MONACO SONATA NO 2 TROMBONE/PF

MONACO SONATA NO 2 TROMBONE/PF

Severine: Banc, un Arbre, Une Rue (Un)

(Eurovision 1971 - Monaco) BANC, UN ARBRE, UNE RUE (un)

Il Monaco : Balletto-pantomima

Ramon Lazkano: Hitzaurre Bi - pour piano et orchestre

1993 - pour piano et orchestre. Prix de la Fondation Prince Pierre de Monaco. Création : piano Patrick Zygmanowski, Orchestre du CNSMP, direction Jean-Sébastien Béreau - octobre 1933. Paris.

James V. Monaco: You Made Me Love You (SAB)

Arranged for SAB Choir and Piano by Carl Strommen.

Ain't It A Shame About Mame Pvg Burke/Monaco

When The Moon Comes Over Madison Square Pvg (Burke/Monaco)

Joe McCarthy/James V. Monaco: You Made Me Love You (Arr. Jay Althouse)

First published in 1913, You Made Me Love You has been recorded by many great artists over the years, including Al Jolson, Judy Garland, Patsy Cline, Aretha Franklin and even Sesame Street's Cookie Monster. The great American pop song standard has been arranged here in an easy, light swing style for 3-Part Choir by Jay Althouse . This arrangement of You Made Me Love You features logical voice leading and a full-choral sound, both trademarks of Jay Althouse . The piece opens with an optional Soprano solo and can be sung by any size group. Choose either the optional SoundTrax or SoundPax to add rhythm and horns.

Masques et Bergamasques op. 112 : Suite for Orchestra

In 1918 Gabriel Faure, then 73 years old, received a commission from Prince Albert I of Monaco to write stage music invoking the atmosphere of the commedia dell'arte. The four-movement orchestral suite op. 112, consisting of Ouverture, Menuet, Gavotte and Pastorale, combines previously unpublished parts of this stage music. The Pastorale of 1919 was Faure's last composition for orchestra, the Ouverture originated in a piece of 1864 for piano duet and the original version of the Gavotte was written for piano as early as 1869. The op. 112 orchestral suite demonstrates how the composer, now older and more experienced, reworked and improved his earlier music.

Marcel Mihalovici: Chant Premier, Op.103 (Bb Saxophone/Piano)

Chant Premier, Op. 103 is a sonata for Tenor Saxophone and Piano by Marcel Mihalovici . Introduced by some verses by the Comte de Lautréamont, this very melodious piece was dedicated to S.A.S the Prince Raigner III of Monaco and is perfect to be played in a contest or for a recital. It was commissioned by the French Cultural Council. Considered as hard, this piece was initially written for Tenor Saxophone and Orchestra. This reduction starts “Moderato”, with a tempo between 76 and 80 and requires the mastering of numerous technical aspects: trills, glissandos, accidentals and ornaments among others. The various nuances make this piece really interesting and challenging to play. Marcel Mihalovici (1898-1995) was a French-Romanian born contemporary composer, who produced numerous works, including plays, small operas, sonatas and studies.

Masques et Bergamasques op. 112 : Suite for Orchestra

In 1918 Gabriel Fauré, then 73 years old, received a commission from Prince Albert I of Monaco to write stage music invoking the atmosphere of the commedia dell’arte. The four-movement orchestral suite Op.112,consisting of Ouverture, Menuet, Gavotte and Pastorale, combines previously unpublished parts of this stage music. The Pastorale of 1919 was Fauré’s last composition for orchestra, the Ouverture originated in a piece of 1864 forpiano duet and the original version of the Gavotte was written for piano as early as 1869. The Op.112 orchestral suite demonstrates how the composer, now older and more experienced, reworked and improved hisearliermusic.This scholarly-critical edition of the four-movement Masques et Bergamasques Op.112 is based on Gabriel Fauré The Complete Works, Volume IV/2.First Urtext edition Based on GabrielFauré The Complete WorksScore and orchestral parts in a large format (25.5 x 32.5 cm) available for sale

Masques et Bergamasques op. 112 : Suite for Orchestra

In 1918 Gabriel Fauré, then 73 years old, received a commission from Prince Albert I of Monaco to write stage music invoking the atmosphere of the commedia dell’arte. The four-movement orchestral suite Op.112,consisting of Ouverture, Menuet, Gavotte and Pastorale, combines previously unpublished parts of this stage music. The Pastorale of 1919 was Fauré’s last composition for orchestra, the Ouverture originated in a piece of 1864 forpiano duet and the original version of the Gavotte was written for piano as early as 1869. The Op.112 orchestral suite demonstrates how the composer, now older and more experienced, reworked and improved hisearliermusic.This scholarly-critical edition of the four-movement Masques et Bergamasques Op.112 is based on Gabriel Fauré The Complete Works, Volume IV/2.First Urtext edition Based on GabrielFauré The Complete WorksScore and orchestral parts in a large format (25.5 x 32.5 cm) available for sale

