Bladmusiek $75.00

Oorspronklik

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.

Vertaling

Wisselwerking vir Klavier 4-Hands. David Gillingham. Bastrombone bladmusiek. C Trumpet bladmusiek. Double Bass bladmusiek. Horn bladmusiek. Perkussie bladmusiek. Piano Solo bladmusiek. Timpani bladmusiek. Tuba bladmusiek. Xylophone bladmusiek.

Oorspronklik

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.

Vertaling

Wisselwerking vir Klavier 4-Hands. Gereël deur Dennis Wright. Klavier, 4-hande en Orkes. Vir solis. met volle orkes. Slegs die eerste verdieping, Tweede verdieping, klein, fluit 1. 2, Oboe 1. 2, 'n klarinet 1. 2, fagot 1. 2, F Horn 1. 2, F Horn 3. 4, C Trumpet 1-3, 1-2 Trombone, Bass tromboon, tuba, viool ek, viool 2, altviool, tjello, kontrabas, Timpani, Percussion 1. xilofoon, bel. Telling net. Duur 9. 30. Gepubliseer deur C. Alan Publications. CN.06191. 'N flitsende uitruiling tussen pianiste en orkes in 'n concertato styl. Bekendstelling van die eerste tema is begeesterde en ritmies lewe, terwyl die daaropvolgende tweede tema is baie liriese. Jazz-agtige episodes wending verskillende afdelings van die werk. Wisselwerking for Piano Four Hands en orkes geskryf is met die bedoeling van die verhoging van die repertoire vir die unieke kombinasie van klavier vier hande en orkes. Die motivering vir die skepping van die werk gekom het as gevolg van 'n uitnodiging om deel van die Meester Musikante Collective orkes opname projek betrokke te raak in 1994. Nadat geskryf omvattend vir wind en perkussie, was ek gefassineer deur die gedagte van die skryf van my eerste orkes werk. Na die pleeg van die projek, my besluit om die klavier as 'n solo-instrument met die orkes te gebruik het gekom van die inspirasie van Sentraal-Michigan Universiteit duo pianiste Ruth Neville en Daniel Elman, wat duo rudenako bestaan. Wisselwerking is in een beweging gewerp in 'n taamlik vry Sonate ontwerp met 'n gedeelte van die ontwikkeling afdeling om in 'n stadige tempo en in 'n kwasi-rhapsodiese styl. Soos die titel impliseer, die werk is 'n beurs of "wisselwerking" tussen die pianiste en die orkes in 'n flitsende, concertato styl. Die werk begin in 'n vinnige tempo met die klavier Primo speel 'n ses-noot ostinato patroon wat die grondslag van alle tematiese en motiefiese materiaal wat in die werk. Die klavier gepaardgaande sterk aksent steek-digte akkoorde in die orkes. Die hoogtepunt met 'n cadenza-agtige gedeelte deur beide pianiste wat gevolg word deur die eerste tema. Die eerste tema is begeesterde en ritmies lewendig en is gebaseer op die opening ostinato. 'N Kort episode volg waarna daar 'n terugkeer van die eerste tema. In direkte teenstelling met die eerste tema, die daaropvolgende tweede tema is liries en gebaseer op die eerste drie note van die ses-noot ostinato en word aangebied deur klavier Primo vergesel deur harp-agtige gange in die klavier secondo. 'N Kodetta in die lae koper sluit die uiteensetting. Die ontwikkeling begin met 'n jazz-agtige episode in beide klavier dele kompleet met 'n "loop" kontra bas en drom stel lyn. 'N Kort klavier cadenza brûe na 'n ander episode, ietwat soortgelyk aan die eerste, maar meer kras en intense en vergesel deur bongos, toms, en bas drom. Dit segues in 'n ostinato patroon hierbo wat oorblyfsels van die eerste tema terugkeer in die horings en trompette, bring die vinnige deel aan 'n dramatiese afsluiting. 'N stadige en geheimsinnige artikel volg. Piano Primo oorheers in hierdie afdeling, wat begin met 'n vinnige figurations gebaseer op motiefiese materiaal vergesel deur gerol marimba akkoorde en "swiep" vibrafoon. Dit ontwikkel in 'n aanbieding van die eerste tema materiaal in aanvulling vergesel deur 'n pandiatonic ostinato in die klavier Primo en waterval houtblasers. 'N koper fanfare kondig 'n cadenza gang deur die Primo klavier en secondo wat versnel, maar vinnig terug na die stadige tempo met 'n kort solo gange deur die hobo, fluit, klarinet en. 'N retransition deur klavier Primo en secondo by tempo Primo volg, wat herinner aan die jazz episode op die ontwikkeling se begin. Die terugkeer van die eerste tema is letterlike, maar word nou gevolg deur 'n nuwe brug wat skakel na die tweede tema, wat nou gespeel deur die viole. 'N uitgebreide koda bring die werk aan 'n opruiende naby.