JEAN EUDES MASY

PIANO SOLO
JEAN EUDES MASY

PIANO SOLO
 INTIMAS Op. 14
MOMENTS MUSICAUX
PIANO SOLO

1er Cahier
1. Impromptu
2. All°0° barbaro
3. Elegia
4. Rondo

eme
2 Cahier
5. Aria
6. Marche
7. Intermezzo
8. Cuna

3eme Cahier
9. Praeæludium
10. Nocturne
11. Vals
12. Toccata
 1 er Cahier
N°1
Impromptu - Innocente e sostenuto =108

        
ten.
         
                    
     
     
     
Piano p carezzevole
      
      


    
                       
5 ten.

             
  
       
  
pp

  
   
    

      
 


    

        
          
meno
         
 
9

    
più     
         pp
                  
     

      
              
    
13
 

  
 
   
    
    
    
  

JEM ©2011 All Rights Reserved

6


     

       
         
                      
16

      
     cresc.
 espress. 
       
                        
   
     


  
cedendo
                                    
a T°
20

                       
     
         
1C. pp

appass.
       
              
2

    
 
      
   

ten.
 a T°  
                      
25

    
   calando 1C. pp
 
   
3C.

3C.
             
  
 

attacca

à Frédéric CHOPIN
 N°2 7
All° Barbaro = 180
 
   
 
             
    
        

             

     
Piano ben f
         
   

   

    
    
  

 
  
           
6

        
 

   
     
mf
         
 
stacc.

  
marc.

11

     
      
     
  
         meno
          
                       
      

  
Ps
      
 
             
16

      
               
ff marc.
  
ben f
                     
      
sf
 sf
    
molto rit. pesante

21

                               

rfz              
 
rfz
                  
    
     
   
attacca
à Béla BARTÓK
8
N°3
Elegia -Languido = env.24 (= env.72)
       
 
      
   
  
        


  
  ten.         
mezzo piano, rubato

   
Piano

        
   

   
a T°
      
dim. cedendo

           
ten.
 
3

    
             
 

         
cresc.
      
2

             


        
dim. 
              
6

           
   
       
   
morendo
  

             
 ten.
    
        
                  
9

    
         
   
  
mezzavoce, misterioso f, con duolo
   
                
  
   
             
 
       

 9
      
in evidenza

            
                       
11

 
  
       
più desolato
  
calando

             
                    

         
     
          2
       
                
a T°
     
15
 
        
ten.
f  
 
3
p
     
pp, rit.
     
 
Ps
ten.
attacca

à Corentine CLAUSIER
10
N°4
Rondo -Risoluto =120

     
mp
 
               
f
          
Piano

          



p
  
                        
7

           
           
             
(mp)

    


   
                      
5
1

              

2
12 2 1

 
4

 _ _ _ _
4
3
2

  
p sub. cresc.
  
1

      
   
              

5
legato
         
5

 
3

                 
4

        
3

   
16 2 1 2 2

      
1 1 1

            
_ _ _ poco f
  
 
  p sub.       
          
cresc. assai
   
                              
20

      
ff, furioso  
    
 
  

    
 
 11

         
ten.
     
meno, dim.

                 
24

       
                                
   

 4    4   2   
          
                        
29
 
    

  
             ben f
            
     
2 

    
        
                
           
34

    
 
  

cresc.
        
       
    
   
 
  
    

37 ten.
      

  
  

secco
   
p, dolce
  

à Juan Carlos BIONDO
AVRIL 2010
 13
2 ème Cahier N°5
Aria - Mesto =72
cantando
       
                          
    

  
mp
     
Piano
  

        
       

Ps

Ps
     ten.

    

animando e cresc.
          
6

              
ten.
            

       
                 
       
 

                           
3
10

             

3

           
     

      dim.     
poco f
          
3

   
rit. 
            
pp, senza colore
14
        
      


rit. molto più dim.

                  
1C.
          

ten.


Più lento (=72)
   
17
         
     

  
 
lontano
     
ppp
     
   

 attacca

à Heitor VILLA-LOBOS
05.V.10
14

N°6
Marche - Giocoso = 132

        
ten.         
sottovoce
         
       
Piano poco f

                  

          
             
                         
4
    
          
              

  

             
cresc.
          
     
7

                          

ten.
ben forte

           
              
          
    
    
         
10

 
             
 mf, clair  
 

p sub.

dim. e cedendo
  

 
     
                
         
Ps 
 15


Espressivo  = 72

           
  
15

                                

  
morendo
   
           
      
       
 
 
    
cantando
20       Coda - Tempo        
animato
   
                    
f    
           
 
cresc. assai

        
 
   
     
     
   
25

                
             
 
 
 ff
       
                   
 
 
      


 long
    
29

   
mezza voce

 
   

attacca

à Darius MILHAUD
26.V.10
16
N°7
Intermezzo - Con tenerezza =44
 legato   
      

                 
    
    
dolce

Piano
       
    



Ps plus piano la seconde fois
     
                  
        
5
   
   
               
        
   
  

 
dim. smorz. Agitato =178
9                 
          

                       
sottovoce
     
  
 ten.
fine

2
3
con
     
5

         
           
14

      

                   
poco a poco a Tempo cresc.
          
