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Concertante
Materiales de orquesta de cuerda en alquiler
Guitarra, 3 Percusionistas y Orquesta de Cuerda
BENGUEREL, XavierBENGUEREL, XavierBENGUEREL, XavierReg.: B.3378o
- Review: TORRENT, Jaume
- Ensemble: String orchestra: With soloist(s).
- Genres: Classical / contemporary: Chamber.
- Product format: Partitura + particellas
- Difficulty level: Advanced-superior
- Period: 2nd half S. XX - XXI
- Publishing house: Editorial Boileau
- Collection: Siglo XXI
- No. of pages: 44+16
- Measure: 29,70 x 21,00 cm
- Lenght: 20'00"
- ISMN: 979-0-3503-0489-7
- Available in digital: No
- Available for rent: Yes
Solo Guitar
0 0 0 0 — 0 0 0 0 — 3perc — str
percA: vib, woodblk, sus cym, tri
percB: xyl, gong, ttom, sus cym, tri
percC: marim, crot, ttam, claves, tri
Strings: 6,5,4,3,2
I was commissioned to write this piece by the Spanish Society of Authors, Composers and Publishers and it was to have its first performance at the 7th International Guitar Festival in Havana. It was first performed on 21 May 1994, played by the guitarist Gabriel Estarellas and the National Symphony Orchestra of Cuba, conducted by Leo Brouwer.
Concertante is divided into seven episodes, each of which is defined by the use of a particular material. In any case, the composer presents it as a single movement. In his book Xavier Benguerel, obra y estilo (Xavier Benguerel, work and style), Jesús Rodríguez Picó analyses this piece in detail.
The following commentary of the performance of this piece in a monographic concert dedicated to Benguerel on the occasion of his 75th birthday can be read in the general programme of the Festival Aujourd'hui musiques (2006) in Perpignan: «This piece is written as a continuous dialogue between the solo instrument -the guitar- and the instrumental ensemble of percussion and string instruments. The guitar part is based on a proposal of clever images, which open up the way by providing a variety of orchestral colours in just the right proportion. Compensating for the instrumental ensemble’s richness of colour is quite a challenge for an instrument like the guitar. The composer deals with this challenge by creating a dialogue on the guitar in which a number of imaginative ideas suggest to us a landscape in continual movement. So the surprise that the guitar is saving for us, in harmony with the orchestra, is one of the fundamental elements on which the composer structures the stylistic unity of the piece, holding onto the listener’s interest». Designed as a single movement…«this summarises everything that I know about this difficult, mysterious and sensitive instrument», Benguerel tells us. We can effectively find elements that already exist in previous works for the guitar, such as Versus, Preludio indefinido and Cantus, but in any case, those common elements appear as a characteristic of the composer’s musical personality.
Xavier Benguerel