One of a Kind Solos représentent un voyage très personnel avec la musique. Certaines pièces révèlent un côté ludique original. Autres plonger dans la mystérieuse, exaltante, ou belle. Tout au long de la série, vous découvrirez des surprises musicales, de textes humoristiques et des modes inhabituels de mètres impairs et les défis d'interprétation. L'aventure de la découverte de soi qui vous permet d'être soi-même est l'une des meilleures choses sur la musique. Il est à espérer que ces pièces vont vous guider dans votre propre voyage d'être unique en son genre! / Piano

Composer's Note When I considered the ensemble of eight cellos I first thought of matt and dark textures. I also wanted to go back to some ideas on symmetry. While I was pondering all that I saw snow flakes fallingfrom the dark sky of the Finnish autumn. Focusing on the snow the idea of writing variations on it and its various forms became clearer in my mind.Nuages de neige is a uniform and linear texture in which I realise my firstimpressions of that ensemble. The two Etoiles de neige are based on the idea of symmetry and repetition: the first one develops up to a certain point where it doubles back as in a mirror image the second one consists of eightsections in which the harmonic structure is repeated as well as a linear gesture that becomes ever more present. Aguilles de glace focuses on different pizzicati and superimposed ostinati. With Fleurs de neige I sought to recallthe texture of those harmonic trills at the end of the first section although more airy and diversified here. Kaija Saariaho

Generator was written for Mark Eden and Chris Stell. It was partly inspired by H.R.Giger's paintings of 'bio-mechanoids' hybrids between man and machine which exist in bleak visions of the future. These surreal and often disturbing images were the inspiration for Ridley Scott's movie 'Alien' which earned Giger an Oscar in1980 for 'Best Achievement for Visual Effects'.The piece depicts the birth life and death of one of these bio-mechanoids combining 'human' tonal elements with machine-like percussive sounds and extended techniques. It opens with a mysterious and spacious slow section in which sounds emerge tentatively from silence. A series of mosaiclike ideas partly ordered by the performers accompanies a rising melodic progression with 'electrical sparks' symbolising the machine's creation. Eventually an engine-like rhythm ignites and the music comes to life with vigorous rhythmic energy passing through a series of contrasting musical episodes until the symmetry of malfunction death and decay finally brings the piece to extinction.Along the way Generator showcases the extraordinary array of sounds possible on the guitar and blends them with musical influences both ancient and modern. There are many sources of inspiration which through a kind of musical osmosis have been absorbed into the piece. These include techniques used in electronic dance music urban free running obsessive thoughts cloning the harmonic series and its relationship to the blues scale ritualistic chanting and electric guitar techniques. Both guitars are also re-tuned to B B D F# B and E incorporating elements of renaissance lute tuning and ideas in electric guitar playing. The paintings of Max Escher also influenced Generator via what the artist described as 'rhythmic repetitions'. These can be seen in many of his works where patterns and mathematical tricks and illusions like those used in his famous painting 'The Eternal Staircase' create images and structures that are only possible in two dimensions. The evolution of the piece was also shaped to a lesser extent by the films of the Oscar winning British director Mike Leigh whose scripts are strongly based around improvisation by the

This book is a condensed, made-for-guitar version of Nicolas Slonimsky's publication Thesaurus of Scales and Melodic Patterns - the book that musicians as diverse as John Coltrane and Frank Zappa used for ideas and inspiration. Musicians familiar with the original Thesaurus know that it contains a daunting amount of information crammed in it's over 230 pages. But there is a definite symmetry and logic in these Slonimsky examples. What appear to be random patterns are actually mathematical combinations of some or all of the twelve notes in music. As the musician/student plays through the examples, the patterns will unfold and become more obvious. / Guitare

