Edition : Paris, l'Auteur, Bayard, Leclerc, s.d. (=1744)Pièces à deux instruments égaux, particulièrement deux flûtes seules, de différents auteurs, dont Blavet. Certaines pièces suivies de variations.Présentation par Jean SaintArroman : Utilisation pédagogique des pièces.Ces trois recueils de pièces à deux flûtes seules, offrent un panorama de la musique du milieu du XVIIIe siècle en France, avec l'ajout de quelques airs étrangers. Les pièces sont de difficultés variées. Les phrasés sont très bien indiqués, et l'agrémentation, détaillée dans l'introduction, est très représentative du classicisme français. / Musique De Chambre / 96 pages / niveau : 1 / Fac-Similés - Format: 23.5 X 31.5

Schattenlinie - 5 movements for Clarinet Viola and Piano (2005-2010) by Bent Sørensen. Commissioned by and composed for the Risør Festival of Chamber Music Norway.The completed work premiered by Martin Fröst Lars Anders Tomter and Leif Ove Andsnes Nov 20 2010 in Oslo Norway.

Phantasmagoria for Violin Violoncello and Piano was composed by Bent Sørensen in 2007. First performance by Trio con Brio 12 Aug 2007 in Roskilde Denmark.Programme note:My Piano Trio “Phantasmagoria” is in five movements. It all began with the fifth movement which originally was a tiny piece for cello and piano. After re-composing this little piece for piano trio I worked composed backwards – The fourth movement – third movement - and I finally got to the beginning of the piece. It all begins with the violin – solo – heavily muted but aggressive and gradually the cello andthe piano enter as shadows of the violin. The first movement ends in a dark shadow of an aria from my opera “Under the Sky”. All five movements are full of shadows of all kinds. Shadows of fragments and traces of movements appear in other movements. Music voices instruments appear behind each other as a play of shadows. “Shadow play” was the first title on my mind but a shadow play can be more physical – the shadow can come alive – alive behind the shadows. Phantasmagoria is a shadow play in darkness where contours of persons and music voices and instruments - create adventures behind each other. “Phantasmagoria” was commissioned by Franz Schubert Society Denmark and dedicated to Trio con Brio Copenhagen. (Bent Sørensen)

Oeuvre de Telemann composée pour Paris et publiée pendant son voyage, écrite pour un ensemble typiquement français - : flûte, violon, basse de viole, violoncelle et basse continue. Malgré l'emploi d'une terminologie française, il s'agit bien de quatuors de style européen, où l'on trouve toutes les influences - : française, italienne ou allemande.Nouveaux quatuors en six suites à une flûte traversière, un violon, une basse de viole, ou violoncelle, et basse-continue.Publiées en parties séparées : flûte traversière - violon - basse de viole - violoncelle - basse-continue. Préface publiée en cahier séparé. / Musique De Chambre / 164 pages / niveau : 1 / Fac-Similés - Format: 24 X 33

Par ADES THOMAS. In Three Studies from Couperin, Thomas Adès empathetically reworks three pieces by the Baroque composer into music that is distinctively Adès without dismissing the source material. The basic structures of harmony and duration in ?Les Amusemens?, ?Les Tours de Passe-passe?, and ?L?Âme-en-Peine? remain unchanged, but the retouching of rhythm, texture and orchestral colours reveals an enthralling music that could be no other composer. The Three Studies has earned critical praise and popularity, having received over 200 public performances in more than 20 countries since its 2006 premiere. ?Three Studies from Couperin, looks at the music as if through a kaleidoscope, the shattered pieces of the original tumbling around like glinting fragments of coloured glass.? Financial Times / Date parution : 2022-06-14/ Répertoire / Orchestre de Chambre

Vl Va Vc. Par WAGNER WOLFRAM. Das Streichtrio besteht aus einer Abfolge von sieben eher kurzen Sätzen unterschiedlichen Charakters, von lyrisch bis bewegt, von traurig bis fröhlich. Lamento und Arietta sind von melodischer Entwicklung geprägt, Präludium und die beiden Kanons von Kontrapunktik, wobei der zweite Kanon sich ähnlich einem der berühmten Zirkelkanons aus dem Musikalischen Opfer von J. S. Bach allmählich aus der Tiefe in die Höhe schraubt. Das Scherzo mischt Pizzicato-Spiel mit natürlichen Flageolett-Tönen, und das Finale ist eine einzige, von drängender Rhythmik durchpulste und virtuos zu spielende Steigerung. (Wolfram Wagner)/ Répertoire / Musique de Chambre

Par RHEINBERGER JOSEF GABRIEL. Rheinberger’s string quartets, his string quintet and his nonet for winds and strings were often performed and were very successful works during his lifetime. Their density, but also the delicateness of the scherzo movements are in the tradition of Schumann and Mendelssohn and these traits are combined with Rheinberger’s sense for the clear, defined structure of the movements and solid contrapuntal writing. The octet for winds and strings is published here for the first time and the nonet, which is actually a reworking of this octet that Rheinberger undertook some twenty years later, is also published in this volume. Rheinberger made major changes from the original octet and headded two new movements to the nonet. Both works show especially the interest and pleasure which he derived from the variety in the differentiation of colors in ensemble playing. The Thema mit Veränderungen op. 93, which until now has been known as a work for string quartet, is published here with the double bass part which Rheinberger later added./ Répertoire / Ensemble de Chambre