The Odyssee tells the story of Odysseus the undaunted hero. In times long ago the blind poet Homer wrote this famous epic. The 'Odyssey' follows the 'Iliad' the story of the bloody war between the Greek and the Trojans. This battle endsafter ten years thanks to the Odysseys famous trick. the Trojan Horse. The Odyssey is not a war epic but a story about perseverance loyalty adventure and the survival instinct of its ingenious hero. In The Odyssey Homer describes howOdysseus the king of Ithaca had to endure another ten years of affliction after the ten years of war in Troy before he could finally return to his home land. During those years his wife Penelope had to try and keep her many admirers away.These men not only wanted het hand but also the kingship. To prove her husbands worth she played a trick: 'As soon as I have finished weaving this shroud for my father-in-law Laertes I will choose one of you to become my husband' she promisedthem. But during the night she secretly loosened what she had woven during the day prolonging the time until Odysseus would finally return. After twenty long years when he finally stood at the door she wondered: Is this really my husband? Ishe an imposter? Cunningly she asked him to move the bed because only she and her husband know that the bed was immovable and was build around an old three trunk! Odysseus was deeply moved: this really was his wife his Penelope! Nearly threethousands years later the loyalty and strength of this character and all the dangerous adventures that Odysseus survived thanks to courage and intelligence still moves us today. Odyssee by Jan Bosveld is not just an adventure story butrather a characteristic piece in which memories of Homers story can be heard. The composition opens with a firm stirring theme describing our hero Odysseus in detail: This man is not to be taken lightly. The further development of thisshort introduction completes this character sketch: trustworthy perseverant and a genius. After that we can picture Odysseus on the lonely beach of Ogygia. Do the trumpets depict his memories of the war of Troy? Does he think of his wife as werecognise the weaving loom of Penelope in the murmuring eighth? In the solemn plaintive part that follows we can imagine Penelope feeling lonely sitting in the womens room with her servants.One of the girls plays the harp but that does notclear the sombre atmosphere. Then we can imagine seeing the sorceress Circe who changed Odysseus men into swine. After she gives a simple magic sign something follows that reminds us of the sound of pigs grunting. Then the Odysseus theme resounds:the hero comes to savi his comrades. Assisted by Hermes he forces Circe to lift the spell. The piece ends the same way as it began with an animated theme: Odysseus is still the same undefeated and not to be taken lighty!

The Odyssee tells the story of Odysseus the undaunted hero. In times long ago the blind poet Homer wrote this famous epic. The 'Odyssey' follows the 'Iliad' the story of the bloody war between the Greek and the Trojans. This battle endsafter ten years thanks to the Odysseys famous trick. the Trojan Horse. The Odyssey is not a war epic but a story about perseverance loyalty adventure and the survival instinct of its ingenious hero. In The Odyssey Homer describes howOdysseus the king of Ithaca had to endure another ten years of affliction after the ten years of war in Troy before he could finally return to his home land. During those years his wife Penelope had to try and keep her many admirers away.These men not only wanted het hand but also the kingship. To prove her husbands worth she played a trick: 'As soon as I have finished weaving this shroud for my father-in-law Laertes I will choose one of you to become my husband' she promisedthem. But during the night she secretly loosened what she had woven during the day prolonging the time until Odysseus would finally return. After twenty long years when he finally stood at the door she wondered: Is this really my husband? Ishe an imposter? Cunningly she asked him to move the bed because only she and her husband know that the bed was immovable and was build around an old three trunk! Odysseus was deeply moved: this really was his wife his Penelope! Nearly threethousands years later the loyalty and strength of this character and all the dangerous adventures that Odysseus survived thanks to courage and intelligence still moves us today. Odyssee by Jan Bosveld is not just an adventure story butrather a characteristic piece in which memories of Homers story can be heard. The composition opens with a firm stirring theme describing our hero Odysseus in detail: This man is not to be taken lightly. The further development of thisshort introduction completes this character sketch: trustworthy perseverant and a genius. After that we can picture Odysseus on the lonely beach of Ogygia. Do the trumpets depict his memories of the war of Troy? Does he think of his wife as werecognise the weaving loom of Penelope in the murmuring eighth? In the solemn plaintive part that follows we can imagine Penelope feeling lonely sitting in the womens room with her servants.One of the girls plays the harp but that does notclear the sombre atmosphere. Then we can imagine seeing the sorceress Circe who changed Odysseus men into swine. After she gives a simple magic sign something follows that reminds us of the sound of pigs grunting. Then the Odysseus theme resounds:the hero comes to savi his comrades. Assisted by Hermes he forces Circe to lift the spell. The piece ends the same way as it began with an animated theme: Odysseus is still the same undefeated and not to be taken lighty!

