Le quatuor avec piano de Josef Suk (18741935) est rapidement devenu un ouvrage de référence, notamment en raison des nombreux concerts donnés par le Quatuor de Bohême, où Suk était second violon. C'est cependant la première édition savante critique de cet ouvrage. Il est basé en grande partie sur une révision de la première édition qui contient les modifications de 1914 à Suk et est apparu en 1924, le premier exemplaire ainsi que sur les copies nouvellement découverts des pièces. Des informations précieuses ont également été extraites des pièces imprimées que les originaux sont aujourd'hui n'existe plus. Première édition savante critique Préface (Cz / Eng / Ger) et un commentaire critique (Eng) par l'éditeur Le travail standard de la musique tchèque / Musique De Chambre

Par HESKETH KENNETH. L'éprouvette de deuxième Section sélectionnée pour les championnats 2009 Pontins Brass Band, qui se tiendra à Prestatyn sur le week-end du 24-25 octobre. En Danceries, par Kenneth Hesketh, les mélodies eux-mêmes sont un mélange de vieux et le nouveau. Où les anciens se produit, il a été adapté à l'humeur et la composition et est souvent entrecoupée de complètement nouveau matériau. Les harmonies contemporaines et les rythmes apportent un souffle de nouveau sur ces thèmes et ajouter le drame à la suite. Le premier mouvement, ' Accalmie Me au-delà de Thee ', est doux et harmonieuses, presque un barcarole, ce mouvement est très bien d'une rêverie. La mélodie originale avait le nom de Robin pauvres mouche, un titre plutôt déconcertant - mouche, cependant, dans le langage du XVIIe siècle signifiait caprice ou la fantaisie. Le second, ' La capture de cailles ', est un scherzo coloré, flottant sur une mélodie originale. Le matériau thématique est ensuite autour de la bande à contraste avec tuttis pléthorique. Le dernier que quelques barres fondu à presque rien, avant une dernière surprise ! ' Pour ma Dame.../ Répertoire / Brass Band

31 Songs From Featured Character Roles (Women'S Edition). Character roles are a staple of theatre, film, television, and musical theatre. Rather than romantic leads, they are featured comic roles, villains, or off-beat secondary parts. These are their songs from stage and screen musicals./ Recueil / Chant de Femmes et Piano

This Easiest Pop Songs edition of John Thompson's Easiest Piano Course allows the beginner pianist, who is progressing from part one to part two of the world-renowned course, to learn some fantastic and well-known pop songs. With simplified arrangements and large notation, these are popular hits in the familiar John Thompson style.As well as reinforcing basic technique, developing musicality and making learning great fun, the Easiest Pop Songs will be familiar to most young beginners, allowing them to learn and play some of their favourite tunes of the moment. Repertoire books like this have been specially created and graded to be used with the John Thompson's Easiest Piano Course, so pianists who are working through that will recognise the style of this songbook.This book features a number of pop songs, including Taylor Swift's Shake It Off, Sam Smith's Brilliant Stay With Me and Adele's huge smash-hit Hello. There are many more, though, such as Wings by Birdy, Flashlight by Jessie J and I Really Like You by Carly Rae Jepsen. These Easiest Pop Songs are perfect supplementary material for those working through parts 1 and 2 of the course, but also make great sight-reading practice for more advanced students. Since dynamics and phrasing are not introduced until part 3 of the course, they are not included here, although some invaluable hints and tips and fingering guides are featured for all songs.All beginner Piano pupils will love to learn the famous pop songs included in this repertoire book - an ideal complement to John Thompson's Easiest Piano Course. / Piano

Par VAUGHAN WILLIAMS RALPH. Le Concerto pour Tuba a été écrite en 1953/4 en réponse à une invitation à composer une oeuvre pour le jubilé d'or de l'Orchestre symphonique de Londres. Vaughan Williams était alors en est quatre-vingt-seconde année - un intérêt sur les sonorités instrumentales inhabituels était une caractéristique de sa musique dans la dernière partie de sa vie. Il avait utilisé des saxophones dans la machine de ' Emploi ', vibraphone et le vent du masque dans la 'Sinfonia Antartica' (Symphonie #7) et même terminé un concerto pour harmonica, piano et cordes pour Larry Adler. Son choix de tuba comme instrument en solo avait donc moins surprenant qu'il pourrait sembler, et il le justifié par traiter sérieusement et poétiquement, soulignant ses capacités lyriques plutôt que la pAvailableensities plus comique. L'ouvrage est dédié à la LSO et son principal puis tubiste, Philip Catelinet, dont le compositeur consulté constamment tout au long de l'écriture de le oeuvre. Les mouvements animés, externes, tous deux concluent avec des cadences prolongées, tandis que le magnifiquement lyrique ' Romanz.../ Répertoire / Brass Band

