'La Mer?, which is an impressionistic work through and through, was composed between 1903-1905. Debussy however refined this work up until at least 1913. These corrections are found in a score which Debussy gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previously unavailable to musicologists, resulting in an array of new readings and corrections. In addition, there are many changes, a.o. in terms of articulation and dynamics.This new edition includes the famous 'fanfare? in Movement III, clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work, but was reinstated by a number of great conductors who knew Debussy, i.e. Monteux, Münch, Mitropoulos and Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so, the Bärenreiter edition presents the revival of a performing tradition which is committed to the fanfare.- New Urtext edition with numerous corrections in comparison to other editions- Important sources which were previously inaccessible have been taken into account- Score and orchestral parts in large format (25.5 x 32.5cm)- Score and orchestral parts with an impeccable generous layout- Includes an informative introduction (Eng/Fr/Ger), facsimiles, source descriptions and a Critical Commentary (Eng) / Violoncelle

Par PART ARVO. Chad Smith, Artistic Director of the Los Angeles Philharmonic, has long nurtured the desire to commission a new work by Arvo Pärt. When the Los Angeles Philharmonic submitted this idea to Arvo Pärt in February 2007, the suggestion came at precisely the right moment. Pärt was working at that time with an ancient canon in Church Slavonic containing a prayer to a guardian angel - the connection to 'Los Angeles' was irresistible. Pärt was further inspired to take the commission by the idea of seeing this work performed by the Los Angeles Philharmonic, one of the best orchestras in the world, under its music director Esa-Pekka Salonen, and in the Walt Disney Concert Hall, one of the most exciting concert buildings of our time. The Canberra International Music Festival / Ars Musica Australis and the Sydney Conservatorium of Music joined the project as co-commissioners, thanks to the committed work of director Chris Latham. It may come as a surprise that it has taken so long (37 years) for Pärt to produce his fourth symphony. Symphony No. 3 emerged in 1971, in a time of transition before Pärt had fully developed the 'Tintinnabuli style' which he still employs today. Since developing this style, Pärt has not written any orchestral works which could be called 'symphonic' in scope or structure. With Symphony No. 4, which he calls 'Los Angeles', he creates a reference to this essential phase in his compositional life. Symphony No. 4 incorporates Pärt's 'These Words…' for string orchestra, which was premiered in May 2008 in Copenhagen. As was previously seen in some of Pärt's early instrumental works, all parameters of the text (number of syllables, inflection, punctuation etc) play a decisive role in the structure of the composition. Arvo Pärt has dedicated Symphony No. 4 'Los Angeles' to Mikhail Khodorkovsky./ Répertoire / Orchestre à Cordes, Harpe, Timbales et Percussion

Par BRUBECK DAVE. This book of nocturnes is directed toward the music teachers who do not teach Jazz, and to their students who are not yet committed to learn Jazz improvisations. Some of my piano books contain improvisations transcribed from my recordings, important for jazz students who wish to study how improvisations develop from basic thematic and harmonic material. However, these Nocturnes, pensive in mood, are complete in themselves, and I hope they will serve as a bridge for the classical pianist to understand the music that is often the foundation for my Jazz performances. Dave Brubeck / Jazz / Recueil / Piano

