Valley Vista March Orchestre d'harmonie [Conducteur et Parties séparées] Alfred Publishing
By Steve Hodges. Music by Steve Hodges. For Concert Band. Concert Band. Challen...(+)
By Steve Hodges. Music
by Steve Hodges. For
Concert Band. Concert
Band. Challenger Band
Series. Conductor Score &
Parts. 1 pages. Published
by Alfred Publishing.
Vistas. Composed
by Shulamit Ran. Set of
Score and Parts. With
Standard notation. 42 +
112 pages. Duration 25
minutes. Theodore Presser
Company #114-40698.
Published by Theodore
Presser Company
(PR.114406980).
UPC:
680160010806.
Shula
mit Ran’s second
string quartet, subtitled
“Vistas,â€
occupies a large canvas
that is cast in a
traditional fourmovement
mold, where the outer
movements present,
explore, and later return
to the work’s
principal musical
materials, surrounding a
slow movement and
scherzo-type third
movement with a trio. In
addition to tempo-based
titles, the individual
movements have subtitles
that are evocative of
each movement’s
character, as follows: I.
Concentric: from the
inside out II. Stasis
III. Flashes IV.
Vistas. My second
string quartet,
“Vistasâ€, is
a work cast in a
traditional four-movement
formal mold, with the
outer movements,
presenting and later
returning to the
work’s principal
musical materials,
surrounding a slow
movement and a
scherzo-type third
movement.While the four
movements’
“properâ€
names -- Maestoso con
forza, Lento, Scherzo
impetuoso, and
Introduzione; Maestoso e
grande – give some
indication of the general
character of the
individual movements, I
have also subtitled, less
formally, each movement
as follows:Â 1)
Concentric:Â from the
inside out 2)Â
Stasis 3) FlashesÂ
4) Vista. The images
evoked by these titles
tell one, I think, a bit
more about the inner
workings of the
quartet.In the first
movement, a prominently
presented opening pitch
(E) reveals itself, as
the movement unfolds, to
be a center of gravity
from which ever-growing
cycles of activity
gradually evolve.Â
While various important
themes come into being as
the movement progresses,
their impact on the
listener has, I believe,
a great deal to do with
their juxtaposition and
relationship to the
initial central point of
gravity.Stasis is, as the
name implies, a movement
where activity seems, at
times, almost
suspended. Being
also, as Webster’s
Dictionary reminds us,
“a state of static
balance and equilibrium
among opposing tendencies
or forces,†it
develops various
materials, including ones
from the first movement,
without bringing them to
points of
resolution.Flashes is
short and very fast,
evoking in my mind the
quick shimmer of
fireflies, a
“sudden burst of
lightâ€, but also a
“brief
timeâ€. Perhaps,
even, a
“smile�Final
ly, the last movement,
Vista, is not only
“a view or
outlookâ€, but also
“a comprehensive
mental view of a series
of remembered or
anticipated
events.â€Â After
a brief recall of the
opening of the second
movement, this movement
brings back all the
important themes of the
first movement in their
original order. But
just as going back can
never really mean going
back in time, the
movement is much more
than recapitulatory.Â
By cutting through
previously transitory
passages and presenting
the main ideas in a
fashion more direct yet
more evolved, it also
sheds new light on
earlier events, offering
a retrospective, synoptic
view of the first
movement as it brings to
culmination the work as a
whole. “Vistasâ
€ was commissioned by
C. Geraldine Freund for
the Taneyev String
Quartet of what was then
Leningrad. It was the
first commission given in
this country to a Soviet
chamber ensemble since
the 1985 cultural
exchange accord between
the Soviet Union and the
United States.
Coro, Voces y Piano (Choir, Solo Voices, and Piano) SKU: BO.B.3473 A l...(+)
Coro, Voces y Piano
(Choir, Solo Voices, and
Piano)
SKU:
BO.B.3473
A la
memoria de Salvador
Espriu. Composed by
Xavier Benguerel. Vocal
Music. Piano reduction.
Choir. Duration 85:00.
Published by Editorial de
Musica Boileau
(BO.B.3473).
ISBN
9788480208147.
Engl
ish comments: The Requiem
in memory of Salvador
Espriu by Xavier
Benguerel was
commissioned by the
Torroella de Montgri
International Music
Festival for a double
commemoration: on the one
hand, to celebrate the
tenth anniversary of the
Festival, and on the
other, in remembrance of
Catalan poet Salvador
Espriu in the fifth year
after his death. This
concert, which was held
on 5 October, was a
brilliant closing gala
performance and it was
repeated twice on 6 and 7
October at the Palau de
la Musica Catalana in
Barcelona. It was
performed by the
Orchestra and Choir of
the Gran Teatro del
Liceo, with soloists
Enriqueta Tarres,
soprano; Nelibel
Martinez, mezzo soprano;
Eduard Gimenez, tenor;
and Carlos Chausson,
baritone, with the
additional collaboration
of baritone Lluis Llach,
conducted by Romano
Gandolfi.
