Tempus fugit, toucher d’ombre

Name: Tempus fugit, toucher d’ombre
SKU: ISMN 979-0-56025-183-7
Price: 20.00 EUR
Availability: InStock

Composer(s): DUMONT Aurélien

Genres: Chœur à Voix Mixtes

Ref: ISMN 979-0-56025-183-7

Score duration: 9'30''

Type: conductor

Publisher: Artchipel

Creation date:

Jul

2014

Commission: Ensemble Les Cris de Paris

20,00 €

Tempus fugit, toucher d’ombre, a piece for 40 real voices, was composed for the ensemble Les Cris de Paris, and attempts to portray the heterogeneity of our world within a dynamic, spatialized choral structure. François Rannou’s original text is conducive to journeys, journeys and other passages of words between the different choral arrangements, creating so many interconnected images. Several levels of language and music interact (sound textures, everyday text, poetic text), giving rise to echoes of the distant of Tallis’ famous Spem in Alium…

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Weight	0,300 kg
Dimensions	29,7 × 42 × 0,5 cm

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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Pedagogy
Le Piano Symétrique (volumes 1 ,2 & 3)
Type: Pedagogy
Instrument: Solos, piano
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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Tempus fugit, toucher d’ombre

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