Concerto Capriccioso Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie and Flute Solo - Grade 4 SKU: BT.DHP-1053846-010 (+)
Concert Band/Harmonie and
Flute Solo - Grade 4
SKU:
BT.DHP-1053846-010
For Flute and Concert
Band. Composed by
Kees Schoonenbeek.
Soloworks. Concert Piece.
Set (Score & Parts).
Composed 2005. De Haske
Publications #DHP
1053846-010. Published by
De Haske Publications
(BT.DHP-1053846-010).
English-German-French-
Dutch.
Concerto
Cappricioso begins with a
short fanfare-like
opening. It?s three
movements then develop
with exciting dialogues
between the soloist and
the main concert band,
which both answers and
accompanies the soloist,
in addition to adding
their own new material.
The musical game between
the solis and
accompaniment will
captivate and delight
your audience every time.
Concerto
Capriccioso begint
met een fanfareachtige
introductie, waarna een
korte ‘solo
rubato’ volgt. Dan
begint het echte
‘concertato’
. De begeleiding
antwoordt en
becommentarieert met
tussenpozen. De
introductie duikt weerop,
waarna dezelfde opzet nog
eens volgt. Deel twee
presenteert een tweede
thema, als een dialoog
uitgewerkt. Het
beginthema keert terug,
maar met een anders
opgezette begeleiding.
Het derde deel is een
brede dialoog tussen
solisten begeleiding. De
opnieuw fanfareachtige
inleiding komt steeds als
een refrein terug tussen
de tarantella-achtige
solopassages. Het spel
tussen de solist en de
begeleiding blijft steeds
boeiend.
Concer
to Cappricioso
beginnt mit einer kurzen
fanfareähnlichen
Einleitung. Dann
entwickeln sich drei
Sätze voll von
spannenden Dialogen
zwischen dem Solisten und
dem übrigen
Blasorchester, das mal
kommentierend, mal
antwortend und mal
begleitend agiert. Das
musikalische Spiel
zwischen Solist und
Begleitung wird Ihr
Publikum immer wieder
aufs Neue begeistern.
La breve
introduzione prepara
l’entrata del
solista che esplora il
tessuto musicale
attraverso un assolo
eseguito rubato. La
musica adotta in seguito
la forma del concertato.
L’accompagnamento
svela le sue risposte e
commenta il soggetto con
intervalli. Il secondo
movimento è una dolce
fantasia, mentre il terzo
sviluppa un dialogo tra
il solista e
l’accompagnamento.
Il gioco musicale si
dimostra per il pubblico
particolarmente piacevole
e accattivante.
Concerto Capriccioso Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie and Flute Solo - Grade 4 SKU: BT.DHP-1053846-140 (+)
Concert Band/Harmonie and
Flute Solo - Grade 4
SKU:
BT.DHP-1053846-140
For Flute and Concert
Band. Composed by
Kees Schoonenbeek.
Soloworks. Concert Piece.
Score Only. Composed
2005. 64 pages. De Haske
Publications #DHP
1053846-140. Published by
De Haske Publications
(BT.DHP-1053846-140).
English-German-French-
Dutch.
Concerto
Cappricioso begins with a
short fanfare-like
opening. It?s three
movements then develop
with exciting dialogues
between the soloist and
the main concert band,
which both answers and
accompanies the soloist,
in addition to adding
their own new material.
The musical game between
the solis and
accompaniment will
captivate and delight
your audience every time.
Concerto
Cappricioso beginnt
mit einer kurzen
fanfareähnlichen
Einleitung. Dann
entwickeln sich drei
Sätze voll von
spannenden Dialogen
zwischen dem Solisten und
dem übrigen
Blasorchester, das mal
kommentierend, mal
antwortend und mal
begleitend agiert. Das
musikalische Spiel
zwischen Solist und
Begleitung wird Ihr
Publikum immer wieder
aufs Neue begeistern.
La breve
introduzione prepara
l’entrata del
solista che esplora il
tessuto musicale
attraverso un assolo
eseguito rubato. La
musica adotta in seguito
la forma del concertato.
L’accompagnamento
svela le sue risposte e
commenta il soggetto con
intervalli. Il secondo
movimento è una dolce
fantasia, mentre il terzo
sviluppa un dialogo tra
il solista e
l’accompagnamento.
Il gioco musicale si
dimostra per il pubblico
particolarmente piacevole
e accattivante.
Concerto Capriccioso Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band - Grade 4 SKU: BT.DHP-1053846-040 For Flute and Concert B...(+)
Concert Band - Grade 4
SKU:
BT.DHP-1053846-040
For Flute and Concert
Band. Composed by
Kees Schoonenbeek.
Soloworks. Concert Piece.
Set (Score & Parts).
Composed 2005. De Haske
Publications #DHP
1053846-040. Published by
De Haske Publications
(BT.DHP-1053846-040).
English-German-French-
Dutch.
Concerto
Cappricioso begins with a
short fanfare-like
opening. It?s three
movements then develop
with exciting dialogues
between the soloist and
the main concert band,
which both answers and
accompanies the soloist,
in addition to adding
their own new material.
The musical game between
the solis and
accompaniment will
captivate and delight
your audience every time.
