Par SCHUMANN ROBERT. These Schumann songs, set to poems by Heinrich Heine, are a deeply psychological and disturbing journey, as they reflect more often than not the bitterness of unrequited love. The most cheerful songs begin asdeceptively happy experiences which ultimately turn sour as they eventually reveal themselves as somewhat despairing looks at love. Written for Low Voice and Piano./ Répertoire / Basse et Piano

Music-theatre works-The poems which form the basis of this work were inspired by a miniature mechanical organ playing eight tunes once the property of George III. A scrap of paper sold with it explains that 'This Organ was George the Third for Birds to sing'.Peter Maxwell Davies then set these poems to music and devised them as a semi-theatrical work for Male Vocalist Piano Violin Cello Flute Clarinet and Percussion. The songs are to be understood as the King's monologue while listening to his birds perform and incorporate some sentences actually spoken by George III. The resulting work Eight Songs for a Mad King was completed in 1969 and stands as one of the mostdistinctive and arguably one of the most disturbing musical works from the twentieth century.This is the vocal score which includes a Piano accompaniment.

Per Nørgård's Symphony No. 4 (1981) - Indischer Roosengaarten und Chineesischer Hexensee (Indian Rose Garden and Chinese Witch See). Programme Note: This symphony in two movements entitles “Indischer Roosen-Gaarten und Chineesischer Hexensee” was inspired by Adolf Wölfli’s works - consisting of 20.000 pages of prose poetry and pictures -. An English translation of the title would read: “Symphony no. 4 - Indian Rose Garden and Chinese Witch See; after an idea by Adolf Wölfli (1864-1930) and dedicated to him.”  Wölfli was from 1895 (31 yearsold) until his death in 1930 confined to the mental hospital at Waldau near Bern Switzerland. Although he had no technical knowledge of music he considered himself to be a great composer and his paintings were almost always covered with long festoons of six-lined (!) music staffs. In 1912 Wölfli ordered paints and paper for a planned ´Musikbüchlein´ which was to be published in 1920 under the title “Indischer Roosen-Gaarten und Chineesischer Hexensee”. (Wölfi uses his characteristic illustrative phonetic spellings with double vowels). The work was never completed and I took it upon myself to realize Wölfli’s idea according to his vision but of course within my own preconditions.  The double and suggestive title is typical of Wölfli´s polarized conception of the world which shifts between idyll and catastrophe. This polarization is of almost Chinese nature in that no idyll exists without catastrophic disturbances just as there is a black “spot” in the white “fish” and vice versa in the famous Yin/Yang symbol.  One might explain this idea with a quote by the Norwegian author Knut Hamsun: “A prisoner on his tumbrel is wheeled to the scaffold. A nail chafes at his behind; he moves over and feels more

Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera.” On the same scale as chamber music is to the symphony, it is rather the other way of talking onstage. The movable apparatus permits sophisticated voice-leading. A large ensemble demands simple conception to achieve the complexity it perhaps intends; this can be formulated more sharply and nuanced in a chamber ensemble. Therefore it is the subject which this type of presentation must sustain – or, better, provoke. Büchner’s Lenz is a description of the conditions within a process of collapse, moments of destruction already occurred but not yet accepted, evident in the points of contact with the environment. And it was those points of contact which Michael Fröhling attempted to reconstruct onstage. Lenz’s distraught state is always the same; only the proximity of the environment to that distraught state grows and ebbs. The musical consequence An hour of extreme chamber music results from this description: always bound for the main character – actually, not a commentary, but the main character himself as a multilayered level of action. Although Lenz acts on many levels – or tries to or believes he is – he has no room to manoeuvre. That is why he is also tightly interwoven in his sonic surroundings; the voices which only he hears are just as much himself as the two men with whom he foregathers (the liberal pragmatist Oberlin and the alert merchant who always “does the right thing” in every situation) – they evoke responses which he deeply desires. Omnipresent Friederike is just as much his inner world as Nature is – Nature, which he can no longer perceive unless it is personified, enlivened or dead. Therefore, the music’s task is both to motivate the “situation” (atmospherically) and to be the psychological constant (via a network of entangled references per se) in an action as it is played out. The compositional process December 1977 to June 1978 – a period identical to the stepwise understanding of an existence as that of Jakob Lenz. Yet the more the historical figure became precisely attendant in my intellect in terms of data and atmosphere, the more it retreated in favour of a cipher of disturbance as I began to understand Lenz. Thence the explanation for the failure of the attempts to approach him – including my attempt to interpret him via musical representation – because, essentially, Lenz himself is the failure. Only the naked stages of that failure remain portrayable, i.e. including the failure of those who wish to “help” Lenz, for example, while Lenz himself is already trapped inextricably in a state of complete destruction. I tried to compose my way into that situation as far as possible; the insistence of several rhythmic and harmonic configurations is the palpable expression of the main character’s ever-recurring rigidity. One sound pervades the entire work. The musical stage For me, this is a place where very magical and very human things take place. In Jakob Lenz, the human aspects often switch to magical ones, since the realism of a self-suasive, unhinged soul takes on surreal traits – or we simply cannot understand that otherwise except as not being real. A character like Jakob Lenz on the stage is complex due to the fact alone that it harbours many stages within itself, and music must represent those constantly present stages. I have tried to do so in the most direct way – by not cleanly separating the musical layers, but keeping them constantly in evidence until they must break forth, each in accord with its own dramaturgy. In an overview, the large form takes on aspects of a rondo, performed in overlapping layers – a type of rondo relief, since perspectives of psychological proximity and distance are indeed formulated musically as atmospheric relations. Above all: the thread on which Jakob Lenz hangs is the current onto the listeners’ hearts. Wolfgang Rihm (January 1979)/ Répertoire / Chant et Piano

Inspired by Rothko canvases this 15 minute study starts by revolving around a high D acting as a line of centrifugal force from which microtones pull away. Gradually little interruptions and playful ripples begin to disturb the sustained notes until they grow into a frenetic rondo and end by building to a climax dominated by a similar high note. Various musical ideas are utilized throughout effectively emulating the textures and gradations of colour employed within a painting.

