Partituras $9.99

Original

Bacchanalia, a tone poem for violin and piano. score and part. Violin Solo sheet music. Piano Accompaniment sheet music. Advanced.

Traducción

Bacchanalia, um poema de tom para violino e piano. pontuação e parte. Folha de música Violino Solo. Partituras acompanhamento de piano. Avançado.

Original

Bacchanalia, a tone poem for violin and piano. score and part. composed by Christopher A. Sforza. For Piano,Violin. 21st Century. Advanced Intermediate. Score,Solo Part. Published by Christopher A. Sforza. S0.39549. Program notes by the composer. The title of this work as well as its inspiration comes from the ancient Roman festivals and wild reveries that were held in honour of Bacchus, god of wine, ritual madness, and unadulterated ecstasy. Perhaps the most famous of compositions centering on the bacchanalia is the version from the biblical opera Samson et Delila by Camille Saint-Saëns. My short setting which I subtitle a tone poem is intended to depict some sort of story. realized by the listener and performer. which involves to some degree dance, theatre, passion, and of course inebriated emotions. The piece itself is sewn together from preexisting musical material that I wrote many years ago. an unfinished soprano aria from an equally unfinished opera. so unfinished that no plot had even been conceived. and a completed single-movement rhapsodic violin concerto in g minor. which utilizes the aria material transposed from f minor. I found the melodies in these early pieces to be very endearing to me and in great need of reconstruction and a cohesive final form. Together with my inspiration for rebirth and violinist Laura Sciavolino’s fiery playing. to whom the piece is dedicated. Bacchanalia was created. The work is a melding of both my own compositional style and that of Eastern European folk, gypsy, and klezmer music. as well as a bit of Broadway thrown in for good flavour. These musical cultures have been a great source of inspiration for me as a composer and musician and I find myself intimately drawn to these idioms. Like many of my works, there is a multitude of different musical characters compacted within a short timeframe. Despite Bacchanalia’s brevity I manage to enact one of my all-time compositional devices of modulation, foraging through seven key signatures. Could this be a reference to the biblical and highly seductive Dance of the Seven Veils. as sensually depicted by Oscar Wilde. The harmonic scheme is as follows. g minor, b flat minor, b minor, f minor, g sharp minor, e minor, g minor. Presented here is my personal version of the Bacchanalia storyline, but of course this is not definitive. The work opens with a sort of drone in g minor. similar to the doina found in klezmer music. in which the violin presents a mournful lament above. This scene represents the entrance of an old woman. possibly near the end of her life. who is recounting a tale to a large gathering of people. The piano beats metronomically throughout as if it were the ticking of a distant clock. The tale she tells is of a tragic nature and is most likely about a forbidden love from her younger days. The music progresses to b flat minor and soon after transforms into the wild dancing of the bacchanal. in a sort of faux-tarantella. We then move up a half step and to 3. 4 time. the audience. both literal and figurative. is descended into the woman’s past as the music whirls around with revelry and finesse. As we move to f minor, so does the woman’s intense yearning for a love which she cannot obtain, perhaps due to conflicting families or unrequited emotions. Reintroduced is the opening lament figure over a rhythmically pulsating and throbbing piano accompaniment. Suddenly, tempo dramatically slows down as the woman sentimentally recalls a memory. The moment is only brief. the music speeds up and plunges us back into reality. Now in e minor, previous musical material makes a startling return in 4. 4 time. All of this commotion leads up to a triumphant march-like statement and violin cadenza. The woman’s story and the work end with a reiteration of the tarantella-like material of before, this time in the tonic key of g minor. Digital Print is printable sheet music available anytime, anywhere. Just purchase, print and play. View your online sheet music at home, school, work or anywhere you have a computer connected to the Internet. Use our iPad app to view your digital sheet music on the go. With Digital Print, you can print your digital sheet music immediately after purchase, or wait until its convenient. And our software installation is easy - we'll guide you through the simple steps to make sure you have Adobe Flash Player, Adobe AIR and the Sheet Music Plus AIR application.

