Composed
by Gilles Binchois.
Arranged by Dusan
Bogdanovic. Score. Les
Editions Doberman-Yppan
#DO 1544. Published by
Les Editions
Doberman-Yppan
(DY.DO-1544).
ISBN
9782897963248.
The
present collection of the
twelve chansons by one of
the greatest French
15th-century composers
Gilles Binchois, was
originally conceived for
vocal upper voice over
two instrumental tenors.
In contrast to all the
other pieces, the last
two chansons were
arranged for either voice
and guitar or a guitar
duo.
Guitar and string quartet - Advanced SKU: DY.DO-1526 Composed by Stephen ...(+)
Guitar and string quartet
- Advanced
SKU:
DY.DO-1526
Composed
by Stephen Goss. Score
and parts. Les Editions
Doberman-Yppan #DO 1526.
Published by Les Editions
Doberman-Yppan
(DY.DO-1526).
ISBN
9782897963064.
Wynw
ood Walls draws on 9
artworks which lend their
titles to the 9 connected
sections of the quintet.
The music reflects and
amplifies my own
subjective responses to
the artworks.
The
movements are organised
in pairs, circling out
from a still centre –
No Woman, No Cry. The
title for this
centrepiece comes from
Chris Ofili’s moving
portrait of Doreen
Lawrence, the mother of a
teenager murdered in an
unprovoked racist attack.
As well as this specific
reference, the artist
intended the painting to
be read as a universal
portrayal of melancholy,
solace, and grief. The
two segments flanking No
Woman, No Cry complete
the central triptych.
Edward Hopper’s
Nighthawks explores
loneliness and isolation,
while Grayson Perry’s
#Lamentation is a
meditation on remembrance
and the transience of
life. In contrast to the
rest of Wynwood Walls,
the music here is dark
and
introspective.
I
want my time with you is
a giant neon sign
designed by Tracey Emin
for St. Pancras Station,
London. Selfie with
Sunflowers is an essay
written by Julian Barnes
about our
over-familiarisation with
Van Gogh’s iconic
sunflower paintings. The
music is sentimental,
bordering on schmaltz and
kitsch. Sunflower Seeds
and Infinity Room are a
pair of moto perpetuo
scherzos inspired by the
minimalist installations
of Ai Weiwei and Yayoi
Kusama respectively. The
opening section, Bathers
at Asnières, suggests
Seurat’s iconic
painting, while the
finale, Seurat’s
Bathers, evokes Howard
Hodgkin’s reworking of
the Seurat using a blaze
of vivid
colours.
The title
of the quintet is
borrowed from the Wynwood
art district of Miami –
an area characterised by
the hundreds of colourful
street murals which
decorate the walls of old
warehouses in the
neighbourhood. In
performance, the artworks
can be projected onto a
screen behind the
ensemble.
Trans
figured Life - Still
Life, Op. 165 (violin and
piano) - David
Braid
I am keen on
concise musical forms
such as Prelude and
Fugue, where there is one
clear straightforward
idea, followed by another
that is more involved and
developed.
In
keeping with that idea,
this work consists of two
distinct pieces, the
first - Transfigured Life
- aims to draw in the
listener with its quick,
dancing rhythm and
simple, melodic violin
part. It 'transfigures'
via a few short solo
piano interludes into
just two alternating
notes to end - which are
the core of the original
idea, now made clear by
clearing everything else
out of the
way.
The second
piece - Still Life -
retains its sense of
stillness through an
uncomplicated piano line
that gives lots of space
for the violin's
contrasting (but again
simple) part. As an
absolute, not
programmatic, piece the
title refers to the
atmospheric colour and
pacing only; it's up to
the listener to see
'Still life' of their
choosing in their own
mind.
A note on
performance: Despite
my reference to 'simple'
lines, and the work's
determined avoidance of
mainstream modernist
squeak - the work has
certain performance
challenges of phrasing
and ensemble that
requires considerable
skill and musicianship.
The work has had the
privilege of being
recently recorded by
violinist Ezgi
Sarıkcıoğlu and
pianist Rossitza
Stoycheva, and is
available on all major
platforms:
Guitar - Intermediate SKU: DY.DO-1522 Composed by Francis Bebey. Arranged...(+)
Guitar - Intermediate
SKU: DY.DO-1522
Composed by Francis
Bebey. Arranged by Ingrid
Riollot. Score. Les
Editions Doberman-Yppan
#DO 1522. Published by
Les Editions
Doberman-Yppan
(DY.DO-1522).
