Michael Daugherty à propos de Raise the Roof:Raise the Roof est inspiré par la construction de grands merveilles architecturales comme la cathédrale Notre-Dame (1345) à Paris et le EmpireStateBuilding (1931) à New York. Je crée une construction à queue acoustique en apportant les timbales au premier plan et de donner le timbalier la rare opportunité de jouer de longues mélodies expressives, et une cadence tour de force. Je intégrer une grande variété de techniques de jeu de timbales: utilisation intensive de pédales pour le réglage mélodique de la batterie, le placement d'une cymbale à l'envers sur la tête de la plus basse à jouer du tambour rouleaux glissandi, et frappant des tambours avec des maillets réguliers, brosses métalliques , bâtons de Maraca, et les mains nues, même.Soulever le toit est sous la forme d'une double variation. Le premier thème de la double variation, joué d'abord par le tuba, est présenté dans diverses formes de timbre et rythmiques comme 'guaguanco'. Le deuxième thème de la double variation, d'abord entendu dans les flûtes et puis les timbales, n'est pas sans rappeler un plain-chant médiéval. Les deux thèmes sont passés autour des canons et fugues et les permutations d'autres tout au long de l'ensemble pour créer des motifs complexes, comme dans une cathédrale gothique. Raise the Roof s'élève vers un crescendo de polyrythmies urbaines et les contrastes dynamiques, permettant aux timbales et l'orchestre d'harmonie pour créer une construction à queue acoustique. ' / Timbales

Par STEFANELLI MATTHIEU. Composée entre 2019 et 2020, cette oeuvre est un hommage à la cathédrale Notre-Dame de Paris. Suite à l'incendie, le titre m'est apparu comme une évidence à la vue des premières images à l'intérieur de l'édifice et m'a tout de suite donné l'envie d'écrire une composition à son sujet : les rosaces avaient totalement survécu à la catastrophe, intactes, et des faisceaux lumineux les traversaient pour éclairer la statue de la Vierge et l'enfant. J'ai imaginé 7 mouvements ponctués par 3 carillons pour retracer les moments forts de l'histoire de la cathédrale : l'Ecole de Notre-Dame et Pérotin, la Forêt, les grandes orgues, mais aussi l'incendie, la chute de la flèche. La pièce se clôture avec une vision paradisiaque des rosaces sur un choral réconciliateur de Mendelssohn extrait de l'oratorio Elias. Matthieu Stefanelli/ Répertoire / Quintette avec Piano

Par VILLETTE PIERRE. With music composed by Pierre Villette, O Salutaris, Op. 21 is a an Eucharistic hyhmn written for the Feast of the Corpus Christi, for SATB choral a cappella. Dedicated to Jules Lambert, director of 'La cantate' in Rouen, this religious piece is very lyrical and melodious. Written in Latin, this piece necessitates being sung at a slow tempo (58), including three principal verses and finishing with the voices in harmony. It is mainly used for the Adoration and the Blessed sacrament. Pierre Villette (1926-1998) was a French composer of choral and instrumental music. Strongly influenced by Catholicism, his musicalheritage ran from Faure to Messiaen. / Musique religieuse / Répertoire / 4 Voix Mixtes a Cappella

Olivier Messiaen (1908-1992) is known for his unique composition style. Incorporating complex rhythms harmony melodies and his passion for ornithology his Opera  Saint Francois D'Assise is no exception to the composer's popular distinctive style. Composed between 1975-1983  Saint Francois D'Assise displays the composer's devout Catholicism. The work is in three acts and eight scenes and both the music and libretto were written by Messiaen. Saint Francois D'Assise incorporates Messiaen's popular compositional techniques such as his modes of limitedtransposition uses of leitmotifs use of birdsong and an instrumentation for a huge orchestra. This piece also makes use of the composer's synesthesia. Saint Francois D'Assise is essential to all advanced Opera companies seeking to address a modern and varied performance work.

Pour Choeur Mixte A Cappella-In 1936 attempting to overcome his reputation for musical flippancy Poulenc began studying the motets of Montverdi with Nadia Boulanger. Around the same time his close friend and contemporary Pierre Octave Ferroud had died. Amidst this personal crisis Poulenc was led back to the Catholicism of his youth and this confluence of spiritual and musical interests led him to compose the Messe en Sol Majeur (Mass in G). Available here is the vocal score for SATB Choir a cappella.

Olivier Messiaen (1908-1992) is known for his unique composition style. Incorporating complex rhythms harmony melodies and his passion for ornithology his Opera Saint Francois D'Assise is no exception to the composer's popular distinctive style. Composed between 1975-1983 Saint Francois D'Assise displays the composer's devout Catholicism. The work is in three acts and eight scenes and both the music and libretto were written by Messiaen. Saint Francois D'Assise incorporates Messiaen's popular compositional techniques such as his modes of limited transposition use ofleitmotifs use of birdsong and an instrumentation for a huge orchestra. This piece also makes use of the composer's synesthesia. Saint Francois D'Assise is essential to all advanced Opera companies seeking to address a modern and varied performance work.

