Victor Frost – Concertino for guitar and chamber orchestra, op. 17 скачать в хорошем качестве

Victor Frost – Concertino for guitar and chamber orchestra, op. 17

Lydian Ensemble Conductor – Andrea Amici   Guitar Solo – Davide Sciacca   Violins I – Giovanni Cucuccio, Antonio Ambra, Marco Vincenzo Giuffrida, Dario Emanuele Carlo Militano Violins II – Alexandra Dimitrova, Samantha Fidanza, Alexandra Butnaru, Manuela Emilia Caserta Violas – Rosaria Milici, Clelia Lavenia Cellos – Teresa Raffaella Suriano, Chiara D’Aparo Double bass – Patrizia Privitera   Flutes – Andrea Maria Virzì, Ettore Sambucci Oboe – Roberta Trentuno Clarinet – Emanuele Salvatore Anzalone Bassoon – Giovanni Petralia   Horn – Riccardo De Giorgi Harp – Antonella Cernuto Percussion – Giovanni Caruso   Sound Engineer – Riccardo Samperi Recorded at TRP Studio, Tremestieri, October 2020 Flavio Alaimo – luthier, guitar 'Alaima' The composer writes: This work took its final form in 1993, but incorporated sketches dating back decades. There are only two tempo markings, Mesto for the slow introduction and Scherzando for the rest. But there is really just a single tactus, inasmuch as the latter is simply twice the speed of the former. My Concertino is in one sectionalized movement, like Weber's Konzertstück. The first section is an Intrada, the slow introduction marked Mesto. The faster Scherzando marking obtains for a jaunty Spanish dance in 3/2 (second section, Bolero), a fugato interlude in 6/8, back to the 3/2 dance, continuing in 3/2 to start the third section (Cadenza) but switching to 5/4, and to close, a substantial Rondo in common time. At one point in the Bolero, the solo line is about to go too low for the guitar, and the bassoon obligingly takes it over. But it takes its last four notes and unexpectedly inverts them, in 6/8 time, to form the subject of a tongue-in-cheek fugue. The guitar solo remains for the most part aloof from these learned goings-on (including, heaven help us, the augmented retrograde of the subject from the 'cellos and basses!), but finds his only ally in the percussionist, who uses castanets to remind the players that we're supposed to be evoking the Iberian peninsula. Presently, the guitar picks up its Bolero where it had left off before the contrapuntal interruption, quite as if such had never occurred. The influence of those popular Spanish concertos is evident elsewhere in my opus as well, as in for example the sultry tango episode for the flutes and guitar in the Rondo finale. Concertino is dedicated to New York conductor and guitarist Scott Jackson Wiley.   / davidesciaccaguitarist