| Karel Husa: Concerto for
Wind Ensemble: Concert
Band: Score and Parts Ensemble à vent [Partition] Schirmer
Standard US Set (without european suppl. parts)-Commissioned by the Michigan Sta...(+)
Standard US Set (without european suppl. parts)-Commissioned by the Michigan State University Alumni Band this three movement work by Karel Husa was the winner of the first Louis Sudler International Wind Band Composition Competition in 1983. A note from thecomposer: 'Divided into three movements this work is a display of virtuoso passages given to solo instruments as well as to the groups of the ensemble. In the Fanfare of the first movement the Brass section concertises in groupsof four Brass quintets (2 Trumpets Horn Trombone and Tuba or Baritone) spread from left to right in back. The Saxophones (SATB) are placed in front of the Brass quintets and the Woodwinds occupy the front of the stage withPercussion on the left and right side. These groups like the Brass quintets play in the concertante style particularly in the first and last movements. 'At the same time each movement contains individual solo passages(for example Timpani and Flute in Movement I - Drum Ceremony and English Horn and other low Woodwinds in Movement II - Elegy). The composition of this piece was prompted by the excellence of Wind and Percussion players today andby the incredible growth of Wind ensembles orchestras and bands in the last 25 years. It is intended for their enjoyment.'
149.99 GBP - vendu par Musicroom GB |
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| Thea Musgrave: Wood Metal
And Skin: Percussion:
Score Orchestre d'harmonie, Percussion [Partition] Novello & Co Ltd.
A concerto for Percussion and Orchestra. Full Score.Commissioned by the National...(+)
A concerto for Percussion and Orchestra. Full Score.Commissioned by the National Youth Orchestra of Scotland.First performance:Tuesday 4 January 2005 Usher Hall Edinburgh by Colin Currie (solo percussion)and The National Youth Orchestra of Scotland conducted by Garry Walker Instrumentation Solo percussion:Marimba metal wind chimes [mark tree] Chinese Bell tree Vibraphone Tubular bells 4 conga drums 4 tom toms 4 bongos2 Flutes2 Oboes2 Clarinets in Bb2 Bassoons4 Hornsin F3 Trumpets in CTrombonesTubaPercussion (4 Players):PERC A 1o: Tubular bells cymbal [medium] wood blocks crotalesPERC A 2o: Metal wind chimes [mark tree] Side drum temple blocks Tam-tamPERC B 1o: xylophone glockenspiel side drum cymbal [high] tomtomsPERC B 2o: Chinese bell tree Bass drum maracas triangle sleigh bellsStringsDuration: circa 17 min.
27.99 GBP - vendu par Musicroom GB |
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| Karsten Fundal: Flammen
og Citronen Suite II:
Percussion: Score ORCH/PERC::Orchestre, Percussion [Partition] Wilhelm Hansen
The Silence of the Warrior - Flame and Citron Chamber Suite 2.Orchestra.Flute/Al...(+)
The Silence of the Warrior - Flame and Citron Chamber Suite 2.Orchestra.Flute/Alto FluteClarinet/Bass ClarinetOboePercussionViolinViolaCelloDouble BassPercussionVibraphoneSuspended Cymbal Preferably two1 Antique CrotalesWaterphoneBell Plate SuspendedViolin Bow
42.50 GBP - vendu par Musicroom GB |
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| Søren Nils Eichberg:
Circles: Ensemble: Score Ensemble d'École [Conducteur] Wilhelm Hansen
In Circles - 16 Imaginary Dances for 18 Players (2010). Parts are available on h...(+)
In Circles - 16 Imaginary Dances for 18 Players (2010). Parts are available on hire: hire@ewh.dk Instr.: FluteOboeClarinet in BbBass ClarinetBassoonHorn2 Trumpets In BbTenor-Bassposaune2 PercussionistsPiano2 ViolinsViola2 CellosDouble Bass Programme note About five years ago the Ensemble Modern commissioned a composition giving me relatively free rein over instrumentation duration and completion date. I was very excited about the opportunity and eager to start work but first I had to finish asymphony and a cello concerto. However when I wanted to begin writing the piece for Frankfurt inspiration became silent and remained silent for the next three years apart from the two works for chamber orchestra: I experienced my first writer’s