Concerto
Cappricioso beginnt
mit einer kurzen
fanfareähnlichen
Einleitung. Dann
entwickeln sich drei
Sätze voll von
spannenden Dialogen
zwischen dem Solisten und
dem übrigen
Blasorchester, das mal
kommentierend, mal
antwortend und mal
begleitend agiert. Das
musikalische Spiel
zwischen Solist und
Begleitung wird Ihr
Publikum immer wieder
aufs Neue begeistern.
La breve
introduzione prepara
l’entrata del
solista che esplora il
tessuto musicale
attraverso un assolo
eseguito rubato. La
musica adotta in seguito
la forma del concertato.
L’accompagnamento
svela le sue risposte e
commenta il soggetto con
intervalli. Il secondo
movimento è una dolce
fantasia, mentre il terzo
sviluppa un dialogo tra
il solista e
l’accompagnamento.
Il gioco musicale si
dimostra per il pubblico
particolarmente piacevole
e accattivante.
Orequesta sinfonica,
Orquesta camara, voces y
coro (Symphony Orchestra,
Chamber Orchestra, Solo
Voices and Choir)
SKU:
BO.B.3472
A la
memoria de Salvador
Espriu. Composed by
Xavier Benguerel. Vocal
Music. Choir. Duration
85:00. Published by
Editorial de Musica
Boileau (BO.B.3472).
ISBN
9788480208130.
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
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
Violin, cello and set of chamber instruments SKU: BO.B.3338 Composed by X...(+)
Violin, cello and set of
chamber instruments
SKU: BO.B.3338
Composed by Xavier
Benguerel. Instrumental
Sets. Duration 15:00.
Published by Editorial de
Musica Boileau
(BO.B.3338).
English
comments: I finished
writing the Porta Ferrada
Double Concerto at the
beginning of 2004. I was
commissioned to write it
for the Porta Ferrada
International Music
Festival (in Sant Feliu
de Guixols).This double
concerto for violin,
cello and chamber
ensemble represents the
start of a period in
which the pieces that I
am working on are all for
small ensembles:
Davallament, for soprano
and piano; Quinteto de la
sala de Levante, for
clarinet and string
quartet; Palau d'hivern,
for soprano, clarinet and
string quartet; and
Concertino Geminis for
solo violin and 15 string
instruments.Having
written large-scale
works, I have now gone
back to writing chamber
music.
We can see how,
throughout my career, the
sinfonia concertante form
is omnipresent in almost
all my earlier periods. I
still haven't found a
satisfactory answer to
why I choose a dialogue
between a soloist and an
instrumental group so
often. I would perhaps
say that with a solo
instrument it seems as if
my music has to flow more
effortlessly, allowing me
to work more easily.
Having a main character
in the piece's discourse
greatly helps me to
develop the idea I have
about the piece I want to
write.
In this case
there are two string
soloists, the violin and
the cello, which of
course play a major part,
but without this becoming
a virtuosic. As for its
form, the piece is based
on three parts that meet
without interruption.It
was first performed on 10
August 2005 at the Teatre
Auditori Municipal in
Sant Feliu de Guixols as
part of the 43rd edition
of the Porta Ferrada
International Festival,
by the Porta Ferrada
Simfonietta orchestra and
the soloists Melodie Giot
and Manon Philippe,
conducted by Daniel
Tosi.
Comentarios
del Espanol: Acabe de
escribir el Doble
Concierto de la Porta
Ferrada a principios del
ano 2004. Nace como un
encargo del Festival
Internacional de Musica
de la Porta Ferrada (Sant
Feliu de Guixols).Este
doble concierto, para
violin, violonchelo y un
conjunto de camara, abre
un periodo en el que las
obras que trabajo son
todas para pequenos
conjuntos: Davallament,
para soprano y piano;
Quinteto de la sala de
Levante, para clarinete y
cuarteto de cuerda; Palau
d'hivern, para soprano,
clarinete y cuarteto de
cuerda; Concertino
Geminis para violin
solista y 15 instrumentos
de cuerda.Despues de
haber escrito obras de
gran formato, ahora
vuelvo a la musica de
camara.
Podemos ver
como la forma
concertante, a lo largo
de toda mi produccion, es
omnipresente en casi
todas las epocas
precedentes. No he
encontrado una respuesta
satisfactoria al porque
de elegir tan a menudo el
dialogo entre un solista
y un grupo instrumental.
Como aproximacion, diria
que con un instrumento
solista parece ser que mi
musica tenga que fluir
mas facilmente y que
pueda trabajar con mas
comodidad. El hecho de
tener un personaje
principal en el discurso
de la partitura me ayuda
mucho a desarrollar la
idea que tengo sobre la
obra que quiero
escribir.
En este caso
se trata de dos solistas
de cuerda, el violin y el
violonchelo, que, como es
natural, toman un papel
primordial sin que, sin
embargo, lleguen a
alcanzar una parte
virtuosistica. La obra,
formalmente, se basa en
tres partes que se tocan
sin
interrupcion.
El
estreno tuvo lugar el 10
de agosto de 2005 en el
Teatre Auditori Municipal
de Sant Feliu de Guixols,
en el marco del 43
Festival Internacional de
la Porta Ferrada, por la
orquesta Simfonietta
Porta Ferrada y las
solistas Melodie Giot y
Manon Philippe, bajo la
direccion de Daniel
Tosi.
Chamber Ensemble (Score) SKU: HL.50606511 Score for Flute, Clarinet, 2...(+)
Chamber Ensemble (Score)
SKU: HL.50606511
Score for Flute,
Clarinet, 2 Bassoons, 2
Trumpets, Tenor and
Bass. Composed by
Alessio Elia. EMB.