Bwv 1007-1012. Par BACH JOHANN SEBASTIAN. Urtext edition with articulation markings - Soft-cover performing edition When you think cello, you think of Bach?s immortal cello suites. The suites take centre stage in the cello literature. They are timeless and beautiful and accompany cellists from their student years up through their professional career at the highest level. Appropriately and not surprisingly there are countless editions of the suites. But the composer?s autograph has not come down to us. It is lost and this circumstance has always been a major challenge for editors. The four surviving handwritten sources and the original first edition of 1824 differ in many details, the articulation andphrasing being particularly ambiguous. At Bärenreiter, having published the New Bach Edition and presently publishing the New Bach Edition-Revised, we feel particularly committed to the cello suites. We have approached the editorial problems from several angles and have published editions that meet the needs of students and professional performers alike. This new edition, based on volume 4 of the New Bach Edition ? Revised (NBArev), now completes Bärenreiter?s collection of the cello suite editions. Andrew Talle has fundamentally reassessed the relations between the surviving sources and has drawn conclusions regarding their evaluation and consequently the genesis of the suites. His evaluations are augmented with thorough discussions of the instrument for which the suites were conceived and the interpretative practices in Bach's day. The musical text of the edition is based on these findings. It approaches the composer's original intentions as far as the sources will permit. Details regarding articulation were deemed as being viable and were added to the musical text if they appeared in the majority of the sources. ?This edition does not present a perfect reconstruction of the lost autograph; no editor could claim to do so. Instead, I have attempted to provide musicians and scholars with a reliable version of the surviving musical text of the six cello suites and to shed light on the options which the Bach sources offer. ? - Urtext edition with articulation by the editor on the basis of intensive source comparison - Musical text identical/ Répertoire / Violoncelle

'La Mer?, which is an impressionistic work through and through, was composed between 1903-1905. Debussy however refined this work up until at least 1913. These corrections are found in a score which Debussy gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previously unavailable to musicologists, resulting in an array of new readings and corrections. In addition, there are many changes, a.o. in terms of articulation and dynamics.This new edition includes the famous 'fanfare? in Movement III, clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work, but was reinstated by a number of great conductors who knew Debussy, i.e. Monteux, Münch, Mitropoulos and Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so, the Bärenreiter edition presents the revival of a performing tradition which is committed to the fanfare.- New Urtext edition with numerous corrections in comparison to other editions- Important sources which were previously inaccessible have been taken into account- Score and orchestral parts in large format (25.5 x 32.5cm)- Score and orchestral parts with an impeccable generous layout- Includes an informative introduction (Eng/Fr/Ger), facsimiles, source descriptions and a Critical Commentary (Eng) / Violon I

Par JIMMY BRUNO. One would be hard pressed to find another jazz guitarist so polished, sought-after and committed to the music that he loves. From his earliest days, Jimmy Bruno has loved and been loved by jazz. With his unmistakable presence and inspiring virtuosity, great pride, Mel Bay Records releases Jimmy Bruno's new album, SOLO, on Guitar Sessions, a label dedicated to cutting-edge jazz guitar. SOLO is nothing but Jimmy Bruno, literally. Jimmy arranged this compilation of originals and jazz standards for solo jazz guitar, presenting the listener with the opportunity to hear and enjoy every note. Whether it's the dynamic swing of Benny's Tune or the romantic familiarity of Satin Doll, Jimmy Bruno digs in deep and demonstrates true mastery of his instrument. Jimmy Bruno Guitar Sessions Record Interview / Niveau : Débutant à Intermédiaire / Jazz - Solos / Accessoire / Guitare

Urtext edition with articulation markings - Soft-cover performing editionWhen you think cello, you think of Bach's immortal cello suites.The suites take centre stage in the cello literature. They are timeless and beautiful and accompany cellists from their student years up through their professional career at the highest level. Appropriately and not surprisingly there are countless editions of the suites. But the composer's autograph has not come down to us. It is lost and this circumstance has always been a major challenge for editors. The four surviving handwritten sources and the original first edition of 1824 differ in many details, the articulation and phrasing being particularly ambiguous.At Bärenreiter, having published the New Bach Edition and presently publishing the New Bach Edition-Revised, we feel particularly committed to the cello suites. We have approached the editorial problems from several angles and have published editions that meet the needs of students and professional performers alike.This new edition, based on volume 4 of the New Bach Edition - Revised (NBArev), now completes Bärenreiter's collection of the cello suite editions. Andrew Talle has fundamentally reassessed the relations between the surviving sources and has drawn conclusions regarding their evaluation and consequently the genesis of the suites. His evaluations are augmented with thorough discussions of the instrument for which the suites were conceived and the interpretative practices in Bach's day.The musical text of the edition is based on these findings. It approaches the composer's original intentions as far as the sources will permit. Details regarding articulation were deemed as being viable and were added to the musical text if they appeared in the majority of the sources. 'This edition does not present a perfect reconstruction of the lost autograph - no editor could claim to do so. Instead, I have attempted to provide musicians and scholars with a reliable version of the surviving musical text of the six cello suites and to shed light on the options which the Bach sources offer.?- Urtext edition with articulation by the editor on the basis of intensive source comparison- Musical text identical to the text in New Bach Edition - Revised Volume 4, Book 1- Detailed introduction (Ger/Eng) / Violoncelle

