Par SUNITA STANESLOW. Ce livre unique des arrangements de harpe de levier 14 inclut des extraits de certaines des plus célèbres oeuvres français de Debussy et Ravel, y compris le Clair de lune, la fille aux cheveux dorés et Pavane. Le livre présente des extraits classiques, mais il y a cinq mélodies folkloriques et une mélodie médiévale. Le niveau des plages de la difficulté de pointe débutant à avancé intermédiaire. C'est une collection de certaines des plus belles mélodies françaises et est un complément parfait au répertoire de presque chaque harpiste. Tous les arrangements ont doigté et dynamique. Les clés varient de deux dièses à un plat, mais un ensemble complet de leviers est nécessaire pour plusieurs des extraits classiques plus avancés. Huit des pièces aucun changement de levier et cinq des mélodies classiques exigent des changements de levier multiples. / Niveau : Intermédiaire / French - Solos / Recueil / Harpe Folk ou Celtique

Après ?Top Départ? en 2002, ?Identité en Crescendo? nous livre aujourd?hui un discours qui ne se limite pas au simple constat et à la dénonciation mais qui chante aussi sa foi en l?individu. Un ?Rap adulte? nourri d?une écriture directe et de sonorités nouvelles empreintes de jazz grâce notamment à la participation de Potzi, Antoine Paganotti, Jacques Coursil et Archie Shepp?

After Top Depart in 2002, Identité en Crescendo today addresses issues using language that goes further than simple reportage and denunciation; this is a song of faith in the individual: adult Rap raised on direct composing and new sounds that bear the imprint of jazz, thanks notably to appearances by Potzi, Antoine Paganotti, Jacques Coursil and Archie Shepp...

La référence AL27192 de l'éditeur Leduc dont l'auteur célèbre est Haendel / Wystraete, qui a pour titre Menuets 1 Et 2(Ext.Water MusicFmtions Multiples/Ption PtiesColl.Rougeron, a été écrite et composée pour Diverses Formations. Cette partition musicale appartient à la catégorie Classique. / Divers / Partition

Par MATARASSO RUTH. Écrire pour la voix... Cela m?a « enchantée »... La voix humaine est porteuse de multiples and remarquables richesses quant à toutes les possibilités qu?elle peut nous offrir. Mes recherches se sont alors dirigées vers le rythme and les sons, le timbre and les intensités, vers la and les couleur(s), vers la résonance... Par quoi ai-je débuté, je ne saurai vous le dire. Est-ce par la lecture and relecture de textes littéraires ou de textes musicaux' Musicalement, j?ai été guidé par Scelsi, Berio, Ligeti and Oscar Strasnoy. Mon travail s?est également engagé en direction du bruit. Mais qu?est-ce que le bruit ' qu?est-ce que le bruitage ' des chuchotements ' des accords en désaccords ' ou des accords qui assemblent, comme nous le dit Mozart , « des sons qui s?aiment » ' Mais quels sont ces sons qui s?aiment ' Quelles sont ces voix qui nous enchantent ' ...et pourtant... - Ruth Matarasso - « J?écoute le chant de l?oiseau non pour sa voix, mais pour le silence qui le suit » Noguchi Yonejiro / Date parution : 2011-09-01/ Répertoire / 6 Voix et Gong

Par MAIZELS YURI. This collection of etudes was written, compiled and edited by Russian oboist and pedagogue Yuri Maizels to provide the most efficient means possible for young players to learn the basics of oboe playing. The composers, Hinke (a German composer who taught and worked in St. Petersburg during the reign of the Tsars), Wiedemann, Garnier and Debondue are among the finest of writers and pedagogues featured in this series. These studies begin very simply and gradually increase in difficulty, becoming more challenging melodically and rhythmically, with increasing comprehension of the instrument. Short phrases enable the student to learn to control both breathing and intonation. This collection of studies, in three volumes, can help a high school student or young professional to master technique, breathing, and intonation while developing the endurance that is vitally important for oboe players. Yuri Maizels was born in Leningrad (now St. Petersburg) in the former Soviet Union. After the conclusion of the Second World War, he was accepted at age 13 into the Naval Boarding Musical School in Leningrad (the school which had been organized in 1873 by Rimsky-Korsakov), to study the oboe. In 1964, he graduated from the College of Music with multiple degrees in oboe performance, oboe teaching, and conducting. During his career, Yuri Maizels played in major orchestras, working with such well-known conductors such as Yuri Temirkanov, Mariss Jansons, Yuri Simionov, Valery Gergiev and others. / Etudes et exercices / Etude / Hautbois

