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Musique de chambre
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- Violin concerto (2004-2005)
- ONXA, for mezzo, cello and string (2005)
- Prelude, inventions and etudes for piano solo (2002-2004)
- Vanishing Point for clarinet and percussion (2001-02)
- L’Amour par Terre for baritone and piano, text by Paul Verlaine (2000)
- Prelude and Death of Virgil for baritone and orchestra (1997-2001)
- The Death of Virgil a lyric suite, for 4 singers and orchestra (1997-2000)
- L’Esprit et l’Eau for baritone and string quartet, text by Paul Claudel (1999)
- Five Caprices for violin and piano (1998)
- Salve Regina for solo voice and bourdon (church bell) (1998)
- Ode for choir, brass ensemble and timpani, text by Paul Claudel (1997)
- Prelude for piano (1997)
- Divertimento for orchestra (1997)
- Prisme for organ (1996)
- Journal d’Esquisses (Sketch Diary) for piano (1995-96)
- Der Abstieg, prelude for The Death of Virgil for orchestra (1995-96)
- La Nef des Fous (The Ship of Fools) for speaker, 2 singers and small ensemble (1990-1996)
- Sonata for solo cello (1995)
- Les Saveurs du Monde electronic music (1996)
- Hors Champ for string trio, choreography by Taffanel (1992-93)
- Brass Quintet (1992-93)
- Das Narrenschiff (2nd book) for baritone and small ensemble (1991-92)
- Stretto for violin (1991)
- Tronan for violin (1990-91)
- La Mort de Virgile (The Death of Virgil) Opera work in progress (1995-?)
- Limbes symphonies for wind instruments and electronics (1989-90)
- Das Narrenschiff (1st book) for mezzo and small ensemble (1989-90)
- String Trio (1988-89)
- Les Raboteurs for string trio, choreography by Preljocaj (1988)
- Aloni for contralto, boy choir, ensemble and electronics (1986-87)
- Profondeurs de Champ for bass clarinet, orchestra and tape (1983-84)
- Static Arches for electronics (1980-81)
- Sussurus for electronics (1980)
"The determination to lead his own freedom has driven Thierry Lancino to reveal himself as a multifaceted composer of imaginative experiments and invention. This freedom and this independence of tone are the main characteristics of his work."
The first part of Thierry Lancino’s musical creative life has been dedicated to understanding the musical phenomena by composing and experimenting with electronic and computer means. After a BA in literature at Poitiers University and his "Prix de Composition" at the Paris Conservatory, he associates with major institution; Stanford University’s CCRMA, where he leads his research works under John Chowning’s direction; the Pompidou Center’s Music Institute (IRCAM) where he remains a member of the staff during 7 years, collaborates closely with Pierre Boulez, experiments, teaches and composes. He considers this period as a thorough apprenticeship of his craft.
For his body of works, he receives in 1988 the "Prix de Rome" (pensionnaire of the Académie de France à Rome, at Villa Medici for two years). This acquired independence, along with promising commissions, encourages him to move away from electronic means. He then writes exclusively vocal, chamber and orchestral music ever since. This period marks a major turn in his aesthetics and type of production. His works become noticeably more lyrical and his interest moves toward the expression of strong emotion. Naturally, vocal music becomes an significant medium for his composition.
Thierry Lancino fills various residency positions as a composer. He collaborates with major festivals, soloists and orchestras in Europe. He is a permanent US resident since 1999 (dual citizenship in 2005) and lives in Manhattan.
"Lancino’s dual personality, classical and experimental, makes him accessible, although he leaves no room for facility, nor concession, nor academic formulas. Discreet, curious and showing a singular culture, he is immersed in musical art away from dominant trends."
Above quotes by Sabine Ejdelman (Le Courrier Français, April 1997)