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All scores available at La Flûte de Pan - Soundtrack
Two Poems for Organ op 111 2021 - 8 mn2021 - Orgue - 8 mnEmmanuel Culcasi- -Furore - VerlagThe two poems for organ op 111 were composed during the fall of 2021. With a duration of 8 minutes, they are dedicated to the organist Emmanuel Culcasi. The first poem entitled : On the Hill, is inspired by my stay during August 2021 in the Chapel of Ronchamp located on a gentle hill. The place is full of spirituality and also hosts a community of Poor Clare sisters. The theme of this first poem describes the joy of being in this beautiful place surrounded by beautiful nature. It consits of two parts : the first from bar 1 to 31 and the second from bar 32 to 47. The second poem is entitled I hear your Voice. It is composed of three parts and takes the form A B A '. It is inspired by the call that one feels in this exceptional place. A softer central part from bar 49, evokes the inner serenity that inhabits us. The re exposure to bar 72, varies the main theme, continuing to favor the different colors offered by the organ. The work ends in a great light and beautiful energy.
After Dawn for Flute op 110 2021 - 6 mn2021 - Flute - 6 mnSister Marie - Laetitia - Sister Marie - Laetitia2022 - Monastery of Ronchamp - Sister Marie - LaetitiaFurore - VerlagThe work, lasting 6 mn, was composed in September 2021. It was written for Sister Marie - Laetitia, a Clarisse nun at the Monastery of Ronchamp. Two pieces are offered. The first one, lasting 2 minutes, gives a time of contemplation after the offertory. The second piece, lasting 4 minutes, is intended to accompany communion in a melodic and serene atmosphere. During a music festival at the Chapelle de Ronchamp, built by the architect Le Corbusier, I discovered the monastery where the Clares sisters live, located below the Chapel. Renzo Piano is the designer. The building is highly spiritual and leads to contemplation. It was there that I met the sisters and Marie - Laetitia who asked me to write pieces for her instrument and to illustrate two moments of their prayers in particular.
Jubilo for Piano four hands op 109 2021 - 6 mn2021 - piano - 6 mnLydia Jardon Alexandra Matvieskaya - Ouessant FestivalAugust 2022 - Ouessant - Lydia Jardon Alexandra MatvieskayaFurore - VerlagThe work, with duration is 6 mn, was composed in September 2021. it is commissioned by the Festival of Ouessant and is dedicated to Lydia Jardon and Alexandra Matvieskaya. With a single movement, it is a great and joyful variation on a main theme, framed by two softer moments, always from the theme of the beginning. Particular attention is paid to the dialogue between the two pianists. The work concludes in a great and luminous momentum
Le Jardin des Couleurs for piano op 106 2021 - 5 mn202021 - piano - 5 mn20- -Furore - VerlagThe work, with duration is 5 mn 20 has been composed on June 2021. It is dedicated to young pianists, and proposes six short works with a contrasting universe
Theme and variations for piano op 104 2021 - 17 mn2021 - piano - 17 mn2022 - -Furore - VerlagThe work, with a duration of 17 mn, was composed in March 2021. 10 Variations frame the modal character theme. Each offers new lighting. The first variation is ornate. It is of a melodic character with the theme in the left hand, and a garland of sixteenth notes in the right hand. The second variation is rather harmonic and gives a new colour to the theme. The third variation is based on a line of trills in the left hand, supporting the theme given in the treble. The fourth variation is more energic. It adorns in particular at the beginnnig the theme of a natural sol instead of the initial sol #. The fifth variation presents the theme by opposite movement, framed by a new harmonic color. The sixth variation is passionate in nature and presents the theme to the right hand, fragmented in its unfolding. The seventh variation presents the theme transposed from the note si with a new coloring due to the sixteenth note sextuplets. The eighth variation gives the theme to the left hand with increased values on time. A writing of arpeggios in triplets in the right hand adorns this one. The ninth variation is a 3 voices fugue. The subject adorns the theme on three bars. The last and tenth variation is energetic and rhythmic. It concludes the cycle in great luminosity.
Ten Poems for piano op 102 2021 - 26 mn2021 - piano - 26 mnJean Gagnaire- -Furore - VerlagThe work, lasting 26 minutes was composed during the winter 2021 and is dedicated to Jean Gagnaire. Commemorating the ten years since the disappearance of the poet Paul Gagnaire, it highlights ten of his poems. The music follows the construction of each poem : their form, their colors and their rhymes, anf of course their inner univers. it is intended as a tribute to the talent of the poet. For the concert, two possibilities exist : Play the ten poems alone, or with the participation of an actress who reads each poem before their music. In this second case, the total duration of the work will be 50 minutes
Concert Sonata for Violin No. 3 op 100 2020 - 12mn2020 - Violin - 12mnMarianne Piketty- -Furore-VerlagThe third Concert Sonata op 100 was composed during the fall of 2020. It is dedicated to the violinist Marianne Piketty. With a duration of 12 minutes, it offers three movements. The first movement, lasting 4 minutes, is based on an expressive theme that begins in the low medium part of the instrument. It is played almost recitatively. The central part (bars 16 to 47), proposes a development of each of the measures of the theme. For example: bars 16 to 20: expansion of the first bar, measure 21 to 28: development of the second measure. etc ... The movement ends in a soft atmosphere. The second movement, lasting 4 minutes, takes the form of the Scherzo Trio: A B A ' The first part (bars 1 to 33) is dynamic and mixes arco writing and pizzicatis. A small central part (bars 12 to 16) lets you hear the violin playing with guitar tones: arpeggiated pizz chords. The Trio (bars 34 to 62) develops the first bar of the Scherzo. It is expressive and has a wide amplitude. The return of the Scherzo is modified after the repetition of the first 7 bars and concludes the movement in a beautiful energy. The final, lasting 4 minutes, takes the form of a fugue. The theme is exposed four times, based on, at each of its entries on the open strings of the violin. A counter-subject supports the theme as soon as bar 4 is lifted. The development of the fugue (bars 14 to 47) makes us hear various compilations of the contrapoint (in particular canons around the subject, as in bar 31), but also entertainment derived from the subject's material. The last part makes the subject hear (departure on Mi with the counter-subject) and concludes the Sonata in great light.
Prélude et Danse for viola d'amour op 101 2020 - 7 mn 302020 - Viola d’amour - 7 mn 30Pierre Henri Xuereb - Pierre Henri Xuereb2020 - -Furore-VerlagThe work, lasting 7 minutes 30 minutes, was composed in December 2020. It is dedicated to Pierre Henri Xuerebwho has commissioned it. Discovering the instrument was a wonderful moment! The softness of the sound, and the quality of the different registers convinced me to write for him. The Prelude, lasting 4 minutes, is made up of two parts. The first, from bar 1 to 23, makes a melodic theme heard in the medium of the instrument. The development is in two parts: The first part goes from bar 24 to 44, the second from bar 45 to 64. A coda at bar 65 ends the prelude in a soft and serene atmosphere. The Dance, lasting 3 minutes 30, offers an ABA 'form. A playful theme will be given three times in the three registers. After a transition to bar 39, a middle part is played from bar 40 to 67. It develops the main theme. The reexposure takes place at bar 68. It varies between repeats of the theme. A last part is played at bar 113 and concludes the work in a beautiful energy.
Voiles op 98. 2020 - 5'152020 - Harp - 5'15Manon Louis - Florian Coutet- -Furore Verlag
Voiles op 98 for Harp
The work, with a duration of 5 min 15, was commissioned by Florian Coutet, in order to offer it as a birthday present to his wife Manon Louis, solo harpist at the National Orchestra of Lorraine.
The title is evocative: boat sails rustling in the wind, mixed with the sound of the sea.
The work is built in two linked parts:
The first part goes from bar 1 to bar 46. It describes the soft sound of the sails in a light wind. It is made up of thematic elements which will be developed in two sections. The first section, from bar 10 to 27 and the second section, from bar 28 to 42.
The second part, from bar 47 to the end, takes the shape of the Rondo. The chorus describes the sails which are more slamming, responding to a wind which is more dry. Two more melodic verses let imagine a more peaceful time.
The coda, at bar 119, concludes the work in great light.
THE POET GARDEN OP 97 2020 - 7'302020 - Piano - 7'30Noémie Aubel- -Furore Verlag
THE POET GARDEN OP 97
The work for piano, lasting 7 min 30, was composed in spring 2020. It is a tribute to the painting of the same name by Vincent Van Gogh and also to the edited poems of my son Paul Gagnaire. Two artists linked by a tragic fate.
In two movements, it is inspired by the colours of the painting, predominantly green and yellow, and also by the latest poems by Paul Gagnaire.
The first movement, lasting 4 min 30, consists of three linked parts. It highlights the different shades of green present in the canvas. The first part, from bar 1 to 20, presents a theme with a harmonic and modal character. The second part, from bar 21 to 39, shows gentle variations of an element presented in bar 21. The last part, from bar 40, takes up the theme of the first part with a new harmonic color. The movement ends in a serene atmosphere.
The second movement, lasting 3 minutes, evokes the yellow color of the painting and the strength of the latest poems by Paul Gagnaire. Yellow, for Van Gogh, is synonymous with joy and happiness. In this painting, he invades the entire back of the canvas. The movement revolves around 3 parts. The first part, from bar 1 to 20, is cheerful and bright. The second part, measure 21 to 45, develops the thematic elements, in particular in clusters of agreements (measures 21 and 23). After the re-exposure, from bar 46 to 53, a new presentation of the theme is made by opposite movement (bars 54 and 55). The movement ends in great energy.
Piano sonata no.2 op 95 2020 - 18'2020 - Piano - 18'Jean Baptiste Fonlupt- -Furore Verlag
Piano sonata no.2 op 95
The 18-minute work was composed in spring 2020 and is dedicated to Jean Baptiste Fonlupt. It is made up of four movements...
The first movement, lasting 5 minutes 30 minutes, is expressive and melodic in character. The first part (bars 1 to 17) presents the two themes on the left hand in bars 2 and 3, accompanied by sextolets. A development of the different thematic elements is proposed from bar 18 to 37. At the re-exposure (bars 45 to 68), a new development of the themes of the left hand will be given (bars 56 to 73). A coda in bar 74 concludes the movement in a sweet atmosphere.
The second movement takes the form of the Scherzo-Trio. The scherzo - from bar 1 to bar 27, is built around the harmonic resonances of the instrument. The trio (bars 28 to 48) has a melodic character and let you hear a theme built around chords in fourths. The return of the Scherzo (bar 49) is transposed to the upper tone and concludes the movement with great energy.
The third movement follows the form A BA'. It is made up of four parts. The first part (bars 1 to 11) presents the theme in the acute medium of the instrument and recalls the sounds of the flute. It will be developed during bar 12 to 43. Two parts make up the development: first part: bar 1 to 21, second part: bars 22 to 43. The re-exposure to bar 44 restores the main theme in canon to the octave. A coda in bar 56 concludes the movement in a soft and poetic light.
The fourth and last movement takes the form of Rondo. The refrain has an assertive character and is inspired by the shape of a toccata. Two verses (bars 13 to 30 and bars 43 to 61) provide a more melodic atmosphere. The last appearance of the chorus, at bar 62 will give rise to slight modifications.
The coda, at bar 73, concludes the Sonata with powerful energy.
Wind op 90 for Piccolo 2019 - 4'302019 - PIccolo - 4'30Jean Louis Beaumadier - Jean Louis Beaumadier2020 - Youtube - Jean Louis BeaumadierFurore Verlag
Wind for piccolo op 90
The work, with a duration of 4 mn 30 has been composed in December 2019. It is a commsission of the flutist Jean Louis Beaumadier to whom it is dedicated.
Composed of a single movement, with a very melodic character, it is articulated around four parts.
The first part, from measure 1 to 8, presents the different thematic elements : arpeggios imitating the breath of the wind, and, the lightness of the writing, in a lively tempo.
The second part, from meausre 9 to 37, develops these elements around a very fluent melody. A third central party, from measure 38 to 57, offers a new melodic line, more intimate in a moderate tempo.
From measure 58 to 83, there is a re - exposure of the measures 1 to 5 of the first part, followed by a new development.
A coda, from measure 84 to 105 concludes the work in a beautiful energy.
Licht for organ op 84 2019 - 2'2019 - orgue - 2'- Yannick Merlin- -Delatour
Licht for organ op 84
Commissioned by the organist Yannick Merlin, this work, which duration is 2 mn, is written for organists who play organ for a few years of istrumental practice.
It is published by Delatour editions.
Ivoire op 81 2018 - 11'2018 - piano four hands - 11'Hervé Billaut et Guillaume Coppola - Pascal Grimoin- -Furore Verlag
IVOIRE op. 81 for piano four hands
The 11-minute work was written in autumn 2018 and is dedicated to the duo formed by Hervé Billaut and Guillaume Coppola.
The duet offers the possibility of a quasi-orchestral writing, and allows to create various opportunities of dialogues as well as a rich harmonic writing.
The work is composed of three movements.
The first movement, of rather harmonic character, offers a mysterious and sweet atmosphere. Two parts follow each other:
the first part, from measure 1 to measure 22, plays a modal mode and a melodic element from measure 8 to 10.
The second part is from measure 23 to measure 38. At measure 39, there is a re-exposure of the first part, a minor third above. The coda, to measure 65 concludes the movement in a calm atmosphere.
The second movement, of expressive character, can be heard on the first piano, a theme played in octaves with both hands. This theme is supported by five-tone chords. At measure 10 appears a development of the theme, presented in quads only. Then this theme will be harmonized with chords of six sounds in measure 17.
A second development is proposed from measure 25 to measure 54. After a reexposure in measure 55, a coda will follow from measure 68 and concludes the movement in a mysterious atmosphere.
The third movement is composed of two linked parts: the first part, from measure 1 to measure 19 is slow and proposes a rewriting of the theme of the second movement.
The second part is written in a bright and lively tempo. It is also a rewriting of the theme of the beginning of the third movement.
The work concludes in an energetic and luminous atmosphere.
Eleven preludes for piano op 78 2018 - 17'2018 - Piano - 17'Jean Gagnaire2019 July 20th - Festival de Chaillol - Jean Baptiste FonluptFurore Verlag
Eleven preludes for piano op 78
With a duration of 17 mn, the eleven preludes for piano op 78 have been composed in March 2018.
Together with the seven preludes op 70 and the six preludes op 77, they form a group of 24 preludes which are didicated to my son Jean Gagnaire.
They are a remember of my travel on board of the Transsiberian Train in August 2017.
Melodic, resonant or rhythmic, and supported by rich chords, they offer a varied set of writing for the piano.
They also highlight the expressive qualities of the pianist.
Six preludes for piano op77 2018 - 10'2018 - Piano - 10'Jean Gagnaire2019 August 7th - Festival d’Ouessant - Lydia JardonFurore Verlag
Six prelude for piano op 77
Whith a duration of 10 minutes, the six preludes for piano op 77 have been composed during a stay in Mauritius Island in January 2018.
They are a commission of the Ouessant Festival and are dedicated to my son Jean Gagnaire.
