1.Plaza del Disco; 2.Trompette médiévale; 3.Playa tropicale; 4.Ballade en mi; 5.Brasilia Song

No.2 from '6 Pièces'

French and English text

Cendrillon is an opera-story created by Isabelle Aboulker in French and based on a story by Charles Perrault. Featuring the scores for Voice and Piano this piece requires different voices to sing the characters parts (including 3 sopraninos) and an actor for the story-telling. The Piano part can be played easily by a professional player. This piece was recorded for audio-books had representation for children in Paris theatre and is generally really enjoyed by the audience. Isabelle Aboulker is a French composer specially known for her opera her vocal works and for her adaptations of stories andfables.

7.Chanson gaillarde; 8.Chanson violente; 9.Chanson satirique

for flute (or oboe or violin) and bass continuo

Trois Esquisses is a series of three pieces for Piano named after the elements. Composed by Masayuki Nagatomi it is quite a difficult series to play and it requires some advanced skills and abilities. The total duration of the set is 5'30 minutes. The pieces are: 1. Wind - which main theme represents a soft and quiet breeze 1'30 2. Fire - fast and violent which can destroy everything and which depicts the flames sometimes big and sometimes smaller 1'30 3. Water and Earth - really slow to start with this part sounds like a river flowing quietly with some part of acceleration The most difficultaspect of this series will probably be to give the correct execution for the audience to recognise each element.

Choeur 4 Voix Mixtes - SATB- Isabelle Aboulker's La Salle à Manger for SATB and Piano.

for 2 percussion and piano

Composed by Joseph Edouard Barat Andante Et Allegro is a piece for Trombone and Piano dedicated to H. Couillaud a Conservatoire professor. Quite difficult this piece would be perfect for recitals and contest and can be played by advanced players. Starting slowly the first half of the piece evolves into a Piu vivo part. The second half of the work is a rapid Allegro theme (tempo 144-152) followed by a slower part and the Allegro theme played again a tempo before introducing the close in harmonies. Joseph Edouard Barat (1882-1963) composed numerous pieces for Wind instruments and Pianoaccompaniment such as 'Andante and Allegro' or 'Introduction and Dance' among many others.

for viola and cello

16 Pièces à 3 Parties sur des Mélodies populaires (SAT recorders)

Work first published in 1977.

for 2 trumpets horn 3 trombones and tuba

As the title suggests this Sonatine by Alexandre Tchérepnin attempts to adapt the music to the surprise elements of sports. The Pianist in the first movement is portrayed as being 'defensive' while the Bassoon soloist is considered to be attacking the Piano much like Boxing . Movement two named Half-Time represents the rest that two players would be taking in the midst of a competition. Finally movement three - Race is in the form of a canon. The Bassoonist leads the race while the Pianist gradually closes the gap.

1.Menuet; 2.Courte Gavotte; 3.Sarabande; 4.Petit Rondeau

Pour Saxophone Alto seul / for Solo Alto Saxophone- Sophie Lacaze 's Voyelles (based on a poem by Arthur Rimbaud ) for Alto Saxophone. Black A white E red I green U blue O - in 1993 inspired by the verses of Arthur Rimbaud Sophie Lacaze chose the Flute's timbre to explore the latent births of the poem's vowels in Voyelles . In doing so she counters the bias that this supposedly translucent instrument is incapable of generating colour. Originally written for Flute and Voice Voyelles was later turned into a version for four Flutes and Reciter (2005) before being adapted ten years later for AltoSaxophone. Here again the instrumentalist can either say the text or work with a reciter. The composer retained the original's skilful arrangement built on the model of theme and variations. Each vowel corresponds to a note and a colour depicted through a specific technique that is indicated in the introduction and forms the theme. Each colour-vowel couple which starts on the associated note is played as a variation with a technique that evokes the poem's imagery: the Flatterzunge' recalls the buzzing of the brilliant flies the shivering umbels of the E are suggested by slow vibratos coupled with the sung voice while for the I the beat accelerates replicating the purple lips of laughter or anger. An alchemy of sound that begets miracles.

for 3 trumpets 4 horns 3 trombones tuba in C and percussion

for flute and harpsichord

for 2 soprano recorders