Classical, Contemporary.
Softcover. 48 pages.
Duration 790 seconds.
Editio Musica Budapest
#Z15088. Published by
Editio Musica Budapest
(HL.50606511).
ISBN
9781705190746. UPC:
196288126874.
Commi
ssioned by I Solisti
della Scala for the CD
''Octet'', a project
conceived by the
conductor Andrea Vitello,
which includes alsothe
first recording in the
performance of I Solisti
della Scala of the Octet
by Stravinsky and the
first world recording of
the Octet by Peter
Eotvos, the Octet by
Alessio Elia is described
by the Italian
musicologist Guido
Barbieri in these terms:
''In the Octet written in
2016 by Alessio Elia, the
musical elements, or
their strongly contrasted
combination,
significantly shape the
structure of the piece.
The utilization of
different scales - a
technique defined by the
composer as
''polysystemism'' -
further emphasizes his
concept of sound as a
phenomenal entity.''.
Oboe and Piano SKU: BT.EMBZ3769 Per oboe, archi e cembalo RV 461 (F.VI...(+)
Oboe and Piano
SKU:
BT.EMBZ3769
Per
oboe, archi e cembalo RV
461 (F.VII. No. 5, P.V.
42). By Oliver Nagy.
By Antonio Vivaldi,
Oliver Nagy, and Tibor
Szeszler. Book Only.
Composed 1963. 28 pages.
Editio Musica Budapest
#EMBZ3769. Published by
Editio Musica Budapest
(BT.EMBZ3769).
English-German-Hungari
an.
The source of
the present edition of
the Oboe Concerto in A
minor by Antonio Vivaldi
is the Collected Works of
Vivaldi, edited by
Malipiero, published by
Ricordi 1955. The title
of the original score is
Concerto in La minore per
oboe, archi e cembalo the
original setting: Oboe,
Violini I-II, Viole,
Violoncelli, Contrabassi
and Cembalo. The
arrangement for oboe and
piano is kept in accurate
conformity with the
musical text of score,
the continuo part -
however - has been more
freely adapted (of course
within the possibilities
of baroque style). The
piano part contains the
entire orchestral
material in the Tutti-s,
thus the soloist is not
obliged to play all the
Tutti parts.However, in
Movement I and III the
first and last Tutti may
never be omitted by the
performer.
Die
Grundlage dieser Ausgabe
des Oboenkonzertes in
A-Moll von Antonio
Vivaldi ist die von
Malipiero redigierte
Gesamtausgabe (Ricordi,
1955). Der Titel der
Originalpartitur lautet:
Concerto in La minore per
oboe, archi e cembalo:
die Besetzung ist
folgende: Oboe, Violini
I-II, Viole, Violoncelli,
Contrabassi, Cembalo. Die
Ausgabe für Oboe und
Klavier ist dem Urtext
der Partitur getreu, doch
ist die Ausarbeitung des
Continuos etwas freier
behandelt (natürlich
nur im Rahmen der vom
Stil der Barockmusik
gebotenen
Möglichkeit). Die
Klavierstimme enthält
an den Tuttistellen das
Stimmaterial des ganzen
Orchesters: der Solist
ist daher nicht
verpflichtet,
sämtliche
Tuttimitzuspielen. (Im I.
und III. Satz dürfen
jedoch die ersten und
letzten Tutti vom
Solisten nicht
weggelassen werden.
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.
Violin - Concerto Orchestre, Violon SATB, Orchestre Editorial de Musica Boileau
Violin and orchestra SKU: BO.B.3340 Composed by Jordi Cervello. Instrumen...(+)
Violin and orchestra
SKU: BO.B.3340
Composed by Jordi
Cervello. Instrumental
Sets. Duration 29:00.
Published by Editorial de
Musica Boileau
(BO.B.3340).
ISBN
9788480207591.
Engl
ish comments: My
dedication to the string
instruments has been a
constant throughout my
compositional career and
I knew that sooner or
later the time would come
to compose a concerto for
violin and orchestra.
That moment came in the
autumn of 2002 and after
ten months of
uninterrupted work I
finished it in August of
2003. It is a work
structured similarly to
the traditional
concertos. An important
impetus for the
elaboration of my
concerto was due to the
ill-fated violinist
Ginette Neveu. Her
version of Sibelius'
Concerto has always
stayed with me. For this
reason the first
movement,
Moderato-Allegro, begins
with a contemplative
atmosphere similar to
that of Sibelius'
Concerto in which the
principal thematic ideas
appear tentatively. These
ideas, two rhythmic and
two melodic, are
reaffirmed through a
broad development that
culminates in an
orchestral fullness. A
calm, mysterious passage
recalls the introduction
and after becoming
blurred, three bars burst
in leading to the rapid
section of the movement.
Soloist and orchestra
engage in a dialectic
struggle of a dramatic
nature. The agitation
subsides leaving only a
tranquil and suggestive
clarinet phrase. This
will be taken up by the
soloist who leads up to
the movement's most
dramatic moment playing
an accelerating triplet
figure supported by an
orchestral pedal in
crescendo. From here the
soloist's cadenza emerges
beginning with soft
double notes. It finishes
with an ascending
progression and the
soloist settles into the
high register to elicit
the orchestra's
intervention in a soft
and transfigured
atmosphere. Once
internalised the second
movement, Adagio poco
sostenuto e leggero
begins. It has a solemn
character and opens with
two trumpet calls
answered by the
violoncellos and the
contrabasses. The violin
soloist introduces and
plays two nostalgic
themes, the first in the
low register and the
second, more extensive,
in the middle register.
