Par NAUDOT JACQUES-CHRISTOPHE. Format: New Edition portrait/ Répertoire / Flûte à Bec (Alto ou Soprano), 2 Violons et Basse

Par BASTON JOHN. / Répertoire / Flûte à Bec Soprano, Cordes et Basse Continue

Par BASTON JOHN. / Répertoire / Flûte à Bec Soprano, Cordes et Basse Continue

Par JOLAS BETSY. / Niveau : Intermédiaire / contemporain / Répertoire / Flûte à Bec (Alto ou Soprano), Viole de Gambe et C

Cyril Scott compose des Trois Pièces lyriques 'pour violon et piano au début du 20ème siècle et les dédia à son ami, le violoniste Paul Stoeving, professeur à la Guildhall School of Music.'Elégie' frappe une délicate salon-comme ton qui traverse l'ensemble du cycle de trois parties. C'est surtout dans les lignes mélodiques du violon que la langue poétique dedidedly tonale émerge. 'Romance' impressionne avec des jeux de couleurs impressionnistes, en particulier sur le piano. Dans 'Valse triste', le compositeur extravagant, qui était devenu connu non seulement par ses compositions, mais par des écrits sur la philosophie, l'occultisme et l'homéopathie ainsi, ajoute au caractère de la musique de salon de trois à quatre fois avec le bien-mesurée opacification mineur. / Violon Et Piano / 24 pages / niveau : Intermédiaire / Partition

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

Par LEIVISKA HELVI. Finnish composer Helvi Leiviskä (1902-1982) created a broad-based output of orchestral works, solo songs and chamber music. Her style could be described as moderate modernism, deriving influences from multiple sources such as late Romanticism, Symbolism, Expressionism, Existentialism and Neo-Classicism. Leiviskä's output is characterised by philosophical and religious themes, images of nature and narrative structures. Many of her works focus on human existential angst and spiritual searching and growth. Helvi Leiviskä originally completed her Piano Quartet in A major op. 1 in 1926 but revised it a decade later, in 1935. Written for the traditional piano quartet lineup (violin, viola, cello and piano), the work is in three movements and has a duration of about 25 minutes. It features religious and ecstatic imagery such as may be found in French, German or Russian neo-Romantic styles. Leiviskä's Piano Quartet is considered one of the cornerstones of her chamber music output. Its early version was premiered in two parts at student recitals of the Helsinki Music Institute (the 1st movement in 1925 and the 2nd and 3rd movements in 1926). The revised version was performed in full by Timo Mikkilä (piano), Sulo Aro (violin), Ilmo Ranta (viola) and Pentti Rautawaara (cello) on Finnish radio in 1939. The work was also on the programme of Leiviskä's second composition concert in 1945, being performed on that occasion by Jussi Jalas (piano), Erik Cronvall (violin), Erik Karma (viola) and Yrjö Selin (cello). Two commercial recordings have been released (Finlandia Classics 2012 and Telos Music 2016). It is published for the first time 2022 with an extensive foreword by Susanna Välimäki. The product includes the full score (piano part) and a set of string parts. Duration: c. 25'. Have a look inside by clicking 'sample'. / Date parution : 2022-05-31/ Répertoire / Quatuor avec Piano

Church Sonatas in Three Parts, Op. I [Sonate da Chiesa a trè] (ded. to Queen Christina of Sweden)
Sonata No. 1 in F Major
Sonata No. 2 E Minor
Sonata No. 3 in A Major
Sonata No. 4 in A Minor
Sonata No. 5 in B-flat Major
Sonata No. 6 in B Minor
Sonata No. 7 in C Major
Sonata No. 8 in C Minor
Sonata No. 9 in G Major
Sonata No. 10 in G Minor
Sonata No. 11 in D Minor
Sonata No. 12 in D Major
Chamber Sonatas in Three Parts, Op. 2 [Sonate da Camera a trè] (ded. To Cardinal Benedetto Pamphili)
Sonata No. 1 in D Major
Sonata No. 2 in D Minor
Sonata No. 3 in C Major
Sonata No. 4 in E Minor
Sonata No. 5 in B-flat Major
Sonata No. 6 in G Minor
Sonata No. 7 in F Major
Sonata No. 8 in B Minor
Sonata No. 9 in F-sharp Minor
Sonata No. 10 in E Major
Sonata No. 11 in E-flat Major
Sonata No. 12 in G Major (Chaconne)
Church Sonatas in Three Parts, Op. 3 [Sonate da Chiesa a trè] (ded. to Duke Francesco II of Modena)
Sonata No. 1 in F Major
Sonata No. 2 in D Major
Sonata No. 3 in B-flat Major
Sonata No. 4 in B Minor
Sonata No. 5 in D Minor
Sonata No. 6 in G Major
Sonata No. 7 in E Minor
Sonata No. 8 in C Major
Sonata No. 9 in F Minor
Sonata No. 10 in A Minor
Sonata No. 11 in G Minor
Sonata No. 12 in A Major
Chamber Sonatas in Three Parts, Op. 4 [Sonate da Camera a trè] (ded. to Cardinal Pietro Ottoboni)
Sonata No. 1 in C Major
Sonata No. 2 in G Minor
Sonata No. 3 in A Major
Sonata No. 4 in D Major
Sonata No. 5 in A Minor
Sonata No. 6 in E Major
Sonata No. 7 in F Major
Sonata No. 8 in D Minor
Sonata No. 9 in B-flat Major
Sonata No. 10 in G Major
Sonata No. 11 in C Minor
Sonata No. 12 in B Minor
Six Violin Sonatas, Op. 5, Part 1 [VI Sonate a Violino Solo] (ded. to Electress Sophie Charlotte of Brandenburg)
Sonata No. 1 in D Major
Sonata No. 2 in B-flat Major
Sonata No. 3 in C Major
Sonata No. 4 in F Major
Sonata No. 5 in G Minor
Sonata No. 6 in A Major
Preludes, Allemandes, Correntes, Gigues, Sarabandes, Gavottes and Follia, Op. 5, Part 2 [Preludii, Allemande, Correnti, Gighe, Sarabande, Gavotte, e Follia] (ded. To Electress Sophie Charlotte of Brandenburg)
Sonata No. 7 in D Minor
Sonata No. 8 in E Minor
Sonata No. 9 in A Major
Sonata No. 10 in F
Sonata No. 11 in E Major
Follia in D Minor (Sonata No. 12)

Musique d'Amérique latine, avec son mélange grisant d'espagnol, les cultures africaines et autochtones, nous transporte dans un monde sonore unique. C'est un langage musical exotique, surprenant et souvent très sophistiqué, mais en même temps, il parvient à être extraord / Violon (2 Violons) Et Piano Et Guitare Ad Libitum