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Paganini in America
Partitura del director, parte de guitarra y parte de violín
Guitarra, Violín y Orquesta de cuerda
TORRENT, JaumeReg.: B.3503
32,75 €
P.V.P. (VAT included 4%)
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- Ensemble: Septets.
- Genres: Classical / contemporary: Chamber.
- Language of the comment: Català/English/Castellano
- Product format: Partitura + particellas
- Difficulty level: Advanced-superior
- Period: 2nd half S. XX - XXI
- Publishing house: Editorial Boileau
- Collection: Siglo XXI
- No. of pages: 64+60
- Measure: 31,00 x 23,00 cm
- Lenght: 15' 10"
- ISMN: 979-0-3503-0527-6
- Available in digital: No
- Available for rent: Yes
Solo Violin and Guitar
0 0 0 0 — 0 0 0 0 — str
THE MATERIALS HAVE TO BE HIRED
This Concert for violin, guitar, and strings has emerged, once again, thanks to the attentions of the California violinist, Joseph Gold, with whom I have maintained a close professional relationship for over ten years. My experience of the treatment of the guitar with the violin and of the guitar with other string instruments (guitar with violin and viola, guitar with quartet and quintet or set of strings) was launched in the nineties and constitutes a particularly attractive challenge in two areas that are peculiar to my own condition as guitarist and composer.
On one hand, it is evident that the combining of the bowed instruments with the guitar generates such a wide range of effects by themselves, it invites a composer to investigate a world of sound formally structured.
However, it is also necessary to frame this work within the idea I have been proposing for many years, about the necessity for the classical guitar to develop a projection of sound that goes beyond the intimate approach to which it has been relegated by the most universally accepted techniques. The guitarist should develop a technique which will permit the use of the entire range of the guitar’s auditive possibilities making it compatible with the purity of sound and the agility required by the various technical formulas at the same time. The real range of sound of the guitar is sufficient to achieve a good balance with violin and orchestra (a string orchestra in this case) rendering unnecessary the use of artificial amplification. It is only in this way that the purity of sound of the instrument can be preserved, guaranteeing that the projection of sound of the guitar will be the result of the development of its technique – in the same manner as the agility of fingers or the clarity of arpeggios- not the key on a synthesizer as unfortunately happens so often.
This piece is conceived as one movement only, with many different motifs, themes, textures, and “tempi”. The “concerto” treatment between the violin / guitar and between the violin / guitar/orchestra offers a continuous play of dialogue which channels the audience’s attention in multiple directions, varying textures, and contrasting dynamics.
Considering that the concert’s debut took place in San Francisco, California in February of 2007, the year that coincides with the 225th celebration of the birth of Niccolo Paganini, I included a few brief allusions to his famous theme La Campanella, mixed with a small reference to one of the most well-known themes from L. Bernstein’s West Side Story. The title Paganini in America is at the same time a play on words referring to G. Gershwin’s An American in Paris. This has all struck me as a way to render homage to Paganini, as well as the way to demonstrate my gratitude to my American friends who encouraged me to write this concerto and have made its debut possible.
Jaume Torrent
Barcelona, January 2007