The soft and delicate
Misterioso e leggero
begins with the violin
singing on high. The
rhythm of the constant
quaver figures gradually
accelerates until the
soloist provokes a
dramatic full orchestra
as in a cadenza. Once
again, the Calmo, in
which the soloist with
less and less orchestral
attire serenely bids
farewell. A rising series
of double stops by the
soloist serves to
initiate the
Finale-Scherzo. In 6/8
rhythm and with the
character of a rondo it
carries us along in a
carefree, virtuosic
ambiance. The principal
motives, brief and
concise, emerge from the
happy, playful theme
presented by the soloist.
With an intricate
progression of rapid
sixths in double stops it
reaches a tense and
somewhat combative
moment. However this
resolves itself in a
diminuendo that the
soloist peacefully takes
up with the notes re-la
to commence the cadenza.
This culminates in a
series of tied notes to
reintroduce the principal
theme. A moment of
melodic suspension serves
as a farewell before the
brief and jovial final
coda. --The
author
Comentari
os del Espanol: A lo
largo de mi carrera
compositiva mi dedicacion
a los instrumentos de
cuerda ha sido constante
y sabia que, tarde o
temprano, llegaria el
momento de componer un
concierto para violin y
orquesta. Este llego en
otono de 2002 y, tras
diez meses de trabajo
ininterrumpido, lo
termine en agosto de
2003. Se trata de una
obra estructurada de
manera similar a los
conciertos tradicionales.
Un importante impulso a
la elaboracion de mi
concierto lo debo al
recuerdo de la malograda
violinista Ginette Neveu.
Su version del concierto
de Sibelius ha
permanecido siempre
dentro de mi. Por ese
motivo, el primer
movimiento
Moderato-Allegro se
inicia con una atmosfera
contemplativa cercana a
la del mencionado
Concierto, en la que
aparecen cautamente las
principales ideas
tematicas. Con un amplio
desarrollo se llega a un
lleno orquestal en el que
estas ideas -dos ritmicas
y dos melodicas- quedan
reafirmadas. Un pasaje
calmo y misterioso
rememora la introduccion.
Tras desdibujarse,
irrumpen tres compases
que nos llevan a la parte
rapida del movimiento.
Solista y orquesta
establecen un combate
dialectico de caracter
dramatico. La inquietud
desaparece hasta una
tranquila e insinuante
frase del clarinete. Esta
sera recogida por el
solista, quien, a base de
una figuracion de
tresillos cada vez mas
rapidos apoyada por un
pedal de la orquesta in
crescendo, conduce hacia
el momento mas dramatico
del movimiento. De aqui
nace la cadenza del
solista, que se incia con
suaves notas dobles.
Finaliza con una
progresion ascendente y
el solista se coloca en
el registro agudo para
llamar la intervencion de
la orquesta dentro de una
atmosfera suave y
transfigurada.
Interiorizado es el
segundo movimiento Adagio
poco sostenuto e leggero.
Con dos llamadas de las
trompas respondidas por
los violonchelos y
contrabajos inicia el
Adagio de caracter grave.
El violin solista
introduce y canta dos
temas nostalgicos. El
primero en el registro
grave y el segundo, mas
amplio, en el medio.
Inicia el Misterioso e
leggero, de caracter
suave y delicado. Con el
violin cantando en agudo.
La constante figuracion
de corcheas acelerara
poco a poco el ritmo
hasta que el solista a
modo de cadenza provocara
un dramatico lleno
orquestal. De nuevo el
Calmo, donde el solista,
cada vez con menos ropaje
orquestal, se despide
serenamente. Una subida
de dobles cuerdas a cargo
del solista sirve para
iniciar el
Finale-Scherzo. Este, en
ritmo de 6/8 y con
caracter de rondo, nos
transporta en un clima
virtuosistico y
despreocupado. Del tema
alegre y jugueton
presentado por el solista
nacen los principales
motivos, breves y
concisos. Con una
intrincada sucesion de
rapidas sextas en doble
cuerda se llega a un
momento crispado y algo
combativo que, sin
embargo, se resolvera en
un diminuendo que el
solista recoge
apaciblemente con las
notas re-la para inciar
la cadenza. Esta culmina
con un suave rosario de
notas en ligado para
introducir de nuevo el
tema principal. Un
momento de suspension
melodica sirve como
despido antes de la breve
y jovial coda final. La
obra fue estrenada el 23
de septiembre de 2005 en
el Teatre Monumental de
Madrid por la Orquesta
Sinfonica de RTVE con
Markus Placci de solista
y Uwe Mund de director.
Gravacion: RNE y Canal
Clasico de TVE. --El
Autor.
String Orchestra (Score) SKU: HL.50600898 For String Orchestra. Co...(+)
String Orchestra (Score)
SKU: HL.50600898
For String
Orchestra. Composed
by Bella, Má, and
té. Contemporary
Music. EMB. Classical.
Softcover. 86 pages.
Duration 16'. Editio
Musica Budapest #Z14933.
Published by Editio
Musica Budapest
(HL.50600898).
ISBN
9790080149331.
10.25x14.25x0.41 inches.
