55 pièces traditionnelles et contemporaines pour l?accordéon. Cet album contient un mélange de mélodies traditionnelles et contemporaines tirées du répertoire écossais de l'accordéon. Il explore les genres courants joués en Ecosse : jig, reel, strathspey, slow air, valse, marche et polka. Certaines des mélodies ont été transcrites dans le style traditionnel de la musique de danse, d'autres ont été arrangées avec une touche plus contemporaine. L'accent est mis sur l'utilisation de la main gauche afin de renforcer le style et l'arrangement. Ian Lowthian a été élevé dans la tradition écossaise de l'accordéon. Il est diplômé de l'Académie royale de musique et s'est consacré depuis, en priorité, à la musique traditionnelle en tant qu'interprète, professeur et compositeur./ Recueil / Accordéon

Par CASTELNUOVO-TEDESCO MARIO. Born into a family that had lived in Florence since the expulsion of the Jews from Spain in 1492, Mario Castelnuovo-Tedesco (1895-1968) entertained only a distant relationship with the music he heard at synagogue: a Renaissance church held more appeal for the Florentine artist than the Oriental décor of his forefathers' place of worship. It was only when he discovered Schelemo, a rhapsody for cello and orchestra written in 1916 by Ernest Bloch, that he began to understand what ' Jewish music” could be. It would take until the death of his maternal grandfather, and the discovery of a collection of prayers set to music among his papers, for the young Castelnuovo-Tedesco to begin to explore Jewish music. In 1928, two years after publishing the Dances of King David, he wrote this Vocalise-E tude for medium voice and piano at the request of vocal teacher Amédée-Landély Hettich, who wanted to include it in the Répertoire moderne de Vocalises-E tudes published by Leduc. The piece became so popular that it led to several adaptations, and the composer asked his close friend Gioacchino Maglioni (1891-1966) to transcribe it for violin and piano. Divided into three sections, the work opens with a poignant lamento that grieves the tragic fate of the Jewish people. Countering what he felt to be a tendency of Jewish music to transform into a ' Wailing Wall”, Castelnuovo-Tedesco follows the lamento with a folk dance whose brisk, ' lively and stubborn” movement has great panache. The third section returns to the initial poignant theme before briefly reiterating the dance motif, allowing the piece to conclude on a hopeful note./ Répertoire / Violon et Piano

Par COHEN MARY. Favourite carols and festive tunes have here been creatively arranged for the beginner quartet (Grade 1?2 ) by the ever-resourceful Mary Cohen. From the more solemn to the extremely boisterous, these arrangements explore a wide range of musical styles as well as many interesting string effects (including simple harmonics, col legno, pizzicato and tremolo). Conscious of the limited rehearsal time available in the mad rush up to the annual carol service or Christmas concert, Mary has also provided invaluable technique tips to help deal with problems which might otherwise disrupt the musical flow. There are plenty of opportunities for audience participation too for the more adventurous! / Ensemble Music, Methods and Tutors / Répertoire / Violon, Violoncelle et Alto

Par HARTWAY CHRIS. This book and accompanying audio provide instruction and playable examples for guitarists looking to get into the sounds rooted in classic country music, as well as more modern approaches to the genre. Rhythm playing is explored through shuffle patterns, travis picking and trucking riffs. Lead playing is approached through double stop licks, steel bends, and single note runs. Short examples are presented in each chapter and then combined in longer etudes with chord changes, ready for use in your own solos! This book and accompanying audio provide instruction and playable examples for guitarists looking to get into the sounds rooted in classic country music, as well as more modern approaches to the genre. Rhythm playing isexplored through shuffle patterns, travis picking and trucking riffs. Lead playing is approached through double stop licks, steel bends, and single note runs. Short examples are presented in each chapter and then combined inlonger etudes with chord changes, ready for use in your own solos./ Recueil / Guitare

Music through the Ages-These two volumes contain both original compositions and well-crafted arrangements that are presented in chronological order from the sixteenth century right up to the present day. Pieces that feature on the ABRSM Cello syllabus at Grades 1 to 7 Invaluable source of repertoire to explore for further study Contrasting styles from Dowland to Grainger and from Couperin to Joplin Arrangements that cover the note ranges and keys of the early grades As with most of the Time Pieces series students can cover all of their grade requirements from these versatile volumes.

Par ANDERSON JULIAN. Prière pour alto solo a été commandée par la Société Nash Concert pour le Nash Ensemble et a d'abord été réalisée par Lawrence Power au Wigmore Hall de Londres, le 5 Mars 2009. Cette courte pièce (8 minutes) explore la tonalité riche et varié de l'alto. La trajectoire de base est un melodicline s'écoulant vers le haut, tour à tour contemplatif et passionnément lyrique, interrompu par une variété d'autres sonorités et des épisodes contrastés. La prière est dédiée à Ginny Macbeth, dans la gratitude et la reconnaissance de son travail inlassable au nom de la musique classique en général et des compositeurs contemporains, en particulier./ Répertoire / Alto

A beautifully presented and colourful collection of songs, poems and stories that celebrate the natural world, and all creatures great and small. Read about the adventures of the Ugly Duckling, or the tales of The Town Mouse And The Country Mouse. Inside you will find lyrics to more than twenty-five songs that explore the worlds of our furry, feathered or slimy friends. The included CD contains performances of every song by a children's choir and also contains stories and poems featured in the book. / Voix