They remind of the cheerful atmosphere of this island : prelude 1, 2, 4, and 5.
And also the strenght of the natural elements : prelude 3 and 6.
Seven Preludes for piano op 70 2017 - 7'302017 - piano - 7'30Jean Gagnaire2018 April 17th - Hourtin - France DesneulinFurore Verlag
Seven preludes for piano op 70
The work with a duration of 7 mn 30 has been composed during a stay on Mauritius island in February 2017.
It is dedicated to my son Jean Gagnaire.
The seven preludes have a very various writing, of oneiric character, and reveal a strong musical intensity.
They are a tribute to the preludes of Alexandre Scriabine.
Sentosa, Suite for piano op 69 2017 - 11'152017 - piano - 11'15Marie – Catherine Girod - Marie – Catherine Girod2018 december 4th - Salle Cortot à Paris - Marie-Catherine GirodFurore Verlag
SENTOSA, suite for piano op 69
The work with a duration of 11 mn 30 has been composed during a stay on Mauritius island in January 2017.
It is dedicated to the pianist Marie – Catherine Girod who is also the commissioner.
It is composed of three movements.
The first movement, with a melodic and serene character, is composed of three linked elements.
The second movement, more melancholic and mysterious , does to listen a theme at the left hand, sustained by tight fourths and fifths.
The third movement is based on a polytonality and has a joyful and luminous character. It concludes the work with a beautiful energy.
Five works for harp op 67 Caroline Rempp - 8'Caroline Rempp - Harp - 8'Caroline Rempp - Caroline Rempp2017 - Paris - Caroline RemppFurore Verlag
Five works for harp op 67
The five pieces for harp which duration are 8 mn have been composed during autumn 2016, and are intended for young harpists.
They are dedicated to the French harpist Caroline Rempp.
They can also be played in their entirety at a student concert.
Their character is varied and the complete set is presented as a series of colored pieces.
Blue Toccata for piano op 66 2016 - 7'302016 - Piano - 7'30Lydia Jardon - Festival de Musique en Martinique2017 April 2th - Martinique, Fort de France - Lydia JardonFurore Verlag
Blue Toccata for piano op 66
The work which duration is 7 mn 30 has been composed during autumn 2016 and is a commission of the Festival de Musique en Martinique. It is dedicated to the pianist Lydia Jardon.
It is a dynamic work, with lively tempo.
It is composed by three linked parts and adopts the form A B A'.
Indeed, the central part B is played moderato and takes back the main theme with a melody of chords.
The toccata concludes in a luminous and cheerful atmosphere.
OPUS 64 for double bass 2016 - 7'2016 - Double bass - 7'Thierry Barbe - Thierry Barbe- - Thierry BarbeFurore Verlag
OPUS 64 for double bass
The work which duration is 7 mn has been composed during spring 2016 and is dedicated to the double bassist Thierry Barbe, who has also commissioned the work.
It is composed of one movement, divided in 3 parts which are linked :
The first part ( from measure 1 to 49) has a melodic and expressive character.
The second part (from measure 50 to 76) develops the thematic elements of the first part with a writing always expressive.
The third part (from measure 77 to 134 ) is a varied recapitulation of the beginning and presents at the measure 97 a new element, more incisive.
The work concludes in a luminous atmosphere.
Theme and variations for viola op. 62 2016 - 7'2016 - Viola solo - 7'Bernard Magrez - Bernard Magrez- - Lise BerthaudFurore Verlag
Theme and variations for viola op. 62
The work which duration is 7 mn has been composed during spring 2016 and is dedicated to Bernard Magrez.
It is composed of a theme followed by 6 variations.
The initial theme is given again at the end of the work, which ends in a luminous atmosphere.
Four preludes for guitar op 59 2015 - 10'2015 - Guitare - 10'Caroline Delume - Festival d’Ouessant08-10-2016 - Eglise d'Ouessant - Caroline DelumeFurore VerlagThe work which duration is 10 mn has been written during autumn 2015.
It is a commission of the Festival d' Ouessant and is dedicated to the guitarist Caroline Delume.
The first prelude has a melodic character and opens the cycle in a soft and luminous atmosphere.
The second prelude has a dancing character with two themes. The first one is harmonic, the second one melodic.
The third prelude is an expresive one and emphasizes the different registers of the guitar. It is composed of a theme which will be more particularly developped in canon.
The last prelude begins with a cadenza, then it presents a theme based on a rhythmic ostinato. The theme will be followed on and varied three time.
The work concludes in a dynamic climate.
Envol pour flûte op 56 2015 - 12'2015 - Flute - 12'Isabelle Duval - Isabelle Duval2015 - -Furore Verlag
Envol for flute op 56
The work which duration is 12 mn has been composed during spring 2015 and is dedicated to the flutist Isabelle Duval, who has also commissioned the work.
It is composed of six contrasted pieces, emphasizing the different aspects of the instrument.
The pieces 1 to 3 are written in a melodic mood, the fourth piece mixes Aeolians sounds and natural sounds, the fifth offers the possibility to hear multiphonics as a resonance of the theme played at the beginning of the movement.
The sixth piece concludes the cycle in a luminous atmosphere.
Sept Lumières Fugitives pour piano op 55 2015 - 14'2015 - piano solo - 14'Adam Laloum - Adam Laloum- - Adam LaloumFurore Verlag
Seven Lumières Fugitives for piano op 55
Written during winter 2014, these seven lumières fugitives which duration is 14 mn are dedicated to Adam Laloum.
Each piece has a clearly defined character and is characterized by changements of color well marked.
The first piece has a harmonic character and is based on a serene chords melody.
The second one is melodic and soft, with a short central part of chords melody.
The third piece is based on harmonic resonances and relies on well marked contrasts of nuances.
The fourth is melodic and very expressive.
The fifth piece is short and has a rhythmic character.
The sixth piece is composed of soft arpeggios using the medium of the pitch order of the piano and also the high pitch order.
The seventh and last piece concludes the cycle in a bright and energic atmosphere.
Vocalise for viola op 53 2014 - 9'2014 - Viola solo - 9'Lise Berthaud - Lise Berthaud2015 March 8th - London BBC radio - Lise BerthaudFurore Verlag
Vocalise for viola op 53
The work which duration is 9 mn has been written in September 2014 and is dedicated to the violist Lise Berthaud who is also the commissioner.
It is composed of one movement divided into three parts.
The work emphasizes different types of expressive writing well - contrasted and is intended for concerts.
Suite for violin op. 50 2014 - 15'2014 - Violin solo - 15'Hélène Schmitt - Hélène Schmitt2014 - Paris - Hélène SchmittFurore VerlagSuite for violin op. 50 Written during winter 2013 -2014 the Suite for violin op. 50 which duration is 15 mn is composed of four movements. It is dedicated to Hélène Schmitt. The first movement is a prelude composed of a theme followed by six variations. The character of the prelude is melodic. The second movement is a fugue built on a theme of two measures. The first four entries ( measure 1-12) are based on the four strings of the violin : first entry measure 1 on G, then measure 3 on D , then measure 6 on A and finally measure 11 on E. After a fugal episode based on a part of the subject we will find a supplementary entry on B at measure 18. At measure 26 we will notice the appearance of the subject and the counter -subject by contrary motion with a departure on the note F #. The subject and the counter -subject will be given again by contrary motion with a departure on C # at the measure 30. At measure 37, a canon is given between the subject and its answer on the note G. It will return on the note D at measure 41. At measure 46 the subject and counter-subject are exposed by contrary motion on the note A. They will be given again by contrary motion on the note E at measure 49. After a period of fugal episodes, we will find again the subject and its counter-subject at measure 62 with a departure on the note G. The fugue concludes in a luminous climate. The third movement is a song composed of a theme given during the first ten measures. Its structure is twice 5 measures. It will be given by contrary motion with a departure on B flat with a departure at the end of measure 14. Then it will be presented with a canon at the octave at measure 20. A second thematic element is given on measure 28, it is composed of ascending and descending arpeggios. Measure 30 sees the return of the first theme with a two voices writing. The recapitulation of the theme is given at the end of measure 42, accompanied by pizzicato played by the left hand. The movement ends in a calm and serene atmosphere. The Final is an enjoying theme of eight measures composed of two parts well distinct : an ascending arpeggio followed by a motive of quavers dotted semi quavers. It will be developed with eight variations and concludes the work in a dynamic climate.
Empreintes for clarinet in B flat op.46 2013 - 10 mn 302013 - clarinet in B flat solo - 10 mn 30Stéphanie Carne - Stéphanie Carnemars 26th 2014 - Paris Salle Adyar - Stéphanie CarneFurore VerlagEMPREINTES for Clarinet in B flat op.46
Written in June 2013, these eight pieces which duration is 10 mn 30 are dedicated to the clarinetist Stéphanie Carne who has also commissioned these pieces. The symbolism of numbers mark covers the eight movements.
1 is the symbol of Unity, of God, the creative principle. I have used for this all the complete range of the clarinet, the Unity is present throughout the instrumental spectrum.
2 represents the duality, the opposition beetwen good and evil, yin and yang, sun and moon, day and night. The second piece is composed of two different elements : the first is written with shorts descending and ascending arpeggios, the second element is slower and melodic. There is a juxtaposition of two distinct musical ideas.
3 represents the perfect number, the Trinity but rather the three stages of life.
For this, I have written a short piece, very melodic, composed of three notes. During the short development the three notes are enriched with their appogiaturas.
4 is the symbol of the Earth, of the stability, of the raw material which unfolds through the sensible world, the four seasons, the four cardinal points. The music relies on a group made of four repeated notes, a symbol of stability. It is a piece with a dynamic character.
5 represents Nature, Quintessence, the five elements, the five fingers of the hand. I have composed the piece whith a melodic phrase of five notes around a measure of 5 beats. It is an expressive piece played in the medium and lower register of the clarinet.
6 is the symbol of the six days of the creation of the world, and of the Star of David, of the Salomon seal. It also represents the harmony. The music is based on ample sextuplets of semiquavers ascendant and descendant. The ambitus of the clarinet is wide.
Like the first numbers 7 has a sacred character. God ended the world in six days and took a rest on the seventh. It also represents the seven planets and the seven notes of the scale. The music is based on arpeggios of seven notes played non legato and legato. The character of the piece is ample and melodic.
8 is the symbol of infinity, balance and harmony.
The last piece offers a reminder of the pieces 3 and 5, is composed of 8 – note arpeggios
The work ends in a serene and bright atmosphere.
Sonate de Concert n°2 op 45 2013 - 17'2013 - Violon solo - 17'Hélène Schmitt - Hélène Schmittjuly 6th 2013 - Vivier sur Ardèche - Hélène SchmittFurore VerlagThe Sonate de Concert with a duration of 17 mn has been composed during spring 2013 and includes 3 movements. It is commissioned and dedicated to the violonist Hélène Schmitt. The first movement is a Chaconne composed of 9 variations. The theme of the Chaconne is slow, quasi cadenza. It is played in the medium-low of the violin and is composed of two melodic sentences. The first variation ( bar 4) presents the first part of the theme in the medium, then the second part of the theme in inversion writing in the medium pitch order of the instrument. The second variation ( bar 7 ) sets out the the theme in the high pitched and presents a counterpoint of semiquavers. In the second part of the theme, a rhythm more scaned appears. The third variation ( bar 17 ) requests the low register of the instrument, it is made upof repeated notes. The writing is more rhythmic. The fourth variation ( bar 27 ) presents a counterpoint of two voices, then a writing with repeated intervals for the second part of the theme, in the medium – high of the violin. The fifth variation ( bar 40 ) is written with pizzicatos and arco notes. The sixth variation ( bar 55 ) presents an ornementation of the theme with a melodic modus seted out from the beginning of the variation. The seventh variation (bar 66 ) offers the theme with a fragmented ptich order. Some melodic modifications are to be noticed. The eight variation ( bar 79 ) is an harmonic variation. About the ninth variation ( bar 95 ) it presents the first part of the theme and conludes the movement in the luminous climate. The second movement is an Aria composed with musical letters of the first name Hélène : si mi fa mi la mi. It is a very melodic and expressive movement. It is developped with some chromatisms around the theme. The final is made up with two main themes. The first one is dancing, with a rhythmic writing. The second (bar 11 ) relies on an interval of a melodic diminished fifth. They will be developped with a dynamic writing.A remember of the first movement will be recalled before the coda which concludes the work in a luminous climate.
10 Litanies for organ op 43 2012 - 17'2012 - Organ - 17'Ariane Monteil - Marie Ange LeurentFebruary 5, 2013 - Paris Notre Dame de Lorette - Ariane MonteilFurore Verlag10 Litanies for organ op 43
The ten Litanies for organ op 43 have been composed in November 2012.
Their duration is 17 mn and they are dedicated to Ariane Monteil.
Written for young organists, they allow the musician to discover the different possibilites of the organ.
If the 10 pieces are played in a concert, we would advice to respect the sequence of the composition.
Suite for cello op. 41 2012 - 12’2012 - cello - 12’Odile Bourin - Radio FranceJanuary 26th 2014 - France Musique - Odile BourinFurore VerlagSuite for cello op 41
The Suite for cello with a duration of 12 mn has been composed on May 2012 and includes five movements.
It is dedicated to the cellist Odile Bourin and has been written in memory of my son Paul who died in 2011.
The piece is written in the tradition of the works for solo cello, particularly the three Suites for solo cellos of Britten.
The first movement is based on the musical letters of the first name Paul. It is a serene and very melodic movement.
The second movement is written with pizzicatos only.It is cheerful and emphasizes the differents colours of the cello in this way of playing.
The third movement is a fuga which subject is winded melodically around the letters of the first name Paul. A specific attention has been given to the polyphony.
The fourth movement is based on a melodic writing. It is very expressive.
The last movement is lively and presents a new theme issued of the letters of the chosen first name.
In the coda it offers a remembrance of the first movement and concludes the work in a luminous climate.
24 Préludes for piano op 38 2010-2011 - 45’2010-2011 - piano - 45’Paul Gagnaire1st april 2012 - Théâtre Adyar - Vahan MardirossianFurore VerlagThe work which duration is 45 mn has been written between 2010 and 2011.
These Preludes for the piano are a tribute to the Preludes of Alexander Scriabine.
There is no tonal reference in the writing of my Preludes that were written in a chronological way.
It is possible de play some of them, however a complete interpretation is preferable.
They are mysterious, playing with piano resonance, rhythmic and passionate.
They are linked by a great unity of language.
Sacred Suite for Organ op. 31 2004 - 13’2004 - Organ - 13’Marie-Ange Leurent - Concours International de Composition de St Bertrand de Comminges15 july 2006 - St Bertrand de Comminges (France) - Marie-Ange LeurentFurore VerlagThe Sacred Suite op 31 which duration is 13 min is composed of 4 movements:
Complaint and Prayer
The work received the Price Henri Sauguet during the International Composition Competition at saint- Bertrand de Comminges (France).
