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Sheet music for Louis-Noel Belaubre
Composed by Louis-Noel Belaubre (1932-). Full score (study). With Standard notation. Gerard Billaudot Editeur #524-00087. Published by Gerard Billaudot Editeur (PR.524000870).
Volume I - 1 To 48. Composed by Louis-Noel Belaubre (1932-). Full score (study). With Standard notation. Gerard Billaudot Editeur #510-00073. Published by Gerard Billaudot Editeur (PR.510000730).
Guitar or Lute
Composed by Louis-Noel Belaubre (1932-). Score Only. Composed 2001. Editions Max Eschig #ME 00826300. Published by Editions Max Eschig (BT.ME-00826300).
Volume II - 49 To 70. Composed by Louis-Noel Belaubre (1932-). Full score (study). With Standard notation. Gerard Billaudot Editeur #510-00074. Published by Gerard Billaudot Editeur (PR.510000740).
Guitar or Lute
Composed by Louis-Noel Belaubre (1932-). Score Only. Composed 2001. Editions Max Eschig #ME 00823600. Published by Editions Max Eschig (BT.ME-00823600).
Composed by Louis-Noel Belaubre (1932-). With Standard notation. Gerard Billaudot Editeur #524-00088. Published by Gerard Billaudot Editeur (PR.524000880).
"The work of Louis-Noël Belaubre ranks amongst the most important in
the second half of the 20th century..."
Marc Honegger, vice-president (1982-92) of International Musicology Society.
Works for piano constitute a large part of Louis-Noël Belaubre’s opus, of
which the clarity of the melodic
line is the foremost quality. Obvious although unpredictable, it often reigns
supreme with the tempi dictated
by it. The free nature of his soaring lyrical outbursts is confirmed by a
variable and often irregular metre.
This taste for irregular rhythms derives from his knowledge of popular
music, particularly that of central
Europe, thanks to the influence of Bartok. For Louis-Noël Belaubre, no single
musical parameter can be taken
into account in isolation, therefore complete control over the way the sounds
are organised vertically remains
essential for him, absolutely nothing can or should be left to chance. The
harmonic series follow a highly
original logic but are always based on affinities and attractions between
sounds; this gives music of a tonal
nature, where dissonance takes on its real dynamic and expressive value, music
that is constantly changing,
ambiguous, always unpredictable. By his deliberate refusal of any system, his
choice of an empirical process
for his compositions, and the constant references to the realities of musical
perception, Louis-Noël Belaubre
has developed a musical language that respects the auditive awareness of the
listener and even invokes its
active participation. The presence of certain "landmarks" means that musical
time is understood by the
memory moving backwards and forwards in real time.
Belaubre, Louis-Noël was born in Muret in 1932. He spent his childood in
Languedoc. Then, he joined the Paris
Conservatoire of Music where he studied the piano under Lazarre
Lévy and composition under Tony Aubin.
He worked as a soloist for the ORTF and various radios - among others in
Germany - , and won a prize at the
International Competition of Piano Viotto of Munich.
As for composition, he was awarded the Geneva Prize of Ballet Music in 1965 for
his three - act ballet entitled
"L’Ecole des pickpockets". On its first performance, the ballet was conducted
by Ernest Ansermet and then,
in 1968, it was played again during the Ballet Festival at the "Théâtre des
Champs-Elysées" in Paris.
Moreover, he was awarded the Prize of Chamber Music for his Sonate no. 3 for
piano at the Competition of Musical Competition in Monaco.
Finally, in 1971, he won the First Prize of Composition at the Stroud
Competition in England for "Le Tombeau
de Louisa Paulin", a mezzo-soprano and instrumental ensemble.
After working as a lecturer at the National Music Conservatoire in Saint-Maur,
he was at the head of the
Music Conservatoire of Chevilly. He also ran the Music Conservatoire of Grasse.
Louis-Noël Belaubre has made many records, particularly with the flutist, Alain
Marion and the clarinettist,
Michel Lethiec as well as the cellist, Charles Reneau.
Many of his works were recorded among which "Les Romances du Gai Savoir", "Le Tombeau de Louisa Paulin",
"L’Ode à Jean de La Fontaine", his Second Concerto for Piano, his Sonate for Cello...
In 1980, Louis-Noël Belaubre obtained the Prize of Composition
Chevillon-Bonnaud de la Fondation de France as a reward for his entire works for piano.