Par TAKEMITSU TORU. Détails de la formation instrumentale: 1 (auch Alt Flûte Traversière ) · 1 · 2 (2. auch Bassklar.) · 1 (auch Kfg.) - 2 · 1 · 1 · 0 - Percussion (vibr · cym.ant · t.bells · Glsp · 2cym.on pedal timp) (2 players) - harp · piano (auch celesta) - Str. (1 · 1 · 1 · 1 · 1) - Durée: 13' -/ Répertoire / Orchestre de Chambre

For 10 players-These mature and well-crafted pieces for an ensemble of ten players showcase Coult’s ear for beguiling burnished sonorities and his ability to harness the most complex of technical devices to rich emotional ends. Whilst his musical schemas are often audacious and innovative the security and light touch with which Coult carries them out ensures that his Four Perpetual Motions are always as expressive as they are impressive. Coult was one of the winners of the 2012 Royal Philharmonic Society Composition Prize and was consequently commissioned to write this 13-minute work for the Philharmonia’s Music of Today Series.Scoredfor: fl.ob.cl - tpt - perc(1): vib/mar/glsp/crot/2 bongos - harp - vln.vla.vlc.db

5'; for oboe d'amore Viola and Harp.First published 2003.Written for for Jinny Shaw and Okeanos.First performance: Jinny Shaw and Okeanos March 2003.Score and parts.

This setting of César Franck's exquisite Latin hymn will enhance many concerts with a high floating solo supported by rich choral harmony accompanied by keyboard or the optional oboe harp and strings. Availableseparately: SATB/Solo SSA/Solo ChoirTrax CD. Chamber Orchestra score and parts available as a printed edition and as a digital download (hp ob vn 1-2 va vc db). Duration: ca. 3:15.

For Chamber Ensemble.Commissioned by the Hebrides Ensemble and first performed on their Scottish tour in March 2010.In Seven Pierrot Miniatures I took the Commedia dell’arte character Pierrot as my primary sourceof inspiration. Other more tenuous links to Schoenberg’s Pierrot Lunaire also served as a starting point in forming the general shape of the work. The piece is cast in seven short movements whereas the Schoenberg comprises threesets of seven movements. Although there is no part for voice I have taken seven poems by Albert Giraud (none of them set in Pierrot Lunaire) as points of departure:1. The Clouds2. Decor3. Absinthe4.Suicide5. The Church6. Sunset7. The HarpEach movement takes its impetus from the corresponding poem but in the piece as a whole I wanted to explore the extreme contrasts of the multi-faceted character ofPierrot in a musical setting. There is an almost mirror-like quality to the form of the piece and a sense of ending where it has begun: movements 1 3 5 and 7 are closely linked both in terms of their musical material and asense of melancholy dream-like quality and longing. Movements 2 and 6 are also strongly connected with allusions to the more mischievous violent side of Pierrot. Movement 4 serves as a sort-of pivotal point within the work juxtaposing a surreal shimmering calm with brutal outbursts. There is never any direct repetition yet there is a strong sense of material returning and mutating as the workunfolds.InstrumentationFlute doubling piccoloClarinet in Bb doubling Bass Clarinet in BbViolin doubling ViolaCelloPiano