活页乐谱 $45.00

原文

Concerto for Woodwind Quintet & Wind Ensemble. David Gillingham. B-Flat Trumpet sheet music. Bassoon sheet music. Horn sheet music. Grade 5.

译文

协奏曲为木管五重奏. 大卫·吉灵厄姆. 降B大调小号乐谱. 巴松管乐谱. 喇叭乐谱. 五年级.

原文

Concerto for Woodwind Quintet & Wind Ensemble. Woodwind Quintet Feature. Composed by David Gillingham. For Soloist. with Concert Band. Piccolo, Flute 1. 2, Oboe 1. 2, Bassoon 1. 2, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Bass Clarinet, Contrabassoon, Alto Saxophone 1. 2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1. 2, Trumpet in Bb 3. 4, Horn in F 1. 2, Horn in F 3. 4, Tro. Grade 5. Score only. Duration 11. 30. Published by C. Alan Publications. CN.04701. With the 'Brandenburg Concerto No. 2 in F Major' by J.S. Bach serving as a model for the inspiration, spirit and vitality of this work, Gillinghman has created a work in the concerto grosso style but with a modern flair. Not for the feint of heart, this work requires an aggressive woodwind quintet as well as a peak performing ensemble. The "Concerto for Woodwind Quintet" and Wind Ensemble began as a commission in 1983 but never materialized and was never performed. Its premiere performance was in February of 1995 by the Central Michigan University Symphonic Wind Ensemble under the direction of John Williamson. The Powers Quintet of Central Michigan University was the soloing quintet. It was my intention to create a work in the concerto grosso style which flourished in the Baroque period within the confines of materials and techniques of the present century. The 'Brandenburg Concerto No. 2 in F Major' by J.S. Bach served as a model for the inspiration, spirit and vitality of this work. All three movements involve the interplay of the concertino group. the woodwind quintet. and the ripieno. the full ensemble with the quintet. Therefore, the woodwind quintet plays a dual role in the work as a soloing ensemble and as a part of the larger ensemble. The first movement is the most sophisticated of the three with a primary motive consisting of running sixteenth notes alternating between duple and triple groupings. A rather pompous motive with dramatic leaps emerges about midway through the movement in the horns. Following is considerable development of the primary motive between alternations of the ripieno and concertino. Then there is a literal repetition of the opening material followed by a Coda that dramatically restates the secondary motive. Like the 'Brandenburg No. 2,' the second movement is dominated by the concertino group and abounds in lyrical splendor. An ascending octave followed by a descending seventh characterizes the motivic material of this movement. The motive is imitated within the woodwind quintet forming lush harmonies in the first part of the movement and becoming more poignant and dissonant as the movement progresses. The winds and percussion serve only as a backdrop to this movement with long sustained chords and pandiatonic clusters in the winds and soft articulations by bells and crotales. A dominant augmented ninth chord with an underlying timpani roll leads to the third movement. The third movement is marked 'Presto' and is intended to be lighthearted and extremely upbeat in spirit. The primary motive alternates between 3. 4 and 7. 8 meter and features the interval of the fourth within a diatonic structure. The motive is varied and passed back and forth between the concertino and ripieno. There is a secondary motive, first heard in the solo horn, that is reminiscent of the dramatic secondary motive of the first movement. Unlike the latter, this motive never plays out in its entirety and merely teases the listener. Following a literal repetition of the opening of the movement, a rousing coda closes the work.

译文

协奏曲为木管五重奏. 木管五重奏功能. 由大卫吉林汉姆组成. 对于独奏者. 与乐团. 短笛，长笛1. 2，双簧管1. 2，巴松管1. 2，单簧管降B 1，单簧管降B 2，单簧管降B 3，低音单簧管，Contrabassoon，中音萨克斯1. 2，次中音萨克斯，上低音萨克斯，小号降B 1. 2，小号在降3. 4，喇叭F大1. 2，喇叭在F 3. 4，Tro的. 五年级. 分数只. 持续时间11. 30. 发布时间由C.艾伦出版物. CN.04701. 随着“勃兰登堡协奏曲第2号F大调”被JS巴赫作为一个模型为灵感，精神和这项工作的活力，Gillinghman创造了一个工作，在协奏曲的风格，但以现代风格. 不适合心脏佯攻，这项工作需要一个积极的木管五重奏，以及峰值表演合奏. 在“协奏曲木管五重奏”和管乐团开始了作为佣金在1983年，但从未实现从未执行过. 它的首演是在1995年2月由中央密歇根大学交响管乐团在约翰·威廉姆森的方向. 中央密歇根大学的权力五重奏是独奏五重奏. 这是我用心打造的协奏曲风格作品盛行于巴洛克时期的材料和本世纪后的技术范围内. 在“勃兰登堡协奏曲第2号F大调”被JS巴赫担任过一款型号为这项工作的灵感，精神和活力. 所有这三个动作涉及协奏曲组的相互作用. 木管五重奏. 和ripieno. 全合奏的五重奏. 因此，木管五重奏演奏在工作的双重角色作为一个独奏，合奏和大合奏的一部分. 第一乐章是最复杂的三座带主要动机包括运行十六分音符二倍和三倍集团之间的交替的. 一个相当浮夸的动机与戏剧性的飞跃大约出现中途在角运动. 以下是相当大的发展的ripieno和协奏曲的交替之间的主要动机. 再有就是开料的字面重复其次是科达，极大地重申二次动机. 像'勃兰登堡2号“的第二乐章是由协奏曲组为主，盛产抒情的辉煌. 升序倍频后跟一个递减第七表征这个运动的动机的材料. 动机是在木管五重奏形成郁郁葱葱的和声在运动的第一部分，变得更加尖锐和不搭调的运动进展模仿. 风和打击乐只能作为一个背景，这个运动有长期持续的和弦和pandiatonic集群，在风和软关节由钟和crotales. 具有支配性的增强第九和弦与底层定音鼓滚导致第三乐章. 第三乐章被标记为“急板”，目的是要轻松和精神极度乐观. 3之间的主要动机交替. 4和7. 8米，并设有内的全音阶结构的第四个间隔. 动机是多种多样的，来回传递的协奏曲和ripieno之间. 还有一个次要的动机，在独奏圆号第一次听说，这让人想起了第一乐章的戏剧性次要动机. 不同的是后者，这个动机从来没有发挥出其全部，只是挑逗听众. 随着运动的开放的字面重复，一个激动人心的结尾关闭工作.