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C.A. Landini: Incantation (Saxophone solo)

'Non sempre i Saxi sepolerali a Templi' (for alto saxophone)

Franck Domine Non Secundum Offertoire Pour Le Careme 4 Male Voices

Henri Mulet: Tu es Petra (Organ)

...et Portae Inferi non praevalebunt adversus te (No.10 from 'Esquisses byzantines')

Jacques François Gallay: 39 Préludes mesurés et non mesurés Op.27 (Horn solo)

Rueff 18 Lecons Solfege 3 Cles Non Melangees Sol 2eme Fa 4eme U5 S Acc

Olivier Messiaen: Traité de Rythme, de Couleur, et d'Ornithologie Vol.2 (Book)

Rythmes non rétrogradables; Technique des Rythmes; Augmentations et Diminutions; Pédales et Canons; Personages rythmiques; Analyse de 'Rite of Spring'; Analyse de 'Turangalîla'; Valeurs irrationelles; Rythmes contemporains; Essai d'Interpolations et Metaboles

Alexandre Pierre François Boëly: Complete Works Book 3, Vol.1 (Organ)

Andante con Moto in E flat major; Canon perpétuel double à l'Octave in B minor; Fantaisie et Fugue in B flat major; Allegro ma non troppo in F minor; Allegretto in B minor; Canone all'Ottava in E minor

Gabriel Grovlez: Lamento et Tarantelle (Clarinet & Piano)

Composed by Gabriel Grovlez , Lamento Et Tarentelle is a piece for Clarinet and Piano. Initially written for the Paris Conservatoire contest in 1923, it is dedicated to a professor of the Conservatoire, Prosper Mimart. Quite difficult (6°, 7°), this work is perfect for the transition between the upper intermediate level and advanced. Lamento Et Tarentelle is divided into four sections:  - Lento ma non troppo - Vivo (Movement of Tarentelle) - A tempo - Piú Vivo This really melodious piece requires the mastering of breathing technique among other specificities. Gabriel Grovlez (1879-1944) is a renowned composer and conductor. He studied at the same time as Gabriel Fauré and composed numerous pieces for voice and some chamber music.

Edison Denisov: Sonate (Saxophone-Alto & Piano)

Sonata for Alto Saxophone and Piano by Edison Demisov was composed in1970 and covers three movements. The first part, Allegro, shows serialism; the second, Lento, focuses on new techniques; with the last one, Allegro Moderato, reminiscent of Jazz music. This strong>Sonata for Alto Saxophone and Piano, dedicated to the French Saxophonist Jean-Marie Londeix, was strongly influenced by Western European music and requires a certain level of ability (intermediate to advanced players), especially for the second movement. Edison Demisov (1929-1996) was a Russian, Siberian-born, composer specialising in alternative / non-conformist Soviet music. Strongly influenced by the West, he was often criticised by his peers. He gained international recognition for the composition 'Le soleil des Incas' (1964) and wrote numerous concerti, sonatas and other pieces.

Neuf Études pour saxophone alto (cahier 1)

Né en 1952 à Sfax en Tunisie, Christian Lauba a étudié la composition au Conservatoire de Bordeaux dans la classe de Michel Fusté-Lambezat. Sa rencontre avec le saxophoniste Jean-Marie Londeix constitue le point de départ d’une collaboration féconde entre les deux musiciens. Lauba écrit des pièces non seulement pour le soliste, mais aussi pour sa classe et pour son ensemble de saxophones. Inlassablement, il explore les possibilités de l’instrument en s’intéressant aux techniques spécifiques (le slap, la respiration continue, les sons multiphoniques, les suraigus) ainsi que ses différentes diverses facettes expressives – conditionnées par la diversité des attaques. Ses neuf Études pour saxophone alto se divisent en quatre cahiers. Le premier d’entre eux comprend les pièces Balafon - Savane - Sanza - Jungle.

Jean-Marie Leclair: Sonate En Fa Pour Deux Saxophones De Meme Tonalite

Sonata In F  is a piece for Saxophone duet by Jean-Marie Leclair . Arranged and adapted by Jean-Marie Londeix , this sonata is perfect for intermediate players and is a great piece to play in a recital. It lasts 11’30 minutes and is divided in four parts: Andante, Allegro, Largo and Allegro ma non troppo. More lyrical than the first one, the second part contains two repeat signs and the third one is surely the shortest. The piece is very cheerful and really nice to listen to. The book features score and parts. Jean-Marie Londeix is a musician who studied the Saxophone and the Piano. He also had some strong knowledge of chamber music, harmonies and of music history and obtained a First Prize and a Prize of Honour at the Paris Conservatoire.

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

Composed by J. S. Bach for Flute and Piano, this edition of Sonata No.6 was arranged for Alto Saxophone in E flat and Piano by Marcel Mule . Its difficulty would fit the skills and abilities of intermediate players. In terms of composition, this piece was created in four different sections: Adagio ma non tanto, Allegro, Siciliano and Allegro. Marcel Mule (1901-2001) is one of the greatest French saxophonists, renowned worldwide for his work on the classical Saxophone repertoire. He was teaching his students how to obtain a good quality of sound and believed it was dependent on the embouchure, the emission, the mastery of vibrato and thus of breathing. He wrote different methods that focus on technique, articulation and tone productions such as 'Scale and Arpeggios' (in three books), 'Daily exercises after Terschack' or '30 Great exercises or studies after Soussmann' (in two books), among others.

