Issuu

ScoresOnDemand http://www.musicsalesclassical.com/OnDemand Library of Digital Perusal Scores

Robert Xavier RodrĂguez Omaggio al Divino (2009)

Sample begins on the next page

Buy materials https://classicalondemand.com/omaggio-al-divino.html

Robert Xavier Rodríguez

Omaggio al Divino (2009) for Two Guitars

ORUM LAB D U L C E NIMEN LE

R G. SC H I R M E

Composer’s Note Omaggio al Divino (2009) for two guitars was written in commemoration of the 75th birthday of musicologist Arthur Ness, who was an important mentor to me during my doctoral studies at the University of Southern California. The three movements celebrate the music of the Renaissance lute composer Francesco Canova da Milano (1497–1543), who, along with Michelangelo, was known as “Il Divino.” I. Fantasia Antica is my transcription for solo guitar of Francesco’s FantasiaRicercar No. 3 for solo lute, adapted, down a minor third, from Ness’ 1970 edition of Francesco’s complete lute music. I have used modern notation and added dynamics, plus fermatas at what I consider natural cadence or “breathing” points to create a freer, more lyrical performance. The piece is to be performed with lute tuning (EADFEBE). II. Fantasia Nuova, another guitar solo, is my own work, inspired by the previous fantasia. My fantasia has the same formal proportions and phrase structure as Francesco’s fantasia, using a pandiatonic extension of Francesco’s harmonic outlines. My work does not mirror Francesco’s imitative, oftencanonic texture, but it does employ his concentrated motivic technique, which Ness described in his notes to me on No. 3 as “two ideas by variation.” III. Le Due Fantasie Insieme for two guitars presents Francesco’s fantasia and my fantasia played simultaneously. This duet is in the tradition of a series of parts for second lute written by the Flemish composer Johannes Matelart (1538–1607) to accompany some of Francesco’s works. As Ness has pointed out, these added parts “anticipate by several centuries Grieg’s second piano parts for Mozart sonatas.” In this case, however, my own “Fantasia Nuova” is intended to stand on its own as a separate piece and, when played with the Francesco, to be, not an accompaniment, but a dramatic opposition, hence the constant use of contrasting meters to create cross accents.

OMAGGIO AL DIVINO I. Fantasia Antica Grazioso q = 69 (e = 138)

Guitar

Francesco Canova da Milano (“Il Divino”) transcribed for guitar by

Robert Xavier Rodríguez 55 55 55 B: EEEE B 5 B 5 55 G 5 : 555 55 5: 55 555 55 55 5 B 55 B 5 5 55 5 5 5 5: 5 55 5: 5 5

EEEE

55 5 5 = 5 5 5 5 5 5 5 5 5 5 5 555 555 5 !5 5 5 5 5 5E5 5 5 5 5 5 E 555 5 : 55 55 55 ! 5 5 5 5B 5 5 5 5 5: 5 55 55 5 B 5

55 55 5 5 5 5 5 5 = 5 5 5 5 5* 5 5 5 B5 4 5 5 55 5 5 5 5 5 55 55 5 5 5 5 55 55 = 5 5 5 = 5 5 5 5 5 5: 5 5 ? 4 = 5 5 5 5 5 5 5 5= 55 55 55 5 5 B 55 55 5 =5 5 5 4 = 5 55 5 5 5 5 5 5 : 5 5 5 5 555 5 5 5 5 5 5 5 5 : 5 5 5 5 55 5 = ? 4 5 % 4 4 4 4 20 5: 5: 5 5 5 5 5 E 5 5 5 55 55 5 EE E 5 5 5 5 55 55 5 = = 5: 5 5: 5: G 5 = 5 5 5 5 55 55 = 55 55 5 = 5 55 55 5 5 5 5 = 5 = 5 5 % % % 25 = 5 4 E EE E 5 5 5 5 5 5 5 5 5 55 5 5 G = 5 55= 5 5 5 55 55 : 5 5 55 5 55 5 55 5 5 5 5 5 5 5 5 4 B 5 5 5 % 29 = 5 5 = 5 EEEE 5 5 E 5 5 4 = 5 5 = 5 5 5 5 5 5 5 5 5 5 5!5 = 5 5 5 5 5 5 55 G 5 5 5 5 5 5 5 5 5 = 5 5 5 %

4 = 33 4 5 = 5E5 5 55 55 55 !555 555 55 555E5 55 5 5 5 5 5 B EEEE

5 G 55 !555 555 55 55E5 5 55555 5 = = 5 5 4 4 5 % 4 37 : 5 B 5 5 5 E 55 55 B= EE E 55 5 5 5 5 5 5 ' 5 5 5 5 5 5 : 5 5 5 5 5 5 ' 5 5 5 5 5 = ' G 5 5 5 5 5 5 B5 : 5 = 5 5 4 5 5 555 5 ' % 11

