Par BRITTEN BENJAMIN. 2013 marks the centenary of Benjamin Britten's birth and major celebrations are planned across the world, making this the widest ever global celebration of a British composer. The previously unpublished Two Pieces were written in late 1929, after Britten composed the Rhapsody For String Quartet (March 1929). The new publication will be edited by David Matt hews, who spent three years as an assistant to Benjamin Britten at Aldeburgh in the late 1960's./ Répertoire / Violon et Piano

After composing the unconventional but highly successful Night Piece (Notturno) for the inaugural Leeds International Piano Competition Marion Harewood the competition's co-founder along with Dame Fanny Waterman asked Britten to write a further piece for the 1966 contest. He began a set of variations in the autumn of 1965 but the manuscript breaks off just before the end of the sixth of what appear to have been intended to be at least ten variations.Here in Variations (1965) for Piano Colin Matthews concludes the sixth variation and you can purchase the piano score which includes a facsimile reproduction of the first page of Britten'soriginal manuscript.

Par BRITTEN BENJAMIN. Written between 1923 and 1925, these 10 Waltzes were written in Britten's childhood and in publishing them the composer intended that they would be used particularly by the young or the inexperienced to practice. / Niveau : Facile / Répertoire / Piano

For Violin, Viola and Piano (Reduced from the orchestra version). Britten was so remarkably prolific as a young composer that many of the works from his teens were put aside to await revision or completion as he rushed on to the next piece. This was particularly the case around the time of his Opus 1 Sinfonietta , composed in the summer of 1932, his second year as a student at the Royal College Of Music. The Sinfonietta was written (in less than three weeks) very soon after Britten had completed the first draft of the Double Concerto - but after finishing the Sinfonietta he went back to revise the Concerto's second movement. He started work on his Op.2 Phantasy for Oboe and String Trio a few weeks later. Although the Concerto follows the same three-movement pattern as the Sinfonietta , it is more ambitious in scale - and since the sketch is, unusually for Britten, complete in practically every detail, it is puzzling that he never made a full score of the work after finishing the composition, and seems to have made no attempt to get it performed. It is not clear if he had particular performers in mind (he was, of course, a Viola player, although he is not likely to have intended the part for himself). He showed the work to his composition teacher at the college, John Ireland, who, as Britten recorded in his diary, was 'pretty pleased' with it - but it is distinctly possible that his experience in rehearsing the Sinfonietta with a student orchestra in 1932 ('I have never heard such an appalling row!' reads another diary entry) discouraged him from going on to complete the Double Concerto in score. He was not to hear any of his orchestral works until the first performance of Our Hunting Fathers in 1936. In the absence of Britten's full score it was necessary for me to prepare the work from the sketch. But the instrumentation is so carefully indicated in the draft that the resulting score is not far from being 100% Britten - only between bars 70 and 74 of the slow movement did there seem to be any need to add anything significant to Britten's texture. The Double Concerto (Britten's manuscript title was 'Concerto In B Minor', but he referred to it in his diary, in characteristic shorthand, as '2ble Concerto') is the most recent addition to his corpus of works, mostly dating from Britten's youth and early maturity, that, since his death, have been revived after many years, or performed for the first time. Britten himself occasionally returned to his early works, and in his last years revised both the early String Quartet In D of 1931 and the opera Paul Bunyan . The Piano score published separately is not a reduction from the orchestral score, but a transcription of Britten's composition sketch, including his indications of instrumentation. The first performance of the Double Concerto was given at the 50th Aldeburgh Festival by Katherine Hunka and Philip Dukes, with the Britten-Pears Orchestra conducted by Kent Nagano, on June 15th 1997. -Colin Matthews / Violon, Alto Et Piano

Par BRITTEN BENJAMIN. These four fantastic cabaret songs are splendid examples of the genre. They not only provide ample evidence of the composer's and poet's wit and high spirits, but are also wholly characteristic of a particular kind of vernacular music that resulted from the collaboration of two brilliantly endowed young men in the thirties. Arranged for Piano and voice. / Niveau : Assez Facile / TV, Film, Comédie musicale / Recueil / Voix Moyenne et Piano

Cette sélection a été faite avec les pianistes à l'esprit et les chanteurs de l'étudiant. Ils sont 12 des plus pratiques et accessibles des paramètres de bijou comme folksong de Britten. Le livre comprend également des notes historiques sur les chansons et le CD des représentations par professionnel / Voix Elevée(s) Et Piano

60 songs, with extensive historical introductory notes. Includes all art songs originally composed for voice and piano published by Boosey and Hawkes. Available for for High Voice as well as for Medium/Low Voice, with newly published transpositions as necessary. / Voix Et Piano

Cet opéra est appelé la section finale des spectacles pour les jeunes Let's Make un opéra. La première section de cette est sous la forme d'une pièce de théâtre et illustre la préparation et la répétition d'un opéra.Professionnels ou amateurs très doués sont nécessaires pour jouer les parties adultes et aussi la partie de Juliette (à condition, bien entendu, qu'elle peut regarder avec conviction juvénile). Il est essentiel que les enfants réels devraient jouer les enfants and rsquo pièces -s. L'accompagnement est pour quatuor à cordes solo, piano-duo (quatre mains sur un piano) et percussions (un joueur peut gérer). Les parties de la chaîne ne sont pas très faciles. Les chansons de nos I, IX, XIV et XVII doivent être chantée par l'auditoire ensemble sous la direction d'orchestre. Ils ont répété doivent, bien entendu, être au préalable. Allocation est faite pour ces répétitions dans la partie i de Let's Make un opéra. / Solistes, Choeur, Quatuor A Cordes, Piano 4 Mains Et Percussions

/ Tenor Solo, Choeur Mixte (SATB), Choeur De Femmes (SA), 4 Voix De Garçons, Orchestre A Cordes, Piano (4 mains) Et Percussions