block. This was not my first commission but the first time that I was seriously worried about a piece and started thinking about the commissioning ensemble and its expectations. If anything I held the Ensemble Modern in too high esteem. The ensemble is notorious for being a group of all-rounders who have already seen and done everything. However it was simply time for me to challenge my self-belief as composer and to search out what kind of composer I really am. Whatever the true reason was I still didn’t get anything down on paper. Nothing would gel. In 2008 a stipend from a New York foundation led me to an Italian lavender-castle from the 15th century far away from everything else deep in Umbria. The deadline for my first opera moved dangerously closer but was barely started. The next commission for an orchestra was also waiting in addition to the piece for EM: only empty sheets. When I came home six weeks later though I hadn’t finished anything the spell was broken. Behind the massive walls drafts had been created for what within the
76.99 GBP - vendu par Musicroom GB |
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| Per Nørgård: Bach To
The Future: Percussion Wilhelm Hansen
Bach To The Future for Percussion Duo and Orchestra was composed by Per Nørgår...(+)
Bach To The Future for Percussion Duo and Orchestra was composed by Per Nørgård in 1997. Programme Note: For many years I have been specially fascinated by three of the preludes of Bach?s Well-tempered Piano and I wish with this concerto-version for percussion-duo and orchestra to 'highlight' some of the structural aspects of these pieces: It is my belief that there is a tradition in the music history that makes it possible to let certain germs in an earlier period unfold into new but not heterogenious dimensions of a perhaps several hundred years later phase of the tradition.This concerto is a result of several yearscollaboration with Uffe Savery and Morten Friis ('Safri-Duo') as well in original compositions - (Resonances Repercussion Resumé in EchoZone I-III) as in arrangements of the 3 Bach preludes preparing for the enormous stylistic challenges of this work.A few introductory comments to each movement:I Movement: The archetypal sequence of broken chords within C-major has established itself as almost a cultural code allowing the composer of 1996 to tell his tale-in-tones only by stressing and colouring the tones in the original piece without changing the pitches or (relative) durations as a ?palimpsest? containing as well the old as the new musical tale simultaneously. Later in the movement this singleline is multiplied by the till then discrete but permanently pervading proportion - throughout the piece - very close to the ?Golden Section?(= 3:5:8.t.i:8 before repetition 5 before starting anew from the deepest tone 3 as the rest etc. unchanged). The 3 tonal levels as well as the 3 relative speeds are treated according to these proportions for certain passages but even in those the main focal point is directed at the freely invented melody (by me) incarnating itself solely by the unpermutad sequels of the original prelude.II Movement: One feature of the F sharp-prelude pervades all the six minutes-long second movement: A 4 times identical rhythmic
87.99 GBP - vendu par Musicroom GB |
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| Arie E Danze Del
Rinascimento (FERRARI M) Ensemble [Partition] Sinfonica Jazz
Par FERRARI M. / VERRINI L.. Raccolta di facili brani per orchestra di studenti....(+)
Par FERRARI M. / VERRINI L.. Raccolta di facili brani per orchestra di studenti.
I 14 brani coinvolgono lo studente nelle sonorità gioiose del rinascimento italiano, francese e inglese. Sono concepiti per orchestra di studenti. L'organico strumentale è suddiviso in 1 parte per pianoforte, 3 parti per chitarra, 4 parti per strumenodico (flauto, violino, oboe e clarineto), percussioni e coro ad libitum./ Recueil / Ensemble
17.90 EUR - vendu par LMI-partitions Délais: Sur commande |
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| John Joubert: An English
Requiem: SATB: Vocal
Score Chorale SATB [Vocal Score] Novello & Co Ltd.
