Conducteur Avec Couverture Rigide. Par TELEMANN GEORG PHILIPP. The volume presents, as a first edition, Telemann's surviving compositions for a number of public occasions in Altona. It contains two festive compositions written for the inauguration of the Akademische Gymnasium in 1744, one piece composed for the centennial of the Absolute and Hereditary Monarchy Act in Denmark (1760), one Latin ode to the King of Denmark for a school festivity in Altona, and an excerpt of two arias - the only surviving part of the music composed for the inauguration of Elias Caspar Reichard as Professor of Eloquence and Poetry at the Akademische Gymnasium (1741). The edition was prepared on the basis of the known sources held at the Brussels Conservatory Library, new manuscripts contained in a rediscovered anthology of the Hamburg State Library including those previously unknown compositions, as well as printed texts which had not been considered to date from the Royal Library in Copenhagen. The Foreword provides information regarding Telemann's tenure in Altona. Also included is a catalogue of all related works. Moreover the volume contains a Critical Commentary, facsimiles of the printed texts and sample pages from the musical sources. / Date parution : 2019-11-29/ Répertoire / Conducteur

Par ANDERSON JULIAN. A collection of eight engagingly quirky miniatures from 1997, Julian Anderson’s Poetry Nearing Silence was inspired by the work of artist Tom Phillips. The highly contrasted, often bizarre juxtapositions of Phillips’s The Heart of a Humument – whichsees him ‘treating’ an obscure late Victorian novel by selecting certain words and phrases, and then painting over the rest of each page – are mirrored in vividly imagined music whose pithy energy creates a playful, virtuoso tour de force for allseven instruments. A collection of eight engagingly quirky miniatures from 1997, Julian Anderson's Poetry Nearing Silence was inspired by the work of artist Tom Phillips. The highly contrasted, often bizarre juxtapositions of Phillips's The Heart of a Humument & which sees him ‘ treating' an obscure late Victorian novel by selecting certain words and phrases, and then painting over the rest of each page & are mirrored in vividly imagined music whose pithy energy creates a playful, virtuoso tour de force for all seven instruments./ Répertoire / Conducteur

Par DOBSON SIMON. Firefly was composed by award-winning composer Simon Dobson (b.1981) to provide an entertaining uptempo concert work for community and youth bands. Composed in funk-rock style, and is based on the groove beat with which it opens. Dobson says, 'Firefly was written as a break from my more serious music and as a 'hat tip' to the various types of beat orientated music I listen to.” It was first performed by Oslofjord Brass in Norway and in its wind version by Harmonie Shostakovich, Switzerland. Duration: 5-6 minutes. INSTRUMENTATION: 1 Eflat Sop. Cornet, Solo Cornets (4), Bflat Rep. Cornet (1), 2nd Bflat, Cornets (2), 3rd Bflat Cornets (2) - Flugel horn, Solo Eflat Horn, 1st Eflat Horn, 2nd Eflat Horn - 1st Bflat Bar., 1 2nd Bflat Bar., 1st Trombone, 2nd Trombone, Bass Trombone - Bflat Euphoniums (2) - Eflat Tubas (2) - Bflat Tubas (2) - 2 percussion/ Répertoire / Conducteur

Par HARVEY JONATHAN. '. . . lush chords and sonorities, ecstatic rhythmic energy within constantly changing metres, intricate birdsong-like arabesques and a primary-coloured approach to the orchestra.'Stephen Banfield, The Musical Times, November 1986 / Niveau : Facile / Répertoire / Conducteur

Norton Critical notes sont des éditions de taille d'étude faisant autoritées de grandes oeuvres musicales, chacune accompagnée de soigneusement sélectionné matériel supplémentaire - sources primaires - un large éventail d'historique, critique et les interprétations analytiques - et une bibliographie - pour améliorer la compréhension du lecteur du travail, son origine et sa réception. / Conducteur

Par HARVEY JONATHAN. '. . . luminously scored and graced by a good deal of glorious vocal writing. . .'Paul Griffiths, The Musical Times, January 1981/ Répertoire / Conducteur

Par MAW NICHOLAS. Commissioned by the Nash Ensemble with funds from the Art Council of Great Britain and IBM. This is an atmospheric, highly allusive, and appealing suite of dance references. Maw's titles and tempo indications suggest a fashionably vampiric nightmare, but the music sounded warm and lyrical as often as cold and frenzied. . . the chill chimes of small cymbals and the gentle plunking of a kalimba became the essential components of a transfigured epilogue John Henken, Los Angeles Times, 2 December 1992 / Niveau : Assez Facile / Répertoire / Conducteur

Par BENJAMIN GEORGE. The Full Score of George Benjamin's Jubilation for Orchestra and mixed children's groups. 'Overall, Benjamin's score aspired towards an exalted kind of jubilation - almost evoking angels in the music of the spheres: and as such it sounded vivid and imaginative.' The Guardian (Meirion Bowen), 19 February 1991/ Répertoire / Conducteur

Par ARNOLD MALCOLM. Edward Greenfield writes '. . .chamber music writ large, often abrasive in an almost Stravinskian way. . .the emotional weight is borne by the central slow movement. . . The finale is a brisk march, interrupted at one point by horn fanfares, in which the second of the two trios hauntingly brings scrunching cluster-chords pianissimo. Gramophone, December 1992/ Répertoire / Conducteur

Par HINDSON MATTHEW. Whitewater, comme son nom l'indique, est inspiré de l'eau dans les ruisseaux, les rivières et les ruisseaux autour de roches et d'autres obstacles. Le travail a été vaguement structuré autour de la progression d'une rivière - torsion, tournant - il y a parfois des articles comme les autres, d'autres sont apparemment totalement différent, pourtant toujours partie de l'entité. Il y a trois sections principales dans cette pièce surtout rapide. Chacun de ces contiennent solo virtuose jouant comme écriture tutti. Whitewater était une Commission du millénaire de Faber Music. Matthew Hindson a été nommé par Carl Vine./ Répertoire / Conducteur

