1. GIULIANI Maestoso

07 Koitika III (1989)_ Aspro mou triantafillo (My white rose)

12 Epilogue

Prelude

Francesco Cilea’s opera Adriana Lecouvreur, with a libretto by Arturo Colautti, was composed between 1899 and 1902, drawing from the eponymous drama by Eugène Scribe and Ernest Legouvé. The work recounts the life of the historical figure Adrienne Lecouvreur, a Comédie-Française actress, and her rumored poisoning, linked to her affair with the Count of Saxony, betrothed to the Princess of Bouillon, her suspected murderer. Commissioned by Sonzogno, the opera premiered on November 6, 1902, at Milan’s Teatro Lirico, achieving resounding success and cementing Cilea’s status as a leading figure in Italian Verismo.
The opera’s intermezzo weaves themes from its four acts, adhering to classical opera conventions. Its orchestration is deliberately sparse, typically using strings and select woodwinds, offering performers and audiences a brief respite. In this wind ensemble adaptation, the intermezzo transcends its operatic origins, reimagined as a standalone symphonic work. The enriched instrumentation emphasizes contrapuntal interplay, highlighting individual voices within the wind orchestra. This transcription showcases the ensemble’s potential, challenging the historical undervaluation of such groups. By revitalizing this rarely performed opera, the arrangement promotes a renewed appreciation of its legacy.

Intermezzo from F. Cilea Opera "Adriana Lecouvreur" (for Symphonic Band)

This "Chaconne Paysanne" from "Dance Suite no.2", draws inspiration from the traditional chaconne form while incorporating elements evocative of rural life. Built around a recurring rhythmic motif, the piece explores a range of harmonic and melodic variations that alternately reflect the discipline of agricultural work and the vitality of popular folk dances.

The composition stands out for its balance between the classical structure inherited from the Baroque era and a more direct, intentionally uncluttered writing style that highlights the simplicity and authenticity of the sonorities. This approach creates an atmosphere that is both solid and lively, remaining faithful to the spirit of the rural traditions that inspired the work. 
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Cette "Chaconne Paysanne" issu de la "Suite de Danse no.2" pour piano, composée par Pierre Fontaine, s’inspire de la forme traditionnelle de la chaconne tout en y intégrant des éléments évocateurs du monde rural. Basée sur un motif rythmique répété, la pièce explore différentes variations harmoniques et mélodiques qui traduisent tour à tour la rigueur du travail de la terre et la vitalité des danses populaires.

La composition se distingue par son équilibre entre la structure classique héritée du baroque et une écriture plus moderne, volontairement dépouillée, qui met en valeur la simplicité et l’authenticité des sonorités. Cette approche permet de créer une atmosphère à la fois solide et vivante, fidèle à l’esprit des traditions paysannes qui ont inspiré l’œuvre.


Recorded: July 23rd, 2025
Composer & Pianist: Pierre Fontaine
Dedicated to Stéphane Delplace.

Score available for purchase on pierrefontaine.composer@gmail.com

Sound Mixing : Thérence Guillerme (https://www.therenceguillerme.fr/)

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Chaconne Paysanne - Piano Solo

Inspired on 360. Experimenting because I can, got it?

reminiscence

The Echo of Her Eyes

Unspoken

Wistful Spirit

Recorded at Zion Community Commons, August 21, 2025

Laura Harada, violin
Aaron Kerr, cello
Rebecca Hass, piano

About “Ad Parnassum” (Ad Parnassum, 1932)
The dark outline of a pyramid-shaped mountain glows beneath a warm orange sun while an open archway invites the viewer to take the first step on their journey towards enlightenment. Inspired by the pyramids and temples of Egypt, Paul Klee’s pointillistic masterpiece from 1932 is built from contrasting blocks of color built up brick by brick in a style that he called “divisionism.” In the same way, the music takes the form of a rondeau as repeated musical progressions are developed through textural variations. In Greek mythology, Mount Parnassus is associated with Orpheus and the home of the nine muses and “a step towards Parnassus” (gradus ad Parnassum) came to define the gradual process of pursuing mastery in scholarship or the arts through diligent, repeated practice. The climb towards any summit begins with a single step and although that journey can be defined as a series of steps towards a goal, there is no guarantee that the path will be straightforward. The path may be winding, or may double back on itself, or seem to disappear altogether – it is built from small victories, epiphanies, frustrations and defeats – and by the end you have come full circle, stepping through the door towards Parnassus once again, both an exit and an entrance.

Ad Parnassum (1932) - No. 144.1 from Paul Klee : Painted Songs

Creating music is more than just a hobby for me; it's a profound passion that resonates deeply within my soul. It's my way of expressing the whirlwind of emotions swirling inside me and reaching out to connect with people all over the globe. 

Music transcends borders and languages, serving as a universal means of communication. Every day, I'm blessed to encounter new "speakers" of this beautiful language, each sharing their unique stories and perspectives. Through music, I find purpose, fulfillment, and an endless wellspring of inspiration.

Unspoken

Victor Marin

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