SKU: BT.DHP-1135511-070
ISBN 9789043149235. 9x12 inches.
MODERATO, QUASI MARCIA is the first movement from the Serenade in D minor op. 44 for winds, violoncello and bass by Antonin Dvorak.Moderato, quasi marcia is het eerste deel van Serenade in D minor opus 44 voor blazers, cello en bas van Anton n Dvoák, genaamd Grande Serenade in een bewerking voor klarinetensemble.Moderato, quasi marcia ist der erste von vier Sätzen aus der Serenade in d-moll op. 44 für Bläser, Violoncello und Kontrabass von Antonin Dvorak. Instrumentation 1 - Conductor 1 - Eb Clarinet 2 - Bb Clarinet 1 2 - Bb Clarinet 2 2 -Bb Clarinet 3 2 - Bb Clarinet 4 1 - Eb Alto Clarinet 1 - Bb Bass Clarinet 1 - Bb Contrabass ClarinetModerato, quasi marcia est le premier des quatre mouvements qui composent la Sérénade en Ré mineur opus 44 pour vents, violoncelle et contrebasse, dite Grande sérénade, d Antonin Dvorak. Instrumentation : Cla. Mi/Cla. Si 1, 2& 3/Cla. Alto/Cla. Basse/Cla. Contralto Mi/Cla. Contrebasse Si.Moderato, quasi marcia è il primo dei quattro movimenti che compongono la Serenata in re minore opus 44 per fiati, violoncello e contrabbasso, detta Grande serenata, composta da Anton n Dvoák. Strumentazione : Cla. Mi/Cla. Si 1, 2 & 3/Cla. Alto/Cla. Basso/Cla. Contralto Mi/Cla. Contrabbasso Si.
SKU: IS.CC7003EM
ISBN 9790365070039.
In 1941, I was invited by Viktor Vaszy to take on a choice double role, as a teacher of composition at the Cluj Conservatory as well as chorus master at the Cluj National Theatre. For me, this meant both an official state appointment and a substantial increase in my income. At the time I was over 35 years old and still without a permanent post. I took up my new duties at the end of the summer. My wife and I felt very much at home in Cluj but the most important for me was that along with my artistic obligations I found time to compose. Unfortunately we do not know why Farkas wrote in 1992 a new version of the Three Burlesques for clarinet quintet and for whom it was intended. The first movement Allegro, arc shaped, is more a succession of rhythmic patterns than melodies, with hectic ostinatos and staccato chords. In the middle of the movement, a short figure, like a second theme, brings a bit of calm and gentleness. The second movement, an expressive Moderato comodo and the final Allegro are shorter and also contrast with staccato chords.
