Agustin Pio Barrios Ferreyra, a Paraguayan composer and guitarist, is nowadays known as the creator of the Mangorean or Indo-American school of the Guitar. 'The name, Mangoré, was adopted in honor of the great chieftain Mangoré, an important personage of the Paraguayan jungles'.Mangoré used for his works popular folkloristic themes of South America as well as sounds of nature ('the still waters of ['] the Amazon', 'the song of the birds'). But Magnoré also was inspired by European music: He composed gavottes, minuets and waltzes: 'It was in J.S.Bach where Barrios discovered the source of his universality [']'.Admired by many but despised by more was his way of stringing his guitar: '['] the way he attacked the strings with the fingers sideward, with very little use of the fingernails'. He also invented some kind of a muffler: He put 'small balls of rubber on the Pirastro steel string'. Jesus Benites R. who collected Magnoré's works for this edition says about him: 'Magnore is the genius of South America'. He was a strong influence for many composers and musicians, such as Heitor Villa-Lobos, Manuel Ponce and Andres Segovia. Vol. 1 of this 4 book collection contains 23 pieces, including Chôro da saudade, Danza Paraguaya, La Catedral and Madrigal (Gavota). Contenu - El sueno de la muneca - Estudio No. 2 und 3 - Minueto en La - Arabescos - Medallón antiguo - Vals Estudio No. 1 - Oración - Escala y Preludio - Confesión - London carapé - Tú y yo - Madrigal - Vals No. 3 - Canción de la Hilandera - Choro da saudade - Jha, che valle - Preludio en Do menor - Estudio de Concierto No. 2 - Caazapá - Danza paraguaya No. 1 (1. u. 2. versión) - La Catedral

François Rabbath was born into a musical family in Aleppo, Syria, in 1931. Self-taught, he discovered the Double Bass at the age of thirteen. After moving with his family to Beirut in 1946, he played in a quartet with his brothers in restaurants and hotels. At the age of twenty-two, with the encouragement of violinist Yehudi Menuhin and pianist José Iturbi, he developed an original approach to the art of Double Bass playing. In 1955 he settled in Paris and earned his living accompanying Charles Aznavour, Edith Piaf, Jacques Brel, Serge Gainsbourg, Barbara, Yves Montand, Guy Béart, Georges Moustaki and other well-known names of the French Chanson. His first LP, in 1962, earned him the Grand Prix du Disque award by the Académie Charles Cros. He has recorded several CDs and DVDs since then, with works including Bach's six Suites for solo Cello, played on the Double Bass. He also composes and performs music for films and television, and he now appears all over the world. During one of his concerts, at the Maison de la Radio in Paris in 1972, he met Jean Leduc, who offered to publish a method explaining his new techniques for holding the Double Bass and its bow and for use of the left hand. He teaches this technique in master classes. He also invented the 'crab technique' (so called because the hand movement resembles the sideways walking of a crab), whereby the hand can move up and down the string without ever fully shifting. François Rabbath is the founder of the international Rabbath institute Paris (IRIP), where Double Bass players from many countries come to study his new technique. He also loves graphic art,, and since giving an exhibition in Paris in 2010, he is also known for his drawings. / Contrebasse

The Real Books are the best-selling jazz books of all time. Since the 1970s, musicians have trusted these volumes to get them through every gig, night after night. The problem is that the books were illegally produced and distributed, without any regard to copyright law, or royalties paid to the composers who created these musical masterpieces. Hal Leonard is very proud to present the first legitimate and legal editions of these books ever produced. You won't even notice the difference, other than that all of the notorious errors have been fixed: the covers and typeface look the same, the song list is nearly identical, and the price for our edition is even cheaper than the original! Every conscientious musician will appreciate that these books are now produced accurately and ethically, benefitting the songwriters that we owe for some of the greatest tunes of all time! Includes 400 songs: All Blues · Au Privave · Autumn Leaves · Black Orpheus · Bluesette · Body and Soul · Bright Size Life · Con Alma · Dolphin Dance · Don't Get Around Much Anymore · Easy Living · Epistrophy · Falling in Love with Love · Footprints · Four on Six · Giant Steps · Have You Met Miss Jones' · How High the Moon · I'll Remember April · Impressions · Lullaby of Birdland · Misty · My Funny Valentine · Oleo · Red Clay · Satin Doll · Sidewinder · Stella by Starlight · Take Five · There Is No Greater Love · Wave · and hundreds more! Editions also available in B-flat, E-flat, and Bass Clef. Looking for a particular song' / Instruments En C

