Choral Choir (Mixed) - Level 4 - Digital Download SKU: A0.1023429 Composed by Theresa Koon. A Cappella,Contemporary,Folk,Holiday,Patriotic,World. Octavo. 8 pages. Theresa Koon #5359431. Published by Theresa Koon (A0.1023429). The Statue of Liberty, with its famous inscription of Emma Lazarus’ poem The New Colossus, is the inspiration behind the choral work, Mother of Exiles. Eleven of the sonnet's fourteen lines have been set for SATB a capella choir, (with some doubling), including the familiar Give me your tired, your poor, section. When the text refers to the Statue as Mother of Exiles, sixteen foreign language translations of that title are overlapped in layers of increasing rhythmic complexity.  The music contrasts sections of taut dissonance between expansive phrases of harmonious warmth.  Mother of Exiles is a perfect vehicle for high school, college and professional choirs seeking an inspirational anthem of compassion in times of need.

Small Ensemble Harp,Voice - Level 4 - Digital Download SKU: A0.859370 Composed by Regina Ederveen. Christian,Jewish,Sacred,Spiritual. Score and parts. 12 pages. R. Ederveen #3542471. Published by R. Ederveen (A0.859370). The Lord our Rock - voice and harp An old traditional Sabbath melody arranged by Regina Ederveen - harpist in The Netherlands Also playable on piano. Level: advanced intermediate. Duration: 3'49'' For information contact via www.reginaederveen.nl This song is part of ''Songs of Peace'', a collection of 4 Biblical songs for voice and harp. Songs of Peace consists of: 1           The Lord our Rock 2           Psalm 34 3           Psalm 121 4           Psalm 150 ''Praise God with the lute and with the harp.'' Songs of Peace - Part 1 - The Lord our Rock The Lord, our Rock Whose bread we've eaten. Eaten our fill and yet there's still, there's still over, yes, there's over as has God instructed us. Thus from the bread. In accord with the word of Adonai. He nourishes His needy world, our Shepherd, Father mine. We've eaten of His bread and drunk His wine. Therefore we will thank Him, we will praise Him and respond again, There's no one holy as our Lord our Adonai. Therefore we will thank Him, we will praise Him and respond hereby, holy our holy Adonai. Have mercy in Your graciousness we pray You, Lord our Rock and do God bless the temple of your flock. The dwelling place, the holy place, the temple Zion thus... David Your servant He will come and will redeem us. Bread of life Messiah King will come and will redeem us. Thus He will come and will redeem us. The Temple will rebuild again restored will City Zion. There we'll sing our praises on and on! The Holy One, the Mighty One, the Shepherd so caressing. Over a glass of wine according to His blessing. The Holy One the Mighty One the Shepherd of His flock. Blessing of Adonai the Rock.

Jazz Ensemble Jazz Ensemble - Level 1 - Digital Download SKU: A0.947265 Composed by John Philips. Blues,Jazz. Score and parts. 17 pages. John Philips Music Service #3867627. Published by John Philips Music Service (A0.947265). Very easy chart for middle schools on up. Based on 12 bar blues it runs at about 140 and has simple themes that are done with unison sections. It’ funky 2 beat and make you want to clap your hands on 2 & 4. Fun to play, younger players can do it and learn. It usually works to have the horn players that are not playing in the first part of the chat clap their hands over their head on 2 and 4. This will get the people into it. This is a simple funky 2 beat and should be kept that way. Piano has dissonant afterbeats--should be soft.If you want a Maynard or Buddy chart, look elsewhere. This series of charts uses nothing more complicated than eighth notes, are not frantic or screamers, extreme ranges and are hemi-demi-semi-quaver free. They depend on intonation and the players being not intimidated by what he is asked to play. There is no contest to see how high you can go before you need oxygen , how many notes you can play in 9 seconds or before your bell overheats , or how long it takes the audience to cover their earsRelaxed and confident players always play more in tune. Good harmonies, lines and realistic rhythm patterns will produce a good result that will swing and be enjoyed by player and listener alike.

