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Duos, Trios, Quartets & Quintets
(for sextet's and more -> see "chamber orchestra")
(Warning ! Some chamber music pieces are included in the Instrumental theatre section only !)
__ Duos __
2 Percussionists
Acquire the full score of both "Metal spirits I" + "Metal spirits II" in PDF format ! Contribution towards production costs: 7 euro.
2 minutes process and immediate download and unlock of the Score through Paypal system, all major Credit Cards accepted.
INSTRUMENTATION >>
player 1--
- Metal chimes (all ranges, large, typically used scale-organized Wind chimes rack)
- 2 Thunder plates: small, large
- 2 Chinese Cymbals: 4 (medium high), 5 (high)
- 5 Chinese Gongs: c#1 (with downward glissando, tuned), e1 (with downward glissando, tuned), g1 (with upward glissando, tuned), h1 (with upward glissando, tuned), d2 (with upward glissando, tuned)
- 2 Domed Gongs:: C4, A2
player 2-- - Glass chimes (all ranges, typically used scale-organized Wind chimes rack).
- Metal chimes (all ranges, very large, typically used scale-organized Wind chimes rack).
- 3 Chinese Cymbals: 1 (the lowest), 2 (medium low),3 (medium),
- 1 Chinese Gong: α (with downward glissando, untuned)
- 1 Tam-tam:: very high
This set-up is for "Metal spirits I" only. Additional instruments are required for "Metal spirits II". (see below)
PROGRAM NOTE (together with "Metal spirits II")
These two pieces in form of study are conceived on the ideas of impact and resonance. The metallic timbres are in the foreground, but are also expanded by the presence of special chimes that have a "guest"role. (For Metal spirits I: Glass chimes, for Metal spirits II: Stone chimes) COMMENTS
-
VERSIONS
opus 79a
current version: v.1
MISCELLANEOUS
"Lobende anerkennung" (honorable acknowledgement) from the Universität Oldenburg (Germany) for the pieces "Metal spirits 1+2"
Dedicated to Simon FORSTER.
RECORDINGS
2009 - Audio and Video recorded by Samuel FORSTER (percussion) & Simon FORSTER (percussion) on 7th July 2009 at the H.K.B. Studio in Bern (Switzerland). Sound engineer: Beat MÛLLER, Video: Voltafilm Luzern (Switzerland), Stephan HEINIGER. Light engineer & general production assistant: Christophe KUHN. Produced by Alin GHERMAN with the support of the "Fonds Culturel Suisse", the Hochschule der Künste Bern and Voltafilm Luzern. photo
The video clip is already pre-released on Youtube.com
Simon FORSTER playing the Stone chimes in "Metal spirits", July 7th, 2009
ABOUT PERFORMANCES
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ABOUT AUDIO EXCERPT
(audio excerpt, mp3 file 320kbits - 1'30" of 2'45" - the beginning)
Samuel FORSTER (percussion) & Simon FORSTER (percussion), July 7th, 2009 at the H.K.B. Studio in Bern (Switzerland). Sound engineer: Beat MÛLLER, Production: Alin GHERMAN
INSTRUMENTATION >>
player 1--
- 2 Rainsticks (2x high).
- Hi-hat
- 2 Domed Gongs:: F2#, F3
- 1 Tam-tam:: very low
player 2-- - 3 Rainsticks (2x medium and 1x low)
- Stone chimes (may be replaced by additional irregular chimes, avoid typically used scale-organized Wind chimes rack)
- 3 Domed Gongs:: A2# or E3, C3, D3
- 1 Tam-tam:: medium high
This set-up is for "Metal spirits II" only. Additional instruments are required for "Metal spirits I". (see above)
PROGRAM NOTE (together with "Metal spirits II")
These two pieces in form of study are conceived on the ideas of impact and resonance. The metallic timbres are in the foreground, but are also expanded by the presence of special chimes that have a "guest" role. (For Metal spirits I: Glass chimes, for Metal spirits II: Stone chimes) COMMENTS
-
VERSIONS
opus 79b
current version: v.1
MISCELLANEOUS
"Lobende anerkennung" (honorable acknowledgement) from the Universität Oldenburg (Germany) for the pieces "Metal spirits 1+2"
Dedicated to Samuel FORSTER.
RECORDINGS
2009 - Audio and Video recorded by Samuel FORSTER (percussion) & Simon FORSTER (percussion) on 7th July 2009 at the H.K.B. Studio in Bern (Switzerland). Sound engineer: Beat MÛLLER, Video: Voltafilm Luzern (Switzerland), Stephan HEINIGER. Light engineer & general production assistant: Christophe KUHN. Produced by Alin GHERMAN with the support of the "Fonds Culturel Suisse", the Hochschule der Künste Bern and Voltafilm Luzern. photos
The video clip will be released in winter/spring 2010.
