Partition flûte et partition de piano, chansons of Armenia, pour flûte et Piano
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Partition flûte et partition de piano, chansons of Armenia, pour flûte et Piano


Découvre YouScribe en t'inscrivant gratuitement

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40 pages
Obtenez un accès à la bibliothèque pour le consulter en ligne
En savoir plus


Découvrez la partition de morceau chansons of Armenia, pour flûte et Piano flûte et partition de piano, chansons folkloriques, de Manookian, Jeff. La partition moderne écrite pour les instruments tels que: flûte et orchestrations de piano version: 3332-4331-timp-percussion-harpe-cordes
Cette partition comprend plusieurs mouvements: 5 mouvements: Vivace Largo assai Allegretto Teneramente Energico et est classée dans les genres
  • chansons folkloriques
  • chansons
  • pour flûte, piano
  • partitions pour flûte
  • partitions pour piano
  • pour 2 musiciens
  • pour orchestre (arr)
  • partitions pour orchestre

Consultez dans le même temps tout une collection de musique pour flûte et orchestrations de piano version: 3332-4331-timp-percussion-harpe-cordes sur YouScribe, dans la rubrique Partitions de musique variée.
Date composition: 2003
Edition: Windsor Editions
Durée / duration: 25 minutes



Publié par
Nombre de lectures 113
Licence : En savoir +
Paternité, pas de modification
Langue Français
Poids de l'ouvrage 2 Mo


Jeff Manookian
Songs of Armenia
for Flute and Piano
Windsor Editions
Songs of Armenia for Flute and Piano
It was just a matter of time before my Armenian heritage caught up with me. I am what is called a second-generation Armenian. My grandfather, Kerikan Manookian, narrowly escaped the horrific genocide inflicted upon the Armenian nation in 1915-23 by the, then, Turkish regime. It was only through the few stories he disclosed to my father, that I had any claim or knowledge of Armenia and its diverse and rich history. I was, after all, a self-proclaimed American composer. However, fate took its course. In the ultimate year of the 20th-century, I was commissioned to compose an epic choral/orchestra work  Symphony of Tears  memorializing this, the worlds first, genocide of that century. Not only did I have to be historically accurate in relating through text and music this horrific event, I took it upon myself to intensely research Armenias rich tome of music. Symphony of Tears found its way to Yerevan, Armenia for a performance and recording in Khachaturian Hall. Through this pilgrimage to the land of my blood, as well as via subsequent journeys to Armenia for additional recording/performance projects with the Armenian Philharmonic Orchestra and intensely experiencing the land, the people, and Armenias unique personality; I found that my research into this country and its music took on a intimate reality. The music of Armenia was now not just a study, this music became, and is, a vital part of me as a person and as a composer. As a result of the profound experiences I had while in my motherland I can label myself an American-Armenian composer. Of course my roots are those of America, and my music reflects that. But I can enjoy a duality of compositional personality. The music of Armenia figures among the worlds oldest written musical tradition, and its folk music is even older. Indeed, it is cliche to state that Armenian music, both instrumental and vocal is copious. Its modalities and rhythms are distinctive  unlike any other on this planet. The Songs of Armenia is, by no means, my only work incorporating Armenian music quotations into my music. However, what distinguishes the Songs of Armenia is that this grouping was not a commission. It was composed out of the sheer joy of writing. There are personal reasons I cast this work for flute and piano. (As with the majority of my works, Songs of Amenia is an auto-biographical reflection.) The writing is blatantly indulgent. Its virtuosic demands on its interpreters are abundant. Each of the five movements indeed reflect borrowings from Armenian folk music. Other than an occasional four-measure melodic quote, the development, texture, and even an occasional counter-subject are original. I believe, nonetheless, I have recreated a few aural glimpses into this proud nation and its heritage. Some of the melodies might be familiar to those entrenched in Armenian heritage. But because of the multi-thousands of tunes that have been (fortunately) preserved, surely some or most of these melodies will be fresh, not only for the non-Armenian, but for the Armenian him/herself. I have purposely not titled any of the movements  although some of the quotations did come from titled songs. The character of each tune was changed enough that carrying over, or assigning, any titles would interfere with this works intent  that of being pure music. Songs of Armenia received its world-premiere by flutist Linda Chatterton and pianist John Jensen on January 16, 2004 at the Lutheran Church of the Good Shepherd in Minneapolis, Minnesota. This work is recorded on the Azica Records label, via a grant from the Aaron Copland Foundation, by flutists Pam Youngblood and pianist Gabriel Bita. Songs of Armenia was featured at the 2010 National Flute Association Convention in Anaheim, California by the same artists.
Windsor Editions
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