Make the silence talk'La Muette knew how to make the silence talk like no one', writes Djavann in his book (La Muette, © Flammarion 2008). Those words deeply touched me for they express one of the most beautiful metaphors in music. Through the lines of discourse, beyond words, I was listening to the silence of 'La Muette'. A rare and intense listening which joins the same internal listening I use when I'm writing my score. I was listening to La Muette, I decided to write a new piece to make the silent voice of La Muette told by Chahdortt Djavann sound through music. Choosing the extracts The text put in music is composed of short extracts from Djavann's story. I focused on this woman's portrait, who conquers her freedom through silence in which she forms a strong love relationship with her niece Fatemeh on the one hand, and the Uncle on the other hand. 'She had made her silence become her art of living, her freedom' writes Djavann. The extremely dramatic tension, the flow of the singing in Persian language, and the oppression in relation to the Iranian context are trying to underline the independent beauty of that woman who resists and exists without a voice. Story A young 15 years old Iranian girl named Fatemeh is in jail. Waiting for her death sentence, she writes the story of her aunt on a small notebook, 'so that someone remembers La Muette and myself'. The young teenager was raised by her aunt who becomes mute because she decided to stop talking on a dark day of her own childhood when she was interrogated, never to tell THE truth. An aunt whose silence makes even more fascinating, haughty, with an insolent look, cigarette at her lips, bare-footed and without any scarf on her head. 'La Muette' had made her silence become her art of living, her freedom. Around her, women start to talk, even considering her mad, for only a mad person could act this way. Fatemeh loves her mute aunt unconditionally, that is how she wants to become a woman, by being like her, fascinated by her silence and her excesses. La Muette embodies a figure of Freedom and makes us remember that in some countries, the woman who won't be submissive risks capital punishment. She will be hung. Following this beautiful text by Chahdortt Djavann, 'La Muette', a powerful text, stiff, tensed, without any lyricism nor compromises, which takes place in Iran under the Mollahs' regime. Persian: Phonological material / Compositional material Djavann's story is written in French. I asked Baharé Khadjé-Nouri to translate the text into Persian, and worked with her on pronunciation, accentuation, metric and the structure of the language, and I thank her again for that. I spent a long time having some people reading me the text in Persian and through listening I immersed myself in that sound universe. From this linguistic material, the beginning of the piece starts with the constitution of a tank of sound objects which will constitute parts of the compositional material. To compose the phonological tank, I worked on writing the pronunciation that lies at the origin of every possible vocal composition, writing the tone as well as the 'percussive - resounding' aspects of phonemes, multiple uses of fricative consonants or sibilants. Finally I used the vocal treatment of the phoneme through modes of play in relation to sprechsang: sing -inspire, or -expire, -blow, -chanting, -whispering, -spitting, -speaking. But a purely phonetic analysis of the vocal structures composing the sung part would reduce the word to its mere phonetic entity. The phonological material then constituted a compositional material by giving to the sung word its semantic entity. Form of the piece To strip the drama off every narrative element, at least of the discursive and linear character of the story, I first re-organized parts of the text extracted from the whole book in an order fitting the form I wanted to give to the piece (except for the beginning and ending which are kept in their linear forms). I imagined Fatemeh in jail, whose memories bounced between the four walls of her cell: recurring musical material, re-injected in an obsessive way, disjointed and contrasted, continuously modified each time, bouncing from one sequence to the next in another state. The piece is divided into 5 sequences, between each of them is an instrumental interlude with a voice-off, the voice of the present in the cell that contrasts with the singing voice of the sequence, evocation of memories of La Muette (sequence 1: preamble, sequence 2: portrait of La Muette, sequence 3: La Muette and Fatemeh, sequence 4: La Muette and the Uncle, sequence 5: epilogue). Electroacoustic setupFor this piece, I wrote the electroacoustic parts myself at the same time I was writing the instrumental parts. The electroacoustic setup is here considered as a whole instrument, an instrument added to the 12 others electroacoustic instruments and to Donatienne's voice. The electroacoustic sounds are divided into three types: - Samples from the singer's voice and instruments of the TM+ ensemble transformed - The narrator's voice Baharé Khadjé-Nouri in Persian, original version or transformed - Extra-musical sounds As for the synchronization between the acoustic and the electroacoustic scores, we will use for the first time an innovative application developed by Frédéric Bevilacqua and Bruno Zamborlin, not to follow the moves as we did it in StreicherKreis (my string quartet created in November 2008), but to follow the voice and orchestra. Thus, we will be using an 'audio-following', which constituted a first. This setup of recognition and following will allow the synchronization between instrumental and electroacoustic scores in a musical and precise way. Concerning the interactivity between performers and device, it will all be in real-time. Characteristics of the musicians' sound will 'interpret' what comes out of the speakers. The musicians will define the settings of the sound transformations, in terms of space, transposition, tone or length. This new piece expresses a message through the choice of subject that goes beyond strictly music. For me, it is important that both the composer and writer can invest their work into problematics which they're confronted to because they are immediate witnesses. / Soprano Et Percussions

Pour Saxophone Ténor (ou Soprano) et dispositif électroacoustique-Balafon the first of Christian Lauba’s Neuf ?tudes for Saxophone is an “African song” that uses the ancient technique of circular breathing. This soloist work - splendidly performed in the album “Hard” by Richard Ducros one of the greatest interpreters of Lauba’s works for saxophone – was expanded and transformed with the composer’s approval by saxophonist Philippe Geiss into a piece for Saxophone (tenor or soprano) and electronics under the title Blue Balafon. The arrangement calls for “free articulation in a ‘jazz legato’ spirit” makingthe use of circular breathing optional in order to favour the piece’s incredible energy. The score comes with a CD that includes a complete version of the work performed on Saxophone by Philippe Geiss as well as an electroacoustic accompaniment isolat?ed for playback. This eclectic musical adventure proves itself both stimulating for the mind and invigorating for the senses.