Samuel FORSTER playing "Metal spirits", July 7th, 2009
ABOUT PERFORMANCES
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ABOUT AUDIO EXCERPT
(audio excerpt, mp3 file 320kbits - 1'30" of 2'45" - the beginning)
Samuel FORSTER (percussion) & Simon FORSTER (percussion), July 7th, 2009 at the H.K.B. Studio in Bern (Switzerland). Sound engineer: Beat MÛLLER, Production: Alin GHERMAN
9 euro (= contribution towards production costs.) Acquire the score of both versions (short and Full) in PDF format !
The unique Password you will receive could unlock 2 scores. Two scores for the price of one !
2 minutes process and immediate download and unlock of the Score through Paypal system, all major Credit Cards accepted.
PROGRAM NOTE
An Hommage to the early XX century's mechanical piano.
COMMENTS
Virtuous piece for "friends only" !
In a concert program, it is suggested to play "Addendum:exitum" (read below) just afterwards.
VERSIONS
opus 65
current version: v1 - 2009
MISCELLANEOUS
-
RECORDINGS
- 2008 November 24th, by Bösendorfer CEUS (MIDI mechanical piano) + the participation of Kirill ZWEGINTSOW and Jana UZUNOVA. H.K.B. Bern Tonstudio. (Switzerland) Sound engineer: Benoît PICCAND. Produced by Alin Gherman.
- 2008 November 25th, by Beatrice LIM & Liu Wei JING (Steinway D), H.K.B. Bern Tonstudio. (Switzerland) Sound engineer: Benoît PICCAND. Produced by Alin Gherman.
ABOUT PERFORMANCES
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ABOUT AUDIO EXCERPT
(mp3 file 256kbits - 1'49" of 4'28" - about 1'05" after beggining - MIDI controlled piano Bösendorfer CEUS, 2008 November 24th, Produced by Alin Gherman.)
9 euro (= contribution towards production costs.) Acquire the score of both versions (short and Full) in PDF format !
The unique Password you will receive could unlock 2 scores. Two scores for the price of one !
2 minutes process and immediate download and unlock of the Score through Paypal system, all major Credit Cards accepted.
Caution : THE SCORE WILL BE UPDATED SOON ! YOU WILL RECEIVE AN UPDATE AUTOMATICALLY.
PROGRAM NOTE
This piece is a tribute to the early 20th century's mechanical piano.
A movement which departs from the extremes, leading to a chaos which results in a strong mechanical pattern that becomes necessary to tease.
The question -How would that music become human again? – represents one of the challenges of the piece.
The revised version of 2010 offers an exciting development of the polyrhythmic patterns already presented in the short version (v1, 2007).
Concernant le travail avec le piano MIDI Bösendorfer Imperial CEUS (2010)
La complexité rythmique ainsi que la virtuosité extrême exigées par Klavierstück, pièce écrite à la base pour piano quatre mains, peuvent sembler insurmontables à plus d’un pianiste.
Le cheminement ayant abouti au présent enregistrement a très rapidement fait entrevoir que la manière la plus aisée de développer encore l’écriture était de faire appel à un piano mécanique d’élite. Un instrument très puissant, doté d’une technologie de pointe capable d’offrir une précision de l’attaque qui puisse transcender l’étroite palette de valeurs du standard MIDI, valeurs applicables aux dynamiques d’un piano de concert.
Une étude scientifique de l'Université technique de Vienne a démontré que la différence de perception entre les interprétations "mécanique" et "humaine" réside principalement dans le chronométrage de la précision de l'attaque.
Par l’optimisation en détail de chaque note et pédale, il fut possible de capturer la richesse des détails rythmiques complexes ainsi que de découvrir des sonorités insoupçonnées, à chaque fois reproduites avec fidélité. Ceci a permis de véritablement consolider la pièce et même de la développer au cours de la programmation.
Ayant été stimulé par cette flexibilité et cette disponibilité infatigable, toutes les fantaisies étaient dès lors réalisables. Le système de reproduction CEUS piloté par un signal MIDI optimisé peut être à même de semer le doute quant à la nature de l’interprétation mécanique. L’Impérial incarne à lui seul plusieurs instruments grâce à la palette de couleurs possibles et ce sur tous les registres, en particulier le grave dont les timbres défient toute attente. Ces caractéristiques sont particulièrement appréciées lors de la reproduction de parties virtuoses et complexes. Ecouter le rendu méticuleux du développement polyphonique fut une expérience hors du commun.