Vol 1 - Scales. Par LOFOCO ALEX. The SCALE COLOUR SYSTEM is a unique and innovative method to study music that bridges Music Theory and the Mechanics of string instruments. An intuitive system to map and internalise Notes, Scales and Shapes over the entire fretboard to develop accuracy and to unlock your playing. The original graphics and illustrations are intuitive tools to visualise and internalise the symmetry of the fretboard - a crucial aspect to mastering the instrument - and to learn music concepts through practical application. / Méthode / Etude / Guitare Electrique

Vol 1 - Scales. Par LOFOCO ALEX. The SCALE COLOUR SYSTEM is a unique and innovative method to study music that bridges Music Theory and the Mechanics of string instruments. An intuitive system to map and internalise Notes, Scales and Shapes over the entire fretboard to develop accuracy and to unlock your playing. The original graphics and illustrations are intuitive tools to visualise and internalise the symmetry of the fretboard - a crucial aspect to mastering the instrument - and to learn music concepts through practical application. / Méthode / Etude / Guitare Basse

Chaconne. Par LERDAHL FRED. Chaconne (2016), for string quartet, was commissioned by the Daedalus Quartet to celebrate its 15th anniversary. The commission was supported by New Music USA, made possible by annual program support and/or endowment gifts from Pennsylvania Council on the Arts, Helen F. Whitaker Fund, and Aaron Copland Fund for Music. My music has a substantial history with Daedalus. I composed the Third String Quartet (2008) for them, and subsequently they performed my three string quartets on several occasions and recorded them brilliantly on Bridge Records (Bridge 9352: Music of Fred Lerdahl, vol. 3). Chaconne is in one movement lasting 19 minutes. It is effectively my fourth string quartet. Quartets 1-3 form a unified cycle lasting 70 minutes. When I finished the cycle, I thought I would never write again for the medium; yet I could not resist the opportunity of working again with Daedalus. The issue was how to compose another string quartet unrelated to the earlier cycle. The solution came from my solo cello piece There and Back Again (2010), which was based on a four-bar variation pattern from a 17th-century chaconne. Unlike the asymmetrical phrases and expanding variations of much of my music, the chaconne form requires symmetrical phrases and strictly periodic variations. I wished to work again with these symmetries but on a larger scale. Chaconne also differs in character and expression from the three-quartet cycle. The cycle is inward and intense, a kind of psychological excavation. Chaconne is, for the most part, transparent and playful. Many of its textures emerge from little canons, not completely unlike the rounds that children sing. Any composer who writes in chaconne form (one thinks above all of the last movement of Bach’s D minor violin partita and the finale of Brahms’s Fourth Symphony) is confronted with the challenge of how to create a larger form out of a constantly repeating pattern. My Chaconne grows from paired antecedent-consequent phrases, each variation lasting eight bars. The 50 variations group into three large rotations, forming three arcs of tension and relaxation, with subtle parallel connections across the rotations. Notwithstanding my attraction to chaconne form, I purposefully disguised its symmetries and periodicities in order to build an overall dramatic shape. Fred Lerdahl/ Répertoire / Quatuor à Cordes

Player's Score-Niels Rosing-Schow's Ut-Sons (Sea Songs) for Guitar Duo (2016). Commissioned by 'OpenDays Festival' for the guitar duo Per Dybro Sørensen and Michael Norman. Programme noteThe work has been written for a first performance at the Utzon Center in Aalborg Denmark. It is an important aspect of the work that it must communicate with the building's remarkable architecture. The title is a play on words on the name Utzon. Ut - Sons (French Ut = the note C) means 'C - sounds' and the note C is the centre of the opening music which returns several times in the first half of the piece. C - sounds isdeliberately miss-spelled as Sea Sounds in the subtitle of the work. This expresses the proximity of the sea which is heard in the music as re-occurring broken chords similar to the sound of small friendly waves on the beach sand.In between these easily recognizable musical elements are established 'musical rooms' which are different versions of a common harmonic musical material. The quasi-canonical passages played by the two guitarists are mirroring each other without ever being totally identical thus reflecting thesubtle broken symmetries of the building. (Niels Rosing-Schow 2016)