It belongs to the tradition of religious works for organ and follows the progression of a mass: Entry, Offertory, Communion, Exit. Nevertheless, it is possible to interpret it during a concert.
This first movement developed around a theme, using different counterpoints (for example: canon meas.10 and 48, crab canon meas.26, superposition of canon and crab canon meas.41). It is surrounded by a second element that appears in measure 2 and will ornament at each of its occurrences one musical letter of the main theme.
The second movement wrote in the spirit of a meditation, from the Psalm 101 (Vg). It is composed of one expressive element presented measure 1 and developed as a recitative from measure 20.The coda (meas.35) concludes the movement in a meditative atmosphere.
The third movement is a Chorale built with four phrases and belongs to the tradition of Bach’s chorales. The fourth movement: Toccata, offers a luminous and virtuoso last part. It based on two elements. The first one is melodic and lively, and uses all the pitch order of the keyboard. The second element, harmonic (from the last chord meas.3 and meas.4) is composed of shinning and vigorous chords.
A remember of the first movement (meas.14 to 17 and meas.23) concludes the Sacred Suite in a great musical unity.
Passacaille for piano op. 29 2004 - 11’2004 - piano - 11’Lise de La Salle - Lise de La Salle10 septembre 2004 - Paris, Festival des Serres d’Auteuil - Lise de La SalleFurore VerlagCommissioned by the extraordinary young pianist Lise De La Salle for a recital in September 2004 at the Festival des Serres d'Auteuil de Paris, the Passaglia has been written in January 2004. It is composed of a single movement, which lasts about 11 mn.
This work which is dedicated to Lise De La Salle is composed of one theme which spells the letters of her first name and her surname. This combination of 13 notes is the recurring theme during all the Passaglia.
Three parts compose the work. The first one exposes the theme in the spirit of a chorale. This theme is surrounded by ample and luminous harmonies.
The second part develops in 6 sections the artist' first name and surname under various writing structures : melodic writing, then relying on resonant chords, four in one canon, polyphonic writing … The theme is recapitulated at the end of the development in the spirit of a varied chorale.
The last part of the work presents the theme under the structure of a virtuoso toccata with contrasted accentuations and dynamics. The Passaglia, using all the pitch order of the piano is concluded in a " firework" of tones and orchestral colours.
Sonata for cello dedicated to Henri Demarquette op. 27 2003 - 18’2003 - cello - 18’Henri Demarquette - –03-07-2004 - Ancy le Franc (Bourgogne) - Henri DemarquetteFurore VerlagWritten during the spring 2003, this Sonata which lasts 15 mn has been composed for and dedicated to Henri Demarquette. It is a tribute to the talent of this great cellist.
This Sonata is composed of three movements. Each movement offers the distinctive feature to associate the first and last name of Henri Demarquette to the corresponding musical notes.
The 1st movement offers an ornament of each letter of the first name of Henri. It is a slow and expressive movement which could be compared to a large vocalise.
The 2nd movement, built around the last name : Demarquette, is in 3 parts : vif, pui lento, vif .
This movement contrasts the very rhythmic and incisive character of the two parts « vif » with the more melodic writing of the central « pui lento » in the high pitch of the instrument.
The 3rd movement combines the first name and the last name of dedicator in a single thema developped as a tiento. This is an ancient musical form, appeared in Spain in the XVI th century, wich is based like the Italian form ricercare on a contrapuntal writing proceeding by imitations. However, it presents a difference with the ricercare : it allows more flexibility in the musical form and enables a perfect alliance of a thematic form with a virtuoso composition.
Mass for organ op. 24 2000-2002 - 18’2000-2002 - organ - 18’Marie-Ange Leurent - –01-26-2003 - Paris VIII, Couvent des Dominicains - Marie-Ange LeurentFurore VerlagWritten gradually between 2000 and 2002, this Mass which duration is 16 mn, is composed of 4 parts:Soundtrack
Entry, Offertory, Communion, Exit .
It is a concert piece which can also be played during the liturgy.
The Entry invites believers to the gathering in a cheerful atmosphere, sustained by a fluid and monothematic writing.
The Offertory is a soft meditation on the teaching of God. After this meditation, a more dramatic central part takes place, describing Man in front of death. The Offertory is concluded in a peaceful climate.
The Communion is a serene and meditative piece based on the intimacy between the Lord and us.It is composed of very soft chords, on which appears a thema played with "jeux de gambe " and "voix celeste" .
The Exit is written in the spirit of a virtuoso tocatta .It is built on a very lively melodic motive presented in the introduction of this movement. Full of energy, it illustrates the joy of Man, who benefits from the teaching of God to become better.Mass for organ op. 242000-2002 - organ - 18’fermer
Concert Sonata for violin op. 19 1999-2002 - 18’1999-2002 - violin - 18’Lyonel Schmit - –– - Paris, Festival Musikalia - Lyonel SchmitFurore VerlagThis concert Sonata has been written in a close collaboration with the violonist Lyonel Schmit to whom it is dedicated.
It is possible to play only one movement, it is just asked to respect the order of them in case the Sonata will be played fully.
Corail (5 min) :
Corail has been written during Spring 1999 after a trip to Bora-Bora in French Polynesian islands. The duration of the work corresponds to a duration of a diving without bottles. First, Corail describes the call of the depth that feels the diver then, the discovery of the undersea world which is extraordinary and finally the call of oxygen which is essential for his survival.
Dédale (6 min) :
The second movement has been written during autumn 2000. It refers through counterpoints and canons to the labyrinthine world of the city, always in movements as well as the interior rhythm of the man described in the central part of the movement.
Passacaille (6 min 30) :
The last movement, written during winter 2001-2002, is composed of ten linked sections. It has written as a tribute to J.S. Bach and is built with the four musical letters of his name : B flat, A, C, B natural. During this movement, a lot of counterpointic process are exploited : inversion, retrogradation, and superposition with itself, etc.
Veni Sancte Spiritus for organ op. 18 1998 - 10’30’’1998 - organ - 10’30’’Marie-Ange Leurent - –01-14-1999 - Paris, Église de la Trinité - Marie-Ange LeurentFurore VerlagThis piece whose duration is 10 min 30 is a commission of the organist Marie-Ange Leurent who is appointed of the organ of Notre Dame de Lorette un Paris. It is a concert piece which can also be played during the liturgy. It has been written for the Pentecost Day. It is composed of three parts which are linked, and lean on the notes of the Gregorian Hymn.Soundtrack
Three meditations punctuate the piece. They represent the man in front of the Mystery of the Holy Trinity. The climate is soft and poetic. A triple canon (bar 183 to 194) symbolises the Holy Trinity of the Father, the Son and the Holy Spirit. This piece ends in a full joy.
Note to the interpreter:
The registration indicated in the score are given as an example. This piece can be adapted to a baroque organ as well as romantic or a modern one.
The indications of games give an idea of the colour and the strength. It is for example, possible to replace Bourdon 8 of the great organ by one of the swell with closed box.Veni Sancte Spiritus for organ op. 181998 - organ - 10’30’’fermer
« Tiento » for theorbo op. 16 1998 - 8’1998 - theorbo - 8’Caroline Delume - Société Française de Luth1995 - Paris, Société Française de Luth - Caroline DelumeFurore VerlagThe score is presented in modern music writing. A tablature is available, developed by Caroline Delume, the lutenist who has created the work.
Tiento literally means grope. It is an ancient musical form, appeared in Spain in the XVIth Century, which is based, like the italian form « Ricercare », on a contrapuntal writing proceeding by imitations. But the Tiento has a difference with the ricercar : it allows more flexibility in the musical form, and enables a perfect alliance of a strict form with a virtuous composition. The musical colours (harmonics, chords, increasingly declaimed strokes) at first spurt out timidly, but as the work unwinds, they tend to take up an increasing part. There is no struggle between both forms, rather a search for balance and alliance.
Two Miniatures for guitar op. 15 1997 - 2’1997 - guitar - 2’Pour les enfants - –12-21-2001 - Vannes (Morbihan) - –Furore VerlagComposed in 1997, these two pieces last 2 mn, and have been written for children.
The first one is meditative and expressive, it favours the intimist sound of the guitar.
The second piece, melodic, is built around a motif which will be developed as a dialogue.
Sonata for piano op. 13 1995 - 5’30’’1995 - piano - 5’30’’Domenico Scarlatti - –12-21-2001 - Vannes (Morbihan) - –Furore VerlagThis piece strictly obeys to the two-parts structure of the Sonata form of early XVIIIth Century. All formal elements, like ritornelli, are in place, only the substance of harmony, melody and rhythm have taken liberty : fluid, and with a reference to viennese pointillism.SoundtrackSonata for piano op. 131995 - piano - 5’30’’fermer
Five pieces for piano op. 12 1990 (1-3) to 1997 (4-5) - 3’30’’1990 (1-3) to 1997 (4-5) - piano - 3’30’’Paul et Jean - –12-21-2001 - Vannes (Morbihan) - –Furore VerlagWritten for children, these pieces are more widely for beginners. They are of varying design and short duration. They display at turns melody, humour, playfulness, cheerfulness - they are a reflect of childhood.SoundtrackFive pieces for piano op. 121990 (1-3) to 1997 (4-5) - piano - 3’30’’fermer
« Uno » for piano solo op. 8 1992 - 5’30’’1992 - piano - 5’30’’Wally Karveno - –08-01-1998 - Saint Jacques des Guérets (Loir et Cher) - Wally KarvenoFurore VerlagThis is a piece for rather accomplished pianists. There is purposedly a unique theme, which constantly generates its own development. The piece is an ample pianistic variation which unwinds and then gradually narrows down to the end. But colour and harmony dominate the piece, bringing light, contrast, and peace.
« Huit pièces » for piano solo op. 6 1988 - 9’1988 - piano - 9’Henri Gagnaire - –1988 - IIIe biennale de la création musicale de l’Essone - –Furore VerlagPremière in 1988 at IIIrd biannual for music creation in Essonne, broadcasted on Radio-France.Soundtrack
These 8 pieces, all made short, are of opposing natures. The pieces succeedingly expose moments of elegy, fast rhythm, resonance, and of wandering and play in the fog of harmonics or clusters. The whole amounts to a fleeting and expressive work.« Huit pièces » for piano solo op. 61988 - piano - 9’fermer
« Amers » for piano based on the poem by Saint John Perse op. 4 1984 - 6’30’’1984 - piano - 6’30’’David Delambre - –05-20-2000 - Paris - Amélie PôneFurore VerlagSacem award for music creation. This work also received a Premio Città di Pescara at Concorso di Composizione International. Amers is an homage to the poem - which has this title - written by Saint John-Perse, a French poet died in 1975. The piece is more particularly composed from the ninth stanza : "Etroits sont les vaisseaux", wonderful praise to love.Soundtrack« Amers » for piano based on the poem by Saint John Perse op. 41984 - piano - 6’30’’fermer
Souffle d'Argent for flute and piano op 105 2021 - 8 mn152021 - - 8 mn15Corinne Hournau - Corinne Hournau- -Furore - VerlagThe work, with duration of 8 mn 15 was composed in the spring of 2021. It was commsissioned by the soloist Corinne Hournau and is dedicated to her. It offers two movements highlighting the dialogue between the two instruments. The first movement, lasting 4 m 45, is characterized by its melodic and mysterious universe. It consists of three parts. The first part, from bar 1 to 40 present the theme A on the piano, then on the flute. The second part, from bar 41 to 70, gives rise to a second theme with a modal character. The reexposure, at bar 71, makes the theme A hear from the note G #. The movement ends in a soft atmosphere. The second movement is lively and revolves around three linked parts. The first part, from measure 1 to 41, presents the different thematic elements that will be developed. With a playful and dynamic character, they highlight the different range of the flute. The second part, from bar 42 to 66, offers a melodic parenthesis, reminiscent of the first movement. The third part, from bar 68 to 142, re -exposes the beginning by reversing all the elements together. it offers the flute an instrumental cadence before concluding the compostion in an energic and luminous coda.
La Danse d'un Cygne pour une Etoile op 108 2021 - 5 mn2021 - Violin Soprano - 5 mnYuri Kuroda and Catherine Manandaza - Festival of Women in Martinique- - Yuri Kuroda and Catherine ManandazaFurore - VerlagThe work, for violin and soprano, with a duration of 5 mn was composed in August 2021. It is commissioned by the Festival Women in Martinique and is dedicated to Yuri Kuroda and Catherine Manandaza. Wirtten after a poem of Paul Gagnaire, it highlights the dreamlike text in a melodic and serene dialogue.
Sonata Breve for Violoncello and Piccolo op 107 2021 - 8 mn2021 - Violoncello and Piccolo - 8 mnJean Louis Beaumadier - Jean Louis Beaumadier- -Furore - VerlagThe 8 mn work was composed in July 2021 and is dedicated to Jean Louis Beaumadier, who has also commissioned the work. It presents two very different movements. The first movement, with lasts 4 mn 45, begins with an introduction to the cello which leads the piccolo to play the main theme of the movement. This is structured in two parts : the first part from bars 1 to 14, and the second part from bars 15 to 21. This is followed by four melodic variations that emphasize the dialogue between the two instruments. The fourth variation at bar 76, will be given as a cello cadenza. A coda at bar 85 concludes the movement in a soft light. The second movement, lasting 3 mn, begins with the piccolo, which gives the main theme of the movement. It is then taken up by the violoncello. A development will be proposed between measures 11 to 17. A second thematic element B is presented from bar 18. It is developed up to bar 40. The return of theme A in bar 41, is given this time by the cello, then the piccolo, which develops the theme again during an instrumental cadence. At bar 56, the theme A is heard in octave canon, then in homorhythmy. The movement ens with great energy.
Sonata for violin and cello op. 96 2020 - 12'2020 - violin, cello - 12'Hélène et Florent Audibert - Florent Audibert- - Hélène et Florent AudibertFurore Verlag
Sonata for violin and cello op. 96
The 12 min Sonata in three movements was composed in April 2020. It is commissioned by Florent and Hélène Audibert to whom it is dedicated.
The first movement, with a duration of 4 min 30, is composed of a melodic theme, given to the cello and the violin (measure 1 to measure 8). It will then be developed in the form of five variations. The first variation (bars 9 to 17) is melodic. The second variation (measures 18 to 25) presents an ornate and expressive writing. The third variation (bars 26 to 42) is of melodic and modal character, in the medium high register of the two instruments. The fourth variation (measures 43 to 52) gives the theme developed on the violin, then on the cello, around a melodic writing with parallel sixts. Like the fifth variation, it is harmonic in character and concludes the movement in a serene atmos phere.
The second movement, with a duration of 2 min 45, is a scherzo trio. Lively and cheerful, nates between arco writing and pizza. The Trio (measure 15 to measure 32) is expressive and based on sixth and fifth or second chords. The return of the Scherzo at measure 33 will give rise to a terminal development.