La magie qu’un tel système peut offrir dans un cadre expérimental comme celui-ci est une source d’inspiration rare pour un compositeur chercheur.
Bösendorfer Imperial CEUS – »unerreichte rhythmische Präzision« (2010) (Übersetzt von Magdalena Boschung)
Die rhythmische Komplexität und die extreme Virtuosität, die das »Klavierstück« zu vier Händen verlangt, stellt für jeden Pianisten eine kaum zu bewältigende Herausforderung dar. Um diese Eigenschaften des Werkes zu unterstreichen, lag es nahe, für die Aufnahme auf ein mechanisches Klavier der Extraklasse zurückzugreifen. Der Bösendorfer Imperial CEUS ist ein überragendes Instrument, dessen Technologie eine hohe Präzision im Anschlag erlaubt und die begrenzte Palette des MIDI Standards in die differenzierte Dynamik eines Konzertflügels zu transformieren vermag.
Diese Möglichkeit ist von grösster Wichtigkeit, denn wie eine wissenschaftliche Studie der Technischen Universität Wien ergeben hat, ist die unterschiedliche Präzision des Anschlagzeitpunktes entscheidend dafür, ob wir eine Interpretation als »mechanisch« oder »menschlich« empfinden.
Durch eine feine Nuancierung jeder Note und des Pedals ist es gelungen, sowohl die Fülle der rhythmischen Details als auch ein unerwartetes Klangspektrum zu schaffen, das vom Instrument bei jeder Wiedergabe exakt reproduziert wird. Auf dieser Grundlage wurde das Stück während der Programmierungsphase in seinem Charakter gefestigt und erweitert.
Von der hohen Flexibilität und den fast unerschöpflichen Möglichkeiten des Systems beflügelt, sind der Fantasie keine Grenzen gesetzt. Dank dem grossen Farbspektrum, insbesondere dem überwältigenden Klang in den tiefen Lagen, vereinigt der CEUS mehrere Instrumente in sich, ein Merkmal, das für die Wiedergabe von virtuosen und komplexen Passagen unerlässlich ist. Das Reproduktionssystem des Instruments, das von einem optimierten MIDI Signal gesteuert wird, lässt den Zuhörer zeitweise sogar daran zweifeln, ob es sich tatsächlich um eine »mechanische« Interpretation handelt. Die hochpräzise Wiedergabe der polyphonen Themenverarbeitung im »Klavierstück« wird so zu einem Hörerlebnis der besonderen Art. Den Zauber, der das System des Bösendorfer Imperial CEUS einem experimentellen Werk wie diesem zu verleihen vermag, ist eine besondere Quelle der Inspiration für einen innovativen Komponisten. COMMENTS
Virtuous piece for "friends only" !
In a concert program, it is suggested to play "Addendum:exitum" (read below) just afterwards.
VERSIONS
opus 65b
current version: v2.1 temporary - 2010
MISCELLANEOUS
-
RECORDINGS
- 2010 April 22th, by Bösendorfer Imperial 290 CEUS (MIDI controlled piano) + the participation of Natalia KOZIARZ. H.K.B. Bern Tonstudio (Switzerland). Midi programming and control: Alin GHERMAN Recorded, mixed and mastered by Benoît PICCAND. Video recorded by Le flair.ch / Bastien GENOUX assisted by Marie-Eve HILDEBRAND, Aurèle BARDE, Christophe KUHN. Edited and produced by Alin GHERMAN and Bastien GENOUX.
With the support of: Berner Fachhoschule / Hochschule der Künste Bern, LE FLAIR. The Bösendorfer Imperial 290 with CEUS reproducting system was kindly provided by Leclavier.ch, Montreux, Switzerland. Special thanks to Leopold KÜPFER.
ABOUT PERFORMANCES
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ABOUT AUDIO EXCERPT
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This text will be replaced
Acquire the full score in PDF format ! Contribution towards production costs: 9 euro.
2 minutes process and immediate download and unlock of the Score through Paypal system, all major Credit Cards accepted.
INSTRUMENTATION >>
for the Pianist--
- a flexible plastic comb (see photo is Note). - post-it stickers to label the strings - textile wire to mark the harmonics position on 2 low strings - optional: plastic (composite) nails, special glue kit (available in cosmetic shops) to pluck the strings more powerfully without damaging nails.
for the Percussionist-- - Vibraphone (with bow) - Marimba (5 octaves) - Glockenspiel (with pedal) - Crotales; E4, F#4, A#4, B4, A5 played with Glock. plastic mallets + triangle beater - 4 Gongs (domed); F#2, C#3, A#3, G#4 - 4 Cymbals; high suspended, medium rived, low suspended and high-hat - 3 Tam-tams; medium small(with rim), medium wind(without rim),largest possible(with rim) - Bass drum: α (large and resonating long) - Whip: α (low, very resonant) - Wood chimes: α (few sets, large range from low to high) - Music stand: α (big and heavy), may be freely replaced and/or sustained with an alternative similar sound (steel brake drum for instance).
