Second violin (2. Violin) SKU: BA.BA09505-75 Nach Ein Orgelstuck fur e...(+)
Second violin (2. Violin)
SKU: BA.BA09505-75
Nach Ein Orgelstuck
fur eine Uhr KV 608.
Composed by Wolfgang
Amadeus Mozart. Edited by
Christopher Hogwood.
Stapled. Nach Ein
Orgelstück für eine
Uhr KV 608. Single part.
Composed 1799. KV 608. 7
pages. Baerenreiter
Verlag #BA09505_75.
Published by Baerenreiter
Verlag (BA.BA09505-75).
ISBN 9790006533664.
32.5 x 25.5 cm inches.
Key: F minor.
First violin (1. Violin) SKU: BA.BA09505-74 Nach Ein Orgelstuck fur ei...(+)
First violin (1. Violin)
SKU: BA.BA09505-74
Nach Ein Orgelstuck
fur eine Uhr KV 608.
Composed by Wolfgang
Amadeus Mozart. Edited by
Christopher Hogwood.
Stapled. Nach Ein
Orgelstück für eine
Uhr KV 608. Single part.
Composed 1799. KV 608. 7
pages. Baerenreiter
Verlag #BA09505_74.
Published by Baerenreiter
Verlag (BA.BA09505-74).
ISBN 9790006533657.
32.5 x 25.5 cm inches.
Key: F minor.
(Mvt. 2 – Assez vif, Tres rythme arranged for mallet septet). Co...(+)
(Mvt. 2 –
Assez vif, Tres
rythme arranged for
mallet
septet). Composed by
Maurice
Ravel (1875-1937).
Arranged by
Stephen Primatic.
Percussion
Ensembles. For
Glockenspiel,
xylophone, vibraphone,
5-
octave marimba (low C,
shared), and two 4-octave
marimbas (7 players).
Difficulty: Advanced.
Folio &
CD-ROM. 20 pages.
Duration
6:15. Published by
Tapspace
Publications
SKU: HL.197539 Siam Oak Wood. IQ Plus. General Merchandise. Hal Le...(+)
SKU: HL.197539
Siam Oak Wood. IQ
Plus. General
Merchandise. Hal Leonard
#IQ-W052-00. Published by
Hal Leonard (HL.197539).
UPC: 888680646066.
4.0x10.5x0.985
inches.
Claves are
musical instruments of
Cuban origin. The first
claves used were on the
docks and shipyards of
Havana where simple
wooden pegs were clacked
together to accompany the
rhythms of songs played
by dock workers. The
claves functioned like
rhythmic guides to the
song; they began by
organizing the rhythmic
accompaniment of the
music. As time passed,
the amount of adapters of
the claves and performers
increased. Claves are
often used to play a
repeating rhythmic figure
throughout a piece and it
is also found in African
and Brazilian music. The
claves are used in
virtually all Cuban music
genres, and has since
been universalized.
Today, this instrument is
commonly used in many
musical genres. Children
can easily learn to play
our IQ Plus wooden claves
by simply strike one
stick against the other.
Holding the clave on top
of gripped fingers makes
the sound more clear.
This instrument will
teach children the basic
rhythmic patterns of any
type of music. Children
will enjoy exploring
different ways to play
them, holding them
differently, even tapping
them against the floor.
The claves do not have
specific pitches and the
resulting sounds may vary
while the instrument is
being played. Children
will learn how to
modulate sounds based on
where the clave is
struck. • A great
teaching tool to
introduce music to young
children, especially
about rhythms and the
basic beats to a musical
piece. • An
excellent interactive
classroom instrument for
students and teachers
• Made of
environmentally friendly
rubber wood or premium
rosewood •
Available in two sizes of
5″ and
7″.
Composed by Leo Nestor. For Soprano or Tenor solo, SATB choir, 2 obbligato Instr...(+)
Composed by Leo Nestor.
For Soprano or Tenor
solo, SATB choir, 2
obbligato Instruments
(Mixed Voices). Year C:
Epiphany of the Lord.
Epiphany, Christmas,
Services, Concerts, 20th
Century. Medium. Octavo.