Symphonic Observations About Albrecht Dürer'S Apocalypse. Par MAINTZ PHILIPP. The doomsday visions of Albrecht Dürer's woodcut series 'Apocalypse with Pictures” have inspired many composers to create musical representations of the pictured events. With 'septimus angelus', Philipp Maintz follows in this tradition. However he abandons the pattern of a primarily pictorial reinterpretation of these artworks, concentrating instead on the wealth of their structural mysteries. In the Foreword of the score, organist Bernhard Buttmann writes: 'Both the organist and the audience are seen as subjects of the musical happening and become its focal point. Just as Dürer's richness of detail will only reveal itself after lengthy, meditative observation, Philipp Maintz' 'septimus angelus” requires an unbiased, open-minded, and perpetually fresh listening process that should correspond to a colorful interpretation with an openness to new sound experiments. The performer faces the challenging task of incorporating a wealth of precious details into the musical development as a whole, while offering ever-changing ways of musical illumination from multiple perspectives.” / Date parution : 2019-08-30/ Répertoire / Orgue

Make the silence talk'La Muette knew how to make the silence talk like no one', writes Djavann in his book (La Muette, © Flammarion 2008). Those words deeply touched me for they express one of the most beautiful metaphors in music. Through the lines of discourse, beyond words, I was listening to the silence of 'La Muette'. A rare and intense listening which joins the same internal listening I use when I'm writing my score. I was listening to La Muette, I decided to write a new piece to make the silent voice of La Muette told by Chahdortt Djavann sound through music. Choosing the extracts The text put in music is composed of short extracts from Djavann's story. I focused on this woman's portrait, who conquers her freedom through silence in which she forms a strong love relationship with her niece Fatemeh on the one hand, and the Uncle on the other hand. 'She had made her silence become her art of living, her freedom' writes Djavann. The extremely dramatic tension, the flow of the singing in Persian language, and the oppression in relation to the Iranian context are trying to underline the independent beauty of that woman who resists and exists without a voice. Story A young 15 years old Iranian girl named Fatemeh is in jail. Waiting for her death sentence, she writes the story of her aunt on a small notebook, 'so that someone remembers La Muette and myself'. The young teenager was raised by her aunt who becomes mute because she decided to stop talking on a dark day of her own childhood when she was interrogated, never to tell THE truth. An aunt whose silence makes even more fascinating, haughty, with an insolent look, cigarette at her lips, bare-footed and without any scarf on her head. 'La Muette' had made her silence become her art of living, her freedom. Around her, women start to talk, even considering her mad, for only a mad person could act this way. Fatemeh loves her mute aunt unconditionally, that is how she wants to become a woman, by being like her, fascinated by her silence and her excesses. La Muette embodies a figure of Freedom and makes us remember that in some countries, the woman who won't be submissive risks capital punishment. She will be hung. Following this beautiful text by Chahdortt Djavann, 'La Muette', a powerful text, stiff, tensed, without any lyricism nor compromises, which takes place in Iran under the Mollahs' regime. Persian: Phonological material / Compositional material Djavann's story is written in French. I asked Baharé Khadjé-Nouri to translate the text into Persian, and worked with her on pronunciation, accentuation, metric and the structure of the language, and I thank her again for that. I spent a long time having some people reading me the text in Persian and through listening I immersed myself in that sound universe. From this linguistic material, the beginning of the piece starts with the constitution of a tank of sound objects which will constitute parts of the compositional material. To compose the phonological tank, I worked on writing the pronunciation that lies at the origin of every possible vocal composition, writing the tone as well as the 'percussive - resounding' aspects of phonemes, multiple uses of fricative consonants or sibilants. Finally I used the vocal treatment of the phoneme through modes of play in relation to sprechsang: sing -inspire, or -expire, -blow, -chanting, -whispering, -spitting, -speaking. But a purely phonetic analysis of the vocal structures composing the sung part would reduce the word to its mere phonetic entity. The phonological material then constituted a compositional material by giving to the sung word its semantic entity. Form of the piece To strip the drama off every narrative element, at least of the discursive and linear character of the story, I first re-organized parts of the text extracted from the whole book in an order fitting the form I wanted to give to the piece (except for the beginning and ending which are kept in their linear forms). I imagined Fatemeh in jail, whose memories bounced between the four walls of her cell: recurring musical material, re-injected in an obsessive way, disjointed and contrasted, continuously modified each time, bouncing from one sequence to the next in another state. The piece is divided into 5 sequences, between each of them is an instrumental interlude with a voice-off, the voice of the present in the cell that contrasts with the singing voice of the sequence, evocation of memories of La Muette (sequence 1: preamble, sequence 2: portrait of La Muette, sequence 3: La Muette and Fatemeh, sequence 4: La Muette and the Uncle, sequence 5: epilogue). Electroacoustic setupFor this piece, I wrote the electroacoustic parts myself at the same time I was writing the instrumental parts. The electroacoustic setup is here considered as a whole instrument, an instrument added to the 12 others electroacoustic instruments and to Donatienne's voice. The electroacoustic sounds are divided into three types: - Samples from the singer's voice and instruments of the TM+ ensemble transformed - The narrator's voice Baharé Khadjé-Nouri in Persian, original version or transformed - Extra-musical sounds As for the synchronization between the acoustic and the electroacoustic scores, we will use for the first time an innovative application developed by Frédéric Bevilacqua and Bruno Zamborlin, not to follow the moves as we did it in StreicherKreis (my string quartet created in November 2008), but to follow the voice and orchestra. Thus, we will be using an 'audio-following', which constituted a first. This setup of recognition and following will allow the synchronization between instrumental and electroacoustic scores in a musical and precise way. Concerning the interactivity between performers and device, it will all be in real-time. Characteristics of the musicians' sound will 'interpret' what comes out of the speakers. The musicians will define the settings of the sound transformations, in terms of space, transposition, tone or length. This new piece expresses a message through the choice of subject that goes beyond strictly music. For me, it is important that both the composer and writer can invest their work into problematics which they're confronted to because they are immediate witnesses. / Soprano Et Percussions