The third movement, with a duration of 4 min 50, begins with a very expressive theme played on the cello, with accompaniment of tremolos on the violin. It will be developed until measure 34. An instrumental cadence, given to the cello (bars 35 to 40) concludes this first part. Measures 41 to 43 offer a transition to the high register of the two instruments. At measure 44, a second part is given, in lively writing and a lively tempo. The violin plays garlands of descending sixteenth notes, surrounded by pizzas, or loose notes on the cello. Between bars 59 and 67, it's the violin's turn, to hear an instrumental cadence, with a melodic character..
From bar 72, the return of the animated tempo presents the sixteenth notes on the cello, supported by the violin, in pizz. or detached notes. The Sonata conclude the in great brightness in the measures 85 to 87.
Deux Fantaisies (Two Fantasies) for organ and flute op. 93 2020 - 8'302020 - organ and flute - 8'30Sophie et Thierry Bois - Festival de Chaillol2020 July 28th - Cathédrale de Gap - Sophie et Thierry BoisFurore Verlag
Deux Fantaisies (Two Fantasies) for organ and flute op. 93
Lasting 8 minutes, the two Fantaisies for organ and flute op 93 were composed in February 2020. They were commissioned by the Festival de Chaillol and are dedicated to Sophie and Thierry Bois.
The first Fantasy, lasting 4 min 30, is melodic and expressive. The organ plays the main theme taken up by the flute in bar 6. From measure 13 to measure 36, a development of the theme is proposed, divided into three sections: First section: from measure 13 to measure 18, second section: from measure 19 to measure 27, third section: from measure 28 to measure 36. After a re-exposure to measure 37, a new development is proposed, up to measure 45. The coda concludes the movement in a bright atmosphere in the third time of measure 45.
The second fantasy, lasting 3.5 minutes, is characterized by the liveliness of its theme exposed to the flute. Dynamic and rhythmic, it highlights the dialogue between the two instruments. After a transition (bars 27 to 34), a second part offers a development of theme A. It is written from bar 35 to 54. Theme B, with a more melodic style, is exposed from bars 55 to 71. It is followed by a flute solo, almost cadenza. A fugato (bars 86 to 97) concludes this second part.
The third part (measure 98) re-exposes theme A, then develops it again. At measure 119, a melodic episode is based on the dialogue between the two instruments.
The coda, from measure 148, concludes the second fantasy with great energy.
Two Duets for violin and viola op. 91 2019 - 9'152019 - Violin, Viola - 9'15Françoise Gnéri - Festival Fractales2020 September 5th - Eglise de Cangey - Françoise Gnéri, Juliette LerouxFurore Verlag
Two Duets for violin and viola op. 91
The work with a duration of 9 mn15, was written in the fall of 2019. It is commissioned and dedicated to the violist Françoise Gnéri.
The first duo, with a duration of 4’45 minutes, has a melodic and expressive theme. It is presented in the form of entrances, each entrance correspond to the open strings of the viola. Measure 1: input on C, Measure 5: input on G, Measure 14: input on D and measure 22: last entry on A.
A counter subject is proposed from the second entrance, preceded by a small coda. A second part of bars 25 to 59 introduces a theme in dialogue with the two instruments. A small instrumental cadence is proposed from measure 44. A third part begins at measure 60, giving the first theme, with a varied counter-subject. The first duo ends in a serene atmosphere.
The second duo a duration of 4’30 minutes has the form of the rondo. It is composed of a dynamic and biting chorus, followed by two verses, played in a slower tempo and characterized by a more melodic writing. The first verse is at measure 37, the second at measure 98. The coda concludes the movement with great energy.
Rhapsodie for piano and violin op 85 2019 - 7'302019 - Piano, violin - 7'30Jean Gagnaire - Concours International de Musique de Chambre de Lyon2020 - Lyon -Furore Verlag
Rhapsody for violin and piano op 85
The work which a duration of 7 mn 30 has been composed in April 2019. It is a commission of the International chamber Music Competition of the city of Lyon. In a single movement, it presents three parts and introduces an expressive theme in dialogue with the piano.
The first part, from measure 1 to 49, proposes two chained themes ( bars 1 and 15), played o the violin, and developed from bar 22.
A second part, from meausre 50, proposes a new vey expressive theme, given by the violin.
A re-exhibition takes place from the 74th measure on. It varies the themes sensibly both in their statement and the accompaniment of the piano.
A last part from measure 118, is lively and rhythmic, and cocludes the work in great energy.
Sonata for cello and piano op 82 n ° 2 2018 - 10'2018 - cello, piano - 10'Marc Coppey, Jean Baptiste Fonlupt - Festival de Chaillol19 juillet 2019 - Festival de Chaillol - Marc Coppey, Jean Baptiste Fonluptfurore verlag
Sonata for cello and piano op 82 n ° 2
The work with a duration of 10 minutes, was written in November 2018, It is dedicated to Marc Coppey and Jean Baptiste Fonlupt and composed of two movements with very different architecture and character.
During the first movement with a duration of 7 minutes, the thematic elements will be developed during an intervention of the cello. Four parts are forming this movement, with the re-exposure of an instrumental inversion of the themes in measure 103. The predominant character of this movement is the lyricism of the cello as well as the dialogue between the two protagonists.
The second movement, with a duration of 3 minutes, is lively and cheerful. It presents the theme on the piano, accompanied by cello pizzicatis. The form of the movement adopts the form of the Rondo, with two couplets and three refrains. During the second return of the chorus (measures 29 to 40), we will see an exchange of thematic elements. And during his third appearance at measure 62, the chorus will be partially transposed a tone above.
The movement ends in a happy and dynamic atmosphere.
Chant de Coton op.83
Tale for young public 2019 - 45'2019 - Piano, reciter - 45'Michael Dian - Festival de Chaillol2019 - Festival de Chaillol - Michael Dian, Cécile BrochoirFurore Verlag
Dreams for flute and piano op 79 2018 - 8'40"2018 - flute, piano - 8'40"Virginie Hacquet Tomomi Miyazaki - Virginie Hacquet- -Furore Verlag
Dreams for flute and piano op 79
With a duration of 8 mn 40, Dreams for flute and piano has been composed in April 2018 and is dedicated to the flutist Virginie Haquet and the pianist Tomomi Miyazaki.
The work is made of four movements, highlighting the atmosphere of the world of dreams.
The character is expressive and mysterious, it allows to hear soft harmonies on the piano, supported by a very melodic writing on the flute.
Duo for cello and clarinet in B op 73 n ° 3 2017 - 2'302017 - Cello, Clarinet in B - 2'30Jean Gagnaire - Festival Fractales2018 August - Sanary sur Mer -Furore Verlag
Duo for viola and bassoon op 73 n ° 2 2017 - 2'302017 - viola and bassoon - 2'30Jean Gagnaire - Festival Fractales2018 august - Sanary sur Mer -Furore Verlag
Duo for violin and oboe op 73 n ° 1 2017 - 2'452017 - Violin and oboe - 2'45Jean Gagnaire - Festival Fractales2018 august - Sanary sur Mer -Furore Verlag
Concerto for piccolo and orchestra Transcription for piccolo and piano op.72 N° 2 2017 - 14'2017 - Piccolo and piano - 14'Jean Louis Beaumadier - Jean Louis Beaumadier- -Furore Verlag
Concerto for piccolo and orchestra op 72
The Concerto for piccolo and orchestra, which duration is 14 mn has been composed during summer 2017.
It is dedicated to the flutist Jean Louis Beaumadier, who is also the commissioner.
It is composed by two movements, the first one melodic and expressive, the second one more lively and bright.
Night Time op 68 2016 - 14'2016 - 2 clarinets in si b - 14'Stéphanie Carne - Stéphanie Carne- -Furore Verlag
Night Time op 68
5 duets for two clarinets in si b
The 5 duets for two clarinets which duration is 15 minutes have been composed during autumn 2016.
They are a commission from the clarinetist Stéphanie Carne to whom it is also dedicated.
They evoke the nocturnal world in its various aspects.
The first and the second duet are melodic in character and allows us to enter into the mysterious atmosphere of the night.
The third duet is very expressive, and describes the universe of dreams which lives in our nights. It is a come back ( or return) to ourselves and on our solitude.
The fourth duet is a Scherzo – Trio and brings us closer to dawn.
Concerning the last duet, it is playful in nature, and emphasizes the morning light that succeeds the night. It ends the cycle in a cheerful and energetic atmosphere.
Album for flutist op 65 2016 - 12 mn 302016 - 2 duos for fl + clarinet in si b
2 duos for fl + harp
1 duo for fl + soprano
1 duo for fl + alto voice or counter tenor. - 12 mn 30Corinne Hournau - Corinne Hournaujune 15th 2017 - Paris - Corinne HournauFurore Verlag
Album for flutists op 65
The collection which duration is 12 mn 30 includes 6 duets :
2 duets for flute and clarinet in B flat
2 duets for flute and harp
2 duets for flute and voice based on poems from Maurice Rollinat (1 for soprano and one for countertenor or alto voice).
It has been written during autumn 2016 and is dedicated to the flutist Corinne Hournau.
These duets of medium difficulty will be able to widen the repertoire of young musicians and are also good literature for flute recitals.
Sonata for viola and piano op 63 N°2 2016 - 22'2016 - Viola and piano - 22'Lise Berthaud Adam Laloum - Antoine Manceau2017 March 14th - Villefranche de Rouergue - Lise Berthaud Adam LaloumFurore Verlag
Sonata for viola and piano op 63 n° 2
The Sonata for viola and piano which duration is 22 mn has been composed during spring 2016 and is a commission of Antoine Manceau for a tour of concerts named : 'la Belle Saison '.
It is dedicated to the performers Lise Berthaud and Adam Laloum.
The first movement introduces a first melodic theme vigorous and energetic, followed by two elements played by the viola which will be also developed. The second theme at bar 41 has a more serene and harmonic character. The writing of the viola is longingly and expressive.
The recapitulation takes place bar 63 and proposes some variants compared with the exposition. The second theme is recapitulated at bar 97 and declines the chords of the piano in a descending profile.
The coda at bar 120 concludes the movement in an intense climate.
The second movement exposes first a theme at the viola. This one has a very melodic and expressive character. It will be played by the piano at bar 7.
A counterpoint of semi quavers will supports the theme from bar 21.
The second theme at bar 37 is characterized by its chords made with parallel fourths. Its climate is luminous and soft.
The recapitulation of the first theme takes place at bar 63 and proposes a squiggled writing at the viola as well as at the answer of the piano at bar 69.
The second theme exposes the coda from bar 100 and ends the movement in a appeased climate.
The last movement is made of two themes :
The first one has a character quasi recitativo and will be varied at each of its apparition. The second theme given at bar 9 has a more rhythmic character and will be varied also at each time it will be played.
The work concludes in a luminous and intense climate.
Suite for violoncello and piano op 60 2016 - 11'2016 - Violoncello, piano - 11'- Raphaël Pidoux2016 November 26th - Paris -Furore Verlag
Suite for violoncello and piano op 60
The work which duration is 11 mn has been written during Winter 2016. It is composed of three movements.
It is a commission of the French National Competition for violoncellists and it is written for young soloists. The first movement shows two melodic themes given by the violoncello solo and then taken back by the piano into a dialogue.
The second movement adopts the form of the Scherzo -Trio with a resumption. Its character is bright and favors the way of playing pizzicato on the violoncello.
The third movement first gives a reminder of the second theme of the first movement and then, offers to the violoncello a cadenza. A second theme is given in the middle of the movement, its character is incisive. The work concludes in a dynamic climate.
Sonata for two violoncellis op 58 2015 - 15'2015 - Two cello - 15'Florent et Frédéric Audibert - Pascal Grimoin2016, July 3th - Caillan - Florent et Frédéric AudibertFurore VerlagThe work which duration is 15 mn has been written during autumn 2015.
It is composed of four movements and is dedicated to Florent and Frédéric Audibert.
The first movement is expressive and emphasizes the dialogue between the two instruments. It is composed of a theme A followed by two variations, then, by a second theme B which character is harmonic at measure 54.
Two others variations will be played after the second theme.
The second movement is dancing and cheerful. It is played only with pizzicatis.
The third movement is a slow and expressive movement. It favours the dialogue between the two instruments, as well as new instrumental colors, including harmonics glissandi.
The final adopts the rondo form. The refrain is a perpetual movement written in semi quavers.
The first episode takes place at measure 18, it is expressive and slow.
The return of the refrain at measure 36 will be followed by a second episode. Its character is dancing.
The return of the refrain concludes the work in a luminous climate.
Sonata for piccolo and piano op 57 2015 - 13'2015 - piccolo and piano - 13'Jean Louis Beaumadier - Jean Louis Beaumadier2016/02/29 - Marseille - Jean Louis Beaumadier, Véronique PoltzFurore Verlag
Sonata for piccolo and piano op 57
Written during the summer 2015, this Sonata which duration is 13 mn is dedicated to Jean Louis Beaumadier, who has also commissioned the work. The piccolo, alone, exposes the theme of the first movement. It is melodic and very expressive. It will be given then by the piano, harmonized.This theme is developed with new counterpoints during all the first part (- until measure 34 -).
A second theme issued from the first one will be given from measure 35 on the two instruments. Its character is bright and rhythmic. The recapitulation at measure 55 will cause new developments. The movement ends in a mysterious climate.
The second movement adopts the Rondo form. The theme of the refrain is given by the piano at the beginning of the movement. It relies on resonances of harmonics and its character is bright.
Two episodes will punctuate the return of the refrain, the first one at measure 31, issued of the head of the theme of the refrain, and, the second episode at measure 57.
During the second episode, the piccolo is developing a cadenza. At measure 89, the theme of the refrain is given again, in parts exposed by contrary motion.
The work concludes in a joyful and luminous climate.
Jardin d'étoile op.44 N°2 Réduction piano /violon de la partition d’orchestre 2014 - 17'2014 - Piano, violin - 17'Lyonel Schmit - Lyonel Schmit2015 May 23th - Festival Musica Bendor - Lauvre Favre Kahn. Lyonel SchmitFurore VerlagThis work is the piano reduction of the orchestra and violin work op 44.
It takes its inspiration source from the philosophical tale of Antoine de Saint Exupéry : le petit prince.
Sonata for double bass and piano op 52 2014 - 18'2014 - Double bass and piano - 18'Thierry Barbé - Thierry Barbé2015 3th june - USA Fort Collins Theater - Thierry Barbé Contrebasse, Diane Frazer pianoFurore VerlagSonate for double bass and piano op 52
The work which duration is 18 mn has been written during spring 2014.
It is composed of three movements and is dedicated to the double bassist Thierry Barbé who is also the commissioner.
The first movement is composed of two themes well distinct.
The first theme relies on the musical letters of the first name Thierry and is given by the left hand of the piano at the beginning of the work. This theme will be played again by the double bass then developed as a dialogue between the two instruments.
The second theme relies on soft chords given by the piano (measure 44 ), then will be given with melodic intervention of the double bass.
After the recapitulation of the two themes, the movement concludes in a dynamic atmosphere for introducing the second movement.
The second movement gets closer to the shape of a Scherzo-Trio.
