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Concerto Grosso for timpani, obbligato trumpet and string orchestra
RSN:
57414
|
Composition Date:
1987
|
Revision Date:
2014
|
Duration:
00:12:00
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Library Record
Programme Notes
Copies
Cataloguing Information
Call Number
MI 1640 B136con
Genre
Orchestra / Large Ensembles, String Orchestra With Soloist, Percussion Soloist
Material Type
Print-music
Acquisition Date
2007-03-22
Preview
Additional Information
There is also a version for timpani, obbligato trumpet and 13 strings. I. Allegro-Sonata -- II. Serenata -- III. Toccata
Master Location
Toronto
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Purchase
Printed copies of this title are available from
Éditions Lucian Badian Editions
. Please contact the publisher directly.
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to purchase this work online.
Physical Description
Found 3 record(s)
Available Actions
Extent of Item
1 solo part (11 p.);
6 parts
1 score (65 p.);
Instrumentation
Daniels Instrumentation
Soloists: Trumpet, Timpani - pf - str
Found 5 record(s)
Available Actions
Set No.
Category
Instrument
Number
29154
Percussion
Timpani
1
29154
Brass
Trumpet
1
29154
Larger ensemble
String orchestra
1
50052
Percussion
Timpani
1
50052
Keyboard
Piano
1
Divided
No
Solo
Yes
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Premiere
25 February 1999, Radio concert recording, Bucharest, Romania Cristian Balea, timpani; Ilie Dornescu, trumpet; The Romanian Radio Chamber Orchestra; Ludovic Bacs, conductor.
See Also
55266, Concerto Grosso, AR2231, Maya Badian, 00:12:34
69929, Concerto Grosso for timpani, obbligato trumpet and thirteen strings, MI 1640 B136co, Maya Badian, 00:12:00
CONCERTO GROSSO for Four Timpani, Obbligato Trumpet and String Orchestra is acknowledged, with Maya Badian's Concerto for Marimba and Vibraphone, and her Guitar Concerto, as the first composition ever composed for this specific combination of instruments in Romanian music history. The three-movement work, I. - Allegro-Sonata; II. - Serenata; III. - Toccata –, in concerto grosso style, presents the timpani and trumpet as the concertino, while the strings performing the role of the tutti. Allegro-Sonata, the first movement, emphasizes the technical development of an initial rhythmic motive, announced by the timpani. This rhythmic motive is transformed and used in both the solo parts and in the accompanying strings. Serenata, the second movement, is a reflection of the Romantic period, containing a rich theme simply presented, in a few bars, by the strings. In this movement, the only contribution of the solo timpani comes in an abstract and unusual glissando passage. Toccata, the third et final movement, is totally modern in concept. Glissandi, formally given to the timpani, now become aleatoric material for strings. The timpani present brief elements of the thematic material, surprisingly combined with a vox vagans (trumpet). This voice independently "sings" above the concertino and tutti to finally introduce unexpected jazz elements. As unification, at the very end, the timpani return to reflect on the initial motive. After his performance of the original score, Maestro Eric Paetkau wrote on the Concerto Grosso, “Although Maya Badian’s CONCERTO GROSSO for Timpani and Obbligato Trumpet was written in the 1980’s, there is a strong connection between this exciting work and the various musical periods of the past 300 years. The name itself, concerto grosso, is an orchestral Baroque form in which a soloist or small group of soloists swap material with the larger group of musicians that surround them. The opening motif of Sonata, the first movement is also reminiscent of what a 17th or 18th C timpanist would typically do - play two drums tuned to the tonic and dominant of the piece’s key. But Badian cleverly views the movement’s baroque and classical themes through a modern lens and leads us on a journey far beyond those constraints. Having passed through the 17th and 18th centuries, the second movement puts us in the heart of the Romantic period. The lush, strings-only main theme accompanied by its lyrical counterparts speaks to the 19th C sensibility of intertwining long, emotionally charged lines to produce a warm, rich but tender texture. The soloist takes a backseat here by subtly enhancing the texture with a quiet tremolo that enters only half way through. The third movement blasts into the 20th C with a highly charged dance-infused theme that leaves us breathless. Combine that with modern timpani techniques such as pedaling, string glissandi and col legno, and a soaring trumpet solo that hints of Latin influence, and we have a finish to a concerto that spans at least 300 years of music and all of its fascinating styles. Badian’s Concerto Grosso is a wonderful piece that crosses so many musical styles but still retains a distinct 'Badian' sound and feel.” - Eric Paetkau, conductor.
CONCERTO GROSSO pour quatre timbales, trompette obbligato et orchestre à cordes est reconnu, avec le Concerto pour marimba et vibraphone de Maya Badian, et son Concerto pour guitare, comme la première composition jamais composée pour cette combinaison spécifique des instruments dans l'histoire de la musique roumaine. Les trois mouvements, I. - Allegro-Sonata; II. - Serenata; III. - Toccata -, dans le style du concerto grosso, présentent la timbale et la trompette comme le concertino, tandis que les cordes jouent le rôle du tutti. Allegro-Sonata, le premier mouvement, met l'accent sur le développement technique d'un motif rythmique initial, annoncé par les timbales. Ce motif rythmique est transformé et utilisé dans les deux parties solistes, et aussi dans les cordes accompagnant. Serenata, le deuxième mouvement, est un reflet de la période romantique, contenant un thème riche présenté par les cordes, tout simplement, en quelques bars. Dans ce mouvement, la seule contribution des timbales solo est un passage de glissando abstrait et inhabituel. Toccata, le mouvement troisième et final, est totalement moderne dans son concept. Des glissandi, formellement donnés aux timbales, deviennent maintenant matériau aléatoire pour les cordes. Les timbales présentent de brèves éléments du matériau thématique, étonnamment combinés avec un vox vagans (trompette). Cette voix "chante" indépendamment au-dessus du concertino et tutti pour, finalement, introduire des éléments de jazz inattendus. Comme unification, à la fin, les timbales retournent à réfléchir sur le motif initial.
Found 2 record(s)
Available Actions
CMC Location
Barcode
Copy Status
Circulation Status
Number of Copies
Toronto
01TO57414
In Circulation
-
1
Montréal
01MO57414
In Circulation
-
1
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