Par DOBRZYNSKI IGNACY FELIKS. Ignacy Feliks Dobrzynski wrote eight nocturnes for piano. Five of them were published in 1833–1834 in two books as Opp. 21 and 24, while the remainder appeared in various occasional collections issued much later. The Nocturne in A major was written in 1846 and belongs to the group of works composed by Dobrzynski during his tour of German cities. That tour was designed to increase the composer’s popularity and boost his finances. Besides concerts and meetings promoting Dobrzynski’s music, the ‘marketing campaign’ also included the publication of his new salon miniatures in particular cities. This Nocturne appeared in print in Berlin as Op. 52, together with a short mazurka constituting a transcription of the earlier song ‘Gdzie lubi’ (‘A fickle maid’). The form of this piece is based on an A-B-A1 scheme typical of the genre, with a quite elaborate epilogue. In section A, the composer based the melody on a one-bar motif in mazurka rhythm, which he combined with a bass led in widely spread chords, often used in nocturnes. He thus obtained a specifically idyllic mood. The sonorities, the type of melody and texture and, above all, the ornaments that appear as the work progresses bring to mind the early work of Fryderyk Chopin. The chordal section B, of lively expression, in the key of F sharp minor and a uniform triple rhythm, triggers associations with the middle section of Chopin’s Nocturne in A flat major, Op. 32 No. 2. After a short bridge, the reprise comprises a reiteration of the opening part of section A, which then passes into the epilogue, in which the composer splices motifs from both contrasting sections. It is difficult to date the second Nocturne published here and to establish the circumstances surrounding its composition. It was published posthumously (in 1868, in Warsaw), in the Album Pamiatkowe IG.F. Dobrzynskiego (‘Souvenir album of I. F. Dobrzynski’), which also contained two mazurkas, two songs and an excerpt from his incidental music for the play Konrad Wallenrod arranged for four hands. These compositions were not previously published and probably come from private collections. The Nocturne carries a dedication to Miss Wanda Miecznikowska. Determining the principal key of this work is rather problematic, since it falls into two tonally and expressively contrasting sections, divided by a lengthy caesura. An agitated, emotional episode in F minor (in A-B-A1 form, section B in A flat major), ending with a distinct conclusion, is followed, rather unexpectedly, by completely new material in the key of F major; adhering to a slower tempo and of very restrained expression, it serves as a sort of post scriptum, a lengthy and calming musical commentary to the foregoing segment. One may even gain the impression that this Nocturne is essentially a diptych consisting of two separate ‘songs without words’. Judging by its style, which is close to the lyric writing of Franz Schubert, Felix Mendelssohn-Bartholdy or John Field, with elements of the style brillant, this work could have been written earlier than the Nocturne in A major. One may also discern here a certain melodic-rhythmic similarity to the above-mentioned Nocturne in A flat major by Chopin. Both these Dobrzynski mazurkas could make interesting additions to the repertoire of both professional pianists and more advanced amateurs interested in nineteenth-century salon music. They may also enrich the programmes of concerts and broadcasts, particularly those devoted to Polish music, and also be included on the curricula of secondary schools of music. The present edition was based on the first editions. The proposed fingering in both works and the pedalling in the Nocturne in A major are entirely the work of the editors; other editorial performance markings are given in brackets. / Répertoire / Piano

The highly regarded early music specialist and violinist, Walter Reiter presents the second in a series of four volumes dedicated to violin music from the Baroque period. Featuring 36 beautiful pieces scored for violin and keyboard accompaniment, this collection includes works by well known figures such as Bach, Handel and Purcell, as well as lesser-known and rarely available pieces from a range of other composers.Suitable for students of c. 3-4 years playing experience, this book includes composer biographies and teaching notes on each piece, together with a CD recording of all works performed by Walter Reiter and Robin Bigwood. / Violin

32 Pièces pour Flûte à bec soprano avec piano. Par . Author of the Baroque Recorder Anthology series, Peter Bowman, along with Kathryn Bennetts presents the second in a series of four volumes dedicated to recorder music from the Renaissance period. Featuring a variety of interesting pieces scored for recorder and keyboard accompaniment, this collection includes works by well-known figures as well as lesser known and rarely available pieces from a range of other composers. Suitable for students of ca. 4-5 years’ of playing experience, this book includes composer biographies and teaching notes on each piece, together with a CD recording of all works performed by Kathryn Bennetts. / Niveau : Facile - moyen / Date parution : 2023-11-03/ Recueil / Flûte à Bec et Piano

