Movement 2: Happy Voices Fuga for Orchestra. Par TREDICI DAVID DEL. Les notes du compositeur: and ldquo - Child Alice a été conçu comme une continuité unique... les divers extraits peuvent être effectuées séparément. Options incluent : partie II de l'enfant Alicemay être joué sans partie I * événements pittoresques (no 1) et Happy Voices (no 2) peuvent être joué comme une unité * Quainty événements peut être joué séparément * Happy Voices peut être joué séparément * tous les après-midi de Golden peut par joué séparément. and rdquo -/ Répertoire / Soprano et Orchestre

Fl I, Fl II, Hautbois I, Hautbois II, Clarinette (2), Basson (2), Hrn (2), Vl I (2), Vl II (2), Alto (2), Violoncelle (2), Cb (2)/ Recueil / Soprano et Orchestre

Par RODRIGO JOAQUIN. Détails de la formation instrumentale: 2 (2. auch Picc.) · 1 · Engl. Hr. · 1 · 1 - 2 · 2 · 0 · 0 - S. (kl. Tr.) - Hfe. · Cel. - Str. - Durée: 12' -/ Répertoire / Soprano et Orchestre

Par TIPPETT MICHAEL SIR. Détails de la formation instrumentale: 3(3pic).2.ca.3 (Ebcl/bcl).2.cbn-4.2.3.1- 7perc(sn.dr., t.d., b.d., clashed cym., large sus.cym., w.bl., cast., tri., xyl., vib., glock., crots., bells - plus single G on separate stand, claves, 3 anvils (high, medium, low))-2hp.cel.eorg-Strings - Durée: 25' - Langue: English -/ Répertoire / Soprano et Orchestre

Par TIPPETT MICHAEL SIR. Détails de la formation instrumentale: 3(3pic).2.ca.3 (Ebcl/bcl).2.cbn-4.2.3.1- 7perc(sn.dr., t.d., b.d., clashed cym., large sus.cym., w.bl., cast., tri., xyl., vib., glock., crots., bells - plus single G on separate stand, claves, 3 anvils (high, medium, low))-2hp.cel.eorg-Strings - Durée: 25' - Langue: English -/ Répertoire / Soprano et Orchestre

A work for Soprano Woodwind 2 Horns and Strings.Duration: circa 15 minutesProgramme Note: 'This work was commissioned as a possible companion piece to Mozart?s Exsultate Jubilate and the decision was quickly made to write something as a complete contrast. The poems chosen one anonymous from the early 16th century the other two by the famous Scottish poet William Dunbar [1460? 1513?] describe the promise of salvation after life?s dark passage. Each of the three poems echo this thought: ?In celum ther is joy with Thee? ?A short torment for infinite gladness? and ?Since erdly joy abides never Work for the joy thatlastès ever?. Thus in each poem the poet can overcome the fear of his inevitable death with the certainty of salvation: this work also has its ?dark? moments but the overall mood is one of calmness and peace. As with the words there are several musical motives that link the three songs. The musical motive for the refrain ?Terribilis mors conturbat me? in the first macaronic poem [also a salute to Mozart since the Exsultate is in Latin] returns a little higher and more despairingly in each verse until the last verse where it is played a whole octave higher. This motive reappears [played mostly by the oboes] in the last song but now the pitch of each repeat goes in reverse that is from high to low. The famous motive of the Gregorian chant Dies Irae [representing death] is used to accompany the prayer of the second song. A musical motive for the joy of Paradise appears in the second song ?A free choice given to Paradise or Hell?. There is also a ubiquitous 3-note chordal cluster which is used to illustrate the words: sometimes as a colour and