Héau Florent. Par PAGANINI NICCOLO. / Niveau : 3 / Date parution : 2023-03-21/ Répertoire / Clarinette et Accordéon (ou Piano)

Héau Florent. Par PAGANINI NICCOLO. / Niveau : 3 / Date parution : 2023-03-21/ Répertoire / Clarinette et Accordéon (ou Piano)

Par UNTERFINGER FREDERIC. / Niveau : Cycle 3 / Musique de Chambre / Date parution : 2023-03-21/ Répertoire / Flûte et Accordéon

Par COSMA VLADIMIR. / Musique Instrumentale / Date parution : 2023-03-21/ Répertoire / Mandoline et Accordéon

Héau Florent. Par PAGANINI NICCOLO. / Niveau : 3 / Date parution : 2023-03-21/ Répertoire / Clarinette et Accordéon (ou Piano)

Brégant Mélanie. Par BOELLMANN LEON. / Date parution : 2023-03-21/ Répertoire / Accordéon

Brégant Mélanie. Par PACHELBEL JOHANN. / Date parution : 2023-03-21/ Répertoire / Accordéon

[Partitura]. Par SPAZZOLI ALESSANDRO. / Date parution : 2022-10-25/ Répertoire / Accordéon et Cordes

Par KRZANOWSKI ANDRZEJ. The cycle of nine Reliefs was written between 1984 and 1989, during the last period in Andrzej Krzanowski?s life, and it provides further evidence of his interest in the fine arts, which he exploited in his compositional work. The sculpture technique enabling an artist to create bas reliefs of varying degrees of convexity, for which the raw material is so important, is faithfully reflected in Relief II, where the accordion offers such possibilities for shaping the sound, dynamics, timbre and articulation that the narrative pursued in this work, involving the expansion and contraction of sound streams and the consistent processing of the raw material (whole tone ? semitone scale), creates a ?musical relief ?. This is not a dramatic or virtuosic work. Time flows slowly, on low, subtly fluctuating dynamic levels, the bands of sounds that form streams of varying density are written solely by means of horizontal lines, stretched out across regular bar lines that measure out the time, and the static unfolding of the music is enriched solely with vibrations. The sounds alternately overlap and fade. Sometimes they occur in imitation, and self-contained chords appear incidentally. The contemplation of time, multi-level structuring, subtlety and? dedication to the brilliant Japanese composer Toshio Hosokawa account for the popular name of this work ? ?Japanese?. Fragment of preface Grazyna Krzanowska translated by John Comber / Date parution : 2022-11-08/ Recueil / Accordéon

Par KRZANOWSKI ANDRZEJ. Composed in Czechowice-Dziedzice, in 1984, Relief I for accordion opens a cycle of nine works for solo or chamber forces. This work is of a sarcastic character, and its multi-segmented form consists of the alternating of dissonant ?quick? segments, dominated by sevenths, with two-part dolce segments led in contrary motion, as well as series of chords repeated with a surprising nebbioso (nebulous). Relief I is a work full of nervous tension, meticulously built up, and broken variant phrases, with a striking conclusion on a falling cluster, ending with an F sharp major chord ? like the many faces of a clown: thumbing its nose, sneering, reflective, mocking, pulling silly faces and? triumphing. This composition was dedicated to friends from France ? the Menards and their children. It was first performed by the composer during the Summer Courses for New Music in Darmstadt, in August 1988. / Date parution : 2022-11-08/ Recueil / Accordéon