Serebrier - Casi Un Tango

JosĂŠ Serebrier

Casi un Tango (Almost a Tango) for English Horn

b (or Flute, Oboe, B Clarinet, Bassoon, French Horn or Trumpet)

and String Orchestra

JosĂŠ Serebrier

Casi un Tango (Almost a Tango) for English Horn

b (or Flute, Oboe, B Clarinet, Bassoon, French Horn or Trumpet)

and String Orchestra

While on a tour in Germany with the Bamberg Symphony Orchestra, I was asked to do an unusual program featuring Tchaikovsky's Fourth Symphony preceded by tangos by Kurt Weill, Stravinsky and Piazzolla. In view of the enthusiastic audience reaction, it was proposed that we make a recording of tangos by these and other composers. We proceeded to put together a mixed bag, from Weill’s German and French periods, to Stravinsky's peculiar take on the form, Satie's minimalist 'perpetual' tango, and Gade's flamboyant, popular Tango Jalousie. Piazzolla could not be left out.

The resulting recording “Tango in Blue” is on BIS CD 1175.

My own contributions to the genre were conceived before the recording was planned. Tango in Blue (Tango en Azul) was written during a long overnight flight from New York to Montevideo, as an impromptu gift for the National Orchestra of Uruguay (Orquesta Sinfónica del SODRE), which had invited me to conduct its 75th anniversary concert. The first four notes are a direct quote from the final four notes of my Partita, Symphony No.2, one of the few compositions (written soon after my arrival in the United States) that used Latin American rhythms and melodic turns almost as if I was saying that there's where I left off writing 'tonal' music, and I am back. After Montevideo, we played it in Lima and later on in Buenos Aires and many other cities in Latin America on tour with the National Chamber Orchestra of Toulouse. At my publishers' request, I wrote several versions, for violin and piano, trio, string quartet, string orchestra, saxophone quartet, and others.

Casi un Tango (Almost a Tango) is an entirely different piece, nostalgic and more “classical.” No longer having the 4/4 beat as a basis, it is a much more rhapsodic piece, salon music in a simple a-b-a form. The relation to the popular concept of tango is in the spirit and character of the music.

While Casi un Tango was conceived as a work for English Horn and strings it works perfectly well with other solo instruments. Alternate solo parts are provided for flute, oboe, Bb clarinet, bassoon, French Horn, and Trumpet.

In Tango perpétuel, I have attempted an orchestral version of Erik Satie’s solo piano work, No. 17 of Sports et divertissements (1914). As with a number of Satie’s pieces, the pianist is asked to repeat the few bars over and over. My version, a mere 4 minutes in duration, involves subtle changes in orchestration at each repeat.

—José Serebrier

Performance materials are available on rental.

Casi un Tango

Score in C

(Almost a Tango)             Solo, con sordino

Viola

f

Violoncello



José Serebrier (2002)

        

con sord. div.



Vn. I

   

 



     con sord.               

   

p

   

poco rit.

 

      mf   unis.      

    

   

pp

   



   

più f



3

3

        

      

      















 

      

5

Vn. I

Vn. II

Va.

    

        



             



Eng. Hn.





       

mf

pp

Db.



rit.





 div. 

con sord.

Vc.

mf

ppp

div. 

   

f

    

   

pp

Va.

  

  

Andante con moto

con sord.

Vn. II



Andante con moto

1 (See facing page)

  

       



 Eng. Hn.

poco accel. e cresc.

       

       

Vc.

   



Db.

   



      3

3

          

     mf      mf

poco accel.

              



3

          

           

            

    

     

© Copyright 2005 by Peermusic III, Ltd. International Copyright Secured. All Rights Reserved.

   

poco accel.

unis.  

  

         

tenuto

,           3 3

 











 

  



 

 

2

a tempo

11

Eng. Hn.

    

       

  3            accel. tenuto

Vn. I

(rubato) mf

div.

3           

3

  

       

3          



simile

,      non rubato

3

 

  

   

 

    

 

     



 

 

  



 

   



  



      



 

 

      



  

   

 

      



  

   

 

Vn. II

Va.

  

Vc.

           rubato

simile



        rubato

simile



                   

  

   

Db.

    

  





15

Eng. Hn.

Vn. I

Vn. II

Va.

Vc.

Db.

    

     

  rubato          

     div.    

div. 

     

   



 

 

 

glis s.

sfz

unis.



s. glis

sfz

  

        

 simile

 unis.     

3

       

unis.



 

 

ss. gli

sfz

 gl

iss.

sfz

 g sfz

. liss

tenuto

          

 mp

     mf

mp

pp dim.



pp dim.

mp

pp dim.

 

mp



   3

3



mp



pp dim.

div.

 



 

 

div.

 









3

20

Eng. Hn.

Vn. I

Vn. II

Va.

Vc.

Db.

   





           





                



      





  f

   

     

 

 

 

  

 

 



    

 

 

 

 

mp

 

 

 

 

 

 



mp

  











   













  

  

mf









 Poco più mosso

   

26

Eng. Hn.