Full Orchestra - Level 5 - Digital Download SKU: A0.1518051 By Zsigmond Rosarion. By Zsigmond Rosarion. 21st Century,Christian,Classical,Contemporary. 57 pages. Zsigmond Rosarion #1092214. Published by Zsigmond Rosarion (A0.1518051). The Valley of the Dry Bones is based off of the chapter in Ezekiel The Valley of the Dry Bones (from the Bible) symbolizes the Israelites' revival and God's power and sovereignty Ezekiel 37:1-6The hand of the Lord was upon me, and He brought me out by the Spirit of the Lord and set me down in the middle of the valley; and it was full of bones. He caused me to pass among them round about, and behold, there were very many on the surface of the valley; and lo, they were very dry. He said to me, “Son of man, can these bones live?” And I answered, “O Lord God, You know.” Again He said to me, “Prophesy over these bones and say to them, ‘O dry bones, hear the word of the Lord.’ Thus says the Lord God to these bones, ‘Behold, I will cause breath [spirit] to enter you that you may come to life. I will put sinews on you, make flesh grow back on you, cover you with skin and put breath in you that you may come alive; and you will know that I am the Lord.’”Ezekiel is called by the Lord, and given a vision. Ezekiel is set down in a valley full of bones. This is not some symbolic imagery, but these are literally dead people, long dead. God asks Ezekiel if he believes the bones can come back to life, and Ezekiel says only the Lord knows. God gives Ezekiel a prophesy concerning all the dead. At a future date, God will cause breath (His Spirit) to enter the bones so that they may come to life. God will use His power (which is always through the Spirit of God) to cause these dead to be resurrected. We know this isn’t symbolic of spiritual death and spiritual life because of the graphic imagery that is used.

Full Orchestra - Level 5 - Digital Download SKU: A0.755297 Composed by Sy Brandon. 20th Century,Contemporary,Folk. Score and parts. 157 pages. Sy Brandon #6067165. Published by Sy Brandon (A0.755297). This four-movement composition contains musical interpretations of four of Georgia O’Keeffe’s New Mexico paintings. The score prints on legal size paper and the parts on letter. I. From the Faraway Nearby The highly charged contrast of closely viewed foreground details and hugely distant horizons, which typified the New Mexican Views of O'Keeffe, was not a mere optical illusion. The large scale, bright light, and clear air of the region permitted one to see for the proverbial forever, and the juxtaposition of faraway and nearby was an integral aspect of desert vision. Soft dynamics and orchestration represent the faraway while the loud dynamics and orchestration represent the nearby. Near the end, the faraway and nearby begin to merge. II. Jimson Weed, White Flower No. 1 This painting depicts one of O'Keeffe's favorite subjects: a magnified flower. To her, the delicate blooms stood as some of the most overlooked pieces of naturally occurring beauty, objects that the bustling contemporary world ignored. So she made it her mission to highlight their complex structures, explaining: When you take a flower in your hand and really look at it, it's your world for the moment. I want to give that world to someone else. Most people in the city rush around so, they have no time to look at a flower. I want them to see it whether they want to or not. This movement is slow and lyrical reflecting the beauty of the close-up image. III. Red Hills and Bone O'Keeffe 's most effective composition of bones in the landscape appeared in 1941, with Red Hills and Bone; the large canvas is also among her most ambitions evocations of the arid country of which she was by then an owner, having purchase the house at Ghost Ranch the preceding year. In 1939, O'Keeffe had written of the bones as strangely more living than the animals walking around, and in the 1941 painting her response is given visual from. The minimalistic noodling represents the red hills and the bold triplets represent the mystique of the bone. IV. Ladder to the Moon             This painting shows a handmade wooden ladder suspended in the turquoise sky. In the background are the pitch-black Pedernal Mountains and a pearl colored half moon. This painting was very similar to a picture taken of O'Keeffe and her surroundings at Ghost Ranch. In the picture, a large wooden ladder is leaned against an outer wall of a patio from where it rises up into the sky with the Pedernal Mountains in the background. In Pueblo culture the ladder is used to symbolize the link between the Pueblos and cosmic forces. The fact that the ladder is pointed up in the sky may represent the link between nature and the cosmos. While there are motifs that depict specifics of the painting, such as the scale-wise ascending and descending figure for the crescent mood and rising arpeggios for the ladder, the focus of this movement is the spiritual element. The music rises and grows in intensity from a ground bass-like theme to a soaring ending.