Par ROSSINI GIOACHINO. Next to the 'Stabat Mater, ' the 'Petite Messe solennelle' of 1863 is Rossini’s second extensive sacred composition. Ostensibly, the work was an occasional piece, written for the dedication of a private chapel for the once well-to-do Parisian nobility. This explains the reduced instrumental accompaniment for two pianos and harmonium. Of course this instrumental garb, reminiscent of decent, elevated salon music, produces an unmistakable timbre which through its typical Rossini rhythm obtains an additional flair. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Pianos et Harmonium

Par ROSSINI GIOACHINO. Next to the 'Stabat Mater, ' the 'Petite Messe solennelle' of 1863 is Rossini’s second extensive sacred composition. Ostensibly, the work was an occasional piece, written for the dedication of a private chapel for the once well-to-do Parisian nobility. This explains the reduced instrumental accompaniment for two pianos and harmonium. Of course this instrumental garb, reminiscent of decent, elevated salon music, produces an unmistakable timbre which through its typical Rossini rhythm obtains an additional flair. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Pianos et Harmonium

The Czech composer Antonin Rejcha (also Anton Reicha, 1770?1836) was famous as both an experimental composer and as a teacher and theorist. His ?36 Fugues for Piano? testify to this experimentalism; they can be seen as a type of
?Well-Tempered Piano of the new ages?, basing the traditional Baroque fugue on radical new fundaments.

The first edition of this unusual collection was produced in 1803 in Vienna by Reicha?s own publishing company ?Au Magasin de l?Imprimerie chimique?. It included both a dedication poem to Joseph Haydn and a comprehensive foreword in which Reicha identifies the characteristics of his compositional style. The second edition (Vienna 1805) included a short theoretical text ?Über das neue Fugensystem? (?On the new fugal system?) in the form of a polemic, reacting to his critics, one of whom was Beethoven. Six fugues are based on the themes of other composers (Haydn, Bach, Mozart, Scarlatti, Frescobaldi, Handel).

The musical text is a corrected reprint of the edition by Václav Jan Sýkora from 1973, which itself was based on the referred to edition from 1805 as well as on the later edition by Tobias Haslinger (Vienna, c. 1828).

- Works historically important to the development of the fugue
- New foreword by Roman Dykast (Cz/Eng/Ger) / [36 Fugues Pour Piano] / Classique / Partition / Broché /

Avec cette méthode, vous allez enfin apprendre et surtout comprendre comment utiliser la gamme majeure à la guitare, mais aussi découvrir tout son potentiel mélodique pour l'exploiter au mieux. Après quelques pages indispensables dédiées à la théorie, vous aborderez ces 12 gammes majeures - que tout guitariste se doit de maîtriser -, de la façon la plus cohérente et efficace qui soit. Ainsi, pour chacune d'elles, vous découvrirez en page de gauche le nom et l'emplacement des notes sur le manche de la guitare (22 cases), ainsi que les accords sur lesquels la gamme en question peut être jouée en toute sécurité. Sur la page de droite, en guise d'illustration, vous découvrirez une longue improvisation qui utilise cette seule et unique gamme, accompagnée de deux enregistrements (à télécharger), le premier pour la démonstration et le second pour la mise en application (support playback). Vous pourrez alors jouer à votre tour sur cette bande-son non seulement l'exemple proposé, mais aussi tout autre solo, mélodie ou improvisation de votre conception... issu de la gamme majeure en question bien sûr ! Tous les enregistrements de cette méthode (exemples et playbacks) peuvent être téléchargés gratuitement et très facilement en suivant les indications fournies dans le livre.

