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No.4 Bransles
Titel nach Uploader: Capriol Suite. Bransles, für Klavier
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Tonart |
g-Moll |
Verleger |
J. Curwen & Sons Ltd |
Schwierigkeitsgrad |
Fortgeschritten |
Instrumentierung |
Flöte |
Genre |
Weltmusik / Ethno |
Instrumentierung |
Klavier |
Genre |
Klassische Musik |
No.2 Pavane, for bassoon and piano
Titel nach Uploader: Pavane from the Capriol Suite arranged for Bassoon and Piano
Instrumentierung |
Klavier, Fagott |
Partitur für |
Solo, Klavierbegleitung |
Art der Partitur |
Partitur für zwei Interpreten, Solo Stimme |
Arrangeur |
Andrew Moore |
Verleger |
Andrew Moore |
Schwierigkeitsgrad |
Mittel |
Genre |
Klassische Musik/Arrangement |
The second of the characterful dances from Peter Warlock's Capriol Suite is presented here in a straightforward and enjoyable arrangement for bassoon and piano. Other movements from the suite are also available separately. The score (bassoon and piano parts) comprise 5 pages
No.5-6
Titel nach Uploader: Capriol Suite. Pieds en l'Air and Mattachins, für Klavier
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Verleger |
J. Curwen & Sons Ltd |
Schwierigkeitsgrad |
Fortgeschritten |
No.5 Pieds en l'air, for bassoon and piano
Titel nach Uploader: Pieds en l'air from the Capriol Suite arranged for Bassoon and Piano
Instrumentierung |
Klavier, Fagott |
Partitur für |
Solo, Klavierbegleitung |
Art der Partitur |
Partitur für zwei Interpreten, Solo Stimme |
Tonart |
G-Dur |
Arrangeur |
Andrew Moore |
Verleger |
Andrew Moore |
Schwierigkeitsgrad |
Mittel |
Genre |
Klassische Musik/Arrangement |
The fifth of the characterful dances from Peter Warlock's Capriol Suite is presented here in a straightforward and enjoyable arrangement for bassoon and piano. Other movements from the suite are also available separately. The bassoon and piano scores comprise 4 pages in total.
No.5 Pieds en l'air, for cello
Instrumentierung |
Cello |
Genre |
Klassische Musik |
No.5 Pieds en l'air, for cello and piano
Instrumentierung |
Klavier, Cello |
Genre |
Klassische Musik |
No.5 Pieds en l'air, for violin
Instrumentierung |
Geige |
Genre |
Klassische Musik |
No.5 Pieds en l'air, for violin and piano
Instrumentierung |
Klavier, Geige |
Genre |
Klassische Musik |
Complete set, for flute choir
Titel nach Uploader: Capriol Suite
Instrumentierung |
Flöte, Piccoloflöte, Altflöte, Bassflöte |
Partitur für |
Großes Ensemble (9 oder mehr Musiker) |
Art der Partitur |
Partitur, Stimmen |
Satz, Nr. |
1 bis 6 von 6 |
Arrangeur |
L. van Burken |
Verleger |
L. van Burken |
Schwierigkeitsgrad |
Fortgeschritten |
Länge |
13'0 |
Jahr der Komposition |
1926 |
Genre |
Klassische Musik/Kammermusik |
Capriol Suite (1926)
by Peter Warlock (1894–1930)
Arranged for 7 Flutes, Alto Flute, and Bass Flute, by L. M. van Burken
Peter Warlock was the pen name of British composer Philip Arnold Heseltine. He was a music
critic, editor, and serious scholar of early music. Heseltine used his real name for his writing and
reserved "Peter Warlock" for his musical compositions and arrangements.
Capriol Suite, written in 1926, was originally a collection of six dances for string orchestra, all
inspired by Renaissance music. Each of the six movements is based on melodies from a manual
of Renaissance dances by a French priest named Jehan Tabourot (1519–95). While the suite
incorporates these Renaissance dance tunes, Capriol Suite is really more of a fresh composition
than a straightforward arrangement. Warlock takes a lot of creative freedom with the original
melodies, turning them into something entirely new and different from their historical roots.
In this piece, you’ll hear a blend of Renaissance dance forms with 20th-century harmonies,
creating a unique and captivating example of neo-Renaissance style in music.
Performance Notes:
Lean into the dissonances; they are intentional.
The tempo markings are suggestions.
While this arrangement was originally written for a large flute choir, it can be adapted to
various ensemble configurations.
The ensemble should be organized into four sections, as the parts within each section are
closely related:
Section 1: Piccolo, Flute 1, Flute 2
1.
Section 2: Flute 3, Flute 4
2.
Section 3: Flute 5, Flute 6
3.
Section 4: Flute 7, Alto Flute, Bass Flute
4.
Note: The Flute 7 and Alto Flute parts are identical, so either one can be omitted if
necessary.
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