22 resultat (0,22280 sekunder)

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Daniel Lavialle: Méthode de Guitare (Guitar solo)

Odette Gartenlaub: Three Faces (Piano)

Giuseppe Gariboldi: 20 Etudes chantantes Op.88 (Flute solo)

Wolfgang Amadeus Mozart: Menuet de Duport (Classiques No.80) (Flute & Piano)

Eugene Bourdeau: Solo No.1 (Bassoon/Piano)

Jeanine Rueff: Concertino Op.17 (Saxophone-Alto & Piano)

Paul Jeanjean: Etudes modernes (Flute solo)

Auguste Périer: 331 Exercices journaliers de Mécanisme (Clarinet solo)

Marcel Tournier: Féérie (Prélude et Danse) (Harp solo)

Eugène Bozza: Aria (Book/Download Card)

Jules-Auguste Edouard Demersseman: Solo de Concert No.6, Op.82 (Classiques No.74) (Flute & Piano)

Eugène Bozza: Aria (Book/Download Card)

J. Chailley, H. Challan: Complete theory of music - Vol. 1

J. Chailley, H. Challan: Complete theory of music - Vol. 2

Domenico Dragonetti: Concerto (Classiques No.23) (Double Bass & Piano)

Marcel Grandjany: Fantaisie sur un Thème de Haydn (Harp solo)

Alfred Désenclos: Quatuor (Saxophones 4)

Johann Sebastian Bach: Sonata pour Flûte No.6 (Classiques No.92) (Saxophone-Alto & Piano)

Marcel Mule: Exercices journaliers d'après Terschack (Saxophone solo)

Johann Sebastian Bach: Sonata pour Flûte No.4 (Classiques No.91) (Saxophone-Alto & Piano)

Allain Gaussin: Les Céphéides, Trio For Violin, Cello And Piano

Reynaldo Hahn: Works For Cello And Piano

Reynaldo Hahn: Works For Cello And Piano

For quite some time, posterity remembered Reynaldo Hahn (1874-1947) for just a handful of songs and the operetta Ciboulette , overlooking the incredible diversity of a catalogue as eclectic as it is appealing. Yet his chamber music contains many little-known treasures: thus, cellist Steven Isserlis, in his preface, hastens to hail the first modern edition of these two scores, which he regularly plays in recital, so much does their beauty enchant the audience. Published in 1911, the Two Improvisations on Irish Airs for cello and piano turn out to be the transcription of his first and third Preludes for piano four hands (1894). These folk themes come from the collection Songs of Old Ireland , published 12 years earlier by Charles Villiers Stanford: gracefully and tenderly, The Little Red Lark unfurls a melancholic tune of which the regular foundation respects the breadth of phrase typical of folk songs; in The Willow-Tree , the lover begs his beloved in vain to take him in her arms one last time before he lies down, lifeless, in the shade of the tree. Beyond this sensitive exploration of the Irish soul, Hahn offers us a journey into the past: the Variations chantantes sur un air ancien develop a theme borrowed from Cavalli’s opera Xerse . In this aria (1660 version: Act IV, sc. 6), Ambassador Periarco dreams of moving away from court intrigues to be able to taste the pleasures ‘to which the gods have destined him’. Reynaldo Hahn’s variations succeed in maintaining the sweet simplicity of this theme, as noble as it is refined.

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