50 Songs Nur Mit Powerchords and Full Energy contains 50 Songs to be played with power chords only. Timeless Rock and Pop Classics arranged for Guitar by Peter Korbel.Korbel's book teaches the use of power chords. It is both a tutorial and a songbook because it begins with a theory section, and an introduction of all the songs that are included, going on to list them again with full text and chords. / Guitare

Norwegian composer Ola Gjeilo is an emerging star in the realm of choral works, and also with music for wind band. Similar to his earlier band works Meridian and The Spheres, Serenity is based on a successful choral work. Beautifully arranged by J. Eric Wilson along with the composer, this version for wind band maintains all the wonder and magic of the original work. The opening is ethereal and somber, with sustained chords in clarinets and bowed percussion supporting a delicate oboe solo. The middle section shifts the principal modality from minor to major, and the layering orchestration and rising tessitura creates a tremendous rush of energy that leads to a triumphant climax. The closing section returns to the timbre of the opening, but now painted with hopefulness and healing. / Ensemble A Vent Partition Et Parties

The text comes from the Pima people, who were desert dwellers. The wind either playfully tosses the sands and grasses in small sweeps and swirls, or upon gaining more energy, whirls into a circle and slithers along the ground, wrapping itself around whatever lies in its path. / 2 Parties Voix Aigues, Piano Et Hochet

Light And Matter was jointly commissioned by the Library of Congress, Britten Sinfonia, Norrbotten NEO and the Aeolian Chamber Players in honour of the 50th anniversary of the Bowdoin International Music Festival. Composed in 2014 by Finnish composer Kaija Saariaho, the piece is for Violin, Cello and Piano.Saariaho states that her inspiration for this work came from looking out of her window in New York at the changing lights and movements of Morningside Park. The piece manages to accurately represent the dynamism of movement and kinetic energy through the musical interplay of the three instruments.The piece saw its world premiere at Bowdoin International Festival on July 30th 2014 with Renee Jolles on Violin, Nicholas Canellakis on Cello and Benjamin Hochman on Piano. / Violon, Violoncelle Et Piano

for piano. Par LARCHER THOMAS. Smart Dust' devices are tiny wireless microelectromechanical sensors (MEMS) which are able to sense everything from light to vibrations. Thanks to new developments in silicon processing, these 'motes' are no larger than a sand grain even though they are provided with sensors, circuits, wireless communications and a power supply. They collect enormous amounts of data, perform calculations and are able to exchange such information even over distances of 300 metres. Today, one is developing commercial application possibilities, such as for the search for manufacturing defects or for the care of patients, but of course this 'Smart Dust', this barely visible intelligent dust, is particularly suited to spy on people and detect movements of the enemy in the case of war. Perhaps, one day, we will get rid of a potential observer when rubbing a sand grain from our eyes. They are tiny cells which are able to communicate with each other, build up a network among themselves, observe the environment and, above all, they can be blown through open windows into rooms without being noticed. The music too is about similar tiny cells, about strange sounds of a sound-reduced piano, 'simple circuits', i.e. basic information which are retransmitted, musical motifs from the everyday urban environment which then have to be aligned with each other and processed in a control centre, in the head of the listener. Omnipresent, dangerous elements. The motor energy (the power from the battery) decreases in the course of the little pieces, the flow of information slows down. The piano is deprepared during its course, the elements become more readable and audible. A broad stylistic expanse is traversed in a very brief space, as if a 'smart dust transmitter' lands on the turban of a muezzin and the next one a hundred metres farther in a discothèque. Or even better: one transmitter in a Lachenmann score, the next one in the beard of Arvo Pärt. - Thomas Larcher/ Répertoire / Piano