Trio, 1967

“I first learned of the ‘Horn Trio’ by Johannes Brahms while still a student at Dartington College of Arts and it had a profound effect on me when I heard it performed by Alan Civil Hugh Bean and David Parkhouse at a concert in Plymouth in 1967. As a novice Horn player and composer I dreamt of being able to join Lennox Berkeley and the many other composers inspired by these luscious musical sonorities andthis work of great genius by Brahms. Now in my late sixties I feel ready to tackle this project and I am delighted that the piece has now been published. The writing is I hope idiomatic and accessible giving the performer ampleopportunity for generous and expressive playing within a proudly English musical landscape. Within these four movements I have tried to create a work of beauty reflecting something of the world about us with a dash of firereserved for the final rondo.” - John Frith

J'avais initialement imaginé composer ce trio à la manière d'un cuisinier, alliant les timbres improbables d'une voix, d'une guitare et des ondes martenot, composant des textures, avec en tête une des recettes du chef Pierre Gagnaire, son Navet blanc Buren, eau de tomate au wasabi, huile d'olive ardente givrée. Alors partant de là, cette pièce est peut-être l'histoire d'un échec (relatif) - ou bien du manque de correspondance entre ce que je suis et ce que je voulais réaliser. Au fil des esquisses que je raturais, deux idées me sont apparues:- l'une vient de la façon dont j'ai appris à cuisiner - un bon plat repose avant tout sur la préparation individualisée des ingrédients.- l'autre est une réminiscence d'un mot du compositeur Jérôme Combier qui m'écrivait, à propos de certaines de mes pièces qu'il fallait 'les écouter sans rien attendre' - prendre le son, la texture, comme elle se présente à nous.Oui, il ne faut rien attendre d'autre que ce que sont ces esquisses, même pas ce qu'elles représentent - ces sons n'ont pas vocation à proliférer, à être développés, à muter ou à fusionner - ils existent pour eux-mêmes. Leur préparation dissociée, leur composition individualisée doit être suffisamment réussie pour qu'ils ne renvoient qu'à eux-mêmes. La relation des uns par rapport aux autres repose sur bien plus que mon travail - interprètes, auditeurs sont des acteurs essentiels du sens donné.Je me suis alors souvenu des poèmes de Denis Roche et plus particulièrement de ses Dépôts de Savoir et de Technique, dans lesquels des bribes de phrases s'entrechoquent dans une prose qui renvoie le lecteur à son action de lecteur: donner sens, donner rythme, donner corps, donner vie à l'oeuvre.C'est dans cette tension de l'a-composition qu'a été écrit ce trio, à bout portant contre et pour moi-même.Colin Roche (mai 2009) / Voix, Guitare et Ondes Martenot

B-Dur. Par MOZART WOLFGANG AMADEUS. This Litany of the Blessed Virgin Mary is the first and most straightforward of four litanies which Mozart composed from 1771 to 1776 in Salzburg. Its light instrumental scoring - only the 'church trio'' of two violins and continuo, with trombones used merely to reinforce the choir - suggest that this piece was intended for Marian devotions in the small Court Chapel of Schloss Mirabell. / Hymnes et chorals / Date parution : 2005-06-01/ Répertoire / Solistes SATB, Choeur SATB, 2 ViolonS Basse Contin

B-Dur. Par MOZART WOLFGANG AMADEUS. This Litany of the Blessed Virgin Mary is the first and most straightforward of four litanies which Mozart composed from 1771 to 1776 in Salzburg. Its light instrumental scoring - only the 'church trio'' of two violins and continuo, with trombones used merely to reinforce the choir - suggest that this piece was intended for Marian devotions in the small Court Chapel of Schloss Mirabell. / Hymnes et chorals / Date parution : 2001-05-01/ Répertoire / Solistes SATB, Choeur SATB, 2 ViolonS Basse Contin

B-Dur. Par MOZART WOLFGANG AMADEUS. This Litany of the Blessed Virgin Mary is the first and most straightforward of four litanies which Mozart composed from 1771 to 1776 in Salzburg. Its light instrumental scoring - only the 'church trio'' of two violins and continuo, with trombones used merely to reinforce the choir - suggest that this piece was intended for Marian devotions in the small Court Chapel of Schloss Mirabell. / Hymnes et chorals / Date parution : 2003-02-01/ Répertoire / Solistes SATB, Choeur SATB, 2 ViolonS Basse Contin

Grøn Drømmesang (2007) for Violin Viola and Cello Grøn Drømmesang (Dream Song In Green) is based on the composers choral song ´Du skal plante et træ´ from 1967 (You should plant a tree text by the Dane Piet Hein) one of the few melodies that came to the composer in a dream as indicated by the title.  Dedicated to Trio Aristos.

