PARTITIONS GRATUITES : CLARINETTE SEULE
- Marc Rene Loy

Medium Voice Voice

SKU: HL.49004011

Medium Voice and Piano. Edited by Rene Deloup. Arranged by Deloup and René. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical. 96 pages. Schott Music #ED2911. Published by Schott Music (HL.49004011).

ISBN 9790001040280. UPC: 884088054465. 7.5x10.75x0.303 inches. French.

Contents: Le retour du marin- Sont trois jeun' capitaines- Mona- L'oiseau captif- Dialogue des metamorphoses- Il etait une fille- Il etait une petit naivre- La fille du rois Loys- Le roi Dagobert- Cadet Rouselle- Marlbrough s'en va-t-en guerre- Le joli tambour- En passant par la Lorraine- En revenant d'Auvergne- Notre bon duc de Savoie- Bon voyage, Monsieur Dumollet- La Marion et le bossu- La bell', si nous etiom'- Canto per ma mio- Aupres de ma blonde- Chanson de la mariee- Ann hinni gouz- Il etait un' bergere- Gentil coqu'licot- La-haut, sur les montagnes- Adieux a la jeunesse- Le pommier d'aout- Il pleut, il pleut, bergere- Mon petit oiseau- Le mois de mai- Rossignolet du bois- L'amour de moi- C'est mon ami- Lorsque j'avions des noisettes- C'est les gens de Bouze- Ma grand'mere- Je t'aurai, ma brunette- La petite robe- Quand j'etais chez mon pere- Le sabotier- Le bricou- La ronde de la vieille- Les sabots- Si tu le voyais- Tambourin- Au clair de la lune- Ah! vous dirai-je, maman- Savez-vous planter les choux?- Sur le pont d'Avignon- Ah! mon beau chateau- La mer' Michel- Nous n'irons plus au bois- Frere Jacques- J'ai du bon tabac- As-tu vu la casquette-La Polichinelle- Tremp' ton pain- Ramene tes moutons- Le chevalier du guet- Compere Guilleri- La Monaco- Maman, les p'tits bateaux- Ragotin- La bonne aventure- Dame Tartine- Dis-moi, m'amour la caille- Berceuse du petit gars- Fais dodo, Colas- Berceuse d'Auvergne-Le furet du bois joli- Le coucou- Le peureux- Notre ane- L'ane et le loup- Le chanson de l'aveine- Les tisserands- Le vigneron- Plantons la vigne- Chaudron troue- Il est ne, le divin enfant- Entre le boeuf et l'ane gris- Marce des rois- Vive Henri IV- Ah! ca ira- Le chant du depart- La Marseillaise. - Aupres de ma blonde - Chanson de la mariee - Ann hinni gouz.

Composed by Andrew March. Score and parts. Composed 2001; 2016. Duration 5'40 . Published by Alea Publishing (A7.ALEA1154).

Guitarra y quinteto u Orquesta Cuerda (Guitar and String Quintet or String Orchestra)

SKU: BO.B.3452

Concierto de Otono. Composed by Xavier Benguerel. Plucked Instruments. Duration 12:00. Published by Editorial de Musica Boileau (BO.B.3452).

English comments: Despite the difficulties that he claims to have in conceiving a guitaristic language, Xavier Benguerel is composer notorious for his prolific guitar writing. If in the course of its history the language of this instrument has oscillated between melodic writing with violonistic roots and a fundamentally pianistic harmonic writing. Benguerel achieves a perfect balance between both tendencies. This opportune convergence allows the performer to employ a wide array of markedly contrasted virtuoso techniques and instrumental resources and at the same time presents the listener a guitaristic discourse with a musical richness that is perfectly balanced with the string quartet or string orchestra.

The Autumn Concerto gathers together, from a renewed perspective, some of the best discoveries the composer has offered throughout his production for guitar. Its open dialog, formal structure, instrumental efficiency and textural variety make this work very appealing when it comes to including it in a concert programme.
--Jaume Torrent. Barcelona, March 2006

Comentarios del Espanol: Pese a las dificultades que confiesa tener para concebir un lenguaje guitarristico, Xavier Benguerel se ha convertido en un compositor notoriamente prolifico en su produccion para guitarra. Si a lo largo de la historia el lenguaje de este instrumento ha basculado entre la escritura melodica de raices violinisticas y la armonica de fundamentos pianisticos, Benguerel consigue un perfecto equilibrio entre ambas tendencias. Esta feliz confluencia posibilita al interprete gozar de un despliegue de tecnicas virtuosisticas y recursos instrumentales marcadamente contrastados y, a la vez, proporciona al oyente un discurso guitarristico con una plenitud sonora perfectamente equilibrada con las propuestas del cuarteto o de la orquesta de cuerda.