 17


                                       
19

     
appass. più
 
                                     
più cresc.

   

                     
              
24

     

   
                          
allargando
     

 

29 Tempo primo

  

    
sf



attacca

à Federico MOMPOU
08.V.10
18

N°8
Cuna = 60

                

              
1C. sempre

   
Piano
 

       
   
 
 
         
             
  
   
   

6

        
                            
      
 
 
                     
Rustico =
 
10

        
clair
3C. f, franc
     
     
rit.
                    
      fine 

           
15 f
 

ben misurato

                      
     
senza 
 19

        

        
   
              
21

   
      
       

                  
    

           appass.
  
             
    
26


    
carillons
sonoro
accentuato

                    
          
       
       
                 
31

        
       
  
             
    
             

     
               
           
36

  
              

     
rfz scampanio, non dim.
    
   
  risuonare lontano, pp sempre


Come primo
            
     
41

     
      
1C. (pp)
      
  

 
à Julian AGUIRRE
09.V.10
 20

3 ème Cahier
N°9
Præludium - All°
               
                

                                 
Piano non legato

               
                
3

               

            

       
                       
5


              cresc.
          
_ _ _ _ _ _
      
   

7
                   
             
           
_ _ _ _ _ _ _ _
     
f

       

9
                       
                 
     dim. _ _ _ _

più
              
       
   
 21

    
                                       
11

_ _ _ _ pp

                
                 
senza 

     _ _
            
13

poco _ _ _ _ _ a _ _ _ _ _ _ poco
        
       

         
            
14

        
_ _ _ _ _ _ cresc. _ _  _ _ _ _ _ _
           
            
       
                             
15

_ _ _ _ _ _ _ _ f
                
      
 
  
  senza tempo ,
16
                 
   
              
  
        
più e rinf.
         
 
  
 
sottovoce
 
  
22 Presto

    
20
               
        
ff molto dim. pp
      
       
             
senza  
   
               
22

  
 
calando ppp
            
 
     
attacca

à J.S.B.
02.VIII.10
 N°10 23

   
    
Nocturne -Misterioso =33 (=66)

              
                
     
   
sottovoce flottant
  
              
Piano
  
       

      
 oiseau-lame 
    mg 

        
                
 
3

              
       
           
ten.
 
        
          
 
loco
                  


 
Profundo
         
       
5 1.

       

    
    
        

cantando

               
  

 
         

   
    
      
          
  
  
8
    
              
        
 
 3
rit.

               
cresc.
    
            
 
3

       
3
 
 
  
  

       
 
 
24 Vivo =164
          forte            
2.
17 cresc. assai

    

  
        

19    
          
           

        

21       
         
 
      

  
3

  
più, allucinante
   


22          
           

  
  
      


          
    
23

     

  
   
 fff  terrible !  
 
24
                        
=188

        

            
marc. sempre

            
       
  
 3   langues de feu
 25

                        
26


                     
    
  

                  
                  
29

    

             
          
                 
 
 
   pp sempre, cristal d'étoiles   
33
        white              
         

déchirement du voile d'un calme rond et immuable
black  
_ _

  
=49
     
mp, canto
     

   
 
          
cresc. assai  

36
                               
    

  
             
                              
 
 
  


           
26
       
        
39


  
  

              
            
    
      


               
   
                   
41

   

     
(pp sempre)
       


  
cadenza, allargando luminoso e grandioso _ _ _ _ _

   
         

    
   
  
 

44    
  
       
               

      
rit. molto

           

ffff, rinf.
3 pp

  
       
3

     

 
  
Tempo primo

               
47

 
      
  
ten.
  
ten. ten.
   
                
cresc. assai

 
   
 
con insistenza

    sin al fine
 27

 
ultime
     
mg
 3  3        5           
      
9

    
49

   
3

  ten.
 m.v. mains alternées
      
        
md

 

           5        3  
9
 

50


ff


  attacca

à Olivier MESSIAEN
10.VIII.10
28

N°11
Vals - Du bout de la pensée... = 132
         
          
f
    
  
Hein ?
     
p
     
Piano p, vague, hésitant
           
        
 

    
                            
      
6 a T°
 

poch. rit.
           
p
  
       
      

      
         
              
                   
f
  
 
11

 
        
Hein ? p
   
         
 
          


  
16  
   a T°                   
        
          

          
poch. rit.
   
più

       
  
 
  
 29

           

     
        
21

   
    
  
ben f

    
 
  en suspens  
      
 sottovoce

  
   
a T°
       
             
 
26

       
1C. p     
meno
         
     

   

30  Hein ?      
                    
               
  
3C.
 3C. f 1C. sfumandosi 
         

ff, clair
      
  
         
 
 senza rit. attacca

à Erik SATIE
01.VI.10
30 N°12
 
Toccata - Selvaggio  =46
     
cresc. poco a poco
   
 
stacc.
         

