Interlude by Thierry Blondeau

Description

Interlude by Thierry Blondeau

Collection of sheet music of four interludes for recorder.

These pieces cannot be heard one after the other, but are to be interspersed in a larger program.

They really are interludes. They are intended primarily for the voice flute in D.

If you do not have this instrument, you can play them on the alto (transposing to F) or on the tenor (without transposing).

Jodel(read “iodel“) refers to the vocal technique known as “tyrolean”. It is therefore necessary to insist on the shifts in sound obtained by the alternate fingerings. C sharp is naturally a bit high on the recorder, so I noted it as such. The F ¼ is a simple fingering, simpler even than the sharp or the natural, which requires a fork fingering. It is a question here of finding the non-tempered nature of the instrument.

Raksat means “dance” in Arabic. As in Jodel, the aim here is to reinforce the untempered character of the music, as well as its rhythmic and festive nature.

In Pavillon Bouché, the pavillion must be blocked. The extra lines have been removed because the result may vary from one instrument to another. In the lively part, it is possible that the accuracy is different, it is necessary in any case to privilege the figure, its phrasing and its articulations to the exactitude of the pitches. The voice must merge completely with the sound of the flute, altering it without ever taking the lead.

Niwa, garden in Japanese, it is necessary here to imitate Shaku Hachi, its accents at the end of phrasing, the sound sometimes at the edge of saturation, its tight vibrato, more or less ample, then to finish naturally in silence.

The piece is dedicated to the flutist Gerd Lünenburger, who premiered the interludes in Berlin in 2008, and who left us in 2010.

Collection “Maïa : Musique d’Aujourd’hui sur Instruments Anciens”

Sheet music available for immediate download or for shipping in hard copy format.