Reynaldo Hahn’s Songs And Madrigals for three- and four-part choir. The time machine has no secrets for Reynaldo Hahn (1874-1947). After plunging his contemporaries into the delights of Renaissance revelry with the ‘Bal De Béatrice D'Este’ the composer continued to explore the past with a tribute in 1907 to Rameau (in the final drumroll of the ‘Sonatine’ for Piano). He also published Songs And Madrigals composed on a selection of texts written by famous 15th and 16th century poets: Charles d’Orléans Jean-Antoine de Baïf and Agrippa d’Aubigné.Composed for three- and four-part choir (with optional Piano accompaniment duplicating the Vocals) these six Songs And Madrigals radiate a powerful charm that preserves them from affectation: Un Loyal Coeur envelops the listener in the polyphonic latticework of an enchanting melancholy while Vivons Mignarde borrows rhythmically from Lully to exalt the 'sweet life' that Coralie's lips promise to make even more voluptuous. With its seductive melody and expressive delays Pleurez Avec Moi! bestows heartrending accents upon the sighs of a desolate soul. En Vous Disant Adieu Comment Se Peut-il Faire Ainsi and Les Fourriers D'Eté round off this collection of deliberately archaic songs that exhale an irresistible freshness.

Pro Pace Motets for Unaccompanied Chorus is a set of three motets using text from three medieval writers to explore the theme of peace. The music incorporates early modes as well as making effective use of free atonality all with a thorough grounding in compositional structure. Each of the movements for unaccompanied Chorus has slightly different voicing SAATBB SATB and SSATBB which should satisfy an ambitious Chorus. The first movement Libera Plebem transforms a medieval prayer for deliverance from the Black Death into a more general prayer for deliverance from destruction. The second movement is a Lament for the invention of weaponry. The third movement O TristiaSecla Priora celebrates Christ’s ultimate non-violent victory.John Joubert is a contemporary composer of South African birth who has lived worked and taught in the UK for the whole of his adult life. He is particularly celebrated for his Choral works though his oeuvre includes symphonies operas chamber music and other works.

Twentieth century American composer Gordon Young was a prolific creator of Choral works and pieces for Organ some of which have entered the repertoire. Here he has created a generous array of works of different styles and moods including a Toccata a Prelude on ‘Blessed Assurance’ a Trumpet voluntary based on an old English Hornpipe a Concertino based on a Bach fragment and more.The student Organist will find much to explore and enjoy in this collection.

My Violin Concerto is scored for a Classical-sized orchestra, with the addition of a harp and celeste, and lasts around 17 minutes. Although the work sets out to explore the lyrical characteristics of the solo instrument, it is only gradually that the violin finds its full, lyric voice, and thence, as the work progresses, a more dominant role. This, in one sense, is the 'journey' of the piece.The work's straightforward formal scheme consists of three movements (roughly fast-slow-fast) framed by a reflective introduction and epilogue. However, these formal divisions exist within a single, unbroken arc. Such an overall symmetrical shape places the slow Arioso (itself divided into three subsections) at the midpoint, sandwiched between the two Allegro movements. The dramaturgy of the piece centres on a twofold search. First there is the ongoing pursuit to 'recapture' the simple melodic material stated by the solo violin - accompanied by the harp's bass register - during the opening bars. Whilst aspects of this melody are invoked frequently throughout (especially in the violin cadenza which closes the Arioso movement), it is only with the final and most important climax of the work that the melody appears again in its complete form, now accompanied by violent, orchestral stabs. The second search is for a tonal resting place, the arrival of which is delayed until the close of the epilogue.The original version of the Violin Concerto, commissioned by the Netherlands Chamber Orchestra, was premiered in Amsterdam in February 2012 with Gordan Nikolic as soloist. The present, revised version was created for Barnabás Kelemen and the Hallé. The piece is dedicated, with admiration, to my friend Oliver Knussen. (Ryan Wigglesworth) / Violon Et Orchestre

Wagner's sense of what he wanted to do with the Ring drama changed by the time he returned to Siegfried. When he began the Ring he had clearly seen Siegfried as the hero of the drama but the desire to more fully explore Wotan'spredicament impelled him to expand the project.Siegfried and Mime quarrel Siegfried demands that the sword Nothung be mended but Mime cannot do so much to his own chagrin he wants to win the Ring back for himself. TheWanderer a disguised Wotung tells Mime that Nothung can be forged only by one who has never known fear. This is Siegfried and he repairs the sword himself smashing the anvil as he leaves to reclaim the Ring. He arrives atFafner?s lair and kills him. As he dies Fafner warns that whoever put Siegfried up to this deed is plotting his death as well. From the The Forest Bird Siegfried learns of the Nibelung hoard the Tarnhelm and all-powerful Ring and also of Brünnhilde who sleeps on a fire-encircled rock - a bride who can be won only by a hero who knows no fear. Mime and Alberich (who had recognised the Wanderer and heeded his warning to fear Mime) quarrel over thespoils withdrawing when Siegfried reappears carrying the Tarnhelm and the Ring. Mime tries to persuade Siegfried to take a cup of poisoned drink and Siegfried kills him. Siegfried sets out to climb the mountain. He meetsWotan who asks him about his exploits but the youth splinters the Wanderer's spear with a single stroke of Nothung. Wotan realises he is old and must go to Valhalla but bequeaths the world to the redemptive power ofBrünnhilde's love. Siegfried goes on to the top of the mountain where he discovers an armed sleeping figure the first woman he has ever seen. At last sensing fear he summons the courage to kiss her. Brünnhilde roused from herlong slumber realises that Siegfried has come. Throwing herself into Siegfried's arms she bids farewell to Valhalla and abandons herself to human love.This is the Schirmer edition of the Libretto in the original German