PROGRAM NOTE
„Haute tension“ (=“High tension”) was composed during a tensional period of my life. I wanted to transpose this potential energy on musical percussive instruments and search a certain beauty and interest in the “danger”. The situation of discomfort gives a special “alert” power and the outburst remains uncertain. The visual aspect of the musicians being under pressure is very important and adds a second dramatic layer to the piece. The music is made by the visible tensions and the sounds.
COMMENTS
As the Voltafilm videoclip shows, the musicians play with a CLICK (through headphones) and therefore they do not have any visual contact.
It has been noticed that for this piece in particular, this technical parameter makes the musicians even more alerted and thus interesting to watch by audience.
VERSIONS
current version: v.1
opus 75
MISCELLANEOUS
Piece selected by the Beijing Modern Music Festival 2011 for the "Young composers project".
RECORDINGS
Audio and Video recorded by Natalia KOZIARZ (prepared piano) and Simon FORSTER (percussion) on 25th November 2008 at H.K.B. Studio (Bern). Sound engineer : Cyrill LIM. Voltafilm Stephan HEINIGER. Produced by Alin GHERMAN with the support of the Hochschule der Kûnste Bern and Voltafilm Luzern. photo
ABOUT PERFORMANCES
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ABOUT AUDIO EXCERPT
(mp3 file 192kbits - 1'41" of 6'30" - the beginning - prepared piano: Natalia KOZIARZ, percussion: Simon FORSTER)
Natalia KOZIARZ (prepared piano) & Simon FORSTER (percussion), November, 2008 at the H.K.B. Studio in Bern (Switzerland). Sound engineer: Cyrill LIM, Production: Alin GHERMAN
Acquire the full score in PDF format ! Download any version (soprano, tenor, barytone) or altogether for the same price. Contribution towards production costs: 6 euro.
2 minutes process and immediate download and unlock of the Score through Paypal system, all major Credit Cards accepted.
PROGRAM NOTE
All of the adverts, but one ;-), have been taken from "Vlan", a weekly free newspaper of Brussels. COMMENTS
-
VERSIONS
current version: v.3 / revised 2008
Available versions : for soprano, tenor, baryton, (alto voice in preparation)
opus 53
MISCELLANEOUS
Dedicated to maman.
2d PRIZE at the International Composition Competition "De la Romantici la Contemporani" Bucharest, May 2008 -
RECORDINGS
2004 - Video recorded by Nicolas ACHTEN-HOFFMAN (barytone voice) and Lionel BAMS (piano) at the Conservatoire Royal de Bruxelles. Audio-visual International Services, Bruxelles.
2008 - Audio & Video Recorded at the studio of the Hochschule der Künste Bern (Switzerland) on November 2008 by Katja BAUMANN (soprano) and Jana UZUNOVA (piano). photos
ABOUT PERFORMANCES
Premiere: 2004, March 12ve by Nicolas ACHTEN-HOFFMAN (barytone voice) and Lionel BAMS (piano) at the Conservatoire Royal de Bruxelles.
This piece was part of the exam of Licence 2 (Master 1) level of the Vocal department of the Conservatoire Royal de Musique de Bruxelles.
ABOUT AUDIO EXCERPT
(mp3 file 256kbits - 38" of 4'25" - the end "Gai luron" + "Compositeur accueille" - soprano voice: Katja BAUMANN, piano Steinway D: Jana UZUNOVA) H.K.B. Recording, 2008. Recording: Cyrill LIM, Editing, Mastering: Kaspar KOCHULI. Production: Alin GHERMAN
__ Trios __
7 euro (= contribution towards production costs.) Acquire the score of both (original) and (long, 3 pieces) versions in PDF format !
The unique Password you will receive could unlock 2 scores. Two scores for the price of one !
2 minutes process and immediate download and unlock of the Scores through Paypal system, all major Credit Cards accepted.
PROGRAM NOTE
"Serious joke" ! ... to include in a serious concert programme. Why not after "Klavierstück" or ANY other piece ?
COMMENTS
First experiments realized with the participation of Justyna JARZAB (piano) and Natalia KOZIARZ (piano) in Krakow (Poland).
Further developments realized at the Hochschule der Künste Bern (Switzerland) with the participation of Anja FÛSTI (page turner), Natalia KOZIARZ (piano) and Daniel BRYLEWSKI (piano).
