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Chamber Symphony No. 2 for Bassoon. Daniel McCarthy. Bassoon Solo sheet music. Double Bass sheet music. Horn sheet music. Marimba sheet music. Oboe sheet music. Percussion sheet music. Soprano Saxophone sheet music. Advanced.

Oversættelse

Chamber Symphony No 2 for fagot. Daniel McCarthy. Noderne Fagot Solo. Double Bass noder. Horn noder. Marimba noder. Obo noder. Percussion noder. Sopransaxofon noder. Avanceret.

Original tekst

Chamber Symphony No. 2 for Bassoon. Bassoon Feature. Composed by Daniel McCarthy. Arranged by A. Dancy. Chamber Ensemble. For Solo Bassoon, Chamber Winds & Percussion. solo bassoon, flute, oboe, soprano saxophone, clarinet in Bb, bass clarinet, bassoon, horn in F, percussion. maracas, temple blocks, suspended cymbal, tam tam, bongos, castanets, triangle. , marimba. 4.5-octave. , double bass. Medium difficult. Score only. Duration 16. 00. Published by C. Alan Publications. CN.05861. The title "Chamber Symphony" indicates that "the wind ensemble is more intimately involved. musically speaking. with the soloist than a accompaniment as in a concerto. In this regard, the single winds and bassoon are treated integrally although the bassoon is the featured instrument. Chamber Symphony No. 2 for Bassoon and Winds was commissioned for Barrick Stees by the Michigan State University Bands, John Whitwell, Conductor. This piece follows the format of McCarthy's Chamber Symphony. No. 1. for Marimba and Winds, a virtuosic composition for solo instrument and chamber ensemble that has more musically involved accompaniment than implied by the term 'concerto. ' Daniel McCarthy met Barrick Stees as a colleague at the Interlochen Summer Arts Festival. Interlochen Arts Camp, Interlochen, Michigan. in the summer of 1995. Since that time, McCarthy and Stees have worked together on numerous recording and performance projects - most recently, the recording of another commissioned work of McCarthy's by Stees, All the West Was Moving. Centaur Records. Barrick Stees and The Arianna String Quartet. For Chamber Symphony No. 2, McCarthy prefers the multi-movement format, six movements of varying lengths. Similar to some of Beethoven's late string quartets, McCarthy uses two shorter movements as introductions to others, namely the two 'Interludes. ' The outer two movements are programmatic, whereas the interior movements are much more classically conceived. Movement 1. 'Stomp and Buc Dance' Having grown up in Northern Michigan, McCarthy has a special affinity for the autumn season. Several of his teachers from the Interlochen Academy. where McCarthy graduated in 1974. are avid hunters. The deer-hunting season for many in northern Michigan is sacred. One hears of the so-called 'deer camps' where hunters have wild parties. far enough from their hunting sites as to not 'spook' the animals. McCarthy imagines Deer, Buck, and Elk parties at the end of hunting season, when the animals, after another season of successfully avoiding the hunters' bullets and arrows, dance wildly around their own camp fires, drinking deer-beer and mocking the hunters in the dim fire light. Movement 2. 'Interlude' 'Interlude' introduces a softer, darker, less humorous music than the first movement. It offers a transition to a much less programmatic third movement in comparison to the first. Movement 3. 'Mechanique' 'Mechanique' is a study in angular intervals for the solo bassoon. The rhythmic animation in the solo with the motoric doublebass and marimba accompaniments give the music a mechanical sound that is. perhaps. associated with an etude. Movement 4. 'Interlude. Creep' The second 'Interlude,' this time with the subtitle. 'Creep' is inspired by the second movement of J. S. Bach's Suite No. 3 in D Major. Air on the G String. The inspiration for this interlude is textural. a long, sustained melody in the treble above a punctuated, quasi-jazz pizzicato bass and marimba bass line that 'creeps' and crawls its way beneath the ensemble. It is the only movement without the bassoon solo. Movement 5. 'Static' A somewhat improvisational, rhapsodic sounding piece, 'Static' is a study in repeated notes and fast tonguing for the wind instruments. The 'static' repetition of pitches creates a percussive effect that is juxtaposed with a mosaic of wide-interval motives. Movement 6. 'Fire, Dance, and Wahbekanetta' This movement, like the first, is about wild-eyed, nocturnal parties in Michigan's northern wood. In 1969, the composer attended the National Music Camp as a trumpet player and later, the Interlochen Arts Academy from 1970-1974. He later joined the faculty of Interlochen Arts Camp in 1995. McCarthy was born very near Interlochen, in a small village of Onekoma on Portage Lake. The summer is the time for the composer to return to the land of his youth, a chance to escape the rigors of academe, to be with friends. Memories.

