Stravinsky Ebony Concerto K074 Jazz 史特拉汶斯基 烏木 黑檀 協奏曲 作品74 ストラヴィンスキー エボニー Score Sheet 譜 谱 楽譜付き 【Kero】 скачать в хорошем качестве

Stravinsky Ebony Concerto K074 Jazz 史特拉汶斯基 烏木 黑檀 協奏曲 作品74 ストラヴィンスキー エボニー Score Sheet 譜 谱 楽譜付き 【Kero】

【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き Stravinsky Ebony Concerto K074 Jazz 史特拉汶斯基 烏木 黑檀 協奏曲 作品74 史特拉汶斯基 乌木 黑檀 协奏曲 作品74 Stravinsky El concierto negro de ébano ストラヴィンスキー エボニー 協奏曲 Classical music Música clásica クラッシック 古典音樂 古典音乐 #Stravinsky #Concerto #Ebony 00:00 I Allegro moderato 03:19 II Andante 05:52 Moderato 06:19 Con moto Igor Stravinsky wrote the Ebony Concerto in 1945 (finishing the score on December 1) for the Woody Herman band known as the First Herd. It is one in a series of compositions commissioned by the bandleader/clarinetist featuring solo clarinet, and the score is dedicated to him. It was first performed on March 25, 1946 in Carnegie Hall in New York City, by Woody Herman's Band, conducted by Walter Hendl. Stravinsky's engagement with jazz dates back to the closing years of the First World War, the major jazz-inspired works of that period being L'histoire du soldat, the Ragtime for eleven instruments, and the Piano-Rag-Music. Although traces of jazz elements, especially blues and boogie-woogie, can be found in his music throughout the 1920s and 1930s, it was only with the Ebony Concerto that Stravinsky once again incorporated features of jazz into a composition on a far-reaching scale. The title was originally suggested to Stravinsky by Aaron Goldmark, of Leeds Music Corporation, who had negotiated the commission and suggested the form it should take. The composer explained that his title does not refer to the clarinet, as might be supposed, but rather to Africa, because "the jazz performers I most admired at that time were Art Tatum, Charlie Parker, and the guitarist Charles Christian. And blues meant African culture to me." The official blurb published with the score says that Stravinsky had been so impressed with recordings of the Herman band, such as "Bijou", "Goosey Gander", and "Caldonia", that, when asked, he agreed to write a piece for them with a solo clarinet part for Herman. However, according to Herman's trumpeter and arranger Neal Hefti, this story may be somewhat embroidered. Hefti and his trumpeter colleague, Pete Candoli, were both great fans of Stravinsky's music, so after Hefti returned to the band after six months spent in California working in the film industry, Candoli wanted to know if he had met the great man. Hefti had not, but pretended he had done so, and he embellished his story by claiming, "I played him the records [of the Herman band], and he thinks they're great." The rumor quickly spread, and within two days the publisher Lou Levy of Leeds Music had arranged for Herman to contact Stravinsky (who probably had never heard the Herman band up to that point), and this led to the commission of the concerto. Once having accepted the commission, Stravinsky decided to create a jazz-based version of a concerto grosso, with a blues as the slow movement. If he had not previously heard them, he now listened to recordings of the Herman band, and went so far as to consult a saxophonist in order to learn how the instrument is fingered. The project nearly foundered when a publicity story was published in September 1945, claiming a "collaboration" between Stravinsky and Herman. Stravinsky withdrew from the agreement until his lawyer, Aaron Sapiro, convinced him that no offense had been intended. The score of the first two movements was delivered to Herman on November 22, 1945, and the finale followed on December 10. In February 1946 the composer chose Walter Hendl, assistant conductor of the New York Philharmonic, to conduct the premiere at Carnegie Hall the following month, but Stravinsky himself first rehearsed the band—backstage at New York's Paramount Theatre, where they were appearing at the time. The Ebony Concerto is scored for solo clarinet in B♭ and a jazz band consisting of two alto saxophones in E♭, two tenor saxophones in B♭, baritone saxophone in E♭, three clarinets in B♭ (doubled by first and second alto and first tenor saxophone players), bass clarinet in B♭ (doubled by second tenor saxophone), horn in F, five trumpets in B♭, three trombones, piano, harp, guitar, double bass, and drum set. The horn and harp were additions to the normal make-up of the Herman band. Stravinsky's original plan was to include an oboe as well, but this instrument did not survive into the final version of the score. A typical performance lasts about eleven minutes.