeds in bringing more guitarists out of isolation and under the same roof as it has done in the experience of the composer then it can be considered as a decisive step forward in the development of the Guitar as a 'musical' instrument'. - Gilbert E. Biberian