In my
opinion, this work by
Benguerel is a piece that
was written with passion
and sincerity, with great
strength and depth, and
it contains some very
beautiful passages. It is
written in a language
through which, without
abandoning his current
musical thoughts,
Benguerel manages to
communicate with the
audience in a dense work
that lasts for an hour
and a half. It is
interspersed with seven
poems by Espriu on the
subject of death, some
sung and others recited,
which gives the Requiem
great contrasts from a
musical and linguistic
point of view -in
comparison with the Latin
texts normally used in a
requiem mass-, but within
a successful and coherent
unity. The performers
certainly proved their
worth, but much of the
hard work that went into
preparing the piece can
be attributed not only to
the performers, the
composer and the poet in
tribute to whom the work
was written, but also to
the conductor Romano
Gandolfi, who is largely
responsible for the
success of the three
performances of this
Requiem. Benguerel
himself says of the work:
This Requiem is linked to
my previous work, the
Llibre Vermell, and it
has been written without
making any concessions,
but with a true wish to
communicate with the
audience. I've got past
the stage of musical
experiments and I'm now
working on bridging the
gap between composer and
audience, which I'm sure
will be good for
both. --Comments
written by Jordi Codina
in the December 1990
issue of Nexus
magazine
Comentario
s del Espanol: El Requiem
a la memoria de Salvador
Espriu de Xavier
Benguerel ha sido
compuesto por encargo del
Festival Internacional de
Musica de Torroella de
Montgri para una doble
conmemoracion: por una
parte, el decimo
aniversario del Festival;
por otra, el recuerdo de
la figura del poeta
catalan Salvador Espriu
en el quinto ano de su
fallecimiento. Este
concierto, celebrado el
dia 5 de octubre,
constituyo una sesion de
gala y de clausura
brillante y tuvo una
doble repeticion los dias
6 y 7en el Palau de la
Musica Catalana de
Barcelona. Fueron sus
interpretes la Orquesta y
el Coro del Gran Teatro
del Liceo, con los
solistas vocales
Enriqueta Tarres,
soprano; Nelibel
Martinez, mezzo; Eduard
Gimenez, tenor; y Carlos
Chausson, baritono, con
la colaboracion del
tambien baritono Lluis
Llach. Todos bajo la
direccion de Romano
Gandolfi.
A mi
entender, la obra de
Benguerel es una
partitura escrita con
pasion y sinceridad,
posee una gran solidez,
es profunda y contiene
pasajes de una gran
belleza. Esta escrita en
un lenguaje con el que
Benguerel, sin renunciar
a su actual pensamiento
musical, alcanza la
comunicacion con el
publico en una obra densa
que dura una hora y
media. La intercalacion
de siete poemas de Espriu
relacionados con el tema
de la muerte, en una
interpretacion cantada o
recitada, segun los
casos, otorga al Requiem
grandes contrastes desde
un punto de vista musical
y lingŸistico à en
contraposicion con los
textos latinos propios de
una misa de requiem Ã,
pero dentro de una unidad
conseguida y coherente.
La labor de los
interpretes demostro su
categoria y el trabajo
exhaustivo en la
preparacion de la obra,
que, ademas de los
interpretes, el
compositor y el poeta
homenajeado, tuvo otro
gran protagonista en la
persona del director
Romano Gandolfi, a quien
se debe una gran parte
del exito obtenido en las
tres audiciones de este
Requiem. El propio
Benguerel ha dicho de la
obra: Este Requiem
entronca con mi obra
anterior, el Llibre
Vermell, y ha sido
escrito sin concesiones,
pero con una voluntad
real de comunicacion con
el publico. La epoca de
los experimentos
musicales ya se me paso y
he entrado en una nueva
etapa de acercamiento
entre el compositor y el
publico que, estoy
convencido, beneficiara a
ambos. --Comentario
escrito por Jordi Codina
en la revista Nexus en
diciembre de 1990
Guitarra (Guitar) y Piano SKU: BO.B.3106 Composed by Jordi Cervello. Pluc...(+)
Guitarra (Guitar) y Piano
SKU: BO.B.3106
Composed by Jordi
Cervello. Plucked
Instruments. Duration
21:00. Published by
Editorial de Musica
Boileau (BO.B.3106).
ISBN
9788480201940.
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.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.