Serebrier, arr. (Satie) - Tango perpétuel by Peermusic Classical

Satie - Serebrier

Tango perpĂŠtuel (Perpetual Tango) for orchestra

Satie - Serebrier

Tango perpĂŠtuel (Perpetual Tango) for 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.

Tango perpétuel Flute and Picc.

  

 







    



       









 











 

Oboe

Clarinet in Bb

Bassoon

Alto Saxophone

Tenor Saxophone

Trumpet I in C

Trumpet II in C

Trombone I

Trombone II

Percussion

Violin I

Violin II

Viola

Violoncello

Contrabass

Satie-Serebrier

Moderato

  

 

    



  

 

          

Snare Drum Wire brushes

 

    

Moderato

       

   



con sord.



sul pont.





sul pont.





con sord.

 

sim.                               mp





  

pizz. pp



 

           

    



  pp    pp

  

  

 











  



            





  

pizz.

 

          

   7

Fl.











pizz.

  

 





   

    

  







  













    



    

 

  



 

  



          



          







 









          

 



     

 

  

 











 

Vc.



p dolce

   

Va.

Cb.



                 

Cl.

Vn. II



     

 

Ob.

Bsn.



     

 

          





  



        

 



Ob.

Bsn.





Perc.

Va.

 

 arco        mp

Vc.

Cb.





 

 3

 

  

 



  



 

      

  

 





 

 

 

         

    

  









          

  

 

 







  



           

 

    



 





  

 

             



Fl.

                              

Flute





                      





Picc.

Bsn.

Perc.

Vn. II

Va.

Vc.

Cb.





     

  



         p       



  

      

      

 

arco



     

 

         









        3

       

     

 

    25

Vn. I

Vn. II

Va.

Vc.

Cb.

 sul pont.



 



 



 

Divisi

 

  ppp

Divisi

 



sul pont.



                         

 

   

          ppp

          





normale

 

ppp

             

ppp



   







      



      

              



    

   

   

      

     

   



  



   

     



                



               

   31

Fl.

Ob.

Cl.

T. Sax.

Perc.



 



  



  





   

  p

    

  p

   

 

   

   

   

     

 

  

 



 

   

 



 











Vn. I

     Vn. II

Va.

Vc.

      

 pp

 



    



       

       

          3 soli

Cb.





       

2 soli

  

  

    



 





2 soli

 

     

1 solo

 

     

 





 

     

 

     

 





1 solo

Fl.

Ob.

Cl.

Bsn.

T. Sax.

Perc.

Vn. I

Vn. II

Va.

Vc.

Cb.

    



  





     



  





        



  









   36

  





  



           

          

 

 





  







  

    





                         

  



 



                               pp

 



      pp





tutti

  



tutti

normale

      

  

pizz. mp





 

     

 

     

        







 







  



 

   42

Fl.

Ob.

Cl.

Bsn.

T. Sax.

Perc.

Vn. I

Vn. II

Va.



 



  



      

                          p                              p



    

Sponge stick

           



Low cymbal







 

          mp             













 







   



  





Wire brushes



  





   48

Fl.

Ob.

A. Sax.

T. Sax.

Tbn. I

Tbn. II

Perc.

Va.

Cb.



 

   

    





 



    

          













                  p





 

 







    





  





sul pont.



 

 

 

               

 

                             

        



      



    



       

  



   55

Fl.

A. Sax.

T. Sax.

Tpt. I

Tpt. II

Tbn. I

Tbn. II

Perc.

Va.

    



   













      



     



con sord.



con sord.

  



 

  

T. Sax.

Tpt. I

Tpt. II

Tbn. I

Tbn. II

Perc.

Va.

   

 



         



          

  





 



     

  

 

      

 



  normale





 



       

 



 

          

     



 

poco



 















         mp

3 3



            

più p

           mp                         p mp

Two Bongo Drums

dolce



              

   



   



dolce

                   





 





  

                   



         

    



                        







A. Sax.

  





Fl.

  





      mp 

 

 

più

       







          più p 



        



      

   67

Fl.

Vn. I



sul pont.                  pp           pp

      

             pp

Vn. II

sulpont.                      pp    

Va.