Hier Liegt Vor Deiner Majestät. Par HAYDN JOHANN MICHAEL. Although the music of the younger Haydn brother was highly regarded by his contemporaries, his music was forgotten in the 19th century and still waits to be rediscovered. One of his more well-known works is the central piece on the present CD, the German Mass “Hier liegt vor deiner Majestät” MH 560 [Here before thy majesty], a work which is musically the epitome of south-German/Austrian Catholicism and which to this day is still a part of church music practice in this region. / Messe / Répertoire / Choeur SATB, 2 Clarinettes (2 Violons), 2 Bassons,

Hier Liegt Vor Deiner Majestät. Par HAYDN JOHANN MICHAEL. Although the music of the younger Haydn brother was highly regarded by his contemporaries, his music was forgotten in the 19th century and still waits to be rediscovered. One of his more well-known works is the central piece on the present CD, the German Mass “Hier liegt vor deiner Majestät” MH 560 [Here before thy majesty], a work which is musically the epitome of south-German/Austrian Catholicism and which to this day is still a part of church music practice in this region. / Messe / Répertoire / Choeur SATB, 2 Clarinettes (2 Violons), 2 Bassons,

Hier Liegt Vor Deiner Majestät. Par HAYDN JOHANN MICHAEL. Although the music of the younger Haydn brother was highly regarded by his contemporaries, his music was forgotten in the 19th century and still waits to be rediscovered. One of his more well-known works is the central piece on the present CD, the German Mass “Hier liegt vor deiner Majestät” MH 560 (Here before thy majesty), a work which is musically the epitome of south-German/Austrian Catholicism and which to this day is still a part of church music practice in this region. / Messe / Répertoire / Choeur SATB, 2 Clarinettes (2 Violons), 2 Bassons,

Hier Liegt Vor Deiner Majestät. Par HAYDN JOHANN MICHAEL. Although the music of the younger Haydn brother was highly regarded by his contemporaries, his music was forgotten in the 19th century and still waits to be rediscovered. One of his more well-known works is the central piece on the present CD, the German Mass “Hier liegt vor deiner Majestät” MH 560 [Here before thy majesty], a work which is musically the epitome of south-German/Austrian Catholicism and which to this day is still a part of church music practice in this region. / Messe / Répertoire / Choeur SATB, 2 Clarinettes (2 Violons), 2 Bassons,

With a CD of Performances-Designed for Piano students and their teachers as well as for professional pianists Claude Debussy: Seven Favorite Pieces offers insightful interpretive suggestions pertinent fingering and historical and stylistic commentary. Prepared by renowned artists/teachers these publications provide an accurate well-informed score resource for pianists.This edition includes Clair De Lune La Cathedrale Le Petite Negre and more.

Jan Van der Roost received the commission for this work from the ?Orchestre d?Harmonie du Val d?Aoste? and dedicated the composition to Lino Blanchod the conductor of the orchestra. The first performance was on 26th January 1997 by the orchestra itself and under the direction of the composer. This extensive symphonic poem depicts the atmosphere and history of the autonomous French speaking region ?Val d?Aoste? in northern Italy and is meant as a musical homage to the historical figure Cathérine de Challant.The opening of this piece describes the rugged nature of this region dominated by Mont Blanc the roof of Europe. A brief combative passage conjures up the numerous warsfought here through the ages later expanding into a surprising ?Renaissance Dance? with an original and fitting recorder quartet. A broad lyrical theme portrays the love that has always played an important role here. After recapturing several of the earlier themes the piece closes with the renaissance dance this time played by the brass. A spectacular finale brings this symphonic poem to a close.

Dans son orgue Symphonie #8 ' In Memoriam ', suite à une idée de l'organiste cathédrale Silvius von Kessel d'Erfurt (et dédicataire de le oeuvre), acteur Schneider exploite où Anton Bruckner laissé, traite des thèmes issus Symphonie #8 de ce dernier variatively et contraste à la ' Haus-Choral des Erfurter Doms ', ' Wachet auf, ruft uns die Stimme'. Matériau de Bruckner est utilisé comme point de départ et développée par Schneider en quatre mouvements : assez, le mouvement initial est généralement appelé 'Metamorphosen' avant la création d'une atmosphère presque étrange dans un ' Scherzo sinistro '. Finalement, la série de douze-note (dans le troisième mouvement), intégrée dans une humeur transcendantale, se développe en la chorale qui, maintenant comme thème principal de la finale, fusionne avec des moments stylistiques de Bruckner et mène à une magnifique fin - une pièce musicale passionnante et vibrant. / Orgue

 Cette 'Petite Suite liturgique' fut comosée en septembre 2011 par Félix Moreau, alors organiste titulaire de la cathédrale de Nantes, Plusieurs de ses élèves demandaient pour le culte des pièces d'orgue courtes, de style actuel, assez faciles et sans pédale, 'Je me suis efforcé d'écrire pour orgue 7 verstets ou interludes brefs, sans pédale et dans le style tonal et atonal', Félix Moreau - Petite pastorale (00:50)- Récit de cornet (01:00)- Prière (02:00)- A la manière d'une passacaille (02:00)- Monodie (02:00)- Choral (02:00)- Prélude Paraphrase sur l'Introït de la fête de la Pentecôte (02:00) / Orgue