Beschreibung
| Besetzung: | Blasorchester |
| Komponist: | George Gershwin |
| Arrangeur: | R. Mark Rogers |
| Grad:Schwierigkeitsgrad: | 5 (sehr schwer / Höchststufe) |
| Genre: | Ouvertüre , Konzertwerk |
| Umfang: | Partitur und Stimmen |
| Dauer: | 09:50 |
| Seitenumfang: | 518 |
| ISBN: | 9780757905094 |
| Verlag: | Alfred Music Publishing |
| Kategorie: | Konzertwerke |
George Gershwin®, inspired by local singing and dancing groups while vacationing in Havana, Cuba in 1932, wrote this work which has now become an innovative contribution to his signature style. Mark Rogers' new edition utilizes all the original music and orchestration, with modifications that allow for improved intonation while retaining Gershwin's creativity. An enormous contribution to the literature.
In mid-February 1932, American composer George Gershwin left New York with several friends to take a vacation in Havana, Cuba. While there he became fascinated with the native music of Cuba and returned to New York armed with Cuban percussion instruments and musical ideas. Gershwin provided these program thoughts: "In my composition I have endeavored to combine the Cuban rhythms with my own thematic material. The result is a symphonic overture, which embodies the essence of the Cuban dance. It has three main parts. The first part is preceded by a (forte) introduction featuring some of the thematic material. A solo clarinet cadenza leads to a middle part, which is in a plaintive mood. It is gradual developing canon in a polytonal manner. This part concludes with a climax based on an ostinato of the theme in the canon, after which a sudden change in tempo brings us back to the rumba dance rhythms. The finale is a development of the preceding material in a stretto-life manner. This leads us back once again to the main theme. The conclusion of the work is a coda featuring the Cuban instruments of the percussion.
In mid-February 1932, American composer George Gershwin left New York with several friends to take a vacation in Havana, Cuba. While there he became fascinated with the native music of Cuba and returned to New York armed with Cuban percussion instruments and musical ideas. Gershwin provided these program thoughts: "In my composition I have endeavored to combine the Cuban rhythms with my own thematic material. The result is a symphonic overture, which embodies the essence of the Cuban dance. It has three main parts. The first part is preceded by a (forte) introduction featuring some of the thematic material. A solo clarinet cadenza leads to a middle part, which is in a plaintive mood. It is gradual developing canon in a polytonal manner. This part concludes with a climax based on an ostinato of the theme in the canon, after which a sudden change in tempo brings us back to the rumba dance rhythms. The finale is a development of the preceding material in a stretto-life manner. This leads us back once again to the main theme. The conclusion of the work is a coda featuring the Cuban instruments of the percussion.
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