Basic information
| Composer |
Mantovani, Bruno |
| Duration |
12 min. |
| Year of composition |
1999 |
| First performance (year) |
2000 |
| First performance (venue) |
Festival Pontino |
| First performance (performers) |
Ensemble Alternance |
| Submitter |
TM+ |
| Publisher |
Editions Henry Lemoine |
| Conductor |
Obligatory |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 1 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Flute |
1 |
C
|
|
| Clarinet |
1 |
E-flat soprano
|
|
|
Musicians |
Instruments |
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
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Equipment |
| Sound electronics |
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| Visuals |
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Notes
| Programme notes |
« J’éprouve régulièrement le besoin d’écrire des œuvres ludiques, caractérisées par un discours musical hétéroclite et discontinu. Souvent composées en quelques jours, ces pièces sont des divertissements propices à l’expérimentation, dans lesquelles je laisse agir mon inspiration de façon intuitive, sans tenter de la canaliser très strictement. L’intégration d’éléments issus de répertoires populaires à mon langage musical « naturel » est alors un moyen de créer la diversité, d’accentuer l’atmosphère extravertie de l’œuvre, de bâtir une dramaturgie jouant sur la référence. Après Jazz connotation qui reprenait la structure d’un standard et qui renvoyait à l’improvisation, après Le Grand jeu qui unissait des sons de synthèse granulaire et des « patterns » rythmiques issus du funk, D’un rêve parti tire son matériau musical de la techno (comme l’indique le jeu de mots contenu dans le titre).
Pourtant, la référence est explicite uniquement dans la seconde moitié de la pièce. Tout le début de l’œuvre met en place les conditions dune coda inspirée par les synthétiseurs des années 70, si prisés par les disc jockeys d’aujourd’hui. En commençant par une superposition rythmique complexe, irrationnelle, la pièce crée un déséquilibre qui trouvera sa résolution dans les emprunts à la techno (pulsation régulière, imitation des boîtes à rythme par des modes de jeu spécifiques…). Ainsi, l’intrusion dune « musique connotée » dans le discours dépasse-t-elle le simple fait anecdotique ; la référence joue alors un rôle formel : elle est une conséquence de la proposition musicale initiale, et non un matériau étranger à mon style.
D’un rêve parti est dédié à Jean-Luc Menet. »
Bruno MANTOVANI
|
Letters to the Ocean
version for decet
Basic information
| Composer |
Bruun, Peter |
| Duration |
16 min. |
| Year of composition |
2006 |
| First performance (year) |
2006 |
| First performance (venue) |
Benaroya Hall, Seattle |
| First performance (performers) |
Seattle Chamber Players |
| Submitter |
Esbjerg Ensemble |
| Publisher |
Edition Wilhelm Hansen |
| Conductor |
Obligatory |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Flute |
1 |
C
Piccolo
|
|
| Clarinet |
1 |
B-flat
Bass
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
Glockenspiel
Tom-Toms
Other
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| Other instruments and playing techniques |
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Equipment |
| Sound electronics |
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| Visuals |
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Notes
| Programme notes |
Breve til Havet skrev jeg i 2006 til ensemblet Seattle ChamberPlayers, som uropførte det i Seattle. Det er oprindelig skrevet for fem instrumenter, men til denne lejlighed har jeg lavet en ny version, hvor hele ensemble MidtVest medvirker. Og det er altså første gang, at den version bliver spillet.
Der er to forfattere, som har inspireret mig meget, og begge spiller en rolle i dette stykke.
Sammen med forfatteren Ursula Andkjær Olsen skabte jeg i 2002 musikteaterforestillingen "Miki Alone - 7 sange for en gal kvinde" og siden har Ursulas lyrik været en stor inspirationskilde for mig. I en af sangene fra "Miki Alone" står der: "man kunne skrive et brev til havet, og bede det lægge sig....". Dette med "et brev til havet", synes jeg, er en rigtig flot tanke. Og da jeg skulle skrive et stykke til ensemblet i Seattle kom jeg til at tænke på det. - Hvem véd, måske fordi der er meget hav imellem Danmark og Seattle...selvom der nok egentlig er ligesåmeget land...måske bare fordi jeg alligevel altid har gået med den tanke om "breve til havet" i baghovedet.... Så stykket til Seattle ChamberPlayers skulle være en række satser - det blev til fire satser - som var "breve til havet". Men der ligger i øvrigt ikke andet i den titel - det er ikke musik om havet, eller musik der skal ligne havet eller sådan noget. De fire satser tegner et langt forløb, hvor "hovedsatsen" nok er den lange anden sats. Første sats er en række pulserende, rytmiske afsnit med et mellemspil med nogle melodiske elementer fra de senere sats. Anden sats - den længste - bygger på en kontrast mellem lyriske, melodiske passager og abrupte mere "krasse" rytmiske passager. Tredje sats er en langsom udvikling af en klang. I sidste sats "påkalder jeg" den anden af mine yndlingsforfatter, den engelske poet Gerard Manley-Hopkins. Manley-Hopkins er vel nærmest en engelsk B.S. Ingemann... Han skriver en utrolig sanselig, naturbetonet poesi, altid med et religiøst, kristent indhold. Til en af hans tekster har jeg skrevet en sang - oprindelig i et meget enkelt arrangement for guitarspillende sanger (eller syngende guitarspiller..). Sangen hedder "Heaven-Haven" - "Himmel-Havn". Og jeg synes, det var meget passende at slutte "Breve til Havet" i "Himmel-Havnen". Sangen er ikke lang, og jeg kan synge den for jer nu...
