Mexicana. Par BERNARD PATRICE. Formation : Musique de Chambre, Quintette - Instrumentation : 3 Clarinettes Sib 1 Clarinette Alto Mib 1 Clarinette Basse - Niveau de Difficulté : 4/6 - Intermédiaire/Avancé - Durée : 1 mn 30 s - Style Musical : Classique - Catégorie : Composition Originale - Compositeur : Patrice BERNARD - / Niveau : Intermédiaire à Avancé / Classique / Répertoire / 3 Clarinettes en Sib, Clarinette Alto Mib, Clarine

Par BACH JOHANN-SEBASTIAN. It was 1995 when I had the fortune to listen to the freshly published recording of the suites performed by Mstislav Rostropovich. I would have given anything to be able to play them, and this was what inspired me to study the bass clarinet. The series of diverse emotions which I subsequently experienced made me see Music in a completely new way. I began learning them slowly, inevitably adapting the text. As I discovered their educational value, the knowledge of harmonic structures, forms and stylistic features gradually evolved within me. Over 20 years I have studied various editions and listened to the meaning which these suites have had for many famous performers. Ipleasantly discovered the commendable work of other clarinettists who in turn have dedicated themselves to approaching this composer with the bass clarinet. The objective of this version isn't to impose conditions on how to play the suites. We carried out unique research into the coherence of the text, based on the manuscripts of Anna Magdalena Bach and Johann Peter Kellner. The choice to remove any type of articulation and agogic was made in order to encourage the development of personal interpretation, which obviously requires a fundamental investigation of the sources. This edition comes with 4 versions of the suite. The reason behind producing four versions (which are in different keys and tones) is because every musician has their own tastes and tendencies. Personally, I prefer the bass clef transposed to B flat because I find the bass clef to be the most appropriate for the spirit of the low instrument. It was 1995 when I had the fortune to listen to the freshly published recording of the suites performed by Mstislav Rostropovich. I would have given anything to be able to play them, and this was what inspired me to study the bass clarinet. The series of diverse emotions which I subsequently experienced made me see Music in a completely new way. I began learning them slowly, inevitably adapting the text. As I discovered their educational value, the knowledge of harmonic structures, forms and stylistic features gradually evolved within me. Over 20 years I have studied various editions and listened to the meaning which these suites have had for many famous performers. Ipleasantly discovered the commendable work of other clarinettists who in turn have dedicated themselves to approaching this composer with the bass clarinet. The objective of this version isn't to impose conditions on how to play the suites. We carried out unique research into the coherence of the text, based on the manuscripts of Anna Magdalena Bach and Johann Peter Kellner. The choice to remove any type of articulation and agogic was made in order to encourage the development of personal interpretation, which obviously requires a fundamental investigation of the sources. This edition comes with 4 versions of the suite. The reason behind producing four versions (which are in different keys and tones) is because every musician has their own tastes and tendencies. Personally, I prefer the bass clef transposed to B flat because I find the bass clef to be the most appropriate for the spirit of the low instrument./ Répertoire / Clarinette Basse Solo

Arrangeur: Karl Scheit. Par VISEE ROBERT DE. Robert de Visée (c. 1655 – 1732) was a French lutenist, guitarist, and Court musician for both Louis XIV and Louis XV. Suite H-Moll is also known as Suite No. 11 in B Minor. It is written in 5 movements: Prélude – Allemande – Sarabande – Gigue – Passacaille. First published in the 1680s, it was almost certainly written when de Visée was already a respected musician at Versailles, and was probably performed in front of the Kings on many occasions. De Visée would have used a 5 string Baroque Guitar. It has been arranged for the modern 6 string instrument by the noted Guitar arranger and virtuoso Karl Scheit./ Répertoire / Guitare

Keyboard fireworksAs early as 1743, while Handel was still alive, Francesco Geminiani produced an arrangement of the 'Water Music? for keyboard instruments, thereby making it possible to perform this popular work in domestic surroundings. Then, presumably in 1749, an unknown musician arranged the 'Music for the Royal Fireworks? for transverse flute or violin and harpsichord.In addition to these two contemporary versions, this edition also contains an arrangement by the editor for harpsichord or organ, based on the first edition. Though both early sources explicitly mention a harpsichord, the arrangements can also be performed effectively note-for-note on the organ.As the surviving anonymous version merely places a solo part and a figured bass on a two-stave system, our edition is accompanied by performance material with one part each for transverse flute/oboe/violin and violoncello/double bass,plus a figured bass realisation.- Musical text with arrangements by two Handel contemporaries as well as the editor's own arrangement for harpsichord or organ- All editorial additions are clearly marked- Equally effective when performed note-for-note on the organ / Ensemble Mixte

