Divertimento for String Orchestra

Bryce Dessner's Lachrimae was commissioned by the Amsterdam Sinfonietta the Scottish Ensemble and the Norwegian Chamber Orchestra. Composer's Note: Lachrimae is a direct reference to John Dowland's work of the same name. I had played that that piece in school on guitarand decided that I wanted to base something on it. Dowland himself adapted the piece several times into different versions and there's also a Benjamin Britten composition based on the same piece of music so that was part of myinspiration. When I wrote my work I was listening to string orchestra music and I think Bartók's Divertimento is the pinnacle of string writing. So the piece is kind of equally inspired by Dowland's RennaissanceLachrimae and by Bartók's Divertimento.

Composition de Harald Genzmer ' Divertimento di danza ' pour orchestre à cordes continue clairement la forme baroque de la divertimento. Cette musique ' light ' - dans le vrai sens du mot - consistait en une séquence de mouvements lâches avec les formes libres et les mouvements de danse alternat-ing successivement variées. Le divertimento composé de cinq à six mouvements. Genzmer gardé à tous ces faits, mais il introduit la nouvelle vie dans les formes anciennes. Bien qu'il n'a pas composé 'dans l'ancien style', il respecte certaines règles de la forme traditionnelle. Les mouvements : Ouverture - Allegro (Fugato) - Adagio - Presto (sur une danse de l'ancien français) - Finale (sur un mouvement de danse anglais) / Orchestre A Cordes

Taken from Mozart's 17 Divertimenti for Various Instruments this transcription makes ideal teaching and performance material with integral interesting writing for all instruments.

The charm and simplicity of Mozart's music continues to captivate today's audiences as we celebrate the 300th anniversary of his birth. Here is an ideal way to bring the genius of Amadeus to your developing string group with awork that is well designed for student players.

Britten's Two Portraits for strings - the composer himself called them 'Sketches' - were composed in August and September 1930 during the summer holidays preceding the sixteen-year-old composer's first term at the RoyalCollege of Music in London.Both are musical depictions of character the first portraying Britten's school friend David Layton and the second introducing a solo Viola (Britten's own string instrument) a self-portraitof the composer. According to Britten's diary he planned to compose a third portrait again for strings that was to depict another school friend Peter Floyd but this movement was not written. However David Layton was to beportrayed again though very differently in Britten's later quartet suite Alla Quartetto Serioso (1933) itself revised and re-titled in 1936 as Three Divertimenti.The Pencil manuscript score in theBritten-Pears Library at Aldeburgh although hastily written is very detailed ad dynamics and phrasing are carefully notated throughout. However in several places in the first 'Portrait' the notes themselves are either difficultto decipher or due to the highly chromatic nature of the music difficult to interpret - in some cases Britten has clearly made notational 'spelling' mistakes which have been silently corrected in this editon. A list ofthose places where the reading of the manuscript is doubtful may be obtained from the Britten-Pears Library Aldeburgh.As with virtually all orchestral music from his youth Britten did not hear either 'Portrait'performed. The first performance of Two Portraits was given by the Northern Sinfonia conducted by Martyn Brabbins broadcast by BBC Radio 3 on 5th December 1995 as part of a series entitled 'Britten's Apprenticeship'.The first concert performance of Portrait No.1 was given by the Britten Chamber Orchestra conducted by Andreas Mitisek at the Konzerthaus Schubert-Saal Vienna on 10th February 1996. The first concert performance of

Par TIPPETT MICHAEL SIR. Détails de la formation instrumentale: 1.1.1.1-1.1.0.0-Strings - Durée: 16' - Format: 15,6 x 23,4/ Répertoire / Orchestre de Chambre

Divertimento A Little Night Music K. 525 Editor: Wolf-Dieter Seiffert Urtext Edition, Study score, paperbound Mozart's Kleine Nachtmusik is surely one of the most popular works of so-called classical music. Although his manuscript is not completely free of corrections, it is still undoubtedly one of Mozart's most beautiful and serves as the (sole) source for our Urtext edition. Mozart wanted to see his most famous serenade performed by a string quartet with double bass (HN 1005); but it is well-known that it also sounds good when played by a chamber orchestra, so the parts can also be ordered individually. And there is another little extra: The editor believes he has identified the much discussed person to whom the Kleine Nachtmusik was dedicated - the answer can be read in the preface.

ORCHESTRA INSTRUMENTATION :3(III=PICC).PICC.2.CORA.2.EBCL.BCL.2.DBN-4.3.3.1(=BARITONE EUPH)- TIMP.PERC(5):XYL/VIB/GLSP/CHIME/TGL/CYMS(LG PAIR)/SUSP.CYM/ LG TAM-T/2CUBAN COWBELLS(HI & LO)/WDBL/4TPL.BL/RASP/MARACAS/ SANDPAPER BL/TRAP SET/4SNARE DR/3BONGOS/2CONGAS/LG BD/TAMB- HARP-PFT-STRINGS DATE OF COMPOSITION : 1980 DURATION : 14' CONTENTS :DIVERTIMENTO - OVERTURE TO CANDIDE - PRELUDE FUGUE & RIFFS - SYMPHONIC SUITE (ON WATERFRONT) EDITION : STUDY SCORE

Ce travail composé à l'origine pour quatuor à cordes a été conçu par Mozart pour l'instrumentation choric. Quant à la technique de jeu, il n'est pas très difficile. / Orchestre A Cordes