The scherzo is composed of two themes. The first theme relies on the musical letters of the name of the double bassist Barbé. It is joyful with pizzicatos at the double bass. The second theme relies on an accompaniement of repeated notes at the piano with a melodic motif which comes from the first theme at the right hand of the piano. The double bass plays parallel fifths. The atmosphere is still dynamic.
The Trio is very expressive and emphasizes the sound of the double bass. It relies on large arpeggios given by the piano.
The two themes of the scherzo will be given again by inverse movement of the two instruments.
The third movement is composed of two parts :
The first part is very expressive and has a modal character and includes a Cadenza of the double bass which remembers the theme of the first movement.
The second part is lively and has a joyful character. It favours the dialogue between the two instruments.
The sonata concludes in a luminous atmosphere.
Three Fantasies for violin and harp op. 48 2013 - 12'2013 - Violin, harp - 12'Philippe Villafranca, Manon Louis - Philippe Villafranca2014 October 19th - Bourg en Bresse chapelle du lycée Lalande - Philippe Villafranca, Manon LouisFurore VerlagThree Fantasies for violin and harp op. 48
Written during the autumn of 2013, these three Fantasies which duration are 12 mn are dedicated to the violonist Philippe Villafranca and the harpist Manon Louis who have also commissioned these pieces.
The first Fantasie sets out a theme in chords given by the harp. The violin takes back the notes of the mode followed by a melodic ascendant motive which the harp accompagnies with harmonics notes. A small rhythmic element played on bar 20 will be developed in the central part of the movement which duration is 3 mn 50.
The second Fantasie which duration is 5 mn is a slow and expressive movement. The violin introduces the main theme which has an ascendant profile accompagnied by the harp in batteries. Afterwords it will be given to the harp with the violin in batteries. This theme will be developed with a canon at the octave and then by the violin in double notes accompagnied by the harp. We will find again the main theme still given by the violin during the recapitulation. The coda will restore the theme in the high pitch order and will conclude the movement in a soft light.
The third Fantasie which duration is 3 mn 15 is based on a theme composed of two parts. The character is cheerful and dancing. First of all it is given by the violin and then by the harp. The development will offer a dialogue between the two instruments with more particularly the theme given with a canon at the octave.
The work concludes in a luminous atmosphere.
Variations for cello and harp op. 10 N°3 1990 (révisé en 2006) - 9’1990 (révisé en 2006) - cello and harp - 9’Stephan Breith - Stephan Breith12 November 2006 - Wiesbaden (Germ.) - Stephan Breith, cello and Ruth Alice Marino, harpFurore VerlagThere is a transcription of this piece for clarinet and arpa as well as a version for clarinet and piano written in 1990.
This piece composed of a theme followed by 5 variations is in the wake of the heritage from Debussy and French Chamber music : The instruments dialogue in harmony, and privilege the colored alliance of their tones.
Variations for clarinet in B flat and piano op. 10 N°2 1990 - 9’1990 - clarinet and piano - 9’Stéphanie CarneJune 1998 - Théâtre du Tambour Royal (Paris) - Stéphanie CarneFurore VerlagThere is a transcription of this piece for clarinet and harp as well as a version for flute and piano written in 1995.
This piece, composed of a theme followed by five variations, is in the wake of the heritage from Debussy and French Chamber music : The instruments dialogue in harmony, and privilege the coloured alliance of their tones.
Sonata for cello and piano op. 25 2001 - 16’2001 - cello and piano - 16’Dedicated to my father Guy Mulsant - –12-21-2001 - Vannes (Morbihan) - Fabrice et Véronique BourletFurore VerlagThis Sonata which duration is 16 mn is in four movements . The piece is written around a very expressive melodic thema played by the cello alone at the begining of the 1st movement . It will be constantly developped and varied during all the Sonata. The 2nd movement is very fast and rythmical. Written in the spirit of a scherzo, it is composed with 2 elements which are given to each instrument.These 2 elements are reversible. The 3rd movement is a Lamento : it offers a large and very expressive cadenza for the cello built around the initial thema. The Final is a perpetual movement, playing with rythmical figures of 5 notes . This 4th movement is concluded with the come back of the first thema as a coda. This Sonata has been written in a climate of solitude and meditation.SoundtrackSonata for cello and piano op. 252001 - cello and piano - 16’fermer
Sonata for violin and piano op. 21 2000 - 13’2000 - violin and piano (version of the sonata for viola and piano) - 13’Lyonel Schmit, Vahan Mardirossian - –08-2000 - Nancy - Lyonel Schmit, Vahan MardirossianFurore VerlagWritten in 2000, the Sonata for piano and violin is a transcription of the sonata for viola and piano.Soundtrack
The piece which duration is 13 mn, is composed of one movement where we can distinguish three parts.
In the initial exposition, the piano presents a melodic element which will be the compositional ferment of all the work.
It is first developed as a melodic dialogue, and then in a second period exposed in a rhythmical way.
After the recapitulation, the violin, then the piano, express themselves in a musical writing near the spirit of a Cadenza.
At this moment, the Sonata gives the privilege to the special colors and tones of the soloists.
The Final leans on the rhythmical element presented during the exposition but in a tempo much more lively and brilliant.
It concludes the Sonata in an intense and luminous harmonic climate.Sonata for violin and piano op. 212000 - violin and piano (version of the sonata for viola and piano) - 13’fermer
Sonata for viola and piano op. 20 1999 - 13’1999 - viola and piano - 13’Emmanuel Haratyk - –08-2000 - Bruxelles - Emmanuel Haratyk, David ChevalierFurore VerlagWritten in June 1999, the Sonata for viola and piano which duration is 13 mn, is composed of one movement where we can distinguish 3 parts.
In the initial exposition, the piano presents a melodic element which will be the compositional ferment of all the work .
It is first developed as a melodic dialogue, and then, in a second period, exposed in a rhythmical way.
After the recapitulation, the viola , then the piano, express themselves in a musical writing near the spirit of a cadenza. At this moment, the Sonata gives the privilege to the special colors and tones of the soloists.
The final leans on the rythmical element presented during the exposition but in a tempo much more lively and brilliant.
It concludes the Sonata in an intense and luminous harmonic climate.
Three Miniatures for flute and piano op. 14 1997 - 5’1997 - flute and piano - 5’Pour les enfants - –12-21-2001 - Vannes (Morbihan) - –Furore VerlagThese three pieces which last 5mn have been written in 1997 for children.
The 1st one proposes a dialogue full of tenderness between the two musicians.
The 2nd piece, more lively, have a cheerful and incisive character.
The third one offers an expressive dialogue beetwen the flute and the piano. It conludes the work in a peaceful and soft atmosphere.
Variations for flute and piano op. 11 1995 - 9’1995 - flute and piano (Version of variations for clarinet and piano) - 9’Isabelle Duval (flûte) - –18-10-2003 - Meung sur Loire - Isabelle Duval (flûte), François Xavier Angeli (piano)Furore VerlagThere is a transcription of this piece for clarinet and harp as well as a version for clarinet and piano written in 1990 .Soundtrack
This piece composed of a thema followed by 5 variations is in the wake of the heritage from Debussy and French Chamber music : The instruments dialogue in harmony, and privilege the coloured alliance of their tones.Variations for flute and piano op. 111995 - flute and piano (Version of variations for clarinet and piano) - 9’fermer
Variations for clarinet and harp op. 10 n°1 1990 - 9’1990 - clarinet and harp - 9’Stéphanie Carne - –– - – - –Furore VerlagThere is a transcription of this piece for clarinet and piano as well as a version for flute and piano written in 1995.
This piece, composed of a theme followed by five variations, is in the wake of the heritage from Debussy and French Chamber music : The instruments dialogue in harmony, and privilege the coloured alliance of their tones.
« Pôles » for two guitars op. 2 1984 - 6’30’’1984 - Two guitars - 6’30’’Caroline Delume - –1985 - Arcachon, Festival International de Guitare - Caroline DelumeFurore VerlagThis piece obtained a Sacem award for music creation. The composition is made of an expressive melodic fabric, opposed to purely rhythmic elements. At the begining of the piece, the expressive and melodic elements are predominant, then the rhythmic elements are introduced : repeated chords, abrupt and spasmodic rhythm, resonance effects on the wood of the guitar. Then the two components, horizontal and vertical, are confonted and opposed, and they gradually narrow down : the texture blows out, the spiral of resonance raises towards the infinite.
Trio for Piano, Clarinet in B, Violoncello op 103 n° 2 2021 - 7 mn 302021 - Piano, Clarinet in B, Violoncello - 7 mn 30Jean Gagnaire- -Furore - VerlagThe 7 mn 30 work was composed on July 2021 and consists of two movements. It is a new version of the Trio for bassoon, clarinet and piano op 103. The first movement which lasts 5 mn, offers various melodic lighting. It has the form A B C A '. An introduction to the violoncello is followed by the clarinet and the piano. The thematic elements can be seen in bar 19. A second part takes place in bar 36, is lighter and is based on four chords. An instrumental cadence is then played by the violoncello and then the clarinet. The return of the thematic elements takes place in bar 66 and concludes the movement in a peaceful atmosphere. The second movement, which lasts 2 mn 30 is animated and takes place the form A B A '. It contains thematic elements that are played staccato on the three instruments. A more melodic part is exposed in bar 13. It has a modal character and, in particular, makes it possible to hear a dialogue between the violoncello and the clarinet. The return of A occurs from bar 37 and completes the work in a beautiful energy.
Trio for clarinet in b, bassoon and piano op 103 2021 - 7 mn 302021 - Clarinet in b bassoon piano - 7 mn 30Rose Lowry - Festival Ars TerraJuly 2022 - -Furore - VerlagThe 7 minutes 30 work was composed in winter 2021 and consists of two movements. It was commissioned by Ars Terra Festival and is dedicated to Rose Lowry. The first movement, which duration lasts 5 minutes, offers various melodic lighting. It has the form A B C B'. An introduction to the bassoon is followed by the clarinet and the piano. The thematic elements can be seen in bar 19. A second part takes place in bar 36, is lighter and is based on four chords. An instrumental cadence is then played by the bassoon and then the clarinet. The return of the thematic elements takes place in bar 66 and concludes the movement in a peaceful atmosphere. The second movement, which lasts 2 minutes 30, is animated and takes the form A B A'. It contains thematic elements that are played staccato on the three instruments. A more melodic part is exposed in bar 13. it has a modal character and, in particular, makes it possible to hear a dialogue between the two wind instruments. The return of A occurs from bar 37, and completes the work in a beautiful energy.
Autumn Leaves op 89 2019 - 9'302019 - 2 flutes and flute in G - 9'30Corinne Hournau - International Convention of the Flute2020, October 24th - Saint Maur Conservatory -Furore Verlag
Autumn Leaves op 89
The work, lasting 9 mn 30 is commissioned by the International Flute Convention and is dedicated to Corinne Hournau.
It is a collection of three trios for flûtes, composed for young musicians who eager to learn new sounds.
The second trio is for two flutes and the flute in G.
For concerts, it will be asked to respect the order of the trios.
Trio pour violon, alto et violoncelle op 87 2019 - 12'302019 - Violin, viola, cello - 12'30Françoise Gnéri - Festival de Sanary sur MerAugust 2020 - Sanary sur Mer - Françoise Gnéri, Kaz Olechovski, Frédéric AudibertFurore Verlag
Trio for violin, viola and violoncello op 87
The string trio was composed in summer 2019 and was a commission of the Sanary sur Mer Festival. It is dedicated to the violist Françoise Gnéri.
With a duration of 12 mn 30, it consists of three movements.
The first movement with a duration of five minutes, suggests a theme followed by four variations.The theme consists of two part : the first part of bars 1 to 3 and the second part of bars 4 to 8.
The second movemet called Vocalise is very expressive and lyrical.
The theme is given by bars 1 to 12. From bar 13 to 30, it will be further decorated. After a short episode of Pizzicati ( bars 31 to 34, it is further developped from bars 35 to 44.
The coda of bars 40 to 44 terminates the movement in soft light.
The third movement is more lively and written in a rondo form.The chorus of bars 1 through 18 is dynamic and happy.
Two verses are suggested, the reveal a more melodic timbre.
The last return of the chorus in bar 122, followed by the coda (bars 141 to 152 ) closes the work in a beautiful energy.
Trio pour piano alto et clarinette en si b op 86 2019 - 12'2019 - piano, viola, clarinette en si b - 12'Françoise Gnéri - Festival Fractales22 mars 2020 - Sanary sur Mer - Dana Ciocarlie Françoise Gnéri François SauzeauFurore Verlag
Trio pour piano, alto et clarinette en si b op 86
The work with a duration of 12 mn was composed in May 2019. It is a commission of the Fractales Festival and it is dedicated to the violist Françoise Gnéri.
The trio has two movements.
The first movement, with a duration of 8 minutes, is expressive and gives the opportunity for a dialogue between the different instruments. It is composed of 5 different parts. The first part, from bar 1 to 28, presents the themes.
The second part, from bar 29 to 59, develops the themes with different instrumental combinations.
At bar 60, a third, more mysterious part based on piano arpeggios appears. The re-exposure to measure 82 offers an inverted instrumental distribution.
At measure 103, a coda concludes the movement with great gentleness.
The second movement of measure 1 to 10 presents an introduction in a lively tempo. It adopts the form of the rondo. The main theme appears in measure 11 with the clarinet. It is playful and polymodal. (bar 16 on the piano).
A first verse of measure 38 to 57 has a modal character. It is based on the piano forth chords and is expressive. The return of the chorus to measure 58 reverses the instrumental distribution.
A second verse from bar 72 offers an instrumental rhythm with the clarinet and then with the viola.
The chorus appears one last time at bar 85 with some instrumental additions to the viola: pizz and arco.
The coda, at bar 98 concludes the movement in a luminous energy.
Trio n°2 op 36 2008 - 12mn2008 - piano violin cello - 12mnJean Huynh - Pascal Grimoin05-22-2009 - Rochefort - Jonas Vitaud , Lyonel Schmit, Henri DemarquetteFurore VerlagThe second Trio op36 which duration is 12mn has been composed between May and June 2008. It is composed with 4 movements.
The first movement favours the harmonic colour given by ample chords by the piano, supported by the two strings instruments.
It is the cello, which gives the theme at the beginning of the second movement, repeated by the violin then the piano. It is a melodic and intimate theme.
The third movement is characterized by the energy of its writing. The instruments dialogue with short fragments. The dynamics are contrasted during all the movement.
A perpetual movement lives up the last movement. It is shared out between the three instruments, which dialogue like that during the major part of the movement.
The trio concludes in a serene and soft atmosphere.
Trio for violin, cello and piano op. 23 2000 - 26’30’’2000 - violin, cello and piano - 26’30’’Trio Archipel - Trio Archipel04-14-2000 - Gavaudun, Festival des jeunes interprètes - Laurent le Flécher, Véronique Bourlet, Fabrice BourletFurore VerlagThis trio was composed at the beginning of 2000 and consists of three movements. It was written as a tribute to Robert Schumann ans is dedicated to the Archipel Trio who supported the creation of the piece.
