Commissioned jointly for Colin Currie by the City of Birmingham Symphony Orchestra and the Borletti-Buitoni Trust. First performance on 14th May 2008 at Symphony Hall Birmingham by Colin Currie (percussion) and the City ofBirmingham Symphony Orchestra conducted by Martyn Brabbins.NOTE FOR PERFORMANCEIn table top the unpitched solo percussion part in the 9th movement the scoring was initially left open. The present full score showsa suggested instrumentation  which was devised by Colin Currie in conjunction with the composer. Soloists  should attempt to match the timbres used but should not feel constrained by the  exact choice ofinstruments.COMPOSER’S NOTEThe percussion instruments used in a table of noises in some ways represent the odd things that were on my great uncle Ash’s parlour table that fascinated me as a child. There is even abottle; there was always a milk bottle with the silver top pushed in surrounded by other essentials for his life. From birth he was quite severely handicapped in one of his legs and couldn’t walk too far without his trusty crutch.He kept everything he needed within arm’s length. In the list of instruments for the solo part there’s everything from deep log drum sounds to very high metallic chime sounds. Wood glass metal and a whistle. Mostlysmall-scale things with a large gong behind used sparingly. I think that we managed to keep below 30 instruments in all which I was keen to do. I didn’t want scores of things that are only played once they have to earn theirkeep. I didn’t want to use a marimba but thought that trying to make the xylophone sound in a more expressive way would be more of a challenge. The percussionist sits for much of the time on a Cajon a flamenco instrument which isessentially a wooden box. The player hits the front of the box in various ways rather as you play a conga. There are guitar strings inside and bells to add to the overall colour. I would like to thank Colin Currie for the

