La Primavera: Concertino for English Horn and Chamber Orchestra
La Primavera: Concertino for English Horn and Chamber Orchestra is a work in a traditional chamber orchestra instrumentation: single woodwinds (flute, oboe, clarinet, and bassoon), two French horns, trumpet, timpani and strings. A through-composed work of 14 minutes in duration, the Concertino is c...
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University of North Texas
2002
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ndltd-unt.edu-info-ark-67531-metadc31482020-07-15T07:09:31Z La Primavera: Concertino for English Horn and Chamber Orchestra Esperilla Garcia, Efrain Ernesto Concertos (English horn) with chamber orchestra -- Scores. Concertina English horn La Primavera La Primavera: Concertino for English Horn and Chamber Orchestra is a work in a traditional chamber orchestra instrumentation: single woodwinds (flute, oboe, clarinet, and bassoon), two French horns, trumpet, timpani and strings. A through-composed work of 14 minutes in duration, the Concertino is conceptually based on the idea that spring is not the first of the seasons, but rather the last. As a result, all of its motivic materials are organically linked to one another, and function as paired forces that struggle for supremacy. The introduction of the third motive functions as a motivic synthesis, since it contains intrinsic elements of previous motives. There are several important compositions based on the topic of the seasons among them we find: Vivaldi's Concerto Grosso Le Quatro Staggione, Haydn's oratorio The Seasons, and Piazzola's chamber work Las Estaciones. While researching this topic, the conceptual dilemma of spring as the last season was considered. This became a turning point in the compositional process strong enough to consider the spring as a singular topic of interest. The analysis of this work through Derrida's Deconstruction theory first came to me while reading Rose Rosengerd Subotnick's Deconstructive Variations: Music and Reason in Western Society. The Linguistic approach, was inspired in part by Leonard Bernstein's lecture “The Unanswered Question,” and Jean J. Nattiez's Music and Discourse: Toward a Semiology of Music. University of North Texas Klein, Joseph, 1962- Gibbons, Henry Nelson, Jon Christopher 2002-05 Thesis or Dissertation Text oclc: 54967384 https://digital.library.unt.edu/ark:/67531/metadc3148/ ark: ark:/67531/metadc3148 English Public Copyright Esperilla Garcia, Efrain Ernesto Copyright is held by the author, unless otherwise noted. All rights reserved. |
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Concertos (English horn) with chamber orchestra -- Scores. Concertina English horn La Primavera |
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Concertos (English horn) with chamber orchestra -- Scores. Concertina English horn La Primavera Esperilla Garcia, Efrain Ernesto La Primavera: Concertino for English Horn and Chamber Orchestra |
description |
La Primavera: Concertino for English Horn and Chamber Orchestra is a work in a traditional chamber orchestra instrumentation: single woodwinds (flute, oboe, clarinet, and bassoon), two French horns, trumpet, timpani and strings. A through-composed work of 14 minutes in duration, the Concertino is conceptually based on the idea that spring is not the first of the seasons, but rather the last. As a result, all of its motivic materials are organically linked to one another, and function as paired forces that struggle for supremacy. The introduction of the third motive functions as a motivic synthesis, since it contains intrinsic elements of previous motives. There are several important compositions based on the topic of the seasons among them we find: Vivaldi's Concerto Grosso Le Quatro Staggione, Haydn's oratorio The Seasons, and Piazzola's chamber work Las Estaciones. While researching this topic, the conceptual dilemma of spring as the last season was considered. This became a turning point in the compositional process strong enough to consider the spring as a singular topic of interest. The analysis of this work through Derrida's Deconstruction theory first came to me while reading Rose Rosengerd Subotnick's Deconstructive Variations: Music and Reason in Western Society. The Linguistic approach, was inspired in part by Leonard Bernstein's lecture “The Unanswered Question,” and Jean J. Nattiez's Music and Discourse: Toward a Semiology of Music. |
author2 |
Klein, Joseph, 1962- |
author_facet |
Klein, Joseph, 1962- Esperilla Garcia, Efrain Ernesto |
author |
Esperilla Garcia, Efrain Ernesto |
author_sort |
Esperilla Garcia, Efrain Ernesto |
title |
La Primavera: Concertino for English Horn and Chamber Orchestra |
title_short |
La Primavera: Concertino for English Horn and Chamber Orchestra |
title_full |
La Primavera: Concertino for English Horn and Chamber Orchestra |
title_fullStr |
La Primavera: Concertino for English Horn and Chamber Orchestra |
title_full_unstemmed |
La Primavera: Concertino for English Horn and Chamber Orchestra |
title_sort |
la primavera: concertino for english horn and chamber orchestra |
publisher |
University of North Texas |
publishDate |
2002 |
url |
https://digital.library.unt.edu/ark:/67531/metadc3148/ |
work_keys_str_mv |
AT esperillagarciaefrainernesto laprimaveraconcertinoforenglishhornandchamberorchestra |
_version_ |
1719328509635067904 |