Concerto Da Camera

SKU: HL.48184070

UPC: 888680830625. 6.25x8.25x0.232 inches.

“Concertino Da Camera, written in 1935 by Jacques Ibert (1890-1962) is a small concerto for Alto Saxophone and eleven instruments: Flute, Bassoon, Oboe, Horn, Trumpet and Strings. This concertino in two movements, Allegro con moto and Larghetto ? Animato Molto, is dedicated to the saxophonist Sigurd Rascher and stands out for its large use of the Alto Saxophone. It can be technically challenging and has a strong lyrical part. This volume is the pocket version of the score. Its author, Jacques Ibert (1890-1962) is a neoclassical composer who won the Prix de Rome in 1919. He composed many symphonic suites, operas and seven orchestras, including 'Angelique' (1926) and 'Divertissement' (1930). He also was in charge of the Accadémie de France in the Villa Médicis (Roma) and was later administrator for the Paris Opera. This concerto has some similarities with is Flute Concerto (1934), also published by Alphonse Leduc.”.

SKU: BR.PB-4891-07

World premiere: Essen, May 4, 1975

ISBN 9790004206874. 6.5 x 9 inches.

Das Concerto da camera will weder eine barockisierende noch avantgardistische Musik fur die Blockflote sein - sondern ein instrumentgerechtes, abwechslungsreiches, temperamentvolles Stuck. Der Solopart (im Wechsel von Alt- und Piccolo-Flote) ist virtuos und ausdrucksstark zugleich angelegt, unter Berucksichtigung der in den letzten Jahren fur die Blockflote speziell entwickelten Techniken (uberblasene Akkorde, Flackergerausche, Fingervibrato etc.). Die relativ umfangreiche Orchesterbesetzung (funf Holz-, vier Blechblaser, Harfe, Schlagwerk, Streicher) soll farbige Kontraste schaffen und verschiedene Strukturen verdeutlichen. Im ersten Satz, einem knappen ,,Preludio bringt das Solo-Instrument verfremdete Zitate aus dem langsamen Satz eines Telemann-Konzertes (a-moll) uber Klangflachen von Streichern und Blasern. Zweiter Satz: Ein mehrteiliges, rhapsodisches Allegro, bei dem der Part der Blockflote von Repetitionsfiguren bestimmt wird. Das Orchester setzt mosaikahnliche kurze dodekaphonische und serielle Klanggruppen und -blocke dagegen. Im ruhigeren Zwischenteil korrespondiert die Solostimme mit dichtem polyphon gefuhrten Streicherensemble. Der langsame Satz , Mittelpunkt des ganzen Konzerts, entwickelt sich als weit ausgesponnene Fantasie und kristallisiert sich um die einzelnen Zeilen der alten Liedweise ,,Innsbruck, ich muss dich lassen - ,,auf der Suche nach der verlorenen Zeit. Ein rhythmisch eigenwilliges zwolftoniges Bass-Ostinato beherrscht das Finale, greift allmahlich in steter Steigerung auf alle Stimmen uber und ubertont schliesslich den Solopart. Nach kurzer Klimax kehrt das Thema nach und nach in die Bassregister zuruck, wahrend das Solo-Instrument mit virtuosen Spielfiguren dominiert. Eine Fanfare und eine im Unisono aus der Hohe herabschiessende Figur leiten diesen letzten Satz ein, erscheinen in der Mitte und am Ende, ehe eine humorvolle Stretta das Werk beschliesst. Das ,,Concerto da camera ist an kein festes Kompositionsprinzip gebunden; es konfrontiert den relativ zarten Klang der Blockflote mit den verschiedenen lautstarkeren Orchestergruppen und zeigt in diesem Spannungsfeld die Moglichkeiten und Grenzen des Soloinstruments auf.(Jurg Baur)Bibliography:Schneider, Michael: Verschmitzt Jurg Baur und die Blockflote, in: Tibia 38 (2013), S. 418-431.Wallerang, Lars: Die Orchesterwerke Jurg Baurs als Dialog zwischen Tradition und Moderne, Koln: Dohr 2003.

SKU: PR.11440558S

UPC: 680160008971.

Concerto da Camera II is a work for six instruments which may be further grouped into three separate entities - clarinet, string quartet, piano. In this combination, chosen by the work's commissioning organizations (the Chamber Music Society of Lincoln Center in conjunction with Mount Holyoke College), lies the work's first challenge. While pairings of any two of these three sound types abound in the concert literature, the three together form a far less common soundscape. The main difficulty appears in the necessity to reconcile the potential of both the clarinet and the piano of acting in a soloistic capacity when pitted against the string quartet. Indeed, the three movements of the Concerto deal with this problem in various ways, with the balance of power between the six instruments' potential for unity and contrast, solo and ensemble playing, continually shifting and changing.   Yet another, more delicate, balance of power is at play here, namely, the relationship between the external, foreground level of the piece and a subtler background level. What, at first, appear like small, gentle melodic strands, mere echoes or residues of the main events, gradually assume an inner life of their own. Never actually taking over yet always there, a salient, if quiet, factor within the work's compositional fabric and evolving organism.   Though each movement includes numerous tempo fluctuations, the overall thrust of the work clearly suggests a fast-slow-fast framework, with the last movement being a loosely structured, occasionally tempestuous Rondo.

SKU: PR.114405580

UPC: 680160008964.

Concerto da Camera II is a work for six instruments which may be further grouped into three separate entities - clarinet, string quartet, piano. In this combination, chosen by the work's commissioning organizations (the Chamber Music Society of Lincoln Center in conjunction with Mount Holyoke College), lies the work's first challenge. While pairings of any two of these three sound types abound in the concert literature, the three together form a far less common soundscape. The main difficulty appears in the necessity to reconcile the potential of both the clarinet and the piano of acting in a soloistic capacity when pitted against the string quartet. Indeed, the three movements of the Concerto deal with this problem in various ways, with the balance of power between the six instruments' potential for unity and contrast, solo and ensemble playing, continually shifting and changing.   Yet another, more delicate, balance of power is at play here, namely, the relationship between the external, foreground level of the piece and a subtler background level. What, at first, appear like small, gentle melodic strands, mere echoes or residues of the main events, gradually assume an inner life of their own. Never actually taking over yet always there, a salient, if quiet, factor within the work's compositional fabric and evolving organism.   Though each movement includes numerous tempo fluctuations, the overall thrust of the work clearly suggests a fast-slow-fast framework, with the last movement being a loosely structured, occasionally tempestuous Rondo.

SKU: HL.14017653

8.0x12.0x0.22 inches.

Written for oboe and strings. Supplied here as oboe and piano reduction.

SKU: GH.CG-6096P