Hymnus (Copie)

Name: Hymnus (Copie)
SKU: 979-0-56025-759-4
Availability: InStock

Composer(s): SCHŒLLER Philippe

Genres: Ensemble Orchestral Instruments: piano

ISMN: 979-0-56025-759-4

Score duration: 18’30’’

Type: parts

Publisher: Artchipel

Creation date:

Aug

2023

Publication date:

Oct

2024

Commission: festival de La Roque d’Anthéron

Signings: à Florent Boffard

0,00 €

Hymnus, from the ancient Greek ϋμνος: hymnos.
«Music in the open air», radiant, supple and very fluid, energetic, vibrantly immersed in the open-air soundscape… for this concert on August 9, 2023.
Thus the starting point of this work, initiated by Florent Boffard at the end of February 2023, when we were building the chamber music program planned for the concert of the day before, on August 7, from Scarlatti to Bartok, via some of my scores, for this 43rd edition
of the Festival de la Roque d’Anthéron.
Magically, miraculously, this music came to my mind and my heart immediately (privilege of age, after 190 scores composed in the last 40 years…): precise images of fluid and colored waves, with principles of acceleration and deceleration of the flow of energies… Around the large concert piano I have essentially taken instruments where the breath gives access to the essence of the song, to the breathing body: six woodwinds and six brass instruments, sound matter endowed with a very wide spectrum of colors and nuances, yes, and always
in echo with the human voice, here metaphorical. The collective voice. The People. Its essential nobility.
Mirroring this fluid, oceanic principle of brassy choral singing, a sort of variable tidal flood, three percussion instruments: In the center the timpanist, essential, architectural foundation of the deployed harmony of the winds, and, on either side, symmetrical, two percussionists launching the energy of the fragile pianississimo of a vibraphone chord or of a colored breath of a slightly pulsed skin of a muffled bass drum, up to the surges of rhythms endowed with very high energy of the gesture, bongos, cymbals, gongs, virtuoso strokes of the two vibraphones, etc…
The piano is the great master of ceremonies, sober, powerful and meditative, commenting or anticipating, proposing to the orchestra all sorts of listening principles, from ultra-precise focal points (the string just punctuated by a felt hammer) to Pollockian launches of totemic
energies, fury of virtuoso hands…
The principle of the «Piano-Forte», that is to say of the Fiery Nuance, of the subtle nothingness implemented in the chamber music, up to the fortissimo shaking this big black and white bird that is a concert grand piano, such a symbolic instrument, this fundamental principle of the energy spectrum is here brought to the paroxysm of its nature, of its expressiveness.
To sing or listen to a Hymn is an essential act. Simple. Fundamental. Generous.
Because the air which carries the sound, and its energy of gift, is for us all the same.
A joy, a happiness to compose this hymn! Every hymn refers to what it celebrates or to what, to whom, it pays homage: here Nature in itself.
ALL Nature, from atoms to galaxy clusters, from bacteria to large vertebrates, without forgetting the lyre birds and the dolphins…
Philippe Schœller

Description

Additional information

Weight	0,800 kg
Dimensions	42 × 29,7 × 2 cm
Support	Papier

123

Score
Le Piano Symétrique (volumes 1, 2, 3 & 4)
REIBEL Guy
Type: Score
Instrument: Solos, piano
Special offer 45€ instead of 56€ for the purchase of all 4 volumes.
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Score
Le Piano Symétrique (volumes 1 ,2 & 3)
REIBEL Guy
Type: Score
Instrument: piano, Solos
The piano, a symmetrical body of sound a new look at the instrument The piano is the benchmark instrument for musicians. With its perfect mechanics, exact tuning, melodic and harmonic interplay, the ability to play every conceivable chord, and almost infinite range, it is a perfect instrument, the culmination of hundreds of years of evolution, for which countless works have been written, culminating in the 19th century and a prodigious progression in virtuosity. The instrument has conquered the planet, and is universally used in all musical genres. Its tempered keyboard seems to fix the musical scale forever, bringing music to a kind of “terminus”. What’s more, its keyboard configuration is totally adapted to tonal music, and since the twentieth century, composers have had to trick their way out of tonal language.

I propose an approach in which we strive to forget the glorious history of the piano, its repertoire and all the playing habits that are linked to its habitual practice. A vast program, undertaken with modesty but conviction. Indeed, if we forget everything and look at this instrument like a Martian accidentally landing on Earth, it presents itself as a body of sound offering visual symmetry starting from the center (C – D ), with white keys regularly arranged on both sides, but perfect symmetry in the succession of white and black keys on either side of this center. If, on the other hand, we observe that our two hands placed flat on a table are also symmetrical, with the two thumbs facing each other, the first idea is not to set up a scale with both hands playing in parallel (the left hand linking the sounds starting with the little finger, the right with the thumb), as this way of playing is less spontaneous than playing in mirror, with both hands using the same fingering. If you apply this symmetrical playing style to both hands, the playing is much more natural and easier for a beginner, and produces musical results that may be disconcerting at first, but are astonishingly rich, eliminating the many clichés, and discover a wide variety of melodic and harmonic modes developed in contemporary music since Debussy and Messiaen, in particular the chromatic mode, the tonal scale, mode 2, the acoustic mode and all the more well-known plainchant modes (D, E, F, G, A). The door is open to new adventures with very direct access. This is the experiment conducted at the École de Musique de Colomiers with Marc Jamond, Director, teachers Catherine Gérin, Pascale Monteil, Ruth Atienza Platon and their students, to whom this series of notebooks is dedicated.
Guy Reibel
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Books
L’instrument dont jouait l’univers
GARZIA Benjamin
Type: Books
Why write a book about Gustav Mahler in 2016?
Aren’t the biographical works that have been published for decades enough for anyone wanting answers? Of course they are! Scientific answers on dates, historical elements or testimonies. But what about the spiritual significance? For if ever there was a composer whose work poured out his whole soul, it’s Gustav Mahler. To embrace his legacy, then, we must venture inside him, where history can only support us, where words give way to the simple human emotions that one man can imagine for another. And that’s the choice we’ve made. To propose a new approach, at once rapid, direct and immersive. Mahler the legend has ousted Mahler the man, the simple, the fragile. Before becoming a musical hero, he was Gustav. Simply Gustav. A dreamy, stubborn little boy, battered by life and clinging to an ideal, an artistic dream through which he hoped to open the gates to eternal life.
Writing a book in 2016 means getting as close as possible to this little boy, observing him even more than the giant he was to become. To immerse the reader in his direct environment, rather than in the historical context of his time. It also means trying to answer some intimate questions. How did Gustav become Mahler? How did the two of them live together during their short lives? Why does his music move us so much, speak to us so much, even when he has deliberately deprived it of words?
To answer these questions, we need to get as close to him as possible. To feel his toddler emotions, as time goes by in his childhood home, where grief and mourning are king. You have to be caught up with him in the fever of his adolescence, where misery and frustration pester him, or climb the steps of opera houses, from a dark, tiny wooden theater in the Tyrol to the Metropolitan Opera in New York, not forgetting the prestigious Hofoper, Vienna’s court opera house. You also have to accept his weaknesses, his angers and his hasty judgments, because the most magical thing about a hero is that he’s just a human being to begin with.
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Hymnus (Copie)

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