Par KASABIAN. Kasabian have always had an electronic element to their sounds, but their tongue-twisting third album showcases this part of their sound, with one track being described as sounding like 'Daft Punk and The Clash together'. The album is also more psychedelic than previous efforts, mirroring close friends and touring partners Oasis' most recent record 'Dig Out Your Soul'. Produced by Japanese-American hip-hop producer Dan The Automator, who is best known for his work on the Gorillaz' first album. This folio features all the songs from the album, as well as a colour/black and white photo section. / Niveau : Elémentaire / Date parution : 2009-10-26/ Tablatures / Guitare Tablatures

Agustin Pio Barrios Ferreyra, a Paraguayan composer and guitarist, is nowadays known as the creator of the Mangorean or Indo-American school of the Guitar. ?The name, Mangoré, was adopted in honor of the great chieftain Mangoré, an important personage of the Paraguayan jungles?.Mangoré used for his works popular folkloristic themes of South America as well as sounds of nature (?the still waters of [?] the Amazon?, ?the song of the birds?). But Magnoré also was inspired by European music: He composed gavottes, minuets and waltzes: ?It was in J.S.Bach where Barrios discovered the source of his universality [?]?.Admired by many but despised by more was his way of stringing his guitar: ?[?] the way he attacked the strings with the fingers sideward, with very little use of the fingernails?. He also invented some kind of a muffler: He put ?small balls of rubber on the Pirastro steel string?. Jesus Benites R. who collected Magnoré?s works for this edition says about him: ?Magnore is the genius of South America?. He was a strong influence for many composers and musicians, such as Heitor Villa-Lobos, Manuel Ponce and Andres Segovia. Vol. 1 of this 4 book collection contains 23 pieces, including Chôro da saudade, Danza Paraguaya, La Catedral and Madrigal (Gavota).
Contenu
- El sueno de la muneca
- Estudio No. 2 und 3
- Minueto en La
- Arabescos
- Medallón antiguo
- Vals Estudio No. 1
- Oración
- Escala y Preludio
- Confesión
- London carapé
- Tú y yo
- Madrigal
- Vals No. 3
- Canción de la Hilandera
- Choro da saudade
- Jha, che valle
- Preludio en Do menor
- Estudio de Concierto No. 2
- Caazapá
- Danza paraguaya No. 1 (1. u. 2. versión)
- La Catedral / Partitions classique / Guitare - luth / Guitare / ZEN-ON

In The Violin Concerto Op. 64 and Chamber Music For Strings. Par BROWN CLIVE. Mendelssohn' s Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première- the 'child prodigy' Joseph Joachim- and Hubert Léonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David- now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn' s approval. That the young violinist made a positive impression on the composer is confirmed in the latter' s correspondence following their joint performance. Mendelssohn is full of praise for Léonard' s playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger)/ Livre / Livre

Early Version Of 1844 And Late Version Of 1845. Par MENDELSSOHN-BARTHOLDY FELIX. Replaces BA 9050- The orchestral parts are unchanged and continue to be available as BA 9050-65/-74/-75/-79/-82/-85 Mendelssohn' s Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première- the 'child prodigy' Joseph Joachim- and Hubert Léonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David- now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn' s approval. That the young violinist made a positive impression on the composer is confirmed in the latter' s correspondence following their joint performance. Mendelssohn is full of praise for Léonard' s playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger)/ Répertoire / Violon et Orchestre

Mendelssohn Bartholdy, Felix Konzert für Violine und Orchester e-Moll op. 64 Zweite Fassung 1845 Edition no.BA 9099-90 ISMN 9790006564347 Editor Todd, R. Larry / Brown, Clive Mendelssohn's Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première; the 'child prodigy' Joseph Joachim; and Hubert Léonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn's approval. That the young violinist made a positive impression on the composer is confirmed in the latter's correspondence following their joint performance. Mendelssohn is full of praise for Léonard's playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger)

A selection of timeless classics from this much-loved artist, who during the Second World War became known as 'The Force's Sweetheart', bringing light and hope to all with her clear voice and patriotic songs. All the songs are arranged for Piano, Voice and Guitar, and a 7-page section with pictures and a biography is also included. At the age of 92, Dame Vera Lynn became the oldest living artist to top the UK album chart in September of this year, knocking The Arctic Monkeys off the top spot. The album was originally released to co-incide with the 70th anniversary of the declaration of World War II. / Piano/Vocal/Guitare (PVG)

