Once in David's City: Orchestra: Score and Parts

These fifteen well-known pieces have been imaginatively arranged by the ever-popular Chris Tambling for cellists of grade 1 to 2 standard with Piano accompaniment.Christopher Tambling (b.1964) studiedthe Organ with Malcolm McKelvey at Christ's Hospital Horsham Sussex. He went on to gain Organ scholarships to Cantebury Cathedral and St Peter's College Oxford where he studied with Geoffrey Webber and David Sanger and wasOrganist of Pusey House. He started his teaching career at Sedbergh School in Cumbria where he was Organist from 1986 to 1989: he then became Director of Music at Glenalmond College near Perth in Scotland also taking on rolesof Perth City Organist and Conductor of Perth City Orchestra.Tunes You Know Book 1 (Cello) includes Amazing grace Ave Maria Can Can from 'Orpheus in Underworld' Cocklesand Mussels Early One Morning Hallelu! Hornpipe form 'Water Music' Jupiter from 'The Planets' Largo from 'New World' Symphony Marche Militaire Waly Waly Prelude form 'Te Deum' Spring from 'The Four Seasons' The Entertainer and When the Saints Go Marching In.

The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee?s (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: ?In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.? Over the last couple of years I moved back to Jelly Roll Morton?s city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman?s reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means ?conversation with the gods? in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao?s (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950?s following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo?s ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece?s characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles? Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don?t Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach?s Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare?s Twelfth Night, and played incidental music for their production of Bertold Brecht?s The Good Woman of Sichuan. He has performed Carulli?s Guitar Concerto in A, Leonard Bernstein?s West Side Story and Marvin Hamlish?s A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony?s co-production of George Gershwin?s Opera Porgy and Bess.

Cantata for string orchestra and chorus.Triptych represents the concatenation and re-orchestration of two extant works. Movement I was commissioned with funds from The RVW Trust for the inaugural concert of the Choir of London conducted by Jeremy Summerly in Christ Church Spitalfields on 18th December 2004; the work premièred as Threnody was subsequently toured by the Choir to Jerusalem and the West Bank from 19th-26th December 2004. Movements II and III commissioned by Portsmouth Grammar School with financial support from the PRS Foundation were premièred as And There Was a Great Calm in a contiguous version for lower strings and upper voices by thePortsmouth Grammar School Chamber Choir and the London Mozart Players in a concert at Portsmouth Anglican Cathedral on 13th November 2005 conducted by Nicolae Moldoveanu. The title of this latter section is taken from Thomas Hardy’s poem of the same name written at the signing of the Armistice on 11th November 1918; a couplet from which is set in a moment of tranquillity in the final movement.Relatively new to living in New York I am much more aware of the independent vibrant cultural plurality that exists today; it’s probably the single most dazzling facet of the City and is largely responsible for the infamous ‘edginess’ that pervades daily life there. With this in mind I set to work on Threnody (movement I here) in 2004; I wanted to write something that was relevant to the Israeli/Palestinian issue without losing that City ‘edge’. The texts in English are excerpted from a variety of sources: William Penn William Blake the Psalms of David and Muhammad Rajab Al-Bayoumi an Egyptian poet of the early twentieth-century. Fast and rhythmically influenced by the music of North Africa in its syncopations this movement was the first composition that evolved entirely from my New York perspective.From the moment that the commission for And There Was a Great Calm (movements II & III here) was offered I knew the piece I was