Archive for the Scores category
Some months ago we published a volume that includes four versions for guitar of the overture that Ramon Carnicer (1789-1855) created for the opera of Rossini, Il barbiere di Siviglia.
In the prologue of the edition, thoroughly written by Josep Dolcet and Josep Maria Mangado, alluded the transcendence the scenic pieces of Ramon Carnicer had. Starting his education as a clerical musician, he started composing arrangements and editions of some scores he conducted. As expected, the audience wanted new pieces of music.
Motivated by this demand and his own capacity to experience, Carnicer composed a new overture for Il barbiere di Siviglia -very known by the audience- that resulted, even for the original composer, Rossini, better than the real overture.
The popularity some opera pieces achieved during the 19th century in Europe, made place to new versions and adaptations of the famous fragments for different instruments, such as the guitar, the piano or the little ensembles. Apparently, there exist some adaptations for guitar of Carnicer’s overture.
In this edition made by Tritó, there are included a version from 2007 by Josep María Mangado and three more facsimile editions from 19th century. The first one -version by Pelegrí- was originally published in Barcelona, from 1819. The second version, anonymous, was published in Madrid, by Manuel Carrafa’s press. The last one, by Tomás Damaz, was also published in Madrid, the 1872 by Antonio Romero.
Thanks to the intensive musicological work developed around these editions, today we have this volume that will allow guitarists, researchers and curious to compare and choose the adaptation that fits better with their interests. Our editorial team wishes to share with you, our followers, the enthusiasm with which we carried this edition, and hopes to arouse your interest.
After the fantastic recent premiere of the opera in four acts, “Yo, Dalí”, by Xavier Benguerel, which was performed last June by the Orquesta de la Comunidad de Madrid and the Coro del Teatro de la Zarzuela conducted by Antonio Fauró, the reduced version is now avalable from Tritó. The same as another reduction that we published this summer, The Magic Opal, by Albéniz, you can rent the full score of the opera or acquire this version for voices, choir and piano.
On continuation we would like to offer a short news item televised by RTVE on the occasion of the premiere, where you can listen to Benguerel himself discussing his work.
Even in August, Tritó continues working for Spanish music. So this last month we edited and published the reduction for piano of the opera The Magic Opal, a fantastic story in two acts with pirates, ghosts and impossible loves made possible by art of magic on the coast of Karatol, composed by Isaac Albéniz in his London period. And in this work we discover the composer’s personal style mixed with typical elements of Victorian opera.
Therefore, as we were saying, this opera, which up till now you could only obtain in its full version or rent, is now also available as a reduction for solo voices, choir and piano at a launch price of just 31.20 euros.
Avid has just announced the launch of its iPhone application Avid Scorch, a tool they claim will transform the iPad into a score library cum shop and music stand at the same time.
The application is based on the Sibelius music notation software technology, also by Avid, allowing seamless integration with the latter. There is also an integrated shop with over 150,000 titles.
The software is not only a viewer of scores but also contains additional functions: some of its most remarkable features include the ability to transpose pieces to other keys, introduce changes in their instrumentation, convert them to and from guitar tabs, and separate out the instrumental parts and play them on a virtual keyboard. It also boasts a music stand option that makes it possible to turn the pages quickly.
Its integration with the shop not only allows access to the entire catalogue of Hal Leonard and Music Sales but also the possibility of users uploading their own creations in Sibelius to sell them to the online community.
“We’re certain our customers will be excited to use Scorch, an innovative iPad application, to purchase, practice and perform sheet music wherever they go”, says Tanguy Leborgne, Vice President, Creative Enthusiasts’ Products and Solutions at Avid. “We’re focused on using our industry-leading technology in exciting new ways so musicians, teachers, students – all creative people – can achieve their artistic vision.”
The Avid Scorch application is available worldwide through the App Store at a limited time introductory price of € 3.99. As of 31 July 2011, the price will be € 5.99.
Further information at: www.hispasonic.com
Josep Pla was of the opinion that music should be systematically understandable: “if necessary, to the point of sheer vulgarity, mud and bricks and that’s it.” The operetta genre lends itself more freely to this description than others, or to put it in a more pedantic and euphemistic way, this excess of comprehensibility.
