SKU: DZ.DZ-294
ISBN 9782895001799.
SKU: LM.C06461
ISBN 9790230364614.
Mon beau sapin - Douce nuit, sainte nuit - Noel de Provence - Il est ne le divin Enfant - Noel du Languedoc - Jingle Bells - Noel de Lorraine - Les Anges dans nos campagnes - Noel des Flandres - Les Rois mages - Noel de Touraine - Minuit chretien.
SKU: HL.48183826
UPC: 888680991036. 9x12 inches.
6.De bouen Matin; 7.Farandouleto; 8.Ai! la nono Fourtuno; 9.C'est le bon Lever; 10.Dans une Grange champêtre.
SKU: CA.1631000
ISBN 9790007242800. Language: all languages.
1989. Stay in Aix-en-Provence, France, doing a language course. Reading, discussing and analyzing Les Georgiques; this pursuit is going to be the foundation of the multiple intellectual and literary levels of my composing. 2. THE WOODEN PLATFORM IS COVERED WITH FINE WHITE SAND (OR SALT), THE TWO SHELVES WITH BLACK CLOTH ... At the time I work on my first serious piece, still a far cry from the under-standing of writing music I have today. << tellement froid que >> (georgiques I) for bass flute, electronics and scene (1995-96), sections 1-7. << comme si le froid >> (georgiques II) for baritone saxophone, timpani and piano (1998), sections 18-24. << n'etait le froid >> (georgiques III) for orchestra (2000-2002), sections not yet decided. 3. THE INTERPRETER WILL BE DRESSED IN BLACK AND WHITE, MAINLY WHITE IF BLUISH LIGHT IS AT HAND ... The enormously rich vocabulary and the accuracy of expression - in temporal, spatial and material terms - is particularly impressive. To comprehend all of it, a reading on three different levels is called for: a first reading of one passage, then the acquisition of unknown vocabulary; thirdly a repeated - knowing - reading, which points out the utopia of precise expression: The text is treated in a rather problematic (cold: le froid?) manner: it's not the semantic content that is primarily dominant, but rather the outward appearance, the mise en page and the syntactic structure. 4. THE INTERPRETER ENTERS THE STAGE WITH ALL THE FLUTES (S)HE WILL PLAY DURING THE CONCERT AND DEPOSITS THEM - EXCEPT FOR THE BASS FLUTE - ON SHELF B; IF (S)HE ONLY PLAYS THIS PIECE, (S)HE SHOULD PUT THE PROGRAMME OF THE CONCERT THERE; IN ANY CASE THE INSTRUCTIONS IN BAR 195 MUST BE FOLLOWED ... In concrete terms the 10 centimetres of a line in the minuit edition correspond to 10 seconds of musical structure (which is three times as slow as the average reading speed). Only seven years later is the term / expression casse ferique changed into casse ferrique, and thus its secret is revealed, which almost becomes - due to its unreadability - the key to the planned musical cycle. The text is measured from section to section (big format: each section is marked with a continuous, ,,cold chord by the bass flute, played on tape recorder), from full stop to full stop (new entry of keynote material), from comma to comma (tripling of continuous resonances) etc. 5. DURING THE PERFORMANCE UP TO BAR 195, THE INTERPRETER WILL TRY - IN A KIND OF THEATRICAL ADAPTATION - TO EXPRESS HIS/HER OWN FEELING OF IRREPRESSIBLY GROWING FRUSTRATION; FROM BAR 195 ONWARDS (S)HE WILL DEFINITELY HAVE PUT UP WITH THE BASS FLUTE ... Brackets in the text bring about a reduction of sound (the differentiating micro tones are no longer used), the syntactical progression to subordinate clauses of the remotest degree has its immediate effect on dynamics (degree of volume). Then: the perception of a logical and yet erratic syntax, vastly progressive layers of subordinate clauses and brackets (lowering tone of voice?), a polyphony of ,,memoire, which leads to a maelstrom of attention, a tonally centric / concentrated (main material?) and progressive (subordinate and brackets-material?) reading, listening and proceeding. The different levels are constantly in touch - transferring the sensuous moment of scenes of bodily encounter (Tryptique) that are evoked again and again - in perpetual excitement of text and imagination, memory and remembering sensitivity. 