Jacques Delécluse: Test-Claire

Test-Claire by Jacques Delécluse for snare drum. Part of the the Alphonse Leduc catalogue, this work has been produced to the highest editorial and printing standards.

Félix Passerone: Test (Percussion solo)

Exercices d'Epreuves de Technique - for 4 timpani (French, German and English text)

Yves Baudrier: Ludo-Test (Trumpet & Piano)

Eugène Bozza: 3 Pièces (Flute/Oboe)

This chamber piece for Flute and Oboe by French 20th century composer, Eugene Bozza, displays many of the features and characteristics of French Chamber works from early 1900s insofar as the tonal beauty is matched by melodic fluency, elegant structure and a sensitivity to instrumental capabilities.

W. A. Mozart: Concerto in D K314

Mozart's wonderful Concerto in D K314 for Flute and Piano. This terrific volume also includes Cadenzas by P.Taffanel, P.Gaubert and J.Donjon. Strictly speaking, not an original concerto, as Mozart created this wonderful tune by reworking an earlier Oboe concerto, but the degree of revision and his sensitivity to each instrument mark this as a superb concerto for flute which explores all facets, especially the flowing, liquid-like mellifluousness. This is a beautiful and light work with the emphasis on the solo instrument more pronounced.

Nadia Boulanger: Mélodies, Volume 2

A student of Gabriel Fauré and Louis Verne at the Paris Conservatoire, Nadia Boulanger (1887-1979) owes her aura to an exceptional teaching career spanning nearly 75 years, during which she trained the most illustrious musicians, from Copland to Glass not to forget Bernstein or Gardiner. In the past few years, her creative work, long considered negligible, has finally been escaping from oblivion thanks to the untiring work of the Centre Nadia et Lili Boulanger, directed by Alexandra Laederich. It is at her instigation that the publication of Nadia Boulanger's songs has continued in chronological order: after a first collection (HA 9725) devoted to the youthful works brought out during her lifetime by the publisher Hamelle, the second volume, presented here, exclusively features unpublished works. First of all, it contains three Romantic mélodies in German on poems by Heine – a surprising choice given that the composer felt more attracted by Symbolist poetry. This is attested to by the other songs in the collection, on verses by Paul Verlaine, Maurice Maeterlinck and Georges Delaquys, three poets who were part of the literary pantheon of Nadia and her sister Lili. One will discover treasures of refinement and sensitivity in their musical settings.

Isabelle Aboulker: Myla And The Boat Tree For Narrator, Children's Choir And Instrumental Accompaniment (Trio Version)

Following on the success of her two operatic works for children and teens – Douce et Barbe Bleue, Les Fables Enchantées, Little Thummie and Cendrillon (based on Perrault), as well as the adaptation of Maupassant’s short story The Dumpling (2014) – Isabelle Aboulker once again hits the bull’s eye with Myla And The Boat-Tree , a commission from the Villecroze Music Academy. In 2015, this musical tale for Narrator, Children’s Choir and Instrumental Accompaniment, was awarded the “Music for Young Performers Prize” by the French Music Publishers Association. Both in the French version and Marci Meth’s excellent English translation, it provides the material for an enthralling educational adventure in which children between the ages of five and eight are invited into their first experience of opera and choir singing. With her trademark finesse and sensitivity, the composer tells the story of a little girl dealing with the death of a person she’d cherished above all: her grandfather. Written for choir in unison, this tale wafts shimmering melodies over an instrumental accompaniment suffused in turn with gentle melancholy and light humour. An art that speaks from an open heart. The work was written in three versions: for Narrator, Children’s Choir and Piano (AL30732) for Narrator, Children’s Choir and Trio (Clarinet in Bb, Cello and Piano: AL30733) for Narrator, Children’s Choir and Instrumental Ensemble (Flute, Oboe, Clarinet In Bb, Bassoon, Horn, Trumpet in C, Trombone, Percussion, 2 Violins, Alto, Cello, Bass: AL30734) Choral score: AL30743

Isabelle Aboulker: Myla And The Boat Tree For Narrator, Children's Choir And Instrumental Accompaniment (Piano Version)

