3- und 4-stimmige Kanons. Par SCHMITZ MANFRED. Canons are fun and at the same time also help develop the ability to listen and play along, thus making them an important enhancement to musical training. With 109 pop style melodies in two volumes Manfred Schmitz work provides comprehensive and diversified material which can be flexibly implemented in teaching single pupils, for group lessons and for ensemble classes. The instruments violin, viola, violoncello and flute can thus stay „among themselves“ or play music together in all imaginable instrumental combinations. 3/4 part Particularly designed for performance in groups and ensembles, the demands grow with the addition of voices and the growing diversity of timbres. As withthe two-voiced canons, also the three and four-voiced canons can with the help of the universal versions be played in all thinkable combinations of instruments up to the various chamber music ensembles. / Niveau : Débutant à Intermédiaire / Contemporary - Solos / Recueil / Violon

for Flute, Violin and Piano. Par VALI REZA. Originally written for voice, lute, oud, harp and percussion, this four-movement, instrumental-only version for flute/clave (with optional doubling on Persian ney), violin and piano was written for Iranian flutist Arya Bastaninezhad. Aside from the original, one more version for voice, guitar, percussion, harp and piano is available from the publisher. / Date parution : 2023-06-01/ Répertoire / Flûte, Violon et Piano

Par PART ARVO. 'I have developed a highly formalised compositional system, which I have been using to write my music for twenty years. Summa is the most strict and enigmatic work in this series', said Arvo Pärt in 1994. The neutral title itself embodies the essence of the content as the work is based on the text of the Latin Credo. The great simplicity of the piece masks its complexity. The underlying rules ensure that on the surface a cycle of continuous change is created while the deep structure possesses an order of stillness. (Saale Kareda) Originally written for four a cappella voices in 1977, the string quartet version dates from 1991./ Répertoire / Quatuor à Cordes

C Major. Par BEETHOVEN LUDWIG VAN. In Beethoven’s Triple Concerto, a piano trio provides the soloists – a first in the history of music. Beethoven’s treatment of the trio is pioneering: he does not apply a typical piano trio setting in contrast to the orchestra, but varies his treatment of the solo parts, allowing each instrument to play alone with the orchestra (particularly the cello), using two solo instruments together in ever new combinations, and finally bringing together all three instruments with the orchestra. Beethoven weaves a complex web – the orchestral, piano, violin and cello voices interplaying and entwining – and he produces a true masterpiece. Bärenreiter’s new Urtext edition of Beethoven’sTriple Concerto is a completely fresh revision of this warm and beautiful showpiece. Errors abounded in all previous editions, but with the assistance of three newly-discovered sources, editor Jonathan Del Mar has cleaned up the text, corrected wrong notes and rhythms and (for the first time since 1807) presented the work in a way that a musician of Beethoven’s day might have recognized, with all necessary information for directing the piece included in the solo piano part. Piano reduction with separate parts for all three soloists Draws on three new sources Correction of many errors found in previous editions/ Répertoire / Piano, Violon, Violoncelle et Orchestre

In celebration of the 70th Anniversary of The Wizard of Oz, this book features all of the classic songs by E.Y. Harburg and Harold Arlen arranged for violin with a fully orchestrated CD accompaniment. This book also contains dozens of original production stills, including four pages of colour, publicity photos, an essay on the story behind the songs and biographies of the composers. This book is compatible with others in the series. The CD includes a demo track of each song, with a live instrumental performance, and a playalong track. A separate, optional, piano accompaniment book is also available. It also includes a CD that features various instrument demo tracks. Over The Rainbow; Come Out, Come Out... ,It Really Was No Miracle; Ding Dong! The Witch Is Dead; The Lullaby League ,The Lollipop Guild ,We Welcome You To Munchkinland; Follow The Yellow Brick Road ,We're Off To See The Wizard; If I Only Had A Brain; Optimistic Voices; The Merry Old Land Of Oz; The Jitterbug; If I Were King Of The Forest.

Par VOLANS KEVIN. Based on material from the South Africa-born composer?s 1997 Cello Concerto, this advanced-level solo piece creates the effect of two voices in dialogue. Its single movement is made up of a series of contrasting episodes in the manner of a set of variations and lasts around 10 minutes. This version of the piece was composed for violinist Darragh Morgan and first performed in 2021. / Date parution : 2022-04-01/ Répertoire / Violon

This work, composed for Children's Voices and String Quartet, was commissioned by the Young People's Chorus of New York City. / Quatuor A Cordes

Arrangé Pour Sextour À Vents Par Nicolas Prost 2016. Par BERLIOZ HECTOR. This arrangement written by Nicolas Prost in 2016 is a free reconstitution of the lost work Hymne sacré pour les instruments de Sax (Sacred song for the instruments of Sax), which was first performed at the Hertz concert hall in Paris on 3 February 1844. Adolphe Sax himself played the saxophone part. It was the first time that this instrument was played in a concert. The piece performed was an arrangement of Chant sacré for six voices and piano composed by Berlioz in December 1843. / Niveau : 3 / Répertoire / Ensemble d'Instruments à Vent