Text Language: English.
Published by E.C.
Schirmer Publishing
34
Chorales. Composed by
Ernst Pepping. Stapled.
Singing Score. Composed
1954/1955. Baerenreiter
Verlag #BA02759_00.
Published by Baerenreiter
Verlag (BA.BA02759).
Composed by M. Orriss.
Flutets series. Score and
parts. Wonderful Winds
#OR004B. Published by
Wonderful Winds
(WN.OR004B).
ISBN ISMN
9790570743766.
1.7.
16 was commissioned by
The Hamilton Flute Band
to commemorate the 100th
anniversary of the Battle
of the Somme, and was
premiered in St
Columb’s Cathedral,
Londonderry on 1st July
2016. This new version
for flute choir was
written for The
Woodbridge Flute Choir,
Virginia, USA, in 2024.
The piece takes some of
its ideas from musical
elements already
connected to the story,
from the signalling bugle
calls that might have
been used in battle, to
hints of one of the March
tunes that the band still
use today. 794,628
lives were lost in the
Battle of the Somme, a
chilling statistic. These
numbers are also woven
into the music, colouring
the choices of intervals,
harmonies and chords, and
building the central
themes, including the
slow march to the
trenches, where the
uncomfortable
juxtaposition of 7ths and
9ths is used as a motif
over the solo flute theme
before the screeching
whistle signal to go over
the top. One of the
musical elements central
to the piece is the bugle
call for Assemble which
is used as an
enthusiastic call in the
opening, then to give
unity to the chilling
fear of the trenches on
the eve of the battle,
and finally to lead into
the Commemoration of the
final section, as those
in the Cathedral 100
years later became part
of the story as they
assembled to commemorate
the huge sacrifice
made.
Piano SKU: HL.48182068 The Buzzard, The Black Wheatear and the Curlew ...(+)
Piano
SKU:
HL.48182068
The
Buzzard, The Black
Wheatear and the Curlew
Piano. Composed by
Olivier Messiaen. Leduc.
Classical. Softcover. 24
pages. Alphonse Leduc
#AL22947. Published by
Alphonse Leduc
(HL.48182068).
Claves SKU: HL.755809 Rosewood. IQ Plus. Hal Leonard #IQ-W005-01. ...(+)
Claves
SKU:
HL.755809
Rosewood. IQ Plus.
Hal Leonard #IQ-W005-01.
Published by Hal Leonard
(HL.755809).
UPC:
888680091828.
4.0x10.5x1.02
inches.
Claves are
musical instruments of
Cuban origin. The first
claves used were on the
docks and shipyards of
Havana where simple
wooden pegs were clacked
together to accompany the
rhythms of songs played
by dock workers. The
claves functioned like
rhythmic guides to the
song; they began by
organizing the rhythmic
accompaniment of the
music. As time passed,
the amount of adapters of
the claves and performers
increased. Claves are
often used to play a
repeating rhythmic figure
throughout a piece and it
is also found in African
and Brazilian music. The
claves are used in
virtually all Cuban music
genres, and has since
been universalized.
Today, this instrument is
commonly used in many
musical genres. Children
can easily learn to play
our IQ Plus wooden claves
by simply strike one
stick against the other.
Holding the clave on top
of gripped fingers makes
the sound more clear.
This instrument will
teach children the basic
rhythmic patterns of any
type of music. Children
will enjoy exploring
different ways to play
them, holding them
differently, even tapping
them against the floor.
The claves do not have
specific pitches and the
resulting sounds may vary
while the instrument is
being played. Children
will learn how to
modulate sounds based on
where the clave is
struck.
Piano Accompaniment; Violin (Violin/Piano) SKU: HL.51481164 For Violin...(+)
Piano Accompaniment;
Violin (Violin/Piano)
SKU: HL.51481164
For Violin and
Piano. Composed by
Edvard Grieg. Edited by
Egon Voss, Einar
Steen-Nö, and kleberg.
Henle Music Folios.
Classical. Softcover. 222
pages. G. Henle #HN1164.
Published by G. Henle
(HL.51481164).
UPC:
196288215875.
9.25x12.0x0.7
inches.