Bass Trombone,Instrumental Solo - Level 5 - Digital Download SKU: A0.1230258 Composed by Jorg Richter. Classical,Instructional. Individual part. 84 pages. Gordon Cherry #825979. Published by Gordon Cherry (A0.1230258). Here is what Jörg Richter, Bass Trombonist of the Elbland Philharmonic Orchestra says about his special Daily Routine and Warm-ups.The Daily Routine and Warm-ups for Bass Trombone: Extended Slurs and Major Scales is part of my complete personal daily routine and reflects some of the most important areas that I need to practice for my own technique. The Extended Slurs and Major Scales are some of the necessary basics every brass player must practice, and it can really help to improve the skills for playing in the low (and high) register. These two areas are only part of my overall routine and warm-up. I would be happy if other bass trombonists could benefit from what I have gathered and written down over the years. At the moment this book is only a snapshot and I plan to continue writing new chapters.This method book is one part of a series of his complete method for Bass Trombone and is appropriate for advanced performers and can even be used by Tenor Trombonists wishing to increase their proficiency in the low register.

Oboe,Piano - Level 4 - Digital Download SKU: A0.1028132 Composed by Arwyn Bailey. 20th Century,Concert,Contemporary,Wedding. Score and part. 18 pages. Galactic Publishers Limited #3381141. Published by Galactic Publishers Limited (A0.1028132). For EliseA composition for Oboe and Piano written to mark the birth of the composers grand-daughter.The piece is a sweet piece of one movement lasting just under 3.30.it is a piece that students of the oboe will enjoy learning and playing. The standard for an oboist is around grade 5. The pianist needs to be competent and around grade 7 or upwards in standard. This is also a good piece for college students to work on together as a performance piece.This piece is reflective, and would serve well for a performance at a school concert, in a church, or as a meditative piece.The composition benefits from practice individually, with a coming together of players before the performance date and will give the performers the experience of practicing individually as well as together.Breath control is key for the oboist as after the introduction the oboe plays right through without break. The piece will challenge and teach the need for breath control to the performer whether they are seasoned or a student.The pianist will experiences wide stretches and may have to work out which notes can be lost due to the stretch involved and the notation of the chords without affecting the overall largesse of piano sound.Dynamics are also important and both players will need to work on getting this right as there are waves of dynamics in very spaces during the piece. Keeping time is also important as the players will play in counter rhythms including triplets against standard syncopted quaver beats, in short spaces, thereby creating a challenge for the perfomrers to listen to themsleves and count, rather than relying upon the other performer for the timing.The MP3 file, (that can be found here: http://thetimelord.blog/family) is NOT a true representation of the piece as it is a basic extract from the composition software and is too harsh a representation of the piece. It requires a performance to be recorded. Contact the composer if you are interested in creating a recording. A recording must not be undertaken without prior permission of the publisher and composer.ALL rights are held by Galactic Publishers Limited and the piece cannot be reproduced, recorded or re-arranged in any form without permission.

Choral Choir (SA) - Level 1 - Digital Download SKU: A0.774718 Composed by Alfonso Maria de' Liguori. Arranged by Sandra Milliken. Christian,Christmas,Classical,Sacred. Octavo. 10 pages. Sandra Milliken #3676501. Published by Sandra Milliken (A0.774718). Tu scendi dalla stelle is amongst the oldest of Christmas songs in Italy. The original version was written in the mid-1700s in Naples by the Catholic Bishop of Sant'Agata dei Goti, Alfonso Maria de’ Liguori. At that time it was called Quanno nascette Ninno and was written in the Neapolitan dialect in the style of a pastorale.The song was later re-written in Italian by Pope Pius IX and thereafter it became famous as a Christmas carol all over the world. Originally containing seven verses, today’s performances of the carol in Italy generally include only the first two verses. Notable recordings and performances of the carol include those by Sergio Franchi, Andrea Bocelli and Luciano Pavarotti. This arrangement features both Italian and English lyrics, with the English version being a very close adaptation of the original Italian. The carol may therefore be sung in either Italian or English, or a combination of both. Available in 2 Part and SSA, both with piano and optional descant/flute.

