La mort des amants
for ensemble
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Specifications
Region
Europe
Estimated Duration
6 - 10min
Date
2011
ISMN : 979-0-2325-2202-9
In Stock
Notes on this piece Premiered by the Solistes de L’Orchestre de Tours; Donatienne Michel-
Dansac, soprano;
Jacques Pési, conductor. Based upon Charles Baudelaire's poem with the
same title, La mort des amants reflects its connection with its literary
source in various ways. The composition follows the poetic tension of the
source which resolves into an inevitable tragic event; accompanied with
utilization of subtle or explicit word-painting techniques. The formal
structure of the piece is divided by interludes called parenthèses, a
formal device borrowed from Henri Dutilleux's Ainsi la nuit. First two
parenthèses carry premonitions of the future by ambiguously reflecting
elements that will be fully introduced in later phases of the work.
Another connection with the source work appears at a different level:
certain rhymes of the poem are “simulated” by mimicking the consonants
with extended techniques and also by imitating the vowels via utilization
of their primary and secondary formant frequencies. The piece also uses
“singing formants”; spectral fingerprints of the voice of the piece's
dedicatee, American musicologist and vocalist Sarah Kolat.
1 Awarded the 2nd Prize in 7ème Concours International Henri Dutilleux
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Dansac, soprano;
Jacques Pési, conductor. Based upon Charles Baudelaire's poem with the
same title, La mort des amants reflects its connection with its literary
source in various ways. The composition follows the poetic tension of the
source which resolves into an inevitable tragic event; accompanied with
utilization of subtle or explicit word-painting techniques. The formal
structure of the piece is divided by interludes called parenthèses, a
formal device borrowed from Henri Dutilleux's Ainsi la nuit. First two
parenthèses carry premonitions of the future by ambiguously reflecting
elements that will be fully introduced in later phases of the work.
Another connection with the source work appears at a different level:
certain rhymes of the poem are “simulated” by mimicking the consonants
with extended techniques and also by imitating the vowels via utilization
of their primary and secondary formant frequencies. The piece also uses
“singing formants”; spectral fingerprints of the voice of the piece's
dedicatee, American musicologist and vocalist Sarah Kolat.
1 Awarded the 2nd Prize in 7ème Concours International Henri Dutilleux
Instrumentation
Soprano voice|trumpet|Tenor Saxophone|harp|Cello
Score Details
Format - A4 / US Letter
Pages - 40
Pages - 40