for soprano, flute, clarinet, saxophone, violin, violoncello and piano. Par PECOU THIERRY. If a chanson is combined with a birthday celebration (in this case, that of the Ensemble Utopik who commissioned this new work), this inevitably brings back scenes of childhood. For me, Adieu Madras conjures up memories of the homeland of my family, and in particular Henri and Jacqueline Salvador whose wonderful TV programmes I watched during the 1970s. It is without doubt thanks to Henri Salvador’s wonderful interpretation that this old chanson from Martinique, dating from the late eighteenth century and almost a national anthem both in Martinique and Guadeloupe, has also gained such popularity in France. Thierry Pécou/ Répertoire / Soprano, Flûte, Clarinette, Saxophone, Violon, Vio

Pour Piano. Par PECOU THIERRY. These seven settings for piano solo, like the original chamber music cycle, are evocative of the unscrupulous period of the slave trade: 'For me, the meaning of this work lies in the lasting remembrance, the reverent ceremony, not solely the emotionalism and contemplation of the prayer, but contemplation of the mind. Beyond the confines of memory, I would like to express the inconceivable, but in the greatest possible concentration without effects and dramatisation, like “a mute tocsin bell”. (Thierry Pécou) / Niveau : 6 / Date parution : 2016-11-20/ Répertoire / Piano

Par PECOU THIERRY. Le Jardin de lumière wurde für Catherine Brisset und ihr ungewöhnliches Instrument, die Cristal Baschet, geschrieben. Dieses Instrument, eine Art erweitere Glasharmonika, wurde von den Gebrüdern Baschet im Jahre 1952 entwickelt. Von Beginn an waren mehrere Versionen des Stücks geplant, zunächst für Violine und Cristal Baschet, dann Violine und Klavier, Flöte und Klavier sowie Flöte und Cristal Baschet. Inspiriert ist der Lichtergarten von Thierry Pécous Freundschaft zu Pascal Cibier, einem Gärtner und Landschaftsarchitekten. / Niveau : Avancé / Répertoire / Violin ou Flûte et Piano

for three flutes and pre-recorded sequences. Par PECOU THIERRY. / Répertoire / 3 Flûtes et Séquences pré-enregistrées

This work is part of a cycle of five short pieces for a single instrument and piano, focused on the five ages in the cosmogony of Ancient Mexican civilisation. The peoples of the Mexican highlands believe that time follows specific cycles and that the world was created following the pattern of 'trial and error'. The creation of the world is divided into several periods which are termed 'suns' (we are currently living in the fifth phase named 'Ollin'). Each period will be brought to an end through a natural catastrophe.Solei-Feu refers to the first attempt to create a world out of a rain of fire (nahui quiahuitl).The element of fire is reflected in the musical soundscape of this work, constructed from rampant, rhythmic motifs, fragmented splinters, spinning upswings and impacts reverberating through space. An intimate dialogue develops between violin and piano on the basis of extremely simple figures. Interconnecting lines and dense musical material are thrown against each other in a play of contrasting registers and blended tonal colouring, creating a mysterious and disturbing mythological universe coloured by its ontological pessimism. Thierry Pécou / Violon Et Piano

Written for the timpanist Philippe Serra, this work is reminiscent of North American Indian tribal dances. The pulsation – relating to the earth and the landscape and, naturally, also to the circle (a symbol itself for the points of the compass and the cycle of life) – sets the character of the music, which exploits the sonic possibilities of the instrument as well as the evocative force of the pulsing beat itself on the timpani. Thierry Pécou / Percussion / Schott

Sortie en 2011, cette partition qui a pour titre Lolohi et pour auteur Pécou Thierry sera idéale pour tous les amateurs de Flûte à bec. Unique par son ISBN 9790043087281 elle est à classer dans la catégorie Classique / Flûte A Bec / Partition

This diptych consists of two brief contrasting movements which however have a common focus on the amalgamation and fusion of tonal colour in the three instruments.The harmonic foundations of the first movement are provided by ring modulation spectrums although these are also based on equal-tempered tuning in semitones. In the manner of a deep intake of breath, life is breathed into the first movement through numerous clashes, contrasting registers and runs at lightning speed.The second movement has an unmistakable focus on tonal colouring and the concept of echo and reverberation complemented by simple acoustic effects, unfolding a substantially extended tonal spectrum in continuation of the first movement. / Flûte, Violoncelle Et Piano