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Luis Szarán (born 24 September 1953) is a Paraguayan musician, orchestra director, composer and musical researcher; [1] since 2002, founder and director of the social and community integration program "Sounds of the Earth", [2] which created the school of music where began the Recycled Orchestra of Cateura.
Since there were many skilful wind players in the orchestra of the Estonian Radio, I decided to use a wind ensemble. To get some edginess into the sound and rhythm, I added the piano and percussion. The title turned out wordy: Concerto for five wind instrument, piano, percussion and string orchestra.
As brilliant as it sounds, the Poulenc Concerto for Two Pianos demands of its piano soloists more skills of ensemble than of technique. Although the pianos intersperse conversational interludes, conventional cadenzas are absent. Throughout the concerto, the pianists play nearly continuously, sometimes unaccompanied by the orchestra.
The piano starts to play very low notes during the theme introduced by the strings and clarinet. In this first section, while the melody is stated by the orchestra, the piano takes on the role of accompaniment, [95] consisting of rapid oscillating arpeggios between both hands which contribute to the fullness and texture of the section's sound ...
Tristan is a six-movement orchestral work by the German composer Hans Werner Henze.. Scored for piano, tape and full orchestra, its form is innovative for an instrumental concert: solo pieces for piano ("preludes") alternate with orchestral passages, which are played partly without, partly with the participation of the piano.
The Double Concerto for harpsichord, piano and two chamber orchestras, written in 1961, still makes a mighty noise in many, marvelous ways. The keyboard sounds are delicately balanced and subtly contrasted. The orchestral output--don't call it accompaniment--lends new layers of meaning to the concept of purposeful busyness.
"Chief Seattle" Orator and Orchestra with Folk Instruments: - Chief Seattle's 1854 speech recited while the orchestra presents its ideas and images in sound. “Salute: To the Men and Women of the American Armed Forces” for Band arranged from the first movement of the "American Bicentennial" Sonata No. 4 for Piano
Noel Malcolm, who attended, described the music as "slightly tedious, with a main subject which sounds like Fingal's Cave played at 16 r.p.m.". [8] It was performed again live in Romania in 1990, by the Enescu Philharmonic .