Mate Bella.
The
title of the piece refers
to Lethe, one of the
rivers of Hades, known
from Greek mythology. The
meaning of the world is
'oblivion'; the dead
souls were drinking from
it in order to forget
about their earthly life,
whose memories might have
poisoned their eternal
life. According to
tradition, river Lethe
also the symbol of time
as a dynamically moving,
flowing, changing entity.
Mate Bella's composition
follows this ancent
symbolic structure, the
flow of this mythical
river and its waves in
the acoustic space
created by the music. The
composer prescribes an
unusual arrangement of
the string orchestra,
reminiscent of the
polychoral technique of
composition of the early
Baroque, with larger and
smaller groups of
performers. To the right
and left of the podium
sit string quintets (two
violins, a viola, a cello
and a double bass), while
the center is held by a
larger string ensemble
(eight violins, two
violas and two cellos).
The musical materials for
the quintets are somewhat
solistic, but the parts
diverge and reunite
repeatedly, while
becoming shorter or
eventually fading out
into oblivion. The
workings of these
resemble the waves of a
river, followed by ever
smaller ripples and
whirls of the surface.The
piece was commissioned by
the Musica Viva concert
series of the Bavarian
Radio Symphony Orchestra.
(Janos Malina).
SKU: UT.LB-47 Mario Ancillotti Collection. Classical. Books and Journals....(+)
SKU: UT.LB-47
Mario Ancillotti
Collection. Classical.
Books and Journals. Ut
Orpheus #LB 47. Published
by Ut Orpheus (UT.LB-47).
ISBN 9788881095360.
6.5 x 9.5
inches.
Vi è
nella formazione di ogni
adepto un periodo
fondamentale in cui la
musica può essere
percepita solo come la
realizzazione di una
splendida tecnica
strumentale, oppure come
l’espressione
delle più intime
sensibilità :
Appunti di un
flautista indirizza
verso questa seconda
attitudine, quella più
significativa per chi
sceglie di coltivare
un’arte profonda e
certamente ineffabile.
Il libro è la
raccolta di tantissime
esperienze maturate
durante un’intera
carriera che ha visto
Mario Ancillotti nelle
più diverse
attività di solista,
camerista, orchestrale,
insegnante,
organizzatore, direttore:
tutte attività che
derivano da una sete mai
saziata di conoscenze
nell’immenso campo
della musica. Da queste
nasce e si fonda dapprima
la parte dedicata ai
segreti
dell’interpretazio
ne e dell’ascolto,
con esempi pratici
corredati da esecuzioni
ad opera dello stesso
Ancillotti;
successivamente ci si
indirizza verso la parte
più tecnica e
strumentale, e poi verso
i suggerimenti preziosi
che l’esperienza
di flautista e musicista
eclettico ha dettato
all’autore. Sempre
nella consapevolezza che
la musica è arte
sublime ma sfuggente ad
ogni rigida prescrizione
e che tutto è
determinato soltanto dal
buon gusto raggiungibile
solo con studio e
sacrificio. Il lavoro
presenta infine un
Repertorio
ragionato denso di
indicazioni,
anch’esso
suggerimento personale su
tutti quei brani
fondamentali per la
formazione musicale e
tecnica di ogni flautista
che vuole divenire un
interprete di
quest’arte
indagatoria e rivelatrice
della sfera emotiva.
Alto Recorder - easy SKU: BT.DHP-0991399-400 Cahier pour jeunes joueur...(+)
Alto Recorder - easy
SKU:
BT.DHP-0991399-400
Cahier pour jeunes
joueurs de flûte Ã
bec avec acc.
Composed by Dinie
Goedhart. Educational
Tool. Book with CD.
Composed 1999. 24 pages.
De Haske Publications
#DHP 0991399-400.
Published by De Haske
Publications
(BT.DHP-0991399-400).
ISBN 9789043103268.
French.
Due
pubblicazioni per
flautisti alle prime
armi. In uno stile
variegato che va dalla
musica barocca fino al
rock, i brani proposti
sono accattivanti e
stimolanti. Da oggi è
possibile suonare il
flauto dolce da
solista!
Contemplation Orchestre d'harmonie - Avancé De Haske Publications
Concert Band/Harmonie and Clarinet Solo - Grade 5 SKU: BT.DHP-1175741-140 ...(+)
Concert Band/Harmonie and
Clarinet Solo - Grade 5
SKU:
BT.DHP-1175741-140
Doloroso e
Contemplativo.
Composed by Jan Van der
Roost. Solo Spectrum.
Solo & Concerto. Score
Only. Composed 2017. De
Haske Publications #DHP
1175741-140. Published by
De Haske Publications
(BT.DHP-1175741-140).
English-German-French-
Dutch.
Contempla
tion is the first
movement from the
Clarinet Concerto
by Jan Van der Roost,
which was commissioned by
Musica Reservata VOF,
Belgium, and is dedicated
to the famous clarinet
soloist Eddy
Vanoosthuyse. A
slightly mysterious intro
leads to an orchestral
climax with ascending
melodies and the entrance
of the soloist. This
occurs at first with
fragmentary musical
ideas, and then with
longer melodic lines. The
orchestra delivers the
dialogue withthe soloist,
and creates a fitting
musical frame with a
delicate and colourful
instrumentation. Towards
the end of the music, the
atmosphere from the
beginning is restored,
and the soloist finishes
on the same note that he
started the piece on.
