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Izvornik

Chamber Symphony No. 2 for Bassoon. Daniel McCarthy. Bassoon Solo sheet music. Double Bass sheet music. Horn sheet music. Marimba sheet music. Oboe sheet music. Percussion sheet music. Soprano Saxophone sheet music. Advanced.

Prijevod

Komora Simfonija br 2 za fagot. Daniel McCarthy. Fagot Solo note. Kontrabas note. Horn note. Marimbu note. Obou note. Udaraljke note. Soprano Saxophone note. Napredan.

Izvornik

Chamber Symphony No. 2 for Bassoon. Bassoon Feature. Composed by Daniel McCarthy. Arranged by A. Dancy. Chamber Ensemble. For Solo Bassoon, Chamber Winds & Percussion. solo bassoon, flute, oboe, soprano saxophone, clarinet in Bb, bass clarinet, bassoon, horn in F, percussion. maracas, temple blocks, suspended cymbal, tam tam, bongos, castanets, triangle. , marimba. 4.5-octave. , double bass. Medium difficult. Score only. Duration 16. 00. Published by C. Alan Publications. CN.05861. The title "Chamber Symphony" indicates that "the wind ensemble is more intimately involved. musically speaking. with the soloist than a accompaniment as in a concerto. In this regard, the single winds and bassoon are treated integrally although the bassoon is the featured instrument. Chamber Symphony No. 2 for Bassoon and Winds was commissioned for Barrick Stees by the Michigan State University Bands, John Whitwell, Conductor. This piece follows the format of McCarthy's Chamber Symphony. No. 1. for Marimba and Winds, a virtuosic composition for solo instrument and chamber ensemble that has more musically involved accompaniment than implied by the term 'concerto. ' Daniel McCarthy met Barrick Stees as a colleague at the Interlochen Summer Arts Festival. Interlochen Arts Camp, Interlochen, Michigan. in the summer of 1995. Since that time, McCarthy and Stees have worked together on numerous recording and performance projects - most recently, the recording of another commissioned work of McCarthy's by Stees, All the West Was Moving. Centaur Records. Barrick Stees and The Arianna String Quartet. For Chamber Symphony No. 2, McCarthy prefers the multi-movement format, six movements of varying lengths. Similar to some of Beethoven's late string quartets, McCarthy uses two shorter movements as introductions to others, namely the two 'Interludes. ' The outer two movements are programmatic, whereas the interior movements are much more classically conceived. Movement 1. 'Stomp and Buc Dance' Having grown up in Northern Michigan, McCarthy has a special affinity for the autumn season. Several of his teachers from the Interlochen Academy. where McCarthy graduated in 1974. are avid hunters. The deer-hunting season for many in northern Michigan is sacred. One hears of the so-called 'deer camps' where hunters have wild parties. far enough from their hunting sites as to not 'spook' the animals. McCarthy imagines Deer, Buck, and Elk parties at the end of hunting season, when the animals, after another season of successfully avoiding the hunters' bullets and arrows, dance wildly around their own camp fires, drinking deer-beer and mocking the hunters in the dim fire light. Movement 2. 'Interlude' 'Interlude' introduces a softer, darker, less humorous music than the first movement. It offers a transition to a much less programmatic third movement in comparison to the first. Movement 3. 'Mechanique' 'Mechanique' is a study in angular intervals for the solo bassoon. The rhythmic animation in the solo with the motoric doublebass and marimba accompaniments give the music a mechanical sound that is. perhaps. associated with an etude. Movement 4. 'Interlude. Creep' The second 'Interlude,' this time with the subtitle. 'Creep' is inspired by the second movement of J. S. Bach's Suite No. 3 in D Major. Air on the G String. The inspiration for this interlude is textural. a long, sustained melody in the treble above a punctuated, quasi-jazz pizzicato bass and marimba bass line that 'creeps' and crawls its way beneath the ensemble. It is the only movement without the bassoon solo. Movement 5. 'Static' A somewhat improvisational, rhapsodic sounding piece, 'Static' is a study in repeated notes and fast tonguing for the wind instruments. The 'static' repetition of pitches creates a percussive effect that is juxtaposed with a mosaic of wide-interval motives. Movement 6. 'Fire, Dance, and Wahbekanetta' This movement, like the first, is about wild-eyed, nocturnal parties in Michigan's northern wood. In 1969, the composer attended the National Music Camp as a trumpet player and later, the Interlochen Arts Academy from 1970-1974. He later joined the faculty of Interlochen Arts Camp in 1995. McCarthy was born very near Interlochen, in a small village of Onekoma on Portage Lake. The summer is the time for the composer to return to the land of his youth, a chance to escape the rigors of academe, to be with friends. Memories.