Haydn's Symphony Hob. I:89 belongs to a group of symphonies composed between the 'Paris? symphonies (Hob. I:82-87) and their 'London? counterparts (Hob. I: 93-104) - the last ones he wrote before his trips to England in 1791-92 and 1794-95. The Symphony in F major is dated 1787 in the autograph score. In this work Haydn borrowed two movements from an earlier piece, possibly owing to deadline pressure. The second and fourth movements are arrangements of movements 2 and 3 from his Concerto in F major Hob. VIIh:5 for two 'lire organizzate? and orchestra. The fact that he also arranged movements from his other lire concertos suggests that he regarded them as a sort of musical quarry. This at least allowed him to recycle parts of these works after his patron had probably prohibited him from offering them commercially.This edition continues the collaboration with the Henle publishing company regarding Haydn's large-scale choral works, operas and symphonies. It is based on the Henle Complete Edition of the 'Works of Joseph Haydn?. The complete performance material for several Sturm und Drang symphonies and all of the London and Paris symphonies is now available from Bärenreiter. o Based on the Henle Complete Edition of the 'Works of Joseph Haydn?o Orchestral parts in a large format (25.5 x 32.5 cm) / Orchestre

Par GORDON ANDREW D.. Due to the high demand of two of Andrew D. Gordons blues piano/keyboard books, 100 Ultimate Blues Riffs and the 12 Bar Blues Bible, he has adapted examples from the two books along with new examples into a blues organ book and Ultimate Blues OrganRiffs is the result. There is an increased interest in playing the organ these days as many keyboard players are adding organ modules, organs, software etc. , to their array of instruments. This book consists of 96 riffs, in many different keys, and covers a wide range ofblues organ styles including Blues, Funk, Gospel, Jazz & Rock. The music notation consists of the right and left hand parts as well as a bass line. Although primarily written and recorded with the organ in mind, pianists and keyboard players willalso find the material in this book very useful. All the 96 examples have been recorded twice, the first time with the organ right and left hand parts, guitar rhythm, bass and drums. The second time, has the rhythm guitar part, bass and drums so thatthe keyboard player can practice along with the rhythm tracks. Due to the high demand of two of Andrew D. Gordon's blues piano/keyboard books, 100 Ultimate Blues Riffs and the 12 Bar Blues Bible, he has adapted examples from the two books along with new examples into a blues organ book and Ultimate Blues Organ Riffs is the result. There is an increased interest in playing the organ these days as many keyboard players are adding organ modules, organs, software etc. , to their array of instruments. This book consists of 96 riffs, in many different keys, and covers a wide range of blues organ styles including Blues, Funk, Gospel, Jazz & Rock. The music notation consists of the right and left hand parts aswell as a bass line. Although primarily written and recorded with the organ in mind, pianists and keyboard players will also find the material in this book very useful. All the 96 examples have been recorded twice, the first time with the organ right and left hand parts, guitar rhythm, bass and drums. The second time, has the rhythm guitar part, bass and drums so that the keyboard player can practice along with the rhythm tracks./ Tablatures / Guitare Tablatures

Critical edition by Michael Talbot. This motet for soprano, strings and basso continuo, is the only one by Vivaldi to be preserved outside Italy. It is included in two manuscript collections in London: a set of parts in the Royal College of Music and a score in the British Library. The structure is the conventional one of two arias enclosing a short recitative and followed by a brilliant Alleluia. The incompleteness of the sources (the second evidently copied from the first) is of a rather unusual kind. The existing score comprises a vocal part, an instrumental bass and a first violin part. However, it is clear that there was originally at least one middle part (probably two, to match all the other surviving Vivaldi motets), since the bass part pauses frequently, and on these occasions the first violin part continues as an 'upper? voice, not as a bass of the harmony. In the reconstruction, inner parts for second violin and viola have been added by the editor. The task was not difficult, since many passages find close parallels elsewhere in Vivaldi's music. The separate parts include a realization of the continuo by the editor. / Soprano Solo, Cordes Et Basse Continue