Following on the success of her two operatic works for children and teens – Douce et Barbe Bleue, Les Fables Enchantées, Little Thummie and Cendrillon (based on Perrault), as well as the adaptation of Maupassant’s short story The Dumpling (2014) – Isabelle Aboulker once again hits the bull’s eye with Myla And The Boat-Tree , a commission from the Villecroze Music Academy. In 2015, this musical tale for Narrator, Children’s Choir and Instrumental Accompaniment, was awarded the “Music for Young Performers Prize” by the French Music Publishers Association. Both in the French version and Marci Meth’s excellent English translation, it provides the material for an enthralling educational adventure in which children between the ages of five and eight are invited into their first experience of opera and choir singing. With her trademark finesse and sensitivity, the composer tells the story of a little girl dealing with the death of a person she’d cherished above all: her grandfather. Written for choir in unison, this tale wafts shimmering melodies over an instrumental accompaniment suffused in turn with gentle melancholy and light humour. An art that speaks from an open heart. The work was written in three versions: for Narrator, Children’s Choir and Piano (AL30732) for Narrator, Children’s Choir and Trio (Clarinet in Bb, Cello and Piano: AL30733) for Narrator, Children’s Choir and Instrumental Ensemble (Flute, Oboe, Clarinet in Bb, Bassoon, Horn, Trumpet in C, Trombone, Percussion, 2 Violins, Alto, Cello, Bass: AL30734) Choral score: AL30743

Isabelle Aboulker: Myla And The Boat Tree For Narrator, Children's Choir And Instrumental Accompaniment (Choral Version)

Following on the success of her two operatic works for children and teens – Douce et Barbe Bleue, Les Fables Enchantées, Little Thummie and Cendrillon (based on Perrault), as well as the adaptation of Maupassant’s short story The Dumpling (2014) – Isabelle Aboulker once again hits the bull’s eye with Myla And The Boat-Tree , a commission from the Villecroze Music Academy. In 2015, this musical tale for Narrator, Children’s Choir and Instrumental Accompaniment, was awarded the “Music for Young Performers Prize” by the French Music Publishers Association. Both in the French version and Marci Meth’s excellent English translation, it provides the material for an enthralling educational adventure in which children between the ages of five and eight are invited into their first experience of opera and choir singing. With her trademark finesse and sensitivity, the composer tells the story of a little girl dealing with the death of a person she’d cherished above all: her grandfather. Written for choir in unison, this tale wafts shimmering melodies over an instrumental accompaniment suffused in turn with gentle melancholy and light humour. An art that speaks from an open heart. The work was written in three versions: for Narrator, Children’s Choir and Piano (AL30732) for Narrator, Children’s Choir and Trio (Clarinet in Bb, Cello and Piano: AL30733) for Narrator, Children’s Choir and instrumental ensemble (Flute, Oboe, Clarinet in Bb, Bassoon, Horn, Trumpet in C, Trombone, Percussion, 2 Violins, Alto, Cello, Bass: AL30734) Choral score: AL30743

Isabelle Aboulker: Myla And The Boat Tree For Narrator, Children's Choir And Instrumental Accompaniment (Ensemble Version)

Following on the success of her two operatic works for children and teens – Douce et Barbe Bleue, Les Fables Enchantées, Little Thummie and Cendrillon (based on Perrault), as well as the adaptation of Maupassant’s short story The Dumpling (2014) – Isabelle Aboulker once again hits the bull’s eye with Myla And The Boat-Tree , a commission from the Villecroze Music Academy. In 2015, this musical tale for Narrator, Children’s Choir and Instrumental Accompaniment, was awarded the “Music for Young Performers Prize” by the French Music Publishers Association. Both in the French version and Marci Meth’s excellent English translation, it provides the material for an enthralling educational adventure in which children between the ages of five and eight are invited into their first experience of opera and choir singing. With her trademark finesse and sensitivity, the composer tells the story of a little girl dealing with the death of a person she’d cherished above all: her grandfather. Written for choir in unison, this tale wafts shimmering melodies over an instrumental accompaniment suffused in turn with gentle melancholy and light humour. An art that speaks from an open heart. The work was written in three versions: for Narrator, Children’s Choir and Piano (AL30732) for Narrator, Children’s Choir and Trio (Clarinet in Bb, Cello and Piano: AL30733) for Narrator, Children’s Choir and Instrumental Ensemble (Flute, Oboe, Clarinet in Bb, Bassoon, Horn, Trumpet in C, Trombone, Percussion, 2 Violins, Alto, Cello, Bass: AL30734) Choral score: AL30743

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)

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)