Concerto pour orchestre à cordes, Op.48 (Khan, Hidayat Inayat)

Sheet Music

• Full Scores (1)
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Full Scores

 Complete Score
*#265361 - 1.21MB, 108 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 1116×⇩ - Stanislav

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Stanislav (2013/1/13)

Publisher. Info. Hidayat Inayat Khan, ©1976. (GEMA-Registration No.1.366.017) Copyright Performance Restricted Attribution-NonCommercial 3.0 [tag/del] Purchase Javascript is required for this feature.

Parts

 Violins I
*#265363 - 8.54MB, 14 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 360×⇩ - Stanislav

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⇒ 4 more: Violins II • Violas • Cellos • Double Basses

 Violins II
*#265364 - 7.56MB, 14 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 192×⇩ - Stanislav

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 Violas
*#265365 - 7.90MB, 14 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 181×⇩ - Stanislav

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 Cellos
*#265366 - 6.63MB, 14 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 187×⇩ - Stanislav

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 Double Basses
*#265367 - 3.79MB, 12 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 185×⇩ - Stanislav

PDF typeset by Unknown
Stanislav (2013/1/8)

Publisher. Info. Hidayat Inayat Khan, ©1976. (GEMA-Registration No.1.366.017) Copyright Performance Restricted Attribution-NonCommercial 3.0 [tag/del/mrg] Purchase Javascript is required for this feature.

General Information

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• Pictorial Analysis of the Concerto for String Orchestra, Op.48

1. Mouvement - Le Chant du Coeur.
The first movement is a musical illustration of various states of mind and feelings.

Page 5 starts with a „Call of the heart“, unfolding at the double bar into an emotional dialogue, which becomes more and more pathetic 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 emotion and passion, culminating in an outburst at the double bar of the „Risoluto“ on page 26.

Page 27 is the re-exposition section.

Page 29, starting at the double bar, the Cello has an important thematic part to sing.

Page 35, starting as of the double bar at the „Molto cantabile“, the violas have 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 devotion, 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.

3. Mouvement - Une Ancienne Légende.
The third movement is very prayerful and meditative, starting 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, starting 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 time 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 till the double bar on page 75.

Page 75, the „Andante“ starts again with the „Call for Prayer“, and in the fourth measure after 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 characteristic „Thematic model“, which comes back each time 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.