(For Guitar and Orchestra). By Mario Castelnuovo Tedesco (1895-1968) and Mario C...(+)
(For Guitar and
Orchestra). By Mario
Castelnuovo Tedesco
(1895-1968) and Mario
Castelnuovo-tedesco
(1895-1968). For Flute 1,
Flute 2, Oboe, Clarinet
1, Clarinet 2, Bassoon,
Horn 1, Horn 2, Trumpet,
Timpani, Drum, Percussion
1, Percussion 2, Violin
1, Viol Set of Parts
(1939) for Guitar and Orchestra. By Joaquin Rodrigo. (Study Score). Schott. Boo...(+)
(1939) for Guitar and
Orchestra. By Joaquin
Rodrigo. (Study Score).
Schott. Book only. Size
5.25x7.5 inches. 98
pages. Published by
Eulenburg Germany
(Schott).
By Antonio/ Herrero O. Gomez Schneekloth. For flamenco guitar, orchestra. Guitar...(+)
By Antonio/ Herrero O.
Gomez Schneekloth. For
flamenco guitar,
orchestra. Guitar
Flamenca and instrument
ensemble. Score (A4). 194
pages. Duration 25:00.
Published by Piles
Editorial de Musica
Guitar Accompaniment; Orchestra SKU: HL.1335417 Full Score. Compos...(+)
Guitar Accompaniment;
Orchestra
SKU:
HL.1335417
Full
Score. Composed by
Peter Lieuwen. LKM Music.
Concert. 70 pages.
Duration 1440 seconds.
Lauren Keiser Music
Publishing #X075099.
Published by Lauren
Keiser Music Publishing
(HL.1335417).
ISBN
9798350113853. UPC:
196288187684.
9.0x14.0x0.435
inches.
This work,
written for guitarist
Isaac Bustos, was
premiered on March 7,
2019 at the Moores Opera
House in Houston with the
Moores Symphony
Orchestra.
Guitar and orchestra SKU: BO.B.3105 Composed by Jordi Cervello. Plucked I...(+)
Guitar and orchestra
SKU: BO.B.3105
Composed by Jordi
Cervello. Plucked
Instruments. Duration
21:00. Published by
Editorial de Musica
Boileau (BO.B.3105).
ISBN
9788480202350.
Engl
ish 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.
Comen
tarios 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.
Guitar and orchestra SKU: BO.B.3610 Composed by Jaume Torrent. Published ...(+)
Guitar and orchestra
SKU: BO.B.3610
Composed by Jaume
Torrent. Published by
Editorial de Musica
Boileau (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.
