SKU: HL.14028042

ISBN 9788759810668.

Ruders writes: There's a solid tradition in the history of Western music of turning the theme of Nicolo Paganini's 24th Caprice for soloviolin into a set of variations endemic to the time and style of each individual composer; Liszt, Brahms, Rachmaninov and Lutoslawsky being the most prominent names. When asked by David Starobin to write a concerto for him, I though well, why not have a go at it? - bearing in mind, that not only is Paganini the most celebrated violin-wizard of all times, but he was also a more than accomplished guitarist. There are 22 variations in all, numbers 1 to 16 all adhering strictly to the 16-bar pattern, laid down by Paganini himself. From variation 17 though, the writing becomes more symphonic and the rigid 16-bar regime is being lossendes up a bit. However, the last variation 'Finale Prestisimo' is a 6 x 16 bars white-knuckle ride, in which the hitherto soloistic role of the guitar gives way to that of 'primus interpares', i.e. 'first among equals'. As with another set of variations of mine 'Concerto on Pieces' (based on a tune by Purcell), the nature and shape of the 'Pagannini-Variations' may be compared to a stroll through a hall of mirrors: the portrait - the theme is gradually being distorted out of all recognition - but it's still the same original walking by.

SKU: BO.B.3105

ISBN 9788480202350.

English comments:
With reference to the melody used to write the Fanstasia-Concerto, the composer Jordi Cervello says: A few years ago, a friend of mine, Jorge Wagensberg sang me a beautiful old Jewish melody inspired by the hymn Leja Dodi (Come, my beloved) by the Sefardie cabbalist Solomon Alkabez (1505-1576), who is buried in Israel. I was immediately entranced by its two extensive thematic ideas which complement each other perfectly. Its melodic and folk qualities seemed to me to make it an ideal theme for a work for guitar and orchestra. The orchestration is a fine thread of metallic timbres, which are present both in the very delicate subtleties of the pianissimi passages and the brilliant tutti. Moreover, the cler tonal definition of the melody contrasts with audacious harmonic contrapunctual textures, characteristic of the most advanced musical styles of our times. The solo guitar part is a model piece of compositon for the guitar, both for its melody and harmony. It puts forward extremely original formulas which are very effective from an instrumental point of view. Its abundant use of arpeggios, chords, harmonic pedals and other instrumental resources ensure that the dialogue with the orchestra is based completely on guitar-playing techniques, putting the guitarist's expressive skill and mastery to the test. This work was first performed on December 3 1997 in Sabadell's La Farandula Theatre performed by the Valles Symphonic Orchestra conducted by its permanent conductor Salvador Brotons. The guitar solo part was played by Jaume Torrent, to whom the work is dedicated.

Comentarios del Espanol:
En relacion al origen de la melodia utilizada en este Concierto-Fantasia, el compositor Jordi Cervello comenta: Hace ya algunos anos, mi amigo Jorge Wagensberg me canto una antigua y deliciosa melodia judia compuesta sobre el himno Leja Dodi (Ven mi bien amada) del cabalista sefardi Solomon Alkabez (1505-1576), cuya tumba se encuentra en Israel. En seguida me cautivo por las dos amplias ideas tematicas que contiene, las cuales se complementan muy armoniosamente. Por sus caracteristicas melodicas y por su caracter popular me parecio un tema ideal para una obra de guitarra y orquesta. La orquestacion de este concierto es una filigrana de sugerencias timbricas, presentes tanto en las mas delicadas sutilezas de los pianissimi como en los efusivos tutti. Asimismo, la clara definicion tonal de la melodia contrasta con audaces texturas armonicas y contrapuntisticas propias de la estetica musical de nuestros dias. La parte del instrumento solista en un modelo de escritura guitarristica, tanto desde el punto de vista melodico como del armonico y propone formulas que resultan de una gran originalidad y eficacia instrumental. La prodigalidad de arpegios, acordes, pedales armonicos y otros recursos instrumentales, garantizan un dialogo con la orquesta desde un lenguaje plenamente guitarristico, a traves del cual, el interprete pone a prueba tanto su capacidad expresiva como la vituosistica. El estreno de esta obra tuvo lugar el dia 3 de octubre de 1997 en el Teatro La Farandula de Sabadell, interpretada por la Orquesta Sinfonica del Valles bajo la direccion de su director titular Salvador Brotons, y actuando como solista el guitarrista Jaume Torrent a quien esta dedicada la obra.

SKU: BO.B.3610

The concerto establishes a dialogue which alternates constantly between the guitar and the symphony orchestra, with the two sound worlds being maintained in perfect balance while also exploring the unique possibilities presented by each: the guitar develops a surprising array of resources which enhance its expressive capacity to the utmost, while the orchestra envelops it in an extensive range of textures which at times give rise to subtle tones, and at others, all the tonal vigour of the tutti.

