CONCERTO PER BANDA

Scomegna Edizioni Musicali
214,00
Olivio Di Domenico / arr. Alessandro Celardi


Written between 1966 and 1967, the Concerto per Banda stands as one of the most important Italian works in the original repertory for wind band of that [...]

€ 214,00

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Komponist Olivio Di Domenico
Bearbeiter Alessandro Celardi
Verlag Scomegna Edizioni Musicali
Schwierigkeitsstufe 5
Dauer 13'15
Zusammensetzung Blasorchester
Format Partitur A3+ (32 x 48 cm) und Stimmen A4+ (24 x 32 cm)
Aufnahme PAGINE ITALIANE
Beschreibung

Details

Written between 1966 and 1967, the Concerto per Banda stands as one of the most important Italian works in the original repertory for wind band of that period. Its new musical language is the result of an innovative musical experience and sets a clear step forward from the Italian band tradition, which was still associated with well-grounded symphonic and melodramatic roots. The composition was premiered on 18 June 1967 in Piazza del Campidoglio in Rome in a program that also featured the Italian premiere of Hindemith’s wind ensemble masterpiece Symphony in B flat. The Concerto per Banda is written for the traditional Italian wind ensemble that relies on Vessella’s instrumentation. Thus, to transcribe it for a wind band with international instrumentation, the editor had to reconsider in its entirety the balance among sections as well as the blend of timbres without departing from the original intention. All instrumental relationships have been re-balanced, but the editor kept some colors unchanged and assigned them a linking function between the two scores, as for instance in the case of the flugelhorns. For evident philological reasons, the editor did not alter the interesting timbral variety employed in the Romanza with guitar and celesta. As a consequence of the “thinning” and “re-balancing” of the orchestration, some changes in articulation and dynamics became necessary, too. Yet, the editor did not modify the composer’s effort to diversify dynamics in relations to the “weight” of each single instrument and to the daring harmonic and rhythmic language, in which a feverish use of counterpoint prevails. The editor’s choice wants also to facilitate the work of the music director while conducting. Ultimately, the editing of this piece to adjust it for international wind band instrumentation will render an important composition of Italian original wind band music available for performance and at the same time pay homage to its composer, Olivio Di Domenico.
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