  
Piano
  sottovoce 
       
            
3   
           
         
            

         
     
         
 
6        
ben forte
         
              
          
             

             
       
9

             
            

             
 
   
                   
     
12

           
         
            
 


 31

15
            mp, nervoso
       
            
     
      
            
    
stacc. marc.

                          
18

         
                 
                
           
            
          
         
                
21

 
più
         
           
       
   
                            
  
24

         

    
       
           
  
 
27 
   
  
                

      
dim. p

          
                
      
32


                    
  
30
    
         

cresc. poco a poco
      
                    
       

       
        
33

         
   f, con affetto
                      
             

              
36

                

            
    
       
  
      

           
39

                     

                  
    
    
      
       
 
       
42

         
ben f

       
3

mf
                     
       
 3
 33

45

                

               
49

                  
meno

            
           
52

     
            
 
p sub.
      
  
marc.
        
   

fp

   
                 
         
54

   

                

           
ten.
 
    
     
, 

57

         
 
     
    
   
   
assai

à Alberto GINASTERA
02.VI.2010
Du même auteur :
SUITE OP. 9 (piano) (2006)
IMPROMPTU WoO (piano) (1998) I. Impromptu (comme une comptine)
II. Tango
QUATRE PIÈCES OP. 1 (piano) (2000-2001)
III. Sarabande
I. Valse
IV. Intermède (comme une gavotte)
II. Berceuse
V. Marche
III. Bagatelle
VI. Bagatelle (tempo di minuetto)
IV. Toccata
VII. Ragtime

SUITE POUR ENFANTS OP. 2 (piano) (2003)

SONATE ASPIDISTRALE OP. 10 (piano) (2007)
I. Prélude
« ab cælestibus profundis », Sonata quasi una fantasia
II. Berceuse pour la Poupée cassée
Impétueux - Calme - De l’intérieur - Scherzando -
III. Arlequin
Avec rage - Mystérieux - Alleluja.
IV. Paysage triste
V. Intermezzo
FAHORIANAS OP. 11 (piano) (2007)
VI. Pensée nocturne N°1 Preludio
VII. Marche N°2 Elegia
VIII. Danse des Pays mystérieux N°3 Danza
IX. Exit music N°4 Fuga
N°5 Rondo
NIÑOS OP. 3 (quatre violons) (2004)
I. Promenade mystérieuse 48 PRÉLUDES (4 Livres de 12 préludes) OP. 12 (piano) (2007)
II. Historiette
III. Ninna-nanna L’AMOUR DES DEUX ASTRES OP.13
IV. Finale (voix médium et piano) (2008)
Cinq estampes
SONATINE OP. 4 (violon et piano) (2004) N°1 Un jour/N°2 Une nuit/N°3 Une fois/N°4 Un beau jour/
I. « Simpli citer ! » N°5 L’alcool
II. Récitatif
III. Gaïa INTIMAS OP.14 (piano) (2010)
Moments musicaux - Trois Cahiers
PETITE SUITE OP. 5 (piano) (2004) N°1 Impromptu (pour Frédéric CHOPIN)
I. Prélude N°2 All° barbaro (pour Béla BARTÓK)
II. Burletta N°3 Elegia (pour Corentine CLAUSIER)
III. Variations N°4 Rondo (pour Juan Carlos BIONDO)
IV. Marche N°5 Aria (pour Heitor VILLA-LOBOS)
V. Queue N°6 Marche (pour Darius MILHAUD)
N°7 Intermezzo (pour Federico MOMPOU)
HOMENAJE OP. 6 (piano) (2005) N°8 Cuna (pour Julian AGUIRRE)
I. Nostalgia N°9 Præludium (pour J.S.B.)
II. Juego N°10 Notturno (pour Olivier MESSIAEN)
III. Meditación N°11 Vals (pour Érik SATIE)
IV. Naranja toccata N°12 Toccata (pour Alberto GINASTERA)
V. Triste
VI. Arabesco VINGT POÈMES D’AMOUR
VII. Interludio del Lucero ET UNE CHANSON DÉSESPÉRÉE OP.15 (piano) (2011)
VIII. Canción
SONATE OP.17 (violoncelle et piano) (2012)
SONATINE OP. 7 (piano) (2005)
Insouciant - Etrangement - Récitatif (main gauche) -
Tempo primo - D’une lenteur archaïque.

TRIO OP. 8 (violon, violoncelle et piano) (2006)

I. Résolu
II. Grave et soutenu jemasy@live.fr
III. Rapide http://imslp.org/wiki/Category:Masy,_Jean_Eudes
06 62 45 07 62
42, rue de Preize
10000 TROYES