Using an eccentric libretto that situates the action on the coast of Greece (a circumstance that determines the names of some characters but has no influence on the music, unless it’s the abundance of Phrygian cadences) Isaac Albéniz complies effectively with the customs of Victorian operetta.
Now, in a magnificent edition by Borja Mariño, this work is newly available and we have the opportunity to approach it with a full and thorough knowledge of the facts. Forget any condescension towards the genre, though: it is more than likely that “The Magic Opal” has moments of ambivalent simplicity in store for us, unbearable and delicious at the same time.
The Tritó Edicions catalogue contains works by the majority of Spanish composers of old and contemporary repertoire. Searches – simple and advanced – can be made by complete title or by composer, by any characteristic of the work, or by consulting the complete rental catalogue
For further information on rentals, write to firstname.lastname@example.org or phone (+34) 933 426 175.
To mark the centenary of Isaac Albéniz’s death, Tritó Publishers has issued a new revised edition of this composer’s complete works for voice and piano, a key repertoire among the Spanish music from all periods.
It is hoped that this long-awaited new edition will be as successful as the previous one, published over ten years ago. It continues the line initiated with the publication of another important set of complete works for voice and piano, the songs of Enrique Granados.
In this edition particular mention should be made of the inclusion of the translations of the original lyrics to English, Catalan and Spanish, and also the phonetic transcription made by Oriol Gil Sanchís. The introductory study has also been reviewed, enlarged and updated by its author, Jacinto Torres, one of the foremost experts on this composer.
The publication includes five poems by Becquer for recital with piano accompaniment, along with later versions by Albéniz for singer and piano. It also includes six salon romances in Italian, four songs on French poems with modernist and symbolist aesthetics, and most important of all, the set of the sixteen songs based on poems by his English patron Francis B. Money-Coutts.
Albéniz’s piano music has often overshadowed the rest of his musical output. Among his songs and lieder there are very different pieces, ranging from salon romances to French impressionist songs and recited works with piano accompaniment. This compilation of works – some of them hitherto unpublished – provides a novel overview of this composer.
El gato con Botas, an opera by Xavier Montsalvatge with a libretto by Nestor Luján based on the story by C. Perrault, has been newly published as a reduced version for piano and voice.
This opera, composed by the Catalan composer in 1948, is one of the liveliest examples of contemporary Spanish opera and has been staged on several occasions – the latest was a co-production by the Teatro Real and the Liceu – both in its original version and as the adaptation made in 1996 by Albert Guinovart for chamber ensemble.
Obertura Festiva, by Manuel Castillo (1927-2005), is being published with the support of the Centro de Documentación Musical de Andalusia of the Andalusian government,
This work for orchestra was composed in 1996 and was dedicated to the Fundación Jacinto e Inocencio Guerrero as a token of appreciation for the prize awarded to the composer by this foundation.
The work does not conform to a pre-established formal scheme, but rather it is constructed on the basis of the sum of different materials that include touches of Andalusian tonalities.
It’s called Music Reader and it may be the format that definitively pensions off the traditional score and parts in paper. And there’s really no doubt it has many advantages:
The musical notes are visualised on a tablet PC type of screen that can be placed on the music stand while the pages are turned with an accessory pedal. Another advantage that also affects the publishing companies is that it permits the introduction of corrections in real time by the musicians, and also various annotations.
Naturally Music Reader is not the only initiative in this direction. Another device on the market with similar characteristics is MusicPad Pro.
We will have to wait and see what happens but what’s for sure is that the digital revolution is arriving everywhere and classical music is no exception.
Isaac Albéniz is one of the most emblematic composers of Spanish music of all time and although he never wrote for guitar his music almost immediately aroused the interest of guitarists. The first adaptations for guitar of Albéniz’s music are practically contemporary to the original versions for piano, although there is no doubt that the best known are those realised by Andrés Segovia.
Javier Riba now presents adaptations of some of Albéniz’s masterworks, pieces that have been included in the CD “La guitarra soñada”, which is now being released for the enjoyment of all guitar lovers.
