PARTITIONS GRATUITES : ENSEMBLE DE CUIVRES
- Paris Once Again

For Concert Band (Score/Parts). Composed by Bert Appermont. Beriato Music Concert Band Set. Softcover. Beriato Music #BMP17011667. Published by Beriato Music

C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.

After the Sinfonia concertante K. 364. By Wolfgang Amadeus Mozart. Edited by Hogwood, Christopher. For Violin 1, Violin 2 , Viola 1, Viola 2 , Violoncello 1, Violoncello 2 /Contrabass. Score (paperbound). Published by Baerenreiter-Ausgaben (German import).

Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.

Composed by Christian Mason. World premiere: Paris, Cite de la musique, January 14, 2020. Breitkopf and Haertel #EB 9377. Published by Breitkopf and Haertel

Violin; Harpsichord

SKU: UT.HS-281

Composed by Michel Corrette. Edited by Eloise Ameruoso. Saddle stitching. Classical. Score and Parts. Ut Orpheus #HS 281. Published by Ut Orpheus (UT.HS-281).

ISBN 9790215326385. 9 x 12 inches.

Sonata I (Les Fêtes de Flore); Sonata II (Les Champs Elisées); Sonata III (Le Jardin des Hesperides); Sonata IV (Les Amusemens d’Apollon chez Le Roi Admète); Sonata V (Les Jeux Olympiques); Sonata VI (Les Voyages d’Ulysse)
< br>Published in 1742 by the author with Boivin, Le Clerc and de Bretonne, Corrette’s Op. 25 was committed to the Knight of Orleans. It contains six sonatas with violin accompaniment. Nevertheless, on the frontispiece, Corrette reminds the possibility to perform these sonatas also for solo harpsichord; violin accompaniment is therefore considered as collateral and not crucial even though two instruments complete each other and continuously dialogue in a charming way. The composer declares the effect he requires to obtain at the beginning of sonata punctuating that the violin must play mezzo piano way and giving, once again, a great relevance to the keyboard. Despite the notices, imitations and plots between the instruments are so pleasant and constant that it is very improbable to imagine that violin role has considered as unsubstantial.
In the fourth sonata, the only one written in minor tonality, Corrette supposes flute accompaniment as alternative to the violin. In this case, Italian style is evident, for example, in the third movement where the composer imitates Vivaldi with frequent unison passages.
On technical plan, the harpsichordist is occupied in recurring hands crossing, playing suddenly overall keyboard.