6. THE BODY MOVEMENTS AND FIXATION (FIGE) , BOTH CLEARLY PERCEPTIBLE, WILL EVOKE AND SUPPORT THE SAME EMOTIONS ... The basic moods of the text will be reflected in the relationship (which is very important here) of the interpreter to the music; (s)he is somehow at the mercy of given (and not always transparent) structures on the one hand and the complexity of musical sensations on the other, which has to be defeated inspite of exhaustion. It's not only here that semantic agreement (besides the materialistic structure) of music and text can be felt: On top of that there's the existential helplessness in view of the mercilessly flowing polyphony of levels and events -- as a mirror of this there are the remembered scenes of the Flemish cold in the second chapter (Les Georgiques). The interpreters are confronted with unusual directions which correspond to the adjectives in the respective passages of the text: anachronique, engourdi, glace et acre, monotone et desert etc. The possibilities of interpretation are amplified, the ability to perceive and personal reaction is opened. The impression of this inexorability is multiplied in the extremest way by the fact that the particular layers can be found in Simon's complete works. It's a continuous work of art in which each novel turns into a chapter of a complex, cyclic whole; its title denoting only one main strand, as it were. A personal comment is made also as regards the clearly defined stage; the mise en scene points out the extra-musical elements and the correlation between text, human being and music. 7. THE INTERPRETER IS ASKED TO MOVE FREELY WITHIN A DEFINED SPOT WITHOUT LOOKING ARTIFICIAL; SOUNDS CAUSED BY THE FEET MOVING ON THE SAND ARE WELCOME DURING THE WHOLE PIECE ... And here the idea of a cycle is born, an attempt to transfer these nuances of memorized structures, this clarity and coldness, to transform the text into musical material. Walter Feldmann.
SKU: HL.48182066
UPC: 888680850869. 9.0x12.0x0.155 inches.
“The Bird Catalogue by Olivier Messiaenis a set of 7 books with 13 pieces for Piano composed between 1956 and 1958. Each volume refers to a special bird and to the region where the bird is typically from in France. The piece not only describes the bird, it also depicts its surroundings, such as other birds, the landscape of its area, the colours and the temperature. Book 1 - Le Chocard des Alpes (Alpine Chough) - Le Loriot (Golden Oriole) IH Le Merle Bleu (Blue Rock Thrush) Book 2 - Le Traquet Stapazin (Black-Eared Wheatear) Book 3 - La Chouette Hulotte (Tawny Owl) - L'Alouette Lulu (Wood Lark) Book 4 - La Rousserolle Effarvatte (Reed Warbler) Book 5 - L'Alouette Calandrelle (Short-Toed Lark) - La Bouscarle (Cetti's Warbler) Book 6 - Le Merle de Roche (Rock Thrush) Book 7 - La Buse Variable (Buzzard) - Le Traquet Rieur (Black Wheatear) - Le Courlis Cendré (Curlew) As mentioned above, this 5th volume focuses on the Short-toed Lark and the Cetti's Warbler. The first one, the Short-toed Lark represents the wilderness of Provence and the Cetti's Warbler, the Charente area. The interpretation of these pieces requires a strong level in Piano (upper advanced), due to some complex technique requirement. Olivier Messiaen (1908-1992) was a French organist and composer who was passionate about Ornithology and one of the most important composers of his century. Inspired by Japanese music, he had a very special way of composing and his work can be identified by its complexity, its diatonic aspect, its harmony with limited transposition, its colour and its additive rhythms. He composed many works related to ornithology and birdsong, including the 'Treatise on rhythm, colour and ornithology' in 7 volumes.â€.
SKU: BT.ALHE31564
French.
