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

https://youtu.be/BqrSaLUM5-A

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

Reviews
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

Commissioned by the Houston Grand Opera for its Opera Studio, Mark Adamo's Little Women premiered on March 13, 1998. The opera's libretto (also written by Adamo and available for sale, HL50484155) adapts Louisa May Alcott's classic novel about four sisters who come of age just after the American Civil War. Exploring three central themes of the book, Adamo's opera focuses upon Jo March's resistance to the passage of time. Powerfully theatrical and musically sophisticated, Little Women notably contains a wealth of memorable melodies and tuneful arias. A compact disc recording of Houston Grand Opera's production is available on Ondine ODE 988-2D as well; the production was recently seen nationwide in a high-definition television broadcast produced by PBS.

knospend-gespaltener (1992-93) 8’
solo C clarinet
(from Opening of the Mouth)
commissioned by Andrew Sparling
fp 21 September 1993, London; Andrew Sparling

The battle song [from The battle song] [brass and perc] realised John Pickard 1997
16 September 2001 [premiere] Symphony Hall, Birmingham, UK
Buy as you view Cory Band, conductor Robert Childs
The battle song [from The battle song] [brass and perc] realised John Pickard 1997
17 November 2001 Victoria Rooms, University of Bristol, Queen’s Road, Bristol, UK
Buy as you view Cory Band, conductor Robert Childs
The battle song [from The battle song] [brass and perc] realised John Pickard 1997
2–3 February 2002 Cwmbran Council Chambers, Gwent
Buy as you view Cory Band, conductor Robert Childs

The battle song [from The battle song] [brass and perc] realised John Pickard 1997
Doyen Recordings DOY CD 142 released 2002
2–3 February 2002 Cwmbran Council Chambers, Gwent
Buy as you view Cory Band, conductor Robert Childs

The present issue contains all compositions of Adam Jarzębski's: ''Canzoni e concerti'' manuscript, bass voice of ''Missa sub concerto'' and enigmatic canon ''More veterum''.

soliste : 2 piano
4 flûte, 4 hautbois, 4 clarinette, 4 basson, 4 cor, 4 trompette, 4 trombone, 4 percussionniste, harpe, cordes
Information sur la création
28 mars 2002, France, Paris, Cité de la Musique, par Alain Planès et Cédric Tiberghien : pianos, Orchestre de Paris, Ensemble intercontemporain, direction : Christophe Eschenbach.

Lieu de la première audition publique : Festival de Royan
Numéro d’entrée du catalogue raisonné : JL 034
Nomenclature : 2 vns, al, vc

voir aussi http://www.resmusica.com/2014/12/05/integrale-des-quatuors-a-cordes-de-jacques-lenot-par-les-tana/
http://jacqueslenot.net/wp-content/uploads/2015/11/livret-ciel-retrouve1.pdf
Télécharger 3 minutes sur le site de l'Ircam :http://cdmc.ircam.fr/streams/internet/0022165.m3u

Marie Thérèse Bouquet & Gustave Boyer

contient l'arbre généalogique de la famille Giay

(Monumenti Musicali Italiani‚ Vol. 6)
Milano: Suvini Zerboni ©1980
1 score (xxxiv, 213 p.); 33 cm. reliure toile. Etat parfait

Miserere per soprano, contralto, tenore, basso, doppio coro, 2 oboi, 4 corni, organo, archi- Te Deum per coro, 2 oboi, 2 corni, 2 trombe, organo, archi- Sacrificium per soprano o tenore, violino o violoncello, organo

Durée: 25'21"