Minor: Triads. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion

Symphonie der Tausend. Par MAHLER GUSTAV. All my earlier symphonies are mere preludes to this one. In the other works everything is subjective tragedy, - this one is a huge giver of joy.' (Gustav Mahler) Gustav Mahler's 'Symphony No. 8' is a work of exceptions. Seen from the outside, this is true of the forces that are used: with its three choirs, eight soloists and an orchestra of far more than one hundred musicians, there are few similar works in the annals of music. This cast of performers determines the second exceptional element of the work, the mix of instrumental and vocal characteristics that makes it to the prototype of a 'vocal symphony', which - as Mahler put it - 'is sung from beginning to end'. In turn, the texts that are sung influence the structure of the whole, replacing, as it were, the usual four movements of a symphony with two strongly divergent 'parts'. And, finally, as if to emphasize this divergence, the texts used - the hymn 'Veni creator spiritus' in the first part and the final scene of Goethe's Faust in the second - are not only written in two languages but also separated in their origins by more than one thousand years. Thus it is a work of extremes, and a work of contradiction. It seems, however, that it was exactly these distinctive features that lifted the symphony above the others and convinced Mahler that his 'Symphony No. 8' was 'the greatest' work 'that I have composed'./ Répertoire / Chœur Mixte [SATB] et Orchestre

Six Mozart Opera Arias. Par MARTLAND STEVE. With Wolf-Gang, the British composer Steve Martland, ironizingly, follows the 18-century tradition of wind music ensembles with which underpaid musicians made some money on the side. Martland arranged six arias from Don Giovanni, The Magic Flute and Le Nozze di Figaro for wind octet, adapting them to today‘s possible playing techniques. By adding cor anglais and soprano saxophone, it was possible to have each aria played by a different combination of instruments so that each aria stands out against the others with regard to the sound. While rearranging the instrumentation, Martland left the musical material of Mozart untouched./ Répertoire / Octuor d'Instruments à Vent

Par NAULAIS JEROME. / Niveau : 2ème Cycle / Répertoire / Quintette à vent et Percussion

For Chamber Ensemble.Commissioned by the Hebrides Ensemble and first performed on their Scottish tour in March 2010.In Seven Pierrot Miniatures I took the Commedia dell’arte character Pierrot as my primary sourceof inspiration. Other more tenuous links to Schoenberg’s Pierrot Lunaire also served as a starting point in forming the general shape of the work. The piece is cast in seven short movements whereas the Schoenberg comprises threesets of seven movements. Although there is no part for voice I have taken seven poems by Albert Giraud (none of them set in Pierrot Lunaire) as points of departure:1. The Clouds2. Decor3. Absinthe4.Suicide5. The Church6. Sunset7. The HarpEach movement takes its impetus from the corresponding poem but in the piece as a whole I wanted to explore the extreme contrasts of the multi-faceted character ofPierrot in a musical setting. There is an almost mirror-like quality to the form of the piece and a sense of ending where it has begun: movements 1 3 5 and 7 are closely linked both in terms of their musical material and asense of melancholy dream-like quality and longing. Movements 2 and 6 are also strongly connected with allusions to the more mischievous violent side of Pierrot. Movement 4 serves as a sort-of pivotal point within the work juxtaposing a surreal shimmering calm with brutal outbursts. There is never any direct repetition yet there is a strong sense of material returning and mutating as the workunfolds.InstrumentationFlute doubling piccoloClarinet in Bb doubling Bass Clarinet in BbViolin doubling ViolaCelloPiano