Prijevod

Komora Simfonija br 2 za fagot. Fagot Feature. Sastavljen Daniel McCarthy. Raspored po A. Dancy. Komorni ansambl. Za Solo fagot, komorna Vjetrovi. solo fagot, flautu, obou, sopran saksofon, klarinet u BB, bas klarinet, fagot, rog u F, udaraljke. maracas, hram blokova, suspendiran cimbal, tam tam, bongosi, kastanjete, trokut. , Marimbu. 4.5-oktave. , Kontrabas. Srednje teško. Postići samo. Trajanje 16. 00. Objavljeno C. Alan Publikacije. CN.05861. Naziv "Komorna simfonija" ukazuje na to da "vjetar ansambl je više intimno uključen. glazbeno govoreći. s solist nego pratnju kao u koncerta. U tom smislu, samohrani vjetrovi i fagot tretiraju integralno iako fagot je oglašen instrumentima. Komora Simfonija br 2 za fagot i vjetrovi je naručen za Barrick Stees strane Michigan State University bendova, John Whitwell, dirigent. Ovaj komad slijedi format McCarthy komornog simfonijskog. Broj 1. za marimbu i vjetrovi, virtuozna sastav za solo instrument i komorni ansambl koji je više glazbeno uključeni pratnju nego podrazumijeva pod terminom 'koncerta. 'Daniel McCarthy upoznao Barrick Stees kao kolega na Ljetnoj Arts Festival Interlochen. Interlochen Arts Camp, Interlochen, Michigan. u ljeto 1995. Od tog vremena, McCarthy i Stees su zajedno radili na brojnim snimanja i izvedbi projekata - nedavno, snimanje još jednog naručila rad McCarthy je po Stees, Sva West kretao. Centaur Records. Barrick Stees i Arianna Gudački kvartet. Za komornog simfonijskog broj 2, McCarthy preferira oblik multi-pokret, šest kretanja različitih duljina. Slično kao i neki od Beethovenovih kasnih gudačkih kvarteta, McCarthy koristi dvije kraće pokrete kao uvod u drugi, i to na dva 'Interludes. 'Vanjska dva pokreta su programski, a unutrašnjost pokreti su puno više klasično zamišljena. Pokret 1. 'Stomp i Buc Dance' Nakon što je odrastao u sjevernom Michiganu, McCarthy ima poseban afinitet za jesen. Nekoliko njegovih nastavnika iz Interlochen akademije. gdje McCarthy diplomirao 1974. su strastveni lovci. Jelena-lovne sezone za mnoge je u sjevernom Michiganu je svetinja. Čuje od takozvanih 'jelena logorima', gdje su lovci imaju lude zabave. dovoljno daleko od svojih lovačkih stranicama, kao da ne 'špijun' Životinje. McCarthy zamišlja Deer, Buck, i Elk stranke na kraju lovne sezone, kada su životinje, nakon još jedne sezone uspješno izbjegava lovački metke i strijele, plesati mahnito oko svoje logorske vatre, pije jelen pivo i izrugivanja lovce u dim požara svjetlo. Pokret 2. 'Interlude' 'Interlude' uvodi mekši, tamnije, manje smiješni glazbu od prvog pokreta. Ona nudi prijelaz na puno manje programatski trećem stavku u odnosu na prvi. Pokret 3. 'Mechanique' 'Mechanique' je studija u kutnim intervalima za solo fagot. Ritmičko animacije u solo s motoričkim kontrabas i marimbu pratnja dati glazbenoj mehanički zvuk koji je. možda. povezana s etide. Pokret 4. 'Interlude. Creep 'Drugi' Interlude ', ovaj put s podnaslovom. "Creep" je inspiriran drugom kretanja JS Bacha Suite broj 3 u D-duru. Zrak na G String. Inspiraciju za ovu interludij je tekstuaralne. dugo, zadobio melodija u treble iznad isprekidanih, kvazi-jazz Pizzicato bas i marimbu bas linije koje 'jeza' i pretražuje svoj put ispod ansambla. To je jedini pokret bez fagot solo. Pokret 5. 'Vijesti' nešto improvizacijski, rapsodični sondiranje komad, "Static" je studija u ponovljenom bilješke i brzo dirati za puhačke instrumente. 'Statična' ponavljanje parcela stvara udarni učinak koji suprostavljena s mozaikom wide-intervala motiva. Pokret 6.. 'Fire, Dance, a Wahbekanetta' Ovaj pokret, kao prvo, je oko razrogačenih očiju i noćnih stranaka u Michiganu sjeverne drva. Godine 1969, skladatelj prisustvovao narodna glazba Camp kao trubač i kasnije, Interlochen Umjetničkoj akademiji 1970-1974. On je kasnije pridružio fakultet Interlochen Arts Camp 1995. McCarthy rođen je vrlo blizu Interlochen, u malom selu Onekoma na Portage jezera. Ljeto je vrijeme za skladatelja da se vrate u zemlju svoje mladosti, a priliku za bijeg surovost akademske, biti s prijateljima. Sjećanja.