VERSIONS
opus 67a
current version: v.1
MISCELLANEOUS
Théâtre musical. Instrumental theatre.
There is an alternative piece based on "Addendum:exitum": - the long version, with 3 pieces, opus 67b. Duration: 6'-7'
RECORDINGS
- 2008 February, LIVE PREMIERE by Natalia KOZIARZ & Daniel BRYLEWSKI (piano), Anja FÜSTI (page turner), Grosse Konzert Saal, H.K.B. Bern (Switzerland).
Audio & Video recorded, published on youtube.com / Produced by Alin Gherman.
ABOUT PERFORMANCES
Premiere- 2008 February, by Natalia KOZIARZ & Daniel BRYLEWSKI (piano), Anja FÜSTI (page turner), Grosse Konzert Saal, H.K.B. Bern (Switzerland). Audio & Video recorded, published on youtube.com / Produced by Alin Gherman.
ABOUT VIDEO EXCERPT
See Premiere.
7 euro (= contribution towards production costs.) Acquire the score of both (original) and (long, 3 pieces) versions in PDF format !
The unique Password you will receive could unlock 2 scores. Two scores for the price of one !
2 minutes process and immediate download and unlock of the Scores through Paypal system, all major Credit Cards accepted.
PROGRAM NOTE
"Serious joke" ! ... to include in a serious concert programme. Why not after "Klavierstück" or ANY other piece ?
This group of three pieces was conceived as a preparatory path to semi-improvisation. They may be played separately as well and without the help of a page-turner.
"lamentation" ("L'épine", excerpt of "folclor") serves as an introductory atmosphere to make the performers and audience more sensitive and appreciate the contemplation of minimal notes usage.
“other spaces” invites the pianists to recompose the atmosphere of the given notes. They may prepare the missing parameters in advance and annotate the score.
“exitum” is taking a “3d parameter” of the performance appearance into consideration … see above the description of "Addendum:exitum"
COMMENTS
First experiments realized with the participation of Justyna JARZAB (piano) and Natalia KOZIARZ (piano) in Krakow (Poland).
Further developments realized at the Hochschule der Künste Bern (Switzerland) with the participation of Anja FÛSTI (page turner), Natalia KOZIARZ (piano) and Daniel BRYLEWSKI (piano).
This version is longer and includes an excerpt of the piece "Folclor" for piano solo.
VERSIONS
opus 67b
current version: temporary v.1
MISCELLANEOUS
Théâtre musical. Instrumental theatre.
This is an alternative piece based on the original version of "Addendum:exitum".
RECORDINGS
-
ABOUT PERFORMANCES
-
ABOUT AUDIO / VIDEO EXCERPT
-
Acquire the score in PDF format ! Contribution towards production costs: 9 euro.
2 minutes process and immediate download and unlock of the Score through Paypal system, all major Credit Cards accepted.
PROGRAM NOTE
"O poveste" means “A story” in Romanian language. It’s an epic journey with elements of imaginative tales that came out of my invention. I wanted to place the lyrical elastic melodies around contrasting timbral densities. The “lighting” of the elements is mainly focused, the rest remain murky but still so real. Sometimes, the trail lead to brief meditative moments and eventually to ether....
COMMENTS
Musicians read from Score. No separate parts.
VERSIONS
opus 60
current version: v5/2015
MISCELLANEOUS
PRIZE-winning piece of the Composition Competition of the Icon Arts Breaza International Contemporary Arts Summer Classes 2005, ROMANIA
www.excesmusic.ro,
SELECTED and presented by the ISCM-Musicarama Festival 2015, HONG KONGRECORDINGS
2015 - June 3, Version 5 (current) by Ensemble KOCHI (Japan) (Clarinet: Masashi Onari, Violin: Nina Furukawa, Viola: Kumi Nakajima) and broadcasted by RTHK Radio 4
2007 - December, Version 4 Recorded by Richard HAYNES (clarinet), Simone ROGGEN (violin) & Matthew WILLIAMS (viola) at the H.K.B. Tonstudio. Sound engineer: Benoît PICCAND, Produced by Alin Gherman.