The 1st movement is moderate, the cello and the violin lean on ample harmonies given by the piano. The character of the 1st theme, played by cello in its low register, is incisive. It allows various instrumental combinations. A 2nd theme, powerful, made of chords, is distributed among the three musicians ; it results from the evolution of the 1st theme and is the culminating point of the movement.
The 2nd movement offers a real contrast to the 1st movement. It begins with the presentation of the expressive and slow theme by the cello alone. In the following it is played in turns by the piano and the violin. Only two chords support the whole harmonic atmosphere of this movement.
The final movement presents two contrasting and rhythmical themes. The first one is recognisable by its simultaneously low and high register at the piano. It is repeated throughout the finale and is evolved at each time it reoccurs. The second theme is monorhythmical and uses different accents and variations.
Trio for flute, harp and percussions op. 3 1987 - 10’1987 - flute, harp, vibraphon, marimba - 10’Alexandrine Mulsant - –1987 - Paris, Espace Kiron - Isabelle Duval, Louise Pezerat, Françoise RivallandFurore VerlagSacem award for music creation. These instruments, melodic by essence, are involved in a one movement piece, of which the contemplative atmosphere underlines the specific character of each instrument. The overall structure is articulated as a mirror, and is followed by a long coda expressed by the vibraphone. The rhythmic proliferation, here, is not a factor of instrumental tension, rather a path toward harmony and simplified musical volumes.
String quartet n ° 6 op. 99 - 19'- 2 violins, viola, cello - 19'Quatuor Aviv2020 - -Furore Verlag
String quartet n ° 6 op. 99
The String Quartet No. 6 op. 99 was composed in the fall of 2020, and is dedicated to the Aviv Quartet. The duration is 19 minutes and comprises four movements. The first movement, lasting 6.30 minutes, is a tribute to Bartok's sixth quartet. Like this one, the viola gives the main theme of the movement. This one is expressive and will be developed up to bar 77. A second theme is proposed in bar 78, it is modal in nature. The first theme returns at bar 100, combined with theme B. The re-exposure takes place at bar 108. The coda in bar 138 concludes the movement in a rather dark atmosphere.
The second movement, lasting 3.50 minutes, is composed of a theme mixing pizz and arco. The character is happy. It highlights the dialogue between the two bass instruments and the two violins. In bar 14, a more expressive B theme is played by the first violin, which will be developed up to bar 26. In bar 27, the first theme returns, more broadened, as for example, the opposite movement of bars 30 to 35. There is a return of the second theme in bar 46, also more developed. Theme A concludes the movement in a luminous atmosphere.
The third movement, lasting 5 minutes, presents a theme in successive entries. This one is expressive and is accompanied by a counter-subject. The four entries revolve around the notes: G, D, E. A second theme, from the main theme, is offered at bar 35, it is given to the first violin, accompanied by soft drums. Theme A returns to bar 55, with a start on note C (at the low fifth of the previous entries). The coda in bar 64 is based on the first bar of the theme. The final, lasting 4 minutes, is made up of 4 very distinct parts. An energetic introduction takes place from measure 1 to 12.
A first theme A takes place at bar 13, it is given by the viola and the two violins, then by the cello at bar 30. Its character is dynamic. A second theme is presented at bar 40, with a more expressive profile. A last part, at bar 72, returns the theme A transposed. A coda exhibited at bar 98, the quartet concludes with great energy.
String Quartet n° 5 op 88 2019 - 15'2019 - 2 violins, viola, violoncello - 15'Jean Gagnaire - Festival d’OuessantAugust 2020 - Ile d'Ouessant -Furore Verlag
String Quartet n° 5 op 88
With a duration of 15 mn, the String Quartet n° 5 has been written in autumn 2019.
It is a commission of the Ouessant Festival and is dedicated to Jean Gagnaire.
It consists of three movements.
The first movement is very expressive and consists of a theme uttered by the cello, almost cadenza.It is taken successively by the other three instruments and is decorated with a counterpoint at each appearance.
The second movement with a duration of three minutes takes the form A B A'. The first part is lively and cheerful. The central part is more expressive and the return of the first part is modified starting from the measure 63.
As for the last movement, it presents an expressive theme, followed by four variations. At meausre 81, there is a final section, in which a reminder of the theme of the first movement is given from measure 102.
A coda, at measure 110 concludes the quartet in a luminous energy.
Quartet for four celli op 74 2017 - 14'2017 - four cellos - 14'Margaret Myszka - Festival des Arcs2018 August - Festival des Arcs -Furore Verlag
Colors op. 74 for four cellos
Colors op. 74 for four cellos is composed of four movements and has a duration of 14 minutes. It seemed essential to me to vary the different movements, in order not to get a similarity of timbre due to instrumental training.
The first and third movements correspond in their great expressiveness and melodic profiles. The second and fourth movements are more dynamic and show different types of instrumental performance: pizzicato for the duration of the second movement, pizz, arco and col legno for the final movement.
Colors owes its title to the painting of Nicolas de Staël and in particular to his use of primary colors in his last period (1950 - 1955). The bright and bright paintings guided my compositional work throughout his journey. At different times of the work, each cello is also highlighted by a solo writing. In fact, each performer has its own instrumental colour, which is different from that of the other musicians. It is also a reference to the painting of Staël where one can admire, for example, several shades of blue or red.
The work favors expression and sound cohesion.
String Quartet n ° 4 op 54 2014 - 15'2014 - String Quartet - 15'Quatuor Terpsycordes - Quatuor Terpsycordes2015 October 1th - Festival d’Ambronay - Quatuor TerpsycordesFurore VerlagString Quartet n°4 op 54
Written during autumn 2014, this fourth string quartet which duration is 15 min is dedicated to the Terpsycordes String Quartet.
It is composed of four movements. The beginning of the first movement presents a short melodic element given by the cello and the viola.This element will be developed as a first theme on bar 11, with a melodic and mysterious character.
The development of the first theme includes three sections :
the first section from bar 11 to 21
the second section from bar 22 to 27
the third section from bar 28 to 30
A second theme is given at bar 31, it is played by the two violins in a rhythmic ostinato at the viola and the cello. It has a vigorous character.
The recapitulation is given at bar 76 and finishes the movement in an energetic atmosphere.
The second movement has an expressive character, it is composed by a theme followed by 9 variations.
It is introduced by a mode which will be given several times during the movement and will be also developed.
The third movement is short and uses only pizzicatos.
It is composed by a theme of two bars setted out by the cello, then played step- by- step by the three other instruments. It is enriched by a second thematic element during its second appearance at the viola.
Its character is dynamic and cheerful.
The last movement is composed by two thematic elements. The first element is composed of a melodic descendant element given by the two violins then by the cello.The main theme is played by the viola at bar 7 with an incisive and dynamic character.
These two elements will be developed during all the movement.
At bar 63, a recapitulation of the first theme of the first movement is given by the violin, then by the cello.
The work ends in an energetic and luminous atmosphere.
String Quartet op 47 2013 - 20'2013 - string Quartet - 20'Manfred Quartet - Manfred Quartet2014 May 16th - Dijon - Manfred QuartetFurore VerlagThe String Quartet with a duration of 20 mn has been composed in the autumn of 2013 and includes four movements.
It is dedicated to the Manfred Quartet. The first movement is composed by an expressive theme given by the cello solo. It is followed by seven variations emphasizing the counterpoint that the theme proposes.
The second movement is based on a rhythmic ostinato given by the second violin, the viola and the cello. The first violin points out the two themes during its first play which will be given during all the movement. The character of this movement is energic and dance-like.
It is the viola which gives the theme of the third movement, an expressive theme composed of four measures. Seven variations will be proposed, emphasizing particularly the dialogue beetween the different instruments. The final offers first of all two themes given one after the other by the first violin. The first theme is played Forte, the second piano. These two themes will be the ferment of all the movement, they will be presented with different contrapointic combinations. A third theme is given measure 24 and also measure 33. Its character is joyfull. It will be given again measure 84. A return to the first theme of the first movement is given by the cello just before the conclusion.
The quartet concludes in a dynamic and bright atmosphere.
String Quartet n°2 op 35 2007 - 18'2007 - 2 violins viola cello - 18'Quatuor Debussy - Pascal Grimoin22 octobre 2009 - Théâtre du Tambour (Rennes) - Quatuor DebussyFurore VerlagThe second Quartet op 35 has been written in 2007-2008. It is dedicated to the Quatuor Debussy. Its duration is 15mn and it is made of 5 movements.
The 1st movement relies on the alternation of 4 chords as well as a melodic motive given by the cello.
The 2nd movement relies on the alternation of two elements: the first one made of chords played arco or pizzicato, the second melodic always played by the cello.
A nocturnal atmosphere characterises the beginning of the 3rd movement. It is followed by a theme, which will be developed during all the movement.
The 4th movement is a recall of the 2nd movement and is written with the same structure.
The final concludes the Quartet in a lively and vigorous tempo.
Quartet with piano op. 28 2003 - 19’2003 - piano, violin, viola, cello - 19’- Festival des jeunes interprètes05-15-2004 - Gavaudun, Festival des jeunes interprètes - Trio Elegiaque et Dimitri KhlebtsevitchFurore VerlagThe piano Quartet opus 28 which duration is about 20 mn, has been written during the autumn 2003. It is composed of 3 movements and is part of a cycle of works dedicated to chamber music. Indeed, after several sonatas for piano and strings, a trio with piano, a string quartet, writing a quartet for piano and strings offers the opportunity for a new search of sounds alliances and instrumental balance.
The writing of the 1st movement develops a melodic element introduced from the beginning of the work under the shape of the dialogue between the piano and the strings. This main element is the keystone of all the movement. First rhythmical and sarcastic, then slow and expressive, and resonant and mysterious, it also will be developed in chords and sustained by a dynamic full of energy and of instrumental contrasts.
The 2nd movement is sustained by 2 very expressive climates. The first one is given by the piano : it is constituted by a melodic layer made of tiny changes at each iteration. For strings, they offer a very intense theme made of stacked fifth chords which are also subject to harmonic evolutions. The piano solo concludes the movement in a very harmonic atmosphere, which leads to the 3rd movement.
The 3rd movement is built around a unique lively theme, mixing various instrumental attacks of the strings : arco and pizzicato . It is built of 5 linked parts, during which the theme is developed with different counterpoints. Indeed, inspired by the fugue form, this movement proposes to hear a real renewal of the monothematic work : straight theme, inverse theme, or stacked together, two in one canon, three in one canon, crab canon…
After a large recapitulation by inversion movement, the theme of the 1st movement is given again, mysteriously, and allows to conclude the Quartet in a great musical unity.
String Quartet op. 26 2002 - 11’30’’2002 - 2 violins, viola and cello - 11’30’’Quatuor Castagnéri - Radio-France01-19 to 23-2004 - France Musiques - Quatuor CastagnériFurore VerlagThe String Quartet was composed during the fall 2002. It has 5 movements and lasts 11mn 30. It was commissioned by Radio-France and is dedicated to the Castagneri Quartet, who created the work in January 2004.Soundtrack
Gold Medal of 35e Concours International de Composition de l’Académie de Lutèce.
Each movement is built with a particular writing and atmosphere. However, the unity of the piece is deeply thought, and the listener will find connections between the 1st and the last mvt, the 2nd and the 4th mvt. The 3rd mvt, central point of the piece, has a different writing.
In the 1st mvt, it is an energic and harmonic atmosphere which dominates. In fact, the first 3 chords are the ferment of the whole movement.
The 2nd mvt, slow and expressive, first proposes a melodic thema given in dialogue between the viola and the cello. It will be distributed at the recapitulation to the violin, in the low register, and to the cello in the high register. This thema is interspersed with a more harmonic and lively writing, involving all instrumentists.
The 3rd mvt offers a contrapuntal writing, developed as a four in two canon : fluidity of the 2 violins answering to the pizzicati of the viola and the cello. This four in two canon will be recapitulated by inversion with a new instrumental distribution.
The refinement of the sounds and the great expression of the Quartet dominates the 4th mvt. This one begins with a sad and slow thema given by the altist. This thema will be distributed in the coda to the cellist in harmonics sounds. This thema is surrounded with lively fragments, first of all horizontal, then in chords written with tremolos.
The final concludes the Quartet in a very fast rhythm taking again the harmonic colors of the 1st mvt, while developing them again. It is made of a crab canon by inversion. It demands from all instrumentists a very challenging virtuosity.String Quartet op. 262002 - 2 violins, viola and cello - 11’30’’fermer
Quartet for B flat clarinet, violin, cello and piano op. 22 1999, revised in 2002 - 19’1999, revised in 2002 - clarinet in B flat, violin, cello and piano - 19’Stéphanie Carne - –11 Décembre 2004 - Paris - Quatuor LatitudesFurore VerlagThe Quartet « in Jubilo » which duration is 18 mn, has been composed during September - October 1999 and revised in 2002. Sacem award for creation.
The instrumental ensemble specially attracts me because of the blend of sounds it offers : great expression of the strings, warm colors of the clarinet combined with the full tone of the piano.
Three movements composed the work, each one with a very different musical atmosphere.
The 1st movement is built around the resonance of the piano. It is made of 7 variations which follow each other, and express growing dynamic.
The 2nd movement, cheerful and lively, proposes different rhythmic entries, based on various instrumental techniques.
The 3rd movement, more intimate, concludes the Quartet in a sad and serene atmosphere, offering to the musicians a new opportunity of musical dialogues.
« Intérieur » for four flutes (for one flutist) op. 7 1987 - 4’1987 - bass flute, flute in G, flute in C and piccolo - 4’Isabelle Duval - –1987 - Paris, Espace Kiron - Isabelle DuvalFurore VerlagThis is a piece for a virtuoso, which could be compared to traditional North African music : slow unwinding of the melody, meditative nature, ample and barely perceptible melodic developments, usage of micro-intervals and chiefly work on the breath, which is used in the composition as a material, in the same way as the music writing itself. The breath is enlarged, broken, made iridescent, and developed in its many possibilities of amplitude. The incessant undulation of the timbres of the various flutes was inspired by the painting « Interieur » from Nicolas de Staël, and reflects the movement of the colours of the painting.
Quintet for string quartet and piano op 94 2020 - 18'2020 - 2 violins, viola, cello and piano - 18'Florent Audibert - Florent Audibert2020 december 3th - Chapelle Lycée Corneille Rouen - Solistes de l’Opéra de RouenFurore Verlag
Quintet for string quartet and piano op 94
The quintet for string quartet and piano op 94 was written in the spring of 2020. Lasting 18 minutes, it was commissioned by cellist Florent Audibert, soloist at the Rouen Opera. The work is dedicated to him.
It is composed of three movements and highlights the dialogue between the strings and the piano. The first movement, of solemn and intense character, and, of a duration of 7 mn there is a broad harmonic introduction on the piano, followed by the entry of the strings at measure 10. They present the main theme which is of modal character. Several elements are presented, such as for example, in measure 3, and 15 will be developed during the movement.