The Bartók Performing Editions-Instruktive Ausgaben von Béla Bártok. Par BARTOK BELA. Bartók probably first played pieces by Domenico Scarlatti in public in 1911. During the next two decades he featured them in his piano recitals more than 60 times. His dedication to Italian and French Baroque music is also illustrated by the fact that in 1920, he signed a contract with the Budapest publisher Rozsnyai to edit seven volumes of Baroque keyboard music. His plan was to select compositions by Couperin and Rameau in addition to pieces by Scarlatti, but during the 1920s it ended up being only two volumes of Couperin and another two comprising ten compositions by Scarlatti. In editing these masterpieces, Bartók's aim was primarily to counterbalance or even overshadow the works by the 'Mendelssohn-Schumann epigones' used in primary and secondary musical education. The present single-volume collection comprises Bartók's two Scarlatti volumes, complete with an editorial preface, his detailed performing instructions, and his commentary. The editor recommends these compositions for pianists with at least five years' experience, and give practical recommendations for the grouping of individual items to form charming 'sonatina-like' sets of pieces./ Répertoire / Piano

Mel Bay presents the much-anticipated second book in the highly acclaimed series that showcases personal insights into the life andMel Bay presents the much-anticipated second book in the highly acclaimed series that showcases personal insights into the life and music of Mr. Guitar. Chet Atkins was a man of many layers: producer, record executive, friend and one of the greatest all-round guitarist in music history. This book is dedicated to the musicians and songwriters that meant so much to him. Interviews include: Dolly Parton, Steve Wariner, John D. Loudermilk, Mark Knopfler, Paul Yandell, Jerry Byrd, Janis Ian, Boots Randolph, Wayne Carson and many more of Chet's closest friends. As in Volume 1, Chet Atkins in Three Dimensions, Volume 2 provides definitive transcriptions (many for the first time) of 26 of Chet's greatest solos and duets. Rare photographs, loving tributes and great music are the heart of this wonderful volume, a must for all fans of the guitar.
Gallopin' on the Guitar - Liza - Muskrat Ramble - Frankie and Johnny - Mister Sandman - Smile - Sweet Georgia Brown - The Early Dawn - The Entertainer - Stump Water - Dark Eyes - Winter Walkin' - Embraceable You - the tour de force piece- Jerry Reed's - Lightning Rod (a work recorded by Jerry Reed and produced by Chet Atkins) - ...and more music of Mr. Guitar. Chet Atkins was a man of many layers: producer, record executive, friend and one of the greatest all-round guitarist in music history. This book is dedicated to the musicians and songwriters that meant so much to him. Interviews include: Dolly Parton, Steve Wariner, John D. Loudermilk, Mark Knopfler, Paul Yandell, Jerry Byrd, Janis Ian, Boots Randolph, Wayne Carson and many more of Chet's closest friends. As in Volume 1, Chet Atkins in Three Dimensions, Volume 2 provides definitive transcriptions (many for the first time) of 26 of Chet's greatest solos and duets such as - Gallopin' on the Guitar - Liza - Muskrat Ramble - Frankie and Johnny - Mister Sandman - Smile - Sweet Georgia Brown - The Early Dawn - The Entertainer - Stump Water - Dark Eyes - Winter Walkin' - Embraceable You - the tour de force piece- Jerry Reed's - Lightning Rod - (a work recorded by Jerry Reed and produced by Chet Atkins) and many other great pieces . Rare photographs, loving tributes and great music are the heart of this wonderful volume, a must for all fans of the guitar.

Par ADLER SAMUEL. Adler's second Horn Sonata is dedicated to Andrew Pelletier, Professor of Horn at Bowling Green State University (OH) and current President of the International Horn Society (IHS). Pelletier will perform the premiere at the opening day afternoon concert at the IHS 2019 Symposium in Belgium this July. Adler's second Horn Sonata is dedicated to Andrew Pelletier, Professor of Horn at Bowling Green State University (OH) and current President of the International Horn Society (IHS). Pelletier will perform the premiere at the opening day afternoon concert at the IHS 2019 Symposium in Belgium this July./ Répertoire / Cor et Piano

The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee's (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: 'In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.' Over the last couple of years I moved back to Jelly Roll Morton's city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman's reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means 'conversation with the gods' in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao's (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950's following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo's ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece's characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles' Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don't Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach's Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare's Twelfth Night, and played incidental music for their production of Bertold Brecht's The Good Woman of Sichuan. He has performed Carulli's Guitar Concerto in A, Leonard Bernstein's West Side Story and Marvin Hamlish's A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony's co-production of George Gershwin's Opera Porgy and Bess.