ABOUT PERFORMANCES
- 2005 -August 6th - Premiere Version 1, by Constantin AMARANDEI (clarinet), Daniel MIHAI (violin), Mihai Emil COCEA (viola), at the "Casa de Cultura" of Breaza, during the Icon Arts Breaza Festival, Breaza (Romania). Special thanks to Marius UNGUREANU (Vla.). photos
- 2006- March 27th, Version 2, Belgian premiere by Bartek (violin), Karel CONINX (viola) and Hiroko (Bb clarinet)Presentation to Press medias and sponsors as well as performance of the piece in the Arcub Concert Hall, Bucharest, September 2005
Alin Gherman giving an interview for the Romanian Television, Arcub Hall, Bucharest, September 2005 from left to right: Daniel MIHAI (violin), Emil COCEA (viola) and Constantin AMARANDEI (Bb clarinet), Arcub Hall, Bucharest, 2005
- 2015 - June 3, Version 5 (current) by Ensemble KOCHI (Japan) (Clarinet: Masashi Onari, Violin: Nina Furukawa, Viola: Kumi Nakajima) and broadcasted by RTHK Radio 4
ABOUT AUDIO EXCERPT
(mp3 file - 1'51" of 6'50" - after one minute... - clarinet: Richard HAYNES violin: Simone ROGGEN viola: Matthew WILLIAMS, recorded at the H.K.B. Tonstudio by Benoît PICCAND, Produced by Alin Gherman, 2007)
8 euro (= contribution towards production costs.) Acquire the score + separate parts in PDF format !
2 minutes process and immediate download and unlock of the Score through Paypal system, all major Credit Cards accepted.
PROGRAM NOTE
-
COMMENTS
-
<
VERSIONS
opus 51
current version: v1.2 - 2003
MISCELLANEOUS
Commissioned by Gwenaëlle GEISER (viola) for the "ALTERNANCES" ensemble (Switzerland).
RECORDINGS
-
ABOUT PERFORMANCES
First performance - 2005, January 15th, by Trio Alternances (Laurent Parisot, flûte, Gwenaëlle Geiser, alto, Eliane Zweifel, harpe), Dans le cadre des Jeunesses Musicales de Fribourg, Centre Le Phénix, Fribourg (Switzerland). photo
ABOUT AUDIO EXCERPT
-
8 euro (= contribution towards production costs.) Acquire the FULL Score and separate parts for performance in PDF format !
2 minutes process and immediate download and unlock of the Score through Paypal system, all major Credit Cards accepted.
PROGRAM NOTE
The poems which inspirated this composition have been taken from the collection «Poésie perdue» («Lost poetry») written by Paul VALERY (1871-1945). © Editions Gallimard Paris
"Sur l'arbre de chair chante le minime oiseau spirituel."
"Eveillé, dressé dans le noir, parmi l'absence de tout le reste.
endormi, insensible au soleil, au coeur de tous les bruits et les fleurs."
(With permission from Editions Gallimard.)
COMMENTS
4 Miniatures.
The second miniature is an instrumental intermède.
VERSIONS
opus 50
current version: v.3.1
MISCELLANEOUS
"Prix Emile Agniez " 2003 awarded by the Composition Competition of the Conservatoire Royal de Bruxelles - Belgium
RECORDINGS
- 2003 March 18th, LIVE PREMIERE by Alexia ALPEN (alto voice), Wendy RUYMEN (viola) & Yoshi KOGA (bassclarinet) at the "Petite salle" du Conservatoire Royal de Bruxelles.(Belgium)
ABOUT PERFORMANCES
Premiere- 2003 March 18th, by Alexia ALPEN (alto voice), Wendy RUYMEN (viola) & Yoshi KOGA (bassclarinet) at the "Petite salle" du Conservatoire Royal de Bruxelles.(Belgium)
ABOUT AUDIO EXCERPT
(mp3 file - 1'36" of 5'50" - the beginning) LIVE from the Premiere concert.
__ Quartets __
4 percussionists
- Metal spirits III (2010) duration: ca. 4' ExcerptShow
for multi-percussion - show details - about acquiring the Score
The score hasn't been assembled yet. If you are interested to perform the piece in a concert as a World Premiere please contact Alin GHERMAN.
INSTRUMENTATION >>
player 1 (=equals player 1 in Metal spirits I)--
- Metal chimes (all ranges, large, typically used scale-organized Wind chimes rack)
- 2 Thunder plates: small, large
- 2 Chinese Cymbals: 4 (medium high), 5 (high)
- 5 Chinese Gongs: c#1 (with downward glissando, tuned), e1 (with downward glissando, tuned), g1 (with upward glissando, tuned), h1 (with upward glissando, tuned), d2 (with upward glissando, tuned)
- 2 Domed Gongs:: C4, A2
player 2 (=equals player 2 in Metal spirits II)-- - Glass chimes (all ranges, typically used scale-organized Wind chimes rack).
- Metal chimes (all ranges, very large, typically used scale-organized Wind chimes rack).
- 3 Chinese Cymbals: 1 (the lowest), 2 (medium low),3 (medium),
- 1 Chinese Gong: α (with downward glissando, untuned)
- 1 Tam-tam:: very high
player 3 (=equals player 1 in Metal spirits II)--
- 2 Rainsticks (2x high).
