Arcadia II

Arcadia is a work for Violin, Soprano Saxophone and Piano, inspired by the painting 'Pastoral for E.W.' by John Craxton. As a painter, John was sometimes dubbed a 'neo-Romantic', but much preferred the term 'Arcadian' - hence the title of the piece. Pastoral for E.W. was painted in 1948 in St John's Wood after one of John's early trips to the island of Crete, and is a homage to Peter Watson, (co-founder of the magazine 'Horizon' and the Institute of Contemporary Arts), who was one of John's early mentors. In a letter in 1986, John recounted that: ''Pastoral for P.W.': was a celebration of the power of music. My sister (the distinguished oboist Janet Craxton) was learning the oboe on the same floor at the time, and the house was full of her scales and exercises coupled with my discovery that goats, which seem to be daemonic, willful and undisciplined, are held in thrall by the sound of a flute - or have I gone a step further and frozen them into my geometry with a paint brush? I suppose the flautist was in origin myself, but a very emblematic me!' Ian Collins in his book 'John Craxton' (2011 Lund Humphries) says of Pastoral for E.W.: 'A pipe-player and a herd of goats are held in a rugged grid of semi-cubist triangles. While references to Dionysus and Orpheus may be noted, it is essentially a fanfare for the ongoing life, light and landscape of Greece'. The music of Arcadia is also Grecian in inspiration. The traditional folk melodies Skaros Epirotikos, Vari Pogonisio, Ouzak To Tragoudhi Tis Xentias and Pentozalis - Pentozalis are present in Arcadia, after I researched the type of music that John would have heard in Crete in the late 1940's. In a letter of 3rd May 1984, John said that he was also listening to Stravinsky's Symphony in 3 Movements 'over and over again at the same time when I first started the painting', and aspects of the beginning of the last section of Arcadia (Allegro Moderato) pay homage to the Stravinsky, in an attempt to create something of the aural landscape that John would have been experiencing during his painting of Pastoral for E.W. As a personal friend, John was always encouraging and colourful in his comments about the music I played at the Craxton house in Hampstead (where I continue to rehearse and teach), and some of the jazzier themes and tonalities in Arcadia are simply the sort of music that would get him enthused, and (almost) dancing. ARCADIA is written for and dedicated to the memory of John Craxton RA (1922 - 2009). JOHN HARLE. The first performance of Arcadia was given by Pavel Spørcl (Violin) John Harle (Soprano Saxophone) and Steve Lodder (Piano) In a concert for The Craxton Trust on September 23rd 2012 at Craxton Studio, Hampstead, London. A recording is available on Sospiro Records. / Violon, Soprano Saxophone Et Piano

Par HIROSE HAYATO. For this work, the Japanese composer Hayato Hirose dug deep into his own imagination to fi nd the right inspiration. It is about a young boy who dreams about reaching paradise (Arcadia) and sets out on a journey to find it. This journey is long and treacherous, but despite the many challenges he faces, the boy finally does reach his Arcadia. The result is a very dramatic work that will take your audience on a breath-taking journey. / Niveau : 3 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Voici une partition musicale pour Musique de Chambre et plus spécialement pour 4 Clarinettes Et Quatuors De Clarinettes que vous pouvez acquérir pour moins de 10C. Classée dans la catégorie Classique, cette partition dont le titre est ARCADIA a été composée par le célèbre compositeur Lesaffre Charles. C'est l'éditeur Billaudot sous la référence GB3782 qui a les droits pour éditer cette partition. / 4 Clarinettes Et Quatuors De Clarinettes / Partition

