Nikolai Rimsky-Korsakov

Transcription

1 Kos String Orchestra Grade ½ Full Conductor Score $7.00 Nikolai Rimsky-Korsakov Deborah aker Monday, Arranger Alborada Neil A. Kos Music Comany Publisher

2 About the Arranger Deborah aker Monday continues to teach in the award-winning Logan City, Utah orchestra rogram. She received her.m.e., magna cum laude, from Florida State University with an emhasis in string education. She was awarded an academic fellowshi to attend the University of Alabama where she received her M.M. in Comosition. She continued her studies at Louisiana State University, where she received the Chancellor s Award to articiate with the LSU symhony orchestra under the direction of ames Yestadt. She has studied theory and comosition with Harold Schiffman, ohn oda, Frederic Goossen, Paul Hedwall and Dinos Constantinides. Ms. Monday continued to be an active bass erformer when she moved to Utah. After comleting the coursework and assing the written and oral ortions of the doctoral exams, she was hired to teach in the Logan City School District as a low string secialist. During her tenure with Logan, she has ursued her interest in comosition and arranging for educational strings. This has been a rewarding art of her career while she and her husband, ill, have raised four amazing children. Ms. Monday has resented at numerous state music conferences throughout America, as well as several national ASTA conventions and the Midwest Clinic. She is very active as a guest conductor and adudicator and has received awards and commissions for her work. Her studies in comosition and exerience in string teaching combine to make her one of the leading contributors to the reertoire for young string layers. Instrumentation List (Set C) 8 st Violin 8 nd Violin 5 3rd Violin (Viola T.C.) 5 Viola 5 5 String ass Tambourine/Triangle Full Conductor Score Additional scores and arts are available. To hear a recording of this iece or any other Kos ublication, lease visit

3 3 About Nikolai Rimsky-Korsakov Nikolai Rimsky-Korsakov ( ) was a Russian nationalist comoser. Although he wrote in many genres, including oera, it is his glittering orchestral works that are most often erformed today in the United States, including Scheherazade (888), Russian Easter Overture(888), and Cariccio Esagnol (887), which is the work from which Alborada comes. It is astonishing to think about how much Russian music develoed during Rimsky-Korsakov s lifetime. When he was born, only one Russian comoser Mikhail Glinka had acclaim through out his homeland. When Rimsky- Korsakov died in 908, Russian comosers such as himself, Pyotr Illych Tchaikovsky ( ), and Modest Mussorgsky (839 88), were internationally known and revered. And ust before his death, Rimsky-Korsakov taught a young Igor Stravinsky (88 97), who would shortly rise to international fame and become one of the most influential comosers of the twentieth century. An astonishing lifetime indeed! If that was not enough, Rimsky-Korsakov also advanced the study of orchestration, which is the art of choosing which notes to ut in which instruments throughout the orchestra. Rimsky-Korsakov had great musical talent as a young man, having started iano lessons at age six. Although music was a assion, he ursued an education at the School for Mathematical and Navigational Sciences in St. Petersburg. He also oined the Imerial Russian Navy. Rimsky-Korsakov loved shis and the sea and wanted to make the navy his career. Rimsky-Korsakov also had something else: friends who encouraged and challenged him as a musician and comoser. These friends were also Russian, and also asiring comosers. There were five core comosers in this grou: Alexander orodin ( ), Mily alakirev (837 90), César Cui (835 98), Mussorgsky, and Rimsky- Korsakov. This grou came to be know as The Kuchka (the little hea or little bunch of comosers), and its comosers created oeras and orchestral works that defined the sound of Russian music in the ears of the world. Alborada comes from the first movement of Rimsky-Korsakov s Cariccio Esagnol (Cariccio on Sanish Themes). The melody forms a refrain throughout this fifteen-minute long iece, recurring in movement three and again at the end of the iece. The alborada in the title refers to a lively dance from western Sain. In its oular concetion, it is a dance of country eole. Imagine a grou of sheherds in the field, laying bagies and rollicking oyfully, and you can get a sense of the mood that Rimsky-Korsakov was evoking through this dance. It is a fitting melody for the beginning of such a brilliant work, and can inect great energy into any concert.

4 4 Full Conductor Score Arox. erformance time :35 Violins Viola String ass Otional Tambourine Triangle Allegro (q = 9) Tamb Alborada from Cariccio Esagnol, O Nikolai Rimsky-Korsakov Arranged by Deborah aker Monday [6] Str. ass 05 Neil A. Kos Music Comany, 438 utland Drive, San Diego, California, 97. International coyright secured. All rights reserved. Printed in the U. S. A. Warning! The contents of this ublication are rotected by coyright law. To coy or reroduce them by any method is an infringement of the coyright law. Anyone who reroduces coyrighted matter is subect to substantial enalties and assessments for each infringement.

5 [4]. f 5. Str. ass [9] (alt. R with L hand) f H unis. Str. ass

6 unis... F H3.. Str. ass Str. ass [7] Ÿ unis Ÿ n..

7 Ÿ 34 Ÿ 35 Ÿ. unis. Ÿ unis. n.. 3 semre staccato 4 semre staccato - Str. ass Ÿ semre staccato, Str. ass,.