Par FOTIADIS THANOS. Welcome to Earth is a collection for diverse solo piano pieces that capture the imagination of the piano player in multiple ways. Featuring a total of 10 short pieces, plus a bonus one in the end, each piece holds the interest of the pianist, or piano student, by moving from style to style with great ease, but always offering the personal touch of the composer, Thanos Fotiadis, who is a piano teacher, a pianist and a composer, living in the Netherlands. / Date parution : 2022-04-05/ Recueil / Piano

Par BRICUSSE LESLIE. Pure Imagination: The Songbook contains all songs from the forthcoming musical revue Pure Imagination: the Songs of Leslie Bricusse, opening on 29th September 2015 at the St James Theatre in London. Multiple Academy and Grammy award winner Leslie Bricusse is one of the world's greatest composer lyricists and has been honoured as a member of the Songwriters Hall of Fame. Arranged for piano, voice and guitar, this songbook includes timeless favourites such as Pure Imagination from Willy Wonka and the Chocolate Factory and the theme to the James Bond classic Goldfinger./ Recueil / Piano, Chant et Guitare

Wandering through museums is one of composer Naoko Ikeda's favorite pastimes.This intriguing Piano solo collection was inspired by multiple visits to museums around the world and is her homage to her favorite art masterpieces, including Rousseau's The Sleeping Gypsy, Degas' Class de dance, Van Gogh's The Starry Night and Paul Klee's New Harmony. / Piano

Arrangeur: Elizabeth Walker. Par LECLAIR JEAN-MARIE. Elizabeth Walker has previously arranged four songs for flute and piano by Richard Strauss for ALRY Publications, as well as four 'Songs Without Words' by Felix Mendelssohn for two flutes and piano. This 'Chaconne' by Jean-Marie Leclair is taken from his 'Deuxième récréation de musique', opus 8, originally composed for two flutes or two violins, and basso continuo. It is a long, involved movement lasting approximately 8 minutes: with contrasting major and minor sections, multiple rhythmical, rhetoric and emotional changes. The piece shows influences of flamboyant artistry seen in Italian baroque pieces, but also the formal structures of the French dance form. Elizabeth has addedphrasings, articulations and written out some of the French baroque ornaments to aid a historically informed, stylistic interpretation on modern flutes./ Répertoire / 2 Flûtes Traversières et Piano

Korean composer Hyo-Won Woo uses physical space, lighting and multiple choirs to create music that stretches the boundaries of traditional choral music. Incredibly intense and dramatic, this will be a show-stopper for advanced choirs. / Choeur Mixte (SATB)