LAURENT METTRAUX
Route Principale 160, CH-1791 Courtaman
(Switzerland)
phone: (+41) 26/684.18.65, Email: laurent.mettraux(at)bluewin.ch
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WORKS FOR / WITH OBOE(S)
(catalogue from August 31st, 2015)
FOR ORDERING A SCORE - PRICE LIST
M.669 : Inventio (2008) [2'30]
for
2 oboes, or 2 oboes d’amore, or 2 english
horns, or 2 heckelphones
2 (+2) pages
Can also be interpreted by an oboe and an oboe d’amore, or an oboe d’amore and
an english horn, in playing the written notes : the intervals are thus different, but the musical
result remains coherent. The work is very contrapuntal and full of imitations,
both voices having the same importance.
M.612 :
Wind Quintet (2000) [16’]
For flute (also piccolo and
alto flute), oboe, clarinet (b), horn and bassoon.
31 (+2) pages
M.612a : performing material : 31 (+2) pages – 31 (+2) pages – 30 (+2) pages –
29 (+2) pages – 26 (+2) pages
Presentation, score
excerpt and audio recording
Every
instrument is valued, in a great variety of colours, work successively energetic,
melancholic, mysterious, desolated or contemplative. Order of
the Eole Quintet, which first performed it September
2001, in the “Espace Jean-Tinguely-Niki de Saint-Phalle” of
Fribourg.
M.637 and 638 : Appel I and Appel II (2004) [1']
for oboe, english
horn or any other wind instrument
4
(+2) pages
Appel
means Call. Both Appels have been composed within the
context of the ORB_IT project of the World New Music Days 2004. These two short
pieces, like miniature fanfares, are written in order to be playable by any
wind instruments (wood or brass).
M.642 : Suite for wind quintet (2005-6)
[18']
for
flute (also piccolo and alto flute in g), oboe (also english
horn), clarinet in b flat (also little clarinet in e flat, bass clarinet in b
flat and ad libitum clarinet in a), bassoon (also
contrabassoon) and horn
36 (+5) pages
This
suite, taken from the scenic work « Les Serrures
à Secret », is made of four movements and two short interludes. The first
movement is mysterious and almost hypnotic, the second ironical, grotesque and
mocking, the third first grave and solemn, then progressively more appeased,
and the fourth, first like a dance on obsessive rhythms, ends on a touch of
nostalgia. As for the two interludes surrounding the second movement, they are
quite in the spirit of the Musiques d’ameublement by
Satie. The full score serves also as separate part for each instrumentalist.
All commissions welcome!