  

   

   

   

Vc.

Cb.







     



     

    

   

  



   



   





   





 



 



        

                   



       



   



  

   









    





     

 





       

3 soli

2 soli



   73

Fl.

A. Sax.

T. Sax.

Tbn. II

Perc.

Vn. II

Va.

Vc.

    

  

   





 





 



  

       

 

     



    





 

   







    





   

         

 





      



    



  

  





  

         

   



3        pp 2 soli 1 solo               

 





       p





    

1 solo

Cb.



    



         

   



   79

Fl.

Tpt. I

Tpt. II

Tbn. I

    

    p

Tbn. II

Perc.

Va.





con sord.



con sord.

  

Perc.

Vn. I

 













  

 



          



 

 

     

 

    

 

   





   



   



   



  



     

   84

Bsn.



    



Cl.

  

 



  

 Fl.

   



 

 



  







  





                              









Sponge stick









  





 







tutti  







Cb.

poco

                                 pp  mp                                       tutti

Vc.

 

            p               p

normale

Va.

 



Low cymbal

Vn. II

       









   90

Ob.



               







Cl.

Bsn.

T. Sax.

Perc.

                            

   



       









 

   



       





  





   



     



   



   







Wire brushes

  





 





 



 



 



Vc.





Cb.

  



Vn. I

    





   mp

  







       



      

Vn. II

Va.

Perc.

Vn. I



             

Vn. II

Va.

Vc.



   





      



         

 













            pp



        



  

   

 

 



3 soli

Cb.



    

               

2 soli

 

       

    

  

3 soli



2 soli

1 solo

 

     

       

      

 

    

       

1 solo

 

   

     

 

     



102

Perc.



     2 soli

Va.

Vc.

Cb.

 

   





    

           

 

 

Sponge stick

 

        



1 solo

     

      

     





  

 

     

 

 

 

     

 

senza rall.



  

 

           

107

Va.

Vc.





         

  

    

  

    

  

    

  



   ppp

 

più p





    



 

    

  

     

 



 

 



Repeat the last bar several times, at the discretion of the conductor, sempre morendo.



 

 

 

ppp



Perc.





  



    



  

SELECTED STUDY SCORES (parts available on rental)

Miguel del Aguila Toccata Roque Cordero Symphony No. 2 Michael Daugherty Metropolis Symphony Lex Krypton Mxyzptlk Oh, Lois Red Cape Tango Rosa Parks Boulevard Bells For Stokowski Route 66 David Diamond Concerto for Small Orchestra Elegies Psalm Symphony No. 1, 2, 3, 5, 7, 8 The World of Paul Klee Blas Galindo Segunda Sinfonia Sones de Mariachi Lou Harrison Symphony on G Alan Hovhaness Armenian Rhapsody No. 1 Lousadzak: Coming of Light (pf, str orch) Odysseus Symphony (Sym. No. 25) Saint Vartan Symphony Tzaikerk: Evening Song Zartik Parkim Charles E. Ives Decoration Day Four Ragtime Dances Symphony No. 1 Thanksgiving and Forefathers' Day Tone Roads No. 1 Tone Roads No. 3 The Unanswered Question

Bohuslav Martinu Estampes Intermezzo José Pablo Moncayo Huapango Julián Orbón Tres Versiones Sinfonicas Manuel Ponce Chapultepec Poema Elegiaco Silvestre Revueltas Alcancias Caminos Colorines Danza Geometrica Itinerarios Janitzio Planos Redes Ventanas Ned Rorem Symphony No. 1 William Russo Street Music Symphony No. 2 (Titans) Three Pieces for Blues Band and Orchestra A. Adnan Saygun Symphony No. 1 Symphony No. 2 José Serebrier Poema Elegiaco Harold Shapero Symphony for Classical Orchestra Virgil Thomson Suite from "The River" Symphony on a Hymn Tune

Tania León Batá Horizons

Heitor Villa-Lobos Ciranda das Sete Notas, (bn, str orch) Fantasia (sax, chr orch) Sinfonietta No. 2

Oscar Lorenzo Fernandez Batuque

Richard Wilson Silhouette

62324-856