Rey Tritsch Chansons De Notre Temps Pj314 Dans La Marine Suisse 4 Part

L. Rey and B. Clausier's Dans La Marine Suisse arranged by J. Tritsch for four-part choir (TTBB) a cappella.

Jean Michel Defaye: Suite Marine (Tuba and Piano)

Suite Marine is a splendid suite for Tuba or Bass Trombone and Piano by Jean Michel Defaye. It comprises 1.L'Otarie; 2.Le Cachalot; 3.Le Requin; 4.L'Eléphant; 5.Le Balineau; 6.Le Dauphin . Selected as part of the ABRSM Syllabus Grades 6 and 7.

Sophie Dufeutrelle: Marine

**Please note: this title is not available to trade customers in France or the USA.** For Sophie Dufeutrelle , Professor of Flute at the Ecole Nationale de Musique de Villeurbanne, an intense pedagogical activity goes hand in hand with composition, an area in which she has received several commissions from esteemed soloists such as Maxence Larrieu and Philippe Bernold. Written in 2002 for a Flute Orchestra of around 20 instruments (from the Piccolo to the Octobass), Marine belongs to a tradition cherished by painters since the 16th century: the maritime landscape. The 1st movement (Mist) opens onto a lengthy section largely dedicated to improvisation in the spirit of Walter Thompson’s soundpainting: using finger movements, the conductor signs to the musicians the type of motif (calm sea, swell, whistling buoys, seagulls and fishing boats) that will insert itself ad libitum between two lines of waves. The 2nd movement, more traditional, floats a Song of heartbreaking melancholy followed by a light, lively Dance that swirls the heart into joyful eddies. Written for intermediate-level flautists (with one part reserved for beginners), this piece, with its variety of atmospheres, concludes on a high note – in the joy of making music together!

Darius Milhaud: The Blue Train

French composer and teacher, Darius Milhaud (1892-1974) was a prolific composer of the 20th century as a member of 'Les Six'. His compositions remain highly regarded, the Ballet, The Blue Train, being no exception. Milhaud 's compositions are influenced by jazz and polytonality, as exemplified in The Blue Train. Composed in 1924, The Blue Train is a Ballet based on a scenario by Jean Cocteau, and composed for the Ballets Russes. The title is taken from a night train called The Blue Train, which transported wealth passengers from Calais to the Mediterranean Sea. In his reduction for Piano, Milhaud makes use of variation in articulation, complex rhythms, chromaticism, accidentals, harmonics, altering tempos, variation in dynamics and a wide tessitura, amongst other aspects. Milhaud 's The Blue Train is essential to all advanced pianists seeking modern and exciting repertoire.

Jean Michel Defaye: Suite minérale Vol.4 (Clarinet & Piano)

5.Diamant; 6.Aigue-marine

Jacques Ibert: Symphonie marine (Orchestra)

Oscar Lagger: Marine (Flute & Piano)

Pierre Séguin: Marine (Trombone & Piano)

Isabelle Aboulker, Christian Eymery: Sweet and Blue Beard, for Soloists, Children's Choir and Piano

Known for her Operas and Vocal works, contemporary composer, Isabelle Aboulker has won numerous prizes for her compositions. Her collaboration with Opera libretto writer, Christian Eymery led to the exciting Sweet and Blue Beard for soloists, children's choir and Piano. Aboulker has done a significant amount of work with children and as a result, she has specially composed pieces to which they can relate. This is true of Sweet and Blue Beard, which includes a children's choir. Made up of 14 movements, Sweet and Blue Beard is an Oratorio, depicting a fairytale-like story. As an exciting, alternative collection in the Vocal repertoire, Aboulker 's Sweet and Blue Beard is an exquisite addition to any children's choir repertoire.

Boeuf Marine 3 Part & Percussion Book

Henri-Pierre Sauguet: Les Pénitents en Maillots roses (high) (Voice & Piano)

1.A un Sainte le Jour de sa Fête; 2.Jardin mystérieux; 3.Marine à Roscoff; 4.La Ville; 5.Ports d'Enfer

Christian Lauba: Blue Balafon (Book/CD)

Balafon , the first of Christian Lauba ’s Neuf Études for Saxophone, is an “African song” that uses the ancient technique of circular breathing. This soloist work - splendidly performed in the album “Hard” by Richard Ducros, one of the greatest interpreters of Lauba ’s works for saxophone – was expanded and transformed, with the composer’s approval, by saxophonist Philippe Geiss into a piece for Saxophone (tenor or soprano) and electronics under the title Blue Balafon . The arrangement calls for “free articulation in a ‘jazz legato’ spirit”, making the use of circular breathing optional in order to favour the piece’s incredible energy. The score comes with a CD that includes a complete version of the work performed on Saxophone by Philippe Geiss, as well as an electroacoustic accompaniment isolat­ed for playback. This eclectic musical adventure proves itself both stimulating for the mind and invigorating for the senses.

Christian Lauba: Blue Stream (Piano solo)

A Homage to Mendelssohn, Gershwin and Ligeti

Christian Lauba: Blue Raï (Cello solo)

Lude; All; Kur; Sar; Jig

Johann Baptist II Strauss: The Blue Danube Op.314 (Choral-Mixed a cappella)

SCTB chorus

Olivier Messiaen: Catalogue D' Oiseaux Volume 1

The first book of Olivier Messiaen's Catalogue d'Oiseaux for Piano Solo contains three of these delightful and evocative tone poems: Alpine Chough , Golden Oriole and Blue Rock . This splendid volume contains a list of birds in his catalogue in French English, German and Spanish, as well as Latin names these pieces were notated every Spring over a period of sixty years, in countries all around the world.

Sophie Lacaze: Voyelles For Solo Alto Saxophone

Sophie Lacaze ’s Voyelles (based on a poem by Arthur Rimbaud ), for Alto Saxophone. “Black A, white E, red I, green U, blue O” – in 1993, inspired by the verses of Arthur Rimbaud , Sophie Lacaze chose the Flute’s timbre to explore the “latent births” of the poem’s vowels in Voyelles . In doing so, she counters the bias that this supposedly translucent instrument is incapable of generating colour. Originally written for Flute and Voice, Voyelles was later turned into a version for four Flutes and Reciter (2005), before being adapted ten years later for Alto Saxophone. Here again, the instrumentalist can either say the text or work with a reciter. The composer retained the original’s skilful arrangement, built on the model of theme and variations. Each vowel corresponds to a note and a colour depicted through a specific technique that is indicated in the introduction and forms the theme. Each colour-vowel couple, which starts on the associated note, is played as a variation with a technique that evokes the poem’s imagery: the ‘Flatterzunge’ recalls the buzzing of the “brilliant flies”, the “shivering umbels” of the E are suggested by slow vibratos coupled with the sung voice, while for the I, the beat accelerates, replicating the purple lips of laughter or anger. An alchemy of sound that begets miracles.