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Sonate Opus 167 : pour clarinette en Si bémol et piano

“Musique française” is a series designed for students and teachers as well as professionals. These editions offer masterworks in French music, with performance suggestions and historical and stylistic commentary by noted scholars.“Musique française” is a series designed for students and teachers as well as professionals. These editions offer masterworks in French music, with performance suggestions and historical and stylistic commentary by noted scholars.

Romance opus 36 : pour cor en Fa et piano

“Musique française” is a series designed for students and teachers as well as professionals. These editions offer masterworks in French music, with performance suggestions and historical and stylistic commentary by noted scholars.

Sonate, opus 168 : pour basson avec accompagnement de piano

“Musique française” is a series designed for students and teachers as well as professionals. These editions offer masterworks in French music, with performance suggestions and historical and stylistic commentary by noted scholars.

Cavatine opus 144 : pour trombone ténor et piano

“Musique française” is a series designed for students and teachers as well as professionals. These editions offer masterworks in French music, with performance suggestions and historical and stylistic commentary by noted scholars.

Sonate opus 166 : pour hautbois et piano

“Musique française” is a series designed for students and teachers as well as professionals. These editions offer masterworks in French music, with performance suggestions and historical and stylistic commentary by noted scholars.

Sonate pour violoncelle et piano : Introduction et notes de performance de Emmanuelle Bertrand

Romance opus 36 : pour violoncelle et piano

“Musique française” is a series designed for students and teachers as well as professionals. These editions offer masterworks in French music, with performance suggestions and historical and stylistic commentary by noted scholars. The second half of the 19th century saw the growth in popularity of instrumental Romances. These, which one could categorise as morceaux de salon, continued the characteristics of the vocal Romance, which was born in the middle of the Age of Enlightenment and which, at the beginning of the Romantic period, had achieved great success among composers, performers and audience alike.