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Concert No III

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Ferrer Ferran

Ferrer Ferran


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General Info

Year: 2013
Duration: c. 25:45
Difficulty: VII (see Ratings for explanation)
Publisher: Impromptu Editores
Cost: Score and Parts (print) - Unknown


Instrumentation

(Needed, please join the WRP if you can help.)


Errata

None discovered thus far.


Program Notes

Commissioned and premiered by the Banda Sinfónica Uhiâ Musical de Lliria in Valencia, Spain, under the direction of Enrique Artiga in 2013, the Concert No. 3 for Symphonic Band begins with a four-note motif upon which the entire piece is built. Each section of the ensemble comes together with virtuosic artistry, displaying grandiosity, tension, mystery, splendor, and delicacy throughout the composition.

- Program Note from San Francisco Wind Ensemble concert program, 21 April 2018


A mysterious writing phrase will generate a large scale concert sound and technique. Keeping the form “Concert” and developing in all its aspects thoroughly inspiration the reason for the work, this is going to place in evidence all the accomplices of interpretation, for his virtuosity and responsibility to deal with such persistence and careful score, built with expression maximum detail.

An attractant composition, delicate, mysterious and flamboyant is the result of this conjugation, combined with art, skill and expertise all colorful elements available to the conjugated wind orchestra percussion.

Grandiosity, tension, mystery, splendor, delicacy and sweetness, the terms could be showing this Concert N. 3 for Symphonic Band.

- Program Note by publisher


Concert No. 3 for symphonic band was commissioned by “Banda Unión de Llíria” to participate in the Honorary Division at the “Certamen Internacional de Bandas de Música Ciudad de Valencia”.

In order to feature every element from the orchestra highlighting its skills when either performing solos or ensembles, I decided to use the concerto form. This is a three-movement concerto with all three movements connected to maintain the tension that the music framework accumulates. One could say that it is written in modal/serial aesthetics although treating every texture in an impressionistic and coloristic way in order to deliver an understandable and easy language. The music material is the main source for the content of the piece. It is a large-scale development of the specified motifs and the theme itself, which could be understood as a motivic composition since the motif generates the rest of themes and melodies, and it always shows up with all its contrapuntal variations. One could state that the tonal center is C. The main motif resolves onto C. The secondary motive starts with that note and declines toward the note C, and at the end, among some other details, C becomes its fundamental.

- Program Note by composer


Commercial Discography

None discovered thus far.


State Ratings

None discovered thus far.


Performances

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Works for Winds by this Composer


Resources