Matériel : Conducteur et Parties séparées
SKU: HH.HH376-FSC
ISBN 9790708041856.
The concerto is scored for a ‘concerto grosso’ ensemble of strings plus two horns in D, which have remarkably adventurous and prominent parts. It successfully combines the traditional continuous variation form of the dances themselves with baroque concerto structure, having as its centrepiece a fugal movement based on material from a dance called The Highlanders’ March. The prevailing tone is good-humoured, even slightly riotous at times. This is the perfect concluding piece for a concert.
SKU: TM.11006SC
Sol/pf.
SKU: TM.11006SET
SKU: HH.HH361-FSP
ISBN 9790708092094.
This set of four works, all in minor keys, is unique for the energy of the fugal writing, the passionate chromaticism of the slow movements and the playful, asymmetrical phrasing of the final Minuets. The scoring leaves open a range of performance possibilities, from one to a part with or without continuo (following the varying density of figured bass and the instruction senza cembalo) to orchestral performance as suggested by the English Concerto arrangements.
SKU: KJ.SO291C
UPC: 8402702688.
Baroque Variants is a string orchestra piece that draws upon the stylings of J.S. Bach but sets these features to modal harmonies and modern rhythms. The motif of the piece comes from Bach's Brandenburg Concerto No. 3. However, while Bach starts his motif with an anacrusis (pick-up), in Baroque Variants this rhythmic idea begins on the beat and is the first thing heard. There is a fugal exposition in the middle of the piece (m. 25) that pays homage to Bach's wonderful counterpoint. The piece then moves into a challenging string quartet texture in m. 48 and comes back with a flurry to end on the original Brandenburg motif.
SKU: KJ.SO291F
UPC: 8402703237.
Baroque Variants is a string orchestra piece that draws upon the stylings of J.S. Bach but sets these features to modal harmonies and modern rhythms. The motif of the piece comes from Bach's Brandenburg Concerto No. 3.However, while Bach starts his motif with an anacrusis (pick-up), in Baroque Variants this rhythmic idea begins on the beat and is the first thing heard. There is a fugal exposition in the middle of the piece (m. 25) that pays homage to Bach's wonderful counterpoint. The piece then moves into a challenging string quartet texture in m. 48 and comes back with a flurry to end on the original Brandenburg motif.