Par PEPIN CAMILLE. Ce nonette s'inspire de la série Énergie blanche de Fabienne Verdier. Sur le fond lisse et bleu nuit des toiles viennent contraster des traits de peinture blanche, comme une force opposée. Au fil des tableaux, cette énergie évolue en ondulations nocturnes fluides ou rugueuses, en scintillements légers, en nuages vaporeux ou encore en crépitements. Les toiles semblent emplies de matière en apesanteur et c'est pourquoi j'ai imaginé une musique planante, cherchant un équilibre entre mouvement et immobilité. Pour moi, il se dégage de cette série bicolore l'idée d'une vitalité, d'une force, d'une lumière qui habite le vide infini et lointain du ciel. J'ai recréé cette énergie blanche en aspérités (grains de matière ou frêles touches de lumière) venant perturber ces nappes de bleu vibrant et mystérieux aux valeurs longues et étirées. Mon travail a été d'imaginer des variations de ces deux matière-couleurs grâce à la palette de textures extraordinaire qu'offrent les instruments à cordes. La pièce est ainsi conçue comme un voyage coloré et hypnotique en sept tableaux correspondant chacun à une toile de la série de Verdier. Hors champ est un épisode froid et nocturne au sein duquel de faibles lueurs de lumière tentent à peine de percer l'obscurité de la nuit. Des glissandi inquiétants naissent aux altos et violoncelles en stéréo et présentent le motif qui irriguera toute l'œuvre. La contrebasse émet une pulsation irrégulière et mystérieuse, au loin. Une ondulation douce puis majestueuse s'élève dans Ascendance. Avec l'arrivée des violons, elle traverse la matière sombre en répandant ses faisceaux brillants et lumineux. Turbulence est le lieu des perturbations. L'énergie blanche constituée ici de particules vives et chaotiques se dérègle sans cesse et envahit l'espace. Dans Synchronie I, les violoncelles se partagent le motif fondateur de l'ouvrage en un seul et même souffle, pur et suspendu. Puis, ils s'unissent pour ne former qu'une seule voix et un chant de violon les rejoint. Ce dernier se fait l'annonciateur de lumière durant cette brève accalmie. Mémoires du vent rappelle le début de l'œuvre avec cette palpitation irrégulière de la contrebasse et les glissandi inquiétants des cordes graves. Mais ces mémoires sont aussi l'écho des Turbulences qui se transforment ici en Vortex, dans lequel l'énergie blanche et chaotique devient un véritable tourbillon de lumière liquide. Pour clore la pièce, Synchronie II reprend Synchronie I avec la couleur plus froide et mystérieuse des altos, toujours en stéréo. Les touches de lumière des cordes aiguës s'affaiblissent avant de s'éteindre complètement, au loin. Cette pièce appartient au même cycle que mon quatuor à cordes Feuilles d'eau de Silvacane inspiré par la série du même nom de Fabienne Verdier. Camille Pépin / Date parution : 2022-06-08/ Répertoire / Orchestre à Cordes

(Vocal Score). Par HALLATT CRAIG. This medley features three well-known songs from World War I: Pack Up Your Troubles; Keep the Home Fires Burning and It's A Long Way to Tipperary. This gives a quick-slow-quick feeling to the arrangement which is through-composed and linked by transitional passages. The work ends with a section from Holst's 'The Planets' - Mars and I Vow To Thee My Country. 8 minutes / Date parution : 2022-10-12/ Répertoire / Brass Band ou Vents et SATB

Par SCHNEBEL DIETER. Durée: 25',/ Répertoire / I: Pour Cordes et Percussions - II: Pour Quatuor à

