Comme il n'est pas de bon film sans bon scénario, il n'est pas - pour ce qui me concerne - de bon ouvrage lyrique, qu'il s'adresse à des adultes ou à de jeunes publics, sans bon livret. Celui écrit par Christian Eymery pour 'Marco Polo et la princesse de Chine ' me proposait quinze textes à mettre en musique. Ceux-ci, vaillants, humoristiques, tendres et violents m'ont permis de composer des chants d'humeurs très différentes, monodiques et polyphoniques, dans lesquels le rythme tient une place essentielle. / Flûte Jouant Aussi Piccolo, 2 Clarinettes En Sib, Hautbois, Basson,Trompette En Ut, Trombone, Piano, Percussions, Violons I Et Ii, Alto, Violoncelle, Contrebasse

L'Atchafalaya est un fleuve qui s'étend en Louisiane, colonie française. Jusqu'à la fin du dix septième siècle. Partis de Touraine, du Bercy ou du Poitou, des français, devenus des Acadiens, vinrent habiter ses berges et ses marais. Accompagnant avec talent et vivacité le livret de Rémi Laureillard - pédagogique, poétique et ludique -, la musique d'Isabelle Aboulker aborde des styles contrastés : polyphonies simples, chansons drôles et émouvantes, musiques populaires et jazzy. / Flûte, 2 Clarinettes En Sib, Basson, Cor En Fa, Trompette En Ut, Trombone, Piano, 2 Percussions, Violons I Et Ii, Alto, Violoncelle Et Contrebasse

Ode à la Musique (1961)for Baritone 4-part mixed chorus trumpet two horns three trombones piano and double bass Frank Martin (1890-1974) Frank Martin was born in Geneva Switzerland on 15 September 1890. He was the tenth and youngest child of a clergyman’s family. He played and improvised on the piano even before he went to school. By the age of nine he had composed charming children’s songs that were perfectly balanced without ever having been taught musical forms or harmony. A performance of Bach’s St. Matthew Passion heard at the age of twelve left a lasting impression on the composer for whom J.S. Bachremained the true master. He attended classical languages high school and to please his parents went on to study mathematics and physics at the University of Geneva for two years. Simultaneously he started studying piano and composition with Joseph Lauber who initiated him in the “craft” especially in instrumentation. Between 1918 and 1926 Frank Martin lived in Zurich Rome and Paris working on his own searching for a personal musical language. In 1926 he founded the “Société de Musique de Chambre de Genève” which he led as pianist and harpsichord player for ten years. He taught improvisation and theory of rhythm at the “Institut Jacques-Dalcroze” and chamber music at the Geneva Conservatory of Music. He was artistic director of the “Technicum Moderne de Musique” from 1933 to 1940 and president of the Swiss Association of Musicians between 1942 and 1946. In 1932 he became interested in the 12-tone technique of Arnold Schönberg. He incorporated certain elements into his own musical language creating a synthesis of the chromatic and twelve-tone techniques without however abandoning the sense of tone – that is the hierarchical relations between notes. Le Vin Herbé (1941) was the first important work in which he completely mastered this very personal idiom. Together with the Petite Symphonie Concertante (1944-45) it established his international reputation. Martin’s many musical activities in Switzerland interfered with the peace and