Par VAN DER ROOST JAN. Metalla was commissioned by the 'Kreisverband Altenkirchen' of Germany and dedicated to Ottomar Jung. The composer himself conducted the premiere of the piece, which was performed by the 'Jugendorchester Kreisverband Altenkirchen' on 25 March 1999. The region of Altenkirchen is known for its iron mines, which find musical expression in the dark mood of the introduction (andante misterioso). This effect is accomplished with overlapping seventh intervals, orchestral crescendos, a succession of broad chords and the presentation of most themes in the middle register of the band. The dynamic section (allegro energico) that follows the introduction is characterized by concise figures inthe brass and a second motif, a kind of rippling motion depicting the Sieg River, an important element in the landscape of the Altenkirchen region. The work closes with a final theme that returns a number of times, albeit in different guises. After a brief repeat of the seventh intervals from the beginning, a last radiant chord signals the end of the piece. / Niveau : 4 / Répertoire / Concert Band

Cesar Franck's Sonata for Piano and Violin is one of the most treasured works in the violin repertoire, a masterpiece of cyclic form with a gracefulness and expressive force almost paradigmatic for the age of musical Romanticism. This work was composed in 1886 and was dedicated to the Belgian violinist and composer Eugène Ysaÿe.Franck's correspondence proves that he was directly involved in the printing of the sonata. Consequently, our new scholarly performing edition draws mainly on the first edition of the separate violin part. For the piano part, the first edition of the version for violoncello and piano, which appeared during Franck's lifetime, was an important source as many engraver's errors found in the first printing of the violin version had been corrected in this violoncello version. In addition to these sources, both autograph scores of the violin sonata (Franck's working copy and his fair copy) were consulted to clarify questionable readings.Bärenreiter's new edition also includes two short separate movements for the same instrumentation: the early 'Andantino quietoso? op. 6 (1843), a hauntingly beautiful piece composed for performances with Franck's violinist brother Joseph, as well as 'Mélancolie?, first published after Franck's death in 1911. This second piece is based on a solfège exercise and written at the height of the composer's creative powers, at about the same time as his famous violin sonata.The edition is rounded off by an informative text on the genesis and reception history of the three compositions (Ger/Fr/Eng), a complete list of sources, editorial notes and a Critical Commentary (Eng).- Pioneering new Urtext edition- Informative text on the genesis and reception history of the sonata and its versions (Ger/Fr/Eng)- Two small individual movements for violin and piano published for the first time- Detailed Critical Commentary (Eng) / Violon Et Piano

Tonalité : C-Dur - Mh 182. Par HAYDN JOHANN MICHAEL. Haydn’s Missa Sancti Joannis Nepomuceni, dated 21 May 1772, is dedicated to the Bohemian martyr and patron “Saint of bridges, ” Johannes Nepomuk [ca. 1340–1393, canonized in 1729]. Despite the addition of woodwinds and brass to the three-part string section, the Mass is in a comparatively simple, compact form as was expressly required by Count Hieronymus Colloredo, Haydn’s second employer in Salzburg. Even in the final sections of the Gloria and Credo Haydn forgoes not only vocal virtuosity, but also the polyphonic artifices which traditionally characterize these passages in the Mass. Like the Missa Sancti Amandi [1776], the Nepomuk Mass does not employ vocal soloists. / Messe / Répertoire / Choeur SATB, 2 Hautbois, 2 Clarinettes, 2 Trompett

Par VAN DER ROOST JAN. Metalla was commissioned by the 'Kreisverband Altenkirchen' of Germany and dedicated to Ottomar Jung. The composer himself conducted the premiere of the piece, which was performed by the 'Jugendorchester Kreisverband Altenkirchen' on 25 March 1999. The region of Altenkirchen is known for its iron mines, which find musical expression in the dark mood of the introduction (andante misterioso). This effect is accomplished with overlapping seventh intervals, orchestral crescendos, a succession of broad chords and the presentation of most themes in the middle register of the band. The dynamic section (allegro energico) that follows the introduction is characterized by concise figures inthe brass and a second motif, a kind of rippling motion depicting the Sieg River, an important element in the landscape of the Altenkirchen region. The work closes with a final theme that returns a number of times, albeit in different guises. After a brief repeat of the seventh intervals from the beginning, a last radiant chord signals the end of the piece. / Niveau : 4 / Répertoire / Concert Band ou Harmonie