|
| Additional notes |
Commissioned by Seattle Chamber Players.
|
Ständchen
Basic information
| Composer |
Sørensen, Bent |
| Duration |
11 min. |
| Year of composition |
2006 |
| First performance (year) |
2007 |
| First performance (venue) |
Berlin, Germany |
| First performance (performers) |
Berliner Philharmonie and Scharoun Ensemble |
| Submitter |
Esbjerg Ensemble |
| Publisher |
Edition Wilhelm Hansen |
| Conductor |
Obligatory |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Double-bass | 1 | 4-string | |
|---|
| Clarinet |
1 |
E-flat soprano
B-flat
|
|
| Bassoon |
1 |
Bassoon
|
|
| Horn (F) |
1 |
|
|
| Other instruments and playing techniques |
| The clarinetist + 'Oceandrum'. The bassoonist and cornist + 'pebbles/gravel/basin' + 'claves'. |
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Equipment |
| Sound electronics |
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| Visuals |
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Notes
| Programme notes |
I once played the clarinet. I was not very good at it; but my clarinet playing has left a love for that part of the classic chamber music repertoire in which the clarinet participates – Mozart’s Quintet, Serenades and Divertimenti, Beethoven’s Septet, Schubert’s Octet etc. “Ständchen is my odd salute to this repertoire.
It is written for 8 instruments, equal to the Octet by Schubert.
“Ständchen is filled with what could be called effects (feet on pebbles, hands rubbed together, humming, use of percussion instruments) but which never should be grasped as effects, and are melted into the classical form – a serenade in (until now!) four movements.
All the movements of “Ständchen” are built upon small songs. Planning this work I accidentally saw some beautiful anonymous poems and I set the poems to music in simple melodic lines. After that they went through my musical wringer! Even after this, traces of these small songs are still audible – most clearly in the second movement where the horn is singing:
“Even the moon each time it rises is young
What will become of my body so full of years?”
I am sure that “Ständchen” is also about water. - Steps towards water – “Auf dem wasser zu singen”!
The first three movements were written for Scharoun Ensemble and commisioned jointly by Eleanor Eisenmenger and the Scharoun Ensemble with support from The Danish Arts Council.
The fourth movement – an almost classical Menuet with a Trio – is dedicated – as a hommage - to Warsaw Autumn Festival for the 50th jubilee edition in 2007.
|
| Additional notes |
Commissioned by Eleanor Eisenmenger, Scharoun Ensemble.
|
Ictus
Basic information
| Composer |
Olsen, Morten |
| Duration |
23 min. |
| Year of composition |
2005 |
| First performance (year) |
2005 |
| First performance (venue) |
Vestjysk Musikkonservatorium, Esbjerg, Denmark |
| First performance (performers) |
Esbjerg Ensemble and Roger Montgommery (cond) |
| Submitter |
Esbjerg Ensemble |
| Publisher |
Edition Samfundet |
| Conductor |
Obligatory |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Double-bass | 1 | 4-string | |
|---|
| Flute |
1 |
C
G alto
|
|
| Oboe |
1 |
Oboe
Cor anglais
|
|
| Clarinet |
1 |
B-flat
Bass
|
|
| Bassoon |
1 |
Bassoon
|
|
| Horn (F) |
1 |
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
Crotales
Marimba
Vibraphone (F3)
Cymbals
Tamtam
Other
|
| Keyboard |
1 |
Piano
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| Other instruments and playing techniques |
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Equipment |
| Sound electronics |
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| Visuals |
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Notes
| Programme notes |
Ictus er komponeret til Esbjerg-ensemblet. Ictus betyder egentlig (gentagen) accent men hentyder også til hjerteslaget, der i nærværende værk er den meget lange rytme der som en slags dna streng går gennem værket. Efter at have færdiggjort værket læste jeg ved en tilfældighed digteren Peter Christensens digt Ictus, og fandt i det et sådant sammenfald med musikken at jeg synes det udgør en bedre introduktion til værket end den sædvanlige tekniske programnote.