Masques et Bergamasques op. 112 : Suite for Orchestra

In 1918 Gabriel Fauré, then 73 years old, received a commission from Prince Albert I of Monaco to write stage music invoking the atmosphere of the commedia dell’arte. The four-movement orchestral suite Op.112,consisting of Ouverture, Menuet, Gavotte and Pastorale, combines previously unpublished parts of this stage music. The Pastorale of 1919 was Fauré’s last composition for orchestra, the Ouverture originated in a piece of 1864 forpiano duet and the original version of the Gavotte was written for piano as early as 1869. The Op.112 orchestral suite demonstrates how the composer, now older and more experienced, reworked and improved hisearliermusic.This scholarly-critical edition of the four-movement Masques et Bergamasques Op.112 is based on Gabriel Fauré The Complete Works, Volume IV/2.First Urtext edition Based on GabrielFauré The Complete WorksScore and orchestral parts in a large format (25.5 x 32.5 cm) available for sale

Masques et Bergamasques op. 112 : Suite for Orchestra

In 1918 Gabriel Fauré, then 73 years old, received a commission from Prince Albert I of Monaco to write stage music invoking the atmosphere of the commedia dell’arte. The four-movement orchestral suite Op.112,consisting of Ouverture, Menuet, Gavotte and Pastorale, combines previously unpublished parts of this stage music. The Pastorale of 1919 was Fauré’s last composition for orchestra, the Ouverture originated in a piece of 1864 forpiano duet and the original version of the Gavotte was written for piano as early as 1869. The Op.112 orchestral suite demonstrates how the composer, now older and more experienced, reworked and improved hisearliermusic.This scholarly-critical edition of the four-movement Masques et Bergamasques Op.112 is based on Gabriel Fauré The Complete Works, Volume IV/2.First Urtext edition Based on GabrielFauré The Complete WorksScore and orchestral parts in a large format (25.5 x 32.5 cm) available for sale

Masques et Bergamasques op. 112 : Suite for Orchestra

In 1918 Gabriel Fauré, then 73 years old, received a commission from Prince Albert I of Monaco to write stage music invoking the atmosphere of the commedia dell’arte. The four-movement orchestral suite Op.112,consisting of Ouverture, Menuet, Gavotte and Pastorale, combines previously unpublished parts of this stage music. The Pastorale of 1919 was Fauré’s last composition for orchestra, the Ouverture originated in a piece of 1864 forpiano duet and the original version of the Gavotte was written for piano as early as 1869. The Op.112 orchestral suite demonstrates how the composer, now older and more experienced, reworked and improved hisearliermusic.This scholarly-critical edition of the four-movement Masques et Bergamasques Op.112 is based on Gabriel Fauré The Complete Works, Volume IV/2.First Urtext edition Based on GabrielFauré The Complete WorksScore and orchestral parts in a large format (25.5 x 32.5 cm) available for sale

Speakings : for large orchestra and electronics

Speakings for orchestra and electronics is undoubtably one of Jonathan Harvey’s most important and ambitious works. Composed in 2008, it utilises a unique process of electronic transformation developed at IRCAM to explore the possibility that an orchestra could be made to ‘speak’. Winner of the prestigious Monaco Prize, the 25-minute work belongs to a fascinating clutch of works composed around the time of Harvey’s final opera, Wagner Dream, which contain musical allusions to Wagner, in this case Parsifal. Unfolding over three continuous movements, the music moves from the babbling of a baby and the frenetic chatter of human life in all its expressions, to music of unity, ahymn which is close to Gregorian chant in which, in Harvey’s words ‘the paradise of the sounding temple is imagined’. Typeset, and with input from Gilbert Nouno who collaborated with Harvey on the electronic element, this longawaited new edition makes this stunning piece even more accessible to conductors and enthusiasts. Speakings for orchestra and electronics is undoubtably one of Jonathan Harvey’s most important and ambitious works. Composed in 2008, it utilises a unique process of electronic transformation developed at IRCAM to explore the possibility that an orchestra could be made to ‘speak’. Winner of the prestigious Monaco Prize, the 25-minute work belongs to a fascinating clutch of works composed around the time of Harvey’s final opera, Wagner Dream, which contain musical allusions to Wagner, in this case Parsifal. Unfolding over three continuous movements, the music moves from the babbling of a baby and the frenetic chatter of human life in all its expressions, to music of unity, ahymn which is close to Gregorian chant in which, in Harvey’s words ‘the paradise of the sounding temple is imagined’. Typeset, and with input from Gilbert Nouno who collaborated with Harvey on the electronic element, this longawaited new edition makes this stunning piece even more accessible to conductors and enthusiasts.

