Rarely has a musical work been better characterized by its subtitle than Nicolas Bacri's Lyric Interlude: 'A Study in Pastoral Style'. When, in 2008, the composer received the commission for a piece with English Horn from Cecilia Benner, patron of the Chamber Music Society of Detroit, he immediately thought of the duo between this instrument and the Oboe that Berlioz, in the Symphonie fantastique, placed at the beginning of the 'Scène aux champs', making suddenly appear a nocturnal country landscape where two shepherds carry on a dialogue on their pipes. First performed in March 2009 in its original version for English Horn, Violin and Cello, the Lyric Interlude for English Horn and Piano (Op.110b) nonetheless proclaims another tradition: that of British pastoralism, illustrated by the music of Ralph Vaughan Williams (1872-1958), the 50th anniversary of his death having just been celebrated. This score pays him homage of rare sensitivity: set off by refined counterpoint, the undulating lament of the beginning, rhythmically supple, evokes the waving wheat, as does Vaughan Williams in the opening undulation of his Symphony No.3. The lyrical effusion, briefly interrupted by a scherzo in 6/8, again pours out, making the work evolve towards a slow, ecstatic atmosphere, close to the last of the English composer's Three Preludes on Welsh Hymn Tunes. Far from bucolic, postcard clichés and servile imitation, this Lyric Interlude opens the doors to a realm where pure beauty reigns. The composer also wrote another version of this work for English Horn (or Flute, Clarinet or Viola), Violin and Cello, Op.110a (AL 30 751)

Erinnerung ('Remembering' or 'A Remembrance') was commissioned with the aid of funds provided by the RVW Trust for the Evelyn Barbirolli Memorial Concert at the Bridgewater Hall Manchester on 6th June 2009. The score is written with the Cor anglais line transposed.

Pour Quator á Cordes-Born in 1947 Laurent Duvillier-Wable trained under pianist Suzanne Joly and studied composition with Michel Puig. The latter a student of Ren? Leibowitz introduced him to the mysteries of Sch?nberg and Webern's twelve-note composition. To create a coherent œuvre Duvillier-Wable drew on the array of possibilities offered by chamber music in his series of six Sonatas composed between 1992 and 2007. Sonata IV For String Quartet was written in 1994 the year his father – painter Ren? Duvillier a friend of Charles Estienne and Andr? Breton – fell gravely ill. Divided into four movements thecomposition contains two beautifully expressive musical references: the Lamento religioso refers to Bach's Passion according to Saint Matthew by quoting the choral 'Was ist die Ursache aller solcher Plagen' (No.19: What is the cause of all this suffering?) when Jesus distressed by his imminent agony asks his disciples to watch over him. The Agitato final borrows the inexorable 'Must it be? It must!' theme from Beethoven's Quartet No.16 in F that crowns this poignant work.

with Piano Accompaniment-A fantastic collection of solos for the English Horn player. Transcribed and edited by Thomas Stacy for Horn with piano accompaniment. Featured pieces includes Faure's Sicilienne Borodin's Notturno and Mozart's Adagio K.58a.

Pour Cor Anglais (Ou Flûte Ou Clarinette Ou Alto) Violon Et Violoncelle-Rarely has a musical work been better characterized by its subtitle than Nicolas Bacri’s Lyric Interlude: ‘A Study in Pastoral Style’. When in 2008 the composer received the commission for a piece with English Horn from Cecilia Benner patron of the Chamber Music Society of Detroit he immediately thought of the duo between this instrument and the Oboe that Berlioz in the Symphonie fantastique placed at the beginning of the ‘Scène aux champs’ making suddenly appear a nocturnal country landscape where two shepherds carry on a dialogue on their pipes. First performed in March 2009 atone of the Scarab Club Concerts in Detroit the Lyric Interlude for English Horn Violin and Cello (Op.110a) nonetheless proclaims another tradition: that of British pastoralism illustrated by the music of Ralph Vaughan Williams (1872-1958) the 50th anniversary of his death having just been celebrated. This score pays him homage of rare sensitivity: set off by refined counterpoint the undulating lament of the beginning rhythmically supple evokes the waving wheat as does Vaughan Williams in the opening undulation of his Symphony No.3. The lyrical effusion briefly interrupted by a scherzo in 6/8 again pours out making the work evolve towards a slow ecstatic atmosphere close to the last of the English composer’s Three Preludes on Welsh Hymn Tunes. Far from bucolic postcard clichés and servile imitation this Lyric Interlude opens the doors to a realm where pure beauty reigns. The composer also wrote another version of this work for English Horn (or Flute Clarinet or Viola) and Piano Op.110b (AL 30 750)

6 Veränderungen über die II. Variation aus dem Philharmonischen Konzert von Paul HindemithEinleitung (Lento)Thema (sehr ruhig)Veloce (1. Variation)Allegro marcato (2. Variation)Lento espressivo (3. Variation)Capriccio und Monolog (4. und 5. Variation)Finale: Vivace (6. Variation) Dieses neuzeitliche Trio für Oboeninstrumente weist die gleiche Besetzung auf wie das bekannte Beethovensche Opus 87; das Hindemith-Thema wird in kontrastierenden, teils spielfreudigen, teils besinnlichen Formen abgewandelt, so dass jeder der drei Spieler voll zur Geltung kommt. Ein Werk konzertanter Kammermusik, das darüber hinaus auch als Studienwerk für Oboenklassen (fortgeschrittene Studenten) Verwendung finden kann.