Grieg's
violin sonatas are a firm
staple of violin
repertoire and are
popular with amateurs and
professionals alike. G.
Henle Publishers takes
this into account with a
practical single-volume
edition of the three
sonatas. Thus, you are
simply spoilt for choice
as to whether you prefer
the youthful zest of the
first, the
Nordic-folkloristic charm
of the second or the
mature drama of the third
sonata. The opulent
volume is rounded off by
a small piece that is
ideal as an encore: a
march from Grieg's
incidental music to
Sigurd Jorsalfar, which
the composer himself
arranged for violin and
piano. Therefore, this
Henle Urtext edition
actually offers
GriegÂs complete
oeuvre for this
instrumentation â a
âmust-haveâ for
all fans of the great
Nordic melodist.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the workÂ
Critical Commentary
in 1 â 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisionsÂ
most beautiful music
engravingÂ
page-turns, fold-out
pages, and cues where you
need themÂ
excellent print
quality and
bindingÂ
largest Urtext
catalogue
world-wideÂ
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Your passport to a new world of music. By Pete Sweeney. For Drum. Percussion - M...(+)
Your passport to a new
world of music. By Pete
Sweeney. For Drum.
Percussion -
Miscellaneous Educational
Books and Manuals. Drum
Atlas. Multicultural.
Book & CD. 48 pages.
Published by Alfred
Publishing.
First flute, second flute (flute-picc), 2 oboes, first clarinet, clarinet-Ialto ...(+)
First flute, second flute
(flute-picc), 2 oboes,
first clarinet,
clarinet-Ialto second
voice, 2 bassoons, 3
horn, 2 trumpets, 3
trombones, trombone, Tri,
timpani (1. Flute, 2.
Flute (Piccolo flute),
Oboes (2), 1. Clarinet,
2. Clarinet (in A),
Bassoons (2), Horns (3),
Trumpets (2), Trombones
(3), Tuba, Triangle,
Timpani)
SKU:
BA.BA09045-65
Composed by Antonin
Dvorak. Edited by
Jonathan Del Mar. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Set of wind
parts. Opus 104.
11/7/12/7/11/8/8/8/7/6/7/
4/4/4/4/4/4/1/6 pages.
Duration 37 minutes.
Baerenreiter Verlag
#BA09045_65. Published by
Baerenreiter Verlag
(BA.BA09045-65).
ISBN
9790006537655. 32.5 x
25.5 cm inches. Key: B
minor.
Like every
other great 19th-century
solo concerto, Dvorak's
famous Cello Concerto was
a collaboration between
composer and virtuoso. It
has long been known that
certain solo passages in
Dvorak's autograph score
were actually written by
the cellist Hanus Wihan;
but Barenreiter's edition
now reveals that some
details in the orchestral
parts are also in his
writing, showing just how
closely the two musicians
were working
together.
The
editor Jonathan Del Mar
has painstakingly
examined all the
surviving sources,
including two that have
hitherto been either
ignored or crucially
undervalued, in order to
produce an authoritative
edition which restores -
for the first time since
the original edition was
published in 1896 -
Dvorak's final and
definitive version of the
solo cello part. This
differs, in details, in
almost every bar from the
version found in all
other modern editions,
while hundreds of
corrections have also
been made to the
orchestral
parts.
* With
Dvorak's final and
definitive version of the
solo cello part * With
hundreds of corrections
in the solo cello part as
well as the orchestral
parts * With hitherto
unknown details regarding
the collaboration between
Dvorak and Wihan *
With Dvorak's original
piano reduction * With
Feuermann's and Casals'
alternatives to a passage
in the first
movement.
Choral (Orchestra Accompaniment) SKU: HL.35029012 Composed by Joseph M. M...(+)
Choral (Orchestra
Accompaniment)
SKU:
HL.35029012
Composed
by Joseph M. Martin.
Choral. Concert, Easter,
Memorial, Patriotic.
CD-ROM, Score and Parts.
Published by Shawnee
Press (HL.35029012).
UPC: 884088906573. 5x5
inches.
