The Boosey and Hawkes Bartók Edition showcases brand new stylish arrangements of highlights from the leading twentieth century composer for developing musicians to learn and enjoy.Bartók for Flute features selected highlights from Bartók's most popular pedagogical repertoire including For Children, Mikrokosmos, Romanian Folk Dances, Romanian Christmas Carols and others, arranged for flute with piano accompaniment by Hywel Davies. An accompanying audio CD features demonstration and backing tracks. / Flûte Et Piano

Béla Bartók's series of piano pieces For Children, based on folk melodies, was written around the end of the first decade of the 20th century. The pieces were published shortly afterwards by the Hungarian publisher Károly Rozsnyai. That first publication was in four volumes, the first two containing a total of 42 pieces based on Hungarian folk tunes, the third and fourth containing 43 pieces based on Slovakian folk tunes.In 1943, whilst in the United States, Bartók prepared a revised version of the collection for the publishers Boosey and Hawkes. The revisions were minimal: two Hungarian and four Slovakian songs were eliminated, there were a few minor alterations incorporating new ideas, some of the pieces previously written with accidentals had key signatures added, a few pieces were rewritten with changed meters - some fingerings were added or changed.The composer prepared the revised 1943 edition by using copies of the first edition on which he marked minor changes - where the changes were more extensive, fresh manuscript was written and a new version engraved. However, much of the engraving of the first edition was preserved in the 1943 edition. Publication took place in 1946, after the composer's death - it is not known if he saw final proofs prior to printing.The revised edition was published in two volumes, which now have been published together as one volume for the first time. / Piano

Pour Saxophone Soprano et Piano / for Solo Saxophone and Piano-André Jolivet’s Chant de Linos for Saxophone and Piano (arrangement: Carmen Lefrançois). Captivated by the magical and religious dimension of music André Jolivet (1905-1971) couldn’t help but have a predilection for the Flute a “deep expression of humankind (…) that charges sounds with what in us is both visceral and cosmic”. Eight years after the famous Incantations for solo Flute in 1936 he wrote the Chant de Linos for Flute and Piano. Its pedagogical purpose – as an examination piece for national Conservatoire students - does not mask itsgravity: in Ancient Greece it was a funeral lamento originally sung in memory of the poet Linos who lost his life to Apollo’s jealousy. In 1945 the composer transformed this piece into a powerfully charming quintet for Flute Violin Viola Cello and Harp. The Editions Leduc are publishing a transcription for Soprano Saxophone and Piano written by Carmen Lefrançois and approved by Christine Jolivet the composer’s daughter. Lefrançois beautifully avoids smothering the delicacy of the music with the Saxophone's dynamics which could prove excessive in this context. The threnody interspersed with ritual dances retains its strange beauty touching the hearts of a new generation of musicians.

For Children Vol. 2. Bartók composed his first pedagogical collection For Children between 1908 and 1911. The first edition was issued between 1909 and 1911 in four volumes, comprising two of Hungarian and two of Slovak folk song arrangements. After moving to America, Bartók considered it important to produce new editions of his earlier works. Thus in autumn 1943, together with his new publisher Boosey and Hawkes, he planned a new edition of For Children, and to this end completely revised the collection. Although Bartók had already completed his revision by the end of 1943, the revised edition was only issued in 1946. The pieces were published without titles in the first edition, but the folk song lyrics were included. These lyrics, deemed unnecessary for the non-Hungarian audiences, were not taken over to the American revised edition however, a significant number of pieces were provided with a title conveying their mood and their background in folk music and folk life. The American edition omitted the folk songs lyrics that seemed unnecessary to the audience there, but the titles of the first edition were replaced with English titles (some with the same meaning and some with modified interpretations) conveying each song's mood and background in folk music and folk life.The present edition - which contains the same scores as those in Volume 37 of the Béla Bartók Complete Critical Edition (Z. 15037) - is based on the revised version that the composer made in 1943 for the new edition, to which he also referred to as ''corrected''. We have added Hungarian translations to the English titles but we have also restored the original collection of folk song texts with parallel English translations. The pieces discarded from the revised version, as well as early versions that are significantly different from the revised version, are included in the Appendix. This publication contains a preface and editorial comments in both Hungarian and English.

