Notis $75.00

Oriģināls

Interplay for Piano 4-Hands & Orchestra. David Gillingham. Bass Trombone sheet music. C Trumpet sheet music. Double Bass sheet music. Horn sheet music. Percussion sheet music. Piano Solo sheet music. Timpani sheet music. Tuba sheet music. Xylophone sheet music.

Tulkojums

Interplay klavierēm 4-Hands. David Gillingham. Bass trombonu notis. C Trompete notis. Double Bass notis. Horn notis. Perkusijas notis. Piano Solo notis. Timpāni notis. Tuba notis. Ksilofons notis.

Oriģināls

Interplay for Piano 4-Hands & Orchestra composed by David Gillingham. Arranged by Dennis Wright. Piano, 4-hands and Orchestra. For Soloist. with Full Orchestra. Solo Piano Primo, Solo Piano Secondo, Piccolo, Flute 1. 2, Oboe 1. 2, A Clarinet 1. 2, Bassoon 1. 2, F Horn 1. 2, F Horn 3. 4, C Trumpet 1-3, Trombone 1-2, Bass Trombone, Tuba, Violin I, Violin 2, Viola, Cello, Double Bass, Timpani, Percussion 1. xylophone, bel. Score only. Duration 9. 30. Published by C. Alan Publications. CN.06191. A flashy exchange between pianists and orchestra in a concertato style. Introduction of the first theme is spirited and rhythmically alive while the ensuing second theme is quite lyrical. Jazz-like episodes punctuate different sections of this work. Interplay for Piano Four Hands and Orchestra was written with the intent of increasing the repertoire for the unique combination of piano four hands and orchestra. The motivation for the creation of this work came as the result of an invitation to become part of the Master Musicians Collective orchestral recording project in 1994. Having written extensively for winds and percussion, I was intrigued by the thought of writing my first orchestra work. After committing to the project, my decision to use the piano as a solo instrument with the orchestra came from the inspiration of Central Michigan University duo pianists Ruth Neville and Daniel Koppelman, who comprise duo rudenako. Interplay is cast in one movement in a rather free sonata design with part of the development section being in a slow tempo and in a quasi-rhapsodic style. As the title implies, the work is an exchange or "interplay" between the pianists and the orchestra in a flashy, concertato style. The work begins in a fast tempo with the piano primo playing a six-note ostinato pattern which is the foundation of all thematic and motivic material found in the work. Accompanying the piano are strongly accented pitch-dense chords in the orchestra. This culminates with a cadenza-like passage by both pianists that is followed by the first theme. The first theme is spirited and rhythmically alive and is based on the opening ostinato. A short episode follows after which there is a return of the first theme. In direct contrast to the first theme, the ensuing second theme is lyrical and based on the first three notes of the six-note ostinato and is presented by piano primo accompanied by harp-like passages in the piano secondo. A codetta in the low brass closes the exposition. The development begins with a jazz-like episode in both piano parts complete with a "walking" contra bass and drum set line. A short piano cadenza bridges to another episode, somewhat similar to the first, but more strident and intense and accompanied by bongos, toms, and bass drum. This segues into an ostinato pattern above which remnants of the first theme return in the horns and trumpets, bring the fast section to a dramatic conclusion. A slow and mysterious section follows. Piano primo dominates in this section, beginning with quick figurations based on motivic material accompanied by rolled marimba chords and "swishing" vibraphone. This develops into a presentation of first theme material in augmentation accompanied by a pandiatonic ostinato in the piano primo and cascading woodwinds. A brass fanfare announces a cadenza passage by the primo piano and secondo which accelerates, but quickly returns to the slow tempo with short solo passages by the oboe, flute, and clarinet. A retransition by piano primo and secondo at tempo primo follows, reminiscent of the jazz episode at the development's beginning. The return of the first theme is literal but is now followed by a new bridge which links to the second theme, now played by the violins. An extended coda brings the work to a rousing close.