Uses: Funeral, Memorial,
Patriotic,
Concert
Scriptu
re: Matthew 5:4; I
Thessalonians 4:14-17;
Romans 14:7-9
The
celebrated text,
“Do not stand at my
grave and weep” is
emotionally arranged into
a concert work of grief
and tears, hope and joy.
A lonely and longing
violin melds with a rich
and moving piano
accompaniment. The piece
begins quietly, builds
with intensity, and sings
into silence with the
text, “I am not
there. I did not
die.” Presented for
the first time with full
orchestra. Available
separately: SATB,
PianoTrax CD, StudioTrax
CD (Accomp., SplitTrax,
Perf.), Orchestration
(Score & Parts for Flt
1&2, Oboe, Clarinet 1&2,
Bassoon, Horn 1&2, Tpt 1,
Tpt 2&3, Tbone 1&2, Bass
Tbone/Tuba, Timp, Perc
1&2, Harp, Piano, Vln
1&2, Viola, Cello, Double
Bass).
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Set of wind
parts. Opus 78.
14/12/10/12/12/10/12/11/7
/12/10/4/7/8/8/8/8/8/7
pages. Baerenreiter
Verlag #BA07896_65.
Published by Baerenreiter
Verlag (BA.BA07896-65).
ISBN 9790006563418.
32.5 x 25.5 cm inches.
Key: C minor.
In
this work I gave
everything I had to give.
[...] What I did here I
will never do
again. Camille
Saint-Saens was
justifiably proud of his
Symphony No. 3 in C minor
op. 78, dedicated to the
memory of Franz Liszt.
Like Beethoven's Ninth,
this so-called Organ
Symphony was commissioned
by the Philharmonic
Society in London, where
it received its premiere
on 19 May
1886.
In this
first scholarly-critical
edition of the symphony,
a great many
inconsistencies and
mistakes inherent in the
previously used edition
have been unveiled and
corrected.
The
edition of Symphony No. 3
marks the launch of a
large-scale project: the
publication of Camille
Saint-Saens - Complete
Edition of the
Instrumental Works. This
performing Urtext edition
is based on volume BA
10303 from that
series.
* First
scholarly-critical
edition of this famous
symphony based on Camille
Saint-Saens aEUR Complete
Edition of the
Instrumental Works *
Now with separate parts
for all winds *
Orchestral parts in a
large format (25.5 cm x
32.5 cm).
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Composed by Oskar Reiding. Edited by Kurt Sassmannshaus. Stapled. Barenrei...(+)
Composed by Oskar
Reiding.
Edited by Kurt
Sassmannshaus. Stapled.
Barenreiter's
Concert
Pieces. Piano reduction,
part(s). 7/15 pages.
Baerenreiter Verlag #BA
10697. Published by
Baerenreiter Verlag
7
Lieder für Chor oder
Solostimmen, teilweise
mit Basso continuo.
Composed by Johann
Hermann Schein. Edited by
Marianne Helms and
Siegmund Helms. This
edition: urtext edition.
Stapled. Chor-Archiv. Aus
Studentenschmaus und
Venuskränzlein. Choral
score, anthology.
Baerenreiter Verlag
#BA06227_00. Published by
Baerenreiter Verlag
(BA.BA06227).
ISBN
9790006477234.
7
Lieder fur Chor oder
Solostimmen, teilweise
mit Basso continuo aus
Studentenschmaus und
Venuskranzlein
Print
on demand (POD).
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Piano SKU: BA.BA06384 Klavierbegleitungen zu 10 bekannten Chorsätze...(+)
Piano
SKU:
BA.BA06384
Klavierbegleitungen zu
10 bekannten
Chorsätzen Friedrich
Silchers in der Sammlung
Vierstimmige Volkslieder
(BA 6378). Composed
by Hermann Kahlenbach.
Stapled. Performance
score. Baerenreiter
Verlag #BA06384_00.
Published by Baerenreiter
Verlag (BA.BA06384).
ISBN 9790006478873. 24
x 17 cm
inches.
Klavierbegl
eitungen zu 10 bekannten
Chorsatzen Friedrich
Silchers in der Sammlung
Vierstimmige Volkslieder
(BA 6378).
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