Par CHAVATTE GUY. Saxophone Soprano, Alto, Ténor, Baryton, Percussions/ Répertoire / Quatuor de Saxophones et Percussions

Au cours d'une période de 50 ans, Haydn a composé plus de 80 quatuors à cordes mettant en vedette une gamme et la variété de l'invention structurelle dépassé que par les oeuvres de Beethoven. Dans ce volume, la maîtrise du compositeur de la forme est frappante, en particulier dans les six populaires et bien-enregistré 'Quatuors prussiens.'Les grandes têtes de notes lisibles, de larges marges pour les notations, papier opaque et contraignantes permanentes en font un ajout fondamental aux bibliothèques musicales et des répertoires des musiciens.Réimpression de Ernst Eulenburg, Londres, n.d. édition. / Quatuor A Cordes

The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano

Par RIDEOUT BONNIE. Dans le cadre de la série Encyclopédie de Mel Bay, le but de cet ouvrage est d'offrir de violoneux accès direct pour les joyaux du genre. Compositeurs représentés dans ce volume s'étendent sur une période de trois cents ans incluant les oeuvres de : Patrick MacDonald, Adam Craig, le capitaine Charles Duff, Simon Fraser, Robert et Joseph Lowe, Robert MacIntosh, William Marshall et j. Scott Skinner. Les compositions originales de Mme Rideout sont également incluses. Les mélodies sont énumérés par ordre par la signature de clé pour activer le violoneux de mettre ensemble pour la performance, de concours ou de session jouant des ensembles. Ce livre contient des marches supplémentaires et des strathspeys uniques de tergiversation écossais. La fin du livre est consacrée à un nombre composé de piobaireachd (pibroch) et les airs lentes en solo. L'Encyclopédie de violoneux écossais est un ouvrage de tune essentiels pour les musiciens intéressées à développer une meilleure appréciation de la musique de véritable fiddle écossais traditionnels. / Niveau : Intermédiaire / Scottish - Solos / Recueil / Violon

Par DUNCAN CRAIG. Si vous cherchez excitant et stimulant fiddle solos par un des violoneux les plus chauds de l'Amérique, ce livre est pour vous. Contient des arrangements de violon exceptionnelle de Craig sur : Duel Fiddles - Rocky Top - Black Mountain Rag - Tennessee Waltz - s'est évanouie Love - Cajun Fiddle - Jole Blon - Gardenia Waltz - Draggine la proue - Granny est votre morsure de chien ? -Suzie Eyed - Wabash Cannonball - et beaucoup plus. Présente 60 grands airs de tergiversation ! Le CD est mousseux stéréo à l'écoute d'enregistrement mettant en vedette Craig Duncan, soutenue par une partie supérieure de la rythmique sur les pays de Nashville ! / Niveau : Intermédiaire à Avancé / Bluegrass and Country - Solos / Recueil / Violon

Traditional fiddle music from around the world. Par . Le répertoire complet de musique traditionnelle pour violon est maintenant à votre portée ! Avec ce grand choix de recueils vous pourrez recréer l'ambiance de votre propre 'ceilidh', des danses folkloriques, du club de jazz, des cafés concerts comme à Sarajevo. Certains de ces morceaux de musiques sont connus, d'autres sont plus exotiques, mais tous sont absolument authentiques et leurs arrangements sont faits sans compromis, mais ce qu?il y a de plus important, c'est qu'ils vous donneront énormément de plaisir. Chaque titre de la série est disponible en deux versions : la Violin Edition (avec en option une partie violon simplifiée et des accords de guitare), ou la Complete Edition qui comprend des accompagnements pour clavier et pour violon. Chaque version permet de jouer la musique en solo, en duo ou en trio aussi bien que dans des ensembles plus importants. Edward Huws Jones a beaucoup voyagé lors de sa recherche de styles traditionnels pour violon. Dans chaque livre il explique l'histoire d'un style particulier, offrant ses propres suggestions pour obtenir une exécution vivante. / Niveau : Moyen / Date parution : 2024-02-16/ Recueil / Violon

Par AUBANEL G.. / Répertoire / 2 Flûtes à Bec Sopranos ou Autres Instruments Dive

Par DIGBY ANDREW. the same material is repeated in constantly varying configurations: no two bars have simultaneously the same number of instruments, direction of and number of discontinuities in the glissandi, number of crossings through the octave or unison between instruments. this last is the most important characteristic of the piece. many such crossing points are also punctuated by other instruments but with only, at best, approximate precision: simultaneity, pitch, dynamic, timbre and articulation are alle deviant to varying degrees. asidled. the context itself is fluctuating, only indirectly objective, everything relative. [Andrew Digby]/ Répertoire / Saxophone Alto, 2 Trombones, Tuba, Violon, Alto et

Le trio avec Piano opus 59 est composée en 2008. Le travail a été inspiré par Joseph Haydn Die Schoepfung (la création). La Chine possède un grand nombre de vieux mythes et légendes. La première pensée qui est entré en mon esprit était celle du mythe chinois de Pangu qui clivé le Chaos avec une hache pour être le ciel et la terre. J'ai entendu l'histoire du peuple vieux quand j'étais enfant. Je dois dire que c'était un moment fantastique quand l'histoire sauté soudainement dans mon esprit pendant que j'ai apprécié la musique occidentale. Il n'y a aucun doute que mon idéologie de la musique est influencée à bien des égards par la culture occidentale, mais elle sera toujours être ancrée dans mon patrimoine chinois. / Violon, Violoncelle Et Piano

Par VAN DER PALS LEOPOLD. Duo-sonate, Op. 55 (1922) composed by Leopold van der Pals / Date parution : 2023-10-31/ Répertoire / Violon et Violoncelle

1001 Nights in the Harem. Par SAY FAZIL. 'My Violin Concerto consists of four movements whose inspiration is loosely connected with Scheherazade’s One Thousand and One Nights. The first movement is set inside the harem; a variety of women from the harem are introduced, each with her own different personality. The second movement is a frenzy of dance – in effect a party night with an abundance of different types of dance music. The third movement depicts the next morning and consists primarily of variations on a well-known Turkish song. The fourth movement begins dramatically, but develops during the course of the movement more and more into a reminiscence of all the previous events and the work culminates dreamily in a happy mood with sensuous oriental sounds. As appropriate for an oriental soundscape, the orchestra includes a series of Turkish percussion instruments such as a kudüm or bendir, but also glockenspiel, marimba und vibraphone, celesta and harp. It is however the solo violin which tells the story and also accompanies the listener through the entire work. The violin part is highly virtuoso and unites the four movements into an intensely atmospheric whole in which the solo violin soars off into a solo cadenza between each movement, sometimes accompanied by one of the percussion instruments. As is customary, the present piano reduction is initially intended as an aid for the study of this work, but during my tour programmes with Patricia Kopatchinskaya and Burhan Öçal we have utilised this material to create a trio version for violin, piano and percussion.' Fazil Say/ Répertoire / Violon et Piano

Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et B.C.

revised edition. Par SUZUKI SHINICHI. The Suzuki philosophy is based upon the idea that children can learn music in the same manner they do their native language, through repetitive listening. This listening is then followed up with 1) Individual Instruction with a trained Suzuki teacher 2) Group lessons on a bi-weekly / weekly basis 3)Parent Involvement 4) Encouragement. Students begin lessons as early as two years old and through repetition of small and enjoyable steps begin building a music vocabulary. This is the second book of Violin Parts to accompany the main method and contains the Violin pieces, points of study and tonalizationexercises. / Niveau : Débutant à Intermédiaire / Méthode en français / Méthode / Violon