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Cinco Preludios for clarinet, violin, viola and piano, op.101
RSN:
67190
|
Composition Date:
2006
|
Revision Date:
N/A
|
Duration:
00:10:10
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Library Record
Programme Notes
Copies
Cataloguing Information
Call Number
MI 8415 H434cin
Genre
Mixed Quartets, Woodwind(s) / Keyboard(s) / Bowed String(s)
Material Type
Print-music
Acquisition Date
2013-01-11
Library Collection Publisher / Label
Unpublished, printed by CMC / Inédit, imprimé par le CMC
Preview
Additional Information
1. Paean: Un Mandamiento Nuevo (II)
2. Canción de Cuaresma: Perdón, Señor
3. Villancico: Alegría
4. Arietta: Un Mandamiento Nuevo (V)
5. Salida: Te den Gracias
Master Location
Toronto
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Physical Description
Found 2 record(s)
Available Actions
Extent of Item
4 parts ([34] p.) ;
1 score (22 p.) ;
Instrumentation
Found 4 record(s)
Available Actions
Set No.
Category
Instrument
Number
43836
Woodwinds
Clarinet
1
43836
Strings, bowed
Violin
1
43836
Strings, bowed
Viola
1
43836
Keyboard
Piano
1
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
My first work to be based on traditional Latino religious music was a set of twenty-one choral preludes for organ, composed during 1998 - 1999 and based largely, but not exclusively, on Spanish, Caribbean and Mexican folk hymns. Since that time I have arranged various groupings of these preludes for different combinations including violin and organ; flute, clarinet, trombone, percussion, piano, violin, and cello; string orchestra; and wind band. The Cinco Preludios makes use of two of those organ preludes (movements 1 & 3); the remaining three being written in January 2006. The opening Paean is one of a number of settings I've made based on the Spanish hymn Un Mandamiento Nuevo, which I first heard sung in the beautiful convent church of San Jose in San Juan. Much use is made of chordal bi-tonality between the high and low registers, which contrast with thinner verse sections. The form, as in many Latino folk hymns, is that of chorus/verse/chorus. The Cancion which follows, is an arrangement of the penitential Lenten hymn Perdon, Senor, and uses a traditional Habanera rhythmic pattern in the piano accompaniment. The melody, which is played by the clarinet, violin and viola in turn, is much ornamented, somewhat in the manner of Andalusian music. The next movement, Villancico is built on Alegria, alegria, alegria, a Christmas song from Puerto Rico, which I first heard sung in a Franciscan church in Spanish Harlem. The violin and viola use the traditional latino device of playing the melody largely in thirds. The overall form is verse/ chorus, verse/ chorus - the movement ends with a flourish. The fourth movement, Arietta is another setting of Un Manda.miento Nuevo. This time the melody is little changed, is played at first by the clarinet, then by the violin which plays the verse (considerably lengthened), and finally at the return of the chorus, by the clarinet, violin and viola in triple octaves while the piano supplies the accompaniment; again much use is made of bi-tonality. The group ends with a very fast movement Salida, constructed on Te den Graclas, a hymn often sung as a recessional, the melody of which is first played by the violin and viola in unlson, while the the clarlnet and plano supply an actlve drone accompaniment. The movement's character is similar to that of a rapid Tarantella-like dance.
Found 20 record(s)
1
2
Available Actions
CMC Location
Barcode
Copy Status
Circulation Status
Number of Copies
Montréal
04MO67190
In Circulation
-
1
Toronto
05TO67190
In Circulation
-
1
Toronto
04TO67190
In Circulation
-
1
Toronto
01TO67190
In Circulation
-
1
Calgary
03CA67190
In Circulation
-
1
Toronto
03TO67190
In Circulation
-
1
Vancouver
04VA67190
In Circulation
-
1
Calgary
01CA67190
In Circulation
-
1
Calgary
05CA67190
In Circulation
-
1
Vancouver
02VA67190
In Circulation
-
1
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