Soleriana

From Wind Repertory Project
Carlos Surinach

Carlos Surinach


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Subtitle: For Concert Band; Based on the Fandango by Antonio Soler


General Info

Year: 1972
Duration: c. 15:00
Difficulty: IV+ (see Ratings for explanation)
Publisher: Associated Music Publishers
Cost: Score and Parts – Out of print.

For availability information, see Discussion tab, above.


Movements

1. Introduction – 1:15
2. Variation 1: Piu Mosso – 1:30
3. Variation 2: Allegro – 1:15
4. Variation 3: Larghetto – 2:10
5. Variation 4: Allegretto – 2:10
6. Variation 5: Andantino – 2:50
7. Variation 6: Agitato – 2:50
8. Variation 7: Vivace – 2:05


Instrumentation

Full Score
C Piccolo
Flute I-II
Oboe I-II
Bassoon I-II
E-flat Sopranino Clarinet
B-flat Soprano Clarinet I-II-III
E-flat Alto Clarinet
B-flat Bass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat B-flat Cornet I-II-III
B-flat Trumpet I-II
Horn in F I-II-III-IV
Trombone I-II-III
Euphonium
Tuba
String Bass
Timpani
Percussion I-II-III, including:

  • Bass Drum
  • Castanets
  • Crash Cymbals
  • Glockenspiel
  • Military Drum
  • Snare Drum
  • Tam-Tam
  • Tambourine
  • Triangle


Errata

None discovered thus far.


Program Notes

Padre Antonio Soler (1729-1783) became the chapel master at the El Escorial Monastery in Spain in 1757. He had been a harpsichord student of the famous Domenico Scarlatti and became a daring and thoroughly Spanish composer in his own right. Among Soler’s compositions was a Fandango for harpsichord.

Carlos Surinach used Soler’s Fandango as the basis for his composition and says,

“In Soleriana, I have divided the work into an Introduction and seven Differentias [variations] to make the form of the fandango more intelligible, seeking contrast through key changes, some of which have independent conclusions. Dissonances -- set down with apparent hesitancy by Soler -- have been strengthened, and missing tempi and dynamics added according to my personal conception of the music. My decision to use the concert band as a vehicle to expand the work is not casual. The Fandango is full of Scarlattian arpeggios requiring force and foreground importance -- a feature less comfortable for the orchestral strings when speed and articulation are demanded.”

- Program Note from liner notes of CD Ostinato Fantastico


Media


State Ratings

  • Arkansas: V
  • Florida: VI
  • Louisiana: V
  • Michigan: Senior High AA


Performances

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Works for Winds by This Composer


Resources