Le compositeur hongrois Zoltán Kodály (1882-1967) basait pratiquement toutes ses oeuvres sur la musique populaire hongroise tout comme son compatriote et contemporain Béla Bartók. Pour ses ?variations sur le paon? (1939) il emprunta la mélodie d?une des plus vieilles chansons populaires du patrimoine hongrois ?Felszállott a Páva? qui en hongrois signifie ?paon? et composa nombre de variations sur le thème principal. Le chef d?orchestre et arrangeur Jan Cober a réalisé une version fidèle de cette oeuvre de grande qualité

Creation 04/11/2018 - Cologne (Germany), Philharmonie - Anaïs Gaudemard (harp) Sponsor Calouste Gulbenkian Foundation and Philharmonie de Paris Dedication to Anaïs Gaudemard Notice Nighthawks is a work for solo harp. When Anaïs Gaudemard [1] asked me to write this work, she wanted to integrate it into a program on the theme of birds. I immediately thought of the work Nighthawks (1942) - or Night Birds - by the American realist painter Edward Hopper (1882-1967). Inspired by this work, I designed the piece in one piece as a trip to the heart of this painting. Hopper projects there a snapshot of American daily life. The scene takes place at a late hour of the night and several atmospheres emerge from it. Indeed, the eye is at the same time attracted by this dark, deserted, and immaculate street of an American downtown; intrigued by the frozen situation of the four characters inside a brightly colored diner; and hypnotized by the glare of the huge bar window. Contrasting with the darkness of the street, the light from this neon-lit window is striking. It thus separates the two atmospheres of the painting. The view of the spectator through it is from outside to inside the bar. The absence of an exit door gives the impression that the characters are isolated and their solitude is further reinforced by this glass which surrounds the illuminated stage - as if they were under a bell . Inside the diner, a man seen from behind is eating; a couple stand side by side (the man smokes; the woman is dressed in red); a server is busy. We don't know anything about them. What are they doing at such a late hour? Where is the exit? What are they discussing? Do they know each other? I wanted to musically conceive this scene from the viewer's point of view, as if we were caught up, sucked into the very interior of the painting. The introduction - Mysterious, dark - sounds the twelve strokes of midnight and plunges us into the darkness of this typically American street. From this nocturnal atmosphere is born a strange song - almost padded with xylophonic sounds - as if we could not hear it distinctly through the luminous glass which separates the street and the bar. Caught up in this bright light, we pass through the window and gradually return inside the diner by means of a hypnotic loop repeated tirelessly, as if we were entering a state of trance - Hypnotic. It is the underlying tension of this frozen situation of the characters that I wanted to represent in the central passage - Rhythmic and pulsed. Then, we come out of this feeling of hypnosis by passing through the bar window again and rediscover the nocturnal atmosphere of this deserted and immaculate street - Hypnotic - Mysterious. Camille Pepin [1] Creator and dedicatee of the piece Hurry What a simply beautiful work here! Camille Pépin, born in 1990, had a career marked by dance and composition. But we discover here quite simply an artist, who invites us to the contemplation of a work of the painter Edward Hopper. Having worked on composition and orchestration with Thierry Perrine as well as with Thierry Escaich, Guillaume Connesson and Marc-André Dalbavie, she has forged an original language which allows her here to bewitch us both by her music and by contemplation of the painting. We can judge by the interpretation of this piece on YouTube that we will listen to while looking at the painting. Of course, you can also listen to the work as it is: it is sufficient. But with the painting ... Daniel blackstone Music Education n ° 128 (Jan-Feb 2020)