After this first part (measure 1 to 40), a second part in the measures 40 to 68 develops the different elements, in particular the theme stated on the strings in measure 10 and following. The re-exhibition takes place at bar 69. It will give rise to new thematic developments. A coda is proposed at measure 102, concluding the movement with great energy.
The second movement, with a duration of 6 minutes, presents a theme with a melodic and soft character, in the acute medium of the piano. This theme is taken up in the quartet in bar 7 and following, accompanied by a counter-song, notably on the second violin. After the first part (bars 1 to 21), a second part (bars 22 to 46) develops the main theme and brings out a climax of intensity in bar 34. The third part, (bars 47 to 66), proposes new developments, in particular a canon with four voices on the main theme (bars 52 to 53 and 58 to 60). A short coda, preceded by a re-exposure of the theme, takes place in bar 81 and concludes the movement in a soft light.
The last movement with a duration of 4 and a half minutes, is made up of three very distinct parts. The first, from bar 1 to 29, gives fugato inputs to the various stringed instruments. Each entry is set out in the upper right fifth and is accompanied by a counter subject. The second part, (bars 1 to 63) presents a theme with a melodic and joyful character. It will be developed with different instruments, for example increased rhythmically in measures 57 and following.
A final part, presto, concludes the quintet with great energy.
Happy Birthday ! op. 80 - 3'30"- 2 violins, 1 viola, 2 cellos - 3'30"Frédéric Audibert - Festival du Quatuor à Cordes de Fayence2018 September 15th - Tourettes - Quatuor Terpsycordes, Frédéric AudibertFurore Verlag
Happy Birthday ! op. 80
The work with a duration of 3 mn 30 is a commission from the Festival du Quatuor à Cordes de Fayence for its 30 th birthday.
It is written for a string quintet with two cellos and is dedicated to Frédéric Audibert.
Impressions françaises for string quartet and harp op 71 2017 - 19'2017 - String Quartet, harp. - 19'les Solistes d’Avignon - Cordélia Palm- -Furore Verlag
French Impressions for string quartet and harp op 71
The work which duration is 19 mn has been composed during spring 2017 and is dedicated to the ensemble : les Solistes d'Avignon.
It is composed of four movements and allows to listen to different associations of colours between the five instruments.
It is part of the musical heritage in France of Debussy, Ravel, Caplet and Messiaen.
Quintet for winds op. 30 2004-2005 - 14’2004-2005 - flute (+piccolo, +flute in G) oboe (+ english horn) clarinet in B flat (+cl in E flat) horn in F bassoon - 14’Quintette L - Quintette L14 juin 2005 - Opéra de Clermont- Ferrand - Quintette LFurore VerlagCommissioned by the « Quintet L », the Quintet for winds op 30 has been composed in March 2004 (Ist and IInd movement ) and between January - March 2005 ( IIIrd, IVth and Vth movement ).
The internal architecture of the work relies on connections between the Ist, IIIrd and Vth movement, as well as between the IInd and IVth movement.
The Ist movement presents a short melodic fragment distributed between different tones. It is the compositional ferment of this movement as well as in the 3rd and 5th movements.
During the Ist movement, this melodic element will vary imperceptibly in its harmony and its instrumental repartition each time it will appears. These melodic permutations are separated by chords coming from these melodic fragments.
The IIIrd movement composed of 3 parts, develops again this short melodic fragment, beginning with the piccolo. It is surrounded by new melodic themes played by the horn in dialogue with the oboe, then with the clarinet in B. It also permits to hear this short melodic fragment harmonized with wide chords, played by all musicians.
The Vth movement, made of 5 variations, presents a new development of the melodic and harmonic element of the Ist movement. The bassoon and the B flat clarinet present a melodic ascendant motive which will be taken over by different instruments in a large climb of pitch order. In the 2nd variation, it is an harmonic climate which dominates : resonance of chords or attacked chords sustained by a melodic two voices writing. The 3rd variation is a recapitulation by inversion of the 1st variation and leads the quintet to a deep pitch order. After a 4th variation fugato, the 5th variation will offer a short reminder of the beginning of this last movement, followed by a quotation of the Ist movement played by the B flat clarinet and the oboe, as well as a reminder of the IIIrd movement given by the piccolo.
The Quintet ends into a vigorous musical climate.
About the IInd and the IVth movement, they offer to the flute in G and the English horn in the IInd movement, then to the horn and the E flat clarinet in the IVth movement, a slow and very expressive melody, nearly free "ad libitum", and serene.
The work allows the listener to discover all the wealth of this formation : to benefit from the soloists tone and also from the alliance of the tone of these 9 instruments.
Sextet with Trumpet in C and String Quintet op. 49 2013 - 8'30''2013 - Trumpet in C, 2 violins, viola, cello and double bass - 8'30''Romain Leleu Ensemble Convergences - Festival d’Auvers sur OiseJune 27, 2014 - Festival d’Auvers sur Oise - Romain Leleu Ensemble ConvergencesFurore VerlagSextet with Trumpet in C and String Quintet op. 49
The Sextet for trumpet in C and String Quintet op 49 is composed of two movements and has a duration of 8 minutes 30. It has been composed in November 2013 and is dedicated to the ensemble Convergences. It is a commission of the Festival d'Auvers sur Oise for its 34th edition in June 2014.
The first movement has a melodic character and lasts 4 minutes. The trumpet sets a theme in the low pitch order of the instrument, it will be taken by the entrance of the string quintet in batteries.
A development of the coda, first by the quintet and then by the trumpet follows after the introduction. The first theme will be further developed with a canon at the octave, first by the string quintet, then transposed by the trumpet. It is accompagnied by pizzicatos of the double bass, the cello and the viola. The movement ends with a special energy which announces the second movement. The second movement which duration is 4 minutes 20 is composed of three cheerful and dynamic themes. The first one is characterized by its descendant profile, it is played Forte. The second theme is a melodic one, it is played Piano. The third theme is given by the trumpet at ba r 25, it is played again as a dialogue with the quintet and has got a dynamic character. At the bar 51 a development of the second theme will be offered by all musicians.
The recapitulation at the bar 77 gives again the first and the second theme with inversus profile. The third theme at the bar 104 will be played again with inversus profile. A development of the second theme will be offered again at the bar 136.
The coda at the bar 154 is based the first and third theme and concludes the work in a bright atmosphere.
Double Quartet op 40 2012 - 17’2012 - 4 violins, 2 violas, 2 cellos - 17’Quatuor Manfred and Quatuor T’Ang - Quatuor Manfred5 th may 2013 - Auxerre - Quatuor Manfred and Quatuor T’AngFurore VerlagThe work which duration is 17 mn has been written during March 2012 and is dedicated to the Manfred Quartet and T'Ang Quartet.
It is composed of 5 movements and emphasizes the dialogue between the two quartets. The 1st movement introduces as a first theme the melodic and harmonic modes which will be the ferment of the complete double quartet. Each mode is given to one quartet which answer to the other, developing them. A second theme offers to the double quartet the possibility to play all together.
It is accompagnied with pizzicatos and with an ostinato of double semiquavers at the cello. The recapitulation offers a new distribution of the themes to the two quartets. The movement concludes in a great energy.
A nocturnal climate which is accompagnied with soft tremolos and harmonics characterizes the melodic theme of the second movement.It is given to the two cellos, one played arco, the other pizzicatos. A second more harmonic element will be developped at the middle of the movement before the recapitulation of the first theme.
The third movement is mostly harmonic. In a lively tempo it develops the chords of the harmonic mode. It shows a great instrumental unity. A second theme will be given by the first quartet sustained by the pizzicatos of the second quartet.The recapitulation will offer a new thematic distribution.
The fourth movement is not written with the modes previously developed. It is an elegy given successivly to the two quartets. A harmonic quotation will be given in the middle of the movement before the recapitulation of the main theme.
The final offers a new listening of the harmonic and melodic modes. They will be developed in a lively atmosphere, favouring the dialogue between the two quartets. A second harmonic theme will introduce large chords distributed to the two quartets. A variation of this second theme will allow the possibility to hear all the instrumentalists playing pizzicatos.
The work concludes in an energic and luminous climate.
Voice and instrument
Two melodies for bass and piano op.76 2018 - 6'2018 - Bass, piano - 6'Pierre et Martine Bénusiglio - Pierre Bénusiglio- -Furore Verlag
A la terre il parle
Seuls les oiseaux et les fleurs sont ses amis
Les nuages aussi
Il entend le doux murmure des anges
Le vent dans ses branches susurre
On se moque on rit
La nature avec lui partage
Pour le réchauffer
Le soleil brille
Pour la rafraichir
La pluie le caresse
A l’humain d’aujourd’hui
Sans gène sans respect
Angoissé et stressé
Laissez-vous bercer par le chant de la vie
Aucun écho à sa parole
Temps qui s’égraine
En poussière de lumière
Obscurité prise au piège de la clarté
Illuminée de sa douce chaleur
Regarde à travers mes paupières mi- clauses
Voltiger des lucioles de poussières
Qui de joie dansent
Par le jeu de la lumière
Qui se joue du temps
Song for baritone and piano op.61 n°4 La biche - 3'- baritone and piano - 3'- Concours International de chant de Mâcon2016, November 8th - Mâcon -Furore Verlag
Song for baritone and piano op.61 n°4 La biche
The work which duration is around 3 mn has been composed during winter 2016.
It is a commission of the International Singers Competition of Mâcon (France).
The text is from the French poet Maurice Rollinat who lived at the end of the XIX century.
Song for tenor and piano op. 61 n°3 Violette - 3'- tenor and piano - 3'- Concours International de chant de Mâcon2016, November 8th - Mâcon -Furore Verlag
Song for tenor and piano op. 61 n°3 Violette
The work which duration is around 3 mn has been composed during winter 2016.
It is a commission of the International Singers Competition of Mâcon (France).
The text is from the French poet Maurice Rollinat who lived at the end of the XIX century.
Song for Mezzo soprano and piano op. 61 n°2 La parole - 3'30- Mezzo soprano and piano - 3'30- Concours International de chant de Mâcon2016, November 8th - Mâcon -Furore Verlag
Song for Mezzo soprano and piano op. 61 n°2 La parole
The work which duration is 3 mn 30 has been composed during winter 2016.
It is a commission of the International Singers Competition of Mâcon (France).
The text is from the French poet Maurice Rollinat who lived at the end of the XIX century.
Song for soprano and piano op.61 n°1 2015 - 3' 152015 - soprano and piano - 3' 15- Concours International de chant de Mâcon2016, November 8th - Mâcon -Furore Verlag
Song for soprano and piano op.61 n°1 Le silence
The work which duration is around 3 mn has been composed during winter 2016.
It is a commission of the International Singers Competition of Mâcon (France).
The text is from the French poet Maurice Rollinat who lived at the end of the XIX century.
Two songs op 34 on erotics poems January 2006 - 6’January 2006 - piano, mezzo soprano - 6’Hermine Huguenel - La Péniche OpéraApril 2006 - Péniche Opéra - –Furore VerlagThese two songs belong to a cycle commissioned by la Péniche Opéra. The first song « J' embrasse » is written in the style of a recitative : the piano supporting very discreetly the mischievous evocation of the poem.The comprehension of the text remains essential. In the second song « Volontairement captive », the fusion between the piano and the voice is stronger and more intense. The poem is more emotional and less libertine.
Text of the first song
J'embrasse toute la surface et la profondeur de ton corps.
Je suce tous tes orteils, oreilles et seins.
Je mordille tous tes lobes, langues et languettes.
Je lèche tous tes petits plis, trous et recoins.
Toutes tes lèvres, babines, membranes et muqueuses, je les caresse.
Peut être bien que je t'aime ?
Text of the second song
Volontairement captive, je te donnerai ma chair et mon sang.
Je serai l'amante impudique de tes nuits.
Tu seras le cri pourchassé sur mes lèvres.
Dans la fièvre de tes étreintes
Tu seras la main aux doigts d'acier
Qui me force et me plie
« Voix » 3 songs based on a poem by F. Pessoa, for countertenor and piano or mezzo-soprano and piano op. 17 1998 - 13'1998 - countertenor and piano or mezzo-soprano and piano - 13'N’Guyen Duy Thông - –03-27-1998 - Mannheim (Allemagne) - N’Guyen Duy Thông, Wally KarvenoFurore VerlagComposed in 1998 on the poem « Tabacaria » from the Portuguese poet Fernando Pessoa, these 3 melodies, which duration is about 11 mn, are written for a countertenor voice. They are also suited to the pitch of a mezzo-soprano.The text of the melodies is made with some extracts of this long poem.
The climate of the melodies is very expressive : the piano supports the soft tone of the Portuguese language and develops serene harmonies around the text.
The 1st melody illustrates a pessimistic moment of the poem but is also hopfull.
The 2nd one, more lively, has for thema the lucidity of the man in front of his destiny.
As for the 3 rd melody, it concludes the cycle developing some musical motives, exposed in the 1st melody, and leans on a passage of the poem where the autor dreams about the happy encounter of the ideal woman.
Three songs for soprano, flute and piano op. 1 1984 - 5’30’’1984 - Soprano, flute and piano - 5’30’’– - –– - Paris - Catherine Renerte, Florentine Mulsant–Written in 1984 on anonymous poems, these 3 melodies for sporano, flute and piano have a duration of 5mn 30.
The 1st melody for soprano, flute and piano illustrates a very pessimistic text where the poet sinks into an extreme despair. The instruments support this climate with a very tense language.
The 2nd melody for soprano and piano is based on a poem describing an impossible love, and offers to the voice and the piano a high lyrism.
The 3rd melody for soprano a capella brings out a text full of joy due to a shared love.
The voice, covering a large pitch offers a classical musical form where a refrain is surrounded with 2 episodes. The voice gives the impression of an almost improvised melody.
Vocal ensemble with instruments
Pie Jesu op 51 2014 - 6'2014 - cello and mixed choir - 6'Henri Demarquette - Henri Demarquette2015 march 10th - Théâtre de Rungis - Interprètes : Ensemble Sequenza. Direction : Catherine Simonpietri. Henri DemarquetteFurore Verlag
Pie Jesu for cello and mixed choir op 51
Composed in March 2014, the Pie Jesu for cello and mixed choir op 51 is dedicated to Henri Demarquette.
Its duration is 6 mn and follows the latin text of the Pie Jesu.
The work is composed of three parts. Each part is introduced by an ascending melodic phrase of the
The first part, measures 1 to 34 sets to music the text : Pie Jesu, Domine, dona eis requiem.
The second part is composed of two sections : The first section, measures 35 to 53 sets to music the text : The second section, measures 54 to 75 sets to music the text :
The third part, measures 76 to 95 is based on the text :
The work concludes in a very serene and meditative atmosphere.
« Libre » for Choir and Instrumental Ensemble op. 9 1988 - 12’1988 - choir and instrumental ensemble - 12’– - Conservatoire de Bagnolet06-1989 - Bagnolet - Ensemble du Conservatoire de Bagnolet–Commission of the city of Bagnolet, this piece which duration is 12 mn has been written in 1998 and created in June 1989 by the children' s Chorus and the instrumental ensemble of the Conservatory of Bagnolet.
