Original song from @skylar_lim
: https://soundcloud.com/skylar_lim/melancolie

mélancolie (Skylar Lim_remix)

Prologue (I 1-7)
Rage d’Achille (XXII 345-354)
Lamentation d’Hécube (XXII 431-436)

Ensemble Offrandes
Conductor: Martin MOULIN
Alto: Marine FRIBOURG 
Saxophone: Stéphane CHARLOT 
Trumpet: Noé NILLNI
Narration: Emmanuel LASCOUX

3 extraits de l’Iliade

Skylar Lim and Elliot Teo (pf)

This Prelude is intended to serve as the first movement of a multi-movement suite for piano, four hands that is still in the works. Watch this space for more updates. 

Cover image: On a Shaker Theme (1956) by Charles Sheeler (1883-1965)

Prelude For Four Hands (2019)

This fugue, along with the afore-posted prelude, forms the first two movements of a projected multi-movement suite for piano, four hands. With common thematic links running between them, the two movements make up a cohesive, complementary pair of binary opposites: the ruminative sentimentality of the prelude set against the mechanical lucubrations of the fugue. 

Performed by: Skylar Lim and Elliot Teo (pf)

Cover image: "Fugue" (1940) by Charles Sheeler (1993-1965)

Fugue for Four Hands (2019)

"Shape of a Mountain" is a piece written as part of @travel_with_a_tune, an Instagram summer project I created that involves collecting a series of travel-related videos from people around the world and scoring them with original music - in a time where travelling is restricted.

The clip that inspired this track was captured from inside a moving cable car lining the side of a mountain in Zakopane, Poland.

The piece starts and ends with Ambient Guitar Tremors from Pianobook - a library I adore for its intimate, subtle, yet dynamic and "close to the ear" quality.

https://www.pianobook.co.uk/library/ambient-guitar-tremors/

Shape of a Mountain

Elliot Teo (pf)
Recorded in Angela Burgess Recital Hall, Royal Academy of Music (London)

A Beethovian Credo is constructed as a set of nine variations on a 16-note sequence taken from the choral finale of Ludwig van Beethoven’s Ninth Symphony. Set to words from Schiller’s Ode to Joy, “Do you bow down, O millions?”, the sequence stands, through its implications, as an interrogation and test of faith. 

The work begins with a baleful introduction, where all 16-notes from the theme are pounded out in bell-like clusters, after which the theme emerges proper, intoned plainly in single notes. The nine variations follow from hence - each of which draws upon a motif from the corresponding Beethoven symphony of the same number – and chart a course of inexorably mounting tension, culminating in the imposing, explosive, thickly chordal Variation VIII. The ninth and final variation materialises in the wake of this explosion, throwing soft, tentative strains of the familiar Ode to Joy tune in to the air, albeit with its melody and rhythm fractured. As if scarred and shell-shocked, it begs the question of whether Beethoven’s ideals of universal brotherhood still have a place in today’s world – a question left for us, ultimately, to decide for ourselves.

Cover art: Market Church at Halle (1931) by Lyonel Fieninger

A Beethovian Credo for solo piano (2020)

Singaporean composer based in Paris. CNSMDP.

3 extraits de l’Iliade

Skylar Lim

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Carlos de Castellarnau

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