The language I employ is intended as a means of achieving an efficient symbiosis between modernity and tradition, continuing in the line of my previous works as a composer. It contains no references to popular music and at all times veers away from the expectations created by the language of folklore exploited in concertos of this kind by the majority of recognised composers. In Concerto de Rialp, modernity is reflected through a search for unique expressive forms, experimentation with new means of thematic development and a unique presentation of formal solutions, all the while, however, respecting expressiveness and lyricism as the foundations of communicating with the audience.

The concerto also explores the guitar's new technical resources. Thanks to specific work on left hand extensions, mechanical formulas have been developed which allow certain scales to be played at unprecedented speeds. In the cadenza of the first movement, the guitar develops the main theme in the form of an instrumental motif that has never been used before in guitar scores, producing a polyphonic effect of new dimensions.

I have worked to exploit the distinctive sound differences existing between the guitar and the orchestra -both from the dynamic and the tonal points of view- in order to really develop the dramatic effect that their being brought together affords. In the second movement -calmo assai- this dramatic quality is expressed in a way that is particularly powerful by means of a tension never before achieved in a concerto for guitar and orchestra.

SKU: IS.GOR14018AEM

ISBN 9790365000593.

Karl Kohaut (1726 - 1784) was an Austrian lutenist and composer of Czech descent, considered to be one of the last important composers of music for Baroque lute. Although also a violinist active in the Viennese music scene, he was most well-known as a lutenist. He composed a total of seven lute concertos during his lifetime. This Concerto in B-flat Major is in three movements: Allegretto, Largo, and Tempo di Minuetto. This edition includes the full orchestral score, orchestral parts, as well as guitar and lute parts. Victor Van Puijenbroeck has adapted the original solo part and included in the set are parts for both lute (the part has been adapted from lute tablature to modern notation) and guitar (capotasto). Instrumentation: Full Score, Guitar (or Lute) - separate parts included for each instrument, Violin I, Violin II, Cembalo/Cello/Contrabass.

SKU: IS.GOR14009AEM

ISBN 9790365000616.

Karl Kohaut (1726 - 1784) was an Austrian lutenist and composer of Czech descent, considered to be one of the last important composers of music for Baroque lute. Although also a violinist active in the Viennese music scene, he was most well-known as a lutenist. Composing a total of seven lute concertos during his lifetime, this Concerto in F Major, No. 1 is the most popular. It is in three movements: Allegro, Adagio, and Tempo di Minuetto. This edition includes the full orchestral score, orchestral parts, as well as guitar and lute parts. Victor Van Puijenbroeck has adapted the original solo part and included in the set are parts for both lute (the part has been adapted from lute tablature to modern notation) and guitar (capotasto). Instrumentation: Full Score, Guitar (or Lute) - separate parts included for each instrument, Violin I, Violin II, Cembalo/Cello/Contrabass.

SKU: IS.GOR14011AEM

ISBN 9790365000753.

Italian composer Antonio Vivaldi (1678 - 1741) is considered one of the most prolific composers in all of classical music. During his lifetime, he composed more than 500 concertos, of which approximately 350 of them were for violin. Four works by Vivaldi were known to have been composed for solo lute, including this Concerto in D Major, F.XII n.15 in three movements: Allegro giusto, Largo, and Allegro. This edition includes the full orchestral score, orchestral parts, as well as guitar and lute parts. Victor Van Puijenbroeck has adapted the original solo part and included in the set are parts for both lute (the part has been adapted from lute tablature to modern notation) and guitar (capotasto). Instrumentation: Full Score, Guitar (or Lute) - separate parts included for each instrument, Violin I, Violin II, Cembalo/Cello/Contrabass.

SKU: IS.GOR14016AEM

ISBN 9790365000258.

Adam Falckenhagen (1697 - 1754) was a German lutenist and composer of the late Baroque period, travelling from court to court throughout his life, eventually settling in Bayreuth. It was there that he won the favour of Wilhelmine of Prussia, Margravine of Bayreuth, a lutenist herself, and the sister of Frederick the Great. He composed a variety of music for lute, including this Concerto in F Major in three movements: Allegro, Andante, and Vivace. This edition includes the full orchestral score, orchestral parts, as well as guitar and lute parts. Victor Van Puijenbroeck has adapted the original solo part and included in the set are parts for both lute (the part has been adapted from lute tablature to modern notation) and guitar (capotasto). Instrumentation: Full Score, Guitar (or Lute) - separate parts included for each instrument, Violin I, Violin II, Viola, Cembalo/Cello/Contrabass.