Oversættelse

Chamber Symphony No 2 for fagot. Bassoon Feature. Komponeret af Daniel McCarthy. Arrangeret af A. Dancy. Chamber Ensemble. For Solo Fagot, Chamber Winds. solo fagot, fløjte, obo, sopran saxofon, klarinet i Bb, basklarinet, fagot, horn i F, slagtøj. maracas, tempel blokke, suspenderet bækken, Tam Tam, bongos, kastagnetter, trekant. , Marimba. 4,5 oktav. , Kontrabas. Medium svært. Score kun. Varighed 16. 00. Udgivet af C. Alan Publications. CN.05861. Titlen "Chamber Symphony" angiver, at "vinden ensemble er mere intimt involveret. musikalsk set. med solisten end et akkompagnement som i en koncert. I denne forbindelse er de enkelte vind og fagot behandlet integreret selvom fagot er featured instrument. Chamber Symphony No 2 for fagot og Winds blev bestilt til Barrick Stees ved Michigan State University Bands, John Whitwell, Dirigent. Dette stykke følger formatet for McCarthys Chamber Symphony. Nr. 1. for marimba og Winds, en virtuos komposition for solo instrument og kammerensemble, der har mere musikalsk involveret akkompagnement end antydes af begrebet "koncert. 'Daniel McCarthy mødte Barrick Stees som en kollega på Interlochen Summer Arts Festival. Interlochen Arts Camp, Interlochen, Michigan. i sommeren 1995. Siden dengang har McCarthy og Stees arbejdet sammen på talrige optagelse og ydeevne projekter - senest, registrering af andet bestillingsarbejde af McCarthys af Stees, Alle Vesten bevægede. Centaur Records. Barrick Stees og The Arianna String Quartet. For Chamber Symphony No 2, McCarthy foretrækker multi-bevægelsen format, seks bevægelser af varierende længde. Svarende til nogle af Beethovens sene strygekvartetter, bruger McCarthy to kortere bevægelser som introduktioner til andre, nemlig de to 'Interludes. »De to yderste bevægelser er programmatisk, mens de indvendige bevægelser er langt mere klassisk udtænkt. Bevægelse 1. "Stomp og Buc Dance 'Have vokset op i det nordlige Michigan, McCarthy har en særlig affinitet for efterårssæsonen. Flere af hans lærere fra Interlochen Academy. hvor McCarthy dimitterede i 1974. er ivrige jægere. De hjorte-jagt sæson for mange i det nordlige Michigan er helligt. Man hører om de såkaldte »deer lejre", hvor jægere har vilde fester. langt nok fra deres jagt sites for ikke at "spook" dyrene. McCarthy forestiller Deer, Buck, og Elk parter i slutningen af ​​jagtsæsonen, når dyrene, efter endnu en sæson af succes undgå jægernes kugler og pile, danse vildt omkring deres egen lejr brande, drikke hjorte-øl og spottende jægerne i dim brand lys. Bevægelse 2. 'Interlude' Interlude 'introducerer en blødere, mørkere, mindre humoristisk musik, end den første bevægelse. Det giver en overgang til en langt mindre programmatisk tredje bevægelse i forhold til den første. Bevægelse 3. 'Mechanique' Mechanique "er et studie i kantede intervaller for solo fagot. Den rytmiske animation i solo med motoriske DoubleBASS og marimba akkompagnementer giver musikken en mekanisk lyd, der er. måske. forbundet med en etude. Bevægelse 4. 'Interlude. Creep 'Den anden' Interlude 'denne gang med undertitlen. 'Creep' er inspireret af den anden sats af JS Bachs Suite nr. 3 i D-dur. Air on G String. Inspirationen til dette mellemspil er stofligt. en lang, vedvarende melodi i diskanten over en præget, kvasi-jazz pizzicato bas og marimba bas linje, "kryb" og kravler sin vej under ensemblet. Det er den eneste bevægelse uden fagot solo. Bevægelse 5. "Static" En lidt improvisatoriske, rapsodisk klingende stykke, "Static" er et studie i gentagne noter og hurtig tonguing for blæseinstrumenter. Den "statisk" gentagelse af pladser skaber en percussive effekt, der sammenstillet med en mosaik af bred-interval motiver. Bevægelse 6. 'Fire, Dance, og Wahbekanetta' Denne bevægelse, ligesom det første, er om vilde øjne, natlig partier i Michigan nordlige træ. I 1969 komponisten deltog i National Music Camp som en trompetist og senere Interlochen Arts Academy 1970-1974. Han senere sluttede fakultetet for Interlochen Arts Camp i 1995. McCarthy blev født meget tæt på Interlochen, i en lille landsby Onekoma på Portage Lake. Sommeren er tiden for komponisten at vende tilbage til jorden på sin ungdom, en chance for at undslippe rigor af akademiske, at være sammen med venner. Memories.