Click & collect / Partitions & Méthodes

Schleptet In E-Flat Major Schickele Peter flute oboe basson horn violon alto violoncelle Théodore Presser 114-40581
30,90 € 30,90 € 30.900000000000002 EUR
Molto larghissimo; allegro boffo
Menuetto con brio ma senza trio
Adagio saccharino
Yehudi menuetto
Presto hey nonny nonnio
Sette frammenti Lenot 2 violons, violon alto, violoncelle (quatuor à cordes) Zerboni SZ8274
101,40 € 101,40 € 101.4 EUR
Lieu de la première audition publique : Festival de Royan
Numéro d’entrée du catalogue raisonné : JL 034
Nomenclature : 2 vns, al, vc

voir aussi
Télécharger 3 minutes sur le site de l'Ircam :
Sonata Da Camera Petrassi / Canino 10 Instruments/Clavecin Et Piano Zerboni SZ6294
33,20 € 33,20 € 33.2 EUR
String Quartet UM10463 Finnissy Partition Fac-Simile A4 Ump
113,30 € 113,30 € 113.3 EUR
Suite Francaise; HL00120039 Darius Milhaud
113,30 € 113,30 € 113.3 EUR
It is rare that a composition is conceived first for winds then later transcribed for orchestra, but such is the case with Suite Francaise. Premiered by the famed Goldman Band in 1945, this magnificent work in five movements is one of the enduring classics of the symphonic band repertoire, and continues to be a popular choice for contests and festivals. (17:00)

This recording used with permission from the Klavier Music Productions CD K 11058. “Postcards” by the Cincinnati Wind Symphony – Eugene Migliaro Corporon, conductor
The Awakened Heart - A symphonic triptych pour Orchestra- full score Richardpour Daniel  Schirmer HL50482727
68,50 € 68,50 € 68.5 EUR

scan de quelques pages sur demande

The Awakened heart was conceived as a symphonic triptych. It’s not unlike the medieval triptychs, which would include three panels that were not only independent as paintings, but also formed a narrative or journey. In this case, the central inspiration was a journey into freedom from bondage – the path to inner freedom.

The first movement, “Into the World’s Night,” is very much concerned with awakening. It begins with a slow introduction, in a kind of dreamy stupor, almost a haze. From here we switch into a driving, obsessive movement; there is a juxtaposition of compulsive, maniacal music and what I would call lighthearted music with a certain foreboding. The movement descends into the coda, a movement of reckoning revolving around the key of B minor, a key Beethoven referred to as “the black key”

The second movement, “Epiphany,” is a meditation. A chorale repeats throughout the movement, changing itself ever so slightly as it goes. Interspersed above, below, and through the chorale is a parade of musical thoughts. If there is an epiphany in this movement, it is in the very fact that the chorale is both question and answer. This movement is the heart of the piece and also its turning point, emotionally and dramatically.

The title of the third movement, “My Hero Bares His Nerves,” comes from a poem by Dylan Thomas. This is about what one might do with this resensitization or reawakening. It’s inspired by the idea of learning courage by living fully; it’s about the path of fearlessness. The music here is every fast: it’s a kind of wild ride. And all the materials from the first two movements are brought back in different – and in some sense very visceral – ways. Of the three movements, it is perhaps the most physical.

Although I have all these titles and ideas connected to the music, I have no requirement that listeners receive this in any particular way. In fact, I would prefer that they arrive at their on conclusions!

—adapted from a note by Richard Danielpour

The Awakened Heart did what challenging pieces of music do: it set the mind free to wander into and away form the notes while exciting different senses…it was fun, bright, brash, quick, thunderous, colorful, sharp-edged, soft and invited more than ears and mind. Listeners could almost catch and touch and smell the notes flung out thick and fast, seemingly helped by every cymbal, drum, marimba, and whatnot known to modern drummer…Heart seemed here as much like a dramatic storm front moving through an other-worldly forest populated by fascinating people, animals, and birds. The full Meyerhoff Hall gave the Baltimore Symphony and a happy Danielpour a warm reception.
Ernest F. Imhoff, The (Baltimore) Evening Sun,01/01/0001