Naji Hakim Vidéos
organiste et compositeur franco-libanais
Anniversaires
- orgue
- France
- organiste, compositeur ou compositrice, pianiste
Dernière mise à jour
2024-05-01
Actualiser
Lebanese-French organist and composer Naji Hakim wrote this bassoon quartet in 1983. It's dedicated to Marcel Bitsch, and you can really hear how Hakim took inspiration from Bitsch's Concertino for bassoon in the solo voice of the opening prelude. The fugue that follows, with its syncopated and chromatic theme, explores every combination and texture that the four bassoons can create in its short duration. I hope you enjoy. Learn more about Naji Hakim at his website, (http•••) You can purchase this piece from United Music Publishing.
Rhapsody for Organ Duet (1992) by Naji Hakim (b.1955) Ⅰ. Allegro molt Ⅱ. Andante sostenuto Ⅲ. Vivace Ⅳ. Andante tranquillo – Allegro giocoso - Andante tranquillo Ⅴ. Quodlibet – Maestoso : Coda - Allegro molt Live Performance played by Hyeyeon Ahn(1st) and Yeji Kim(2nd) Recorded live at the University of Yonsei, Luce Chapel May 19th, 2016
Naji Hakim Varlamov Cambon Winding 2021
Naji Hakim POÈME for clarinet (2021) World premiere Performed by and dedicated to Arthur Stockel, (http•••)demy/teacher/arthurstockel Score published by U.M.P. (http•••) Recorded on 12.06.21 by Alex Sacha Varlamov, Vincennes. Arthur Stockel Photo Sébastien Cambon (http•••) This Poem is articulated in two large sections drawing wide arsis-thesis curves articulating harmonic clusters winding around the natural series and exploiting all the registers of the clarinet, from bass to treble. The first section is more fluid and lends itself to great agogic freedom. The second section contrasts with its diatonism, its lighter and graceful character and its tempo giusto. Ce Poème s'articule en deux grandes sections dessinant de larges courbes en arsis-thesis articulant des grappes harmoniques s'enroulant autour de la résonance naturelle et exploitant tous les registres de la clarinette, du grave à l'aigu. La première section est plus mouvante et se prête à de grandes libertés agogiques. La deuxième section contraste par son diatonisme, son caractère plus léger et gracieux et son tempo giusto.
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