Difference between revisions of "Poèmes engagés et dégagés/en"
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| − | *autograph: '''Royal Conservatory Brussels''' ''(B-Bc)'', shelf number [http://catalog.b-bc.org/cgi-bin/koha/opac-detail.pl?biblionumber=28181 '''BV-03-4037''']<ref>In a photocopy of this autograph ('''Royal Conservatory Brussels''': Legley | + | *autograph: '''Royal Conservatory Brussels''' ''(B-Bc)'', shelf number [http://catalog.b-bc.org/cgi-bin/koha/opac-detail.pl?biblionumber=28181 '''BV-03-4037''']<ref>In a photocopy of this autograph ('''Royal Conservatory Brussels''': Legley archive), the baritone part of the sixth song was almost entirely transposed a minor third upwards, on p.17 a few rhythmical and textual corrections have been added as well.</ref> |
==Notes== | ==Notes== | ||
<references/> | <references/> | ||
| − | [[Category: | + | [[Category:Oeuvre Catalogue Victor Legley]][[Category:1968/en]][[Category:Vocal music]][[Category:Music for voice and piano]][[Category:Music for piano]][[Category:Songs]][[Category:Poèmes/en]] |
Latest revision as of 10:40, 11 October 2021
Opus 73
History
- Song cycle on poems by Jean Kestelijn.
- Completed on 23 July 1968 in Woluwe.
Music
- instrumentation: baritone and piano
- duration: ca 12'
Parts
- I. Nous ne sommes vraiment pas beaux à voir
- tempo: Andante moderato
- time signature: ₵
- II. Il ne faut pas nous prendre pour des crédules
- tempo: Allegro energico
- time signature: 4/4
- III. Je sais que le genre humain est comparable à la douce et lente moissisure
- tempo: Molto adagio
- time signature: ₵
- IV. Frère Jacques
- tempo: Andantino con moto
- time signature: 4/4+3/8
- V. Cette nuit je me suis mis au lit pieds nus.
- tempo: Quasi adagio
- time signature: 3/4
- VI. La nuit porte des cornes
- tempo: Allegro giocoso
- time signature: 2/4
Sources
- autograph: Royal Conservatory Brussels (B-Bc), shelf number BV-03-4037[1]
Notes
- ↑ In a photocopy of this autograph (Royal Conservatory Brussels: Legley archive), the baritone part of the sixth song was almost entirely transposed a minor third upwards, on p.17 a few rhythmical and textual corrections have been added as well.
