In Portraits For Piano Bonnie von Reis Doe has 'painted' a musical portrait of each of her grandchildren each piece is characterised by their principal personality traits. This collection of pieces reflects thecomposer's fascination with harmonies chord qualities and progressions and how a simple change can profoundly alter the emotional effect of a motif or theme. In general these pieces were composed with young people inmind. There are some rewarding technical challenges and all are stepping stones to more advanced works. All the pieces leave plenty of room for interpretation and self expression so that each performer can make them his or herown.

Par KREISBERG JONATHAN. A New York City native and University of Miami graduate, jazz guitarist and composer Jonathan Kreisberg backed a long list of top jazz professionals before breaking out on his own. Unearth, featuring eight original compositions, is Jonathan's fourth CD as a leader. He's accompanied by Scott Wendholt on trumpet, Aaron Goldberg on piano, Matt Penman on bass, and Anthony Pinciotti on drums. When not on tour, Jonathan and his trio perform each Wednesday at La Lanterna in Greenwich Village. This enhanced CD also includes a Mel Bay Records interview, artist biography, photo gallery and discography. / Niveau : Tous Niveaux / Jazz - Recordings / Accessoire / Guitare

Par KREISLER GEORG. Georg Kreisler war ein Mahner, ebenso streng wie verständnisvoll, der in Sprache und Musik seine unheimatlichen Chancen sah und diese genutzt hat, um seinen Mitmenschen vielfältige Möglichkeiten des Fühlens und Denkens aufzuzeigen. Die Erstausgabe Lieder und Chansons fasst all diese genial bitterbösen Werke Kreislers in mehreren Sammelbänden für Singstimme und Klavier zusammen. Geordnet in Themenkreise wie „Tod und Vergänglichkeit“, „Surreales und Philosophisches“ oder „Politik und öffentliche Ordnung“ bietet sie einen guten Zugang zu seinem Schaffen. Band 7 vervollständigt die Themenkreise „Heimat und Heimatlosigkeit“, „Liebe, Erotik und Sex“ und „Diskriminierung, Intoleranz und Antisemitismus“ mit Liedern wie Meine Heimat ist in Jemen, Der Liebesbrief oder Der Ausländer. / Niveau : Intermédiaire / Recueil / Chant et Piano

in Full Score. Par WEBER CARL MARIA VON. First performed in Berlin in 1821, Der Freischütz is recognized as the wellspring of German Romantic opera. It was immensely influential in subject matter, atmosphere, orchestration, and other aspects on all later German operatic writing, and it is still quite popular. The composition of Der Freischütz occupied Weber for an unusually long time. He started in July 1819 and did not complete the work until May 1880. Based on the short story 'Der Freischütz' in the Gespensterbuch (Book of Ghosts) by August Apel and Friedrich Laun, its highly romantic aspects include a dark, mysterious forest setting, populated by lusty huntsmen and abounding in evil and magical overtones. This edition reproduces the full orchestral score in a clear, modern engraving for easy reading and study, with large legible notation. Do not confuse this with a piano rendering; it is a full orchestral score. In addition to its obvious uses for study, this score is also indispensable for anyone listening to recordings. In no other manner can the listener keep full awareness of the orchestral richness of this opera. The complete German text, including all spoken dialogue, accompanies the music. Full score edition. Includes full spoken text. Dover reproduction of Peters Edition. / Opéra-opérette / Répertoire / Opéra Full Score

Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ?Preciosa', ?Oberon', and ?Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music - cantatas, odes and other occasional works - stage works - lieder and vocal works - orchestral works - chamber music - music for piano - piano reductions - miscellanea, arrangements and orchestrations - works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. / Score

Par WEBER CARL MARIA VON. Carl Maria Von Weber's opera Der Freischutz was written in the years 1817-1821 and reached its celebrated world premiere on 18 June 1821 in Berlin. This romantic opera in three acts dates back to a narrative from the 'Gespensterbuch' by Johann August Apel and Friedrich Laun. Arranged for Piano solo. / Opéra-opérette / Répertoire / Opéra

Le flûtiste de renommée internationale, Emmanuel Pahud présente les premières publications dans cette nouvelle série réunissant des morceaux choisis du répertoire des flûtistes célèbres. Un large éventail de musique est présentée - de nouvelles découvertes, des raretés et des pièces nouvelles - le tout avec l'espoir d'étendre le répertoire pour flûte.Cette première édition est basée sur une paraphrase du Freischütz de Carl Maria von Weber opéra Der parClaude-Paul Taffanel (1844-1908), un des plus grands flûtistes français du 19ème siècle. C'est l'un des ouvrages qui ont accompagné et influencé la carrière Emmanuel Pahud et il présente dans la ferme conviction que d'autres flûtistes partager son enthousiasme et son admiration pour la pièce. / Flûte Et Piano