For Soprano and Barintone soloists SATB and junior chorus and Orchestra.English...(+)
For Soprano and Barintone soloists SATB and junior chorus and Orchestra.English text selected by Nicholas Fisher from the New Revised Standard Version of the Old and New Testaments. John Joubert 's An English Requiem was commissioned by the Grimmitt Trust for the 2010 Gloucester Three Choirs Festival and was given its first performance at Gloucester Cathedral on 9th August 2010 with the Festival Choirs of Gloucester Hereford and Worcester Carolyn Sampson (Soprano Neal Davies (Baritone) and Philharmonia Orchestra conducted by Adrian Partington. Instrumentation: 3 Flutes (III/Piccolo)3 Oboes (III/Cor Anglais)3 Clarinets (III/Bass Clarinet)3 Bassoons (III/Contrabassoon)4 Horns in F3 Trumpets3 TrombonesTubaTimpaniPercussion (2 Players);Bass Drum Tenor Drum Side Drum Cymbals Tam-tam Crotales Triangle Tubular BellsHarpOrganStrings
14.99 GBP - vendu par Musicroom GB |
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| Luís Tinoco: Lídia:
Chamber Ensemble: Score CHAM::Musique De Chambre [Partitions] University Of York Music Press
Lu s Tinoco's L dia for 16 musicians. Score.This work was commissioned by the Co...(+)
Lu s Tinoco's L dia for 16 musicians. Score.This work was commissioned by the Companhia Nacional de Bailado for ?L dia? a ballet with choreography by Paulo Ribeiro. It was first performed by Lisbon Metropolitan Orchestra soloists conducted by Pedro Neves Teatro Cam es in Lisbon 7th of November 2014.Instrumentation: Flute (= Piccolo) Oboe (= Cor Anglais) 2 Clarinets in Bb (2nd = Bass clarinet) Bassoon (= Contrabassoon) Horn in F Trumpet in Bb (= Flugelhorn) Trombone 2 Percussionists Harp 2 Violins Viola Violoncello and Contrabass (with C extension).
47.95 GBP - vendu par Musicroom GB |
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| Thomas Simaku: The Rose
Of The World: Chamber
Ensemble: Score SOP/SATB/CHAM::Soprano, SATB, Chamber
Group [Partition] University Of York Music Press
Thomas Simaku's The Rose Of The World for Soprano SATB choir and Chamber Ensemb...(+)
Thomas Simaku's The Rose Of The World for Soprano SATB choir and Chamber Ensemble (9 players). A setting of the W. B. Yeats poem of the same name. Composed 2014-5. Published 2015.Instrumentation: Soprano SATB choir Flute Clarinet Bass Clarinet 3 Percussionists Piano Violin Cello.First performance: Rachel Nicholls (soprano) Philharmonia Chorus BBC Concert Orchestra Stephen Cleobury (conductor); Easter at King's Festival King's College Chapel Cambridge; 1st April 2015 with live BBC Radio 3 broadcast.
17.95 GBP - vendu par Musicroom GB |
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| Oresteia (XENAKIS IANNIS) Baryton, Choeur Mixte, Choeur
D'enfants et Orchest [Partition] Boosey and Hawkes
Par XENAKIS IANNIS. Détails de la formation instrumentale: Solo Bar - mixed cho...(+)
Par XENAKIS IANNIS. Détails de la formation instrumentale: Solo Bar - mixed chorus (18 men and 18 women, or multiples thereof) doubling perc: wood simantras/metal simantras/whips/sirens/ metal sheets/maracas - children's chorus 1(=picc).1.0.Eb Clarinette Contrebasse Clarinette 0.dbn-1.1(=picc. Trompette ).1.1-perc(2):2timp/ 2bongos/SD/very large BD/2wdbl/2lion's roar/2gongs(large and small)/ 2tamb (without jingles)/whip/4t-tom/2nylon brushes (long bristles)/2m aracas/large thunder-sheet/glock-vlc(amplified if necessary) Orchestra (except percussionists) doubling perc:tgls/tambs (of varying pitch, without jingles)/sirens/glass chimes/whips/metal sheets/ lion's roars/rattles Audience plays metal simantras - Durée: 70' - Langue: Greek - Format: New Edition portrait/ Répertoire / Baryton, Choeur Mixte, Choeur D'enfants et Orchest
58.10 EUR - vendu par LMI-partitions Délais: Sur commande |
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| Amadeus Ensemble (MOZART
WOLFGANG AMADEUS) Ensemble [Partition] Sinfonica Jazz
Par MOZART WOLFGANG AMADEUS. Raccolta di facili brani per orchestra di studenti ...(+)
Par MOZART WOLFGANG AMADEUS. Raccolta di facili brani per orchestra di studenti (partitura e parti).Arrangiamenti di Luigi Verrini e Matteo Ferrari.