Création 26/08/2015 - Sion (Suisse) - Finale du Concours International de violon Tibor Varga - Orchestre de Chambre de Lausanne Commanditaire Concours International de violon Tibor Varga Notice Le futurisme italien fut, au début du XXe siècle, le premier véritable mouvement d'avant-garde qui, en Europe, refusa l'art dans sa totalité, décréta l'abolition du passé et prétendit rénover tous les aspects de la vie humaine en cherchant à exprimer la nature et les problèmes du monde moderne. Le mouvement fut inauguré par Marinetti en 1909, suivi un an plus tard du manifeste de la peinture futuriste signé par Giacomo Balla, Carlo Carrà, Umberto Boccioni et Luigi Russolo. La bataille futuriste, qui mobilisa le vif de l'art italien de 1910 à 1916, naquit d'une violente polémique contre la tradition figurative et la conception de l'image-spectacle. La philosophie futuriste, nourrie d'élan vital, d'utopie machiniste et d'ardeur dionysiaque entendait dynamiter la culture antiquaire de l'Italie officielle. Marinetti exalte la vitesse, le mouvement, le bruit, la guerre. Mais aussi la pulsion, la déraison, la transgression, le débridement des ambitions et des désirs humains. Le caractère novateur et visionnaire du futurisme italien fut toutefois passablement terni par ses imprécations et ses fourvoiements politiques. Laissant de côté l'orientation réactionnaire du mouvement et son esprit de clocher extrémiste, on retiendra, parmi les traits les plus originaux du futurisme pictural, la recherche de la représentation du mouvement, avant l'invention du cinéma et avant l'art cinétique. S'inspirant des séquences photographiques d'Eadward Muybridge et de la chronophotographie d'Etienne-Jules Marey, les futuristes italiens sont parvenus à un incontestable degré de réussite dans le domaine proprement plastique. Le processus du devenir est représenté comme tel, et se déploie selon des lignes de force et des formes en croissance. La couleur est également saisie dans son dynamisme, avec ses foyers et ses aires de diffusion. Dans Le mani del violinista, une huile sur toile de 1912 aujourd'hui à Londres, Giacomo Balla s'est également livré à un exercice de synesthésie, cherchant à transposer en images un processus qui fait appel à d'autres modalités sensorielles. Le geste du violoniste, le placement de l'instrument à hauteur d'épaule, les mouvements combinés de la main et du bras, l'écartement et l'échelle d'appui des doigts de la main gauche, la mise en vibration des cordes, l'élan et le rebondissement de l'archet, sa vivacité et son exactitude, tous ces facteurs qui d'ordinaire demeurent imperceptibles et indissociables sont ainsi décomposés, puis réunis et rendus en une impression unique. Les mouvements successifs de la main et les morsures d'archet se séparent selon des procédés pointillistes, puis s'assemblent en une séquence accélérée et se lient dans le même fondu qui restitue l'unité et les inflexions de la tension musculaire. Ce qui est donné à voir n'est pas une illustration réaliste ni une nomenclature des possibilités instrumentales mais un condensé des allures de l'exécution transcendante, montrant les réflexes d'une main rompue au mécanisme de son instrument. Ma propre version musicale de la toile de Giacomo Balla s'inspire des caractères de cette vision futuriste de l'art. La virtuosité même de l'instrumentiste, son habileté d'exécutant, est ici expressément représentée comme un art de l'art. La partition porte une attention aigüe à la technique spécifique de l'effet sonore, à la justesse du geste instrumental dans la dépense de l'archet et la souplesse des déplacements. La grande école des violonistes consistait à faire disparaître le manteau rugueux des aspérités naturelles de l'instrument sous une surface lisse et parfaite de sonorités épurées. Ce grand art évolue aujourd'hui sous la pression d'une esthétique contemporaine plus sensible au grain, aux effets de texture voire aux effets raboteux de l'archet. Un autre type de virtuosité se fait jour, qui intègre les coups d'archets, les accents, les sons dénaturés, dans une sorte de formalisme instrumental pris au second degré. Les interférences entre les différents modes de jeu importent plus désormais que leur intégration dans une sonorité optimale. Cet art insatiable ne recherche plus la magnificence mais l'épreuve. La partition se divise en trois grandes parties. La première est une cadence confiée au soliste, centrée sur les accords, la rythmique et les enjambements d'une articulation qui ne se plie pas aux divisions métriques de la mesure. La seconde partie est l'enfer des violonistes et met aux prises, parmi toutes les cordes de l'orchestre, des figures contrapuntiques hachées, heurtées et contrastées. La troisième partie est davantage tournée vers des études d'équilibre de sonorités, dont la cohérence est délicate à obtenir car les notes se situent dans des registres extrêmes ou paradoxaux. Le soliste est confronté à un type nouveau de virtuosité, celui des sons harmoniques - groupes d'harmoniques naturels ou artificiels. Commande du Concours International de Violon Tibor Varga Sion Valais, la partition est écrite pour l'Edition 2015 de ce Concours. L'oeuvre est dédiée à Enzo Restagno. Hugues Dufourt

Eight Varied Pieces For Orchestra-Three new collections of varied pieces for orchestra for players from beginner to grade 3 standard.This collection of three books each containing eight varied pieces has been compiled to capture the imagination of young players and to introduce them to a wide range of musical styles.Special effects appropriate to each instrument provide additional learning points and great entertainment both in rehearsal and performance. There are glissandos for strings and trombone flutter tonguing for flute and trumpets (for those able to) and a range of vocal sounds for all!The scoring allows these pieces to be played by variouscombinations of instruments. Ideally your orchestra should have some instruments from each section but if not (for example no brass) then the supplementary piano part (available separately) can be used to fill the gaps. It can also be used to provide extra support in rehearsals.As well as the normal percussion parts some of the pieces make use of a drum kit. For orchestras without a drum kit player a drum kit and bass backing track is available to download free of charge either as MP3 or WAV files.OrchestrationDescant recorder Treble recorder Flute 1 Flute 2 or Oboe Clarinet 1 Clarinet 2 Alto Sax Bassoon Horn in F Horn in Eb Trumpet 1 Trumpet 2 Trombone (Bass clef) Trombone (Treble clef) Timpani Drum Kit Percussion 1 Percuission 2 Percussion 3.Strings (Violin 1 Violin 2 Violin 3 Viola Cello Bass)Orchanics 2 contains:-Marching through Mud (Richard Ling); When I was a lad (from HMS Pinafore); Ghost Ride (Richard Ling); Largo (Dvorak); Battle Zone (Richard Ling); Persian March (J Strauss II); Lazy Horse (Richard Ling); Good King Wenceslas.

