Sinfonia IV C Minor

SKU: UT.ACC-56B

ISBN 9790215308152. 9 x 12 inches.

SKU: BT.DHP-1125334-070

ISBN 9789043138383. 9x12 inches. English-German-French-Dut ch.

Sinfonia and Caprice is comprised of two contrasting sections. Both sections are characterised by the arrangement of the eight voices into two four-part groups that play in dialogue with each other.The first, slow movement is a Sinfonia in the baroque sense?a majestic opening work. With its dotted rhythms and semiquaver runs, the movement is reminiscent of a French overture. The fast second movement, the Caprice, features an almost unbroken galloping rhythm. In this section an energetic main theme in a minor key plays in alternation with a lyrical subsidiary major theme. The work closes with a triumphant fanfare.

Het werk Sinfonia and Caprice bestaat uit twee contrasterende gedeelten. Het arrangement van beide delen wordt gekenmerkt door de verdeling van de acht partijen in twee groepen van vier, die in dialoog met elkaar spelen.Het eerste, langzame deel is een majestueuze sinfonia in barokke sfeer. Met zijn gepunteerde ritmes en loopjes van zestiende noten doet dit deel denken aan een Franse ouverture. Het snelle twee deel, de caprice, omvat een bijna onafgebroken galopritme. In dit deel wordt een energiek hoofdthema in mineur afgewisseld door een lyrisch ondergeschikt thema in majeur. De compositie wordt afgesloten met een glorierijke fanfare.

Sinfon ia and Caprice besteht aus zwei kontrastierenden Teilen. Typisch für beide Teile ist die Aufteilung der acht Stimmen in zwei vierstimmige Gruppen, die miteinander im Dialog stehen.Der erste, langsame Satz ist eine Sinfonia im barocken Sinne, also ein majestätisches Eröffnungsstück. Mit seinen punktierten Rhythmen und Sechzehntelfolgen erinnert der Satz im Charakter an eine französische Ouvertüre. Der schnelle zweite Teil, die Caprice, weist einen fast unablässig durchlaufenden Galopp-Rhythmus auf. In diesem Satz wechselt sich ein markiertes Hauptthema in Moll mit einem lyrischen Seitenthema in Dur ab. Das Werk endet mit einem fanfarenartigen,triumphal en Schluss.

Sinfonia and Caprice se compose de deux parties contrastées. Celles-ci se caractérisent, lâ??une comme lâ??autre, par lâ??arrangement des huit voix en deux groupes de quatre qui jouent en dialogue.Le premier mouvement est une sinfonia au sens baroque du terme - une introduction lente et majestueuse. Avec ses rythmes pointés et ses lignes en doubles croches, ce mouvement fait penser une ouverture française. Le second mouvement, un caprice rapide, se distingue par un rythme galopant presque ininterrompu. Le thème principal en mineur est plutôt déterminé, alors quâ??un second thème lyrique en majeur se fait entendre en alternance. Lâ???uvre sâ??achèvesur une fanfare triomphante.

SKU: HL.50506730

UPC: 073999117172. 9.0x12.0x0.172 inches.

Contents: Allegretto in A * Allegretto in A Minor * Allegretto in C * Andantino in C * Andantino in F Minor * Andantino in G * Marcia in A * Marcia in E * Minuetto * Perigordino - Due Varizioni * Rondoncino in E * Sinfonia * Sonata in C * Sonata in E * Sonatina * Waltz in E * Waltz in C.

SKU: MH.1-59913-072-6

ISBN 9781599130729.

Prog ram Notes: It was a happy coincidence that the commission for SINFONIA XVI: TRANSCENDENTAL VIENNA came from the Henry David Thoreau School located in Vienna, Virginia. Thoreau is one of the magic names in American culture: Henry David Thoreau, one of the leading figures of the Transcendentalist movement, centered in 19th-century New England, left us a body of unique philosophical and poetical writings. To utter the words, Walden Pond, is to invoke an America long past in physical actuality, but still present in the minds and hearts of many American citizens. The name, Vienna, of course, summons thoughts of the Old World: culture, fine food, wine, civilized cities. While contemplating the form that SINFONIA XVI should take, I found myself thinking of two pillars of Viennese culture: expressionism and the waltz. Musically speaking, expressionism reached a zenith in the works of Arnold Schoenberg and Alban Berg. It was Berg, in particular, that I wanted to invoke in the outer movements of my composition. I knew I would also have to include a waltz, and an invocation of the mysterious forces that are contained in both expressionism and transcendentalism. Thus was the structure of the work generated. The outer movements with their vision of the night sky and the stars, Aldebaran and Sirius, frame the central movements, which are essentially two versions of the same material, and are quieter and less dramatic. The outer movements are symmetrical, and share both pitch and rhythmic materials. Accordingly, I see the work as a ternary form, with the central movements forming a unit within the outer frame: A (Movement 1) B (Movements 2 & 3) A' (Movement 4). Harmonically, the work can be summarized by the two pitch-series which occur in the opening bars of Movement 1: the initial 12-note row, with a tonal center on F-sharp (measures 1-6), and the subsequent D-minor Dorian 7-note row (beginning in measure 14). Aspects of these materials occur in all four movements, but they are most strongly present in Movements 1 and 4. Note that the 12-note row is not subjected to the usual serial procedures, but instead is treated as a signifier and is left unchanged. Since the fourth movement takes up where the first movement leaves off, I can conceive of one interpretation of SINFONIA XVI as an evocation of Thoreau himself contemplating two of the brightest stars on a clear, cold night. Aldebaran is an orange, first-magnitude star, located in the constellation Taurus; Sirius, the Dog Star, is the brightest star in the sky, and is located in the constellation Canis Major. Thoreau interrupts his star-gazing to entertain some inward thoughts, waking dreams, as it were, then returns his gaze to the splendid night sky and all its treasures. Although many other interpretations of the material are possible, it is important to remember that the abstract materials of the piece -- pitch, rhythm, structure -- are what count the most. Ensemble instrumentation: 1 Piccolo, 4 Flute 1, 4 Flute 2, 3 Oboe, 1 Eb Clarinet (opt.), 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 3 Bass Clarinet, 3 Bassoon, 3 Eb Alto Saxophone 1, 3 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 Horn 1, 2 Horn 2, 3 Trombone 1, 3 Trombone 2, 3 Euphonium B.C., 2 Euphonium T.C., 5 Tuba, 2 Timpani, 3 Percussion 1, 3 Percussion 2, 3 Percussion 3, 3 Percussion 4.