I 4 celebri brani di Mozart coinvolgono lo studente nelle sonorità perfette del classicismo. La Marcia turca e un estratto della Sinfonica n. 40 entusiasmeranno pubblico e studenti. Gli arrangiamenti prevedono un organico strumentale suddiviso in una per pianoforte, tre parti per chitarra, quattro parti per strumento melodico (flauto, violino, oboe e clarinetti) e percussioni./ Répertoire / Ensemble
17.90 EUR - vendu par LMI-partitions Délais: Sur commande |
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| Elisabeth Lutyens: Time
Off? - Not A Ghost Of A
Chance! Op.68: Chamber
Ensemble: :: [Partition] University Of York Music Press
For Baritone Actor Vocal Quartet 2 Mixed Choruses (minimum 16 Voices) and Ens...(+)
For Baritone Actor Vocal Quartet 2 Mixed Choruses (minimum 16 Voices) and Ensemble: Flute (+Alto Flute) Harp 2 Piano (1st+Celeste 2nd+Electric Piano) 2 Electric Guitars 4 PercussionPublished 1967/8Libretto:E.Lutyens.First performance: John Gibbs Barry Foster New Opera Company chorus and orchestra conducted by Leon Lovett Sadlers Wells 1st March 1972.
60.00 GBP - vendu par Musicroom GB |
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| Poul Ruders: Monodrama:
Chamber Ensemble Wilhelm Hansen
Poul Ruders MONODRAMAMONODRAMA dedicated to percussion virtuoso Gert Sørense...(+)
Poul Ruders MONODRAMAMONODRAMA dedicated to percussion virtuoso Gert Sørensen and commissioned by The Danish Radio was written in New York in the early winter 1988 and makes the centre as well as the middle of the tri-part opus called The Drama Trilogy. All three works employ the word Drama in their title Drama in the original meaning of the word: event. No specified event but a premonition or omen rather that something is afoot a free Drama-offer from which anyone may populate the stage of his private inner theatre.The first piece of the series DRAMAPHONIA for piano and chamber ensemble was premiered in London in the spring of 1988 by Lontano and Poul Rosenbaum. Thispiece is emotionally and rhythmically unstable as opposed to MONODRAMA (single-event) which is modelled from the archetypal idea of obtaining accomplishment from nothingness. The 31 instruments of the orchestra (no flutes and no violins or violas) are more or less wrapped around the solo-part to become one with that and thus emerge as one gigantic percussion instrument. The rhythmical patterns of the orchestral part more or less follow those of the percussionpart a single-event also on the rhythmical level.After 20 minutes climbing toward the peak of rage the composition casts its slough and is reborn into a chorale-like march and the struggle between totally depopulated sound-scapes and ferociously roaring sub-oceanic storms begin and the piece paces toward the abyss; rage becomes despondency New Rage as opposed to New Age the spineless worshipper of beauty without pain.The third instalment of the DRAMA TRILOGY the cello concerto POLYDRAMA will be premiered in Stockholm May 1990.MONODRAMA lasts aprox. 32 minutes.Poul Ruders
134.99 GBP - vendu par Musicroom GB |
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| Beethoven L.v. -
Concerto For Pianoforte
And Orchester N°5 Op.73
- Piano Reduction Piano seul Barenreiter
Beethoven, Ludwig van Concerto for Pianoforte and Orchestra no. 5 E-flat major o...(+)
Beethoven, Ludwig van Concerto for Pianoforte and Orchestra no. 5 E-flat major op. 73 Beethoven's fifth and final piano concerto is at the same time the culmination of his efforts in this genre and a reflection of all his artistic skill and expertise. The surviving manuscripts provide a clear insight into his working methods and his intentions regarding the work's performance. The editor, Jonathan Del Mar, has closely scrutinised the autograph solo piano part and reproduced Beethoven's sophisticated performance instructions for the first time in a modern edition. Among other things, this has special repercussions for the left-hand figured bass line of the piano part during the tutti passages. As with the Piano Concertos Nos. 1 to 4, the piano reduction appears with a separate solo part containing all the information needed by the soloist to conduct the ensemble from the piano. ' Many wholly new corrections in the solo and orchestral parts ' Piano reduction with a separate solo part, as was customary in Beethoven's day ' With Beethoven's continuo figures for the first time in a modern edition Edition no.: BA 9025-90 ISMN: 9790006559091 Editor: Del Mar, Jonathan Arranger: Schelhaas, Martin Product format: Piano reduction, Part(s), Urtext edition Includes the following individual parts: Piano, Piano Binding: Paperback Pages / Format: 67/49 S. - 31,0 x 24,3 cm
29.10 EUR - vendu par Woodbrass Délais: Sur commande |
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| 3 Voci (BATTISTELLI
GIORGIO) Voix et Ensemble Mixte [Conducteur] Ricordi
Per Voce Recitante, Orchestra D'Archi, Percussioni, Nastro - Partitura. Par BATT...(+)
Per Voce Recitante, Orchestra D'Archi, Percussioni, Nastro - Partitura. Par BATTISTELLI GIORGIO. Italian / Musique contemporaine / Date parution : 1905-06-30/ Répertoire / Voix et Ensemble Mixte
51.51 EUR - vendu par LMI-partitions Délais: Sur commande |
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| ... Il Tubare Della
Tortora Non Odi...
