It was in 1990 - more than 250 years after the publication of 'Il Pastor Fido' - that the masterful forgery was exposed: not Antonio Vivaldi but in fact the French composer Nicolas Chédeville (1705-1782) turned out to be the true author of this sonata collection, which was subtly foisted upon the unsuspecting Parisian public in the middle of the 18th Century, at the height of Vivaldi's popularity in France. Vivaldi himself never came to know anything of the misuse of his name and musical intellectual property.'Il Pastor Fido' offers a 'Mélange' of very simple, movements and gallantries in the French style, as well as some throughout original movements of exceptionally fine music and powerful compositional ideas. Approximately ninety percent of 'Il Pastor Fido? is Chédeville's own work - for the remainder, he adopted and built upon themes (or those which he thought to be) by Vivaldi, all the while demonstrating a thorough understanding of the style that he was striving to imitate.As with all of Chédeville's other works and numerous other collections from the time, the original title mentions a series of instruments, all of which are suitable for performing these sonatas: the musette, hurdy-gurdy, flute, oboe and violin. Whilst the first two, which were popular instruments at the time and corresponded to the Arcadian sensibilities of the Age of Enlightenment, have long since been out of fashion, the flute is particularly well suited today to reflect the pastoral character - noted in the title of the collection ('Il Pastor Fido?: the Faithful Shepherd) - of the music.The Bärenreiter Urtext edition was edited by the reputable Vivaldi scholar and conductor Federico Maria Sardelli. In addition to the musical text of the six sonatas, it contains a detailed preface (German / English), which not only tells the enthralling story of the forgery and reveals the 'ingredients? required for such a composition. It also contains inspiring information on performance practice, whilst presenting a critical report with references to readings and editorial decisions. / Flûte (ou Hautbois, Violon) Et Basse Continue

Par MAHLER GUSTAV. The Song of the Earth , composed in the summer of 1908, is Mahler’s best-known and most personal work. Reflecting drastic changes in his life, its immense emotional density is very moving. Until the very end, Mahler continued to refine the extremely differentiated instrumentation, as is evident in numerous retouchings in the autograph score and engraver’s model. It is therefore all the more regrettable that he was neither able to perform his “Symphony in Songs” himself nor that he was involved in its printing. Unfortunately, in the posthumously published first edition of 1912 and the subsequent editions edited by Erwin Ratz and Karl Heinz Füssl, many questions remained unanswered, while other were answered in a dubious way. The edition is the first text-critical one of the work on a scientifically sound basis. It offers not only a more reliable musical text, but also systematically and lucidly prepared information on the sources, their transmission and evaluation. All editorial decisions have been documented in a transparently comprehensible manner – in particular those leading to new audible results. Work-related notes on performance practice, which for the first time include Mahler’s conducting indications, offer valuable, indispensable interpretive aids. In addition to the regular five clarinet parts, the set of parts includes two additional parts (3rd clarinet/E b clarinet, bass clarinet/3rd clarinet in places where the latter plays E b clarinet) to allow performances with only four clarinets. The completely revised piano reduction reproduces the orchestral texture true to the score without losing sight of playability. Both Mahler’s piano autograph and the piano reduction by Wöss, which was commissioned by the composer himself, served as an inspiration for this. / Date parution : 2022-07-23/ Répertoire / Soli [AT] et Orchestre

Par MAHLER GUSTAV. The Song of the Earth , composed in the summer of 1908, is Mahler’s best-known and most personal work. Reflecting drastic changes in his life, its immense emotional density is very moving. Until the very end, Mahler continued to refine the extremely differentiated instrumentation, as is evident in numerous retouchings in the autograph score and engraver’s model. It is therefore all the more regrettable that he was neither able to perform his “Symphony in Songs” himself nor that he was involved in its printing. Unfortunately, in the posthumously published first edition of 1912 and the subsequent editions edited by Erwin Ratz and Karl Heinz Füssl, many questions remained unanswered, while other were answered in a dubious way. The edition is the first text-critical one of the work on a scientifically sound basis. It offers not only a more reliable musical text, but also systematically and lucidly prepared information on the sources, their transmission and evaluation. All editorial decisions have been documented in a transparently comprehensible manner – in particular those leading to new audible results. Work-related notes on performance practice, which for the first time include Mahler’s conducting indications, offer valuable, indispensable interpretive aids. In addition to the regular five clarinet parts, the set of parts includes two additional parts (3rd clarinet/E b clarinet, bass clarinet/3rd clarinet in places where the latter plays E b clarinet) to allow performances with only four clarinets. The completely revised piano reduction reproduces the orchestral texture true to the score without losing sight of playability. Both Mahler’s piano autograph and the piano reduction by Wöss, which was commissioned by the composer himself, served as an inspiration for this. / Date parution : 2022-07-23/ Répertoire / Soli [AT] et Orchestre

Par MAHLER GUSTAV. The Song of the Earth , composed in the summer of 1908, is Mahler’s best-known and most personal work. Reflecting drastic changes in his life, its immense emotional density is very moving. Until the very end, Mahler continued to refine the extremely differentiated instrumentation, as is evident in numerous retouchings in the autograph score and engraver’s model. It is therefore all the more regrettable that he was neither able to perform his “Symphony in Songs” himself nor that he was involved in its printing. Unfortunately, in the posthumously published first edition of 1912 and the subsequent editions edited by Erwin Ratz and Karl Heinz Füssl, many questions remained unanswered, while other were answered in a dubious way. The edition is the first text-critical one of the work on a scientifically sound basis. It offers not only a more reliable musical text, but also systematically and lucidly prepared information on the sources, their transmission and evaluation. All editorial decisions have been documented in a transparently comprehensible manner – in particular those leading to new audible results. Work-related notes on performance practice, which for the first time include Mahler’s conducting indications, offer valuable, indispensable interpretive aids. In addition to the regular five clarinet parts, the set of parts includes two additional parts (3rd clarinet/E b clarinet, bass clarinet/3rd clarinet in places where the latter plays E b clarinet) to allow performances with only four clarinets. The completely revised piano reduction reproduces the orchestral texture true to the score without losing sight of playability. Both Mahler’s piano autograph and the piano reduction by Wöss, which was commissioned by the composer himself, served as an inspiration for this. / Date parution : 2022-07-23/ Répertoire / Soli [AT] et Orchestre

Par STING. A collection of 18 songs from one of the UK's most important, unpredictable and talented solo artists, all arranged for Piano, Voice and Guitar. Front-man, bassist, singer, songwriter, film star, activist and cultural critic, Sting's career has been built upon integrity and purpose. His singles reflect his life, times and surroundings in a way that is always candid and beautifully evocative. From the savvy jazz of Englishman In New York to the pure soul of If You Love Somebody Set Them Free , every song has become a musical world all of its own, and the very best are presented here for you to play and enjoy. This book is specially bound to help the pages lay flat while you are playing. / Niveau : Elémentaire / Rép International / Recueil / Piano, Chant et Guitare