Traducción

Bacchanalia, um poema de tom para violino e piano. pontuação e parte. composta por Christopher A. Sforza. Para Piano, Violino. 21st Century. Avançado Intermediário. Score, Solo Parte. Publicado por Christopher A. Sforza. S0.39549. Notas de programa do compositor. The title of this work as well as its inspiration comes from the ancient Roman festivals and wild reveries that were held in honour of Bacchus, god of wine, ritual madness, and unadulterated ecstasy. Perhaps the most famous of compositions centering on the bacchanalia is the version from the biblical opera Samson et Delila by Camille Saint-Saëns. My short setting which I subtitle a tone poem is intended to depict some sort of story. realized by the listener and performer. which involves to some degree dance, theatre, passion, and of course inebriated emotions. The piece itself is sewn together from preexisting musical material that I wrote many years ago. an unfinished soprano aria from an equally unfinished opera. so unfinished that no plot had even been conceived. and a completed single-movement rhapsodic violin concerto in g minor. which utilizes the aria material transposed from f minor. I found the melodies in these early pieces to be very endearing to me and in great need of reconstruction and a cohesive final form. Together with my inspiration for rebirth and violinist Laura Sciavolino’s fiery playing. to whom the piece is dedicated. Bacchanalia was created. The work is a melding of both my own compositional style and that of Eastern European folk, gypsy, and klezmer music. as well as a bit of Broadway thrown in for good flavour. These musical cultures have been a great source of inspiration for me as a composer and musician and I find myself intimately drawn to these idioms. Like many of my works, there is a multitude of different musical characters compacted within a short timeframe. Despite Bacchanalia’s brevity I manage to enact one of my all-time compositional devices of modulation, foraging through seven key signatures. Could this be a reference to the biblical and highly seductive Dance of the Seven Veils. as sensually depicted by Oscar Wilde. The harmonic scheme is as follows. g minor, b flat minor, b minor, f minor, g sharp minor, e minor, g minor. Presented here is my personal version of the Bacchanalia storyline, but of course this is not definitive. The work opens with a sort of drone in g minor. similar to the doina found in klezmer music. in which the violin presents a mournful lament above. This scene represents the entrance of an old woman. possibly near the end of her life. who is recounting a tale to a large gathering of people. The piano beats metronomically throughout as if it were the ticking of a distant clock. The tale she tells is of a tragic nature and is most likely about a forbidden love from her younger days. The music progresses to b flat minor and soon after transforms into the wild dancing of the bacchanal. in a sort of faux-tarantella. We then move up a half step and to 3. 4 hora. the audience. both literal and figurative. is descended into the woman’s past as the music whirls around with revelry and finesse. As we move to f minor, so does the woman’s intense yearning for a love which she cannot obtain, perhaps due to conflicting families or unrequited emotions. Reintroduced is the opening lament figure over a rhythmically pulsating and throbbing piano accompaniment. Suddenly, tempo dramatically slows down as the woman sentimentally recalls a memory. The moment is only brief. the music speeds up and plunges us back into reality. Now in e minor, previous musical material makes a startling return in 4. 4 hora. All of this commotion leads up to a triumphant march-like statement and violin cadenza. The woman’s story and the work end with a reiteration of the tarantella-like material of before, this time in the tonic key of g minor. Imprimir Digital é partituras para impressão disponível a qualquer hora, em qualquer lugar. Apenas compra, impressão e reprodução. Ver o seu partituras on-line em casa, na escola, no trabalho ou em qualquer lugar que tenha um computador conectado à Internet. Utilize o nosso aplicativo para iPad para ver o seu partituras digitais em movimento. Com impressão digital, você pode imprimir o seu partituras digitais imediatamente após a compra, ou esperar até que a sua conveniente. E a nossa instalação do software é fácil - vamos guiá-lo através dos passos simples para se certificar de que você tem o Adobe Flash Player, Adobe AIR e da aplicação Music Plus AIR Folha.