Par ZEMLINSKY ALEXANDER. La musique d’Alexander Zemlinsky est longtemps injustement restée dans l’ombre de la deuxième École de Vienne, considérée comme «plus progressiste». Certes, Zemlinsky était amicalement très proche de l’une des personnalités les plus en vue de cette école, Arnold Schönberg, mais il n’a jamais franchi le pas de la radicalité dodécaphonique. Il n’en composa pas pour autant des œuvres moins originales ou moins personnelles. Et c’est justement son deuxième Quatuor à cordes, élaboré dans les années 1913-1915, qui conduisit la forme et la tonalité, telles qu’on se les représentait alors, jusqu’à leurs dernières limites. L’œuvre, en un seul mouvement, mais qui comprend plus de 1200 mesures, est d’une grande diversité, et fait partie des contributions les plus frappantes de son époque; elle avait depuis longtemps besoin d’une nouvelle édition critique. L’édition Urtext de la maison Henle corrige un grand nombre de fautes et d’imprécisions figurant dans l’édition originale, qui apparurent lors de la comparaison minutieuse faite avec les sources manuscrites autographes de Vienne et de Washington. Même les indications métronomiques transmises par Zemlinsky dans une seule correspondance épistolaire ont été pour la première fois prises en considération. Ces travaux éditoriaux ont été aimablement soutenus par le Fonds Alexander Zemlinsky de Vienne./ Répertoire / Quatuor à Cordes

Par ZEMLINSKY ALEXANDER. La musique d’Alexander Zemlinsky est longtemps injustement restée dans l’ombre de la deuxième École de Vienne, considérée comme «plus progressiste». Certes, Zemlinsky était amicalement très proche de l’une des personnalités les plus en vue de cette école, Arnold Schönberg, mais il n’a jamais franchi le pas de la radicalité dodécaphonique. Il n’en composa pas pour autant des œuvres moins originales ou moins personnelles. Et c’est justement son deuxième Quatuor à cordes, élaboré dans les années 1913-1915, qui conduisit la forme et la tonalité, telles qu’on se les représentait alors, jusqu’à leurs dernières limites. L’œuvre, en un seul mouvement, mais qui comprend plus de 1200 mesures, est d’une grande diversité, et fait partie des contributions les plus frappantes de son époque; elle avait depuis longtemps besoin d’une nouvelle édition critique. L’édition Urtext de la maison Henle corrige un grand nombre de fautes et d’imprécisions figurant dans l’édition originale, qui apparurent lors de la comparaison minutieuse faite avec les sources manuscrites autographes de Vienne et de Washington. Même les indications métronomiques transmises par Zemlinsky dans une seule correspondance épistolaire ont été pour la première fois prises en considération. Ces travaux éditoriaux ont été aimablement soutenus par le Fonds Alexander Zemlinsky de Vienne./ Répertoire / Quatuor à Cordes

'That's all my neighbour ever plays!? Like Anne Sylvestre, are you tormented by endless repetitions of Für Elise? Why not widen the repertoire of your budding musician with this collection of 38 whimsical pieces for Piano? Enhanced with an audio version accessible through a download card, this anthology presents an array of pieces for students with 3 to 5 years of lessons under their belt. The warm miniatures from Accueil amical, op. 326 by Darius Milhaud reflect his close ties with Paul Claudel's family, who hosted him often in New York during the war. Alexander Gretchaninov cheerfully cultivates 'the art of being a grandpa? (G. Sacre), enchanting pianists with his Historiettes and Promenade au bois. In Le coin de Claudinet, Henri Tomasi offers some irresistible little tableaux, such as the Réveil du petit soldat. Excerpts from Koechlin's Douze petites pièces faciles and Tcherepnin's Bagatelles, as well as many other treasures composed by Hahn, Bozza, Albéniz and Borodin, complete this fabulous collection. / Piano

This great 20th-century concerto by Armenian composer Alexander Arutiunian has become one of the essential elements of all trumpeters' repertoire. Likewise the etude by Alexander Goedicke remains a classic performed regularly inconcert halls and on recordings. Virtuoso Richard Steuart demonstrates his approach; you join with the orchestra to work your own magic! Contains a custom-engraved music score printed on high-quality ivory paper; and a digitalstereo compact disc containing complete versions of each song and a second compact disc featuring accompaniments minus soloist plus slow-tempo versions of five up-tempo songs.

