WORKS
- Genre
-
Musical education
- Choir
- Counterpoint
- Dictation
- Direction
- Exam study manuals
- General music pedagogy
- Harmony
- Hearing
- Illustrations / Posters
- Improvisation / Sight reading
- Instrument methods
- Instrument pedagogy
- Instrumental study repertoire
- Instrumentation and orquestration
- Musical language
- Solfège
- Templates
- Theory and analysis
-
Incidental music
-
Lined paper
-
Flamenco
-
Religious music
-
Classical / contemporary
-
Modern music
-
Folk music / traditional
-
Musicology
-
Divulgation
-
Games and hobbies
-
Music therapy
-
Children / Youth
-
- Instruments
- Ensemble
- Difficulty level
- Period
- Genre
SOPORTE
Search
Find here: books, scores, composers, digital pieces, cd's
Best-selling works
Our classics
Newsletter
I wish to be informed of the news about your music
We have received your e-mail correctly
Multimedia
Concert ibèric
Materiales de orquesta sinfónica en alquiler
Piano y Orquesta sinfónica
BLANCAFORT, ManuelBLANCAFORT, ManuelBLANCAFORT, ManuelReg.: B.3052o
- Review: PORTER, Ramon; BRUGALLA, Emili
- Ensemble: Symphonic orchestra: With soloist(s).
- Genres: Classical / contemporary: Symphonic.
- Product format: Partitura + particellas
- Difficulty level: Advanced-superior
- Period: 1st half S. XX
- Publishing house: Editorial Boileau
- Collection: Siglo XX
- Measure: 29,70 x 21,00 cm
- Lenght: 28'00"
- ISMN: 979-0-3503-1997-6
- Available in digital: No
- Available for rent: Yes
Solo Piano
2[1.2/pic] 2[1.2/Eh] 2 2 — 4 2 3 1 — tmp — str
Strings: 7,6,5,4,3
Concerto for Piano and Orchestra in A Minor. Composed in 1946. Length: 28 '.
- «Allegro energico»
- «Moderato assai»
- «Rondó: allegretto-Finale risoluto»
It was first performed on 3 March 1950 in the 3rd Winter Concert by Maria Canals and the Orquesta Municipal conducted by Eduard Toldrà. It was performed again on 15-16 March 1997 to mark the composer’s centenary year, by the Orquesta Sinfónica de Barcelona y Nacional de Catalunya under the baton of F. P. Decker with Emili Brugalla at the piano.
«As regards his first piano concerto, one senses that there is a greater degree of expressive control in this new composition, which makes for a quieter feeling. The adjective Iberian can be justified on the basis of its central motifs, which, in terms of their melodic length and rhythmic profile, seem to emerge from a genuinely popular feeling. Whilst the second and third movements are predominantly Catalan in tone, the first, by contrast, has a more southern feel to it.
From the formal point of view, the first movement is in classical sonata form, the second –the most lyrical- is in lied form and the third –a rondo- is more typical of ballet. In this work the piano is the solo instrument, but despite this, the orchestra does not merely accompany or reply to the piano; it maintains a lively dialogue with it and plays a substantial part in the composition as a whole.»
Oriol Martorell