L?auteur-compositeur américain Cole Porter (1891-1964) est initié au piano dès son plus jeune âge. Plus tard il suit un cursus universitaire à Yale puis à Paris. Sa vie a suscité bien des commentaires. En 1918 il épouse Linda Lee Thomas. Le couple partage sa vie entre Paris Venise New York et Hollywood où Cole Porter se consacre à la composition de musiques de films. Le mariage est heureux en dépit de l?homosexualité notoire de Cole Porter. En 1937 il est victime d?un grave accident qui le laisse handicapé à vie. Cole Porter restera meurtri par cette expérience. Son épouse meurt en 1954. Quatre ans plus tard il est amputé de la jambe droite. Son appétit de vivre et saflamme créatrice s?éteignent. Il meurt en 1964.Cole Porter a composé de superbes chansons et comédies musicales dont certaines sont encore très appréciées de nos jours. Il suffit d?évoquer I?ve Got You Under My Skin ou Every Time We Say Goodbye. Sa musique a été reprise par de nombreux artistes : des crooners et grandes vedettes du jazz telles que Frank Sinatra Ella Fitzgerald et Oscar Peterson aux cantatrices Renée Fleming et Kiri Te Kanawa. Certains artistes pop notamment U2 ou Tom Waits ont également fait une incursion dans son riche répertoire.So in Love est une chanson romantique extraite de la comédie musicale Kiss Me Kate (1948).

L?auteur-compositeur américain Cole Porter (1891-1964) est initié au piano dès son plus jeune âge. Plus tard il suit un cursus universitaire à Yale puis à Paris. Sa vie a suscité bien des commentaires. En 1918 il épouse Linda Lee Thomas. Le couple partage sa vie entre Paris Venise New York et Hollywood où Cole Porter se consacre à la composition de musiques de films. Le mariage est heureux en dépit de l?homosexualité notoire de Cole Porter. En 1937 il est victime d?un grave accident qui le laisse handicapé à vie. Cole Porter restera meurtri par cette expérience. Son épouse meurt en 1954. Quatre ans plus tard il est amputé de la jambe droite. Son appétit de vivre et saflamme créatrice s?éteignent. Il meurt en 1964.Cole Porter a composé de superbes chansons et comédies musicales dont certaines sont encore très appréciées de nos jours. Il suffit d?évoquer I?ve Got You Under My Skin ou Every Time We Say Goodbye. Sa musique a été reprise par de nombreux artistes : des crooners et grandes vedettes du jazz telles que Frank Sinatra Ella Fitzgerald et Oscar Peterson aux cantatrices Renée Fleming et Kiri Te Kanawa. Certains artistes pop notamment U2 ou Tom Waits ont également fait une incursion dans son riche répertoire.So in Love est une chanson romantique extraite de la comédie musicale Kiss Me Kate (1948).

The composer writes:Pilgrim was inspired it will be no surprise to learn by reading Bunyan's Pilgrim's Progress - Vaughan Williams's great opera on the subject had fascinated me from its first performance yet it was a long time before I caught up with this essential item in any well-stocked library of English classics. It made a great impression not least because of its theme of a journey of self-discovery and a rediscovery or renewal of faith. These are ideas which have a strong interest for me not in religious terms but in their application to every aspect of human life (including great journeys) and this piece reflects my response in musical terms to this concern. The tempo of the whole piece which lasts about 18 minutes is basically slow. There are two quick episodes but these act somewhat like the trio sections of a classical scherzo save that the tempo relationships are inverted (the classical trios would have been slower not quicker) and the canvas is much larger being that of a single substantial slow movement. The form of the whole is perhaps fantasia-like rather than having any relationship to classical forms such as sonata or rondo - some motifs and themes are varied as the work develops and the opening chords are of primary importance throughout the work. There has been no attempt to convey any pictorial elements deriving from Bunyan's great book. There is however one feature which upon completion of the score struck me with some force which is that almost all the thematic material is essentially striving upwards - there is a constant upward movement (sometimes over a lengthy period) throughout the work. Pilgrim was commissioned by the Luton Music Club for the Raphael Ensemble with funds provided by the Eastern Arts Board and Bedfordshire County Council and is dedicated to the Luton Music Club. The first performance was given in Luton on February 10th 1997 and followed as part of a joint scheme by performances in the same week at the Music Clubs of Bedford and Leighton Buzzard.

Pentatonig. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Welsh Edition This volume closely follows the English Volume 1, substituting Welsh for English wherever words are used in speech or song. It should be used in conjunction with the English version, since only the sung and spoken parts are provided./ Répertoire / Voix, Flûte à Bec et Percussion