Guitar and Orchestra

SKU: HL.14028042

Composed by Poul Ruders. Music Sales America. Classical. Score. Composed 2002. 87 pages. Edition Wilhelm Hansen #WH30481. Published by Edition Wilhelm Hansen (HL.14028042).

ISBN 9788759810668.

Rude rs 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.

By A. Vivaldi. Arranged by Peter Segal. For guitar and orchestra. Level: 3. 48 pages. Published by Les Productions d'OZ. (DZ 113)

Arranged by Chip Davis, Robert Longfield. (Score and Parts). Mannheim Steamroller Concert Band. Guitar tablature. Published by Mannheim Steamroller.

By Jan Bartlema. For 2 guitars and guitar orchestra. 3. Score and set of parts. 64 pages. Published by Les Productions d'OZ

By A. Vivaldi. Arranged by Peter Segal. For guitar and orchestra. Level: 3. 80 pages. Published by Les Productions d'OZ. (DZ 114)

For Guitar and Orchestra - Full Score. By Toru Takemitsu. Schott. Size 10x14.25 inches. 32 pages. Published by Schott Japan.

Guitar and orchestra - Intermediate

SKU: DZ.DZ-1151

Composed by Xavier Camino. Score and parts. Les Productions d'OZ #DZ 1151. Published by Les Productions d'OZ (DZ.DZ-1151).

ISBN 9782896550500.

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

By Sergio Assad (1952-). For 4 guitars. Grade 4. Guitar parts. 80 pages. Published by Les Editions Doberman-Yppan

For Guitar and Orchestra (9x12 score). Composed by Narong Prangcharoen. Contemporary. Full score (study). 56 pages. Duration 22 minutes. Theodore Presser Company #416-41599. Published by Theodore Presser Company (PR.416415990).

Guitar and Orchestra

SKU: BT.SCHBB4400223

Composed by Heinz Friedrich Hartig. Arranged by Siegfried Behrend. Score Only. Bote & Bock #SCHBB4400223. Published by Bote & Bock (BT.SCHBB4400223).

Guitar, Piano. Hartig, Hf.

Guitar and orchestra

SKU: LM.27025P

Composed by Mario Andreola and Saul Cosentino. Roberto Aussel. Classical. Score. Editions Henry Lemoine #27025P. Published by Editions Henry Lemoine (LM.27025P).

ISBN 9790230931915.

Sche rzo - Lento - Tango - Danza.

By Francis Kleynjans. For guitar and orchestra a strings. 30 pages. Published by Les Productions dOZ. (DZ 466)
Level: 3.

Orchestra and Guitar

SKU: BT.DV-10119

Composed by Mats Edén. Contemporary Music. Set (Score and Parts). Composed 2023. 148 pages. Da Vinci Publishing #DV 10119. Published by Da Vinci Publishing (BT.DV-10119).

English-Italian.

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.