    

  

   

Poco più mosso

Vn. I

mf

          mf unis.         

        

mf

  

unis.

Vn. II

Va.

Vc.

Db.



    

       

mf

  

mf



      gliss.     

  

 



  

  









      gliss.                           ( )                

 

  

    

 



 



 

4

   

30

Eng. Hn.

Vn. I

Vn. II

Va.

Vc.

Db.

    

                   



    



 

 



   



    

    

  









  





      



  





   

 

   



    

  

 







          



      

     

   



  

 

  

    



 





   



 









 

34

Eng. Hn.

Vn. I

Vn. II

Va.

Vc.

Db.



          

             





                    



  





  

   

  

  

 

f`

                        f`           

f`







   









  

 



  



  





f`



   

     f`

5

   

38

Eng. Hn.

Vn. I

 





   

    

 







 gliss

Vn. II

         

      

mf

Va.

       

Vc.

Db.

      

mf





  

       





  gliss  .           

 

 



   





  



  

  

 

      

      

 





      

     

mf





.

mf

  

 

      

  







   

42

Eng. Hn.

Vn. I

Vn. II

Va.

Vc.

Db.

    

                     

      



  

         

    

  









    



  







  







 



 

         



 



 

           

  

  

    

 

  







                        

    

 



6

 

46

Eng. Hn.

Vn. I

Vn. II

Va.

Vc.

Db.





   gliss .  

         

             







 

    



     f





  

  





  



rit.

     

 

     



p

   

 

    

    

 

  

       

    

 

 

    

 

f



    

  

f

  

   

p

f





   

   



rit.

    







f



 Andante con moto

51

Eng. Hn.

   

    

     



mf

Andante con moto

Vn. I

ppp

Vn. II

Va.

 div.         

                 3

3





mf

    

      

mf

      

      

        

  

      3

 

div. 



   

Vc.

   









Db.

   









3



    3



     

     

      mf    

     

unis. 

   

mf

   

     

7

57

Eng. Hn.

Vn. I

      

poco accel.

         

    



tenuto

 

      

3

poco accel.



a tempo

,            3



tenuto



           accel.  a tempo 3



mf

Vn. II

         

     

 

Va.

     

   

   

Vc.

Db.

    

  

  

     

  

  











unis.













  

  



  

 



   







  







div.



rubato







 

 

rubato



     

61

Eng. Hn.

Vn. I

   

    3             simile



3

  

       

3             

Vn. II

      

   

  

Va.

   

   

 

  





 





 

Vc.

    

 



     

 



simile

Db.

simile

 

   





 

 ,    

                             non rubato

3

  

   



 

 

  

   



 

 



 

 

 



 

 

 

 

 



 



8

64

Eng. Hn.

Vn. I

Vn. II

    

    

     

rubato

Vc.

Db.



        

 

         div.    

 unis.     

  



   





gliss .

unis.



s. glis

sfz



. gliss

sfz

 



 

 

 mp

 

gliss.



gliss.



sfz



    



sfz

   

   

3

    

simile

div.

Va.



   3

mf

mp



pp

mp



pp

mp

pp

     mp

sfz

 

pp



68

Eng. Hn.

Vn. I

Vn. II

Va.

Vc.

Db.

  

   



più lento rit. poco a poco



più lento rit. poco a poco



       div.     







 

3

  

 

  

  

     



 

      



  

 

 



ppp

      

 



( ) ( ) ( ) ( )

        

( )

STRING ORCHESTRA

Works marked with an asterisk (*) have parts available for sale.

Parts for all other works are available on rental.

Richard Bales Stony Brook Suite*

Eduardo Martin Fugas para Orquesta de Cuerda

Elliott Carter Elegy

Xavier Montsalvatge Tres Danzas Concertantes*

Joseph Castaldo Lacrimosa

Domingo Santa Cruz Symphony No. 2

Roque Cordero Adagio Tragico* Elegy

Serge Saxe Poema Sinfonico para Cuerdas

David Diamond Elegy in Memory of Maurice Ravel (str orch, perc)* Roger Dickerson Ten Concert Pieces for Beginning String Players* Blas Galindo Sinfonia Breve para Cuerdas Rodolfo Halffter Don Lindo de Almeria: Ballet Suite (str orch, perc)

José Serebrier Elegy for Strings Fantasia Momento Psicologico (str orch, tpt) Tibor Serly Lament in Memory of Béla Bartók* String Symphony in Four Cycles for Young People* Harold Shapero Serenade in D Jean Sibelius Rakastave the Lover (str orch, perc)*

Alan Hovhaness Prayer of St. Gregory (tpt & str orch)

Enrique Solares Partita para Cuerdas

Charles E. Ives Hymn: Largo Cantabile*

William Grant Still Danzas de Panama

Armando Krieger Sinfonia para Cuerdes

Tchaikovsky/Serebrier orch.

Andante Cantabile

Rudolf Maros Euphonia No. 1 (str orch, 2 hp, perc) Landscapes Notices

Hector Tosar Errecart Symphony No. 2 for Strings

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