Piano reduction and solo part: 20+6 pp. $29.95,
Presser Order number 494-02558 (EICM-36)
Rehearsal Audio CD included (generated electronically).
(Contains 3 tracks, in stereo, at 60%, 80% and 100% performance tempi respectively.
Guitar on left channel, orchestra on the right.
By using the balance control on your playback equipment, you can fade out the guitar).
The recording was made by Stephen Gibson at New Notations, London.
The soundfont used for the guitar part was made by Richard Yates.
To listen to track 3 of the CD,
(100% suggested performance tempo, MP3 format, Stereo),
click here: Bardanashvili Concerto (1.7MB).
The Concerto for Guitar and Chamber Orchestra by Josef Bardanashvili was first performed in Tbilisi, Republic of Georgia, on 23, October, 1979. The performance was presented at the Malie Zal (Small Hall) of the Tbilisi Conservatory under the auspices of the Georgian Union of Composers. The Georgian Chamber orchestra was conducted by E. Isakadze and the solo part was played by Ike Sarkisian, for whom this concerto was originally written.
This is the composer’s first experiment involving polystylistic references. At the outer slow sections neo-baroque, “oriental” and popular melodic gestures are organically fused and in the Finale the improvisational ornamental elements come forth (though there is very little traditional “oriental” chromaticism). An important role is played in the Finale by a theme that has been crystallized at the ending segment of the prefatory cadenza. One hears in it something of the romantic declamatory entreaty.
The emotional content of the outer sections is contrasted by the Allegro, which has been auspiciously called a “carnival of stylized masks.” The composer fashions the material, involving different images and melodic gestures, divergent types of texture and stylistic layers, into a rapid and bubbling stream which is secured from within by a strong melodic coherence and structural logic, numerous cross-references between the movements and all as though just tinkering with it. The Vivaldiesque unison ritornello itself is being constantly challenged by metric and tonal shifts, unexpectedly slipping into now Jewish then quasi-Hispanic dance instrumentalism. Indeed, the composer often refers to this work fondly, and with a mischievous smile, as his Jewish Vivaldiana.
The present edition of the Concerto was first performed at the Ramat Gan Theatre in Israel, on 22 January, 2000 by Ruben Seroussi solo guitar, and the Israel Chamber Orchestra Ramat Gan, conducted by Aviv Ron.
Josef Bardanashvili holds a special place among the second generation of post-modern Soviet composers, who follow Schnittke, Gubaidulina, Silvestrov, Pärt and Kancheli—namely Korndorf, Ekimovsky, Smirnov, Firsova, Dmitry Yanov-Yanovsky and Shakhidi. However, even when compared to them, Bardanashvili’s music is extremely unique. A prominent characteristic of his music is the highly original melodic line, which abounds with ornaments, seemingly devoid of European influences. The second characteristic of his music is its form, which is a kind of meticulously and expertly developed dramaturgy. Thus, the composer maintains the tension and attention of the listener from the first note to the last.
Josef Bardanashvili was born in Georgia in 1948, graduated from the Music Academy of Tbilisi in 1975 with a doctorate in composition. In addition to his activity as a composer, Bardanashvili was the director of the Music College in Batumi in 1986-1991. From 1993 to 1994 he was the deputy Culture Minister of the Adjaria Autonomous Region of Georgia. He was composer-in-residence at the world famous Rustaveli theater, organized international music festivals, won numerous awards. In recognition of his achievements Bardanashvili was named Honored Artist of Georgia.
In 1995 Bardanashvili immigrated to Israel. He taught at the Rubin Academy of Music (Tel-Aviv University), at the Camera Obscura College and was composer-in-residence with the Ra’anana Symphonette Orchestra. His numerous compositions had successfully been performed all over the world—in Israel, Georgia, USA, Germany, Russia, France, Finland, Yugoslavia, Italy and Scotland, by such soloists as Giora Feidman, Yossi Arnheim, Liana Isakadze, Nana Jashvili, Oleg Malov, Alexander Korsantia, Uri Gandelsman, Viktor Derevianko, conductors Valery Gergiev, Lior Shambadal, Shlomo Mintz, Djansug Kakhidze, Gisele Ben-Dor, Uri Segal, Yerucham Sharovsky, Zsolt Nagy and orchestras like the Israel Philharmonic, the St. Petersburg Opera Orchestra, Berliner Symphoniker, the Jerusalem Symphony Orchestra, IBA, the Ra’anana Symphonette, the Beer-Sheva Symphonette, Musica Nova Ensemble, the Israel contemporary players and in music festivals in Israel and abroad. Today Bardanashvili is considered one of the leading Israeli composers.
Among his numerous compositions are: symphonies, three operas, two ballets, Children of God trilogy for soloists, choir & orchestra; concertos for violin, piano, guitar, clarinet (commissioned by Giora Feidman). Double Concerto for Piano & cello; chamber music: Poem Dialogue for Piano, Cello, four Horns & Guitar, Evening Prayers for chamber ensemble, string quartets, piano trios, piano sonatas; choir music and many songs. He has written music for over 20 films and 40 theater productions. In addition to his activities as a composer he is a painter having exhibited his works in Georgia and Israel.
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