A Time To...

Par PERRONE DAVIDE. Une ambiance Soft (y) à la flûte à bec qui, appelée par les claquements de doigts du pianiste, se met au jazz. Le rythme ternaire et l'ambiance décontractée des premières mesures rappellent le piano bar… mais les imitations, septièmes diminuées, inversions sont bien là, et la pièce se déroule en profitant de tout le registre de la flûte à bec, qui prend alors une dimension lyrique. / Niveau : Assez Facile / Moderne / Répertoire / Flûte à Bec Alto et Piano

Par MOZART WOLFGANG AMADEUS. Mozart composed his two “Lodron Serenades” for open-air performances on the name day of Countess Antonia Lodron in June 1776 and 1777. Their bright “al fresco” character is immediately recognisable. Alfred Einstein considered these two divertimentos to be “among the purest, gayest, most satisfying, and most perfect that ever assumed musical form”. For both works Mozart chose an ensemble of two horns, two violins, viola and bass instruments. However, the second Lodron Serenade, the Divertimento in B-flat major K. 287, stands out from this sextet format by assigning a remarkably virtuosic solo role to the first violin, from the richly diverse opening movement to the finale with its almost ironic recitative and an exhilarating passage on the folk song “D’Bäurin hat d’Katz verlorn”. Mozart himself played first violin in the 1777 performance. Later he wrote, “They all opened their eyes! I played as though I were the finest fiddler in all Europe”./ Répertoire / 2 Cors, 2 Violons, Alto et Contrebasse

Stitched manuscript paper in A4 format. Idea for use in the classroom or for your own creations! Get all those burning ideas down on paper for all to see. / Tout Instrument

Par SOLER PADRE ANTONIO. Publication du manuscrit original, en parties séparées : violon I - violon II - alto - violoncelle - clavecin. Présentation par Jean-Patrice Brosse : contexte historique et culturel de la vie du Padre Soler - les quintettes du Padre Soler - l'oeuvre du Padre Soler - table des matières. - / Niveau : Facile / Répertoire / Instruments Divers dont L'Alto, Clavecin et plusie

A great collection of film music arranged for Alto Saxophone specially graded from easy-to-play tunes to more challenging pieces.

Big Band Play-Along Volume 3-This pack lets instrumentalists play along with a big band to 10 swinging classics including: Caravan * Chelsea Bridge * Cotton Tail * I\'m Beginning to See the Light * I\'m Just a Lucky So and So * In a Mellow Tone * In aSentimental Mood * Mood Indigo * Satin Doll * Take the A Train.

Farewell Song has been taken from Der Trompetervon Säckingen by Victor E. Nessler (1841-1890). Thisopera tells the sentimental story of a plain musicianwho is eventually allowed to marry the daughter ofa baron. From the first performance in 1884 thisopera was well liked - not so much because of thestory but because of its musical features. Impressivetrumpet solos drinking songs and dance scenes werethe ingredients that enthralled audiences throughoutEurope. Today only the farewell song called JungWerner?s Abschied also known as Behüt? dich Gott has remained an absolute winner. Wil van der Beekhas written a fine arrangement of this entitledFarewell Song. He felt itwas appropriate to entrustthe melody of this song originally written for tenorvoice to the baritone or euphonium.

Chinesische Lieder. Par PENDERECKI KRZYSZTOF. The history of the symphony is full of curiosities, ranging from works that are extremely long or scored for extensive instrumental forces to those of dubious authorship. There are also famous symphonies labelled as No. 0, works with alternate or multiple opus numbers, and a wealth of ‘unfinished’ symphonies. Krzysztof Penderecki’s 6. Sinfonie can also be included in this category, since his Seventh and Eighth were completed decades ago. This work is comprised of eight songs on Chinese texts connected by solo intermezzos played on the Chinese stringed instrument, erhu. As in his two preceding works, the focus here is on vowels. This work, however, is scored for smaller orchestral forces and possesses a more intimate chamber music character, at times with greater melancholy than before. Penderecki has declared this symphony to be his farewell from the genre, although we know from experience that anything is possible with symphonies./ Répertoire / Baryton et Orchestre

Scott Joplin a été l'une des figures marquantes du ragtime. Ses ?uvres ont fait le tour du monde. Outre quelques-uns de ses ragtimes les plus célèbres tels que The Entertainer The Crysanthemum Rag Time Dance et Maple Leaf Rag ce recueil vous propose également de découvrir des pièces moins connues : Magnetic Rag New Rag Fig Leaf Rag et Pleasant Moments.

Piano Reduction including solo part. Par DENISOV EDISON. The catalogue of Edison Denisov's works includes 16 concertos. It was a genre to which he returned time and again throughout his life, from the Concerto for Cello and Orchestra of 1972 to the Double Concerto for Flute, Clarinet and Orchestra of 1996. In Denisov's music the role of the soloist, or rather the protagonist, is extraordinarily important, not so much for its virtuosity as for its confessional character. The solo part is a monologue distinguished by poetic diction and a very personal message from the composer. The dramaturgical conception of the Concerto for Saxophone and Orchestra, a reworking of the Viola Concerto of 1986, draws on traditional sonata form, thereby reaffirming the ubiquitous classicism in Denisov's thought. In this late work, we find all the typical features of his style: sinuous melodic lines layered into dense contrapuntal textures, and an interplay of orchestral colours, with pure sonorities contrasting with complex mixtures of sounds. It is a perfect dramaturgy that governs the evolution of the music to the very end. The first movement assumes the role of a sonata-allegro, with the standard formal sections of exposition, development, recapitulation and coda. The second movement is an Adagio for strings. The third takes the form of a little contrasting intermezzo that introduces both new thematic material and a new range of colours. Here tunefulness gives way to pointillism enriched with sonic effects. The only movement with a virtuosic solo part, its nervousness and inner tension set it worlds apart from the second and fourth movements that surround it. The fourth movement assumes the traditional form of a final set of variations. It is the dramaturgical and semantic heart of the concerto. The theme of the variations is Franz Schubert's Impromptu in B-flat major, op. 142, which in this case is 'born' from the celesta as the product of a dodecaphonic string cluster. This finale represents Denisov's homage to his great mentor, Schubert's music being for him a symbol of eternal and universal beauty. 'The attentive listener', Denisov stressed, 'will recognise that the Impromptu theme is already suggested very slowly in the course of the three preceding movements, not only thematically, but also psychologically. That's what makes the appearance of the Schubert theme sound so natural.' The variations relate to the variation genre less in their form than in their spiritual and conceptual metamorphoses. It is, one might say, 'music round about Schubert'. (Ekaterina Kouprovskaia-Denisova)/ Répertoire / Saxophone Alto et Piano