Three new collections of varied pieces for orchestra for players from beginner to grade 3 standard.This collection of three books each containing eight varied pieces has been compiled to capture the imagination of young players and to introduce them to a wide range of musical styles.Special effects appropriate to each instrument provide additional learning points and great entertainment both in rehearsal and performance. There are glissandos for strings and trombone flutter tonguing for flute and trumpets (for those able to) and a range of vocal sounds for all!The scoring allows these pieces to be played by variouscombinations of instruments. Ideally your orchestra should have some instruments from each section but if not (for example no brass) then the supplementary piano part (available separately) can be used to fill the gaps. It can also be used to provide extra support in rehearsals.As well as the normal percussion parts some of the pieces make use of a drum kit. For orchestras without a drum kit player a drum kit and bass backing track is available to download free of charge either as MP3 or WAV files.OrchestrationDescant recorder Treble recorder Flute 1 Flute 2 or Oboe Clarinet 1 Clarinet 2 Alto Sax Bassoon Horn in F Horn in Eb Trumpet 1 Trumpet 2 Trombone (Bass clef) Trombone (Treble clef) Timpani Drum Kit Percussion 1 Percuission 2 Percussion 3.Strings (Violin 1 Violin 2 Violin 3 Viola Cello Bass)Orchanics 1 contains:-Playing Tag (Richard Ling); Eastern March (Richard Ling); Autumn from Four Seasons (Vivaldi); Entertainer (Joplin); St.Anthony Chorale (Brahms/Haydn); Jazz Train (Richard Ling); Caribbean Carnival (Richard Ling); Hark the herald angels sing.

Four Pieces For Orchestra was composed by Hans Abrahamsen in 2000-2003. Programme note: In 1983 Hans Abrahamsen wrote the first seven of his Ten Studies for Piano. In the early eighties most composers who wrote for the piano were still making strenuous efforts to distance themselves from the instrument?s romantic past for example treating it as a percussion instrument rather than exploiting its expressive ?singing? potential. The piano?s modern identity as a mechanical rational emotionally cool instrument is reflected in Abrahamsen?s studies 5 7; but in the first four studies Abrahamsen allows the piano to?recollect? its past: especially what the composer calls ?the golden German romantic time full of expression night timelessness dream and the irrational?. Accordingly these first four studies were given German one might specifically say Schumanesque - titles: Traumlied (?Dreamsong?) Sturm (?Storm?) Arabeske (?Arabesque?) and Ende (?End?). While Abrahamsen was in no way dissatisfied with the first four Studies as piano music he soon felt the urge to expand them in both time and space. In their new identity as Four Pieces for Orchestra created between 2000-2003 the original studies nearly doubled in length while the forces required expanded from one soloist to an orchestra of Mahlerian/Straussian dimensions including instruments beloved by the late-romantics: Wagner tubas bass trumpet guitar mandolin and the hammer used so memorably in Mahler?s Sixth Symphony and Alban Berg?s Three Pieces for Orchestra. The results are not so much ?arrangements? of the four piano studies more recompositions. A helpful comparison might be made with certain painters: Cézanne portraying the same mountain from different angles; or Monet obsessively returning to Rouen Cathedral in different lights and weather conditions. Abrahamsen himself remembers an important visit to the Munch Museum in Oslo where he saw how Munch painted the same subject

The work opens with a dramatic brass fanfare before moving to a spirited allegro. The slower middle portion is rather jazzy in character with a trumpet solo. After several statements of this lush song the faster music returns before the opening fanfare reprises closing the piece in dramatic fashion. Includes generous cross-cuing to enable performances with smaller instrumentations.