Sir Terry Pratchett's enquiring adventure into time travel has its young teen hero Johnny Maxwell and his friends confronted with their own bomb-stricken street in WWII. Can they change history and avert the catastrophe' Matthew Holmes' script and song superbly support the plot in a musical for young people to perform and everyone to enjoy. Johnny and his friends travel back in time to their own street site of a bombing raid intended for a nearby industrial complex. 'Collateral damage' is not the only disturbing issue: what happens to the present if you try to save lives in the past' Serious subjects but with Terry Pratchett there's always the humour as well andthe musical includes a host of likeable characters. Matthew Holmes' script skilfully carries the plot along in Terry Pratchett style and his music swings to contemporary pop and the glorious sound of the forties Big Band. The complete performance pack with its photocopiable script and piano vocal score includes everything you need for rehearsing and presenting the final show plus there's full audio support on CD so you don't need to read a note of music.

A berceuse is usually a simple lullaby. In this case however the lullaby grows into a large-scale elegy with a disturbing climax.

Together Apart/Apart Together for Saxophone Accordion and Double Bass was composed by Karsten Fundal in 2004. Written for and commissioned by Poing. Programme note: This piece is the 3rd in a row of pieces which concentrates on a rhythmical relationship that continues to puzzle me. It is actually two relationships embedded. The 1st is a pattern that is very inspired by the composer Per Nørgård who in the beginning of the 90ies got very preoccupied with the idea that you can have rhythms that never meet. This happens if you start a rhythm like a quintuplet on the beat and one like a triplet off beat. This can with different rhythms give very intricate interwoven patterns that gives the illusion that they are not cyclic. In my case I use the two ratio five to seven in the described way. This rythms have the strange property that if you take each 5th note of the seven and each 7 note of the five you get a ratio almost identical: 49:50. This is very intriguing as you can use the possibility of letting them be equal or the possibility of letting them interfere. In the first case you get an interlocking rhythm which is ?smooth?; an equal rhythmic pattern. In the second case you get a similar situation but where one of them is one short after 50 of the other ones which results in a disturbing almost equality but not quite. Therefore the title: because when I use the unequal rhythm I put the two layers in a similar tone register or a similar way of playing and when I use the equal one I put them a part tone wise speaking. This is a very technical description but it is very hard to put it in more wide terms but you might compare it with driving in a train and looking at two fence rows behind each other: if the poles are placed exactly halfway between each other you will experience an illusion of a fast jump if there is enough distance between them as a result of the perspective. If they are placed in a way that there are almost the same numbers of

Blake Dreaming ‘Goodison Quartet No. 5’ was commissioned by Nicholas and Judith Goodison.First performance on 30th April 2010 at Wigmore Hall London by Roderick Williams (baritone) and the DoricQuartet. Composer's Note   The commission was for a work which “uses the voice as an extra instrument without a text.” In BlakeDreaming I have cheated a little setting a line from “The Marriage of Heaven and Hell” albeit incompletely:- The roaring of lions the howling of wolves the raging ofthe stormy sea... are portions of eternity too great for the eye of man. The first section sets the Blake down to “stormy sea” with voice alone and follows this by a “dreaming” upon andaround it for voice and quartet where the baritone has pure vocalise. The second section sets the rest of the sentence again followed by an extended “dreaming” with pure vocalise. The baritone line should be urgentand moody suggesting eventful and disturbing dreaming. I would suggest that he imagine a dramatic outline throughout – even to specific (but unsung!) words and emotions – to ensure as powerful and gripping a dialoguewith the quartet as possible.

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

Description Beethoven: Complete Variations For Solo Piano This volume contains all 21 sets of Beethoven's solo piano variations, including the popular 'Diabelli Variations' and 'Eroica Variations'. Songlist Arietta [Hand, Colin] Eight Variations On The Romance 'Une Fievre Brulante' Eight Variations On The Song Ich Hab Ein Kleines Huttchen Nur Eight Variations On The Trio 'Tandeln And Scherzen' Fifteen Variations And A Fugue On A Original Theme Eroica Variations Five Variations On Rule Britannia Nine Variations On A March Nine Variations On The Aria 'Quant'e Piu Bello' Seven Variations On God Save The King Seven Variations On The Quartet 'Kind Willst Du Ruhig Schlafen' Six Easy Variations On A Swiss Song Six Easy Variations On An Original Theme Six Variations On An Original Theme Six Variations On An Original Theme F Major Six Variations On The Duet 'Nel Cor Piu Non Mi Sento' Ten Variations On The Duet 'La Stessa, La Stessissima' From The Comic Opera Falstaff Thirteen Variations On The Arietta 'Es War Einmal Ein Alter Mann' Thirty-three Variations On A Waltz By Diabelli Thiry Two Variations On An Original Theme Twelve Variations On The Menuet A La Vigano From The Ballet Le Nozze Disturbate Twelve Variations On The Russian Dance From The Ballet Das Waldmadchen

Par ROSSE FRANCOIS. / Musique Instrumentale / Répertoire / Saxophone et Piano

Retrouvez ici les partitions pour piano, chant, guitare (grilles d'accords) des hits figurant sur le jeu vidéo 'Rock Band 2'. Inclus les artistes Nirvana, Red Hot Chili Peppers, The Who ou encore Pearl Jam. / Piano/Vocal/Guitare (PVG) / Partition