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D'interprétation For Piano. They Can Be Performed Separately From The Other

This document provides program notes for several musical compositions by an anonymous 20th century composer. It includes descriptions of works for two guitars, oboe and piano, two pianos, and piano with percussion instruments. The composer's philosophy is explained, emphasizing anonymity and blending works into a diverse musical landscape without emphasis on any single creator. The notes describe instrumentation, influences like Greek rituals, and performance techniques used in the pieces.

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Gustavo Alves Sousa
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36 views1 page

D'interprétation For Piano. They Can Be Performed Separately From The Other

This document provides program notes for several musical compositions by an anonymous 20th century composer. It includes descriptions of works for two guitars, oboe and piano, two pianos, and piano with percussion instruments. The composer's philosophy is explained, emphasizing anonymity and blending works into a diverse musical landscape without emphasis on any single creator. The notes describe instrumentation, influences like Greek rituals, and performance techniques used in the pieces.

Uploaded by

Gustavo Alves Sousa
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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Two guitars:

ANONYME XX° SIÈCLE (no. 100) Playing time: 4’


for two 6-string guitars
! Publisher: Billaudot, 1991.
‘My dream is to be an anonymous author... Music must be anonymous... There is
too much personalisation, even since the war... There are too many stars... Too
much emphasis has been placed on the person, whereas I believe that when you
get into the depth things, people who create disappear completely. There remains
the work.’
‘If by chance my music were to survive, I would like it to blend, for a world of
distant but imaginable listeners, into the anonymous forest of all types of music
for all men, different types of music that perhaps have a single, nameless author,
omnipresent and ageless.’

Oboe and piano:

NEUMES (no. 59) Playing time: 8’30”


! Publisher: Amphion, 1965 (taken over by Universal)
‘Neumes (nomoï): ritual sequences performed by the aulos in 9th century BC
Greek religious ceremonies.’

Two pianos:

SORÔN-NGÔ (no. 69) Playing time: approx. 21’


! Publisher: Jobert, 1987.
‘In the title Sorôn-Ngô, I play a bit on an ambiguity since ‘Sorôn-Ngô’ is a
typical dance of the Andalusian rhythmic pattern, and the word ‘ngô’, which I
separated to clearly show that it a piece of a percussive nature.’
‘The writing calls on the resources of the 3-pedal piano and brings into play a
range of timbres going from indistinct sound masses to strings struck directly and
resonances evoking an orchestral percussion section. The work adopts a free
meter with rare barred passages and allows for contrapuntal combinations that
will vary from one performance to another, between the two pianos.’

Piano and Percussion instruments:

ÉTUDES D’INTERPRETATION nos. XI & XII (no. 93) Playing time: 18’30”
XI-Sons confondus; XII-Imitations-Dialogues
‘These two etudes constitute the end of the second book of 12 Études
d’interprétation for piano. They can be performed separately from the other
etudes.’
- Percussion instruments:
Étude XI (metals): 3 suspended cymbals (low, medium, high), 3 Chinese gongs, 2
tam-tams (low, medium), 2 posed cymbals, bell-tree, tambourine, vibraphone, set
of crotales, 3 temple bells (or, lacking those: Chinese cymbals), 3 Chinese
- 68 -

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