Vol. 10/II - Edizione critica a cura di Alessandro Borin-David Bryant (testi in italiano e inglese). Par GABRIELI ANDREA. Vol. 10 of the Complete Works, articulated in two parts, contains the music found exclusively in manuscript and printed anthologies compiled prior to the great sixteenth-century Venetian composer?s death in 1585. Broadly speaking, Gabrieli?s contributions to collective anthologies fall into the following categories: 1) celebratory compositions, in several cases conceived as individual contributions to madrigal cycles by various composers in honour of more or less prominent Venetian or other personalities; 2) compositions originating in social and cultural circles close to Gabrieli; products of the composer?s habitual interaction with patrons, poets and musicians in mid sixteenth-century Venice, these compositions are published in anthologies containing similar works by other composers in Gabrieli?s milieu; 3) individual madrigals inserted in generic multi-author anthologies. Vol. 10/I features eight compositions on texts in Latin, Italian and ?stradioto? dialect (a linguistic concoction in which words of Greek origin appear against a background of simulated Venetian dialect). These include Gabrieli?s contribution to a Corona of nine sonnets by various composers on the death of Annibale Caro, the celebrated man-of-letters whose production comprises a highly successful Italian translation of Virgil?s Aeneid. The entire Corona is edited in the Complete Works. Gabrieli?s presence in multi-author anthologies follows a predictable pattern. The young composer?s earliest madrigals appear in editions of music by well-established authors (Vincenzo Ruffo, Cipriano de Rore) or collective anthologies edited by enterprising local musicians or other cultural figures (Giulio Bonagiunta, a singer at St Mark?s; the Venetian poet, actor and musician Antonio Molino). These give way to anthologies of music by highly celebrated composers, to which Gabrieli, his reputation now secure, accedes by invitation; and, beginning in 1583, non-Italian publications (increasingly common in the years following the composer?s death). / Date parution : 2022-04-26/ Recueil / Orchestre

The composer made this arrangement of the Third String Quartet for string orchestra in March 2003. The first performance was given by the Eos Orchestra New York conducted by Ken Selden in the Concert Hall Ethical CulturalSociety New York City on 24 April 2003.Quoting composer: In the summer of 1989 I composed a choral work Out of the Ruins for Agnieszka Piotrowska’s BBC2 documentary which dealt with the physical and emotional responsesof some of the inhabitants of Leninakhan to the earthquake which devastated Armenia the previous December. When he heard the recording of the work that I made with the Holy Echmiadzin Chorus under the fervent conducting of KhorenMeykhanejian Alex Balanescu suggested turning Out of the Ruins into a string quartet. There seemed no reason or opportunity to do this until I felt the need to add to the intensity of my experiences in Armenia the no lessprofound experience of witnessing the images of the Romanian revolution on television during the latter part of December 1989.Just as the structure of my Third String Quartet (1990) may connect it with the First so they alsoshare a debt to Thurston Dart (my professor at King’s College London between 1961 and 1965). It was Dart who had the inspiration to send me to Romania in 1965 ostensibly to study folk music. The volumes of transcriptions that Ibrought back with me had remained unopened until with this proposed ‘celebratory’ string quartet (though at the time it was difficult to know quite what to celebrate in postrevolutionary Romania) an occasion arose where I coulduse this material in what seemed to me was a non-exploitative manner. The compositional procedure was as follows: to take Out of the Ruins as a template on which the Romanian vocal or instrumental music would besuperimposed quite often stretched into new intervallic shapes through the demands of the completely pre-formed harmonic structure.

The Vocal Score for Swiss composer Carl Rütti's De Virgine Maria is arranged here for SATB divisi chorus and Organ accompaniment. This piece was commissioned by the College for 'A Festival of Nine Lessons and Carols 2014' and lasts around 3 and a half minutes. De Virgine Maria is dedicated to composer Stephen Cleobury and the Choir of King's College Cambridge. The works of?Carl Rütti has been an output of consistently beautiful choral works that are largely religious in theme. His compositions are well-known for introducing elements of jazz and blues into the English choral tradition that he traditionallyworks within. The lyrics for De Virgine Maria are in Latin. In the September 2015 issue of Organists' Review Michael Overbury writes that this work 'is most attractive for the listener celebratory fun and serious intensely joyful and lyrical.'