Violin Part. Par COBB CELIA. Top Banana is a collection of 20 performance pieces for young string players (Grades 1–2+), for solo or group playing, composed by Celia Cobb and Naomi Yandell. Drawing on a wide range of moods and styles, the pieces are intended to inspire communicative and committed performances in any concert or exam situation. Each piece aims to capture the musical imagination and to motivate the young player to practise, play and perform. From the teacher’s perspective the pieces include clear teaching points, and incorporate a range of techniques, such as harmonics, glissandi and left-hand pizzicato, intended to encourage the student to develop good technical habits for the future, while having a considerable amount of fun along the way. The keys throughout are compatible, meaning that friends learning violin, viola or cello can enjoy playing the pieces together. / Date parution : 2021-12-09/ Recueil / Violon

Cello Part. Par COBB CELIA. Top Banana is a collection of 20 performance pieces for young string players (Grades 1–2+), for solo or group playing, composed by Celia Cobb and Naomi Yandell. Drawing on a wide range of moods and styles, the pieces are intended to inspire communicative and committed performances in any concert or exam situation. Each piece aims to capture the musical imagination and to motivate the young player to practise, play and perform. From the teacher’s perspective the pieces include clear teaching points, and incorporate a range of techniques, such as harmonics, glissandi and left-hand pizzicato, intended to encourage the student to develop good technical habits for the future, while having a considerable amount of fun along the way. The keys throughout are compatible, meaning that friends learning violin, viola or cello can enjoy playing the pieces together. / Date parution : 2021-12-09/ Recueil / Violoncelle

'La Mer?, which is an impressionistic work through and through, was composed between 1903-1905. Debussy however refined this work up until at least 1913. These corrections are found in a score which Debussy gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previously unavailable to musicologists, resulting in an array of new readings and corrections. In addition, there are many changes, a.o. in terms of articulation and dynamics.This new edition includes the famous 'fanfare? in Movement III, clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work, but was reinstated by a number of great conductors who knew Debussy, i.e. Monteux, Münch, Mitropoulos and Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so, the Bärenreiter edition presents the revival of a performing tradition which is committed to the fanfare.- New Urtext edition with numerous corrections in comparison to other editions- Important sources which were previously inaccessible have been taken into account- Score and orchestral parts in large format (25.5 x 32.5cm)- Score and orchestral parts with an impeccable generous layout- Includes an informative introduction (Eng/Fr/Ger), facsimiles, source descriptions and a Critical Commentary (Eng) / Alto

Par JEFFREYS GEORGE. Publication of the complete English sacred music of George Jeffreys (c.1610?1685) opens a window on the achievement of one of the few pre-Commonwealth composers wholeheartedly committed to the contemporary Italianate stile nuovo. Besides a quantity of sacred works in Latin, there are 26 surviving English anthems and devotional pieces, plus three settings from the Communion Service, an impressive output for someone employed for most of his life primarily as a steward to the Hatton family. Though only one of his works was published in his lifetime, Jeffreys?s compositions are preserved in several autograph manuscripts that are the basis of this edition. / Date parution : 2021-11-03/ Recueil / Choeur Mixte