These most popular dances from the ballet Coppélia (1870) by Léo Delibes are arranged for brass quintet in their original version for concert preformance.
Le parti di tromba in B sono disponibili su richiesta.
Composti nel 1912 per precedere il balletto La Périe originariamente scritti per tutti gli ottoni dell'orchestra sinfonica, questi Fanfare brillanti vengono eseguiti indipendentemente sul palco come arrangiato per il quintetto di ottoni. Paul Dukas gestisce abilmente la sonorità degli ottoni e la loro capacità di suonare pomposi ma anche lirici, offrendo in modo convincente sia ricche armonie che una complessa textura polifonica.
Questa famosa melodia viene cantata mentre sonnecchia Cio-Cio-san aspetta che il suo amato Pinkerton le faccia visita. È il trombone sotto voce che riceve il meraviglioso, magistrale solo del quintetto. Impostato nella tonalità originale, il Coro a bocca chiusa può essere eseguito anche con un coro.
Since it is St. John's Night, a large number of people drop in across the bridge and fill the esplanade in a procession, carying a banner on which the effigy of the Corregidor is displayed. General dance, during which the old coxcomb is identified, and the miller and his wife are reconciled. The Corregidor, scoffed at by the crowd, has received so many cuffs that he lets himslef drop to the ground completely confounded. The people lay hold of him and joyously toss him on a blanket, like some rueful puppet. This is the final Jota from the ballet El sombrero de tres picos (1919), from Manuel de Falla.
Arranged for solo violin and brass ensemble by Ivaylo Hristov.
Per 3 trombe in B, 2 corni in F, trombone, trombone basso, tuba e violino solo.
Slovak violinist Boris Kucharsky had commissioned the American composer Robert Aldridge an encore piece for solo violin and string orchestra — Tango for a Beautiful Woman, inspired by Gabriela Skrabakova. We publish a transcription for solo violin and brass ensemble, where the brass instruments are supposed to play all the time quasi pizzicato.
This is an original transcription of the famous tenor Aria from Rossini's Stabat Mater made by Franz Liszt and dedicated to his friend and active trombone soloist at that time – Carl Eduard Grosse.
Three Pieces for solo clarinet (composed in 1981) are dedicated to the famous Bulgarian clarinet player Atanas Kolev. This composition was premiered at the festival New Bulgarian Music in 1982 and holds the Annual Chamber Music Award of the Union of Bulgarian Composers for the same year.
Commissioned by Swiss bass trombone player Johannes Bigler this Concerto was and premiered in 1998 during Varna Summer music festival. It was named by the critics as a brilliant piece... a model of miniature form.
Scherzo. Vivace con fuoco – Poco meno vivo – Vivace come prima
Finale. Allegro giusto – Vivacissimo
Milcho Leviev (1937–2019) compose il suo quartetto d'archi per l'esame di laurea del suo maestro in composizione. Questo primo lavoro, fortemente influenzato dalla musica di Paul Hindemith, ha avuto un'unica esibizione in anteprima nel 1960. Nel 2019, la partitura è stata riscoperta dal Philharmonica String Quartet, i cui membri hanno assunto il compito di programmarlo. Durante la partecipazione a una delle loro prove, Leviev ha effettuato alcuni emendamenti minori al punteggio.
Pantcho VladigueroffPantcho Vladigueroff – In colori vivaci – opere per due pianoforti di Pancho Vladigerov a proprie trascrizioni dal 1976-1977, eseguite dal duo pianistico Pantcho Vladiguerov Jr. e Dimo Dimov. CD Audio & Video.
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Il numero ∴ Descrizione dei pacchetti musicali ∴ Acquista ora
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EB5Brass Quintet arrangements of Ivaylo Hristov
EF5Tutti 5 Danze da Il cappello a tre punte
ET8Trombone Ensembles arr. of Iv. Hristov
ES1Bulgarian Music for Solo Trombone
EP7Pantcho Vladigueroff – Piano Works
ED7Pantcho Vladigueroff – Works for 2 Pianos
EV7Pantcho Vladigueroff – Complete set
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Former President of International Trombone Association ITA
Recording artist in The Netherlands
Edition Elm manager Ivaylo Hristov has compiled a wonderful collection of original brass works and transcriptions in his Edition Elm catalog. He has chosen many works that are not otherwise available, so he does the brass community a great service. His attention to Bulgarian music is especially gratifying, in that he is introducing some very interesting new works. His transcriptions are well-chosen and well-done, although sometimes quite challenging.
For half a century, the contemporary culture of Eastern Europe was closed to us in the West. Towering beacons shone through the gloom, but our knowledge was largely restricted to those masters who either transcended the Iron Curtain, or who left to teach and compose in the West. Since 1990, a whole new world has opened up, revealing the wealth of creativity which thrived beyond our hearing – each nation swallowed by the Soviet whale struggling to maintain its own cultural identity in every art form.
Bulgaria is a small nation with an ancient and proud culture stretching back to the time of Alexander the Great. From 1945 Bulgarian musical life fostered a distinctive school of trombone playing, with a rich teaching tradition, producing a substantial body of superb recital and study material. Today the country is home to a community of talented and prolific composers – and Edition Elm has committed itself to both documenting the past, and encouraging the contemporary. Every piece in Elm’s collection has been chosen and edited by professionals, and is presented in performing materials of the highest quality and clarity, complete with biographies of all composers. These works are an invaluable addition to both personal and institutional libraries, and I have no hesitation in recommending them to performers and teachers internationally.
Professor for the interpretation of contemporary music
Guildhall School of Music and Drama, London
Professor of Sackbut
The Royal Conservatoire of Scotland, Glasgow
I ardently acclaim the appearance of Edition Elm and the idea to publish the works of Pantcho Vladigueroff. This rectifies a serious deficiency in Bulgarian musical culture and represents a significant contribution to the consolidation of national conscience and self-confidence.
Leading modern Bulgarian pianists are involved as editors and exponents in the preparation of this publication. These are people who were close friends with the composer and through their personal contacts with him had an opportunity to acquire knowledge and understanding straight from the horse’s mouth.
The print is state-of-the-art technology and easy to read.
I wish the publisher success with his noble mission.