Rarely has a musical work been better characterized by its subtitle than Nicolas Bacri’s Lyric Interlude: ‘A Study in Pastoral Style’. When in 2008 the composer received the commission for a piece with English Horn from Cecilia Benner patron of the Chamber Music Society of Detroit he immediately thought of the duo between this instrument and the Oboe that Berlioz in the Symphonie fantastique placed at the beginning of the ‘Scène aux champs’ making suddenly appear a nocturnal country landscape where two shepherds carry on a dialogue on their pipes. First performed in March 2009 inits original version for English Horn Violin and Cello the Lyric Interlude for English Horn and Piano (Op.110b) nonetheless proclaims another tradition: that of British pastoralism illustrated by the music of Ralph Vaughan Williams (1872-1958) the 50th anniversary of his death having just been celebrated. This score pays him homage of rare sensitivity: set off by refined counterpoint the undulating lament of the beginning rhythmically supple evokes the waving wheat as does Vaughan Williams in the opening undulation of his Symphony No.3. The lyrical effusion briefly interrupted by a scherzo in 6/8 again pours out making the work evolve towards a slow ecstatic atmosphere close to the last of the English composer’s Three Preludes on Welsh Hymn Tunes. Far from bucolic postcard clichés and servile imitation this Lyric Interlude opens the doors to a realm where pure beauty reigns. The composer also wrote another version of this work for English Horn (or Flute Clarinet or Viola) Violin and Cello Op.110a (AL 30 751)

This short suite, much inspired by Bartók's Six Romanian Folk Dances, is based on traditional dances and songs of Argentina. Although the original rhythms and melodies are often transformed by the use of contemporary techniques, the piece preserves the authentic spirit of each of these folk forms.Zamba de Vargas, a well known folk song, refers to a battle in Argentina between two armies of gauchos during the civil wars of the nineteenth century.Ojos Azules (Blue Eyes) is an introspective lament for lost love of Quichua origin (Northwest of Argentina). It was first collected by musicologist Leda Valladares.Both the Milonga and the Valsecito Criollo, (folk forms which developed in rural areas and then made it to the outskirts of Buenos Aires at the turn of the century) are original themes written by me based on my own personal understanding of the genre.Lastly, the Baguala is inspired on a transcription documented by Isabel Aretz which was reproduced in Las Canciones Folklóricas de la Argentina and published by Instituto Nacional de Musicología of Buenos Aires in 1969.Commissioned by and dedicated to the Minnesota Sinfonia and to its Music Director, Jay Fishman. / Flûte, Alto Et Piano

New Concert Studies contient quinze études originales pour flûte traversière et piano. L'ensemble des pièces couvre une large palette musicale au sein de laquelle sont traités de nombreux aspects du jeu de la flûte : technique de doigté, grands intervalles, sonorité, phrasé, nuances, etc. La grande diversité des pièces est idéale pour élargir son horizon musical. / Flûte Traversière / 36 pages / niveau : Elémentaire - Moyen / Partition Cd

This beautiful folk song lament from northern England is given a creative treatment in this new arrangement. Set in the uneven meter of 5/8 and with an accompaniment that can be realized by piano guitar or harp this is a teaching piece for your choir. The counter melody can be sung or played by a C instrument like a flute or oboe.

Uses: General ReformationScripture: Psalm 36:5; Lamentations 3:22-23; Psalm 89:8The faithfulness of Christ is the foundation of this outstanding original. A noble theme lifts the message to amazingheights while the considerate vocal writing makes this selection useful for church choirs of any size. With piano only or with the beautiful orchestration this sacred choral anthem is a tuneful reminder of God's glory andmajesty. Available separately: SATB Orchestration (Score and parts for Piano Flute 1&2 Oboe Clarinet 1&2 Bassoon Horn 1&2 Trumpets 1-3 Trombone 1&2 Bass Trombone/Tuba Timpani Percussion 1&2 Harp Violin 1&2 Viola Cello Double Bass) StudioTrax CD. Duration: ca. 3:33.