Edizione critica di - Critical edition by Italo Vescovo. Par PAGANINI NICCOLO. This Capriccio per violino solo M.S. 54 should be considered as part of the group of short musical dedications that Paganini was in the habit of giving away to friends, colleagues and the personalities he met during his travels. Dated 1828, dedicated to Count Maurizio Dietrichstein, is a truly unique work, not only for the way in which the music is organised (notated on four staves, one for each string) but also because of the way in which it was conceived musically. The concept of polyphony is brought to an extreme level, at least in conceptual and visual terms, in this composition. Its brief structure is reminiscent of a kind of four-part chorale written in score. It is characterised by its lyrical and elegant writing style, where the four voices move in polyphonic fashion, giving birth to an extremely refined harmonic texture. This critical edition is based on the manuscript kept in the Österreichische Nationalbibliothek of Vienna compared with the modern editions. / Niveau : Avancé / Répertoire / Violon

Par PAUS RAMON. The composition represents an apparently contradictory quality and colour, since the colour enunciated in the title of the work does not have lightness as an essential component of its chromatic nature. In the course of this work, very light arpeggios are traversed where the melody of the upper voice appears fragmented while the performer completes the rest of the notes harmonically associated with this melody. This fragmentation, far from cutting the singing line, gives this melody a special way of being. In contrast to these passages where lightness and fluidity are essential characteristics, others appear where double, triple and even quadruple strings are present, giving the work a more leaden aspect. / Date parution : 2022-02-03/ Répertoire / Violon

For Voice And Ensemble. Par PURCELL HENRY. Durée: 4', Format: New Edition portrait/ Répertoire / 2 Violons et Basse Continue ou Clavecin et, Piano

Par ADOLPHE BRUCE. This work was commissioned by violinist Solomiya Ivakhiv to celebrate and commemorate the life of her namesake, Solomiya Krushelnytska. A Ukranian soprano, Krushelnyts (1872-1952) left home at the age of 21 to study voice in Italy, where she became a very successful opera performer and close friends with Puccini. She is often credited with saving Madama Butterfly from obscurity by taking on the role after a failed premiere with a different cast. Visiting her family one summer, she was suddently trapped as Ukraine was absorbed by the Soviet Union and all borders were closed. Realizing that she would never be able to return to Italy to resume her solo career, she joined the faculty of the Lviv Conservatory, where she raised a generation of very fine singers. She died in poverty, never being able to access her savings or property in Italy, but she contributed to the growth of the Lviv Conservatory where Solomiya Ivakhiv studied. Krushelnyts became a well-known symbol of hope for young women in Ukraine, where much of the population knows her name, and many streets are named after her. / Date parution : 2022-06-14/ Répertoire / Violon et Piano

24 Etudes-Caprices Op. 41 by Delphin Alard (1815-1888) are excellent study material. Alard, the violin teacher of Sasasate, composed these studies in the 24 keys. Due to their musical variety, melodic beauty and cantabile voice leading, they are much more than technical studies; they might be described as character pieces in the best sense. The studies meet the two demands principally made on this genre: to both cover specifically certain technical tasks and be appealing as a music piece so that the musician likes to play them.Contenu - C major: playing three and four-part chords - playing in high positions on the G string - A minor: string-crossing - shifting with the left arm - spiccato bowing - G major: alternating double-stopping (melodic line)-solo line - E minor: cantabile melodic line - ornamentation - D major: double-stopping - harmonics - ricochet bowing - B minor: consistent legato bowing - expressive melodic line alternating with accompanying figures-A major: double-stopping (mainly in sixths) - three-part chords - ricochet bowing - F minor: legato study - E major: double-stopping (mainly in thirds) - C minor: playing a melody on one string - tremolo - B major: waltzes- lively dance-like patterns - G minor: ornamenting notes - long legato bowing - Gb major: legato string-crossing - Eb minor: lightness and elegance of tone - staccato - Db major: dotted rhythms - Bb minor: alternating solo melodic line- double-stopping - Ab major: Caprice for bringing out tone quality when playing legato - F minor: restless tied notes - lyrical lines in the middle section - Eb major: continuous tremolo accompanying figures - C minor: ricochet bowing - legato string-crossing - Bb major: alternating solo line- double-stopping - G minor: double-stopping with syncopations - F major: double-stopping dotted notes in horn-fifths - D minor: Bolero in virtuoso style - double-stopping - staccato bowing - lyrical middle section

Par TYSHAWN SOREY. Commissioned by the Los Angeles Philharmonic Association for a world premiere by the LA Phil New Music Group in January 2019, Tyshawn Sorey's gently tolling chamber work For Fred Lerdahl is dedicated to the elder composer on the occasion of Lerdahl's retirement. Sorey credits Lerdahl as one of two teachers who helped him to find his own voice as a composer. A single, 13-minute movement, it features a highly lyrical, muted viola solo over gentle, softly rhythmic dissonances from the two vibraphones and piano. This edition is a performing score, one of four required for performance. / Date parution : 2022-09-07/ Répertoire / Violon, Piano et Vibraphone