El Concierto de Otono recoge -con vision renovada- algunas de los mejores hallazgos que el compositor nos ha ido ofreciendo a lo largo de su produccion para guitarra y su caracter dialogante, estructura formal, eficacia instrumental y variedad de texturas hacen de esta una obra de gran atractivo a la hora de formar parte de la programacion de un concierto.
--Jaume Torrent. Barcelona, marzo de 2006

Edited by Peter Goodwin and Leslie Pearson. For Trombone and Piano. Book; Brass - Trombone and Baritone Method or Collection; Method/Instruction. Faber Edition. Elementary; Intermediate. Published by Faber Music

Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello

SKU: PR.11441690S

String Quartet No. 3. Composed by Shulamit Ran. Sws. Contemporary. Full score. With Standard notation. Composed March 9 2013. 32 pages. Duration 23 minutes. Theodore Presser Company #114-41690S. Published by Theodore Presser Company (PR.11441690S).

UPC: 680160626021. 9 x 12 inches.

Ran's third string quartet was written for the Pacifica Quartet, who are featuring it in numerous performances from May 2014 through February 2016, across the country and abroad. Their blog page dedicated to the work also features the composer's notes, for more indepth insight. ...impassioned solos emerge from ominous quiet, and high arpeggios in the violins quiver alongside the earthy cello. Ms. Ran skillfully deploys these extremes of color, volume and pitch, yet the overall somewhat chilly impression is one of poise. -- Zachary Woolfe, The New York Times.
My third string quartet was composed at the invitation of the Pacifica Quartet, whose music-making I have come to know closely and admire hugely as resident artists at the University of Chicago.  Already in our early conversations Pacifica proposed that this quartet might, in some manner, refer to the visual arts as a point of germination.  Probing further, I found out that the quartet members had special interest in art created during the earlier part of the 20th century, perhaps between the two world wars.  It was my good fortune to have met, a short while later, while in residence at the American Academy in Rome in the fall of 2011, art conservationist Albert Albano who steered me to the work of Felix Nussbaum (1904-1944), a German-Jewish painter who, like so many others, perished in the Holocaust at a young age, and who left some powerful, deeply moving art that spoke to the life that was unraveling around him. The title of my string quartet takes its inspiration from a major exhibit devoted to art by German artists of the period of the Weimar Republic (1919-1933) titled “Glitter and Doom: German Portraits from the 1920s”, first shown at New York’s Metropolitan Museum of Art in 2006-07.  Nussbaum would have been a bit too young to be included in this exhibit.  His most noteworthy art was created in the last very few years of his short life.  The exhibit’s evocative title, however, suggested to me the idea of “Glitter, Doom, Shards, Memory” as a way of framing a possible musical composition that would be an homage to his life and art, and to that of so many others like him during that era.  Knowing that their days were numbered, yet intent on leaving a mark, a legacy, a memory, their art is triumph of the human spirit over annihilation. Parallel to my wish to compose a string quartet that, typically for this genre, would exist as “pure music”, independent of a narrative, was my desire to effect an awareness in my listener of matters which are, to me, of great human concern.  To my mind there is no contradiction between the two goals.  As in several other works composed since 1969, this is my way of saying ‘do not forget’, something that, I believe, can be done through music with special power and poignancy.    The individual titles of the quartet’s four movements give an indication of some of the emotional strands this work explores. 1) “That which happened” (das was geschah) – is how the poet Paul Celan referred to the Shoah – the Holocaust.  These simple words served for me, in the first movement, as a metaphor for the way in which an “ordinary” life, with its daily flow and its sense of sweet normalcy, was shockingly, inhumanely, inexplicably shattered. 2) “Menace” is a shorter movement, mimicking a Scherzo.  It is also machine-like, incessant, with an occasional, recurring, waltz-like little tune – perhaps the chilling grimace we recognize from the executioner’s guillotine mask.  Like the death machine it alludes to, it gathers momentum as it goes, and is unstoppable. 3) â� ��If I must perish - do not let my paintings die”; these words are by Felix Nussbaum who, knowing what was ahead, nonetheless continued painting till his death in Auschwitz in 1944.  If the heart of the first movement is the shuddering interruption of life as we know it, the third movement tries to capture something of what I can only imagine to be the conflicting states of mind that would have made it possible, and essential, to continue to live and practice one’s art – bearing witness to the events.  Creating must have been, for Nussbaum and for so many others, a way of maintaining sanity, both a struggle and a catharsis – an act of defiance and salvation all at the same time. 4) “Shards, Memory” is a direct reference to my quartet’s title.  Only shards are left.  And memory.  The memory is of things large and small, of unspeakable tragedy, but also of the song and the dance, the smile, the hopes.  All things human.  As we remember, in the face of death’s silence, we restore dignity to those who are gone.—Shulamit Ran .