Par SPARKE PHILIP. Philip Sparke was commissioned to compose a gentle chorale, a style typical of Philip’s writing, and Cantilena was the result. Enthuse your dedicated performers hunger for great music with this new masterpiece. Philip Sparke was commissioned to compose a gentle chorale, a style typical of Philip’s writing, and Cantilena was the result. Enthuse your dedicated performers hunger for great music with this new masterpiece. / Niveau : 3 / Répertoire / Brass Band

L'Album Piano de Karl Jenkins vous apporte la musique de mystère et d'enchantement du compositeur de Adiemus. Les numéros préférés de Best-sellers titres l'homme armé: une masse pour la paix et Requiem côtoient une sélection de mélodies radiants comme effectuée par Kiri Te Kanawa avec Karl Jenkins et l'Orchestre symphonique de Londres sur EMI Classics Kiri chante Karl et vivaces favoris de Adiemus Cantilena, Cantus (chanson de larmes) et hymne. / Piano

Par PART ARVO. `Spiegel im Spiegel` is a well-known example of Arvo Pärts Tintinnabuli style and has been used in many films. Arvo Pärts Spiegel im Spiegel illustrates his creative principles: above a permanent flow of chords on the piano, the cello unfolds acantilena in long note values, which grows out of succinct steps. This cantilena spins out sweeping, chorale-like arches and spreads itself out more and more. It thus gives rise to a new architectonic configuration which, like a mediation chapel, stimulaties reflection, prayer or the desire for redemption. Jürgen Köchel/ Répertoire / Orgue

The work was composed in 1992 for the 85th birthday of Kurtág's teacher, Sándor Veress. The ensemble of instruments is unusual: two basset horns and two quarter-tone pianos (the well-known predecessor of the latter is Charles Ives' Three Quarter-Tone Pieces for two pianos). The special tuning in this case is not that the tonality moves in an ultra-chromatic direction, rather that it makes the contours more nebulous, somewhat incomprehensible and dreamlike, and especially that the two wind instruments align themselves with the normal pitch of the piano. In many respects the musical material links with Kurtág's other compositions, for example the familiar movements of the Games series, the colinda reflections and the second piece of Three Old Inscriptions (op. 25). The broad spanning and profusely ornamented cantilena of the two basset horns reflects the inspiration of folk music. / Soprano Et Contrebasse

A modern sequel to the music of the Romantic era. The first movement hints at the chromatic of 'Tristan?- cantilena lines convey a mournful scene. It is succeeded by a brilliant scherzo with the cryptic title 'Erste fremde Szene? (First Foreign/Unknown Scene - one is invited to solve this riddle), while the third movement, with its singing quality, is related to the first. The final movement, a 'Zweite fremde Szene? ('Second Foreign/Unknown Scene?), alludes to the 'last dance? tradition, with its ironic undertones and the copious use of sixths, counterpointed with tarantella rhythms. A rewarding, striking work, equally valuable for concerts combining older compositions with new works as for contemporary music programmes. / Quatuor A Cordes

La collection Selected Studies rassemble des études composées par de grands pédagogues des deux siècles passés tels que F. Wohlfahrt, H. Sitt et H. Kayser. Vous y trouverez des exercices faciles autour de la technique d'archet et du jeu en doubles cordes. Chaque recueil dispose de deux CDs d'accompagnement. Chaque étude est enregistrée dans trois versions : une version intégrale, et deux versions d'accompagnement (au tempo normal d'abord, au tempo d'étude ensuite).Selected Studies 3: Études d'Henri Vieuxtemps, Federico Fiorillo, Pierre Rode, Rodolphe Kreutzer, Jacob Dont, Pierre Gaviniès, Jacques Féréol Mazas et Niccolò Paganini, etc. Main droite : accords, ricochet, détaché, démanchés, staccato, legato, spiccato, sauts d'octaves, cantilena. Main gauche : positions élargies, extensions, doubles cordes, sauts d'octaves, accords, positions sur la corde de Sol, pizzicato, notes harmoniques, trilles, vélocité, chromatismes, ornements.

Par SCHLEE THOMAS DANIEL. A suite whose movements always deliver something other than what they seem to promise. But throughout, the two instruments and respectively their players act like two people in very specific situations: I.: The opening movement is reserved for the piano; the initially earnest, solitary cantilena intensifies creating expectation. Suddenly II.: the violin sounds. Its moving figures replace the now silent piano, also soloistically. III. 'Passacaglia': The title is taken literally - the two instruments/persons encounter each other in the street. Two musical characters who meet at a specific point, recognize each other, but move on again, each one by itself. IV. 'Rondo': The two of them dance together. Before me, I saw people dancing the Sardana - a round dance - in front of the cathedral of Barcelona. Four themes in different time signatures circle ceaselessly between the two instruments. V. 'Fuga': At last, regardless, panic flight - again the title is taken literally ... Human, only too human .../ Répertoire / Violon et Piano

Par ROZYCKI LUDOMIR. This volume contains piano pieces by Ludomir Rózycki, which refer to the fantasy genre. Fantaisie (Fantasia) op. 11 is a youthful piece in which the individual creative language of the Young Poland composer resounds. The dark, mystical mood of the composition is interrupted by an almost tender cantilena theme. Fantaisiestücke (Fantastic Pieces) op. 46 come from a later period of his work. Each of the five miniatures constitutes a separate, compelling musical image. The publication intended for professional musicians. / Date parution : 2023-10-31/ Recueil / Piano

Par BOULANGER NADIA. Nadia Boulanger's Three Pieces for Viola and Piano Posterity has retained of Nadia Boulanger only her gifts as a virtuoso of the piano and organ, her skill as a conductor (of vocal ensemble and orchestra) and most of all, her incredible charisma as a teacher. For nearly sixty years, 'Mademoiselle' made the most of her famous Wednesdays, bringing rigour and passion to the training of several generations of musicians: among so many others, Aaron Copland, Leonard Bernstein, Igor Markevitch, Michel Legrand, Witold Lutoslawski, Astor Piazzolla, Quincy Jones and John-Eliot Gardiner have all kept unforgettable memories of these times. Was Nadia Boulanger wrong to let teaching music take precedence over her composing, as Gabriel Fauré, the great master she venerated, believed? The publication of Three Pieces for Viola and Piano, raises the question. This transcription of Three Pieces for cello and piano was composed between 1911 and 1913 and published by Heugel. The two initial pieces were originally written for organ: the first, in E flat minor, brings a moderate tempo to a melancholy cantilena with Romantic accents, while the second, in A minor, exudes warmth and tenderness. The third piece (C sharp minor), most likely originally titled Danse espagnole, heralds the Roaring Twenties with its restlessness and festive crackle. Together they emit a charm that is difficult to resist./ Répertoire / Alto et Piano