From Lili Boulanger
Arranged by Geert Van fraeyenhoven for Clarinet Bb, Piano & String Quartet
Order-# : LM 2020021757
Price € 13,50
From G. Rossini
Arranged by Geert Van fraeyenhoven for Clarinet Bb, Piano & String Quartet
Order-# : LM 2020021758
Price € 13,50
From A. Vivaldi
Arranged by Geert Van fraeyenhoven for Clarinet Choir
Order-# : LM 2020021759
Price € 10,50
for Flute Solo : order-# LM 2019121755 (price € 6,90)
On a cool, sunny November morning in 2019, I took the subway and bus, then a long walk up the mountainside to visit the Buddha Rock temple on the outskirts of Seoul, Korea. On the road to the temple three white dogs appeared out of the forest. The two younger dogs, lively and curious, kept a careful distance; the third, older and slower, followed me onto the temple grounds and laid down in the middle of the path, stretching out in the sun to observe calmly, Buddha-like, everything going on around him. He stayed there for the next hour, when I had to leave.
Then I walked the road through the forest back down the mountainside, and slowly passed through the wild variety of trees and autumn colors, and the quiet chaos of the dense forest undergrowth. It was during this temple visit that I began to think about a piece for flute solo.
DEPARTING FROM BUDDHA ROCK FOREST was commissioned by and will be premiered by Grace Ju-Yeon Wang at the 2020 Mid-Atlantic Flute Convention on February 15, 2020
Small Noise – Great Noise
For Piano solo : order – # LM 2019081744 (Price € 13,50)
A few words about “Koto, Piano II” and its relationship to painting: I’ve admired greatly Agnes Martin’s use of relatively ordinary materials in her paintings – simple lines, bands of color. “Koto, Piano II” uses similarly “ordinary” materials – single note melodies lacking harmonies, fragments of various scales.
September, 2016 – I saw Augusto Giacometti’s painting “Peace” at the Albertina museum in Vienna. Upon returning home, I began to write a new duo for koto and piano in which the two musicians at first listen closely to each other’s playing to co-ordinate their parts. Towards the end of the piece, however, their parts diverge, and they continue separately, but peacefully, each at his or her own speed.
In 2018, I decided to write a piece for solo piano based on the piano part of “Koto, Piano II” and called it “Small Noise”. It eventually developed into a much longer and elaborate piece called “Great Noise” (2019).
While I was composing “Small Noise”, I happened to read Kafka’s short story called “Great Noise” in which many different sounds – some unusual, some ordinary, some humorous – were heard. I began to imagine a piano piece that didn’t directly follow Kafka’s story, but evoked the variety, suddenness, and unpredictability of Kafka’s writing. “Great Noise” was commissioned by the InterMusic SF and the Elaine and Richard Fohr Foundation.
Canto de Galiana (Peter Heremans)
Louise (Peter Heremans)
En recuerdo de una morena (Peter Heremans)
Listen to a sound track of both compositions in the “catalogue” section
Cloud Study III
Instrumentation : Violin and Piano
Price : € 16,00
Order-# : LM 2018101733
Level : Contemporary Music
Cloud Study III
was inspired by Wislawa Szymborska’s poem “Clouds”
Clouds (by Wislawa Szymborska)
I’d have to be really quick
to describe clouds –
a split second’s enough
for them to start being something else.
Their trademark:
they don’t repeat a single
shape, shade, pose, arrangement.
Unburdened by memory of any kind,
they float easily over the facts.
What on earth could they bear witness to?
They scatter whenever something happens.
Compared to clouds,
life rests on solid ground,
practically permanent, almost eternal.
Next to clouds
even a stone seems like a brother,
someone you can trust,
while they’re just distant, flighty cousins.
Let people exist if they want,
and then die, one after another:
clouds simply don’t care
what they’re up to
down there.
And so their haughty fleet
cruises smoothly over your whole life
and mine, still incomplete.
They aren’t obliged to vanish when we’re gone.
They don’t have to be seen while sailing on.
Translated by Stanislaw Baranczak and Clare Cavanagh