Description With the premiere in 1908 of Rapsodie Espagnole , Ravel?s first entirely orchestral composition, the French composer achieved renown as a highly original and imaginative composer. In 1911 he recast the Mother Goose Suite , his extremely successful work for piano four-hands as an orchestral work. Based on five fairy tales, among them 'Sleeping Beauty', 'Tom Thumb' and 'Beauty and the Beast', this collection continues to enchant listeners of all ages with its variety of moods. After a decade after its initial appearance as a piano work, Ravel transcribed his evocative Pavane For A Dead Princess for orchestra, now one of his best-known and most frequently performed compositions. These three rich orchestral settings are presented in full score in this authoritative edition. Songlist Mother Goose Suite Pavane For A Dead Princess Rapsodie Espagnole

Par PAUSET BRICE. 'Sleeping Beauty', one of the most famous of the Grimm Brothers' fairy tales, has been the object of numerous analyses, commentaries, and renditions of all sorts. Its motifs, typical of the genre (pact, numeral symbolism, destiny, curses, enclosed space) abound in the crude and concise text from the 1812 version, the one I chose from among the seven versions spanning 1812 to 1857. The themes of suspended temporality (the entire castle deeply asleep) and fragile beauty are less common, but musically very inspiring. The instrumentation being used (string quartet, double-choir and orchestra) is treated as a composite derived from opera. The principle theme is distilled in the solo string quartet, the double-choir is assigned the narration, while the orchestra is entrusted with numerous descriptive elements designed to transpose the real action: ascending the stairway, spinning, etc. Of course, specific situations will put this lovely construction into peril. In the context of my work on 'critical exegesis' with regards to the stage, this project is an attempt to create music that in itself satisfies a large number of the demands normally present in the operatic setting: characters, action, movement, singing, dramaturgy, scenography, décor, lighting, etc. It is not a question of inventing new metaphors, but rather, of managing to transcribe the phenomena used in the Grimm Brothers' fairly tale with purely musical classifications and objects, rich with associative images: thus a music of situations and phenomena, more than of representation. Two sections of the piece were already composed for double-choir in a preparatory form (Zwei Studien über Dornröschen composed in 2007). The whole, amounting to about 25 minutes, is divided into 9 'scenes' equivalent to the interpretations of transitional moments in the Grimm Brothers' story: 1. '...keine Kinder...' 2. die Feen 3. '...alle Spindeln abschaffen...' 4. '...ein Wunder von Schönheit...' 5. Der alte Turm 6. '...Eine alte Frau... 7. Stich und Schlaf 8. Dornen und Kuss 9. Die hohe Zeit / contemporain / Répertoire / Quatuor à Cordes et Orchestre

Based on the German fairy tale made popular by the Brothers Grimm in 1812, this piece is a musical depiction of the short story 'Rumpelstiltskin.' In addition to the original music in this work, the composer tips his musical hat with excerpts from Grieg's 'Morning Mood,' Wagner's 'Bridal Chorus,' and Brahms' 'Lullaby.' A delightful setting with several style and tempo changes that will capture the imagination of one and all! (2:45) / Orchestre D'Harmonie

Par ZIEGELBACK ANDREAS. Bleak Forest is a piece for smaller concert bands and offers the musicians above all space to improve their sound and their effect playing. The technical requirements are therefore deliberately kept low. With this piece, the composer won the VLAMO International Composition Contest 2022. Thematically, the work is influenced by the composer's childhood memories. In his hometown there was a dark and mysterious forest, that seemed to the children in the small village to be magical. Without a reasonable explanation, every trip into the woods was exciting and somewhat terrifying. There were tales of dangerous animals, which can be heard at the beginning of the piece, as well as magical beasts. The magic of the forest is depicted musically from bar 70 in the andante section. The snapping of the fingers represents single raindrops. From bar 99 onwards, we hear the trek home, with the occasional moments of trepidation as the children spook each other with their fanciful tales. In the end, though, we arrive safely at home because after all, magical beasts only exist in fairy tales… don’t they? Andreas Ziegelbäck studied music education at the Mozarteum University in Salzburg, and history at the Paris Lodron Universität, Salzburg. In addition to his studies, he trained in ensemble conducting for wind orchestra with conductor and composer Thomas Doss. It was Doss who sparked Ziegelbäck’s interest in composing. In 2021, Andreas Ziegelbäck completed his composition studies with Johannes Maria Staud. In 2020, he took part in a brass band composition masterclass in Bern with Oliver Waespi, followed by a premiere by the Swiss Army Brass Band. / Date parution : 2023-10-31/ Répertoire / Concert Band / Harmonie