SKU: BT.MUSM570366453
English.
'Brice Catherin, a cellist and a composer exploring the notion of the one-man-band concept, commissioned this work; this composition was subsequently the result of our collaboration. My aim has been to create a work where the cellist produces sounds using his full body: his hands (employing a variety of extended techniques on the Cello and external objects), his feet, his mouth (singing and playing the harmonica and flexible tube) and even his face on one occasion to muffle the strings. There are two central themes in the work: virtuosity and theatre, both strong, frequent features of my compositional oeuvre. After several meetings and experimentation with Brice, I chose asetup that enhances the musical scope without visually cluttering the stage. I am also using a rather unusual scordatura that not only changes the timbre of the instrument itself, but also helps create unique soundscapes that blend together with the sounds from the spring drums, the human voice (whistling, groans and other effects), a singing bowl, a harmonica and a flexible tube among others. The work is entitled Emmelia and there are two reasons for this: Emmelia derives from the prefix en (in) and the noun melos (harmony), thus meaning in harmony. The composition is structured and developed in clearly defined sections (noisy, harmonious, distorted, etc.), based on information revealed by a spectral analysis of an F1 spectrum on the cello (tuned a fifth below low C), played and recorded using a variety of attacks and triggering objects and methods. Emmelia is also the name of my baby daughter, who has been my constant inspiration since she was born.' - Evis Sammoutis.
SKU: BA.BA11043
ISBN 9790006543229. 33.5 x 25.5 cm inches.
Manfred Trojahn on the origin and title of his impressive virtuoso solo work:Admittedly I do not know if he had seagulls, but since Mendelssohn was born in Hamburg, he will not have gone through life without at least the impression of the cry of seagulls. Nor do I know if seagulls played any part in his life in Rome. I myself was astonished when, one or two years ago in the Villa Massimo, I was, not exactly annoyed but disturbed by the strong rhythmical cry of seagulls. I was just about to write a bassoon solo when the seagulls started. Then the idea came to me that precisely this sequence of notes could serve as the basis of the work. And the sequence for the bassoon solo is, in turn, the basis of the piece for violoncello - this is how titles are born... Of course the violoncello meanders with virtuosic ease from the seagull motif to the 'elf-like' skittering brought to music by Mendelssohn and used time and again in his compositions, finally becoming a cabaletta. Now, cabalettas are not very representative of Mendelssohn, but as I was composing I definitely wanted to put a cabaletta in this passage. I am sure Mendelssohn and I will easily agree on this, especially since later justice is done to him in the rapid passages and, of course in the tonal cadenza at the very end, which is more indicative of his time than of mine ... isn't it?
SKU: HL.48186421
UPC: 888680831660. 9.0x12.0x0.08 inches.
“Born in 1961, French composer Nicolas Bacri began learning the piano at age seven before entering the Paris Conservatoire. Bacri's career has seen him winning many prizes for his compositions and with Melodies of Melancholy composed as recently as 2012, he remains a prolific composer. Bacri's catalogue contains a wide variety of compositions, from 8 String Quartets to 6 Symphonies. Melodies of Melancholy for Soprano and Piano, Opus 119a, is made up of four songs using the lyrics of Alvaro Escobar Molina, a Colombian writer who currently resides in Paris. The songs are; 1) To the Sea, 2) Hush, my Child, 3) Some Say, and 4) Only. With the volume beginning with the lyrics in French, English, German or Spanish, Bacri's Melodies of Melancholy is highly versatile and makes for an exciting performance work for advanced Sopranos.â€.
SKU: HL.14010203
Piece for solo cello is in three sections. The work starts with an almost inaudible tremolo on a low E and then states a few motifs which are repeated and developed throughout, in a fragmented manner and appearing in different orders. The music returns to a loud low tremolando E at the end, and once again fades into nothing. Piece was written in 1970 and first performed by Thomas Igloi at the Holborn Public Library, London, that year. The work was revised in February 2021.
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