The concerto is also
available as a piano
reduction.
Contemplation<
/I> is het eerste deel
uit het Clarinet
Concerto van Jan Van
der Roost. Het werd
geschreven in opdracht
van Musica Reservata VOF
(B) en is opgedragen aan
Eddy Vanoosthuyse.
Een ietwat mysterieuze
intro leidt via stijgende
melodieën tot een
eerste orkestrale climax,
waarna de solist zijn
intrede doet, eerst met
vooral fragmentarische
muzikale gegevens, dan
met langere melodische
lijnen. Het orkest voert
een muzikaledialoog met
de solist en creëert
een gepaste omkadering
door middel van een
ragfijne en kleurrijke
instrumentatie. Naar het
slot toe wordt de
beginsfeer weer
opgezocht, en de solist
eindigt helemaal alleen
met dezelfde noot als die
waarmeehij begon. Het
concert is tevens als
pianoreductie
beschikbaar.
Contemplation<
/I> ist der 1. Satz aus
Jan van der Roosts
Clarinet Concerto,
das von Musica Reservata
VOF aus Belgien in
Auftrag gegeben wurde und
dem berühmten
Klarinettisten Eddy
Vanoosthuyse gewidmet
ist. Eine etwas
geheimnisvolle Einleitung
führt über
aufsteigende Passagen zu
einem musikalischen
Höhepunkt des
Orchesters; darauf folgt
der Einsatz des Solisten,
anfangs überwiegend
mit fragmentarischen
musikalischen Ideen, dann
mit
längerenMelodielinien.
Das Orchester führt
einen Dialog mit dem
Solisten und schafft mit
einer zarten und
lebendigen
Instrumentation einen
passenden musikalischen
Rahmen. Gegen Ende wird
die Anfangsstimmung
wieder aufgegriffen und
das Solo endet
mitderselben Note, mit
der das Stück begonnen
hat. Es ist auch ein
Klavierauszug des
Konzertes erhältlich.
Contemplation Orchestre d'harmonie - Avancé De Haske Publications
Concert Band/Harmonie and Clarinet Solo - Grade 5 SKU: BT.DHP-1175741-010 ...(+)
Concert Band/Harmonie and
Clarinet Solo - Grade 5
SKU:
BT.DHP-1175741-010
Doloroso e
Contemplativo.
Composed by Jan Van der
Roost. Solo Spectrum.
Concert Piece. Set (Score
& Parts). Composed 2017.
De Haske Publications
#DHP 1175741-010.
Published by De Haske
Publications
(BT.DHP-1175741-010).
English-German-French-
Dutch.
Contempla
tion is the first
movement from the
Clarinet Concerto
by Jan Van der Roost,
which was commissioned by
Musica Reservata VOF,
Belgium, and is dedicated
to the famous clarinet
soloist Eddy
Vanoosthuyse. A
slightly mysterious intro
leads to an orchestral
climax with ascending
melodies and the entrance
of the soloist. This
occurs at first with
fragmentary musical
ideas, and then with
longer melodic lines. The
orchestra delivers the
dialogue withthe soloist,
and creates a fitting
musical frame with a
delicate and colourful
instrumentation. Towards
the end of the music, the
atmosphere from the
beginning is restored,
and the soloist finishes
on the same note that he
started the piece on.
The concerto is also
available as a piano
reduction.
Contemplation<
/I> is het eerste deel
uit het Clarinet
Concerto van Jan Van
der Roost. Het werd
geschreven in opdracht
van Musica Reservata VOF
(B) en is opgedragen aan
Eddy Vanoosthuyse.
Een ietwat
mysterieuze intro leidt
via stijgende
melodieën tot een
eerste orkestrale climax,
waarna de solist zijn
intrede doet, eerst met
vooral fragmentarische
muzikale gegevens, dan
met langere melodische
lijnen. Het orkest voert
een muzikaledialoog met
de solist en creëert
een gepaste omkadering
door middel van een
ragfijne en kleurrijke
instrumentatie. Naar het
slot toe wordt de
beginsfeer weer
opgezocht, en de solist
eindigt helemaal alleen
met dezelfde noot als die
waarmeehij begon. Het
concert is tevens als
pianoreductie
beschikbaar.
Contemplation<
/I> ist der 1. Satz aus
Jan van der Roosts
Clarinet Concerto,
das von Musica Reservata
VOF aus Belgien in
Auftrag gegeben wurde und
dem berühmten
Klarinettisten Eddy
Vanoosthuyse gewidmet
ist. Eine etwas
geheimnisvolle Einleitung
führt über
aufsteigende Passagen zu
einem musikalischen
Höhepunkt des
Orchesters; darauf folgt
der Einsatz des Solisten,
anfangs überwiegend
mit fragmentarischen
musikalischen Ideen, dann
mit
längerenMelodielinien.
Das Orchester führt
einen Dialog mit dem
Solisten und schafft mit
einer zarten und
lebendigen
Instrumentation einen
passenden musikalischen
Rahmen. Gegen Ende wird
die Anfangsstimmung
wieder aufgegriffen und
das Solo endet
mitderselben Note, mit
der es begonnen hat.
Es ist auch ein
Klavierauszug des
Konzertes erhältlich.
Violin and piano (reduction) SKU: BO.B.3414 Composed by Jordi Cervello. I...(+)
Violin and piano
(reduction)
SKU:
BO.B.3414
Composed by
Jordi Cervello.
