Partition complète, Concerto pour Piano et orchestre, Manookian, Jeff

Jeff Manookian

Description

Obtenez les partitions de musique Concerto pour Piano et orchestre partition complète, Concertos, par Manookian, Jeff. Cette partition moderne dédiée aux instruments suivants:

• Piano Solo
• Piccolo
• 2 flûtes
• 2 hautbois
• 2 bassons
• 4 cornes
• 3 trompettes
• 3 Trombones
• Tuba
• timbales
• 3 Percussion
• harpe
• cordes

Cette partition aborde une variété de mouvements: 4 mouvements: Moderato Presto Adagio Allegro et l'on retrouve ce genre de musique répertoriée dans les genres

• Concertos
• pour piano, orchestre
• partitions pour piano
• partitions pour orchestre
• pour orchestre avec solistes
• pour 2 pianos (arr)
• pour 2 musiciens

Retrouvez en même temps d'autres musique pour cordes, 3 Trombones, 4 cornes, 2 bassons, Piano Solo, 2 flûtes, 3 trompettes, Tuba, 2 hautbois, 3 Percussion, harpe, Piccolo, timbales sur YouScribe, dans la rubrique Partitions de musique variée.
Date composition: 2005
Edition: Windsor Editions
Durée / duration: 45 minutes

Sujets

• Modernité
• Chordés
• Harpe
• Percussion instrument
• Timbale
• Tuba (disambiguation)
• Trombone
• Trompette
• Corne
• Bassons
• Oboe
• Flute
• Piccolo (desambiguación)
• Solo (soft drink)
• Piano
• Manookian

Informations

• Publié par: MANOOKIAN
• Nombre de lectures: 44
• Licence : En savoir +
  Paternité, pas de modification
• Langue: Français
• Poids de l'ouvrage: 6 Mo

