Divertimento

These 12 Divertimentos were published in 1759 by the prominent Scottish composer James Oswald. These pieces were originally composed for the popular wire-strung cittern known then as the 'guittar'. Thebody of work was intended to help meet the demand for easy to intermediate solo guittar music. Oswald's 12 Divertimentos have been arranged here by John Goodin for the modern Mandolin inboth standard notation and tablature each piece includes three or four short movements full of pleasant melodies and interesting ideas. Whereas the original compositions were published in the key native to the guittar tuning (anopen C major chord) this book offers the music in a variety of Mandolin-friendly keys. These transpositions adhere to Oswald's original intent that the music be easy to play and pleasant to hear. While suitablefor teaching and performance these divertimentos are above all fun and satisfying to study and play.

Par MOZART WOLFGANG AMADEUS. Mozart composed his two “Lodron Serenades” for open-air performances on the name day of Countess Antonia Lodron in June 1776 and 1777. Their bright “al fresco” character is immediately recognisable. Alfred Einstein considered these two divertimentos to be “among the purest, gayest, most satisfying, and most perfect that ever assumed musical form”. For both works Mozart chose an ensemble of two horns, two violins, viola and bass instruments. However, the second Lodron Serenade, the Divertimento in B-flat major K. 287, stands out from this sextet format by assigning a remarkably virtuosic solo role to the first violin, from the richly diverse opening movement to the finale with its almost ironic recitative and an exhilarating passage on the folk song “D’Bäurin hat d’Katz verlorn”. Mozart himself played first violin in the 1777 performance. Later he wrote, “They all opened their eyes! I played as though I were the finest fiddler in all Europe”./ Répertoire / 2 Cors, 2 Violons, Alto et Contrebasse

(First) Lodron Night Music-The Divertimento K. 247 in F-flat major was composed for the name day of Countess Antonia Lodron and was first performed on 18 June 1776 in Salzburg. The little March K. 248 was presumably used to accompany the arrival anddeparture of the musicians on that occasion it shares the same date of composition as the Divertimento is in the same key and is scored for the same instruments. Mozart later returned several times to this ?First Lodron nightmusic? and posterity appreciated it too: the Divertimento was published just a few years after his death and was also available in numerous 19th century copies. The only authorised sources for our Urtext edition however werethe two autographs. Here incidentally the lowest part is designated ?Basso? which leaves open the question as to whether it was to be played by a cello a double bass or both a typical case of ?as you like it? in the music ofthe 18th century!

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

(First) Lodron Night Music-The Divertimento K. 247 in F-flat major was composed for the name day of Countess Antonia Lodron and was first performed on 18 June 1776 in Salzburg. The little March K. 248 was presumably used to accompany the arrival anddeparture of the musicians on that occasion it shares the same date of composition as the Divertimento is in the same key and is scored for the same instruments. Mozart later returned several times to this ?First Lodron nightmusic? and posterity appreciated it too: the Divertimento was published just a few years after his death and was also available in numerous 19th century copies. The only authorised sources for our Urtext edition however werethe two autographs. Here incidentally the lowest part is designated ?Basso? which leaves open the question as to whether it was to be played by a cello a double bass or both a typical case of ?as you like it? in the music ofthe 18th century!

Die ungewöhnliche Besetzung mit Flöte (auch Piccolo- und Altflöte) Violoncello und Schlagwerk (2 Spieler mit Xylophon Metallophonen Crotales Glockenspiel Woodblocks Drums und Temple Block) entspricht der Vorliebe Urusla Mamloks für herbe Klänge und klar durchhörbare Linien und Strukturen. Dass ihr kompositorisches Denken nicht von bildhaften sondern vielmehr von rein musikalischen Anregungen bestimmt wird verraten die Bezeichnungen 'Toccata' 'Refrains' 'Variations' und 'Epilogue'. Alle vier Sätze sind zusammen nicht länger als 10 Minuten schon 1969 der Entstehungszeit des Divertimento strebte die Komponistin nach äußerster Präzision Verknappung und Verdichtung die für ihr ganzes weiteres Werk prägend sein sollten. Das Divertimento wurde 1975 erstmals vom Parnassus Ensemble am Graduate Center der City University New York aufgeführt.

Par PENARD OLIVIER. Composé à l'occasion d'une résidence à l'ENM du Blanc Mesnil, et pour la circonstance d'un spectacle original de la compagnie Julie Desprairies (mis en espace à la Mairie du Blanc Mesnil), ce Divertimento est une partition initialement destinée à la danse. Les trois mouvements de la pièce mettent en scène un quatuor de saxophones avec un ensemble à vents. Après le lever de rideau, la première partie se développe sur un allegro très dynamique, fortement inspiré du jazz, pour se dissoudre dans des harmonies calmes et lumineuses, préparant l'entrée du second mouvement. Celui-ci met en scène différentes interventions du quatuor de saxophones, toutes constituées des souvenirs du mouvement précédant, ou bien anticipant sur le matériau de la troisième partie. Enfin, celle-ci met en mouvement une danse joyeuse et tranquille, où la citation de la Marche nuptiale de Mendelssohn est progressivement introduite, avant d'être citée pour elle-même à la fin de la pièce. / contemporain / Répertoire / Quintette de Saxophones et Ensemble