Par KNUSSEN OLIVER. Michael Steinberg says 'I hear in this Symphony an extraordinary feeling for the sound of poetry and for its meanings, a sure skill in timing and in plotting the motions from event to event, and beyond any question, that gift without which you might as well give up being a composer, the gift of writing music that keeps you fully absorbed.' Boston Globe, March 1972/ Répertoire / Conducteur

Just as Serge Rachmaninoff's piano virtuosity ranked him among the greatest pianists of the twentieth century, his compositions for piano and orchestra won him an important position among modern composers. Among the works that ensure his reputation are the first three piano concertos, reprinted here from the authoritative full-score Russian editions.
Rachmaninoff wrote the stirring Piano Concerto No. 1 in the years 1890–91, while he was still a young student at the Moscow Conservatory, and revised it nearly three decades later in 1917, when he began to devote his life mainly to his international career as a piano virtuoso. The immense and enduring success of the Piano Concerto No. 2, completed in 1901, has made this romantic work one of the most performed and recorded in the concerto literature and one of the most familiar compositions in all of music. The powerful and expressive Piano Concerto No. 3 was composed for a concert tour of America, during which Rachmaninoff appeared with great success as composer, pianist, and conductor. Like the first two concertos, it remains a repertoire favorite in concert halls around the world.
All three acclaimed works are reprinted in this finely made yet remarkably inexpensive Dover edition. Musicians and music lovers will find it a convenient single-volume source from which to study intimately three major works of the twentieth century.
Reprint of the State Music Publishers, Moscow, 1965 edition. / Partitions classique / Ensemble et orchestre / Conducteur / DOVER

Giovanni Benedetto Platti (vers 1690 ou1696 ?-1763) fut musicien de la cour àWürzburg et Bamberg de 1722 jusqu'à samort. Il fait partie des musiciens dont l'oeuvreest documentée par des extraits dans ' Monumentsde l'Art Musical en Bavière '. Levolume propose à chaque fois six concertospour violoncelle et six sonates pour trio danslesquelles, aux côtés du violon, le violoncelleressort clairement comme soliste. Le critèrede sélection - 28 concertos pour violoncelleet 20 sonates en trio de Platti nous sont parvenusà travers les âges - a été pour cetteoccasion de prendre des oeuvres qui n'ont jamaisété publiées jusqu'à présent. Ce volumene comporte donc que des éditions princeps. / Conducteur

King Arthur (Arr. Laurie). Par PURCELL HENRY. King Arthur was the only one of Purcell's professionally produced operas to have been designed as a semi-opera - the others were all adaptations of earlier plays. Dryden made a real attempt to integrate the music into the drama, but since he ascribed to the dramatic conventions of the period which virtually confined music to allegorical or supernatural beings and thier worshippers, or servants, shepherds and similar characters, the main action mostly occurs in the spoken sections, and even the two singing characters, Philidel and Grimbald speak more than they sing. / Niveau : Intermédiaire / Rép Classique / Répertoire / Conducteur

Création
01/02/2018 - Stuttgart (Allemagne), Festival Eclat, Theaterhaus - Ensemble L'Itinéraire
Commanditaire
Festival Eclat et l'Itinéraire
Notice
Une Lettre de Vincent, pour flûte et violoncelle, est la pièce la plus récente ici (2018). Elle fait partie du cycle Portulan, un cycle de pièces de musique de chambre en cours d'élaboration, qui comporte actuellement huit pièces, écrites pour diverses combinaisons instrumentales parmi un ensemble de huit musiciens. Les portulans étaient d'anciens atlas maritimes, souvent ornés d'enluminures, qui traçaient les côtes et indiquaient les repères principaux au navigateur médiéval alors dépourvu de boussole. Chaque pièce du cycle se réfère à quelque chose, lieu, voyage, lecture, expérience esthétique, de particulière signification pour moi. Le point de départ de la Lettre de Vincent est un souvenir d'enfance : un livre que l'on m'avait offert, sur Van Gogh, où, en plus de reproductions de ses oeuvres, on pouvait trouver quelques-unes des lettres qu'il écrivait à son frère Theo, qui lui envoyait régulièrement de l'argent, des toiles, des couleurs. J'avais été très impressionné, et ému, autant par la peinture, que par le contenu de ces lettres, à la fois naïf, poignant, suppliant, parfois désespéré, souvent assez décousu, sautant d'une idée à l'autre. Beaucoup plus tard, j'ai retrouvé ces lettres, en particulier un petit opuscule contenant les dernières lettres, celles qu'il écrivit depuis Auvers-sur-Oise, pendant les derniers mois de sa vie, et ces émotions d'enfance sont revenues. La pièce débute par un court motif de quatre notes, qui évoque les mots Mon cher Theo , par quoi commencent toutes les lettres de Vincent. Ce motif va se transformer tout au long de l'oeuvre, et se mêler à divers autres éléments - en particulier des échanges très rapides entre harmoniques de flûte et de violoncelle, selon la technique dite de hoquet, métaphore d'une technique picturale chère à Van Gogh, qui consiste en l'accumulation de petites touches de peinture. J'habite aujourd'hui dans cette Provence que Van Gogh avait choisie pour y trouver sa palette colorée. Certains soirs, la pleine lune se lève derrière les grands cyprès du jardin...
Tristan Murail, / Partitions classique / Ensemble et orchestre / Conducteur / LEMOINE