Instrumental Sets.
Duration 12:00. Published
by Editorial de Musica
Boileau (BO.B.3414).
English
comments: Concertino
for violin and string
orchestra was composed in
1993. It is a pleasant
score with a slightly
virtuosic touch written
with the idea of creating
a relaxed atmosphere in
which the soloist and the
orchestra can display
their technique and
expressive capabilities.
It is a work, similar in
lenght to baroque
concertos, and is divided
into three movements,
folowing the conventional
form.: two fast movements
around a slow one. Te
first two movements
-Allegro burlesco and
Adagio cantabile- follow
the ABA pattern. The
third starts with a
-cadenza- by the soloist
which includes thematic
material from the
previous slow movement
linking straight up to
the -Presto- which uses
as its main idea a more
forceful version of the
opening melodic sketch of
the -Allegro burlesco-
converted into three
time. The work was
specially creatied for
the violinist Gerard
Claret and the Orquestra
de Cambra Nacional
d'Andorra. Recordings:
Hermitage
Orchestra-Camerata St.
Petersburg, violin:
Sergey Malov, conductor:
Alexis Soriano. Ensayo
(ENY-2003). Jordi
Cervello
Comenta
rios del
Espanol: Concertino
para violin y orquesta de
cuerda es una obra
compuesta en 1993. Se
trata de una partitura
amable y de cierto toque
virtuosistico cuya
principal preocupacion ha
sido crear una atmosfera
distendida en la que el
solista y la orquesta
puedan desplegar con
espontaneidad sus
capacidades tecnicas y
expresivas. Es una obra
de duracion similar a la
de los conciertos del
barroco y dividida en sus
tres tipicos movimientos.
Dos rapidos enmarcando
uno lento. Los dos
primeros -Allegro
burlesco y Adagio
cantabile- se desarrollan
bajo el esquema ABA. El
tercero inicia con una
-cadenza- del solista que
recoge material tematico
del movimiento lento
precedente para enlazar
sin interrupcion con el
-Presto- que utiliza como
idea principal el dibujo
melodico que abre el
-Allegro burlesco-, pero
mas decidido y a compas
ternario. La obra fue
compuesta expresamente
para el violinista Gerard
Claret y la Orquestra
Nacional de Cambra
d'Andorra. Grabaciones:
Hermitage
Orchestra-Camerata St.
Petersburg, violin
solista: Sergey Malov,
direccion: Alexis
Soriano. Ensayo
(ENY-2003) Jordi
Cervello.
Violin and quintet and string orchestra SKU: BO.B.3059 Composed by Jordi ...(+)
Violin and quintet and
string orchestra
SKU:
BO.B.3059
Composed by
Jordi Cervello.
Instrumental Sets.
Duration 12:00. Published
by Editorial de Musica
Boileau (BO.B.3059).
ISBN
9788480202831.
Engl
ish comments:
Concertino for violin and
string orchestra was
composed in 1993. It is a
pleasant score with a
slightly virtuosic touch
written with the idea of
creating a relaxed
atmosphere in which the
soloist and the orchestra
can display their
technique and expressive
capabilities. It is a
work, similar in lenght
to baroque concertos, and
is divided into three
movements, folowing the
conventional form.: two
fast movements around a
slow one. Te first two
movements -Allegro
burlesco and Adagio
cantabile- follow the ABA
pattern. The third starts
with a -cadenza- by the
soloist which includes
thematic material from
the previous slow
movement linking straight
up to the -Presto- which
uses as its main idea a
more forceful version of
the opening melodic
sketch of the -Allegro
burlesco- converted into
three time. The work was
specially creatied for
the violinist Gerard
Claret and the Orquestra
de Cambra Nacional
d'Andorra. Recordings:
Hermitage
Orchestra-Camerata St.
Petersburg, violin:
Sergey Malov, conductor:
Alexis Soriano. Ensayo
(ENY-2003). Jordi
Cervello
Comenta
rios del
Espanol: Concertino
para violin y orquesta de
cuerda es una obra
compuesta en 1993. Se
trata de una partitura
amable y de cierto toque
virtuosistico cuya
principal preocupacion ha
sido crear una atmosfera
distendida en la que el
solista y la orquesta
puedan desplegar con
espontaneidad sus
capacidades tecnicas y
expresivas. Es una obra
de duracion similar a la
de los conciertos del
barroco y dividida en sus
tres tipicos movimientos.
Dos rapidos enmarcando
uno lento. Los dos
primeros -Allegro
burlesco y Adagio
cantabile- se desarrollan
bajo el esquema ABA. El
tercero inicia con una
-cadenza- del solista que
recoge material tematico
del movimiento lento
precedente para enlazar
sin interrupcion con el
-Presto- que utiliza como
idea principal el dibujo
melodico que abre el
-Allegro burlesco-, pero
mas decidido y a compas
ternario. La obra fue
compuesta expresamente
para el violinista Gerard
Claret y la Orquestra
Nacional de Cambra
d'Andorra. Grabaciones:
Hermitage
Orchestra-Camerata St.
Petersburg, violin
solista: Sergey Malov,
direccion: Alexis
Soriano. Ensayo
(ENY-2003) Jordi
Cervello.
