Tropus. Par SCHNEIDER ENJOTT. In this composition Schneider uses the famous words from the liturgy for Good Friday: “Darkness fell, and on the ninth hour Jesus called out with a loud voice: My God, why hast Thou forsaken me?” Here he draws on the earlier form of the “trope”, using what was a common device in composition in medieval times, inserted into already completed works as a sort of commentary. In this sense - making use of the post-modern principle of suggesting links across the ages - TENEBRAE makes reference to the motet “Tenebrae factae sunt” (Schott, C 51305) by Davide Perez (1711-1782), from which some melodic fragments have been taken and freely developed. An explosively contrived stylisation is set against the self-contained world of sound in the original piece./ Répertoire / Soprano, Violon et Orgue

Always known for their stylistic interpretation of standard, a cappella repertoire, here is a collection of 14 songs edited and realized by one of the greatest a cappella ensembles of all time. An IPA pronunciation guide along with translations and insightful performance tips are included. Songs include: Sing Joyfully, William Byrd / Choeur SATB

Melodien in Moll und in Zigeunermoll für Altblockflöte Gitarre ad lib.-Thomas Tallis' In Manus Tuas for SATB choir unaccompanied.

Par HAKIM NAJI. Cette fantaisie de forme lied, développe une mélodie expressive en mib mineur. Son rythme ïambique caractéristique est annoncé dès les mesures d'introduction de l'accompagnement pianistique obstiné. La partie centrale contraste par sa thématique diversifiée et sa mouvance tonale. Une réexposition serrée et tendue vers le registre aigu est dramatiquement interrompue avant la coda. Recueillies et harmoniquement denses, les dernières mesures résonnent comme un dernier souffle figurant le ' in manus tuas domine commendo spiritum meum ' (Ps. 31,6). / Niveau : 4 / Classique / Répertoire / Alto et Piano