Ictus
I de lang linjer vi altid tegner
i et ukendt ansigts rasende nerve,
genkender du ikke mere end dét
der begynder hvor alting hører op:
at vi hviler ud i kaotiske undtagelser
og stærke, blufærdige spørgsmål om en glemsel
der gentager sig selv
som en gestus
til dét ingen ejer og nogensinde skal møde:
hvor én begynder og en anden giver op
at lade nåde gå for ret
som kærlighed
i de brudte rytmer der aldrig hører op
Gengivet med tilladelse af forfatteren og Borgens forlag.
|
Four Dances in One Movement
Basic information
| Conductor |
Obligatory |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Double-bass | 1 | 5-string | |
|---|
| Flute |
1 |
C
Piccolo
|
|
| Oboe |
1 |
Oboe
Cor anglais
|
|
| Clarinet |
1 |
B-flat
A
|
|
| Bassoon |
1 |
Bassoon
|
|
| Horn (F) |
1 |
|
|
| Trumpet |
1 |
C
|
|
| Trombone |
1 |
Tenor
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
Chimes
Glockenspiel
Vibraphone (F3)
Tamtam
Other
|
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
|
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Equipment |
| Sound electronics |
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| Visuals |
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Notes
| Programme notes |
The piece, which was commissioned and premiered by The London sinfonietta, is a multi-emotional display for virtuoso ensemble, and "entertainment" in four contrasting moods: "Whispering" - "Rocking" - "Ecstatic" and "Extravagant". The nervous distant trembling of the first dance is later on whipped into extremely direct and muscular proportions in the last, and the mellow tunes introduced by the second dance "Rocking" form the principal melodic scaffolding of the remainder of the composition, in fierce competition with a horn- and trombone fanfare thrown in immediately at the start of the fast and spiky third dance "Ecstatic" which employs African Djoboko-rhytms.
The two horizontal elements sweep along together, virtually melting into one line, and the hammering ‘avanti’ of the coda is suddenly stopped dead by a short, significant general pause. Thereafter the work reforms and disappears into a hushed, ghost-like recapitulation of the second dance.
|
| Additional notes |
Original title was 'Symphonic Dances'.
|
Autumn Concerto
Basic information
| Conductor |
Optional |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Double-bass | 1 | 4-string | |
|---|
| Flute |
1 |
C
|
|
| Oboe |
1 |
Oboe
|
|
| Clarinet |
1 |
B-flat
|
|
| Bassoon |
1 |
Bassoon
|
|
| Horn (F) |
1 |
|
|
| Other instruments and playing techniques |
|
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Equipment |
| Sound electronics |
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| Visuals |
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Notes
| Programme notes |
The Autumn Concerto reflects the changing seasons and colours, yet also resignation and a touch of melancholy. It is my musical diary for autumn 1996. In structure it is almost classical - quick-slow-quick - and each player carries an important solo message.
I Labyrinth
Labyrinth begins with harsh fifths chords. The rythms and the almost incessant pulse of eternal searching. There is only oone way out of the labyrinth. The listener is often led astray, but the search continues. The solo flutters at the tranquil points sing determined optimism, but new walls keep appearing. Clambering to the heights opens up wider vistas and provides a clue to the way out. I can see the direction, that way. An illusion. In between a little rest and a sad bassoon song. The first viollin plays a stubborn theme. The search is more heated than ever. The frenzied passage raises the pulse. I run, I can see the way out already. At last. The opening fifths chords sound triumphantly at the end.
II September
Summer is over. The clarinet sings a melancholy autumn song in the silence; the leaves are falling. Life is a mystery. The sentimento of the first-violin motif is undesguised. Next comes a more grotesque and somewhat wry waltz. An autumn walk in the forest reveals strange shadows, almost earth sprites. the colourful splendour of the trees suggests wild images. The winds are angry. Gusts hinting at a pending storm enter the music and the motifs become shifty. The torm does not break, however. I return to the crisp, clear sentimento and the wry waltz. Autumn is beautiful.
