Après le succès de son précédent album, Julien Clerc nous revient avec un nouvel album plein de tendresse. Co-réalisé par Benjamin Biolay et Bénédicte Schmitt, on y croise les plumes affûtées de Carla Bruni, Gérard Manset, Maxime Le Forestier, Jean-Loup Dabadie. Premier single déjà en rotation sur toutes les radios: La jupe en Laine.

Britten's A Ceremony Of Carols Op.28 is written for Upper Voices (SSA) with Harp or Piano accompaniment and was first performed in the Library of Norwich Castle in December 1942 by the Fleet Street Choir conducted by T.B. Lawrence with Gwendolen Mason (Harp). Availble here is the score of the work for SSA Choir with Harp or Piano. German translation by Herberth E. Herlitschka. The Harp part is also available separately - Catalogue No.: M060014123

37 Pièces pour violon auxquels vous aimez jouer le répertoire classique comporte des maîtres avec deux CD améliorés qui présentent des accompagnements de piano pour chaque pièce ainsi que les logiciels pour le réglage du tempo utilisation de l'ordinateur de CD-ROM. / Violon Et Piano

Dale Warland Choral Series-Matthew Culloton's Balulalow for Soprano soloist and SATB choir with Piano accompaniment. This text by the Wedderburns is best known from Benjamin Britten's timeless “ACeremony of Carols.” This setting serves as a “manger lullaby ” with the Soprano soloist representing Mary.

Par LOUANE. Chambre12 et Louane - Le Songbook Officiel - 22 Chansons P/V/G de Louane : Le songbook des deux premiers albums en une partition Louane fait son grand retour avec son deuxième album éponyme le 10 novembre 2018. Avec plus de 2 millions d'album vendus et une tournée des Zénith complète, l'artiste nous livre un album sensible et personnel composé en collaboration avec Patxi (comme sur le premier album) mais aussi avec Julien Doré, Loïc Nottet, Vianney ou Benjamin Biolay. Retrouvez une sélection des deux premiers albums de la star spécialement transcrits pour piano, voix et diagrammes d'accords guitare vérifiés par l'artiste./ Recueil / Piano, Chant et Guitare

Timeless Cornish Melodies Cooked Up For Hungry Brass Players-As I sit myself down to write this brief foreword I ask myself can there be music more stirring than these old Cornish folk melodies? Though not Cornish myself (I confess to being born a little further up the road in Bristol) I feel I have spent sufficient time in these 'ere parts to resonate with the sturdy brass band tradition that continues to permeate this incomparably beautiful rugged county. One can almost detect a French 'accent' when listening to the piano music of Debussy and likewise speaking as a lapsed brass player there is undoubtedly something of the Cornish twang about Trelawny when played on a cornet or euphonium. Then again one gets a different yet entirely convincing effect upon hearing these melodies rendered on woodwind instruments; hence with a little gamesmanship on my part I am pleased to see my collection of these fifteen delectable ditties come to fruition in the form of arrangements for treble clef brass instruments (in B flat and E flat) Trombone and Tuba (bass clef) Horn in F Flute Clarinet and Bassoon. While many will find themselves humming the likes of Going up Camborne Hill Lamorna or The Helston Furry Dance even before they have turned to the first page - for these are indelibly intertwined with Cornish culture – I wonder if I might draw your attention to The Cornish Squire The Pool of Pilate and Cold Blows the Wind Today Sweetheart which are quite simply sublime melodies perhaps needing that extra bit of help in bringing them to mind nowadays. In the best tradition of musical hand-me-downs Cornish folk music works equally ideally sung and played and only by doing so on a regular basis can such traditions hope to continue forward with vigour and authority. A legitimate way of achieving this is to revitalise the harmonic scheme of these ancient tunes and bring them up to date for a modern audience; after all it was such an approach that fuelled the imagination of Benjamin Britten and Ralph Vaughan

Angel View by Juliana Hodkinson scored for seven or more performers and electronics. 'Angel View is an assemblage of urban and musical debris somewhere between a wordless live radio play enacted film soundtrack and instrumental theatre. Chiseling cement falling debris scraping cutlery breaking glass criss-crossing cables squealing tram-wheels an upturned bicycle a grid of cables a travel souvenir a shop window a revolving carousel a brace of monkeys a wall under siege a dining table laid for an ancestral dinner – it is a sonic bazaar. Made up of over 20 parts each designed to overlap the work’s architecture is full of of non-sequiturs and arbitrary cross-relations between imagined streets intersecting and running parallel reflecting the surrealism of everyday life described in Walter Benjamin’s Einbahnstrasse and still present in the contemporary dilemmas and opportunities of Berlin today. All this is heard as if from an aerial perspective perhaps the Victory Column where angels sit in Wings of Desire from where Berlin below is observed as a series of tragedies.' Juliana Hodskinson

Par TURNAGE MARK-ANTHONY. This work was composed in 2017–18 and first performed on 20 September 2019 at Milton Court, Barbican, London, by Allan Clayton (tenor) with the Britten Sinfonia, conducted by Andrew Gourlay. This 22 minute work comprises of five movements and contains texts by Emily Dickinson, Benjamin Zephaniah, W.H. Auden, and Brian Bilston. It was commissioned by Britten Sinfonia and supported by the generosity and vision of donors to Britten Sinfonia’s Musically Gifted campaign. This orchestral song cycle is set to four poems, displaying elements of jazz, soul and gospel. Suitable for advanced standard performers. / Date parution : 2022-10-12/ Répertoire / Ténor et Orchestre de Chambre

La réunion des trois textes figurant aujourd'hui en français dans le présent volume vise au moins trois objectifs.

Le premier est d'explorer en profondeur des enregistrements historiques à plus d'un titre.

Le deuxième est d'ordre épistémologique : il consiste à éprouver un corps théorique (celui de la normativité audiotactile) en le mettant à l'épreuve de la confrontation à une matière musicale donnée.

Enfin, la théorie et la méthode qui en découlent (en constante évolution) aident à dépasser un clivage qui se révèle tous les jours plus problématique dans la musicologie du jazz actuelle, celui que l'académie anglophone a en quelque sorte institutionnalisé avec la distinction entre music theory et musicology.

La première se chargerait de l'analyse du matériau musical tandis que la seconde serait consacrée à l'extraction du sens (le fameux meaning dont la littérature anglophone est si friande). Or, et c'est le sens du titre qui a été donné à ce volume, l'entreprise initiée par Vincenzo Caporaletti, illustrant en cela un projet plus global de ce qu'on pourrait appeler une musicologie continentale, vise au contraire à réunir ces deux visées et à les placer en situation d'interaction.

Les trois textes et les deux transcriptions illustrent donc la pluralité de cette approche. / Livre / Agrafé /

Oratorio-The oratorio 'A Child of Our Time' was Tippett’s artistic and emotional response to the events that led to the 'Kristallnacht' pogrom of November 1938. For his oratorio Tippett used as his formal and historical models the Bach Passions and Handel’s Messiah which share with this contemporary morality the subject of the death of an individual set against the universal background of human suffering. Tippett’s use of the spiritual as a contemporary equivalent for the Lutheran chorale of the Bach settings draws his audience more closely into the drama through the spirituals’ ‘unique verbal and musical metaphor’.By 1941 when Tippett hadcompleted the composition of his oratorio the practicalities of staging a performance during wartime were difficult to say the least. It was however through the direct agency of his lifelong friends and professional colleagues Benjamin Britten and Peter Pears that the work was first performed in London on 19 March 1944 under the direction of the former Schoenberg pupil Walter Goehr and with Pears himself as the tenor soloist.