12 Pieces For Descant Recorder And Keyboard. Par PURCELL HENRY. Henry Purcell est devenu un compositeur prolifique de plus en plus de la musique de scène pour le théâtre dans les années 1680 fin et les années 1690. Gwilym Beechey, suite à son premier et deuxième Sets de théâtre Tunes (ED 12232, ED 12294) a habilement sélectionnés et arrangé 12 de ces oeuvres de théâtre pour le lecteur enregistreur de descant intermédiaire. Pièces comprennent un Rondeau, Borees, Hornpipes, Airs et un mars composée comme musique de scène pour les pièces de la mariée Beau (1694), Bonduca (1695), The Double Dealer (1693), The Gordion Knot délier serait (1691), The Rival Sisters (1695) et l'épouse vertueux (1694)./ Répertoire / Flûte à Bec Soprano et Piano

16 short and easy compositions with strong melodies. Par DEHNHARD TILMANN. Colours that mix, shades that change and rhythms that develop are just some of the aspects that make Dehnhard's compositions so special. The short, light miniatures are small, self-contained works of art with great melodic expressiveness, which are not only fun to work on in class, but also convincing on the concert stage. In gentle images that tell of our world's treasures, positive feelings, quiet experiences or silent moments, each piece traces moments that show themselves with each breath in a new light and change from all sides. Whether it is the spray of the waves, the sparkle of a gemstone or a dragon in the sky, there are always new nuances in color and sound, and thus infinite possibilities that are composed kaleidoscopically before our eyes. As if by itself, it carries on one piece by piece, creating moods and igniting images in front of the inner eye. In addition to their inspiring melodies, the miniatures focus on a characteristic rhythm whose timing, in combination with the jazzy harmonies, turns them into little pearls of modern flute literature. They almost exclusively use traditional playing techniques and rarely exhaust the range of the recorder in the high register. The enclosed CD of full, play-along recordings supports and completes the edition./ Répertoire / Flûte à Bec Soprano et Piano

Choral SuiteInstrument : mixed choir (SATB) and piano (organ)Type : vocal/piano scoreNombre de Pages : 40As featured on the best-selling CD, this is a powerful and compelling account of the descent into and terrible consequences of war. Commissioned for the millennium by the Royal Armouries and dedicated to the victims of the Kosovo crisis, this work is a contemporary example of a mass based on the 15th-century French song L?Homme Armé (The Armed Man). The complete work sets sacred and secular texts including Tennyson, Kipling, The Koran and the Hindu Mahàbharàta within the framework of the Christian mass. Championed by Classic FM it has captured the imagination of music lovers everywhere to become not only a chart-topping CD but also one of the most currently performed and poignant choral works of the moment.This suite of five mass movements and the Hymn Before Action arranged for SATB chorus and piano/organ is suitable as a concert item or within a liturgical setting and will make a stunning contemporary mass alternative.Content : Kyrie - Sanctus - Benedictus - Agnus Dei - Hymn Before Action

Par MCLAUGHLIN MICHELE. 18 of the most popular songs by this self-taught contemporary pianist and composer from Utah are presented in this collection for piano solo. / Pop and rock / Recueil / Piano

Debussy confidently wrote to his publisher Jacques Durand in August 1905:
?I believe ? without unwarranted vanity ? that these three pieces will prove to be good and that they will take a prominent place in the literature of piano music ? to the left of Schumann or to the right of Chopin ? as you like it?. Debussy?s ?Images?, already popular during Debussy?s lifetime, delight with their iridescent tone colour and dazzling harmonies ?which reflect the newest discoveries in harmonic chemistry?. The virtuosic second series is notated throughout on three staves.

In commemoration of Debussy?s 150th birthday, Bärenreiter is publishing an Urtext edition of these pieces reflecting the most recent scholarship and source analysis. Clear presentation, fingering by Tamara Stefanovich and valuable information on performance practice all offer optimal conditions for the study of the work.