Par L'ESTRANGE ALEXANDER. Commissioned by BBC Music Magazine, Love came down at Christmas is Alexander L'Estrange's stunning setting of the classic poem by Christina Rossetti. The music reflects the direct, sincere and expressive text in a simple strophic form, the melody passing to the basses for the second verse while the sopranos provide an angelic descant. A unison coda draws the piece to a serene close./ Feuillet / Choeur Mixte (SATB)

One of the least known of the great Russian pianists of the late 19th and early 20th Centuries, Alexander Siloti (1863-1945) was one of the most influential and progressive. As a concert promoter, he introduced the music of dozens of composers to the Russian public in the famous Siloti Concerts of 1903-1917, including Albeniz, Debussy, de Falla, Delius, Elgar, Enesco, Mahler and Schoenberg. A student of Liszt (and one of the teachers of Rachmaninoff), Siloti is a central figure in the development of the great age of the piano virtuoso. As with many of his colleagues, transcribing and arranging existing music for the piano was a major part of Siloti's activity, and since he madeno recordings, his published transcriptions are one of the few existing keys we have to his musical taste and philosophy. In an extended biographical essay, Dr. Charles Barber explores this issue and writes cogently about the style and influence of this remarkable man. The Alexander Siloti Collection is dominated by Siloti's remarkable transcriptions and arrangements of the music of J.S. Bach, notable particularly for their pianistic character and faithfulness to the unique genetic code of Bach's design. Some of the Bach works included are: Prelude in B Minor, BWV855a, Gigue from Suite in Bb Major, Chaconne in D Minor, the Organ Preludes in E Minor and G Minor and the celebrated Toccata and Fugue in D Minor, BWV 565. Music by Gluck, Mozart and Chopin is also contained in this generous compilation of pianistic wizardry. This addition to The Master's Collection is likely to be one of the most talked about piano folios of the year. (288 pages, smythe sewn binding).Prelude in B MinorAdagioAirChaconne in D MinorGigueAndanteFantasia in C MinorOrgan Prelude in E MinorParaphraseOrgan Prelude in G MinorPreludePrelude from Cantata No. 29Prelude from Cantata No. 35SicilianoToccata and Fugue in D MinorMelodyVariationsVariations in F MajorEtude No. 25 in F MinorScherzo in B-flat MinorAu bord d'une sourceAu lac de WallenstadtConsolation No. 3 in D-flat MajorConcert Etude in D-flat MajorSposalizioIl PenserosoSursum CordaLe cygneHumoresqueTheme original et variationsA Song of IndiaFour Russian Folk SongsFour Russian Folk SongsFour Russian Folk SongsTwelve Themes from Famous WaltzesTwelve Themes from Famous WaltzesNo. 3. On the Beautiful Blue DanubeTwelve Themes from Famous WaltzesTwelve Themes from Famous WaltzesTwelve Themes from Famous WaltzesTwelve Themes from Famous WaltzesTwelve Themes from Famous WaltzesTwelve Themes from Famous WaltzesTwelve Themes from Famous WaltzesTwelve Themes from Famous WaltzesTwelve Themes from Famous WaltzesEtude in C-sharp MinorPoemeRomanzePrelude in G-sharp Minor / Piano / Carl Fischer

The Jazz Sessions Series is a tremendous collection of Jazz standards, classics and original material by contemporary composers Alexander L'Estrange and Tom Pilling. Each book is dedicated to a particular instrument but they are all able to work in conjunction with each other in ensembles and Jazz bands, providing an exciting and enjoyable repertoire. A professionally recorded CD accompanies each book and contains play-along backing tracks as a substitute for real life musicians. This allows for practice at an individual's preferred pace and enables students to get an authentic feel of the style. One of the main purposes of Jazz Sessions is help encourage and develop improvisational skills with a full written solo on one page and an alternative, extended version for improvising. A great introduction to experimentation and ideal preparation for ABRSM exams. Reflects a variety of Jazz styles including swing, Latin, gospel and blues. Backing Tracks give opportunity for confident and atmospheric performance. Carefully tailored for intermediate musicians.

Par CAMPKIN ALEXANDER. Coventry Carol for unaccompanied mixed voice choir by Alexander Campkin. / Choral Music / Répertoire / Voix Mixtes

Par L'ESTRANGE ALEXANDER. Alexander L'estrange's Love's Philosophy for Voice and Piano accompaniment./ Répertoire / Chant et Piano

Par CAMPKIN ALEXANDER. Awake, Awake! for unaccompanied mixed voice choir by Alexander Campkin. / Choral Music / Répertoire / Voix Mixtes

10 Exciting Piano Solos. Par ALEXANDER DENNIS. Overture has been defined as an introduction to something more substantial. Dennis Alexander's Overture series is just that! Magical Overtures is the second of three and includes 10 original pieces perfect for auditions, festivals, and recitals. Featuring everything from mixed meters to boogie woogie learning patterns, it's all here! Titles: Copycat · Creepers · Gotta Boogie Woogie · Lydian March · Lys flottants (Floating Lilies) · Panache! · Perious Journey · The Royal Couple · Synergy · Une petite valse. / Date parution : 2021-11-03/ Recueil / Piano

Par ROSENBLATT ALEXANDER. In his piano duet Sleeping Beauty Alexander Roseblatt brings a new jazz style to the theme of the extremely famous waltz from Tchaikovsky's ballet. / Niveau : 4 / Classique / Répertoire / Piano 4 Mains