Kindle, Jürg. Par BOCCHERINI LUIGI. / Niveau : Intermédiaire / Répertoire / 4 Guitares

Boccherini was one of the great masters of the Italian Baroque guitar and this quintet demonstrates that fact perfectly. As its title implies it is famous for its dance-like qualities. Great fun and rewarding to any player of the Baroque and Classical guitar repertoire. Includes a high-quality printed solo part and a compact disc containing a complete performance with soloist; then a second version with accompaniment minus the soloist.

Luigi Boccherini was born in Lucca in Italy where he became famous at an early age as a virtuoso Cellist. After an invitation to Madrid in 1768 he spent the rest of his life in Spain. It is not surprising then that his compositions were much influenced by the rhythmic variety and rich colours of Spanish music and this influence is nowhere more pronounced than in the exuberant Grave e Fandango (Introduction And Fandango). The piece was originally written as a piece for String Quartet and then subsequently arranged for Guitar and String Quartet. This edition features a reduction of the String Quartet part for Harpsichord.

Buscarino players Gene Bertoncini Ron Afiff Barry Greene and Corey Christiansen were filmed at the annual Buscarino Players Concert at the Long Island Guitar Show in May 2002. The depth of Gene Bertoncini and the fire ofBarry Greene and Ron Afiff made this night one to remember.Bonus footage features performances by reputable players of the Buscarino guitar including: William Bay Colin Bay Mike Christiansen Corey Christiansen KenHatfield Craig Wagner and Mike Cea.Captured in an almost informal setting at times these fine players show off the sounds of their stunning Guitars hand-built by John Buscarino.

Boccherini Respighi Mascagni Spazzoli. This series presents some of the most significant works of European and Latin American music from the last three centuries transcribed for chamber guitar ensemble (in formations ranging from duo to quartet). The works contained in each volume have been selected both for their intrinsic artistic value and their potential to enhance sound production and playing technique. All of the transcriptions are strictly faithful to the original texts and have been reworked in order to make them suitable for players at all levels, from novice to professional. ?Guitar Ensemble? is therefore an effective aid for the study of ensemble music from middle and high school up to a conservatory level. Italian Portrait is a selection of works of the Italian composers Luigi Boccherini (1743-1805), Ottorino Respighi (1879-1936), Pietro Mascagni (1863-1945) and Alessandro Spazzoli (1964).

Until the beginning of the 1980s, the figure of François de Fossa was mainly known by his relationship with Dionisio Aguado, a relationship that included de Fossa?s collaboration in producing the two Parisian editions of the Aguado Escuela, and the complete translation of one of them into French. The situation changed radically in 1981 with the publication by Editions Orphée of a monograph which not only revealed very interesting and decisive factors in regard to the guitar quintets of Luigi Boccherini, but also included an important biographical study and a checklist of the known compositions of François de Fossa. Several works by de Fossa were published in later years, among which were works for two guitars, trios, quartets, an anthology of selected works for guitar solo published in 1990. De Fossa?s Quatre Divertissemens pour la Guitare seule extraits des Oeuvres de J. Haydn, his Op. 13, was part of that anthology. The current edition of it was engraved anew, and completely edited and fingered. The works of Haydn from which this music is drawn are as follows: Divertimento I ? Symphony N° 63 ?La Roxolane?, and Symphony N° 85 ?La Reine? Divertimento II ? Largo Cantabile, Rondo Allegretto. In spite of rigorous search, we have not been successful in identifying the movements of this Divertimento among the known works of Haydn. Divertimento III ? Symphony N° 85 ?La Reine?and Symphony N° 86 Divertimento IV ? Symphony N° 53 ?L?Imperiale? and Symphony N° 85 ?La Reine?. The Andante of this symphony was also used, at about the same time, by Fernando Sor, as the theme of his Thema Varié pour la Guitare ou Lyre, (WoO-1) as well as in his Op. 20. Of considerable interest here is de Fossa?s seemingly paradoxical approach to transcribing music by Haydn. In the case of Haydn string quartets, he chose the two guitars medium, providing for a more facile representation of the harmony and counterpoint. In transcribing these four divertimenti, extracted from several Haydn symphonies, he chose the solo guitar as the target instrumentation, clearly a medium that is far less appropriate for handling a complex musical texture than the guitar duo. It is perfectly understandable that he was not entirely successful in retaining the selection?s original integrity, having eliminated some parts as noted above. Nevertheless, the resulting works, those that are directly attributable to Haydn and the one that cannot, are splendid concert pieces for the solo guitar.