(GUARNIERI ADRIANO) Voix et Orchestre [Conducteur] Ricordi
Per Soprano (Fuoriscena) Percussioni Concertanti E Orchestra (1985) - Partitura....(+)
Per Soprano (Fuoriscena) Percussioni Concertanti E Orchestra (1985) - Partitura. Par GUARNIERI ADRIANO. Italian / Musique contemporaine / Date parution : 1905-06-25/ Répertoire / Voix et Orchestre
169.70 EUR - vendu par LMI-partitions Délais: Sur commande |
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| Paul Mealor: I Am The
Gentle Light - Orchestral
Version: 2-Part Choir:
Vocal Chorale 2 parties 2 parties, Piano Novello & Co Ltd.
I am the gentle light by Paul Mealor is dedicated to Christopher Bell and the Na...(+)
I am the gentle light by Paul Mealor is dedicated to Christopher Bell and the National Youth Choir of Scotland's National Boys Choir and was premiered by them on BBC One's Songs of Praise on St Andrew's Day 2012. Vocal Score for the version with Orchestra.Instrumentation:Two-part treble choirPianoPercussion (1 player):Wind chimesSuspended cymbalStringsDuration: circa 2½ minutes
8.99 GBP - vendu par Musicroom GB |
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| Schiaccianoci Suite By
Ciaikov (SCABBIA GAIA) Ensemble [Partition] Sinfonica Jazz
Par SCABBIA GAIA. Per nonetto o orchestra di flauti destinate a giovani esecutor...(+)
Par SCABBIA GAIA. Per nonetto o orchestra di flauti destinate a giovani esecutori.
Partitura e parti. Libera trascrizione in 5 tempi del celebre brano di Ciajkovskij per gruppo di nove flauti comprendenti qualche piccolo intervento di percussioni (tamburello, piatti). La presenza di parti differenziate nel grado di difficoltà perme utilizzare il lavoro sia per scopi didattici (primi corsi) che concertistici./ Recueil / Ensemble
17.90 EUR - vendu par LMI-partitions Délais: Sur commande |
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| Themen II (ALSINA CARLOS
ROQUE) Divers [Partition] Suvini Zerboni
per un percussionista e orchestra d'archi. Par ALSINA CARLOS ROQUE. / Répertoir...(+)
per un percussionista e orchestra d'archi. Par ALSINA CARLOS ROQUE. / Répertoire / Divers
46.60 EUR - vendu par LMI-partitions Délais: Sur commande |
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| Paul Mealor: I Am The
Gentle Light - Orchestral
Version: 2-Part Choir:
Vocal Chorale 2 parties Novello & Co Ltd.