Duo Concertante, Op. 351 by Darius Milhaud was composed in 1956 for the Paris Conservatoire Contest. Many influences can be recognised in this piece: from the Provence where he was born, to jazz and other melodies of SouthAmerica. Lasting approximately 7 minutes, Duo Concertante, Op. 351 is started by a fanfare with a strong energy reminiscent of the South of France, followed by a simple and moderate clarinet partly joined by piano chords. Theinitial theme is then repeated one last time for the finale. Darius Milhaud (1892-1974) was a French modernist composer and a teacher. He was also part of the Les Six and was strongly influenced by Jazz. His opus list ended at443.
SKU: BR.EB-9399
ISBN 9790004188736. 9 x 12 inches.
One of my favourite pieces of music as a child - and I still love it - was Schubert's Trout Quintet. It was partly the wonderful music, of course, so light-hearted and joyful on the surface, yet with twists and turns and murky depths of feeling too. But I also liked the picture of a trout on the album sleeve - such beautiful creatures! Last year, while resident at the Villa Concordia in Bamberg, as I took daily walks along the Regnitz river, I observed the trout as they calmly hovered and swayed in the shallows... But if they felt my shadow they were gone in a split second! If you ever get a chance to look closely at brown trout you see that they are covered in myriad brown/red spots of varied sizes; camouflage I suppose. Now those patterns seem to be mixing in my mind with the shifting colours of the spectral arpeggios that flow through this little piece. It's a watery piece, with rippling waves, shimmering surfaces and textural veils around the melodies which flow through it. But it also takes inspiration (and it's title) from a Pablo Neruda poem: the third stanza of Every Day You Play includes the line The sky is a net crammed with shadowy fish. There's no singer, but I imagine an invisible or imaginary voice somewhere behind (or beyond) the music, and so the score includes a melodic setting of the text. Even though this is not performed by a voice, the melody is always played by the ensemble - especially high register cello - making the piece something like the inverse of a song without words. (Christian Mason)World premiere: Aix-en-Provence, October 16, 2020 Commissioned by the Grand Theatre de Provence - Aix-en-Provence.
SKU: BT.DHP-1094593-010
9x12 inches. English-German-French-Dut ch.
De melodie van het Schifferlied (schipperslied) van Friedrich Silcher (1789-1860) is oorspronkelijk een barcarolle uit de Provence. Silcher arrangeerde het en nam het met een eigen tekst op in een van zijn bundels met volksliederen.Het is daarom ook bekend onder de titel Es löscht das Meer die Sonne aus - de eerste regel van de tekst. Silchers versie van het Schifferlied kenmerkt zich door helderheid en eenvoud, in navolging van de Weense klassieken.In dit arrangement voor blaasorkest werd deze benadering gerespecteerd en is dezelfde stijl gehandhaafd. Het werk kan ook met mannenkoor (TB) uitgevoerd worden.Die Melodie des Schifferliedes von Friedrich Silcher ist ursprünglich eine Barcarolle aus der französischen Provence, auch bekannt als Es löscht das Meer die Sonne aus, nach der ersten Textzeile des Liedes von Silcher. Silchers Version ist gekennzeichnet von Klarheit und Einfachheit, im Stile der Wiener Klassiker. In dieser Bearbeitung für Blasorchester wurde dieser Stil beibehalten. Das Werk kann auch mit einem Männerchor aufgeführt werden (TB).C’est Venise que naquirent les barcarolles, chants des gondoliers au rythme toujours ternaire (6/8, 9/8 ou 12/8), qui suggère, par la répétition constante d'un même rythme de basse, le balancement régulier des embarcations sur la lagune. La mélodie du chant Schifferlied (Chant du batelier) de Friedrich Silcher (1789-1860) dérive non pas d’une barcarolle vénitienne mais d’une barcarolle de Provence.Après avoir arrangé la barcarolle provençale, Friedrich Silcher écrit un texte et publie le chant sous le titre Es löscht das Meer die Sonne aus (premier vers du texte) dans un recueil d’airs et de chants traditionnels.Schiffer lied développe une ligne simple,fluide et limpide l’instar des mélodies viennoises. L’arrangement pour Orchestre d’Harmonie est fidèle cette approche. Il peut être accompagné par un Chœur d’Hommes (TB - texte en langue allemande -Set vendu séparément - DHP 1094593-050).