- Hi-hat
- 2 Domed Gongs:: F2#, F3
- 1 Tam-tam:: very low
player 4 (=equals player 2 in Metal spirits II)-- - 3 Rainsticks (2x medium and 1x low)
- Stone chimes (may be replaced by additional irregular chimes, avoid typically used scale-organized Wind chimes rack)
- 3 Domed Gongs:: A2# or E3, C3, D3
- 1 Tam-tam:: medium high
PROGRAM NOTE
Metal spirits III is a special superposition of Metal spirits I and Metal spirits II. One piece is like the negative of the other one. The idea of superposing both pieces came after the related video clips were produced.
Although in the first video clip only two musicians play the piece, for a concert performance four players are necessary.
The material of the study is conceived on the ideas of impact and resonance. The metallic timbres are in the foreground, but are also expanded by the presence of special chimes that have a "guest"role. (Glass chimes, Stone chimes) COMMENTS
Never performed LIVE with 4 performers.
VERSIONS
opus 79d
current version: v.1
MISCELLANEOUS
-
RECORDINGS
2009 - Audio and Video recorded by Samuel FORSTER (percussion) & Simon FORSTER (percussion) on 7th July 2009 at the H.K.B. Studio in Bern (Switzerland). Sound engineers: Beat MÛLLER & Benoît PICCAND, Video: Voltafilm Luzern (Switzerland), Stephan HEINIGER. Light engineer & general production assistant: Christophe KUHN. Produced by Alin GHERMAN with the support of the "Fonds Culturel Suisse", the Hochschule der Künste Bern and Voltafilm Luzern. photo
The video clip is already pre-released on Youtube.com
Simon FORSTER playing the Stone chimes in "Metal spirits", July 7th, 2009
ABOUT PERFORMANCES
-
ABOUT AUDIO EXCERPT
(audio excerpt, mp3 file 320kbits - 1'22" of 4'- the beginning)
Samuel FORSTER (percussion) & Simon FORSTER (percussion), July 7th, 2009 at the H.K.B. Studio in Bern (Switzerland). Sound engineer: Beat MÛLLER, Remixed by Benoît PICCAND. Production: Alin GHERMAN
11 euro (= contribution towards production costs.) Acquire the full score in PDF format !
2 minutes process and immediate download and unlock of the Score through Paypal system, all major Credit Cards accepted.
INSTRUMENTATION >>
for the Percussionist--
- many plastic cups (7 cups/performance are needed). for the Guitarist-- - Electric guitar (+amplifier, effects) for other performers-- - (See Note and Score)
PROGRAM NOTE
Café-mélange is an audio moment for a good mood :-). It is designed as a compact music with choreographic elements capable to spread out energy for nice people. The musicians are linked to the dark drink by the coffee maker which is on the stage. The blended mixture of sound and warm smell create a relaxed atmosphere. The mechanic processes components of the machine had an important influence on the instrumental part. Composed in dark Polish winter to stimulate musicians and audience to push out clouds and depressions.
An audio moment with musical integration of coffee smell, machine's noise and cups.
COMMENTS
Musicians on stage read from separate parts.
Conductor and sound controller read from score.
VERSIONS
opus 62
current version: v.1.1/2006
RECORDINGS
- 2006 January 20th, Sala Kameralna of Akademia Muzyczna w Krakowie, Poland by Karolina DURBACZ (violon), Piotr DRODECKI (el. guitar), Andrzej WLODARCZYK (accordion) and Michal PAWELEK (percussions), conducted by Marcin PACZKOWSKI. Coffee Maker Salton FC-3T, Polarcup's Art.22 were used. Special thanks to SME Krakow, Marek CHOLONIEWSKI, Mateusz BIEN and Grazyna ZUBIK. 25th photo
ABOUT PERFORMANCES
- 2006 January 20th, Sala Kameralna of Akademia Muzyczna w Krakowie, Poland by Karolina DURBACZ (violon), Piotr DRODECKI (el. guitar), Andrzej WLODARCZYK (accordion) and Michal PAWELEK (percussions), conducted by Marcin PACZKOWSKI. Coffee Maker Salton FC-3T, Polarcup's Art.22 were used.
ABOUT AUDIO EXCERPT
(mp3 file - 1'07" of 7'12")
Karolina DURBACZ (violon), Piotr DRODECKI (el. guitar), Andrzej W?ODARCZYK (accordion) and Michal PAWE?EK (percussions), conducted by Marcin PACZKOWSKI. Coffee Maker Salton FC-3T, Polarcup?s Art.22 were used. Sala Kameralna of Akademia Muzyczna w Krakowie, Poland. January 20th, 2006.
11 euro (= contribution towards production costs.) Acquire the score in PDF format !