Cinq pièces pour guitare pour le deuxième cycle- Samantha ballade- Prélude à l'après-midi d'une mère- Alice au pays des cigales- Cooki song- Rêverie du caribouJean-Jacques FIMBEL suit les cours de guitare à l'Ecole Nationale de Musique de Bourg-La-Reine (classe d'Antonio MEMBRADO), puis auprès de Betho DAVEZAC (à l'ENM de Meudon où il obtient une Médaille d'Or) avec lequel il va étudier les répertoires de la guitare baroque, romantique ainsi que celui de la vihuela. Il se perfectionne auprès d'Alberto PONCE à l'Ecole Normale de Musique de Paris, où il obtient le Diplôme d'Exécution de Guitare, d'Histoire de la Musique, d'Analyse et suit également le cursus d'Ecriture.Titulaire du Diplôme d'Etat et du Certificat d'Aptitude de professeur de guitare, il enseigne la guitare au Conservatoire de Mulhouse. Il assume depuis quelques années la responsabilité de Conseillé Pédagogique dans l'est de la France, auprès des Cefedem de Bourgogne et de Lorraine.Jean-Jacques FIMBEL se produit régulièrement en concert (soliste, duo Arcadia sur instruments d'époque, ensemble de guitare de Haute- Alsace, Dou Dodeca (2 guitares), Duo Atlantide (Violoncelle et guitare) et diverses formations de musique de chambre?) et est régulièrement sollicité pour des conférences. Il enseigne la guitare lors de masterclass organisées par l'association Guitarmaniaks aux côtés de Roland Dyens (Semaine Internationale de la Guitare à Colmar), ainsi que dans le cadre du stage de musique d'ensemble d'été à Buhl. Il a enregistré des CD et participé à diverses émissions de télévision (Arte, France 3). Il a pris part à des festivals tels que le Festival Baroque de Mulhouse (1999-2008), le Festival International de Musique de Chambre d'Illzach 2003-2005 ou le Festival de Badenweiler en Allemagne 2006-2009? / Cordes Pincées Et Guitare

In her four-movement Sonata Bacewicz obviously refers to the Baroque music the virtuoso trend of the music for strings of that epoch as proven by the kind of narrative as well as Bach-like ostinatos and figurations textural devices such as lyrical double stops or bourdons with open strings a based-on-fifths-plan of repetitions in the second movement and the like. (...) All this makes the Sonata an original commentary on a composition on which it feeds and to which it owes a great deal (i.e. a cycle of the Partitas and Sonatas for solo violin by J. S. Bach) depriving the music of Arcadian illusions while preserving its musicianly dash instead an indisputable violin quality of sound and energy which is exclusively the energy of the material without any extramusical references. [M. G siorowska op. cit.]In her four-movement Sonata Bacewicz obviously refers to the Baroque music the virtuoso trend of the music for strings of that epoch as proven by the kind of narrative as well as Bach-like ostinatos and figurations textural devices such as lyrical double stops or bourdons with open strings a based-on-fifths-plan of repetitions in the second movement and the like. (...) All this makes the Sonata an original commentary on a composition on which it feeds and to which it owes a great deal (i.e. a cycle of the Partitas and Sonatas for solo violin by J. S. Bach) depriving the music of Arcadian illusions while preserving its musicianly dash instead an indisputable violin quality of sound and energy which is exclusively the energy of the material without any extramusical references. [M. G siorowska op. cit.]

44 British classic and modern secular part-songs for mixed voices from Purcell to the present day. With this anthology selected and edited by Robert Walker choirs are provided with accessible material of many styles and eras: from arcadian Purcell the classical simplicity of Arne from Sterndale Bennett and Sullivan writing during the golden age of glee clubs through the late-Romantic era of Elgar and Bantock and the early twentieth century British renaissance of Holst and Moeran to contemporary composers like Musgrave Bennett and Kelly.This set of works will be within the scope of all choirs and levels of accomplishment. All vocal ranges are given and rehearsal pianoaccompaniments provided.

The Pretty Girl Waltz is an old Arcadian folk tune. In this arrangement Marvin Gaspard has retained the French text. It is to be sung in two parts using any combination of voices.

Drop drop slow tears was written for The Arcadian Singers of Oxford University for a recording in 2002. The work is set in a simple three-verse format beginning with upper voices whose melting harmonies are intended to convey dropping tears. The second verse sung by lower voices is more urgent but subsiding to a serene final verse. Here all eight voice parts sing in rich almost claustrophobic harmonies ending on a blurred final chord that fades gently avoiding a firm conclusion.The Novello New Choral Series is an inspiring selection of new works from a range of contemporary composers offering pieces for all types of choirs including sacred and secular works from simple four-part settings to more expansive yet accessible repertoire in an exciting variety of styles. This collection is perfect for choirs looking to broaden their repertoire and explore some of the best new music around.James Davy (b.1980) has worked with many choirs in churches and cathedrals around the UK most recently as Assistant Director of Music at Blackburn Cathedral. He is a composer with a real affinity for the voice and has developed a keen ear for effective timbres harmony and word-setting. He has had several works broadcast on radio and television and has written for choirs around the UK and USA. In 2010 he won the Choir & Organ Composition Competition.