- Urtext edition based on the most recent research
- Includes fingering by Tamara Stefanovich
- With a detailed foreword (Eng/Ger) and critical commentary (Eng)

Tamara Stefanovich
studied at the University of Belgrade, at the Curtis Institute of Music and at the ?Hochschule für Musik und Tanz? in Cologne. She has performed with the Cleveland Orchestra, the London Philharmonic and the Chicago Symphony Orchestra under conductors including Esa-Pekka Salonen, Vladimir Jurowski and Pierre Boulez, and has recorded for Deutsche Grammophon. She performed Debussy?s ?Images I? and ?II? in 2011 for the ?Klavier-Festival Ruhr?. Together with Pierre- Laurent Aimard she prepared the fingering for the ?Klavier-Festival Ruhr? Bärenreiter Piano Album (BA 9659). / [Images 2ème Série] / Classique / Partition / Agrafé /

Par PURCELL HENRY. L'édition fait partie du programme ABRSM (grade 3)/ Répertoire / Flûte à Bec Soprano et Piano

Par WALTER HEINZ. Über Ein Thema Von Georg Friedrich Händel/ Répertoire / Flûte à Bec Soprano et Piano ou Clavecin

Par CURNOW JAMES. A joyous and exuberant sparkler for your next concert! This bright little bijou from James Curnow is a great way to start the show. It’s as inviting as they get and will engage every listener from start to finish. The easy excitement will motivate your Grade 2 band to their iridescent best. For groups playing regularly at a Grade 3 level EXCURSIONS also works well in the program following any heavy major work you may have chosen to perform. It’s a perfect way to lighten the mood and recapture those listeners who may be new to the art of listening to larger forms. Use it anywhere, anytime of the year. It’ll be quick to prepare, effective in concert, and has much more tooffer educationally than the typical “pop/movie tune” type of fare. Take a look! / Niveau : 2 / Ouverture / Répertoire / Concert Band

Par STAEPS HANS ULRICH. Hans Ulrich Staeps' 'Mobile' Movements on a Theme for Descant Recorder and Piano./ Répertoire / Flûte à Bec Soprano et Piano

Par PURCELL HENRY. From 'The Indian Queen'/ Répertoire / Flûte à Bec Soprano et Piano

Cette ?uvre pour accordéon seul a été créée à l?Opéra de Lille le 15 octobre 2014 par Vincent Lhermet dans le cadre du 250ème anniversaire de la mort de Jean-Philippe Rameau. Elle s?inspire librement d?une pièce pour clavecin, Le rappel des Oiseaux. Au début, un fragment y est exposé dont la tessiture a été dilatée. Ce fragment réapparaîtra à la fin de l??uvre, dans une présentation se rapprochant de plus en plus de l?original. La note-pôle de cette ?uvre est le Mi, autour duquel s?organise la trame harmonique (évoquant ainsi mi mineur, tonalité principale de la partition de Rameau). Dans la partie centrale, la note-pôle évolue vers le Sol (lointaine réminiscence de Sol Majeur, tonalité relative utilisée par Rameau). Enfin, elle retourne vers la note Mi (suivant ainsi le parcours tonal de l??uvre originale). La trame harmonique s?élabore autour d?échelles mélodiques, ayant un ambitus de quinte et superposées l?une sur l?autre (en une sorte de « cycle des quintes », cher à Rameau). L?ornementation s?inspire ici également de celle exploitée par Rameau. L?idée principale de cette pièce est celle d?une progression des tempi et des nuances. La pièce part d?un tempo modéré, pour accélérer de plus en plus et atteindre peu à peu un tempo deux fois plus rapide. La dernière section tend à retrouver le caractère modéré du début, en une sorte de dernier rappel. Concernant les nuances, on retrouve cette même évolution : la pièce débute pianissimo et aboutit progressivement à fortissimo, point culminant de l??uvre. On retrouvera, à la fin, les couleurs et les nuances du début. Cette progression s?accompagne d?une évolution parallèle des registres. Au début de l??uvre, des registres extrêmes sont utilisés, ceux-ci vont se resserrer peu à peu, puis aboutir à une descente très progressive, présentant ainsi tout le spectre sonore de l?instrument. Enfin, cette pièce est une succession de sections développant chacune un caractère particulier et contrasté : dolce e lontano, legato e cantabile, rubato e flessibile, regolare e continuo, leggero e vivo, intenso e sostenuto, dolce e lontano. Florent Motsch Durée : 6'30

Ursula Mamlok was born in Berlin in 1923, but was forced to emigrate via Ecuador to New York in 1939 because of her Jewish descent. In 2006 she returned to the city where she was born.In about three minutes, the small and charming two-part piece Kontraste [Contrasts] for oboe and harp captivates with clarity and limitation to the essentials. The name says it all: A lively humoresque is followed by a rather delicate, even almost melancholy second movement which is headed 'largo e mesto'. The composition was written in 2009/10 as a birthday present for the Swiss oboist - and this work's dedicatee - Heinz Holliger (and his wife, the harpist Ursula Holliger). / Hautbois Et Piano