Psalm 129. Par CAMPRA ANDRE. In his roles as Music Director at the Cathedral of Notre Dame in Paris and in the Royal Choir [chapel] of Louis XV, André Campra (1660-1744) composed numerous motets which frequently displayed the influence of contemporary opera. If today Campra is known almost exclusively for his famous Requiem, nevertheless his more than forty motets composed for soli, choir and orchestra are still awaiting discovery. Among these is a setting of Psalm 129, De profundis, published here in a new critical edition after the autograph score. The work was composed in 1723 during the first months of Campra's service to the French king and it proves to be the equal to the compositions of Michel-Richard de Lalande, who during his lifetime shaped and dominated the genre of the 'Grand Motet.'/ Répertoire / ST (A) BarB et Orchestre

This comprehensive collection is the best one-volume source available on the topic, with a mix of familiar recital standards and intriguing material awaiting discovery. Includes composers from c. 1900 into the 21st century. Some songs make their first published appearance in American Art Song: Gian Carlo Menotti's moving 'The Old Man's Song,? Michael Tilson Thomas' inspired 'Grace,? dedicated to Leonard Bernstein, and Aaron Jay Kernis' 'A Good Boy,? as well a boogie-woogie art song by the editor, 'Blue Monday.? The same songs appear in High Voice and Medium/Low Voice. / Voix Haute

Composed in 1910/11, Bartók's Allegro barbaro is one of his best-known and most popular works for piano. The composer himself enjoyed performing it in concerts, and recorded it several times. The recording from 1929, which he referred to as the 'authentic recording?, contains very interesting divergences from the printed version as far as articulation, tempo and even the number of ostinato measures are concerned. For the first time, these have been included in the musical text of our Urtext edition, and also annotated. With this first Bartók Urtext edition, László Somfai gives an insight into the many and varied musical impulses awaiting us in the Béla Bartók Complete Critical Edition, which will be jointly published by Editio Musica Budapest and G. Henle Publishers from 2016. / Piano / Chanson En Séparée

This comprehensive collection is the best one-volume source available on the topic, with a mix of familiar recital standards and intriguing material awaiting discovery. Includes composers from c. 1900 into the 21st century. Some songs make their first published appearance in American Art Song: Gian Carlo Menotti's moving 'The Old Man's Song,? Michael Tilson Thomas' inspired 'Grace,? dedicated to Leonard Bernstein, and Aaron Jay Kernis' 'A Good Boy,? as well a boogie-woogie art song by the editor, 'Blue Monday.? The same songs appear in High Voice and Medium/Low Voice. / Voix Basses

For Violin, Viola and Piano (Reduced from the orchestra version). Britten was so remarkably prolific as a young composer that many of the works from his teens were put aside to await revision or completion as he rushed on to the next piece. This was particularly the case around the time of his Opus 1 Sinfonietta , composed in the summer of 1932, his second year as a student at the Royal College Of Music. The Sinfonietta was written (in less than three weeks) very soon after Britten had completed the first draft of the Double Concerto - but after finishing the Sinfonietta he went back to revise the Concerto's second movement. He started work on his Op.2 Phantasy for Oboe and String Trio a few weeks later. Although the Concerto follows the same three-movement pattern as the Sinfonietta , it is more ambitious in scale - and since the sketch is, unusually for Britten, complete in practically every detail, it is puzzling that he never made a full score of the work after finishing the composition, and seems to have made no attempt to get it performed. It is not clear if he had particular performers in mind (he was, of course, a Viola player, although he is not likely to have intended the part for himself). He showed the work to his composition teacher at the college, John Ireland, who, as Britten recorded in his diary, was 'pretty pleased' with it - but it is distinctly possible that his experience in rehearsing the Sinfonietta with a student orchestra in 1932 ('I have never heard such an appalling row!' reads another diary entry) discouraged him from going on to complete the Double Concerto in score. He was not to hear any of his orchestral works until the first performance of Our Hunting Fathers in 1936. In the absence of Britten's full score it was necessary for me to prepare the work from the sketch. But the instrumentation is so carefully indicated in the draft that the resulting score is not far from being 100% Britten - only between bars 70 and 74 of the slow movement did there seem to be any need to add anything significant to Britten's texture. The Double Concerto (Britten's manuscript title was 'Concerto In B Minor', but he referred to it in his diary, in characteristic shorthand, as '2ble Concerto') is the most recent addition to his corpus of works, mostly dating from Britten's youth and early maturity, that, since his death, have been revived after many years, or performed for the first time. Britten himself occasionally returned to his early works, and in his last years revised both the early String Quartet In D of 1931 and the opera Paul Bunyan . The Piano score published separately is not a reduction from the orchestral score, but a transcription of Britten's composition sketch, including his indications of instrumentation. The first performance of the Double Concerto was given at the 50th Aldeburgh Festival by Katherine Hunka and Philip Dukes, with the Britten-Pears Orchestra conducted by Kent Nagano, on June 15th 1997. -Colin Matthews / Violon, Alto Et Piano

Par WILSON PETER. 'Space Stringpops' is designed to provide enjoyable, yet worthwhile study for the intermediate string player. Within each piece is a different musical 'episode' to stimulate the imagination. The player is taken on a complete musical journey starting from 'Mission Control' and 'Chromatic Countdown' into space where various cosmic adventures await./ Recueil / Violon et Piano

Par OSBORNE TONY. A taste of the twenties, a sentimental ballad, a jazz waltz and some funk-rock are brought together in a suite which explores the lighter side of string playing.Drawing on a variety of poplular styles, some less familiar rhythms and bowing patterns, and a fresh harmonic framework, it offers plenty of new challenges for the string ensemble of moderate ability without overstretching the players technically. Exciting new musical experiences await!/ Répertoire / Set de Cordes

The Boogie and Blues Piano Collection contains carefully transcribed boogie-woogie classics by Pinetop Smith, Hersal Thomas and Jimmy Jancey, along with new arrangements by Wolfgang Wierzyk. German boogie experts Axel Zwingenberger and Gottfried Böttger have their say in a fast-paced way. The first 10 pieces are arranged more easily and are suitable for getting started or for refreshing one's skill and knowledge. As you progress, surprises await, including classics like Happy Birthday, Silent Night and Für Elise... / Piano

Nearly 60 songs from Harrison's days on the Apple label, including: All Things Must Pass - The Answer's at the End - Art of Dying - Ballad of Sir Frankie Crisp (Let It Roll) - Bangla Desh - Be Here Now - Bye Bye Love - Dark Horse - Don't Let Me Wait Too Long - Give Me Love (Give Me Peace on Earth) - Hear Me Lord - I Don't Care Anymore - Living in the Material World - My Sweet Lord - Ooh Baby (You Know That I Love You) - Sue Me, Sue You Blues - That Is All - This Guitar (Can't Keep from Crying) - You - and more. / Piano/Vocal/Guitare (PVG)

Par EBEN PETR. Hands Together presents 52 Czech folk-tunes arranged for piano by Petr Eben. The book progresses from easy to intermediate level and include fun tunes such as Strike up, fiddlers! and I am a jolly fellow.  / Instrumental Music / Recueil / Piano