Extrait

JEFF MANOOKIAN
CONCERTO
for
PIANO & ORCHESTRA
full score
Windsor EditionsJeff Manookian’s
CONCERTO FOR PIANO AND ORCHESTRA
commentary by Gary Barnett
The Concerto for Piano and Orchestra was Jeff Manookian’s only major composition not written on
commission. Its creation intensely occupied the months of January to October of 2005. Dedicated to
the premiering soloist, Gary Barnett, this monumental, 45-minute magnum opus was on the composer’s
pallette for over a decade.
In the words of the composer, “This concerto is very much a self-indulgent and passionate effort. The
creation of the work had its base in three aspects: the overdue need to write a concerto for my own
instrument, to fulfill a promise for such a work to its dedicatee, and the emotional escape of an, then,
unrequited love.”
In recent years, the USA-born Manookian has increasingly delved into his Armenian heritage and
analysis of this country’s music – which ethnic influence inevitably found its way into several of his
chamber and symphonic works. Although the Piano Concerto is not per se an Armenian work, in the
sense that it purposely employs Armenian scales, rhythms, indigenous dances, etc. It does, however,
exude unmistakable elements of Armenian flavorings.
“If one hears the exoticism of Armenia in this concerto, then I plea, ‘Guilty as charged!’ In the end,
the Piano Concerto emerged into an epic work, lush, tonal with a firm footing in contemporary
composition, and in a blatant post-romantic casting. As a composer, I must serve three masters: the
music, the performer, and the audience.”
The pianist inaugurates the concerto with a somber, almost mystical theme amid a backdrop of
densely layered orchestral textures. Not long after the statement of the primary melodic material, the
first of several rhapsodic, improvisatory cadenzas for the solo piano embarks. Varying in length from a
few measures to several pages, the cadenzas in this opening movement serve a multitude of functions:
transitional, developmental, temporary respites from the passionate bravuras of the full orchestral
segments, as well as flagrant soloistic manifestations.
A gifted pianist himself, Manookian has exploited the technical capabilities of the keyboard to their
maximum and intense potential – rapid scalar flourishes, extended octave virtuosity, and brilliant
arpeggios, to cite a few examples. After the mammoth final, climactic cadenza, this movement winds
down with a concluding recapitulation of the primary material to ascertain itself with a violent coda of
thickly textured orchestration paired with blinding alternating octaves from the soloist.
With a duration of only three and a half minutes, the second movement is an etude of rhythm,
percussion and technical brilliance. Marked at a merciless “Presto,” soloist, orchestra and audience are
exhilarated with pyrotechnical displays in the extreme ranges of the keyboard as well as a unique battery
of percussive instruments. Syncopation reigns supreme throughout – with “feints and parries” between
soloist and orchestra amid a harmonic milieu of unresolved mixed major and minor tertial sonorities. A
solo horn begins the “Adagio” – straightaway setting the mood and ambience of this ultra-lyrical third
movement. This seamless, flowing tapestry of interweaving lines of unique melodic contour almost hint
at an ancient Armenian hymn. The conspicuous influences of Armenia are found in the usage of
“mugam” grace notes (characteristic of the Trans-Caucasia region) and motivic gestures employing
Armenian modalities. Long sustained pedal tones in the lower strings support the final soaring melodies
in the stratosphere of the piano that end this most contemplative movement.
Movement four is a spirited tour-de-force of joyous song and revelry. This gargantuan movement,
the second longest of the Concerto, is unabashedly accessible in its harmonies and melodic topography.
A raucous orchestral framework, underscored by the strings in a frenzied “tremolo,” provides an
electric underscoring for the opening, Armenian inspired, theme played by the soloist – which is restated
in the orchestra against virtuoso scales and arpeggios from the piano. Although grounded in tertial
sonorities, dense cluster-like chords, and extended chromaticism, this movement has an array of some
of the textures and sonorities encountered in the first movement.
This finale has only three cadenzas! The central cadenza is a unique poly-rhythmic display
juxtaposed with mega-virtuosity. In this cadenza, a pivotal moment of the work, a direct quote occurs
from the large cadenza of the first movement – serving as the final “calm before the storm.” A slow
building of volume and speed is mounted by the soloist to rally in the orchestra and for a last
recapitulation the primary theme. The third cadenza set the stage for a glorious coda of alternating
“strepitoso” chords in the piano culminating in tandem with syncopated assertions from the orchestra
conclude this colossal opus.
Pianist , Gary Barnett and the Armenian Philharmonic Orchestra, conducted by Yuri Poghossian,
premiered Manookian’s Concerto for Piano and Orchestra March 17, 2006 in Yerevan, Armenia at the
Aram Khachaturian Concert Hall.to Gary Barnett
CONCERTO
for Piano and Orchestra JEFF MANOOKIAN
Moderato (q»¶™) I5 4 5 4 5∑ ∑ ∑ ∑Piccolo & 4 4 4 4 4
solo œ .œ # œ œ.œ œ5 4 5 œœœ 4 5œ∑ ∑ J Jœ œFlutes 1 & 2 & 4 4 4 4 4π
5 4 5 4 5∑ ∑ ∑ ∑Oboes 1 & 2 & 4 4 4 4 4
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5 4 5 4 5∑ ∑ ∑ ∑1 & 2 & 4 4 4 4 4
Horns in F
5 4 5 4 5∑ ∑ ∑ ∑3 & 4 & 4 4 4 4 4
5 4 5 4 5∑ ∑ ∑ ∑1 & 2 & 4 4 4 4 4
Trumpets in C 5 4 5 4 5∑ ∑ ∑ ∑3 & 4 4 4 4 4
? 5 4 5 4 5∑ ∑ ∑ ∑1 & 2 4 4 4 4 4
Trombones
? 5 4 5 4 5 3 ∑ ∑ ∑ ∑4 4 4 4 4Tuba
? 5 4 5 4 5∑ ∑ ∑ ∑Timpani 4 4 4 4 4
5 4 5 4 5÷1 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4
5 4 5 4 5Percussion ÷2 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4
5 4 5 4 5÷ ∑ ∑ ∑ ∑3 4 4 4 4 4
5 4 5 4 5∑ ∑ ∑ ∑& 4 4 4 4 4
Harp
? 5 4 5 4 5∑ ∑ ∑ ∑4 4 4 4 4
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? 5 4 5 4 5œ .∑ ∑ ∑ œb œ n œ4 4 4 & 4 œ 4œœ
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Violins
5 4 5 4 5
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pizz.
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t 5 4 5 4 5∑ ∑ ∑ wBasses 4 4 4 4 4π
Copyright © 2005 by Windsor Editions
all rights reserved2.
5 5 4 3 5 4∑ ∑ ∑ ∑ ∑Picc & 4 4 4 4 4
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5 5 4 3 5 4∑ ∑ ∑ ∑ ∑& 4 4 4 4 4
Hn 5 4 3 5 4∑ ∑ ∑ ∑ ∑& 4 4 4 4 4
5 4 3 5 4∑ ∑ ∑ ∑ ∑& 4 4 4 4 4
Tp
5 4 3 5 4∑ ∑ ∑ ∑ ∑& 4 4 4 4 4
? 5 4 3 5 4∑ ∑ ∑ ∑ ∑4 4 4 4 4
Tbn
? 5 4 3 5 4∑ ∑ ∑ ∑ ∑Tba 4 4 4 4 4
5? 5 4 3 5 4∑ ∑ ∑ ∑ ∑Timp 4 4 4 4 4
5 4 3 5 4÷ 4 ∑ 4 ∑ 4 ∑ 4 ∑ ∑ 4
5 4 3 5 4÷Perc 4 ∑ 4 ∑ 4 ∑ 4 ∑ ∑ 4
5 4 3 5 4÷ ∑ ∑ ∑ ∑ ∑4 4 4 4 4
5 5 4 3 5 4∑ ∑ ∑ ∑ ∑& 4 4 4 4 4
Hp ? 5 4 3 5 4∑ ∑ ∑ ∑ ∑4 4 4 4 4
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t 5 4 3 5 4
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4 5÷ ∑ ∑ ∑ ∑4 4
10 4 5∑ ∑ ∑ ∑& 4 4
Hp
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t 4 5w w w wCb 4 4P4.
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5 3 5∑ ∑ ∑Fl & 4 4 4
5 3 5∑ ∑ ∑Ob & 4 4 4
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