Comp Data Template

Instrumentation
Piccolo, Flutes, Oboes, Eb Clarinet, Principal Clarinet, 3 Bb Clarinets, Bass Clarinet, Soprano Saxophone, Alto Saxophones, Tenor Saxophones, Baritone Saxophone, Bass Saxophone, Bassoons, 4 Horns in F, Bb Trumpets, 3 Trombones, 2 Flüglehorns, 2 Euphoniums, Tubas, Cellos, Contrabasses, Timpani, Percussion

Composition Notes

Composed for a television documentary about Spain in 1936. In six movements: I "Preludio" is in Andantino 9/8 presents a pensive primary theme in solo French horn over a slow moving chromatic chords with C in the bass. The melody is then repeated in oboe and flüglehorn with a buildup of rhythm and orchestration to an Allegro tempo in 2/4 meter in forte in a short fanfare before dying out in a long chord to ppp.

II "Éxodo" starts Adagio in common meter in piano in homorhymic two-voice counterpoint with melody over a pedal "G". The one measure rhythm repeats as the primary motive for the movement.

III. "Cancion" is "Allegro Ritmico" in 2/4 meter. Timpani I-V pattern with snare drum military sets up the mood with slow moving chords over the ostinato building from pp to mf to a theme presented in clarinets after one hundred and two measures. The theme is repeated with little variation except in orchestration to a transition section which is highlighted by an extended flute solo then oboe solo. The ending section includes both the Timpani and snare drum ostinato with the slow chords and the clarinet theme.

IV. "Leit Motiv" starts with solo flute then oboe similar to the prelude material in Andante 4/4 meter. The theme is further developed including solos for trumpet and French horn.

V. "Marcha" is in "Allegro con Spirito" in 2/4 meter starting with timpani and snare drum similar to movement III. The march theme is first presented in the clarinets and continue to be the dominating voice throughout the orchestration. The brass are secondary in this march.

VI. "Final" is in Andantino in 3/4 meter with an additional marking of "Agitato e dramatico" starting in the second measure. The short movement presents the themes from the first motive finishing the piece in fortissimo.

Composer Notes

Born in Barcelona in 1916 his studies led him to Valencia where he became the Professor of Composition at the Conservatory of Valencia. He won numerous composition awards including the "Como el Nacional" in 1950 and "Ciudad de Barcelona" in 1954 as well as awards from the cities of Alicante and Valencia. He had composed an extensive number of compositions during his life. He left Valencia to live and teach composition at the Conservatory in Madrid. He died in 1996.

Performance Information
Municipal Band of Valencia

Date of Composition

Adagio para Instrumentos de Víento

Composer's Last Name	Rodrigo
Composer's Second Name
Composer's First Name	Joaquin

Level of Difficulty - Grade 5

Duration - 7:00

Instrumentation
Piccolo, 2 Flutes, 3 Oboes, 3 Bb Clarinets, 2 Bassoons, 4 Horns in F, 3 Trumpets in C, 3 Trombones, Tuba, Timpani, Crash Cymbals, Tam-tam, Snare Drum

Composition Notes

Starts Adagio with a solo flute presenting the first theme, theme is presented several times with subtle variations in solo clarinet then oboe with long sustained harmonies. The second section, Allegro Moderato in 2/4 meter, starts with a sixteenth note rhythmic syncopation figure in trumpets with repetitions over which a heroic figure of an ascending fifth is presented in the trombones then horns. The Adagio section returns for a short interlude before returning to Allegro Moderato. The piece ends Adagio. The harmonies are mostly tertian structures based around the mode of Lydian with a b7. In the original manuscript there are very interesting sketches (by Rodrigo) of the "Fibonacci number series" which include include intervalic relationships to the series as well as an harmonic progression graph showing extensions of dominant and subdominant relationships. The Adagio section is very similar in character to his famous Adagio movement of the Concerto for Guitar and Orchestra.

Composer Notes

Born November 22, 1901 in Sagunto (Valencia). Probably the most famous Valencian composer. His Concerto for Guitar and Orchestra is performed continuously around the world. He studied harmony and composition with Francisco Antich at the Conservatory of Valencia. In 1922 he went to study in Germany. In 1927 he studied with Paul Dukas in Paris. He returned to Spain in 1934 and received the grant "Conde de Cartagena". He returned to France to attend the National Conservatory in Sorbona to study music history. He returned to Madrid in 1939 after which he composed the famous Concerto for Guitar and Orchestra. He received many awards including the "Officier of Arts and Letters" Paris in 1960, "Legión de Honor" from the University of Puerto Rico in 1963, an Honorary Doctorate from the University of Salamanca in 1964, an Honorary Doctorate from the University of Valencia in 1978 and several others. He composed many compositions for piano, guitar, chorus, orchestra and chamber music. His compositions for band are not usually listed in his catalog of works.