Score + Parties. Par SCHWARZ OTTO M.. In this suite we are immersed in the musical world of Otto M. Schwarz in all its variety. From light-hearted and tongue-in-cheek, through wild-romantic elements all the way to stylistic imitation and complex rhythmic passages, this work combines many different facets. In performance, this suite is sure to be an entertaining experience for musician and listener alike. The movements can be played sequentially or individually, as desired./ Répertoire / 4 Saxophones

Score + Parties. Par SCHWARZ OTTO M.. In this suite we are immersed in the musical world of Otto M. Schwarz in all its variety. From light-hearted and tongue-in-cheek, through wild-romantic elements all the way to stylistic imitation and complex rhythmic passages, this work combines many different facets. In performance, this suite is sure to be an entertaining experience for musician and listener alike. The movements can be played sequentially or individually, as desired./ Répertoire / 4 Clarinettes

Par BRITTEN BENJAMIN. Trois Suites Opp. 72,80 et 87 pour Trois Suites alto solo. Britten pour violoncelle transcrites pour alto solo par l'altiste Nobuko classique japonais Imai. Les trois suites étaient orginally une série de trois compositions pour violoncelle solo consacré aux violoncelliste russe Mstislav Rostropovich , son grand ami et collaborateur. les suites étaient la première musique instrumentale solo originale que Britten a écrit pour et dédié à Rostropovitch, qui a donné les premières représentations de chaque oeuvre et enregistrées Suites n o 1 et 2 dans le commerce. Nobuko Imai est un altiste japonais classique avec une longue carrière en tant que soliste et musicien de chambre. Elle a été récipiendaire de nombreux prix dont le Prix Avon Arts (1993), le Prix de Musique Suntory au Japon (1995) et le Prix Mainichi des Arts (1996)./ Répertoire / Alto

' Suite Ionienne ' est un collier de petites pièces destinées aux jeunes trompettistes. Inspirées par la musique populaire Grecque, elles permettent au musicien de se familiariser avec la musique modale et les rythmes composés (3+2+3, 3+2 etc) / 2 Trompettes Et Piano

Par SANZ GASPAR. Ce célebre musicien et pretre est né à Calanda le 4 avril 1640. Il a étudié et enseigné à l'université de Salamanca en tant que professeur de musique. Il fut également l'organiste au ViceRoy de Napoles. Il serait mort à Madrid en 1710. Il est considéré comme le plus grand théologien espagnol de guitare du XVIIème siècle. Cette suite fut écrite en 1674. / Rép Classique / Répertoire / Guitare

Les 99 mélodies dans ce volume ont été soigneusement choisis selon deux critères. Premièrement, ils sont bons airs durable qui sont amusantes à jouer et présenter le musicien de développement avec du matériel digne de l'exploration plus loin. Deuxièmement, ils offrent la pratique à tous niveaux dans la production de ton, la technique des doigts, articulation, élocution et sa musicalité en général. / Violon / 40 pages / niveau : Facile - Elémentaire / Partition

Cette oeuvre a été inspirée par une charmante nouvelle de Jules Verne, Monsieur Ré Dièze et Madémoiselle Mi Bémol, parue pour la première fois dans le Figaro illustré de Décembre 1893. Dans cette nouvelle, on voit un musicien fou, maître Effarane, apparaître pour jeter la perturbation dans la maîtrise d'un paisible village suisse jusque là dirigée par le digne organiste titulaire de l'orgue, M. Eglisak. Le choc du doigt de maître Effarane sur sa première vertèbre cervicale donne le la, mieux que le diapason. Et ne prétend-il pas faire des enfants qui chantent à l'église 'un clavier vivant' en déterminant pour chacun d'eux sa 'note physiologique' ? Insolite, d'abord, puis de plus en plus inquiétante, la présence du mystérieux musicien va plonger les enfants dans une sorte de cauchemar, jusqu'au jour où maître Effarane va disparaître comme il était venu. / 8 Saxophones (Ss,Aa,Tt,B) Et Harpe Facultative