8 8. F [4] P P n L P n Str. ass P (to Triangle) [47] (alt. R with L hand) n F F Str. ass

9 9 [5] Ÿ Ÿ 5 Ÿ 53 Ÿ Ÿ 54 Ÿ 55. Str. ass π Triangle 56,. 57 Ÿ 58 Ÿ 59,. 60,.,.. unis. Str. ass

10 0 6 Ÿ 6 Ÿ [63]. 64 n n.,.. n n unis. Str. ass P Str. ass [67] F

11 About Nikolai Rimsky-Korsakov Nikolai Rimsky-Korsakov( ) was a Russian nationalist comoser. Although he wrote in many genres, including oera, it is his glittering orchestral works that are most often erformed today in the United States, including Scheherazade (888), Russian Easter Overture(888), and Cariccio Esagnol (887), which is the work from which Alborada comes. It is astonishing to think about how much Russian music develoed during Rimsky-Korsakov s lifetime. When he was born, only one Russian comoser Mikhail Glinka had acclaim through out his homeland. When Rimsky- Korsakov died in 908, Russian comosers such as himself, Pyotr Illych Tchaikovsky ( ), and Modest Mussorgsky (839 88), were internationally known and revered. And ust before his death, Rimsky-Korsakov taught a young Igor Stravinsky (88 97), who would shortly rise to international fame and become one of the most influential comosers of the twentieth century. An astonishing lifetime indeed! If that was not enough, Rimsky-Korsakov also advanced the study of orchestration, which is the art of choosing which notes to ut in which instruments throughout the orchestra. Rimsky-Korsakov had great musical talent as a young man, having started iano lessons at age six. Although music was a assion, he ursued an education at the School for Mathematical and Navigational Sciences in St. Petersburg. He also oined the Imerial Russian Navy. Rimsky-Korsakov loved shis and the sea and wanted to make the navy his career. Rimsky-Korsakov also had something else: friends who encouraged and challenged him as a musician and comoser. These friends were also Russian, and also asiring comosers. There were five core comosers in this grou: Alexander orodin ( ), Mily alakirev (837 90), César Cui (835 98), Mussorgsky, and Rimsky- Korsakov. This grou came to be know as The Kuchka (the little hea or little bunch of comosers), and its comosers created oeras and orchestral works that defined the sound of Russian music in the ears of the world. Alborada comes from the first movement of Rimsky-Korsakov s Cariccio Esagnol(Cariccio on Sanish Themes). The melody forms a refrain throughout this fifteen-minute long iece, recurring in movement three and again at the end of the iece. The alborada in the title refers to a lively dance from western Sain. In its oular concetion, it is a dance of country eole. Imagine a grou of sheherds in the field, laying bagies and rollicking oyfully, and you can get a sense of the mood that Rimsky-Korsakov was evoking through this dance. It is a fitting melody for the beginning of such a brilliant work, and can inect great energy into any concert.

12 Kos Music s Guide to Coyright Comosers rely on the income that their comositions generate, and it is the ob of the coyright holder to rotect the work from infringement. Coyright laws can be retty tricky to navigate, so here are a few helful tis to guide you through the rocess. Adudicator Coies During contest and festival season, the maority of the inquiries we receive concern making hotocoies of scores to meet secific requirements for the udges at a festival. If you re erforming a concert selection out of one of our method books (Tradition of Excellence, String asics: Stes to Success, First Place for azz, among others), ermission may already be given to make the necessary hotocoies for udges at these festivals. Please refer to the notices rinted in the teacher score on the secific iece. If a student is erforming a solo from one of the method books listed above, ermission is already given. In addition, a hotocoy may be given to the accomanist. Extra scores for our band and string reertoire (eginning andworks, andworks, Conservatory Editions, StringTracks, and Stes to Successful Literature, among others) are available for urchase from your favorite music dealer. If you re erforming a work from a series that s not listed above, lease contact us for ermission. Making an Audio or Video Recording A license is required any time you make an audio or video recording of a coyrighted work. Audio recordings are comulsory, meaning, we can t deny your request; you ust need to aly for the Mechanical License and ay the royalty. The royalty rate is set by the Library of Congress. For current rates, lease visit The license to make a video of a erformance, known as a Synchronization License, is not comulsory. Permission must be obtained from the coyright holder before distributing any coies, regardless if they are being sold or given away for free. Arranging for Marching and or Another Ensemble We re leased to grant licenses to make a marching band (or other) arrangement of one of our concert works. However, ermission is required before work can begin, and there are a few works whose comosers have indicated that they do not want their comositions to be altered. Please contact us to make sure the iece you re interested in is available for licensing. If you re lanning to lay the original iece without any alterations or additions, then a license isn t needed. However, for examle, if you re rewriting the brass arts for marching instruments (mellohones, bugles), or adding marching ercussion, or making cuts, adding reeats, or creating a medley with another comosition, a license is required. What If I Want To If you d like to use a comosition in any other way, lease contact us and we would be glad to advise you. Contest and festival season is a busy time for our Coyright Office. Please contact us at least three weeks before your concert date so that we may hel you in time. Please visit and click on the Licensing tab to find out more information or to submit a license request. We re so leased that you ve chosen to erform one of our ieces! We areciate your suort and we want to make the licensing rocess as easy as ossible for you. Neil A. Kos Music Comany, Publisher San Diego, CA Credit: The acket and score hotograh was taken at Robertson Sons Violin Sho, Inc., Albuquerque, NM. For more information about their services, visit: - Alborada