Ma guitare - L'Echo - Le Crescendo - Le Decrescendo - Forte piano et crescendo - Les Pompiers passent - Chanson de marin - Ping pong - Ré Mi Fa - Sol Mi Sol Fa Sol Ré - L'Arbre d'Automne - Le petit ramoneur - Un deux trois je valse - Canon - Je joue à deux voix - Le vieux moulin - Dans la forêt - Le petit train - La Belle et la Bête - Invention à deux voix - Trois petits lapins dans la lune - Faut-il nous quitter - Chant du soir - Saute-mouton - Il neige - J'ai du bon tabac - Le carillonneur - Au clair de la lune - J'ai lié ma botte - Se canto que canto - Chevaliers de la table ronde - Le Roi Arthur - Le Pont du Nord - Promenade - Au coin du feu - Menuet - Cadet Rousselle -Petite étude - Divertissement - Sur la route de Pima-Pami - Comme un rêve - Berceuse - Premier duo - Deuxième duo - Troisième duo - Choral - Toutankhamon - Quatrième duo - Cinquième duo - Sixième duo - Canotage - Sur un thème des Andes - Etude - Stretching blues - Folk song - ARBEAU T. : Branle 'Pinagay' - BARBETTA : Baletto - BEETHOVEN L.v. : Canon sur la gamme majeure - BALLARD R. : Ballet - GIULIANI M. : Valse - GIANONCELLI B. : Courante - BRAHMS J. : Berceuse - MOZART W.A. : Menuet de la Petite Musique de Nuit - CHARPENTIER M.A. : Te Deum - GIULIANI M. : Les Folies d'Espagne - BOCCHERINI L. : Menuet - COSTE N. : Quadrille - SOR F. : Pastorale - PICCININI A. : Gagliarda

Arrangeur: B.P. Boucheron. Par PLAYS JEAN-BERNARD. Arr. : B. P. Boucheron / Niveau : 1er à 2ème Cycle / Répertoire / Flûte Traversière et Guitare

Arrangeur: B.P. Boucheron. Par PLAYS JEAN-BERNARD. Arr. : B. P. Boucheron / Niveau : Fin 1er Cycle / Répertoire / Flûte Traversière et Guitare

Par MOURAT JEAN-MAURICE / COTTIN GUY. Ce 3ème volume des Classiques pour flûte et guitare présente aux intéressés une évolution sensible quant à la difficulté du répertoire proposé. Les jeunes musiciens ayant suivi la progression des précédents volumes trouveront dans celui-ci 'matière' à travailler sur un répertoire varié, adapté techniquement et musicalement à leurs compétences de duettistes. Nous avons apporté, dans cet ouvrage, un soin tout particulier à l'élaboration du phrasé de la flûte afin de guider l'étudiant dans une meilleure assimilation de ces Oeuvres. A de rares exceptions près, les tournes de pages sont évitées. Comme dans les volumes précédents, les musiciens seront solidaires, c'est-à-dire que, tout en jouant la partie qui leur correspond, flûtiste et guitariste liront la portée de l'autre... Il leur est vivement conseillé d'acquérir cette double lecture. La majorité des pièces proposées dans ce volume pourront être interprétées par tout instrument mélodique dont la sonorité se marie avec celle de la guitare. / Niveau : Elémentaire / classique / Répertoire / Flûte Traversière et Guitare