No separate parts. All musicians read from score.
2 minutes process and immediate download and unlock of the Score through Paypal system, all major Credit Cards accepted.
WARNING ! Please contact Alin GHERMAN if you intend to perform this piece. A new version of the score is currently in preparation. Release soon ...
PROGRAM NOTE
"Mouths & Strings - lale" is a surprise box with crazy dolls inside. Their expression is achieved by musical and theatrical meanings. Shake it and open ! Do not worry about special virtuoso interactions between them ! Performers and listeners must both "find a way" to the sense of these rush minutes. "Lale" which means "dolls" in Polish language is intended to be the first of a collection of express string quartets.
COMMENTS
Théâtre musical - Instrumental theatre - !
VERSIONS
opus 61
current version: v2.1 IPA - Nov. 2006
A new version is currently in preparation.
MISCELLANEOUS
-
RECORDINGS
- 2011 March 23d, by Airis quartet, Teatr Zależny PK ul.Kanonicza 1 Kraków, Koncert „Alchemia Kwartetu”, Aleksandra Czajor – violin I, Grażyna Zubik – violin II, Natalia Warzecha – viola, Katarzyna Detko – cello. Recorded by RMF Radio. photo
ABOUT PERFORMANCES
Airis quartet
- Premiere by Airis quartet, 2011 March 23d, Teatr Zależny PK, Kraków, Koncert „Alchemia Kwartetu”. Aleksandra Czajor – violin I, Grażyna Zubik – violin II, Natalia Warzecha – viola, Katarzyna Detko – cello
- Concert tour of the Airis string quartet in Poland (Warsaw, Cracow, Przemysl, ...)
ABOUT AUDIO EXCERPT
- Live recording of the Premiere (see above). (mp3- 320kbits/sec, 3'20", the end)
Bb Clarinet, piano, percussion and double bass
11 euro (= contribution towards production costs) Acquire the full score with separate parts in PDF format !
2 minutes process, immediate download and unlock of the Score through Paypal system, all major Credit Cards accepted.
INSTRUMENTATION >>
Percussionist--
- Tam-tam (85")
- Gong high D (next to middle C)
- 2 Suspended cymbals: (high : f/ex. Sabian B8 20 »/51 cm Ride, low) + 2 brushes
- 1 Rived Cymbal (f/ex. Paiste Fast Crash 16")
- Tambourine with little cymbals
- 2 Triangles of high range:: (high, low > !1/2 or 1 tone difference) + 2 metal sticks
Bb Clarinet, Piano (3 pedals) and Double Bass (4 strings)--
PROGRAM NOTE
An hommage to Maurice RAVEL and the Spring season. COMMENTS
-
VERSIONS
opus 58
current version: v.3/2007
MISCELLANEOUS
Commissioned by Philippe ROSKAM (be) for his son Mathieu ROSKAM (clarinet player).
RECORDINGS
2007 - June, Audio reocrding by Nathalie JEANDUPEUX (Clarinet), Simon FORSTER (percussion), Tadej HORVAT (piano) and Melda UMUR (contrabass), conducted by Jacques-Alain FRANCK. Recorded in the H.K.B. (Bern, Switzerland) studio by Benoît PICCAND and Beat MÜLLER. Produced by Alin GHERMAN. With the kind support of Pierre SUBLET.
ABOUT PERFORMANCES
First performance - 2005, March 25th, in Brussels, Belgium by Mathieu ROSKAM (clarinet), Ward De KETELAERE (percussion), BLANDINE WALDMANN (piano) and Eef PAREYN (contrabass), conducted by Bart BOUCKAERT, with the kind assistance of Françoise HELMANN
ABOUT AUDIO EXCERPT
(mp3 file - 1'47" of 7'07", performed by: see Second performance)
Nathalie JEANDUPEUX (Clarinet), Simon FORSTER (percussion), Tadej HORVAT (piano) and Melda UMUR (contrabass), conducted by Jacques-Alain FRANCK. Recorded in the H.K.B. (Bern, Switzerland) studio by Benoît PICCAND and Beat MÜLLER. Produced by Alin GHERMAN. June 2007
__ Quintets __
Show
in progress ...
Baignée dans un climat instable, la pièce exhibe une sentimentalité excentrique et bariolée à mon goût. Il est question entre autres de jeux, de surprises et d'extases dans un décor sonore entraînant mêlé à des parfums sucrés déjà connus. Cependant, la contemplation de la Rose est également teintée d'angoisses voire une certaine agressivité, comme dans l'introduction et la coda par exemple. 
EARLY PIECES / EASY PIECES
for Duos, Trios, Quartets & Quintets (generally before 2002) 
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