Format : Reduction
SKU: FG.55011-315-2
ISBN 9790550113152.
The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone.Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell. The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone. Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell. The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone. Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell. The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone. Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell.
SKU: BT.EMBZ14872
The three movements reflect classical romantic concertos in not only their structure but also their character. The relations between soloist and orchestra echo the dramatic composition of traditional concertos besides providing a significant role for wind and percussion instruments in tonality, which creates a specific tone familiar from László Dubrovay's earlier compositions. His Violin Concerto No. 2, completed in April 2011, is dedicated to the internationally noted young Hungarian violinist, Kristóf Baráti, whose extraordinary performing skills inspired the flexible melodiousness and virtuoso perfection of the themes.
SKU: FG.042-08310-9
ISBN 979-0-042-08310-9.
Merilainen's second orchestral concerto (the first dates from the 1950's) is a musical study of the concept of time. The strings provide an element of stasis, while other orchestral sections are used as active blocks. The extensive percussion section is used to discreetly mark the passing of time and plays on the edge of silence. The work's ending is bound together by a magical F sharp pedal-point in the horns.
SKU: BT.DHP-1124904-010
9x12 inches. English-German-French-Dutch.
The effective use of solo percussion, combined with an elegant orchestration, brought a warm reception at the premiere of this work from Satoshi Yagisawa’s ‘Concertino Series’. Yagisawa’s style is usually considered as rather dramatic, however, inthis piece he adds a whole new dimension to his compositional skills.Dit concertino is in opdracht geschreven voor de Japanse slagwerker Kazuko Ogawa - als aanvulling op Satoshi Yagisawa’s concertserie (trompet, trombone, marimba, saxofoon en klarinet met harmonieorkest). De wereldpremière werd uitgevoerddoor het Kasukabe Kyoei Junior and Senior High School Wind Orchestra, samen met gastslagwerker Kazuko Ogawa. Het geheel stond onder leiding van Jotaro Tsuga, die in 2009 dirigent van het betreffende orkest was. De effectievetoepassing van het solistische slagwerk en de elegante orkestratie zijn sinds de première alom geprezen. Satoshi Yagisawa’s stijl was altijd vrij theatraal, maar in dit werk hanteert hij een nieuw idioom.Grad 5 for the soloistDer wirkungsvolle Einsatz von Solo-Percussion kombiniert mit einer eleganten Orchestrierung fand schon in der Premiere dieses Werkes aus der Concertino-Reihe“ von Satoshi Yagisawa großen Anklang. Yagisawas Stil ist eigentlich als eher dramatischbekannt, doch in diesem Stück kann man eine ganz neue Seite seiner Kompositionskunst erkennen.Cette pièce vient compléter la série de concertos composés par Satoshi Yagisawa. L’écriture d’un authentique solo de percussion ainsi que l’élégante orchestration font de ce concertino une oeuvre exceptionnelle, largement appréciée par l’auditoire.Le style d’écriture de Satoshi Yagisawa est habituellement dramatique, mais il se pourrait fort bien qu’une empreinte de couleur différente nous soit offerte avec Concertino pour Percussion et Orchestre Vent !L’uso efficace della percussione solista, combinato ad un’elegante orchestrazione, ha avuto grande risconto in occasione della prima di quest’opera della “Concertino-Series†di Satoshi Yagisawa. Lo stile del compositore giapponese è sicuramentedrammatico, ma in questo brano si può scoprire un lato completamente nuovo della sua arte compositiva.
SKU: PE.EP73403
ISBN 9790577018331. 297 x 420 mm inches. English.
Rihards Dubra (born Latvia, 1964) wrote his piano concerto – Liepaja Concerto No. 3 – in 2012. A 33-minute work for solo piano and symphony orchestra comprising triple wind and brass, percussion, harp and strings, the concerto starts with a mournful piano melody. It has an elemental beauty – we hear water in the sonorities of harps and chime-bells, earth in the rhythmic formulae, and fire in his colourful harmonic sequences – ending with a majestic and vibrant conclusion.
This full score (EP 73403) is now available as part of the Peters Baltic Library.
SKU: HL.14007495
8.5x11.75x0.45 inches.
Percussion and chamber orchestra. First performed 27 June 1990, Evelyn Glennie Percussion, Scottish Chamber Orchestra.Solo Part and piano reduction.
SKU: BT.DHP-1124904-140
This concertino was written to a commission by Japanese percussionist Kazuko Ogawa as an addition to Satoshi Yagisawa’s concerto series (trumpet, trombone, marimba, saxophone, and clarinet with wind orchestra). The world premiere was performed by Kasukabe Kyoei Junior and Senior High School Wind Orchestra with guest percussionist Kazuko Ogawa, conducted by Jotaro Tsuga, director of the orchestra in 2009. The effective usage of the solo percussion and elegant orchestration has been greatly appreciated since the premiere. Satoshi Yagisawa’s style has been dramatic but in this piece a new XXXX of writing can be found.Grade 5 for the soloistDit concertino is in opdracht geschreven voor de Japanse slagwerker Kazuko Ogawa - als aanvulling op Satoshi Yagisawa’s concertserie (trompet, trombone, marimba, saxofoon en klarinet met harmonieorkest). De wereldpremière werd uitgevoerddoor het Kasukabe Kyoei Junior and Senior High School Wind Orchestra, samen met gastslagwerker Kazuko Ogawa. Het geheel stond onder leiding van Jotaro Tsuga, die in 2009 dirigent van het betreffende orkest was. De effectievetoepassing van het solistische slagwerk en de elegante orkestratie zijn sinds de première alom geprezen. Satoshi Yagisawa’s stijl was altijd vrij theatraal, maar in dit werk hanteert hij een nieuw idioom.Grad 5 for the soloistDieses Concertino wurde im Auftrag des japanischen Percussionisten Kazuko Ogawa als Ergänzung von Satoshi Yagisawas Concerto-Reihe geschrieben (Concerto für Trompete, Posaune, Marimaphon, Saxophon sowie Klarinette und Blasorchester). Die Welturaufführung wurde vom Blasorchester der Kasukabe Kyoei Junior and Senior High School gespielt; als Gast-Perkussionist spielte Kazuko Ogawa und am Pult stand Jotaro Tsuga, der Dirigent des Orchesters im Jahr 2009. Der wirkungsvolle Einsatz von Solo-Percussion kombiniert mit einer eleganten Orchestrierung fand großen Anklang seit der Premiere. Satoshi Yagisawas Stil ist eigentlich als dramatisch bekannt, aber in diesem Stück kannman eine ganz neue Seite seiner Kompositionskunst erkennen.Schwierigkeitsgrad des Solisten: Grade 5 Ce concertino est une œuvre de commande pour le percussionniste japonais Kazuko Ogawa, venant ainsi compléter la série de concertos composés par Satoshi Yagisawa (Trompette, Trombone, Marimba, Saxophone, Clarinette et Orchestre Vent). La création mondiale a eu lieu en 2009, interprétée par l’Orchestre Vent du Lycée Kasukabe Kyoei, avec Kazuko Ogawa en tant que soliste invité, placé sous la direction de Jotaro Tsuga. L’écriture d’un authentique solo de percussion ainsi que l’élégante orchestration font de ce Concertino une œuvre exceptionnelle, largement appréciée par l’auditoire. Le style d’écriture de Satoshi Yagisawa est habituellement dramatique,mais il se pourrait fort bien qu’une empreinte de couleur différente nous soit offerte avec ce Concertino pour Percussion Solo et Orchestre Vent.Grade 5 for the soloist.
