Ombres chinoises

The cycle, Ombres chinoises - 7 études pantomimes, was composed between 2016 and 2017, then premiered by the composer on April 18, 2018 at the Auditorium in Salon-de-Provence after a day of masterclasses given to students at the city?s conservatory. It is the logical continuation of Jeux de mime (dedicated to beginners, first cycle) and expands upon this idea: resolving technical difficulties through music theatre gestures. Each etude is dedicated to a concert pianist friend. They are all focused on particular technical aspects: seconds and ostinato, independent hands, combinations and arpeggios, contrasting and alternating articulations, study of rhythm and shifts... The level of difficulty is in increasing order, starting with the beginning of the second cycle and finishing with an etude for virtuosity.

Par ROUSSEAU JOEL / SOLDANO J.C.. Grâce au compositeur Jean-Claude Soldano, les éditions du même nom ont pu voir le jour dans les années 2000 et ainsi publier des oeuvres de petits compositeurs essentiellement français. C'est le cas du recueil dénommé Ombres chinoises de Rousseau Joël / Soldano J.C. qui a été composé pour Percussions / Niveau : 1er Cycle, 1ère/2ème Année / Répertoire / Batterie et Piano

The New Essential Companion. Henrik Wiese, the internationally renowned orchestral and solo flautist, has spent four years compiling what promises to be the definitive guide to audition repertoire for students preparing for a seat in a professional orchestra. He has worked with his own students in Salzburg as they engaged in auditions, as well as with other professional players and his teaching colleagues at the conservatorium. He sourced repertoire lists from job advertisements past and present and referred to other audition lists such as those of Baxtresser and Wye. Considerable research has gone into the differences between existing editions of the chosen pieces even, surprisingly, from twentieth century composers such as Prokofiev and Stravinsky. 'The Flute Audition” then looks at practical matters such as page turns and metronome markings. Wiese comments, for example, that Hindemith's own recording takes a passage from 'Symphonic Metamorphoses” markedly slower than in the score. The result of all this painstaking research is the most comprehensive collection of international audition pieces yet published in a single volume. 'This is an excellent collection of orchestral excerpts for the next generation of young musicians. You can use it to prepare for auditions anywhere in the world. Whether it's for an opera house, symphony or chamber orchestra, everything you need is here.'/ Recueil / Flûte Traversière