I am the gentle light by Paul Mealor is dedicated to Christopher Bell and the Na...(+)
I am the gentle light by Paul Mealor is dedicated to Christopher Bell and the National Youth Choir of Scotland's National Boys Choir and was premiered by them on BBC One's Songs of Praise on St Andrew's Day 2012. Vocal Score for the version with Orchestra.Instrumentation:Two-part treble choirPianoPercussion (1 player):Wind chimesSuspended cymbalStringsDuration: circa 2½ minutes
3.25 GBP - vendu par Musicroom GB |
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| Hankus Netsky: Nonantum
Bulgar: Concert Band:
Score & Parts Orchestre d'harmonie BandQuest
“I wrote The Nonantum Bulgar in response to a request for a klezmer-style ...(+)
“I wrote The Nonantum Bulgar in response to a request for a klezmer-style piece for middle school band. Since my local middle school (F. A. Day) is located in close proximity to Nonantum the oldest area of Newton MA Idecided to imagine the dedication of the Adams St. Shul our city's oldest synagogue which took place around a hundred years ago (December 15 1912). According to the Yiddish and English poster announcing the dedication theevent featured the a prominent Boston cantor and choir and a klezmer orchestra leading a 'Grand March' down Adams St. The piece tries to re-create what the klezmer band might have played on that occasion.A Bulgar is aRomanian Jewish Dance that was very popular among Jewish immigrants at the beginning of the twentieth century. The trumpet solo that opens the piece is a typical rubato prelude with the trumpet playing 'cantorial-style' Jewishornaments and phrasing in the manner of Eastern-European Jewish prayer leaders. Once the dance starts the piece is underscored with a Romanian Jewish 'Bulgaresca' rhythm heard in the trombone snare drum and tympani. The'bulgar' section of the piece begins with a typical klezmer band orchestration of the time featuring solo clarinet (played with a somewhat nasal tone) trumpet (or even more ideally cornet) trombone saxophone tuba andpercussion. The percussion section is prominently featured in the third strain. In the final round of the opening melody the band slows down in the manner of a Russian 'Grand March ' bringing the piece to a proud and majesticconclusion.” --Hankus Netsky
57.50 GBP - vendu par Musicroom GB |
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| Patrick Hawes: Te Deum -
Full Score: SATB: Score Chorale SATB [Partition] Novello & Co Ltd.
The full score for Patrick Hawes' Te Deum the premier for which took place on 2...(+)
The full score for Patrick Hawes' Te Deum the premier for which took place on 21 July 2011 in Lancaster Ohio USA performed by Lancaster Chorale and Lancaster Festival Orchestra.Instrumentation:3 Horns in F3 Trumpets in C (1 dbl. Piccolo Trumpet*)2 TrombonesBass TromboneTubaTimpaniPercussion (1 player): Cymbals Snare Drum Bass DrumSATB chorusOrganStrings*Piccolo Trumpet may be used at the discretion of the player
32.50 GBP - vendu par Musicroom GB |
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| Murail Tristan - Une
Relecture Des
Kinderszenen De Robert
Schumann Lemoine, Henry
MURAIL Tristan Une relecture des Kinderszenen de Robert Schumann Discipline...(+)
MURAIL Tristan Une relecture des Kinderszenen de Robert Schumann Discipline / Instrument : Relecture pour flûte, violoncelle et piano Création 03/03/2019 - Segry, Abbaye de La Prée - Samuel Bricault (flûte), Marie Ythier (violoncelle), Marie Vermeulin (piano) Notice [...] Enfin, pour bien illustrer cette rencontre qui est le thème de cet album, l'idée a germé, et s'est rapidement imposée, d'une réalisation que je ferais d'une oeuvre de Schumann, et qui constituerait le lien le plus évident entre les deux mondes sonores. Cette réalisation serait donc naturellement écrite pour les trois partenaires du disque, violoncelle, flûte et piano. L'idée m'est vite venue que les Kinderszenen (Scènes d'enfants) seraient parfaites pour ce projet. En effet, les Scènes d'enfants ont un potentiel musical, expressif, évocateur, qui dépasse de loin la réalisation pour piano de Schumann. Sans doute a-t-il voulu rester simple et facile - dans son esprit, les pièces devaient être jouables par des enfants. Je ne suis pas sûr que ce soit vraiment le cas... certaines pièces ne sont pas si faciles, d'autres supposent des écarts inaccessibles à une main d'enfant. Mais presque toutes sont de petits chefs-d'oeuvre, avec une grande puissance imaginative, reposant pourtant sur des idées simples et concises. Comment alors aborder cette réalisation, ou plutôt ce qui deviendra une relecturs : le regard d'un compositeur sur un autre compositeur ? J'ai vite écarté l'idée d'une instrumentation dans un style d'époque plausible - qui n'aurait presque rien apporté aux pièces originales, aussi bien que celle d'une trop profonde réécriture