Par REYNOLDS ROGER. 2Sopranos - 2 Flûte Traversière, 2 Clarinette - 2 Trombones - 2 Contrebasse - 2 Percussion - Quadrophonic Electroacoustic Tape, amplifcation, optional lighting - Durée: c. 30 min / Contemporain / Répertoire / Soprano

Par MORRICONE ENNIO. / Répertoire / Voix de Femme, Piano, Clavecin, Sons Electroniques

Born in 1938 French composer Jean-Claude Risset is best known for his pioneering contributions to electronic music. Composed in 2003 Reprises Alto Saxophone and Electroacoustic Device is no exception to the composer's prolific contributions to the genre. Risset has experimented with a variety of software to recreate and produce sounds and synthesis techniques. Composed for Conservatoire students a typical performance of Reprises lasts around 3 and a half minutes. The Saxophone demonstrates use of chromaticism extended techniques and complex rhythms amongst other features whilst accompanied by anelectronic part helpfully recorded on a CD. For all advanced saxophonists aspiring to play a range of repertoire Risset's Reprises is essential.

Easy Guitar with Notes and Tab-Canadian born singer-songwriter Neil Young is best recognized for his deeply personal lyrics his impressive and distinctive guitar work and his almost instantly recognisable unique singing voice. Throughout what has been a varied career Young has experimented with a wide range of genres including soul swing jazz and electronica however his best known work falls into one of two distinct styles: an acoustic country-influence folk-rock with songs like Heart Of Gold and Old Man; or a grinding hard-rock sound such as in Cinnamon Girl and Southern Man.Available here is a fantastic selection of Neil Young’s greatest hits and mostinfluential songs compiled in one amazing collection for Easy Guitar Tab.Includes photos and lyric sheets.

as performed by Dua Lipa featuring DaBaby. Par LIPA DUA / KELLY SEB (Arr.). Le grand succès de la chanteuse et parolière anglaise Dua Lipa, « Levitating », a été écrit en Jamaïque lors d'une séance d'enregistrement pour son deuxième album studio, Future Nostalgia. C'est une chanson dansante énergique qui mêle les caractéristiques de plusieurs styles tels que power pop et electro disco. Très applaudie à sa sortie, elle a été comparée à la musique de vedettes comme Debbie Harry, Katy Perry, Kate Nash et Kylie Minogue. L'arrangeur Seb Skelly a été séduit, lui aussi, par ce titre accrocheur. Il l'a donc arrangé pour quintette de cuivres avec partie de batterie optionnelle, et le résultat déclenchera très certainement une envie irrésistible de danser !/ Répertoire / Quintette de Cuivres et Percussion optionnelle

Corona - The Solar Trilogy No. 3 for Orchestra was composed by Poul Ruders in 1995.Programme note:CORONA makes the final part of the SOLAR-TRILOGY a huge symphonic triptych about the life and behavior of the Sun. The first'panel' GONG depicts the birth life and final collapse of our nearest star the second ZENITH describes in its ultra-slow tempo the patient rise of the Sun toward midday ferocity and its subsequent setting. CORONA then is a symphonic 'portrait' of the phenomenally hot whispy brim encircling and radiating from the Sun a sizzling halo of electrons and photons visible only during a total eclipse. Formally CORONAfollows the process of such totality in progress:the gradual eclipsing by the Moon - total darkness with thefierce sparkling outer corona - the gradual 'rebirth' of the light toward the full gl.ory and warmth of the Sun.Besides the obvious astronomical narrative of the SOLAR-TRILOGY there's a metaphysical angle too underlying each of the three compositions: GONG in spite of its apparent energy may be the most pessimistic of them all epitomizing the death and ultimate annihilation of the prime source of Life itself. ZENITH is a hommage to human aspiration and spiritual endurance and CORONA ends with Hope and Glory after a journey from depression throughtotal despair. Super-structurally the zenith of ZENITH makes the zenith of the entire trilogy i.e. when the E- flat of the unisone horns in ZENITH is heard we are exactly halfway through the collected work.Poul Ruders

The Waltz Joan of Arc-In 1981 the group OMD (Orchestral Manoeuvres in the Dark) managed to turn the ancient legend of Joan of Arc into a modern electro-pop song-and thus leave a landmark in the landscape of pop themselves. The solemn melody over the steady drums in 4/4time creates an almost hypnotic effect that will charm anyone who hears this wind band arrangement.

A How-To Musical Guide to the Most Daring Dangerous Exciting Time ... Like ... Ever!-A massive electromagnetic attack from outer space has jammed all technical systems and there is no electricity no cell phones no laptops ? NO FUN! The kids are in a panic and don't know what to do until Grandpa andGrandma arrive on the scene and introduce them to a day filled with daring and adventure music and imagination ? all without fancy gadgets! This creative 35-minute musical for Gr. 4-8 features seven original songs dialog and an adaptable cast list for groups of varying sizes. The Teacher Edition includes full script piano/vocal arrangements helpful staging tips and choreography by John Jacobson. For extra value the expanded PerformanceKit/CD now provides 20 Singer books along with the Teacher Edition and a P/A CD. Available separately: Teacher Edition Singer Edition 5-Pak Preview CD (with vocals) Preview Pak (1 Singer book 1 Preview CD) Performance/Accompaniment CD and Performance Kit/CD (Teacher 20 Singer books P/A CD). Duration: ca. 35 minutes. Suggested for grades 4-8.