Le Grazie Veneziane : Musica degli Ospedali - Music from the Ospedali

The Ospedali in Venice had developed, over the course of their existence, from being purely charitable orphanages into renowned centres of Venetian musical culture. Far beyond the borders of Venice concerts given by musical young ladies trained at the Ospedali became celebrated during the 18th century. Sacred music written for female singers and instrumentalists, and performed by women in the churches, existed at that time only in Venice. This unique musical tradition became widely famous largely through the works of such notable composers as Vivaldi, Hasse, Porpora and Galuppi, who were active as teachers at the four "Ospedali grandi". Tonal beauty, almost floating choralpassages and virtuosic solo sections create the especial fascination of the works presented on this CD "Le Grazie Veneziane". The soloists Maria Grazia Schiavo, Emanuela Galli, José Maria Lo Monaco and the ladies of the Vocal Concert Dresden, under the direction of Peter Kopp, recreate what was described euphorically as the "heavenly singing" at the Ospedali in the 18th century.

Pierre Cholley: De Profundis

Cette page pour chœur, soli, orgue et orchestre a obtenu en 1994 le Prix de Composition Jacques Durand décerné par l’Académie des Beaux-Arts, et en 2007, le second Prix de composition du Concours International de musique Sacrée de Monaco. Voici ce qu’en dit le compositeur: "Cette œuvre a été composée entre 1992 et 1994. Elle est dédiée à ma mère. Pourquoi un De profundis plutôt qu'un Requiem? A la lecture du Psaume 129, il m'est apparu que la pieuse idée de profondeur concentrait en elle plus de force et de questionnement. En effet, même si ce texte latin ne constitue ni un thème, ni un programme musical, il m'a semblé qu'il pouvait offrir - outre l'aspect religieux - une autre lecture. Une question fondamentale traverse la partition: "Pourquoi avoir été créé pour disparaître un jour?". C'est une question, bien sûr, qui n'a que le silence pour réponse et la foi comme chemin. Les sous-titres marquent des étapes sur ce chemin; ils symbolisent différentes attitudes de l'Homme face à la mort."

Reflections on Narcissus

Composed in 2004/2005; performance material available for hire.Matthias Pintscher was born in Marl in North Rhine-Westphalia, Germany, in 1971 and studied composition with Giselher Klebe and Manfred Trojahn.Formative influences were his encounters with Hans Werner Henze, who invited him to Montepulciano in 1991 and 1992, and with Helmut Lachenmann, Pierre Boulez and Peter Eötvös. Awards include first prize in the HitzackerComposition Competition (1992), the Rolf Liebermann Prize and the Opera Prize from the Körber Foundation Hamburg (1993 and 1996), the Prince Pierre de Monaco Prize (1999), Composition Prize from the Salzburg Easter Festival andtheHindemith Prize from the Schleswig Holstein Music Festival (2000). In 2002 he was awarded the Hans Werner Henze Prize (Westphalian Music Prize). Pintscher first came to international attention with the opera Thomas Chatterton atthe Semper Opera, Dresden (1998), and later with his second opera L'espace dernier at the Opéra National de Paris (2004). He was composer-in-residence with the Cleveland Orchestra in 2002, the following seasons at the KonzerthausDortmund, Lucerne Festival, with the Radio Symphony Orchestra Saarbrücken, at the Philharmonie, Cologne and at the RSO Stuttgart. From 2010 onwards Pintscher is “Artist-in-Association” at the BBC Scottish Symphony Orchestra, since2014 Artist-in-residence at the Danish Radio Orchestra. As a conductor, Matthias Pintscher works regularly with leading orchestras and ensembles in Europe and the USA. From 2007 to 2009 he was Professor of Composition at theUniversity of Music and Performing Arts Munich and 2010 to 2011 at the New York University. He is Music Director of the Ensemble intercontemporain and since the 2013 14 season. As of September 2014 he is Professor for compositionat the Juilliard School of Music New York.