Obertura a Dios (Ramírez Santillán, Luis Felipe)

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Sheet Music


 Full score
#323032 - 2.51MB, 61 pp. -  0.0/10 2 4 6 8 10 (0- !N/!N/!N - 90x

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composer (2014/4/24)

PMLP522985-Obertura a Dios (completa)(2).pdf
Publisher Info.:

Luis Felipe Ramirez Santillan


Creative Commons Attribution 4.0 [tag/del]


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General Information

Work Title Obertura a Dios
Alternative Title
Composer Ramírez Santillán, Luis Felipe
Year/Date of Composition February 29, 2008
Composer Time Period Modern
Piece Style Modern
Instrumentation String orchestra (5, 5, 4, 4, 2 - players)

Misc. Comments

  • Indications of rhythm in the score Obertura a Dios
At startup entries for Vln 1.5, vln II , 5, viola 4 vc 4 cb 2 different interpretations (pizzicato, staccato, ricochet ) are in p and ad libitum.
The ad libitum will be interpreted as a "musical idea behind a main idea." Rembrandt's painting The Return of the Prodigal Son marks the chiaroscuro of his painting style where the main light is on the father and son, the remaining 4 faces are flat side, vanished. The ad libitum initiation is thus in piano and faded, attention or light will fall upon entering the meter 12/8 with violin I, 1 settled in front (Violin I, 5 is 5 rows behind Violin I, 1) having more presence leaving the shadow the ad libitum for the last music stand ( vln 1, 5, vln II , 5, viola 4 vc , 4, cb 2) as follows: on the vln II 5 the vc 1 and cb 1 to give the embrace of the Prodigal Son.
Four families (meaning all the violins I or II, or the cellos and basses) -
Are doing musical gestures as in the previous measure of the rehearsal number (3) where the violins II.2 , II.3 do a musical gesture to the Bartok pizz. violin II.5 and end your ad libitum. Other families will have a similar idea to the raheasal number (4). So the ideas are developed ad libitum throughout the score.
The section ad libitum not conducting. The start of each section is marked with an arrow corresponds to the pulse of the conductor. In the section of ad libitum all rhythms are approximate, consequently, the vertical arrangement of the notes in the score does not necessarily mean they have to be interpreted simultaneous.
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