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Izvornik

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.

Prijevod

Interplay za glasovir 4-ruke. David Gillingham. Bas Trombon note. C Truba note. Kontrabas note. Horn note. Udaraljke note. Piano Solo note. Timpani note. Tuba note. Ksilofon note.

Izvornik

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.

Prijevod

Interplay za glasovir 4-ruke. Raspored po Dennis Wright. Klavir, 4-ruke i orkestar. Za solist. Full orkestar. Samo prvi kat, drugi kat Samo, Mali, frula 1. 2, obou 1. 2, Klarinet 1. 2, fagot 1. 2, F Horn 1. 2, F Horn 3. 4, C Truba 1-3, 1-2 Trombon, Bas Trombon, tuba, violina sam, violina 2, Viola, violončelo, kontrabas, Timpani, udaraljke 1. ksilofon, bel. Postići samo. Trajanje 9. 30. Objavljeno C. Alan Publikacije. CN.06191. Šaren razmjena između pijanista i orkestar u concertato stilu. Uvođenje prve teme je duhovit i ritmički živ dok uslijedila druga tema je vrlo lirski. Jazz poput epizode punktirati različite dijelove tog posla. Interplay za glasovir četveroručno i orkestar je napisana s namjerom povećanja repertoar za jedinstvenom kombinacijom klavir četiri ruke i orkestar. Motivacija za izradu ovog rada je došao kao rezultat poziv da postane dio glazbene majstore Kolektivnog orkestralnom projektu snimanja 1994. Nakon što je pisao za vjetrove i udaraljke, bio sam zaintrigirana mišlju o pisanju moj prvi orkestar rad. Nakon što je počinio na projektu, moja odluka za korištenje klavir kao solo instrument s orkestrom došao iz nadahnućem Central Michigan University duo pijanista Ruth Neville i Daniel Koppelman, koji čine duo rudenako. Djelovanje se baci u jednom pokretu u prilično slobodnoj sonatnoga dizajn s dijelom dijelu razvoja koji se u sporom tempu i kvazi-raspjevanih stilu. Kao što naslov kaže, posao je razmjena ili "uzajamno" između pijanista i orkestar u jeftin, concertato stilu. Počinje raditi u brzim tempom s klavira primo svira šest bilješku ostinantni uzorak koji je temelj svakog tematskog i motivičku materijala naći u djelu. Prateći klavir snažno su naglašene travnjak gusta akorde u orkestru. To kulminira s Cadenza poput prolaska oba pijanista koji slijedi prve teme. Prva tema je duhovit i ritmički živa, a temelji se na otvaranju ostinato. Kratka epizoda slijedi nakon čega je povratak prve teme. U izravnoj suprotnosti s prvom temom, uslijedila druga tema lirsko i temelji se na prve tri note na šest bilješku ostinato te je predstavio piano primo pratnji harfu poput prolaza u piano Secondo. Codetta u niskom mjedi zatvara izlaganje. Razvoj započinje s jazz-kao epizodu u oba dijela glasovir u kompletu sa "hoda" contra bas i bubanj set linije. Kratak piano Cadenza mostovi na drugom događaju, nešto slično prvi, ali više gromki i intenzivne i uz pratnju bongosi, simptoma, i bas bubnju. Ovaj segues u ostinantni uzorak iznad kojeg ostaci prve teme povratka u rogovima i trubama, donijeti brzo odjeljak dramatičnog zaključka. Spor i tajanstvena poglavlje slijedi. Klavir primo dominira u ovom poglavlju, počevši s brzim figuracije na temelju motivičku materijala pratnji valjanih marimbu akorde i "swishing" vibrafon. To se razvija u predstavljanju prvog tematskog materijala u povećanje pratnji pandiatonic ostinato u piano primo i kaskadno woodwinds. Brass fanfare najavljuje Cadenza prolaz strane Primo glasovir i secondo koji ubrzava, ali se brzo vrati u usporenim tempom s kratkim solo prolaza po oboa, flauta, klarinet i. Retransition glasovirsku primo i secondo na tempo primo slijedi, podsjeća na jazz epizoda u razvoju u početku. Povratak prve teme je doslovan, ali se sada slijedi novi most koji povezuje na drugoj temi, sad glumi violina. Proširena coda donosi rad na uzbudljive kraju.