This book is the second volume of arrangements for the Celtic harp by MonikaMandelartz. The material encompasses diverse songs and tunes from the British Isles, commonly described as 'Celtic Music'. This type of music is often associated with the English publisher John Playford. In the 17th century, he published The English Dancing Master, which contains traditional music as well as tunes of his day (up to the Renaissance). Author Monika Mandelartz, a specialist in historical performance practice, followsPlayford's tradition by arranging parts of the collection for Celtic harp. Thereby, Mandelartz points out that her arrangements constitute a 'snapshot in time'. Her workemphasizes the idea that lively music always allows for change and variation - it must in order to survive. The book includes tunes such as De`il Take the Wars, Scot Cap (Edinburgh Castle), Upon a Summer's Day, Parson's Farewell, Welcome Home Old Rowland, Dissembling Love (The Lost Heart), An Italian Rant, Porter's Lament, Greenesleeves and Pudding Pies (Greenesleeves and Yellow Lace), Jenny Pluck Pears, Remember Me My Deir, Enfield Common, The Sword Dance, and Drive the Cold Winter Away. This book is the second volume of arrangements for the Celtic Harp by Monika Mandelartz. The material encompasses diverse songs and tunes from the British Isles, commonly described as 'Celtic Music'. This type ofmusic is often associated with the English publisher John Playford. In the 17th century, he published The English Dancing Master, which contains traditional music as well as tunes of his day (up to the Renaissance). Author Monika Mandelartz, a specialist in historical performance practice, follows Playford's tradition by arranging parts of the collection for Celtic Harp. Thereby, Mandelartz points out that her arrangementsconstitute a 'snapshot in time'. Her work emphasizes the idea that lively music always allows for change and variation - it must in order to survive. The book includes tunes such as De`il Take the Wars, ScotCap(Edinburgh Castle), Upon a Summer's Day, Parson's Farewell, Welcome Home Old Rowland, Dissembling Love (The Lost Heart), An Italian Rant, Porter's Lament, Greenesleeves and Pudding Pies (Greenesleeves and Yellow Lace), JennyPluckPears, Remember Me My Deir, Enfield Common, The Sword Dance and Drive the Cold Winter Away./ Recueil / Harpe

Continuing in the tradition of previous publications in the Classics series: Classic Solos and Classic Duets, Mary Karen Clardy has selected 24 of the most significant standard études from Carl Joachim Andersen's op. 21, 30, 33, 37 and 41, Antoine Benoit Tranquille Berbiguier's Studies and Ernesto Köhler's Romantic Études op. 66. Performance notes, composers' biographies and a glossary of terms are included providing helpful historical background to the pieces. An optional second flute part has been composed for each étude providing opportunities for the teacher or another player to support and reinforce phrasing, rhythm, tone quality, intonation and style. These parts may be downloaded for free from our website. The second flute parts have been recorded on the CD to provide supportive accompaniments for playing along - an invaluable aid in daily practice. Andersen, Carl Joachim: C Major: Op. 37/1 Andersen, Carl Joachim: A Minor: Op. 37/2 Köhler, Ernesto: G Major: Romantic Etudes/2 Köhler, Ernesto: E Minor: Octaves (Romantic Etudes/9) Andersen, Carl Joachim: D Major: Op. 37/5 Andersen, Carl Joachim: B Minor: Op. 37/6 Köhler, Ernesto: A Major: Cantabile Moderne (Romantic Etudes/16) Köhler, Ernesto: F# Minor: Dance of the Insects (Romantic Etudes/19) Köhler, Ernesto: E Major: Russian Dance (Romantic Etudes/25) Andersen, Carl Joachim: C# Minor: Op. 30/10 Berbiguier, Antoine Benoit Tranquille: B Major: No. 15 Andersen, Carl Joachim: G# Minor: Op. 33/12 Andersen, Carl Joachim: Gb Major: Op. 21/13 Andersen, Carl Joachim: Eb Minor: Op. 37/26 Andersen, Carl Joachim: Db Major: Op. 33/15 Berbiguier Antoine Benoit : Bb Minor: No. 12 Andersen, Carl Joachim: Ab Major: Op. 33/17 Andersen, Carl Joachim: F Minor: Op. 41/18 Andersen, Carl Joachim: Eb Major: Op. 30/19 Berbiguier, Antoine Benoit: C Minor: No. 8 Andersen, Carl Joachim: Bb Major: Op. 41/13 Köhler, Ernesto: G Minor: At the Well (Romantic Etudes/6) Köhler, Ernesto: F Major: Consolation (Romantic Etudes/4) Berbiguier, Antoine Benoit: D Minor: No. 4