III Octoblue
The last movement begins playfully. Its scherzando theme is played four times in all with variations. The first part of the finale is, with its numerous syncopations, clearly akin to rhythm music. Wild clusters and a shout from the French horn put an end to the raging. Dusk falls fast. A blue moment, a blue note. Octoblue has its proto-form in 12-bar blues. A blues song is forever sad. Sometimes I am sad, just as you are. But today I'm happy again. My musical diary for orchestra is nearly finished. Autumn Concerto fades on violin flageolet notes; somewhere snow is already softly falling.
|
Un ciel fait d'herbes II
Basic information
| Conductor |
No |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Clarinet |
1 |
B-flat
|
|
|
Musicians |
Instruments |
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
|
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Equipment |
| Sound electronics |
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| Visuals |
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Notes
| Programme notes |
The first draft of this piece was a song for alt-voice, clarinet and piano, composed on a poem (with the same title) of the Belgian poet Marc Imberechts. An expanded version for quartet (without voice) was written later on the occasion of a concert in tribute of Jean-Louis Robert, a young belgian composer who died accidentally in 1979.
This music tries to transpose in musical structures the subtle play of language and the erotic references which were found in Marc Imberechts’s poem. As often in my works, the harmonic structure was completely determined by computer, allowing to create musical models of some natural sound transformations. Multiple references of acoustic distorsions therefore affect the elaboration of the musical discourse (from harmonic distorsions to timbre distorsions). The form is elaborated around the collapse of the music itself in a quasi-central point where three players have to whisper the poem over a long note holded by the clarinet.
This piece was prize winner at the UNESCO International Tribune in 1992.
|
Lettre Soufie: D
Basic information
| Composer |
Fafchamps, Jean-Luc |
| Duration |
12 min. |
| Year of composition |
2001 |
| First performance (year) |
2002 |
| First performance (venue) |
Luxembourg (Cercle Municipal) |
| First performance (performers) |
United Instruments of Lucilin |
| Submitter |
Ensemble OI\I |
| Publisher |
PM Europe Publications |
| Conductor |
Optional |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 1 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Clarinet |
1 |
B-flat
Bass
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
Crotales
Marimba
Vibraphone (F3)
Tamtam
Other
|
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
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Notes
| Programme notes |
In 1999, I found by chance a set of Sufi tables revealing the keys of the Da’Wah (secret incantation method). The tables present supposed relations between Arab letters, god’s qualities and attributes, numbers, elements, planets, zodiac signs, perfumes, etc., and constitute one of the biggest symbolic system ever established. « Dâl », commissioned and premiered by United Instruments of Lucilin, is the third piece inspired by those tables, here by their forth column, connecting Dayyân, 65, terrible, hostility, earth, taurus, sun, to what I join dhikr (hypnotic repetitiv prayer), dervish, the notes D and do. The project neither is to devote myself publically to esotericism nor to vainly join back with the spirit of the ritual, but to use that complex systemic in order to be guided out of a pure combinatory field without recourse to any naturalistic legitimation..
Technically, Dâl is a double process of setting in rotation. Two musical matters work in dephasing : the first – continuous and infra-chromatic – accelerates to the left ; the second – uncontinuous and chromatic – slows down to the right. Those divergent processes make them meet in a pulsated continuity based on the turkish Aksak rythm. Those two gyratory movements extend by the progressive widening of the intervals constituting their subjacent pitch scales, passing through theoretical oriental divisions of octave from 17 degrees to the pentatonic scale. This piece is the opposite of a decantation : the fusion between two elements through the centrifugal force.
|
Nature Morte
Basic information
| Composer |
Österling, Fredrik |
| Duration |
11 min. |
| Year of composition |
1997 |
| First performance (year) |
1997 |
| First performance (venue) |
Växjö |
| First performance (performers) |
Gageego! |
| Submitter |
Gageego! |
| Publisher |
|
| Conductor |
No |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Flute |
1 |
C
|
|
| Clarinet |
1 |
B-flat
|
|
|
Musicians |
Instruments |
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
When I started to think about this piece, I was concerned with questions about music such as: "What is living" or for that matter "dead" music? As a way of defining these concepts, which utterly are submitted to my own aestetic point of view (or "taste"- whatever that is...), I started to imagine a piece in which I would confront ways of writing that I normally do not consider beacuse of my love of complexity. I wanted to induce an aspect, where my "taste" would be questioned.
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Among travelling angels
Basic information
| Conductor |
No |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Double-bass | 1 | 4-string | |
|---|
| Flute |
1 |
Piccolo
G alto
|
|
| Clarinet |
1 |
Bass
|
|
| Trombone |
1 |
Bass
|
|
|
Musicians |
Instruments |
| Percussion |
2 |
Crotales
Glockenspiel
Marimba
Bass Drum
Tamtam
Wood Blocks
Other
|
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
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| Visuals |
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Notes
| | | | | | | | | |