SKU: BT.DHP-1094593-050
De melodie van het Schifferlied (schipperslied) van Friedrich Silcher (1789-1860) is oorspronkelijk een barcarolle uit de Provence. Silcher arrangeerde het en nam het met een eigen tekst op in een van zijn bundels met volksliederen.Het is daarom ook bekend onder de titel Es löscht das Meer die Sonne aus - de eerste regel van de tekst. Silchers versie van het Schifferlied kenmerkt zich door helderheid en eenvoud, in navolging van de Weense klassieken.In dit arrangement voor blaasorkest werd deze benadering gerespecteerd en is dezelfde stijl gehandhaafd. Het werk kan ook met mannenkoor (TB) uitgevoerd worden.Die Melodie des Schifferliedes von Friedrich Silcher ist ursprünglich eine Barcarolle aus der französischen Provence, auch bekannt als Es löscht das Meer die Sonne aus, nach der ersten Textzeile des Liedes von Silcher. Silchers Version ist gekennzeichnet von Klarheit und Einfachheit, im Stile der Wiener Klassiker. In dieser Bearbeitung für Blasorchester wurde dieser Stil beibehalten. Das Werk kann auch mit einem Männerchor aufgeführt werden (TB).Partitions pour Chœur d’Hommes (TB - texte en langue allemande -25 ex.).C’est Venise que naquirent les barcarolles, chants des gondoliers au rythme toujours ternaire (6/8, 9/8 ou 12/8), qui suggère, par la répétition constante d'un même rythme de basse, le balancement régulier des embarcations sur la lagune. La mélodie du chant Schifferlied (Chant du batelier) de Friedrich Silcher (1789-1860) dérive non pas d’une barcarolle vénitienne mais d’une barcarolle de Provence. Après avoir arrangé la barcarolle provençale, Friedrich Silcher écrit un texte et publie le chant sous le titre Es löscht das Meer die Sonne aus (premier vers du texte) dans un recueild’airs et de chants traditionnels. Schifferlied développe une ligne simple, fluide et limpide l’instar des mélodies viennoises.
SKU: BT.DHP-1094593-140
SKU: RM.BART01803
ISBN 9790231018035.
SKU: HL.48185961
UPC: 888680843007. 9x12 inches.
“for flute, oboe (or flute, or clarinet), clarinet, bassoon (or E flat saxophone, or cello) and percussion&rdquo.
SKU: HL.48181674
1.Noel provencal de Saboly (SATB chorus); 2.Noel ancien (SMzA chorus).
SKU: BT.DHP-0890148-020
This 4-movement suite is based on authentic folktunes from the beautiful southern province in France: the Provence. The composer used an harmonic language respecting the popular characteristics, but on the other hand also contains some spicy notes (... just like the wellknown Provençal sauce! ...). The instrumentation is very colourful, paying a lot of attention to the different timbres of both brass and wood winds as well as to the percussion section.Every movement has its own character: Un Ange a fa la crido (= An angel brought the creed / credo) is like a bourrée, Adam e sa Coumpagnou (= Adam and his companion) is an old love song, Lou Fustié (= the carpenter)a fast dance and finally Lis Escoubo (= a whistle tune / popular ballad) is a farandole. In the latter, the old tradition of folk musicians who play a whistle with one hand and a drum with the other hand, is clearly represented during the first presentations of the one and only theme)Although this piece is not too demanding, a well balanced band is necessary to perform it successfully. Thanks to the contrasts and the varying colours, it keeps on holding the attention. Dieses vierteilige Werk basiert auf alten Volksliedern aus der Provençe. Der Komponist verwendet diese Melodien in einer farbig instrumentierten Suite und braucht hierbei eine Klangsprache, die einerseits den volkstümlichen Charakter nichtverleugnet, aber andererseits doch ab und zu eine pikante Note enthält.Die Teile sind: Un ange a fa la crido, Adam e sa coumpagno, Lou Fusti en Lis Escoubo.
