Arapov - Violin concerto
Arapov - Violin concerto. You can download the PDF sheet music Arapov - Violin concerto on this page. Concerto for Violin and Orchestra is created by Boris Aleksandrovich Arapov in 1963-64 years. Its vivid melodic images merge to form integrity of recurrent, similar to Leitmotiven, har-monical and timbrai "centers of gravity". Paying a tribute to the original melodiousness of the Concerto, expressiveness of the part performed by the soloist instrument, the composer facilitates the orchestration, releasing low brass instruments such as trombones and tuba, simultaneously enhancing the role of instruments with whimsy, ringing timbres - xylophone, vibraphone, celesta, piano, bells.
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Instrument part: 24 pages. 788 K
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Piano part: 67 pages. 2343 K
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| Download PDF (14.99
€) |
Download PDF (14.99
€) |
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The first movement opens with a slow pathetic introduction - violin solo. The sound of the same theme is even more monumental the next time it emerges: chords of the trumpets accompanying it in the low register, of bass clarinet and bassoon evolve as an original "core" of this pathetic image which is interlaced in all the parts of the cycle.
The virtuoso cadence of the violin concludes the opening part and leads to the main movement written in the form of sonata allegro. It is conveyed from low instruments to the high ones, resembling an acute zigzag changing the register of the sound from a bassoon to a flute, from a violin to a violoncello. In the orchestral tutti it acquires a macabre touch.
Graceful tunefulness of the intermediate part evokes another emotional sphere: it leads to the theme of the second part — captivating and lyrical.
As it unfolds the theme undergoes a dramatic reassessment. The opening phase — a gusty fugato, is founded on the revised main theme (bassoon, then clarinet, oboe, and violin are introduced successively). The theme of introduction sounds as an ominous grotesque march, supported by chords of a grand piano and wind instruments. The secondary theme also attains a drama coloring. Its climax coincides with the most intense episode of development. The dynamic wave of development furthermore grasps the reprise -final section of the first part, featuring themes that arise in a mirror sequence. Only the code suggests calm and a gradual enlightenment of sounding.
The second part - a theme with variations that comes close to the form of pas-sacaglia (the musical form belonging to the epoch of Baroque featuring variations on the unchangeable bass that regained popularity at the end of the XIX - first half of the XX century). Picturesque chords -flashes of light - outline a pattern that gradually secures melodic phrases of the oboe, violin and xylophone. The invariance of the chords' themes is emphasized with the invariable orchestration.
The final chord indeterminate in its scale - sounding in major and in minor simultaneously - becomes at the same time the first chord of the finale. It is written in the form of rondeau and includes several multicharacter themes: heroical, fanfare-like, grotesque, with characteristic glissando vignette at the
end of the phrases, dancing-like, with sharp dissonances and lyrical chanting melody echoing in high orchestral pitches. The cadence of the solo violin gathers all themes from the previous parts. At the coda the powerful image of introduction reemerges attaining distinct hymnical features. Solemnity of its sounding Is stressed by the timbre of the bells. Pathetical impulse gradually dissipates while the theme dissolûtes fleeting to the highest pitch, to the transparent ringing of vibraphone with celesta. |
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