Par MAHLER GUSTAV. The Song of the Earth , composed in the summer of 1908, is Mahler’s best-known and most personal work. Reflecting drastic changes in his life, its immense emotional density is very moving. Until the very end, Mahler continued to refine the extremely differentiated instrumentation, as is evident in numerous retouchings in the autograph score and engraver’s model. It is therefore all the more regrettable that he was neither able to perform his “Symphony in Songs” himself nor that he was involved in its printing. Unfortunately, in the posthumously published first edition of 1912 and the subsequent editions edited by Erwin Ratz and Karl Heinz Füssl, many questions remained unanswered, while other were answered in a dubious way. The edition is the first text-critical one of the work on a scientifically sound basis. It offers not only a more reliable musical text, but also systematically and lucidly prepared information on the sources, their transmission and evaluation. All editorial decisions have been documented in a transparently comprehensible manner – in particular those leading to new audible results. Work-related notes on performance practice, which for the first time include Mahler’s conducting indications, offer valuable, indispensable interpretive aids. In addition to the regular five clarinet parts, the set of parts includes two additional parts (3rd clarinet/E b clarinet, bass clarinet/3rd clarinet in places where the latter plays E b clarinet) to allow performances with only four clarinets. The completely revised piano reduction reproduces the orchestral texture true to the score without losing sight of playability. Both Mahler’s piano autograph and the piano reduction by Wöss, which was commissioned by the composer himself, served as an inspiration for this. / Date parution : 2022-07-23/ Répertoire / Soli [AT] et Orchestre

Par MAHLER GUSTAV. The Song of the Earth , composed in the summer of 1908, is Mahler’s best-known and most personal work. Reflecting drastic changes in his life, its immense emotional density is very moving. Until the very end, Mahler continued to refine the extremely differentiated instrumentation, as is evident in numerous retouchings in the autograph score and engraver’s model. It is therefore all the more regrettable that he was neither able to perform his “Symphony in Songs” himself nor that he was involved in its printing. Unfortunately, in the posthumously published first edition of 1912 and the subsequent editions edited by Erwin Ratz and Karl Heinz Füssl, many questions remained unanswered, while other were answered in a dubious way. The edition is the first text-critical one of the work on a scientifically sound basis. It offers not only a more reliable musical text, but also systematically and lucidly prepared information on the sources, their transmission and evaluation. All editorial decisions have been documented in a transparently comprehensible manner – in particular those leading to new audible results. Work-related notes on performance practice, which for the first time include Mahler’s conducting indications, offer valuable, indispensable interpretive aids. In addition to the regular five clarinet parts, the set of parts includes two additional parts (3rd clarinet/E b clarinet, bass clarinet/3rd clarinet in places where the latter plays E b clarinet) to allow performances with only four clarinets. The completely revised piano reduction reproduces the orchestral texture true to the score without losing sight of playability. Both Mahler’s piano autograph and the piano reduction by Wöss, which was commissioned by the composer himself, served as an inspiration for this. / Date parution : 2022-07-23/ Répertoire / Soli [AT] et Orchestre

Mendelssohn Bartholdy, Felix Konzert für Violine und Orchester e-Moll op. 64 erste Fassung 1844 Edition no.BA 9099-92 ISMN 9790006565733 Editor Todd, R. Larry / Brown, Clive Mendelssohn's Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première; the 'child prodigy' Joseph Joachim; and Hubert Léonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn's approval. That the young violinist made a positive impression on the composer is confirmed in the latter's correspondence following their joint performance. Mendelssohn is full of praise for Léonard's playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger)

Grand Nordic Tune. Par OLSEN VADSTEN OYSTEIN. 'Storslått' or in English ?Grand Nordic Tune? is one of many original pieces written by composer Øystein Olsen Vadsten. 'Slått' is a general term for music played to traditional Norwegian dances. ?Grand Nordic Tune? was a commissioned work for the Rælingen Musikklag's 70-year anniversary concert in 2022, where the piece was premiered. They wanted something a little pompous, and preferably something in the style of Nordic folk music, which the composer is known for. The title in Norwegian then was obvious, 'Storslått', which in Norwegian has a double meaning, both a big tune and, in a double meaning, pompous or magnificent. As usual, the starting point is a traditional Nordic dance form, and this time the choice fell on the distinctive Swedish 'polska', which is played in ¾. The dance, despite its name, reportedly has no connection to Poland, but is entirely of Scandinavian origin. It has been danced for centuries, and has also been called the devil's dance, because it had a hypnotizing effect on people, so that they could not stop, but danced themselves to death. Hence people thought that it must have been the devil who caused it. Traditionally, there is a lot of repetition in this type of music, which contributes to this hypnotic effect. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie