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Email to PurchasePiano Concerto No. 3, op. 37
Official edition of "Piano Concerto No. 3, op. 37" by Poul Ruders, published by Edition Wilhelm Hansen (Z187972), scored for 钢琴, 交响乐队. Edition includes 22 parts, 288 pages.
- Composer
- Poul Ruders
- Publisher
- Edition Wilhelm Hansen
- Catalog No.
- Z187972
- Instrumentation
- 钢琴, 交响乐队
- Specifications
- 22 parts · 288 pages (Score & Parts)
- Purchase Orders
- cdiyao@gmail.com (Email to Purchase)
Parts & Score Materials
| Part Name | Instrument | Pages |
|---|---|---|
| [独奏] 钢琴 | Piano | 25 pages |
| (全)总谱 | FullScore | 96 pages |
| 长笛 1/短笛 | Flute, Piccolo | 10 pages |
| 长笛 2/短笛 | Flute, Piccolo | 10 pages |
| 双簧管 1 | Oboe | 8 pages |
| 双簧管 2 | Oboe | 8 pages |
| 单簧管 1 降si/单簧管 la | Clarinet, Clarinet | 8 pages |
| 单簧管 2 降si/单簧管 la | Clarinet, Clarinet | 8 pages |
| 大管 1 | Bassoon | 6 pages |
| 大管 2 | Bassoon | 6 pages |
| 圆号 1 fa | Horn | 8 pages |
| 圆号 2 fa | Horn | 8 pages |
| B调小号 1 | Trumpet | 6 pages |
| B调小号 2 | Trumpet | 6 pages |
| 打击乐 | Percussion | 8 pages |
| 电钢琴 | Piano | 11 pages |
| Harp | Harp | 10 pages |
| 小提琴 1 | Violin | 12 pages |
| 小提琴 2 | Violin | 12 pages |
| 中提琴 | Viola | 8 pages |
| 大提琴 | Cello | 8 pages |
| 低音提琴 | DoubleBass | 6 pages |
Work & Edition Details
PAGANINI VARIATIONS – Piano Concerto No.3 (The original guitar-part arranged for piano and pianist Anne-Marie McDermott by the composer, 2014). In 1999 my friend, American guitar virtuoso David Starobin, wanted me to write a concerto for guitar and orchestra. It quickly dawned on me, that this commission presented a golden opportunity to contribute to the time-honoured tradition of composing a series of variations on Nicolo Paganini´s famous 24th Caprice for violin solo, a work which itself is a set of variations. The 16 bar (with the first 4 bars repeated) theme is not particularly sophisticated or intricate, but its inherent simplicity and logic just grow on you, almost to the point of distraction – and the secret behind it being hauled through “the wringer” by composers as disparate as Liszt, Brahms, Rachmaninoff and Lutoslawski is perhaps found in its - what I´ll call, with a quick nervous look over my shoulder: brilliant banality. You can do anything with that tune, it´ll always be recognizable and just there, however much you maul it.