For Speaker and Orchestra.2(2nd=picc).2 (2nd=ca).2(2nd=bcl).2(2nd=cbn) / 2.2.1.0 /hp.pno.3perc / str / cdtext (in English) by Terry Jonescommissioned by the Orquestra Metropolitana de LisboaFirstperformance: Joäo Reis (speaker) and the Orquestra Metropolitana de Lisboa Cesário Costa (cond.) Teatro Municipal de S.Luiz Lisboa 10 March 2006.Score

Fantastic Tales-For Speaker and Orchestra.Published in 2006.2(2nd=picc).2 (2nd=ca).2(2nd=bcl).2(2nd=cbn) / 2.2.1.0 /hp.pno.3perc / str / cdtext (in Portuguese) by Terry Jonescommissioned by the Orquestra Metropolitanade LisboaFirst performance: Joäo Reis (speaker) and the Orquestra Metropolitana de Lisboa Cesário Costa (cond.) Teatro Municipal de S.Luiz Lisboa 10 March 2006.Score.

The atmosphere of the Wild West is caught in a striking and most imaginative way by young composer Andreas Schulte in this work. A caravan of gold- and fortuneseekers launch themselves into a big adventure and begin their rush westward. The first movement desciribes these first days of buoyancy and optimism in a crisp march. Near the campfire the pioneers rest themselves and the music expresses feelings of romance nostalgia for the past and hopes for the future. A wistful melody very characteristically communicates these feelings. Relaxation takes place in the third movement which is a musical characterization of a rodeo and its attendant festivities.It is obvious that sometimes something goes wrong and this aspect can also be heard. Nevertheless the valiant rider wins in the end. With a flashback to the beginning the journey is completed musically thus giving the composition a dignified finale. Let the mystic Wild West entrance you. (Wagons ho ....!!) De sfeer van het Wilde Westen wordt door de jonge componist Andreas Ludwig Schulte op een uiterst treffende en beeldende wijze geschetst. Een karavaan van goud- en gelukzoekers stort zich in het grote avontuur en begint de grote reis naar het westen. Het eerste gedeelte beschrijft de eerste dagen van opgewektheid en optimisme in een vlotte mars. Bij het kampvuur komen de pioniers tot rust en worden gevoelens van romantiek heimwee (verleden) en hoop (toekomst) muzikaal weergegeven. Een weemoedige melodie verwoordt die gevoelens op een zeer kenmerkende wijze. De ontspanning vindt plaats in het derde deel waarin een rodeofeest muzikaal wordt verklankt. Met een flashback van het begin wordt de tocht voltooid en de compositie waardig afgesloten. Raak in de ban van het wilde westen!

The atmosphere of the Wild West is caught in a striking and most imaginative way by young composer Andreas Schulte in this work. A caravan of gold- and fortuneseekers launch themselves into a big adventure and begin their rush westward. The first movement desciribes these first days of buoyancy and optimism in a crisp march. Near the campfire the pioneers rest themselves and the music expresses feelings of romance nostalgia for the past and hopes for the future. A wistful melody very characteristically communicates these feelings. Relaxation takes place in the third movement which is a musical characterization of a rodeo and its attendant festivities.It is obvious that sometimes something goes wrong and this aspect can also be heard. Nevertheless the valiant rider wins in the end. With a flashback to the beginning the journey is completed musically thus giving the composition a dignified finale. Let the mystic Wild West entrance you. (Wagons ho ....!!) De sfeer van het Wilde Westen wordt door de jonge componist Andreas Ludwig Schulte op een uiterst treffende en beeldende wijze geschetst. Een karavaan van goud- en gelukzoekers stort zich in het grote avontuur en begint de grote reis naar het westen. Het eerste gedeelte beschrijft de eerste dagen van opgewektheid en optimisme in een vlotte mars. Bij het kampvuur komen de pioniers tot rust en worden gevoelens van romantiek heimwee (verleden) en hoop (toekomst) muzikaal weergegeven. Een weemoedige melodie verwoordt die gevoelens op een zeer kenmerkende wijze. De ontspanning vindt plaats in het derde deel waarin een rodeofeest muzikaal wordt verklankt. Met een flashback van het begin wordt de tocht voltooid en de compositie waardig afgesloten. Raak in de ban van het wilde westen!

Zamunda is the name of an island that does not exist but only lives in the spirit of Andrew Mackereth. Listening to this composition you can imagine that Zamunda is a touristic attraction that can grow in the future. Travel into the mind of this promising English composer and convince yourself of the beauty of Zamunda. Suitable as opener or closer on your concert. Zamunda is de naam van een eiland dat niet bestaat maar enkel leeft in de geest van Andrew Mackereth. Bij het horen naar dit bijzondere werk is wel voor te stellen dat Zamunda tot een toeristische trekpleister kan uitgroeien. Reis mee in het brein van deze veelbelovende Engelse componist enovertuig u van de schoonheid van Zamunda. Geschikt als inspeelwerk of als afsluiter van uw concert.