Gaspar Sanz: Pavanas Suivi De Partidas Al Aire Espanol

...suivi de Partidos al Aire español.

Girolamo Frescobaldi: Capriccio cromatico con Ligature...(Maîtres No.49) (Organ)

...al Contrario

Eugène Bozza: Pièces faciles No.7: Serenata al Pincio (Violin & Piano)

Easy Pieces in the 1st Position

Gieco Enzo Viaje Al Pais De Alicia Voice Flute & Guitar Score/Parts

Eric Ledeuil: Fête à Camelot, For Flute And Piano (Or Harp)

Teacher, soloist, chamber musician, conductor and composer – Flautist Eric Ledeuil , a student of Patrick Gallois and Benoît Fromanger, wears many hats. This diversity continually enriches his educational work, as can be seen by the success of his flute method La flûte imaginative, published by Leduc in two volumes (AL 30 365 and 30 367). Fête à Camelot , a piece for Flute and Piano (or Harp) for fourth-year students, reconnects with the Knights of the Round Table, an imaginary world that has long been a source of musical inspiration for Ledeuil : the key figures of the legend appear in his Les Méandres de Viviane (AL 30 495, Beginner) and Les Mystères de Brocéliande (AL 29 589, Intermediate). This work is set in King Arthur’s fortress: the great halls ring out with the sounds of joyful festivities, interspersed with echoes of Viviane’s song. A Knight’s story of his quest for the Holy Grail is followed by the furtive appearance of Morgan le Fay, but she gives way to the Lady of the Lake – Viviane – whose distant melody shrouds itself in melancholy tones. The work concludes with a fisel , a traditional Breton dance that whips the troubadours’ enchanted instruments into a frenzy.

Ryo Noda: Yume. Three pieces Inspired By Douanier Rousseau’s Paintings For Solo Saxophone

The Japanese Saxophonist and composer Ryo Noda , born in 1948, has placed his musical trajectory under the concept of East Meets West: a crossing of influences illustrated by Murasaki No Fuchi for Saxophone duo, in which the shakuhachi can be substituted for one of the Saxophones (AL 25 893). How could he have not felt certain elective affinities between his creation and that of Douanier Rousseau (1844-1910), whose jungle landscapes are the expression of a dreamlike exoticism? Inspired by three of the naïf master's paintings, Yume – The Dream for solo Saxophone lets the listener first succumb to the incantation of The Snake Charmer (1907): the threnody imitating the flute, imbued with mysterious sensuality, is echoed in the surrounding Nature, just like the pale moonlight reflecting on the surface of the lake. In War (1894), the charred trees and crimson clouds surround the goddess Bellone, whose cavalcade is evoked by the 'slap' technique, and the devastation by the Saxophone's harsh portamenti. The Dream (1910) shows us this woman, nude in the middle of the jungle, the state of Nature before the Fall, the incarnation of archaic innocence.

Nicolas Bacri: Lyric Interlude - Pour Cor Anglais (Ou Flûte, Ou Clarinette, Ou Alto) Et Piano

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)

Nicolas Bacri: Lyric Interlude - 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 at one 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)

Mario Castelnuovo-Tedesco: Vocalise-Étude

Born into a family that had lived in Florence since the expulsion of the Jews from Spain in 1492, Mario Castelnuovo-Tedesco (1895-1968) entertained only a distant relationship with the music he heard at synagogue. It was only when he discovered Schelemo, a rhapsody for cello and orchestra written in 1916 by Ernest Bloch, that he began to understand what “Jewish music” could be. In the mid-1920s, the young composer found a collection of prayers set to music among his maternal grandfather’s papers. Something clicked, and from then on, Jewish tradition would become a source of inspiration for Castelnuovo-Tedesco. In 1928, two years after publishing the Dances of King David, he wrote this Vocalise-Étude for medium voice and piano at the request of vocal teacher Amédée-Landély Hettich, who wanted to include it in the Répertoire moderne de Vocalises-Études published by Leduc. The piece became so popular that several instrumental adaptations were soon created, published under the title Chant hébraïque (for violin and piano: AL17 713; for cello and piano: AL 17196). Divided into three sections, this wordless melody opens with a “sad and impassioned” chant that appears to grieve the tragic fate of the Jewish people. A folk dance follows, in which a “lively and stubborn” movement has great panache. The third section returns to the initial poignant theme before briefly reiterating the dance motif, allowing the piece to conclude on a hopeful note. The composer himself would adopt this proactive stance, refusing to yield to resignation when, fleeing Mussolini’s anti-Semitic laws, he decided to emigrate in 1939 to the United States, a land of refuge to which he would remain faithful until his death some thirty years later.