{"id":104708,"date":"2010-02-02T01:52:21","date_gmt":"2010-02-02T00:52:21","guid":{"rendered":"https:\/\/vdegallo.com\/?post_type=product&p=104708"},"modified":"2025-08-18T12:10:44","modified_gmt":"2025-08-18T10:10:44","slug":"rene-gerber-36-pieces-pour-piano","status":"publish","type":"product","link":"https:\/\/vdegallo.com\/fr\/produit\/rene-gerber-36-pieces-pour-piano\/","title":{"rendered":"Ren\u00e9 Gerber: 36 pi\u00e8ces pour piano – Ruth Gerber, Alexis Golovin, Catherine Aubert, C\u00e9line Volet-Chaillet (Coffret 4 Vinyles)"},"content":{"rendered":"

Ren\u00e9 GERBER:<\/strong> 36 pi\u00e8ces pour piano: 1. Les licornes – 2. Ruelle \u00e0 St-Sorlin – 3. La peseuse d’or – 4. Paysage pastoral – 5. Forlane – 6. Espringale – 7. La belle matineuse – 8. Chaumine – 9. Le mastroquet – 10. Laure de Noves – 11. Cavalcade – 12. Toccata – 13. Hommage \u00e0 Andreae – 14. Dulcinea del Toboso – 15. Balletto – 16. Lenth\u00e9ric-Paris-France – 17. Pantomime – 18. Le marchand d’oiseaux – 19. Slow-fox – 20. Paysannerie – 21. Dinarzade – 22. Ritornello – 23. Le jardin d’amour – 24. La foire sur le parvis – 25. Le miroir – 26. Claudia – 27. Passacaille – 28. La Capitainerie de Chantilly – 29. Sarabande sur le nom de Blanc – 30. Invention<\/p>\n

Alexis Golovin, Catherine Aubert, C\u00e9line Volet-Chaillet, Ruth Gerber,<\/strong> piano<\/p>\n

\n

36 pi\u00e8ces pour piano<\/h4>\n

Ces 36 pi\u00e8ces pour piano comportent chacune un titre. Elles sont en cons\u00e9quence, sauf quelques exceptions, tributaires d’une des deux mani\u00e8res de l’auteur de concevoir la composition musicale.<\/p>\n

La premi\u00e8re, nomm\u00e9e par lui \u00ab sp\u00e9ci\ufb01que \u00bb, consiste \u00e0 \u00e9laborer l’\u0153uvre \u00e0 partir d’une source d’inspiration d\u00e9termin\u00e9e. Il ne s’agit aucunement ici de musique imitative ou descriptive (attitude que le musicien r\u00e9pudie absolument), mais au contraire d’une transposition sur le plan sugge\ufb06if en m\u00eame temps que purement musical (l’\u0153uvre, d\u00e9gag\u00e9e du titre, doit se satisfaire \u00e0 elle-m\u00eame).<\/p>\n

Cette premi\u00e8re conception s’oppose, sans rigueur, \u00e0 la seconde, laquelle s’occupe uniquement de d\u00e9velopper des id\u00e9es musicales venues spontan\u00e9ment \u00e0 l’esprit et s’inscrivant volontiers dans les formes traditionnelles (ces architectures que le temps a si merveilleusement fa\u00e7onn\u00e9es).<\/p>\n

En divergence avec les \u0153uvres de cette seconde mani\u00e8re (il en exi\ufb06e \u00e9galement de l’auteur; elles feront l’objet d’une parution ult\u00e9rieure), les r\u00e9alisations \u00ab sp\u00e9ci\ufb01ques \u00bb verront leurs aspects et caract\u00e8res enti\u00e8rement di\ufb00\u00e9rents les uns des autres : le point de d\u00e9part, en quelque sorte, a engendr\u00e9 la sub\ufb06ance et la forme.<\/p>\n

https:\/\/fr.wikipedia.org\/wiki\/Ren%C3%A9_Gerber<\/a><\/p>\n

\n

Booklet 30-397-400.pdf<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Extraits \/ Excerpts<\/strong><\/p>\n

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