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Score and complete parts
Título por Autor: Carson Cooman: Enchanted Tracings (Piano Concerto No.2) for solo piano and wind ensemble – score and complete parts, Op.762
Instrumentação |
Piano, Flauta, Flauta piccolo, Clarinete, Fagote, Oboé, Corne Inglês, Trompa francesa, Trombone, Trombeta, Tuba, Timbales, Contrafagote, Clarinete baixo, Percussão |
Composição para |
Solo, Wind ensemble |
Tipo de composição |
Partitura completa, Partes |
movimento(s) |
1 para 3 de 3 |
Editora |
Musik Fabrik |
dificuldade |
Difficult |
duração |
15'0 |
I.. Murky Waters II. The Forgotten III. Casting Infinity
Enchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble was commissioned for a consortium of Donna Amato, piano, the Carnegie Mellon Wind Ensemble, Denis Colwell, conductor; Keith Kirchoff, piano, the Harvard Wind Ensemble, Thomas G. Everett, Mark Olson, conductors; and Nora Skuta, piano, the Slovak Radio Symphony Winds, Kirk Trevor, conductor. These three marvelous piano soloists served as the inspiration for the work. The concerto bears the dedication “for Walter Simmons, a hero for the cause of American music.” Musicologist Walter Simmons has been an inspirational and passionate advocate for serious American concert music for nearly his entire life. Through his tireless efforts as author, critic, recordand concert producer, and lecturer, Walter has brought myriad composers and works to muchdeserved attention.
The basic musical material for the entire work is presented near the outset, the pitches Eb – D – G –Ab – E. This cell is used throughout the rest of the concerto both motivically, in transformation, andas a harmonic structural device. Its harmonic identity creates the mix of tonal/modal and atonal constructs that are a preoccupation of my music. The concerto’s title provided the poetic idea behind the musical development. Though more or less equal with the ensemble in the first movement, the piano clearly takes over as leader in the second and third movements as the goaldirected formal narrative of the movements becomes more obvious.
The first movement, Murky Waters, is a free fantasy in which the piano and ensemble “unpack” the musical potential of the basic material. A number of melodic ideas emerge—some lyrical and some disjunct. A brief coda prepares for the next movement.
The second movement, The Forgotten, is a lament led by the piano. The harmonic colors of the piano’s sustaining sounds interact with the more linear textures of the winds and brass.
The third movement, Casting Infinity, is purposeful and structured as a march with trio. The spiky melodic material is treated in a variety of manners (including very tonally within the trio) before a return of material from the first movement pushes the concerto towards its conclusion.
Instrumentation Piccolo 2 Flutes 2 Oboes English Horn 2 Clarinets in Bb Bass Clarinet in Bb 2 Bassoons Contrabassoon
4 Horns in F 3 Trumpets in C 2 Trombones Tuba
Timpani Percussion (2 players) I: crotales, bass drum, tenor drum II: vibraphone (motor off), suspended cymbal (Percussion II needs one rosined bow.)
Solo Piano
(The above scoring is exact—with a single player on each part. Under no circumstances, should the work be performed with any substitutions, doublings, or increase of players on individual parts.)
Score and solo part only
Título por Autor: Carson Cooman: Enchanted Tracings (Piano Concerto No.2) for solo piano and wind ensemble – score and solo part only, Op.762
Instrumentação |
Piano, Flauta, Flauta piccolo, Clarinete, Fagote, Oboé, Corne Inglês, Trompa francesa, Trombone, Trombeta, Tuba, Timbales, Contrafagote, Clarinete baixo, Timbales, Percussão |
Composição para |
Solo, Wind ensemble |
Tipo de composição |
Partitura completa, Parte de solo |
movimento(s) |
1 para 3 de 3 |
Editora |
Musik Fabrik |
dificuldade |
Difficult |
duração |
15'0 |
I. Murky Waters II. The Forgotten III. Casting Infinity
Enchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble was commissioned for a consortium of Donna Amato, piano, the Carnegie Mellon Wind Ensemble, Denis Colwell, conductor; Keith Kirchoff, piano, the Harvard Wind Ensemble, Thomas G. Everett, Mark Olson, conductors; and Nora Skuta, piano, the Slovak Radio Symphony Winds, Kirk Trevor, conductor. These three marvelous piano soloists served as the inspiration for the work. The concerto bears the dedication “for Walter Simmons, a hero for the cause of American music.” Musicologist Walter Simmons has been an inspirational and passionate advocate for serious American concert music for nearly his entire life. Through his tireless efforts as author, critic, recordand concert producer, and lecturer, Walter has brought myriad composers and works to muchdeserved attention.
The basic musical material for the entire work is presented near the outset, the pitches Eb – D – G –Ab – E. This cell is used throughout the rest of the concerto both motivically, in transformation, andas a harmonic structural device. Its harmonic identity creates the mix of tonal/modal and atonal constructs that are a preoccupation of my music. The concerto’s title provided the poetic idea behind the musical development. Though more or less equal with the ensemble in the first movement, the piano clearly takes over as leader in the second and third movements as the goaldirected formal narrative of the movements becomes more obvious.
The first movement, Murky Waters, is a free fantasy in which the piano and ensemble “unpack” the musical potential of the basic material. A number of melodic ideas emerge—some lyrical and some disjunct. A brief coda prepares for the next movement.
The second movement, The Forgotten, is a lament led by the piano. The harmonic colors of the piano’s sustaining sounds interact with the more linear textures of the winds and brass.
The third movement, Casting Infinity, is purposeful and structured as a march with trio. The spiky melodic material is treated in a variety of manners (including very tonally within the trio) before a return of material from the first movement pushes the concerto towards its conclusion.
Instrumentation Piccolo 2 Flutes 2 Oboes English Horn 2 Clarinets in Bb Bass Clarinet in Bb 2 Bassoons Contrabassoon
4 Horns in F 3 Trumpets in C 2 Trombones Tuba
Timpani Percussion (2 players) I: crotales, bass drum, tenor drum II: vibraphone (motor off), suspended cymbal (Percussion II needs one rosined bow.)
Solo Piano
(The above scoring is exact—with a single player on each part. Under no circumstances, should the work be performed with any substitutions, doublings, or increase of players on individual parts.)
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