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Edmund J. Pendleton: Yann's Dream (Choral-Mixed accompanied)

musical tale for children

Felix Jacob Ludwig Mendelssohn Bartholdy: Overture from 'A Midsummer Night's Dream' (PH115) (Orchestra)

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.

Georges Auric: 5 Bagatelles (Piano Four Hands)

French composer, Georges Auric (1899-1983) was a member of Les Six. His compositional career was mainly distinguished by his film music. However, his catalogue is varied and 5 Bagatelles is a delightful collection of Four Hand Piano Duets. The Five Bagatelles are; 1) Overture, 2) Little March, 3) Waltz, 4) Dream, and 5) Retreat. Suitable for intermediate level pianists, Auric 's compositions tend to reflect the current music scene in Paris at the time. For all intermediate pianists seeking exciting duet music, Auric 's 5 Bagatelles provide just that.

Patrice Sciortino: Contre-Sujet Vol.1 (Percussion(s) & Piano)

French composer, Patrice Sciortino (b. 1922) is a highly versatile musician. His compositional career has been met with success, including with his  Contre-Sujet for Percussion and Piano. Published in 1922, a typical performance of  Contre-Sujet  takes around seven minutes. Percussive instruments used include: Wood Blocks, Bongos, Vibraphone, Snare Drum, Marimba and Timpani. The first book of  Contre-Sujet  includes the first two movements, Short and Dream . For all aspiring percussionists seeking evocative and unique repertoire, Sciortino 's  Contre-Sujet  for Percussion and Piano will provide a thrilling performance for performers and audiences alike.

Armando Ghidoni: Sweet And Go (Oboe)

A strongly influential piece of repertoire, the piece Sweet And Go for solo Oboe, composed by Armando Ghidoni for Marika Lombardi, elegantly explores the poetic and technical resources of the instrument.  The diptych, approximately six minutes in length, opens with an Adagio, a free declamation in recitative that is an oasis of tenderness to which the glissandi bring a whiff of the Orient. In contrast to this voluptuous dream, the second section, marked Vivo brilante ben ritmato, enables the soloist to display a sparkling virtuosity. Melodies, rhythms, nuances and colours all contribute to this festival of ingenuity.

Armando Ghidoni: Sweet And Go (Saxophone)

Premiered in 2013, Sweet And Go for solo Saxophone elegantly explores the poetic and technical resources of the instrument Armando Ghidoni knows so well (Concerto pour saxophone et orchestre à cordes; Concerto Grosso pour saxophone alto, piano et orchestre).  The diptych, approximately five minutes in length, opens with an Adagio, a free de­clamation in recitative that is an oasis of tenderness to which the glissandi bring a whiff of the Orient. In contrast to this voluptuous dream, the second section, marked Vivo brilante ben ritmato, allows the soloist to display a sparkling virtuosity – slaps included! – without betraying the underlying spirit of improvisation. Melodies, rhythms, nuances and colours all contribute to this festival of ingenuity.

Theodore Kerkezos: Études Pour Les Notes Aiguës Et Graves Au Saxophone

Considered by Gramophone magazine as “one of the most astounding players of the day”, saxophonist Theodore Kerkezos divides his time between a brilliant soloist career and educational activities that include teaching at the Athens Conservatoire and providing master classes around the globe. Drawing on his long experience, the Greek musician is publishing his Études for high and low notes on the Saxophone to help students overcome one of the major learning difficulties: mastering the upper registers.  Organised according to a step-by-step plan, the Études provide a variety of learning options in terms of melodics, rhythm and dynamics, some of which offer a valuable bonus: the choice between several fingerings. The problem of different attacks, often related to repertoire type, is given particular attention. Recommended by masters like Jean-Marie Londeix and Christian Lauba, this “extraordinary” collection will delight saxophonists who dream of achieving precise intonation and roundness of tone in both the high and low ranges.

Ulysse Delécluse: 14 Grandes Etudes (Clarinet solo)

Fourteen great studies by Ulysse Delécluse is a set of works based on some sections of famous music pieces. Arranged for clarinettists, the level of this set can be considered as difficult, including trills, rapid rhythms, fast tempos, accidental sharps and flats, accidental notes and keys up to four sharps and 2 flats. Fourteen great studies revisits: - Fantastical Symphony , by H. Berlioz - The Scherzo of A Midsummer Night's Dream , by F. Mendelssohn - Mozartiana and The Nutcracker , by P. Tchaïkowsky - Symphony n°6 “Pathetic” , by P. Tchaïkowsky - The Scherzo-Waltz of the Pastoral Suite , by E. Chabrier - Sheherazade , by Rimsky-Korsakow - Children’s corner , by C. Debussy - The Prodigy , The afternoon of a Faun and Games , by C. Debussy - Till Eulenspiegel , by R. Strauss - The Sorcerer’s apprentice , by P. Dukas - Daphnis and Chloé , by M. Ravel - The final of Daphnis and Chloé , by M. Ravel - The Firebird , by I. Stravinsky - Petrouchka and The Rite of Spring , by I. Stravinsky

Gabriel Fauré: Chanson De Mélisandre - Pour Soprano Et Orchestre (Piano Reduction)

Gabriel Fauré 's Chanson De Mélisande for Soprano and Orchestra. Reduction for Voice and Piano. “An enchanted dream” – poet Charles Van Leberghe’s words give us an idea of the audience’s enthusiasm at the Prince of Wales Theatre in Piccadilly on June 21st, 1898, when the first English language performance of Symbolist play Pelléas et Mélisande by Maurice Maeterlinck was performed, with incidental music by Gabriel Fauré .  The composer had tasked his favourite student, Charles Koechlin, with orchestrating the score. The London theatre’s small number of musicians suited the apprentice musician’s ideals of clarity and transparency. It was 1936 before Koechlin returned to La Chanson de Mélisande , this time to create a version with orchestra, published the following year as a Piano-Vocal score. Using autograph manuscripts, Roger Nichols and Otfrid Nies have created a new edition of the Piano-Vocal reduction that includes the text of the melody in English, French and German. The score contains the 1898 and 1936 variations, as well as an informative preface by Otfrid Nies.