EEEE 5 5 5: G 5: 16 EEEE 5 5 G 55 5 5

II. Fantasia Nuova Robert Xavier Rodríguez

5 55

5 5 55 5

5 5 5 5 5 E EE E 5 5 5 5 5 555 55 5 55 5 5555 5 5 5 5 5 55 5 5 5 5 5 G 55 =5 = = 4: = = = 5 5= 5 Grazioso q. = 46 (e = 138)

4 55 5

EE E 5

55 5 55 5 5 5 G 5 5 5 5 =5 = = 555 5 5 5 5 5 555 5 555 5 555 5 5: : 5 5 5: 5 5 = 4 = = 4

1 3 4

CIV

1 3 4

2 4

GGGG

5 55 7 5 5 5 5 5 5 5 5 5 5 5: 3 5:5 5 5 5 5 55 E 5 5 5 5 EE E 55 5 555 G 55 5 =5 = : 5 5 55 5 5 5 5 5 = = = 4 = = = 5 5 = = 2

1 1 2

1—–1

1 2 3

0 0 2 4 1 2

1 4

2 3

1 2 3 1 3 2

1 4 1

4——–4

EEEE 5: 5 5 5 G 5 5 5 55 5 5 5 = = = =

0 3

3 1 2

3 4 5

1 2 4

55 : 5 5 5 5 = = 4

CVII

55 : 5 5 5 5 55 5 % = 5 = 4

2—4

1 3 2

55 : 5 5 5 5 3 4 5 5 55 5 5 5 5 5 555 5 5= 5 5= 5 5 = 5 5= = % 5 = = % 2

3 0

GGGGGG

4 1

1 2

55 5 : 5 55 5 5 5 5 5 55 5 = = = = 4—–4 1 3

GGGGG

1 2 3

GGGGGGGG

11 5 5: 5 555 555 555 EEEE G 5 5 5 5 5 5 55 = 5 =5 = 5 =5 5 5= = 5:

GGGGGG

2 4 6

1 3

GGGG

1 2

1 3

55 5 5 5 5 = 0

3 1 2

1 2

1 2 0

1 1

½CVII

½CIV

18 5 : 5 5 EEEE 5 5 5 5 55 5 555 5 5 5 5 555 5 5 5 55 5 5 5 5 5 555 5 5 5 5 55 5 5 55 5 5 5 5 5 5 5 55 5 5 5 G % = = = = = = = = = 5 = = = = 5 2

* Each fermata adds the length of one eighth note.

2 4

1 2 3

1 3

4 1 2

GGGGG

GGGG

4 1 3 3 4

1—1 2 3

GGGG

3 1 2

1—1 2 3

III. Le Due Fantasie Insieme Grazioso e = 138

1 EEEE B G 5:

B 5:

55 5 5 5 5

5 5 5 5 5 5 5 5 5 555 5 5 5 5 5 55

5 55

5 5 55 5

5 5 5 5 5 E EE E 5 5 5 5 5 555 55 5 55 5 55555 5 5 5 5 55 5 5 5 5 5 G 5 5 5 = = 2 = 4: = = = 5 5= 5 mp

4 1 EEEE B: G 5 5 5 5 5 5 5 55555 5 5 5!5 5 B 5 B 5 5 5555 5 5 5 5 5 5: 5 5 5 5 5 5 : 5 5 5 B 5

1 EEEE G

CIV

1 1 3 4 2

55 5 5 555555555 5555 5 5 5= =

GGGGG

EEEE G

1 3 4

5 5

55:555 5 55 5 5 5 5 55 5 5 55 55 555 = = = 5 = =: 5 5 :4 4 12

2 4

1 2 4

3 1 4 2

2 4

1 2 2

4 4

1 3

1 2 3

1 3

1—–1

3 5: 5 555 5 5 55 555 = 55 = = 0

1 2

5 5 5 55 5 5 = 5 5 5 5 5 5 5: 55 55 5 5 5 5 5 5 5 5 5 5 ! 5 E 5 E 5 : 5 5 5 5 55 5 55 5 5 5 5: 5B 5 5: 5 5

5 5 55 5 5: 5 5 5 5 5 5 5 5 55 E 5 EE E 5 5 5 5 555 2G : 5 5 5 5 5 55 = 4 = = = = 5 5= = 4

1—–1

1 2 3

1 3

0 0 2 4 1 2

2 3

5 = 5 4 E 1 EE E B5 5 5 5 5 55 = G 5: 5 5 5 1 2

55 5 : 5 555 5 5 5 5 55 5 = = = =

* Each fermata adds the length of one eighth note.

0 3

1 3 2

5: 5 555 : 5 5 555 5 55 5 5 5 = = 5: 5 5 = =

3 4 5

1 2 4

4——–4

1 4 1

55 55 55 55 55555 5 5 5 = 55 55

5 55 55 4—–4 1 3

2 4 6

CVII

55 : 5 5 5 55 5 5 = 5 = 55 5 5 5 55 % = = 4

GGGGGG

5 EEEE 5 555 55 55 5 5 555 2G = = = = 12 3 1 3 2

1 4

3 1 2

5 55 5

2—4

GGGGGGGG

1 1 2

GGGG

4 1

5 : 555 5 = =