Choral Choir (SSA) - Level 1 - Digital Download SKU: A0.774719 Composed by Alfonso Maria de' Liguori. Arranged by Sandra Milliken. Christian,Christmas,Classical,Sacred. Octavo. 12 pages. Sandra Milliken #3676503. Published by Sandra Milliken (A0.774719). Tu scendi dalla stelle is amongst the oldest of Christmas songs in Italy. The original version was written in the mid-1700s in Naples by the Catholic Bishop of Sant'Agata dei Goti, Alfonso Maria de’ Liguori. At that time it was called Quanno nascette Ninno and was written in the Neapolitan dialect in the style of a pastorale.The song was later re-written in Italian by Pope Pius IX and thereafter it became famous as a Christmas carol all over the world.Originally containing seven verses, today’s performances of the carol in Italy generally include only the first two verses. Notable recordings and performances of the carol include those by Sergio Franchi, Andrea Bocelli and Luciano Pavarotti.This arrangement features both Italian and English lyrics, with the English version being a very close adaptation of the original Italian. The carol may therefore be sung in either Italian or English, or a combination of both.Available in 2 Part and SSA, both with piano and optional descant/flute.Also available separately is an instrumental accompaniment for the SSA version, scored for String quintet and glockenspiel, with conductor's score. (S0.937945)