Tulkojums

Saspēle klavierēm 4-Hands. Organizēja Dennis Wright. Klavieres, 4-roku un orķestris. Solistu. ar pilnu orķestri. Tikai pirmais stāvs, otrais stāvs Tikai maza, flauta 1. 2, oboja 1. 2, Klarnete 1. 2, Fagots 1. 2, F Horn 1. 2, F Horn 3. 4, C trompete 1-3, trombonu 1-2, Bass trombonu, tuba, vijole I vijole 2, Viola, Cello, Double Bass, Timpani, Percussion 1. ksilofons, bel. Score tikai. Ilgums 9. 30. Publicējusi C. Alan publikāciju. CN.06191. Bezgaumīgs apmaiņa starp pianistiem un orķestrim ar concertato stilā. Ievads pirmā tēma ir enerģisks un ritmiski dzīvs, bet sekojošā otrā tēma ir ļoti liriska. Džeza līdzīgi gadījumi punktveida dažādas rubrikas šo darbu. Interplay klavierēm četrrocīgi un orķestri tika rakstīts ar nolūku palielināt repertuāru par unikālu kombināciju klavierēm četrrocīgi un orķestrim. Izveidot šo darba motivācija nāca kā rezultātā uzaicinājumu kļūt par daļu no Master Musicians Collective orķestra ieraksta projekta 1994.gadā. Kam daudz rakstījusi par vējiem un sitaminstrumentiem, man bija intrigued ar domu, rakstot savu pirmo orķestra darbu. Pēc apņemoties projektu, mans lēmums izmantot klavieres, kā solo instruments ar orķestri nāca no iedvesmu Central Michigan University duets pianistu Ruth Nevils un Daniel Koppelman, kas veido duets rudenako. Mijiedarbība tiek nodotas vienam kustības diezgan brīvā sonātes dizains ar daļu no attīstības nodaļas pagaidām lēni tempo un kvazi-nesakarīgs stilā. Kā nosaukums nozīmē, darbs ir apmaiņas vai "saspēle" starp pianistiem un orķestri, kas ir bezgaumīgs, concertato stils. Darbs sākas strauji tempu ar klavieru primo spēlējot sešu piezīmi ostinato modelis, kas ir pamats visu tematisko un motivic materiālu atrodams darbā. Pievienotajā klavieres ir ļoti akcentēts piķi blīvs akordus orķestrī. Tas noslēdzas ar Cadenza līdzīgu fragmenta abu pianistiem, kas seko pirmajai tēmu. Pirmā tēma ir enerģisks un ritmiski dzīvs un ir balstīta uz atklāšanas ostinato. Īsa epizode seko pēc kura ir atgriešanās no pirmās tēmas. Tiešs pretstats pirmajam tēmu, sekojošā otrā tēma ir liriska un pamatojoties uz pirmajiem trim piezīmēm sešu piezīmju ostinato un ir iesniegusi klavieru primo kopā ar Grenlandes līdzīgu fragmentiem klavieru Secondo. Codetta ar zemu misiņa aizver ekspozīcija. Attīstība sākas ar džeza līdzīgu epizodi gan klavieru daļās komplektā ar "Walking" contra bass un bungas līniju. Īsa klavieres kadence tilti uz citu epizodi, nedaudz līdzīgs pirmajam, bet vairāk skaļš un intensīvu un kopā ar bongos, Toms un bass bungas. Šis segues stājas ostinato modeli, kuru pārsniedzot paliekas pirmā tēma atgriešanās ragiem un taurēm, panāktu ātru sadaļu uz dramatisku noslēgšanu. Lēna un noslēpumains sadaļā seko. Klavieres primo dominē šajā sadaļā, sākot ar ātru figurations balstoties uz motivic materiālu kopā ar velmējumu marimbai akordus un "swishing" vibraphone. Tas attīsta prezentācijā pirmā tēma materiāla palielināšanu pievienots pandiatonic ostinato ar klavieru primo un kaskādes woodwinds. Misiņa fanfara izsludina kadence fragmentu, ko veic primo klavierēm un secondo kas paātrina, bet ātri atgriežas lēno tempu ar īsu solo fragmentiem ar obojai, flautai un klarnetei. Retransition klavieru primo un secondo pie tempo primo izriet, atgādina džeza epizode ir attīstības ir sākuma. Pirmā tēma atgriešanās ir burtiska, bet tagad seko jaunu tiltu, kas savieno uz otro tēmu, kas tagad spēlē ar vijoles. Pagarināja CODA nes darbu iedvesmojošs noslēgumam.