Francis
Bebey was born in Douala
in July 1929, into a
large family where his
father, a pastor,
struggled to feed his
children. But Francis had
the opportunity to go to
school. Admiring his
elder brother, Marcel
Eyidi Bebey, he educated
himself, distinguished
himself, and eventually
received a scholarship to
go and take his
baccalaureate in
France. We approached
the end of the 1950s when
he arrived in La
Rochelle. More than ever,
in this France where
Africans were looked at
with curiosity,
condescension, or
disdain, Francis relied
on his intellectual
resources. A diligent
worker, he obtained his
Baccalaureate, then moved
to Paris where he started
English studies at the
Sorbonne. One day, he
knew what truly attracted
him: he wanted to do
radio. Francis learned
his craft in France and
in the USA. After
working for a few years
as a reporter, he was
hired in 1961 as an
international civil
servant in the UNESCO
Information
Department. In
parallel, Francis had
always been drawn to
musical creation. His
very serious daytime
activity didnâ??t
prevent him from
frequenting jazz clubs in
the evenings. In Paris,
the Jazz, the trendy
music of that time, but
also rumba and salsa
attracted him. He
collected records and
attended numerous
concerts. With his
accomplice Manu Dibango,
Francis took the stage
and played
music. Francis liked
classical music since his
childhood. He grew up
listening to the cantatas
and oratorios of Bach or
Handel that his father
had sung in the temple.
He became passionate
about the guitar,
impressed by the Spanish
and South American
masters, and decided to
learn to strum the
instrument himself. He
started composing guitar
pieces, blending the
various influences that
flow through him with the
traditional African music
he had carried within
since childhood. His
approach captivated the
director of the American
Cultural Center (then
located in the
Saint-Germain
neighborhood of Paris),
who offered him the
opportunity to perform in
front of an audience.
Francis gave his first
guitar recital there
(1963) in front of a
mesmerized audience. His
first solo album was
released shortly
thereafter. Gradually,
Francis became recognized
as a musician and
composer. Several albums
of the African guitar
ambassador, as described
by the press, were
released. He also wrote
books, to the point that
his artistic career
became challenging to
reconcile with his career
as a civil servant. In
1974, even though he had
become the General
Manager in charge of
music at UNESCO, he took
the bold leap and
resigned from this
prestigious institution
to dedicated himself to
the three activities that
interested him: music,
literature, and
journalism. He
explored the traditional
musical heritage of the
African continent,
notably through the thumb
piano sanza, and the
polyphonic music of the
Central African pygmies,
or singing in his native
language and composing
humoristic songs in
French! Success
followed. Francis Bebey
traveled the world: from
France to Brazil,
Cameroon to Sweden,
Germany to the Carribean,
or Morocco to Japan...
the list of countries
where he was invited to
perform, gives lectures,
or meets readers is very
long. In addition to
public recognition, he
enjoyed the recognition
of his fellow musicians,
such as guitarist John
Williams or Venezuelan
Antonio Lauro, who
invited him to be a part
of the jury for a
classical guitar
competition in
Caracas. His life was
the journey of an African
pioneer, a man rooted in
his cultural heritage and
carrying a message of
sharing and hope for the
world. His originality
continues to vibrate
around the world since
his passing at the end of
May 2001.
I
composed Thracian Tale in
2024 for George Vassilev.
The title refers to the
people of Thrace who
lived in the Balkans and
more particularly in the
territory of present-day
Bulgaria. The piece is
composed in A-B-A form
and the language used -
as in most of my pieces -
is based essentially on
modes and rhythms from
Balkan music. It is
enriched with the use of
chromatisms, hemiolas to
vary the basic pulsation
as well as different
instrumental
techniques.
Composed
by David Leisner. Score.
Les Editions
Doberman-Yppan #DO 1521.
Published by Les Editions
Doberman-Yppan
(DY.DO-1521).
ISBN
9782897963019.
Dedi
cated to the luminary
Steve Cowan, …empty
mind, open heart… is a
four-movement suite that
centers around the
intervals of a fifth and
a tritone. Each movement
is inspired by a quote
from the Tao Te Ching by
Lao Tzu. The opening
movement is a meditation.
The aleatoric rhythms and
pacing of the notes are
guided by the breathing
of the performer,
according to specific
instructions in the
score. Out of that
atmosphere emerges a
fluid, serene series of
arpeggios in irregular
rhythms in the second
movement. Each new chord
changes only one or two
notes at a time in a
gradual evolution over
time. The third movement
is a study in rhythm,
sometimes dizzying. And
the piece ends with a
heartfelt, mostly quiet
soliloquy.
Guitar - Advanced SKU: DY.DO-1555 Composed by Stephen Goss. Score. Les Ed...(+)
Guitar - Advanced
SKU:
DY.DO-1555
Composed
by Stephen Goss. Score.