Guitar - Advanced - Digital Download SKU: ZZ.DZ-4244 Composed by Konstantin Bliokh. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4244. Published by Les Productions d'OZ - Digital (ZZ.DZ-4244). La Sonate n° 6 Kharkiv pour guitare solo a été composée en 2021, à la fin du confinement lié au COVID-19. Ã? ce moment-là, ma famille et moi étions restés dans notre ville natale de Kharkiv (également connue sous le nom de Kharkov), en Ukraine, pendant près de deux ans. Nous considérions cette période de pandémie comme un désastre, mais nous avons réalisé plus tard que c'était en fait un moment plutôt heureux, car la guerre est arrivée dans notre pays quelques mois plus tard. Depuis 2022, une fraction considérable des 1,5 million de citoyens de Kharkiv ont quitté leur foyer, ceux qui sont restés vivent sous des attaques incessantes de missiles, et beaucoup ont été tués. Je voudrais dédier cette Sonate à la ville frontalière de Kharkiv et, surtout, à ses citoyens souffrant de la guerre.Pourtant, la musique de la Sonate n'a aucun programme spécifique. Ici, je donnerai un bref aperçu de ses principaux éléments de composition pour faciliter les interprétations futures.Les premier et quatrième mouvements de cette Sonate sont basés sur l'interaction entre le principe dodécaphonique et le centre tonal de sol majeur, naturel pour la guitare. En particulier, le premier mouvement est basé sur l'interaction de la triade de sol majeur Solâ??Siâ??Ré des cordes de guitare à vide 2â??3â??4, le motif ascendant 1 impliquant les notes Miâ??Fa#â??Laâ??Do# (à l'origine sur la première corde), et le motif descendant 2 utilisant les notes Miâ??Doâ??Sibâ??La (à l'origine sur la corde de basse 6). Ces éléments se complètent presque pour former douze tons (à l'exception du Fa manquant), et les motifs alternent avec des fragments ostinato où chaque note de la triade de sol majeur est déplacée pas à pas d'un demi-ton vers le haut ou vers le bas.Le deuxième mouvement est un Scherzo impliquant de nombreux demi-tons dans des accords accentués et des passages rapides, ainsi qu'un mouvement mélodique chromatique dans la voix de basse. Il est presque atonal dans certains fragments, mais a un centre tonal global de la mineur.Le troisième mouvement est un Adagio méditatif basé sur un thème composé dans l'échelle hexatonique Réâ??Miâ??Faâ??Sol#â??Laâ??Si et des accords ostinato impliquant les cordes de basse à vide Miâ??Laâ??Ré et le demi-ton Siâ??Do.Enfin, le quatrième mouvement est basé sur le thème dodécaphonique complet composé de deux phrases comprenant les motifs 1 et 2 du premier mouvement : Solâ??Faâ??Sibâ??Labâ??Doâ??Mibâ??Ré et Miâ??Siâ??Do#â??Laâ??Fa#. Ce thème est présenté dans ses formes prime et rétrograde. Il y a des dialogues entre la première corde, les basses et les cordes médianes à vide, similaires au premier mouvement. Ã? son apogée, le thème dodécaphonique est interprété en utilisant le mouvement parallèle de l'accord de sol majeur standard de la guitare avec les cordes médianes à vide sur douze positions.La Sonate a été créée en première et enregistrée (CD Naxos No. 8.574630) par le célèbre guitariste ukrainien Marko Topchii, qui a également vécu et étudié à Kharkiv. Je lui suis extrêmement reconnaissant pour l'interprétation brillante de cette pièce.Je suis très redevable envers Productions d'Oz d'avoir conservé mes notations originales là où celles-ci ne correspondent pas au style de l'éditeur.Sonata No. 6 Kharkiv for guitar solo was composed in 2021, in the end of the COVID-19 lockdown. At that time my family and I were staying in our home city of Kharkiv (also known as Kharkov), Ukraine for almost two years. We considered that pandemic period as a disaster, but later have realized that it actually was a rather happy time, because a war came to our homeland just a few months later. Since 2022 a considerable fraction of the 1.5 millions of Kharkiv citizens have left their homes, those who stayed have been living under ceaseless missile attacks, and many have been killed. I would like to dedicate this Sonata to the frontier city of Kharkiv and, most of all, to its citizens suffering from the war.Yet, the music of the Sonata does not have any specific program. Here I will give a brief overview of its main composition elements to facilitate future interpretations.The first and fourth movements of this Sonata are based on the interplay between the twelve-tone principle and the G-major tonal center, natural for the guitar. Namely, the first movement is based on the interaction of the G-major triad Gâ??Bâ??D of the open guitar strings 2â??3â??4, ascending motif 1 involving the notes Eâ??F#â??Aâ??C# (originally on the first string), and descending motif 2 using the notes E-â??Câ??Bbâ??A- (originally, on the bass string 6). These elements supplement each other to almost make up twelve tones (apart from the missing F), and the motifs alternate with ostinato fragments where each note in the G major triad is step-by-step moved by a semitone up or down.The second movement is a Scherzo involving numerous semitones in accented chords and fast passages, as well as chromatic melodic motion in the bass voice. It is almost atonal in some fragments, but has an overall tonal center of A-minor.The third movement is a meditative Adagio based on a theme composed within hexatonic scale Dâ??Eâ??Fâ??G#â??Aâ??B and ostinato chords involving open bass strings Eâ??Aâ??D and semitone Bâ??C.Finally, the fourth movement is based on the complete twelve-tone theme consisting of two phrases including motifs 1 and 2 from the first movement: Gâ??Fâ??Bbâ??Abâ??Câ??Ebâ??D and Eâ??Bâ??C#â??Aâ??F#. This theme is presented in its prime and retrograde forms. There are dialogues between the first string, basses and open middle strings, similar to the first movement. In the culmination, the twelve-tone theme is performed using the parallel motion of the standard guitar G-major chord with open middle strings across twelve positions.The Sonata was premiered and recorded (CD Naxos No. 8.574630) by the prominent Ukrainian guitarist Marko Topchii who has also lived and studied in Kharkiv. I am extremely grateful to him for the brilliant performance of this piece.I am greatly indebted to Productions dâ??Oz for keeping my original notations in places where these do not conform to the publisherâ??s style.

