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ProduitsPartitions pour guitareConcerto pour guitareConcerto - Aux rythmes des quartiers latins (Score)

Concerto - Aux rythmes des quartiers latins (Score)

Concerto - Aux rythmes des quartiers latins (Score)

Compositeur: ROUX Patrick

DZ 85

Avancé

ISBN: 2-921248-72-7

Concerto pour guitare

44 p., sax., clar., guit., perc. et orchestre à cordes

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Description

matériel d'orchestre en location

This concerto in one movement obviously draws its inspiration from the rhythms of Latin America. Written in 1995 by this young composer, it is frequently reminiscent of the Nuevo Tango style of Piazzolla in both style and quality.
The percussion section uses both the vibraphone and marimba extensively, (anyone who has heard the ECM recording of Piazzolla and Gary Burton will know how beguiling this can sound in the context of this style of music). Invariably in conjunction with the guitarist whom it frequently shadows, the combination of these two instruments with guitar is extremely attractive.
As the list of instruments suggests, there is an equal share of the material. Melodies are developed by the sax, clarinet and guitar. which has a very important role, combining harmonic support with rhythmic and chordal passages as well as some lovely tunes. It requires an advanced guitarist. Unfortunately, I cannot comment on the level of difficulty for the two wind instruments and percussion.
The piece opens with unaccompanied guitar eventually supported by the clarinet on pedal bass and the vibraphone exposing a simple melody. Everything we have become used to through Piazzolla is here; frequent sensual chromaticism, the style of the modern tango beat, and juxtaposition of moods: catchy optimism and dark forboding, romantic melancholy and forceful melodrama.
I highly recommend this piece to anyone of professional standard who can get together the necessary instrumentalists. I can't wait to hear a performance and I'm sure it will be popular with standard audiences and guitar audiences. It's extremely well printed, and page turns have been avoided wherever possible by careful layout. Proof of the care and attention to each performer's part is evident at one point particularly, where the saxophonist is directed to turn the page for the guitarist who is busy with some Bartok pizz at that moment!
(Emma Martinez, Classical Guitar)

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