Score-Carlos Surinach's Sinfonia Chica for Orchestra. Full score.The title Sinfonia Chica is derived from the derogatory label 'genero chico' which was first given to Spanish folk musicby the Italian musicians and their Spanish adherents who dominated all art music in Spain during the first half of the 18th century.The work represents a fusion of the traditional rhythms and melodic patterns of the Spanishtonadillas (early zarzuelas) and the stylistic characteristics of 20th century harmony structure and instrumentation.Duration: 16 minutes

New Edition of the Complete Works V/5. Par SCHUBERT FRANZ. In addition to his symphonies, Franz Schubert also wrote and handed down to posterity a total of eight finished concert overtures (two of them in two versions) between ca. 1811 and 1819. With the exception of the “Overture in D” (D 4) to the comedy “Der Teufel als Hydraulicus” (“The Devil as Engineer”) and the “Overture in D” (D 26), whose original title was cut out of the manuscript, they are all compositions which are associated neither with a drama nor a programme. They thus embody the type of the pure concert overture at an astonishingly early point in the history of music and are also in keeping with this terminologically by virtue of explicitly not having any other appellations whatsoever in the title: the epithet common for two works “in the Italian style” was only added posthumously. Our volume sees publication for the first time of the “Italian Overture in C” (D 591) in its two authentic versions, this being in contrast to the performance tradition based on a potpourri of the sources. The widely handed-down but corrupted musical course of the “Overture in D” (D 590) has likewise been rectified for the first time. Overshadowed by his symphonies, Schubert’s overtures have hitherto been largely undervalued both in their reception and in musical practice – including the “Overture in E minor” (D 648), which sees Schubert venturing into radically new spheres of expression to a greater extent than in virtually any other of his works./ Recueil / Orchestre

Sinfonische Dichtung-This edition of the works of Mieczyslaw Karlowicz is based on critically examined sources.Karlowicz was born in Vishneva (now part of Belarus) into a noble family being part of the Clan of Ostoja. His father Jan was a Polish linguist lexicographer and musician. As a child he studied the violin for which instrument he later wrote his only concerto.

The Suite For Small Orchestra No.1 was composed between 1917 and 1925. This miniature work, comprising an introduction and three national dances, is notable for its prominent rhythms and rich orchestral colouring. <br>Suite No.2 is extremely witty and rhythmically varied. The employment of the piano obligato, tuba, and the colourful application of the percussion instruments are described as particularly original orchestral effects. / Classique / Partition /

Par TCHAIKOVSKI PIOTR ILITCH. Détails de la formation instrumentale: 3.2.2.2 - 4.2.3.1 - P. - Str. - Durée: 50' -/ Répertoire / Orchestre

Tragédie in one Prologue and Five Acts. Par RAMEAU JEAN-PHILIPPE. Rameau Castor et Pollux RCT 32A-B (Versions from 1737 and 1754) Symphonies (Full Score) Symphonies / Versions from 1737 and 1754 This collection of all instrumental numbers from 'Castor et Pollux' (tragédie in a prologue and five acts) brings together the movements and dances of all versions based on the volumes of the ?Opera Omnia Rameau? IV.3 (version 1737, BA08874-01) and IV.23 (version 1754, BA08864-01). Orchestras can use this to compile a suite to meet their needs aided by a register which offers a separate overview sorted by key. The performance material of the 'Symphonies' is available on hire in the accustomed high quality of the ?Opera Omnia Rameau?. - Compilation of the instrumental numbers from all opera versions - Overview of the keys to enable a tailor-made compilation of orchestral suites - Based on the scholarly-critical new edition of all original versions - Performance material available for hire / Date parution : 2023-06-01/ Répertoire / Orchestre