Partitions Numériques de Warning pour Orchestre

Warning

E. Satie – Heures Séculaires et Instantanées, 1914 #Orchestre #INTERMÉDIAIRE #Contemporain #Classique #Arkady Leytush #Arkady Leytush #E. Satie – Heures S&eacu #Arkady Leytush #SheetMusicPlus

Full Orchestra - Level 3 - SKU: A0.1074008 By Arkady Leytush. By Erik Satie. Arranged by Arkady Leytush. 20th Century. Score and parts. 23 pages. Arkady...(+)

Full Orchestra - Level 3 - SKU: A0.1074008 By Arkady Leytush. By Erik Satie. Arranged by Arkady Leytush. 20th Century. Score and parts. 23 pages. Arkady Leytush #678276. Published by Arkady Leytush (A0.1074008). E. Satie â€“ Heures SÃ©culaires et InstantanÃ©es, 1914, Orchestra suite 1. Obstacles venimeux 2. Crepuscule matinal 3. Affolments granitiques Duration about 4 minutes. Heures SÃ©culaires et InstantanÃ©es (Hallowed by Time and Instant Hours), one of his humorous keyboard suites from the 1910s, contains Satie's famous warning to pianists against reading aloud the fanciful texts that adorned his score. Sati warns against reading aloud the texts written on his scores. This is the secret between the performer and the composer. â€œThere are as many words as there are notes!â€ says the French composer-critic Guy SacrÃ©. Biographer Rollo H. Myers saw Heures as an omen of surrealism (ten years before the fact) and a new phase in the relationship between text and music. â€œ... For the first time, individual verbal witticisms and witticisms are replaced by something like a recitation or monologue, which is an integral part of the work: this is no longer a cursory comment, arbitrarily superimposed and often not related to the music that it accompanies, but a certain narrative, grotesque inspiration, which the music serves as an illustration. In addition to what has been said, I would like to add that being one of the first minimalists in modern music, Sati opens a new page in the combination of musical images and examples of abstract vision and imagination inspired by music with his illustrative texts in this humorous suite. This approach to composition soon led to the emergence of striking examples of the combination of music and animation. This short suite, full of humor and ingenuity, moved me when arranging to also emphasize this feature by choosing the full composition of the orchestra, where in each number of this suite the musicians of the orchestra play only a few notes in turn. On the one hand, this should bring great variety and contrast, on the other hand, a huge orchestra and a 4-minute suite in themselves cause a smile of inconsistency...