Above all, the guitarist has aimed to respect the style and resources of the guitar of the epoch and the spirit of Albeniz’s piano music.
You can download a sample on continuation…
La Rosa de Azafrán is one of the most performed works in the repertoire of zarzuelas and without doubt one of Jacinto Guerrero’s masterworks. This new edition is base on the original score and its reduction for voice and piano, and has been prepared in collaboration with the Fundación Jacinto e Inocencio Guerrero.
La Rosa de Azafrán was premiered at the Teatro Calderón de Madrid in 1930. It was composed on the same lines as other works such as Los gavilanes and La montería, also by Guerrero. The plot is set in the Castile that the composer, who was born in the village of Ajofrín in the province of Toledo, knew so well.
Around the end of the 19th century a period of Spanish musical theatre came to an end and a new generation of creators came to the fore. This generation was in tune with the predominant aesthetic tastes in Europe and had to meet an incessant call for new works. The orchestral arrangements of the time had to adapt to these demands and also the scarcity of some instruments.
2. Canción del sembrador
3. No me duele que se vaya…
Today’s listeners may have certain difficulties in appreciating the real magnitude of a “literal” performance of the score, which has been mutilated on numerous occasions in order to adapt it to the formats of the groups and orchestras that performed it.
The present edition, prepared by Miguel Roa, has taken these particularities into account. He has rejected the presentation of a historicist version in favour of a version that certainly does not go against the author’s true intentions.
The Fundación Guerrero has published the score Cuaderno para un aniversario in which it has tried to link together the two main principles that have marked its work during the last 25 years: the defence of the musical heritage left by Jacinto Guerrero and the promotion of Spanish music, in particular the most contemporary.
To this end, ten composer who have been associated with the Foundation during these years were commissioned the composition of piano works based on themes by Guerrero. Among the composers there are some winners of the Foundation awards given to the best students in composition graduated from the Real Conservatorio Superior de Música in Madrid, others who have won the Fundación Guerrero Music Prize, and others who are currently sponsors of the Foundation itself.
As well as the scores themselves Cuaderno para un aniversario includes a recording of these made by the winner of the last Foundation piano competition, the pianist Xiaofeng Wu, and also a preliminary study by
Antonio Gallego in Spanish and English. The Fundación Canal collaborated on the project by ceding its auditorium for the recording.
Raquel Rodríguez Fernández – Imprevisaciones sobre temas de Jacinto Guerrero
Tomás Marco – Quodlibet (sobre dos fragmentos de Jacinto Guerrero)
Alicia Díaz de la Fuente – Homenaje
Miguel del Barco – Glosando al Maestro Guerrero
Antón García Abril – Variaciones líricas (sobre un tema de “La montería”)
Daniel Roca Arencibia – Reflexiones sobre un motivo de Jacinto Guerrero
Francisco Novel Sámano – Variaciones libres
José María Sánchez-Verdú – Estudio núm. 2
Luis de Pablo – Caricatura amistosa
Pilar Jurado – De campanas y rosas
1. Imprevisaciones sobre temas de Jacinto Guerrero
2. Quodlibet (sobre dos fragmentos de Jacinto Guerrero)
4. Glosando al maestro Guerrero
5. Variaciones líricas
Although Isaac Albéniz did not compose for the guitar, the transcriptions for this instrument of his music constitute an important oeuvre and were numerous even during the composer’s lifetime. Francisco Tárrega’s transcriptions for performers like Andrés Segovia have contributed to the renown of Albéniz’s piano works.
Some of Tárrega’s transcriptions are included on the recording La guitarra soñada, along with others by the guitarist Javier Riba, who on this CD offers an elegant and solid performance backed by a profound grasp of Albéniz and the guitar idiom. Included on the CD is a selection of some of the best-known works by the Catalan composer: Iberia, Suite Española, España and Pavana.
This is what Walter Aaron Clark, an Albéniz scholar, has to say about the quality of these transcriptions: “But I had always felt that a solo guitarist could not do justice to this music. The guitar virtuoso Javier Riba, an artist of the first order, has proved the falseness of that claim, for which we should all be grateful.”