It necessitates a chorus of around 40 children distributed in 8 groups as well as the follow instrumental ensemble :
- 2 flutes
- 1 oboe
- 1 clarinet in B
- 1 trumpet
- 1 alto saxophone
- 2 pianos
- 1 percussionist
It is articulated around a poem very similar to the univers of Jacques Prevert, where humor and dream are joined.
It also offers children a production which requires them to be actors as well as musicians.
More than a pedagogic realization, this work first of all wants to bring emotion, and requires from the children involved real artistic qualities .
Suite for String Orchestra op 92 2020 - 10'2020 - 3 first violins, 2 second volins, 2 violas, 1 violoncello , 1 double bass - 10'Marianne Piketty - Festival Musique aux Quatre Horizons 20202020 august 8th - Chapelle de Ronchamps -Furore Verlag
Suite for String Orchestra op 92
The 10 mn work was commissioned by the Festival Musique aux Quatre Horizons and is dedicated to the violonist Marianne Piketty.
It has two movements with a very different character and highlights colors offered by the orchestra.
The first movement, lasting 6 mn, responds to an expressive and melodic writing. On he first violins, you may hear a modal theme, based on six notes chords.
It will be developed from measure 13 to the re exposure of meausre 53, with, for example- a canon on the theme from measure 34 to 40. After the re – exhibition, a new development of the theme will be proposed, before the coda at measure 86.
The second movement is made up of five chained parts. The main theme ( measures 1 to 13 ) is lively and based on writing in pizzicatis. The movement alternates a lively writing with more expressive moments for example from bar 48, where a reminder of the first movement is given.
The work concludes in a bright atmosphere.
Rhapsody for Viola and String Orchestra op 75 2017 - 12'2017 - Viola and String Orchestra : violins, violas, violoncellis, double bass. - 12'Françoise Gnéri - Festival FractalesAugust 2018 - Sanary sur Mer - Françoise GnériFurore Verlag
Rhapsody for Viola and String Orchestra op 75
The 12 minute work has been composed during the autumn of 2017.
It is a commission from the Sanary sur Mer Festival and is dedicated to the violist Françoise Gnéri.
It has two movements.
The first movement, which duration is 7 mn, begins with an instrumental cadenza on the viola, then the main theme is presented by the string orchestra. It's character is modal and expressive and will be developed throughout the movement. It will be presented in the form of a canon from the measure 42. Some elements from the theme are also present, as to the measure 17 – 18 and the measure 26.
The second movement, which duration is 5 mn, adopts the rondo form. It offers from the beginning of the movement, a dynamic writing, colored by the pizzicati of the orchestra.
A dialogue is written from the beginning of the movement between the soloist and the orchestra.
A first verse at measure 19 presents an expressive writing that recalls the modal colors of the first movement.
After the return of the varied refrain (measure 35 to 44), the second verse presents an instrumental cadenza at the viola, which character is melodic and expressive.
The return of the refrain, again varied (measure 62) concludes the work in a luminous and joyful atmosphere.
Concerto for piccolo and orchestra op 72 2017 - 14'2017 - 1 Oboe 1 clarinette in si b 1 bassoon 1 horn 1 trumpet in C Timpani Harp Piccolo Violins 1 and 2 Violas violoncellos Double bass. - 14'Jean Louis Beaumadier - Jean Louis Beaumadier- -Furore Verlag
Concerto for piccolo and orchestra op 72
The Concerto for piccolo and orchestra, which duration is 14 mn has been composed during summer 2017.
It is dedicated to the flutist Jean Louis Beaumadier, who is also the commissioner.
It is composed by two movements, the first one melodic and expressive, the second one more lively and bright.
Jardin d’Etoiles op 44 2013 - 17'2013 - Violon solo et orchestre, Orchestre : 3 flûtes, la 3e prend piccolo. 2 hautbois, le second prend cor anglais 3 clarinettes en si b. la 3e prend clarinette basse. 2 bassons, le 2e prend contrebasson 4 cors en fa 3 trompettes en ut 3 trombones, le 3e prend trombone basse Tuba Timbales 1 Percussionniste 1 Harpe Cordes : 8 premiers violons, 6 seconds violons, 4 altos, 4 violoncelles, 3 contrebasses à 5 cordes. - 17'Lyonel Schmit - Lyonel Schmit2014 - - Lyonel Schmit, Orchestre Philharmonique de TrêveFurore VerlagJardin d’Etoiles op 44
The work which duration is 17 mn has been written in the begining of the year 2013. It is dedicated to the violonist Lyonel Schmit. It takes its inspiration source from the philosophical tale of Antoine de Saint Exupéry : le petit prince. (The Little Prince).
Written for solo violin and orchestra, it was not my intention to write a work of virtuosity but to support the message of life that Saint Exupery gives to us.
The meeting with the aviator and the request of drawing a sheep, the meeting with the fox and the snake and finally the death of the small prince have been my major sources of inspiration.
Suite for Strings Orchestra op 42 2012 - 17’2012 - 6-5-4-3-1 - 17’Nicolas Chalvin - Nicolas Chalvinoctober 13th 2013 - Paris Salle Gaveau - Orchestre des Pays de SavoieFurore VerlagSuite for Strings Orchestra op 42 The work which duration is 17 min has been written during the fall 2012 and is dedicated to the Conductor Nicolas Chalvin. It is composed of 5 movements and is the orchestration of my double quartet op 40. As a first theme the first movement introduces the melodic and harmonic modes which will be the musical ferment of the complete Suite. A second theme which has a dancing character is given to the first violins, the second violins,the violas and the double bass. It is surrounded by pizzicatos and an ostinato of semiquaver given by the cellos. The movement concludes in a great energy. A nocturnal climate which is accompanied with soft tremolos and harmonics characterizes the melodic theme of the second movement. It is given to the three cellos and the double bass with a blend of pizzicatos and arco. A second more harmonic element will be developed at the middle of the movement before the recapitulation of the first theme. The third movement is mostly harmonic. In a lively tempo it develops the chords of the harmonic mode. It shows a great instrumental unity. A second theme which is melodic will be given by the second violins, then by the first violins. The recapitulation will offer the possibility to listen the chords with a new fundamental note. The fourth movement is not written with the modes previously developed. It is an elegy introduced by the violas, then the second violins and finally the first violins. This very expressive theme is accompanied by the pizzicatos of the cellos and the double bass. A harmonic quotation will be given in the middle of the movement before the recapitulation of the main theme. The final movement offers a new listening of the harmonic and melodic modes. They are developed in a lively atmosphere, which favours the dialogue between the musicians. A second harmonic theme will introduce large chords distributed to the orchestra. A variation of this second theme will allow the possibility to hear all the instruments playing pizzicatos. The work concludes in an energic and luminous climate.
Oratorio op 39 pour une femme seule : Simone Weil 2011 - 24 minutes2011 - 3 flûtes la 3ième prend piccolo, 3 Hautbois, le 3 ième prend le cor anglais, 2 clarinettes en sib, 1 Clarinette basse, 2 Bassons, 1 Contrebasson, 4 Cors, 4 Trompettes, 3 Trombones, le 3 ième prend le trombone basse, 1 Tuba, Timbales, 3 Percussionistes, 1 Harpe, 1 Récitant, 16 Premiers violons, 14 Seconds violons, 12 Altos, 10 Violoncelles, 8 Contrebasses à 5 cordes - 24 minutesPaul Gagnaire - Orchestre National d’Ile de France28 octobre 2012 - Salle Pleyel (Paris) - Orchestre National d’Ile de FranceFurore VerlagCommissioned by the Orchestre National de l'Ile de France, the Oratorio op.39 for a single woman has been written during autumn 2011.
With a duration of 24mn, the work is written according to a libretto of Emmanuel Bourdieu. Six importants years describe the life of the philosopher Simone Weil.
The first year is 1923, Simone is 14 years old and is a depressive teenager. She dreams about a human ideal. The work is introduced only by the text and is later supported by the music in a very melodic and expressive universe.
1934 : Simone is grown-up and after her studies of philosophy she decides to work in a factory with the workers. She suffers in this unbearable atmosphere but « wants to meet the true life and does the experiment of misfortune. » The music illustrates the rate of the work and the infernal noise in the factory by an haunting rhythm.
In 1936 we meet Simone in Barcelona during the civil war. She is the witness of a barbaric scene where a young baker is killed. His father becomes mad. The orchestra translates the pain of the father by an orchestral color dominated by the brass and the percussions.
1938 : Simone is in the abbey of Solesme for Easter day.She prays for the first time of her life, surrounded by the monks and the silent of the abbey. She recites a poem about love. The music develops itself along the poem in a soft and meditative atmosphere.
In 1942 Simone Weil is in London. She is beside the resistants, enthusiastic defender of the freedom of people. Simone surrounds a soldier who dies in her arms.The orchestra plays a funeral ode, symbol of the death and the suffering of the human being.
24 th of August 1943 : Simone is in England and is dying. She doesn't want to die, she wants to be near the people who fights for freedom.But the death is there which will take her only 34 years old, during her full youth. The orchestra accompanies the narrator, the viola and the oboe symbolizes the suffer of Simone face to face to the death which she refuses.
The work concludes in a very expressive orchestral atmosphere. Simone is not there anymore but her work remains.
4 Nocturnes op 37 2009 / 2011 - 18 minutes2009 / 2011 - 2 fl + piccolo, 2 hautb. + cor ang, 2 clar. en sib + Clar. basse, 2 bassons + contrebasson, 2 cors en fa, 2 trompettes en ut, Timbales, 2 percus., 1 harpe, 12 premiers violons, 10 seconds violons, 6 altos, 6 violoncelles, 4 contrebasses dont 2 à 5 cordes - 18 minutes- Orchestre Philharmonique de Trêves2 june 2011 - Allemagne - Orchestre Philharmonique de TrêvesFurore VerlagThe work was composed in Spring 2009. It is connected with the French orchestral tradition. The nature and paintings by Nicolas de Staël were the main sources of inspiration of the composer.
Cheerful chords strikes in the 1st and 4th Nocturne, the singing of the horn in the 2nd Nocturne, rustling wind in the 3rd and birdsong in the 4th. These are the main characteristics of the work which aims to be poetic, accompanied by a serene and energetic writing. The first Nocturne begins with ample arrangements entrusted to the stings, surrounded by short melodic fragments spread to the winds. The trumpet, followed by tissue harmonics given by the whole orchestra, gives a 2nd thematic element. A more rhythmic 2nd part is given to the winds and brass, supported by pizzicato strings. The final section presents the re- arrangements of the beginning and the 1st movement ends in a calm and serene atmosphere.
The second Nocturne suggests a melodic theme introduced by the horn. It will be developed by the winds and the trumpet and is then taken by the bass while the brass and winds play in a deep range. Part 2 develops a topic surrounded by short chords distributed to the orchestra. At the coda we will find the theme given to the trumpet and the horn, surrounded by the strings. The 3rd Nocturne is constructed on a double canon of the strings. After the exposure there is an instrumental change. The coda of the 3rd movement offers a harmonization of the canon theme.
In the beginning of the 4th Nocturne the atmosphere is harmonic. A new ground characteristically sign is given by the flutes. Alternating between harmonic passages and plaintive motif will be presented throughout this 4th movement by various instruments. It ends on cheerful chords in a sustained and light shade.
Symphony n°2 op 33 « Exil » 2005-2007 - 18’2005-2007 - 4 fl (+ pic +fl in G) 3 ob 1 horn 4 cl B flat (+cl E fl +bass) 4 bassoons (+contrebasson) 4 french horn 4 trump C 3 tromb 1 tub 2 timb 5 percu 2 harp piano celesta String Quintet 16 14 12 10 8 db - 18’To my great uncle Jules Verne
Ommagio to Saint John Perse - Radio-FranceApril 2nd 2008 - Praha Festival Premières - PrahaFurore VerlagThe second Symphony op33 « Exil » has been written in 2006-2007 and is inspired by fragments from the poem of Saint John Perse.
Three movements compose the works which duration is 18mn.
The first movement is composed of three parts. It is slow and very expressive and is composed by two themes, which are given in the first part. The first theme is melancholy and sad, it relies on large chords and is given from the beginning of the movement by the cellos then the horns. The second theme, which symbolized the exile, is given by the alto flute, and then to the first oboe supported by the horn. Developed in the second part, only the first theme will be re exposed in the third and last part given by all the orchestra.
The second movement is composed of three parts and relies on two themes very different: the first theme is harmonic and vigorous and is given by the woods while the second theme is melodic and is developed with successive entries given by the chords. We can observe a recall of the first movement at the end of the second part.
Developed also with three sections the last movement is composed of a first part, which takes back the chords of the first movement with a harmonic modification. This one gives to the chords a colour more calm and serene. The second part develops on a piano resonance a theme, which recalls the second movement. The theme of the third part is relied on to the first violin and relies on major chords issued from the first theme.
The symphony concludes itself in a very serene climate.
Symphony n°1 for strings op 32 May 2005 - 12’May 2005 - 8 6 6 4 2 - 12’Dedicated to my mother : Anne Peïtevin de Saint André - Radio-FranceFebruary 5th 2006 - Festival Présences - Orchestre Philarmonique de Radio FranceFurore VerlagWritten in May 2005, the Symphony for Strings is the orchestration of the String Quartet op 26.
It is a commission of Radio France and was created at the Festival Présences in February 2006 by the Orchestre Philharmonique de Radio France.
More than one simple transcription from 4 to 26 instrumentalists, the work gives rise to a new musical relief. Indeed, while remaining faithful to the writing of the Quartet, the orchestration emphasizes new instrumental exchanges and proposes a different distribution of themes. In that, the shape of work is new.
The Symphony is composed of five movements, each with duration of approximately 2mn and a particular writing and musical atmosphere. However the unity of the work was deeply reflected, one can thus appreciate the connections between the Ist and Vth movements, and the IInd and IVth movements. The IIIrd movement, central point of the work, answers as for him a radically different writing.
« Mantrana » for orchestra from the book of Ernst Jünger op. 5 1986 - 7’1986 - 2 fl. in G, 1 ob., 2 cl. in A, 1 ba, 1 French horn, 2 tenor trombone, 1 contrabass tuba, 1 harp, 1 vib., 1 xyl., 1 piano, 1 side drum, crotales, hanging cymbals, strings : 6 5 3 3 2 - 7’Alain Gaussin - –– - – - ––This piece was composed during the first 6 months of 1986 and lasts around 6 mn 15. Its title refers to the book of the same title from the German writer Ernst Jünger.
Mantrana is a domino game of 2 and 3 dimensions played with maxims, which are called « stones ».These short maxims express an experience or an opinion and arouse a reaction.
The work for orchestra refers to the following maxim : « Darkness should portend the uncommunicable and not the inability to communicate. »
It is composed of 3 linked parts and first develops with fixed pitches, a progressive density of the writing with multiple couterpoints.
In the 2nd part, the color of the the orchestral sound is priviliged.
The last sequence begins with a writing again dense, and exposes a progressive elision until the end of the piece.