Little Adventurer

Name: Little Adventurer
SKU: ISMN 979-0-56025-464-7
Availability: InStock

Composer(s): BRAUD Augustin

Genres: Trios Instruments: viola, accordion, clarinet

Ref: ISMN 979-0-56025-464-7

Score duration: 7'

Type: conducteur et parties séparées

Publisher: Artchipel

Creation date:

Nov

2019

Signings: Jean-Luc Menet et l’Ensemble Alternance

PDF version:22,50 €
Paper version: 45,00 €

This short piece was initially written during ensemble Ars Nova’s COMPOLAB. As requested by Jean-Luc Menet, and keeping in mind its integration in a thematic concert around the links between visual arts and music, and especially Jean-Noël Von der Weid’s
book Le flux et le fixe, I replaced the soprano saxophone by a clarinet and made some corrections.
There’s no place for figuralism here. I only tried to let myself be carried by this late Paul Klee’s watercolor, and seek refinement and precisions in gestures through the “adventures” of small musical cells, as the clarinet motive that infects the other instruments, or these breath sounds that slip through the trio’s texture. The piece unties itself through time et finds its way through an highly harmonic extent hardly conceivable at the beginning of the piece, as an adventurer looking for the unknown.
Augustin Braud

Description

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Additional information

Weight	0,250 kg
Dimensions	36,4 × 25,7 × 0,5 cm
Support	PDF, Papier

Score
Le Piano Symétrique (volumes 1, 2, 3 & 4)
REIBEL Guy
Type: Score
Instrument: piano, Solos
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.

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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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Little Adventurer

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