'Le Voyage Dans La Lune is a continuous orchestral score of approximately 14 minutes comprising two outer fast sections and a slower inner section of a dream-like character. The work is directly inspired by the film Le Voyage Dans La Lune (1902) written and directed by the pioneering French film-maker Georges Méliès. Méliès was influenced by 19th century interests in science and discoveries as well as the science fiction of Jules Verne. At the same time his work seems fantastic surreal and satirical. Some critics point out an underlying critique of colonial adventuring. The plot centres on a group of astronomers who decide tolaunch a rocket to the moon containing a handful of their number. They reach the moon (famously landing on the moon?s face) and then encounter a strange race of aliens whom they battle and destroy. The return to earth involves a dramatic descent a plunge into the ocean and then celebratory dancing. The film inhabits a surreal and dream-like space and uses an idiosyncratic visual language which transforms reality. This inspired an active musical response in my own score which is by turns abrupt smooth lyrical and violent and expresses something of the strange shifting surfaces and multiple and layered tempos evident in the film. The canons in the horns in the first scene reflect the intense arguments of the astronomers as they consider the project. The slower inner section is inspired by the scenes of the industrial City viewed from its rooftops by the astronomers. It also expresses the wonder of the astronomers as they see the earth rise from the perspective of the moon after their arrival there. The music of the final section is in places conflicted reflecting the violent encounters with the moon?s inhabitants. It moves into a more harmonious phase at the close to match the celebrations upon the astronomers? return from their adventuring. The music could be considered to be a surreal mini-opera

This work was written in memory of a band member who wrote a poem entitled I Am just days before his death. A celebratory piece rather than an elegy this powerful work features an aleatoric selection and singing frommembers of the ensemble.

Bert Transcribed presents 24 songs by legendary singer-songwriter and guitarist Bert Jansch. Each song has beenmeticulously transcribed and annotated to detail every aspect of Bert Jansch's groundbreaking style and technique.The result of years of extensive research by an international team of leading Jansch experts, this celebratory volume includes:Guitar tab, standard notation, chord symbols, guitar chord boxes, melody line and complete lyrics for 24 songs spanning his entire career Extensive background notes and performance analysis for every song A comprehensive introduction giving insight into Jansch's unique sound Album-by-album discography Exclusive colour section with new photography showing Bert's guitars. / Guitare

Following on the success of Arturo Márquez's Danzón No. 2 adapted for band Oliver Nickel's transcription of Conga del Fuego Nuevo (Conga of New Fire) gives an added kick to the concert band repertoire.In contrast to the elegant sinuous Danzón Conga is an uptempo celebratory piece bright and catchy with the percussion section providing the signature kick at the end of the conga pattern. Márquez slowsthings down in the middle section to spotlight the 1st trumpet in a melody that recalls the mariachi tradition. The alto saxes pick it up and relax into a ritard...only to be interrupted by the return of the opening material. Thepiece ends in fiery fashion. Dur: 5:00 SET OF PARTS

Quoting Burgon: My first thought on receiving this commission was what sort of text would suit. Something on the general idea of growth - starting very small and blossoming was the obvious way to go but it wasn’t until I foundthe Andrew Marvell poem Music’s Empire that I really got going. The poem is about the invention and development of music; this might sound a bit dry but in fact it is both charming and dramatic and it is also apt in that it canbe set for both solo voice and chorus.The other factor to be considered in writing this piece was the Purcell connection. Purcell wrote Come Ye Sons of Art in 1964 the year the bank was founded and this piece is alsoincluded in the celebratory concert. So I wanted to include some homage to HP as well.Marvell’s poem is the sort of text that Purcell might have set had he come across it. It is a sort of Ode of text that Purcell might haveset had he come across it. It is a sort of Ode to St Cecelia and he wrote one of those as we know. So I have referred to Purcell in two particular ways; I have quoted Come Ye sons of Art directly and I have used thecountertenor. Purcell himself sang countertenor in many of his own pieces and wrote some of the most gorgeous music ever written for that voice. I also happened to love both Purcell’s music and the countertenor so writing thispiece was really a labour of love.It is scored for countertenor mixed chorus and symphony of orchestra - rather larger than any orchestra that Purcell had access to as far as I know but one in which I’m sure he would haverevelled in given the opportunity. It is about ten minutes in duration.

This work for advanced band was commissioned by the Tennessee Valley Winds to celebrate the groups 30th anniversary. The piece begins quietly with clarinet solo then quickly moves to a celebratory section in 12/8 meter. The main melody is stated inmany different voices as it steadily builds to a moment of controlled frenzy. A brief lyrical section features an expressive style and also a moment of glory for the entire woodwind choir. The work concludes with a return to the vibrant andenthusiastic flavor of the opening. Powerful and impressive writing for mature groups! Dur: 5:10

Raise Your Glass is a full-throttle pop-rock stomper complete with a celebratory rowdy chorus. This number one hit song from the American recording artist and songwriter P!nk celebrates underdogs and personal uniqueness in anuplifting way that can't be denied! Difficulty: Medium

Three Celebratory Pieces-Three celebratory pieces commissioned originally for a wedding arranged here for Wind Quintet by the composer. Duration: approx 10 minutes. Ideal for the signing of the register.Originally written for Wind Sextet and published in 1989 as 'Fanfare Romance and Jig'.