George Speckert has once again created a collection of easy pieces which are fun to perform and sound attractive. The duets are comfortable to play have an authentic jazz feel to them and are full of nuances; musicians and teachers will enjoy them as much as the listener. Marked rhythms and distinctive melodies give the pieces that special something.From the contents?The Entertainer? (Scott Joplin) ?Nobody Knows the Trouble I?ve Seen? (trad.) ?When the Saints Go Marching In? (trad.) ?St. Louis Blues? (W. C. Handy) ?Tiger Rag? (Hold that Tiger) (Nick la Rocca) ?New Orleans? (Newton Alexander) and original compositions by George SpeckertTheauthorGeorge Speckert is renowned for his easy yet sonorous arrangements for mixed string ensembles. He is a composer author and teacher for multi-media production and e-learning.

In 1920 Maurice Ravel was asked by his publisher Durand to contribute to an issue of La Revue Musicale dedicated to Claude Debussy. A supplement included the first movement of Ravel?s Sonata as well as works contributed by Debussy?s friends Stravinsky Satie Dukas Bartok and de Falla to name only a few. This 1st movement of Ravel?s Sonata of which the autograph is lost then developed into a large scale four movement chamber music work utilizing a more modern music vocabulary than found in almost any other Ravel composition. Bärenreiter?s scholarly-critical edition the first ever of this masterpiece presents the work in two performing scores. It contains anintroduction on the history of the work reflecting Ravel?s work and rehearsals with violinist Hélène Jourdan-Morhange and cellist Maurice Maréchal. Sources for this new edition include the engraved copy the personal autograph scores (with earlier versions of some passages) which were used to rehearse the work and the first edition scores with emendations by Jourdan-Morhange and Maréchal. Included in the appendix are the original fingerings by the performers which are not found in the first edition. They reflect how Ravel must have heard the work in rehearsals and as such are a document of early 20th century performance practice. First Urtext edition of this workTwo performing scores (format 25 5 x 32 5 cm)The violoncello part does not allow for page turns in the first movement; therefore the edition includes an additional violoncello part in small print presenting the entire first movement on a double page without a page turnInformative introduction to the genesis of the work (Ger/Eng/Fr)Critical commentary with facsimiles and appendices