Par DE HAAN JACOB. This musical fantasy depicts the history of the Dutch fortified town of Elburg. The work begins with an atmospheric medieval picture of the Convent of St Agnes, the nunnery that was built in the first half of the 15th century. We hear the sound of the convent bells together with an upward motif, which will reappear later in the work. Next, the rest of Elburg is featured, including the fortress - from which the bells of the Sint-Nicolaaskerk (Saint Nicholas Church) are ringing. Then, cheerful sounds can be heard at the Vischpoort (Fish Gate), where a dancing group is performing a 16th century French folk dance (a branle des chevaux). We also hear old wagons rumbling over the town’scobble stones. Trade made this Hanseatic town a lively place. The repetitive upward motif first heard in the introduction now develops into a more distinct feature, reflecting the mercantile spirit of the town residents. Then follows the slow middle movement, in which the clock has been turned back to the time when Elburg was still lying on the Zuiderzee (which was a bay of the North Sea), and was struggling with floods. After the second St. Marcellus Flood (1362) and the water flood of 1367 it was decided that the town would be relocated. We now hear the theme of branle des chevaux in a minor key, followed by a death bell sounding in remembrance of the drowned citizens of the former town. Back in our own time, a slow, expressive theme in Baroque style mirrors Elburg’s tranquil places, such as the Feithenhof (Feithen Court) and the Weduwenhofje (Widow Court). Then the bustle returns with motifs from the introduction, followed by an attractive theme in which present-day Elburg is portrayed with its many tourists. Now, suddenly, there is an echo from the past, depicting the dramatic floods and wars that once plagued the town. This leads to the grand closing theme: branle des chevaux is heard for a final time from the perspective of the historic town centre. / Niveau : 4 / Pièce de concert / Répertoire / Fanfare

The 'Seasons' and '12 Pieces' are among the most frequently played piano works by Tchaikovsky since they are also suited for advanced piano pupils and piano lovers. Our new edition was carefully edited by renowned Tchaikovsky researchers and editors of the Complete Edition. / Partition /

The 1970s were a rich time for music. The charts were dominated by Abba, with their distinctive dress sense and catchy pop hits. Blondie brought some New York punk energy to a clutch of lively numbers and Dylan gave us his anthemic Knockin' On Heaven's Door .The 1970s also saw the release of John Lennon's eternally relevant piece Imagine , and the arrival of new kid Elvis Costello with his hit Oliver's Army . The Big Book Of 70s Songs features 26 hits from this exciting era, arranged for Piano, Voice and Guitar. / Piano/Vocal/Guitare (PVG)

Revisione Sull'Autografo Di Rina You. Par PILATI MARIO. The artistic production of the Neapolitan composer Mario Pilati (Naples, 1903-1938) has recently been undergoing a reappraisal. Having died at a young age, he never had the opportunity to gain the recognition he deserved, and much of his music has, in fact, fallen into oblivion. Less well-known than his Sonata in La (Sonata in A major) written a few years later for the same formation, his Sonata per violoncello e pianoforte (Sonata in D major for cello and piano) was composed in 1922 when the composer was nineteen years old, in the ninth year of his compositional studies in the class of Maestro Antonio Savasta. The Sonata, based on the opening of a piece by Carl Reinecke, is in sonata form, and develops over a single movement. In the piece, which has got clear post-romantic connotations, the expressive vein, singing lines and lyricism that would also distinguish Pilati’s later works can already be heard. / Niveau : Intermédiaire / Date parution : 1905-07-10/ Répertoire / Violoncelle et Piano

Suppl. 10. Par LISZT FRANZ. Of the early versions of works included in Supplementary Volume 10, particular interest is expected in the first versions of the notably popular Consolations cycle and the monumental Grand solo de concert of 1850. In the first version of Consolationsthe third movement was a style hongrois piece whose thematic material Liszt used again later in the first piece of the Hungarian Rhapsodies published in 1851. The first version of the Grand solo de concert shows that the original concept did notinclude the slow “movement” that would be placed in the middle of the work and recapitulated towards the end in the final version - a characteristically Lisztian feature that would reappear a few years later in the Sonata in B flat minor. A detailed preface in Hungarian, English and German, including new research results, numerous manuscript facsimiles and critical notes make this volume of the New Liszt Edition a specially important publication of scholarly value. Simultaneously withthe Complete Edition volume in colth-bound, its paperback for practical purposes is also published, the contents of which, except for the critical notes, is identical with the Complete Edition volume./ Répertoire / Piano