risquant d'aboutir à une trahison. J'ai cherché, finalement, à faire bénéficier les pièces de Schumann d'une mise en couleurs (comme on colorise de vieux films originellement en noir et blanc), d'une amplification des idées et des sentiments, tout en restant le plus fidèle à la lettre comme à l'esprit de la partition. J'ai repensé, toutes choses égales par ailleurs - car nous ne sommes là pas du tout à la même échelle -, à l'exemple magnifique des Tableaux d'une exposition orchestrés par Ravel. Ravel n'avait pas simplement orchestré le piano, il avait cherché à retrouver, cachée derrière la réalisation pianistique de Moussorgski, l'essence même des idées musicales qui avaient en fait préludé à la réalisation pour le piano, qui n'en était clairement qu'une des réalisations possibles. Fort de ces réflexions, je n'ai pas hésité, pour mon regard sur les Scènes d'enfants, à utiliser toute la moderne palette des techniques instrumentales, démultipliant ainsi les timbres disponibles et les effets acoustiques résultants de leurs combinaisons. Le flûtiste joue souvent la flûte alto, au timbre si chaud et expressif, au registre grave qui permet par endroit au violoncelle de chanter la voix supérieure. Le violoncelle est employé dans toutes ses possibilités d'articulations, de timbre, et de registre, changeant très vite d'un mode de jeu et d'une sonorité à l'autre. Réutilisant une approche de l'instrumentation que j'avais déjà mise en oeuvre dans des pièces telles que La Barque mystique, je fais rapidement changer de rôle chaque instrument, donnant ainsi l'illusion d'une orchestration bien plus nombreuse qu'un simple trio. J'ai donc cherché à accentuer le caractère de chacune des pièces, et à retrouver les intentions cachées derrière la simplicité du piano de Schumann, et j'ai ainsi obtenu des contrastes que la version originale ne permet pas - ou permet moins. Pour amplifier le côté enfantin ou féérique de la musique, je me suis autorisé quelques ajouts, que j'évoquerai plus loin ; néanmoins j'ai voulu respecter le texte intégralement, en ce sens que pas une note ne manque de la partition originale, que les harmonies tonales sont intégralement respectées, de même que l'écriture rythmique. En revanche, de concert avec les interprètes, nous n'avons pas toujours suivi les mouvements métronomiques indiqués par Schumann, qui paraissaient souvent trop rapides (il y a d'ailleurs parfois quelques contradictions entre les commentaires de Schumann sur ses pièces, et les tempi indiqués). Les pièces originales, probablement en raison des contraintes mentionnées plus haut, sont cantonnées dans les registres médium et médium-grave. J'ai décidé de les éclaircir par endroit, en ajoutant des résonances ou doublures aiguës, ou à l'inverse d'ajouter quelques notes plus graves pour donner plus de corps à la sonorité. C'est donc ainsi qu'une étrange sonorité (bisbigliando de flûte, trille d'harmoniques du violoncelle) introduit la première pièce, puis plane au-dessus d'elle (Von fremden Ländern und Menschen = Des Pays et des hommes étrangers - ou étranges), que Hasche-Mann (Colin-Maillard) deviendra encore plus furtif, tandis que le Cheval de bois (Ritter vom Steckenpferd) claquera, soufflera et hennira. Fürchtenmachen fera vraiment peur ! Dans l'ultra-célèbre Rêverie (Traümerei), après l'énoncé du thème dans ce registre si expressif de l'aigu du violoncelle, le piano prendra soudain la parole, comme dans un concerto romantique. Comme je le disais plus haut, quelques éléments enfantins viendront, à l'occasion, s'ajouter à la trame sonore : petite boîte à musique (dans l'aigu du piano) dans la première et la dernière pièce, sons percussifs col legno du violoncelle dans Wichtige Begebenheit (Evénement important) - transformé pour l'occasion en marche militaire pour soldats de plomb... Et finalement, l'enfant s'endormira (Kind im Einschlummern), bercé par le violoncelle se balançant entre ponticello et ordinario, et apaisé par les sons éoliens de la flûte... J'espère que les auditeurs partageront le plaisir que j'ai eu à imaginer cette relecture, et que nous avons eu à l'enregistrer ; un grand merci aux trois interprètes, Marie Ythier, Marie Vermeulin, et Samuel Bricault, pour leur participation enthousiaste à cette entreprise, et pour leurs nombreuses et judicieuses suggestions.
50.70 EUR - vendu par Woodbrass Délais: En Stock |
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| Etudes Apercues
Vibraphone Et 5 Cloches
Partition Orchestre de chambre Salabert 18.50 EUR - vendu par LMI-partitions Délais: Sur commande |
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| Concerto Di Natale E
Capodanno (FERRARI M) Ensemble [Partition] Sinfonica Jazz
Par FERRARI M. / VERRINI L.. SINS0145/ Recueil / Ensemble
17.90 EUR - vendu par LMI-partitions Délais: Sur commande |
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