Partitures $141.99

Original

Pelle Gudmundsen-Holmgreen. For Violin And Orchestra. Score. Sheet Music. Violin, Orchestra. VLN. ORCH. Pelle Gudmundsen-Holmgreen.

Traducció

Pelle Gudmundsen-HOLMGREEN. Per a violí i orquestra. Puntuació. Partitures. Violí, Orquestra. VLN. ORCH. Pelle Gudmundsen-HOLMGREEN.

Original

For Violin And Orchestra was composed by Pelle Gudmundsen-Holmgreen in 2003. Programme note. On its journey through FOR VIOLIN AND ORCHESTRA the violin. encounters different colours or soundscapes or instrumental "blocks". The musical material is often associated with specific groups of instruments. the strings and their diatonic clusters. pizzicato to begin with. , the woodwinds entering after about 10 minutes with an Arabic sounding tune, heard first in the bassoon, and playing, at the end, bird-like signals - and finally the brass and their jungle-sound. The violin initially faces these phenomena one after the other, separately and in turns, but later on they are combined and appear simultaneously. this is the formal idea of the work. the musical material can appear autonomously,. and it can merge, in spite of differences in articulation and timbre and rhythm and expression. Formally the piece is rather meetings, coincidences, additions & subtractions - than "concerto" - and that is why that word is so. conspicuously absent from the tide. Pelle Gudmundsen-Holmgreen.

Traducció

For Violin And Orchestra was composed by Pelle Gudmundsen-Holmgreen in 2003. Note Programme. On its journey through FOR VIOLIN AND ORCHESTRA the violin. encounters different colours or soundscapes or instrumental "blocks". The musical material is often associated with specific groups of instruments. the strings and their diatonic clusters. pizzicato to begin with. , the woodwinds entering after about 10 minutes with an Arabic sounding tune, heard first in the bassoon, and playing, at the end, bird-like signals - and finally the brass and their jungle-sound. The violin initially faces these phenomena one after the other, separately and in turns, but later on they are combined and appear simultaneously. this is the formal idea of the work. the musical material can appear autonomously,. and it can merge, in spite of differences in articulation and timbre and rhythm and expression. Formally the piece is rather meetings, coincidences, additions & subtractions - than "concerto" - and that is why that word is so. conspicuously absent from the tide. Pelle Gudmundsen-HOLMGREEN.