Concerto pour orchestre à cordes opus 48 by Hidayat I. Khan Orchestration: violons I, violons II, altos, violoncelles, contrebasses This music is available as a printed and/or digital version (PDF) for Europe, Russia and Australia: H.G. Ardesch, Leusdenhof 109, 1108 DA Amsterdam, Netherlands e-mail: firstname.lastname@example.org for the US and Canada: J.G. Sill, 455 East 17 Avenue, Vancouver, BC, Canada V5N 1B2 e-mail: email@example.com Original Manuscripts: Sufi Movement Museum, 24 Banstraat NL-2517 GJ Den Haag/Netherlands Edited and published by: Petama Project - www. petama.ch Puran Füchslin, Kanzleistrasse 151, CH-8004 Zürich-Switzerland e-mail: firstname.lastname@example.org © 1976 Hidayat I. Khan (GEMA-Registration No. 1.366.017) Pictured Analysis of the Score 'Concerto' op. 48 for String Orchestra 1. Mouvement - Le Chant du Coeur The first movement is a musical illustra�on of various states of mind and feelings: Page 5 starts with a „Call of the heart“, unfolding at the double bar into an emo�onal dialogue, which becomes more and more pathe�c up to the „Sostenuto“ on page 14. Page 14, the „Sostenuto“, denotes a feeling of relief, followed by great firmness felt in the „Molto cantabile“ on page 16. Page 20, the „Appassionato Rubato“ is a „Love Song“ with profound emo�on and passion, culmina�ng in an outburst at the double bar of the „Risoluto“ on page 26. Page 27 is the re-exposi�on sec�on. Page 29, star�ng at the double bar, the Cello has an important thema�c part to sing. Page 35, star�ng as of the double bar at the „Molto cantabile“, the Alto has an extremely important part to sing. Page 46, at the „Molto sostenuto“ and into the „Molto Lento“, the main theme of the third movement is already heard. These measure are played with feelings of devo�on, as in a prayer. Page 46, at the „Molto Lento“, the First Violins are carrying one up into heaven. The Second Violins and the Altos are playing fingered over tones. 2. Mouvement - Marche Rituelle sous pluie et tempête: The second movement is to be understood as being a procession leading to the house of prayer. It is played very rhythmically and with great firmness. Page 53, at the „Scherzando“, the fine „spiccato“ - play illustrates a rainfall, which gets heavier as it unfolds to the double bar on page 56 Page 57, „Appassionato“ illustrates a thunderstorm, which ends suddenly at the double bar on page 60. Page 60, at the short Coda the procession resumes its marching to the house of prayer. Pictured Analysis of the Score 'Concerto' op. 48 for String Orchestra 3. Mouvement - Une Ancienne Légende: The third movement is very prayerful and medita�ve, star�ng with the „Call for Prayer“ heard during the first six measures, and which is played by the Alto (molto cantabile). Page 63, as of the double bar, „Poco più Andante“, the Prayer itself unfolds, ending at the double bar on page 64. Page 65, star�ng at the „Più Andante“, the prayer theme develops gradually, unfolding into an outburst of heart longing. Page 68, this heart longing is expressed in special glissandos played by the First Violins in measure 41. Glissandos are also heard in the following measure played by the other strings. Same on page 69. These Glissandos are meant to be emphasized in the Tzygane style. Page 71, there is an important „stringendo“, 3 measure before number 7, which illustrates a feeling of despair. Page 72, here again an important „stringendo“ expressing the same feelings of despair, unfolding this �me into a passionate outburst at the double bar of the „Allegro appassionato“, 2 measures before number 8. Page 74, the first measure is played at the heel of the bow (Talon) all the way �ll the double bar on page 75. Page 75, the „Andante“ starts again with the „Call for Prayer“, and in the fourth measure a�er the double bar, the prayer itself is heard. Page 77, the „Adagio“ is played with great inner intensity and serenity. 4. Mouvement - Cinq Danses orientales The fourth movement represents a succession of five small sacred Hindu dances, each preceded by a characteris�c „Thema�c model“, which comes back each �me in slightly different structurings. Danse 1 is on page 80, (four measures before number 2) Danse 2 is on page 84, (six measures before number 5) Danse 3 is on page 90, (ten measures before number 9) Danse 4 is on page 95 (one measure before number 12) Danse 5 is on page 102 (twelve measures before number 17) Page 104, at the double bar, the „Lento“ is played in deepest serenity and absolute inner and outward peace.