Woodwind Ensemble,Woodwind Trio - Level 4 - Digital Download SKU: A0.1006443 Composed by David Jaedyn Conley. 20th Century,Classical,Contemporary,Film/TV. 14 pages. Mydnyte Publishing #2016307. Published by Mydnyte Publishing (A0.1006443). A Prayer for Harmonic Convergence is a musical meditation for Soprano Sax, B Flat Clarinet, and Bass Clarinet. It is written in free time, and is more of an exercise in vertical development versus horizontal. A degree of tonal indeterminacy is implied and demanded, as the nature of the instruments that it was written for requires the player to make adjustments of their embouchure in order to keep the pitch in tune with the other lines. In a piece where a note which acts as a third suddenly finds itself acting as a fifth or a root means that slight variations of intonation is inevitable. This is a desired effect. Slight overtones from the instruments are meant to combine and mingle. Occasionally the overtones converge and cause the sinusoidal waveform to beat at different frequencies. There is no way to predict how and when the phenomena will happen, and therefore there is no real way to perform this piece the same way twice. While the performer should take care to keep their intonation complimentary to the other players, a degree of latitude is intended so that the performer may experiment with this concept. It is suggested that the players perform from the score so as to anticipate the entrances and exits of the other performers.

Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Oboe - Level 5 - Digital Download SKU: A0.1127840 Composed by E Elgar. Arranged by Philip Le Bas. 19th Century,Chamber,Classical. 26 pages. Philip Le Bas #728449. Published by Philip Le Bas (A0.1127840). An arrangement by Philip Le Bas of a very early wind quintet written by Edward Elgar while still based in Worcester in 1878-9, entitled Harmony Music No.1, after the German Harmoniemusik, meaning music for wind instruments. His quintet group (in which he played the bassoon) consisted of two flutes, an oboe, a clarinet and a bassoon, which by modern standards is rather unusual (omitting the usual French horn). He agreed to write a quintet for the group once a week, and he claimed to have written most of them during the 25-minute sermons at St. George's R.C. Church, where he had taken over the organ-playing from his father (and where the arranger ministered for three years in the 1990s!) It is a wonderful, cheerful, tuneful short piece (4-5 minutes long), but the original version is rarely performed, perhaps because of its difficulty on several fronts. First it is very fast, challenging performers' ability to tongue rapidly. Secondly, it repeatedly leaves no time to breathe, especially for the flautists (meaning that it has to be performed even faster, in order to get through it.) Thirdly, Elgar's oboist must have been extremely versatile, as its part is very low indeed in places (several low B's played pp at speed.) Finally, published copies seem to have rather a lot of editorial errors... This arrangement was therefore created in the hope that the piece might become more accessible and be more frequently performed. Although the bassoon part remains Elgar's, the other four players are used imaginatively to overcome many of the difficulties of the original. For example, the original low oboe parts are here played by one of the clarinets instead, and the severe breathing problems are solved by sharing repeated quavers between the four higher instruments.

Jazz Combo - Level 4 - Digital Download SKU: A0.1023975 By Peabo Bryson And Regina Belle. By Alan Menken. Arranged by Odd Helge Hveding. Film/TV. Score and parts. 27 pages. Oh2Musikk #3056155. Published by oh2Musikk (A0.1023975). How can your trombone quartet gain more audience? By playing with other people. You want your concerts to be well visited and to help you with that, I make arrangements (and compositions) for trombonequartet with guitar, piano, bass and drums. They also contain an optional bass-trombone/ tuba part and sometimes a solo part. This one contains a trombone solo part. This arrangement of A Whole New World, is scored for Solo Trombone in front of the ensemble mentioned above.  There are two solo parts in the set. One high and and one low. You can combine those two if that makes you more comfortable. Durata: 3,5 minutes (approx.) The song itself is about Alladin taking Jasmine on a ride on the magic carpet. The lyrics are all about discovering what you didn’t know about and be grateful for all the adventures life gives. This makes it a perfect piece to play in a variety of places, like weddings, celebrations of any kind, graduations, not to mention many types of concerts. With a few adjustments you can also use parts of this arrangement and make it work. It’s most powerful when you use the whole band, but it still makes a lot of sense if you have to skip some of the parts. There are so many times I have had to skip a piece in a concert, using a not as good substitute, because we didn’t have the people to play it. In this series I have made it easier to still be able to play it, even if you don’t manage to cover every part. Check it out and you’ll understand. Do you want to know more about me and my music? Please feel free to contact me on facebook, google+, twitter or visit my website marketingmusicians.org

Guitar - Advanced - Digital Download SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'OZ - Digital (ZZ.DZ-4308). Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.FRANCESCO BIRAGHIAu lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.FRANCESCO BIRAGHI.