Wolfgang Amadeus Mozart: 3 Cadenzas by P.Taffanel & P.Gaubert for Concerto KV313 (Flute solo)

Wolfgang Amadeus Mozart 's (1756-1791) Flute Concerto In G was written by the composer in 1778. The Concerto remains widely studied and performed on the Flute, making it one of the most important Concerti in the instrument's repertoire. Paul Taffanel and Philippe Gaubert 's composed cadenzas for the work are essential to all performers of the concerto. Concerto In G is in three movements; 1. Allegro maestoso, 2. Adagio ma non troppo, and 3. Rondo: Tempo di Menuetto. The first and last movements are in the tonic key, whilst the second movement is in the subdominant key of D major. All three movements contain a cadenza which initially would have been left for the performer to improvise. However, cadenzas have since been written, including those of Taffanel and Gaubert. Both were prominent flautists of their time and their understanding of the Flute concerto repertoire is second to none, making their cadenzas well-informed and essential to performers of the concerto.

Wolfgang Amadeus Mozart: 3 Cadenzas by J.Donjon for Concerto KV314 (Flute solo)

Wolfgang Amadeus Mozart 's (1756-1791) Flute Concerto in D is an adaptation of the original Oboe Concerto in C , which the composer reworked in 1778. The Concerto remains widely studied and performed on both instruments, making it one of the more important Concerti in the woodwind repertoire. Concerto in D is in three movements; 1. Allegro aperto, 2. Adagio non troppo, and 3. Rondo: Allegretto. The first and last movements are in the tonic key, whilst the second movement is in the subdominant key of G major. All three movements contain a cadenza which initially would have been left for the performer to improvise. However, cadenzas have since been written, including those of Johannes Donjon (1839-1912). Donjon was a prominent flautist of his time and his understanding of Mozart 's Flute Concerto in D is second to none, making his cadenzas well-informed and essential to performers of the concerto.

Cendrillon pour chant et piano

En choisissant de rester fidèle au conte de Perrault, le librettiste Henri Cain a rendu un fier service à Jules Massenet (1842-1912) : le voici encouragé à déployer dans l’opéra Cendrillon toute la panoplie de merveilles qui fait le charme d’un tel sujet et à écrire pour la Fée-Marraine et sa cour une musique éthérée et scintillante. Le compositeur a fait du Prince charmant un rôle travesti – chanté par une mezzo-soprano et non, comme chez Rossini, par un ténor –, adoucissant par-là même un personnage « aussi proche des rives de l’enfance que sa tendre partenaire » (P. Kaminski). Sans céder au moindre sentimentalisme sucré, la musique de Massenet nous étreint par sa simplicité, sa pureté et l’ardeur des sentiments qu’elle exalte. Le présent volume comprend la réduction complète de l’opéra pour chant et piano, l’intégralité du livret ainsi qu’une notice historique et une iconographie permettant de lever le voile sur l’éclatant triomphe de sa création à l’Opéra-Comique, le 16 février 1892, que confirmèrent dans la foulée plusieurs reprises à Bruxelles, Genève et Milan.

Requiem pour soli, choeur et orchestre symphonique op.48 (version de 1900, chant-piano)

Une berceuse de la mort – cette appellation semble d’autant mieux convenir au Requiem op.48 de Gabriel Fauré (1845-1924) que son auteur l’a lui-même reprise en précisant son état d’esprit : « (...) c’est ainsi que je sens la mort : comme une délivrance heureuse, une aspiration au bonheur d’au-delà, plutôt que comme un passage douloureux ». Cette sérénité consolatrice s’exprime non seulement dans la touchante prière du Pie Jesu pour soprano, mais aussi dans l’Offertoire initial, l’Agnus Dei lumineux et dans l’extatique antienne In Paradisum : de manière emblématique, Fauté a choisi de faire l’économie d’un fracassant Dies Irae. Ecrit au tout début de l’année 1888 pour soli et chœurs, avec un effectif orchestral réduit (quelques cordes, une harpe, des timbales et l’orgue, auquel le compositeur ajoute plus tard quelques cuivres), ce chef-d’œuvre a fait l’objet d’une version ultérieure conçue pour un grand orchestre (1900) : c’est Roger-Ducasse, l’élève favori de Fauré dans sa classe de composition au Conservatoire de Paris, qui a réalisé la réduction chant-piano de cette version symphonique. La présente édition a été préparée avec un soin méticuleux par Jean-Michel Nectoux, spécialiste incontesté de Gabriel Fauré.

Roger Boutry: Divertimento (Saxophone and Orchestra)

Divertimento is an outstanding composition by Roger Boutry for Alto Saxophone and Harmony Orchestra. This great work is really nice to play and will enlighten the audience. The Orchestra composition required is: 2 Flutes, 2 Oboes, 2 Bassoons, 2 small Clarinets, Clarinet I, Clarinet II, 1 Bass Clarinet, 2 Alto Saxophones, 2 Tenor Saxophones, 1 Baritone Saxophone, 4 Horns, 4 Bb or C Trumpets, 4 Trombone or 3 Trombone and an Euphonium, 1 Bb or C Bass, 1 Double Bass, 1 Harp, Timpani, Drum and a Celesta. It is divided into three parts: I. “Allegro ma non troppo”, is strongly rhythmic and syncopated. It includes a Cadenza by the Solo Saxophone and is written as a tribute to Jazz music. II. “Andante”, also includes a Cadenza by the Solo Saxophone but at the end of the section. It is reminiscent of slower blues ballads. III. This part features few sections by the Solo Saxophone but is specially highlighted its ending, in a bright and fast finale. This volume features the score and parts for all the instruments. Born in France in 1932, Roger Boutry received numerous prizes, including those for Piano, Composition and Conducting. He received the Grand Prix de Rome in 1954. His career was quite successful, alternating between Harmony professor, composer and conductor. He also received numerous prizes for his incredible compositions.