If you are looking for an exciting addition for your next percussion ensemble concert, don’t be fooled by the nod to Beethoven with this work. Gabriela Lena Frank composed Elegía Andina featuring Peruvian folk music and classical flute to reflect her multicultural background. Be entranced by the jubilant fanfare of Gioachino Rossini’s iconic Overture to The Barber of Seville. Brian Flack does a wonderful job of treating the instruments in an idiomatic fashion, even incorporating creative techniques like playing with the backs of mallets for textural variety. The York Symphony Orchestra concludes the digital season with the epic, energizing Beethoven’s 7th Symphony. If you do not have 14–15 players in your ensemble, you could get away with dropping a few of the parts and cutting/pasting licks across instruments, as melodic material is shared equally among the all the keyboard instruments, often doubling each other at the octave or mimicking what is written for the electric keyboard and bass guitar. It grooves, it impresses, and it is wonderfully effective! Brian Flack does a wonderful job of treating the instruments in an idiomatic fashion, even incorporating creative techniques like playing with the backs of mallets for textural variety. However, most of the syncopated phrase punctuations are present in almost all the instrument lines, which means every player will get a rhythmic workout at some point along the way. Additionally, there is a diffculty hierarchy within the parts to accommodate players with different skill levels: keyboard parts are most di cult while the rhythm instrument parts primarily serve as the ostinato-engine of the piece. While this adaptation is based on an arrangement by pianist Joachim Horsley, the rhythmic element of the music falls quite naturally onto the percussion instruments.įrom a logistics standpoint, all the keyboard parts can be performed with two mallets, with the exception of the top two marimba parts, which require four mallets for chordal gures. 2) really cooks! Not only does it showcase the staying power of Beethoven’s music, but it gives the percussion ensemble a chance to show off their Afro-Cuban chops as they groove together with melodic lines that dance around each other with playful energy. Tharp's first work for New York City Ballet came in 1984 when she collaborated with Jerome Robbins in Brahms/Handel.This 41⁄2-minute arrangement of Beethoven’s Symphony No. It also incorporates vernacular movement (including a brief and elegant breakdance) and elements of Tharp's signature slinky, slouchy, syncopated style. After a bright, virtual eruption of high spirits in the third section, the ballet concludes with a playful and rousing finale.Ī neoclassical ballet, The Beethoven Seventh is filled with bravura solos, pas de deux and ensemble work, intricate entrances and exits, and unusual partnering. At its premiere, Beethoven was noted as remarking that it was one of his best works. The ballet opens with a lighthearted, yet noble first movement, followed by a slow and sensuous pas de deux filled with yearning and passion. 92, is a symphony in four movements composed by Ludwig van Beethoven between 18, while improving his health in the Bohemian spa town of Teplitz.The work is dedicated to Count Moritz von Fries. It is set to music that is often referred to as Beethoven's "dance symphony" (after Richard Wagner's famous statement, "this symphony is the very apotheosis of dance"). Twyla Tharp's second ballet for New York City Ballet is a sweeping work for three principal couples and a corps of 12. Artistic Directors' Coalition for Ballet in America.Teaching Artists in Dance and Creative Movement, Education Department.Assistant Controller, Finance & Administration.Movement Workshops for Teens and Adults with Physical Disabilities.Movement Workshops for Children with Physical Disabilities.Movement Workshops for Children with Autism.
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