| dc.description.abstract | The Concerto Grosso #2 is written for a chamber ensemble (fl., ob., cl., bsn., trp. trmb., percussion, strings) and organ, and the organ does not have a solo function, i.e., it is treated equally as the remaining instruments. When there is no organ available, a piano can be used instead. Each movement is based on one Sephardic song, and the last one is based on two. Each song is introduced in the score, before the beginning of each movement, together with its original and translated text. In the first movement, the Sephardic song performed by the organ solo is part of the movement. In the two remaining movements, the songs which they are based upon do not necessarily have to be performed. The electronic section in the middle of the second movement is an indispensable part of it.
The first movement's form may be interpreted as a theme with variation, or as a theme and a commentary. The melody is freely
variated and often sounds dispersed in different motifs throughout the piece. Harmonic cross-relations (kwerstand) are the main basis of its harmonic language.
The second movement is based freely on the first few notes of the song. Here there are four different sections, including the
electronic tape one. The main compositional technique is alternation (echo) between the different instrumental sections (for example, at the end of the movement, between the organ and all the remaining instruments).
The last movement is based on two Sephardic songs and it has a free fantasy form. The harmonic language is more traditional, although it has some French influence (Ravel) in some places. | en_US |