Les Editions
Doberman-Yppan #DO 1555.
Published by Les Editions
Doberman-Yppan
(DY.DO-1555).
ISBN
9782897963354.
Pier
rot, or Harlequin? (2023)
is based on stock
characters from the
Italian commedia
dell’arte tradition.
Columbina has a choice of
partner – Pierrot,
or Harlequin? Or maybe
she will select neither
of them. In this set of
triple variations,
Pierrot and Harlequin
compete for Columbina's
attention and favour.
Pierrot is deep, quiet,
thoughtful, and loving,
but sometimes
melancholic. Harlequin is
light-hearted, extrovert,
and fun to be with, but
somewhat shallow and
brash. Columbina herself
is coquettish, impulsive,
and unpredictable. How
will the story end
between these imperfect
characters? The performer
gets to select one of
three possible endings as
the piece nears its
conclusion. Pierrot,
or Harlequin? was
commissioned by the
International Guitar
Festival Homenaje 2023.
The premiere was given by
Giacomo Susani at Barco
Teatro, Padova, Italy, on
10th November
2023.
Pulso de la vida Guitare Guitare classique [Conducteur] Doberman
Guitar - Advanced SKU: DY.DO-1551 Composed by Yorgos Nousis. Score. Les E...(+)
Guitar - Advanced
SKU:
DY.DO-1551
Composed
by Yorgos Nousis. Score.
Les Editions
Doberman-Yppan #DO 1551.
Published by Les Editions
Doberman-Yppan
(DY.DO-1551).
ISBN
9782897963316.
PULS
O DE LA VIDA was composed
as part of my dear friend
Kostas Tosidis' doctoral
thesis with the title
Bowing technique on the
guitar. The character
of the piece changes from
simple and meditative to
rhythmic and
tension-filled,
reflecting different
stages of our
lives. Using a C, G, D
tuning for the bass
strings, the guitar
utilizes resonance to
create sustained,
cello-sounding melodies
on the fourth string,
complemented by harmonies
on the fifth and sixth
strings. The bowing
technique is introduced
with a continuous tremolo
accompanied by an
extended form of the
first theme. The more
dancelike and rhythmical
part of the piece uses a
19/16 measure that allows
us to experience a sense
of disparity.
Finally, the
simplicity combined with
a sense of completeness,
but also of abandonment
of the beautiful gift of
life, leaves us in a
state of stillness for
any kind of
introspection.
The first
movement, Aeolian Chant,
is based on a theme by a
friend of mine, (not a
musician!) and is
developed with some other
ideas in a
semi-improvisatory style
and features only
strings. I combined a
14th Century Italian
melody with an old
English country dance for
the second movement,
Double Dance, which
introduces the wind
instruments. The third
movement, Ballad, is here
revised from its original
version and now includes
the theme on clarinet
with guitar obbligato.
The last movement,
Toccata, is fast, but not
as difficult as it
sounds, which will appeal
to most players!
Guitar - Advanced SKU: DY.DO-1531 Composed by Atanas Ourkouzounov. Score....(+)
Guitar - Advanced
SKU:
DY.DO-1531
Composed
by Atanas Ourkouzounov.
Score. Les Editions
Doberman-Yppan #DO 1531.
Published by Les Editions
Doberman-Yppan
(DY.DO-1531).
ISBN
9782897963118.
The
piece Chronicles of
Thamyris was written at
the request of Greek
guitarist Sotiris
Athanasiou for his
recording project with
pieces based on Greek
mythology. I chose the
myth of Thamyris who was
a musician of Thracian
origin. In each movement
I imagined an episode of
this myth. The first
movement is composed as a
narrative. The second, as
the title indicates, is
the episode of the
competition between
Thamyris and the Muses.
In the third, according
to the myth, Thamyris
will become blind and
will break his lyre. The
last movement is an
imaginary dance from his
native Thrace.
The piece
Lamento et Rock Bulgarian
was written at the
request of the Ahn Trio
for a series of concerts
with guitarist Antigone
Goni. We would like me to
use the materials from
Bulgarian Rock originally
composed for cello and
guitar and make a new
version for violin,
cello, piano and guitar.
I added the slow part at
the beginning (Lamento)
because the Ahn Trio is
made up of three sisters
who had just lost their
mother. In Bulgarian Rock
there is a mixture of the
typically Bulgarian
11-beat rhythm (4+3+4)
with playing modes that
refer very largely to
rock music. The piece was
premiered at the Montana
Chamber Music Festival in
the USA on April 20,
2024.