La Mort I La Donzella Quatuor à cordes: 2 violons, alto, violoncelle Editorial de Musica Boileau
Violin and string quartet/quintet SKU: BO.B.2678 Composed by Jordi Cervel...(+)
Violin and string
quartet/quintet
SKU:
BO.B.2678
Composed by
Jordi Cervello.
Instrumental Sets.
Duration 6:00. Published
by Editorial de Musica
Boileau (BO.B.2678).
English
comments: Death and
the Maiden.This is a
Catalan folk song that
captivated me the very
first time I heard it. In
1974 I decided to indulge
myself by using this song
for a composition for
violin and string
orchestra (and solo
violin with a quartet).
The popular theme takes
the form of a long violin
solo based on triplets
with a background of soft
harmonies played by the
rest of the musicians.
--Jordi
Cervello
Comenta
rios del Espanol: La
muerte y la doncella. Se
trata de una melodia
popular catalana que
desde su primer momento
me cautivo. Fue en 1974
cuando me decidi a
recrearme con ella a
traves de una composicion
para violin y orquesta de
cuerda (tambien violin
solista con cuarteto). El
tema popular encuadra un
largo solo del solista a
base de tresillos
inspirados en el
Coral-Preludio de una
cantata de J. S. Bach.
--Jordi Cervello.
Wind Symphony Orchestre d'harmonie EMB (Editio Musica Budapest)
Concert Band - Grade 6 SKU: BT.EMBZ14691SET Composed by Kamillo Lendvay. ...(+)
Concert Band - Grade 6
SKU:
BT.EMBZ14691SET
Composed by Kamillo
Lendvay. EMB Concert Band
Series. Concert Piece.
Set (Score & Parts).
Composed 2010. 454 pages.
Editio Musica Budapest
#EMBZ14691SET. Published
by Editio Musica Budapest
(BT.EMBZ14691SET).
9x12 inches.
The
world-famous Hungarian
composer Kamilló
Lendvay (b. 1928) has
written not only operas,
oratorios, cantatas,
symphonies, concertos,
chamber music and solo
instrumental works but
also a considerable
number of pieces for wind
ensembles. His Wind
Symphony, composed in
2007-2008, consists of
four movements: I.
Invocation of the Muse -
II. Sunrise in Copacabana
- III. The Iguazu Falls -
IV. Rio Carnival. The
work was written for
professional ensembles
and will have its
premiere in Szeged on
April 16, 2010, performed
by the Concert Wind
Ensemble of the Faculty
of Music of Szeged
University, conducted by
József
Csikota.
Der
weltweit bekannte
ungarische Komponist,
Kamilló Lendvay
(*1928), komponierte
neben Opern, Oratorien,
Kantaten, Symphonien und
Konzerten, Kammermusik
und seinen Werken für
Soloinstrumente, eine
große Anzahl an
Stücken für
Bläserensembles. Die
2007-2008 entstandene
Bläser-Symphonie ist
vier-sätzig: I.
Invokation zu den Musen -
II. Sonnenaufgang an der
Copacabana - III. Die
Iguazu-Wasserfälle -
IV. Karneval in Rio. Das
Werk wurde für
professionelle Ensembles
komponiert, seine
Uraufführung findet am
16. April 2010 in Szeged
statt. Mitwirkende:
Bläserorchester der
Musikalischen Fakultät
der Universität der
Wissenschaften Szeged,
unter der Leitung von
József
Csikota.
Conosciuto in
tutto il mondo, il
compositore ungherese
Kamillo Lendvay (1928),
ha composto, accanto ad
opere, oratori, sonate,
sinfonie, concerti,
musica da camera e pezzi
per strumenti solistici,
un importante numero di
brani per ensemble di fi
ati. La sua sinfonia per
sei fiati composta tra il
2007 e il 2008, è
costituita da quattro
movimenti.
Clarinet and Piano - very difficult SKU: BT.DHP-1165740-401 For Solo B...(+)
Clarinet and Piano - very
difficult
SKU:
BT.DHP-1165740-401
For Solo Bb Clarinet
and Piano. Composed
by Jan Van der Roost. De
Haske Clarinet Series.
Book and Part(s).
Composed 2016. 36 pages.
De Haske Publications
#DHP 1165740-401.
Published by De Haske
Publications
(BT.DHP-1165740-401).
Violin SKU: BT.EMBZ2441 Composed by Jozsef Bloch. EMB Music Lesson - Exer...(+)
Violin
SKU:
BT.EMBZ2441
Composed
by Jozsef Bloch. EMB
Music Lesson - Exercises,
Studies. Studies &
Exercises. Book Only.
Composed 1957. 12 pages.
Editio Musica Budapest
#EMBZ2441. Published by
Editio Musica Budapest
(BT.EMBZ2441).
Der
gebürtige Ungar
Joseph Bloch
(1917-29) war ein
gefeierter amerikanischer
Konzertsolist und viele
Jahre lang Professor
für Klavier an der
renommierten Juillard
School in New York. Neben
mehreren Schulwerken
hinterließ er auch
diese viel verwendeteten
Fingerübungen.
Mixed Choir and Orchestra SKU: BT.EMBZ6098 Piano Reduction. By Imr...(+)
Mixed Choir and Orchestra
SKU: BT.EMBZ6098
Piano Reduction.
By Imre Sulyok. By Franz
Liszt. Mass. Piano
Reduction. Composed 1970.
80 pages. Editio Musica
Budapest #EMBZ6098.
Published by Editio
Musica Budapest
(BT.EMBZ6098).