Performance Information
Municipal Band of Valencia

Date of Composition

Al Legoria a la Dansa dels Oficis

Composer's Last Name	Alama
Composer's Second Name	Gil
Composer's First Name	José

Level of Difficulty - Grade 4

Duration - 7:00

Play Al Legoria.ra

Instrumentation
Symphonic Band - Piccolos, Flutes, Oboes, English Horn, Bassoons, Eb Clarinets, Principal Clarinet, 3 Bb Clarinets, Bass Clarinet, Alto Saxophones, Tenor Saxophones, Baritone Saxophones, Bass Saxophone, 4 French Horns in F, 3 Trumpet in Bb, 3 Trombones, Euphoniums, Tubas, Percussion

Composition Notes

Based on two anonymous Spanish folk songs. The composer carefully explains the adaptations of the themes and presentations in the piece. The second theme is chromatically altered to a more contemporary style. The piece starts Andante with the theme presented in the horns then in the clarinets. Oboe presents the dotted rhythm second theme in an Allegro tempo. Harmonic vocabulary includes tertian structures with occasional extensions. Harmonic progressions are often-non functional to any particular scale or mode. When functional relations are used, it is common to have Neapolitan and Augmented 6th progressions. Melodies retain characteristic from adaptation with further alterations of chromaticism. Textures are mostly homophonic.

Composer Notes

José Alama Gil was born in Llíria in 1952. He began studies within the music education program of the Banda Primativa de Llíria. He continued studying at the Conservatory Superior of Valencia at age fourteen where he obtained his degree in clarinet performance with honors "First Class". Also studied piano with Mario Monreal and Counterpoint with Francisco Tamarit Fayos. He later studied in Madrid with Rodrigo de Santiago in composition. He is now a member of the Municipal Band of Valencia.

Performance Information
Municipal Band of Valencia

Date of Composition

Algo muy diferente

Composer's Last Name	Carrascosa
Composer's Second Name	Garcia
Composer's First Name	Manuel

Level of Difficulty - Grade 4

Duration - 4:00

Instrumentation
Xylophone, Piccolo, Flutes, Oboes, Bassoons, Eb Clarinet, Principal Clarinet, 3 Bb Clarinets, Bass Clarinet, 2 Alto Saxophones, 2 Tenor Saxophones, Baritone Saxophone, Bass Saxophone, Cellos, Contrabasses, 4 French Horns in Eb, 4 Trumpets, 3 Flüglehorns, 3 Trombones, 2 Euphoniums, Tubas, Timpani and Percussion (Snare Drum, Bass Drum, Cymbals and Triangle).

Composition Notes

This pasodoble won the 1987 National Prize of Compositions of Posodobles for Bands "Fogueres de Sant Joan" in Alicante. It is a bit different from the normal form because it also contains a four-part fugue. It is also one of the few pasodobles which is written in full score. A long introduction which outlines the tonic, supertonic and mediant chords of the Phrygian mode builds to the primary theme in G. The fugue takes place in the second section. After the fugal entrances, there is a buildup to the trio which ends the pasodobles in a traditional manner.

Composer Notes

Born November 11, 1911 in Buñol (Valencia). Died May 1997. At six years old he started studying solfége and violin with D. Emilio Ruiz. Studied Eb clarinet with D. Vicente Martinez a clarinet professor with one of the Buñol bands "La Constancia". Studied harmony and instrumentation with D. Eduardo Panach and D. Emilio Diaz. Studied composition with Manuel Palau Boix. At e age nineteen he became the director of the "La Armonica" Band in Buñol taking the band to the Certamen Musical in Valencia in his first year. He continued taking the band to competitions, winning first prize in the Certamen Musical in Valencia in 1935. From years 1936 to 1936 he directed the Military Band of the 46th Brigade. In 1939 he became the director of the Municipal Band of Villena (Alicante) taking that band to several competitions and winning prizes in Albacete, Alicante and others. He composed over sixty pasodobles including "Algo muy diferente" which won first prize in "Fogueres de Saint Joan" (Alicante) in 1987.

Performance Information
Municipal Band of Valencia

Date of Composition - 1987

Batalla Imperial

Composer's Last Name	Cabanilles
Composer's Second Name	Barberá
Composer's First Name	Joan Bta.

Level of Difficulty - Grade5

Duration - 4:00

Instrumentation
Full Concert Band: Piccolo, Flutes, Oboes, Bassoons, Eb Clarinet, Principal Clarinet, 3 Bb Clarinets, Bass Clarinet, Alto Saxophones, Tenor Saxophones, Baritone Saxophone, French Horns, Trumpets, Flüglehorns, Trombones, Euphoniums, Tubas and Percussion.

Composition Notes

A battle fanfare starting with fugal entrances first with Flüglehorn 2 then Flüglehorn 1 then euphonium 1 then basses. The tempo starts in "Allegro moderato" but changes to "Allegretto grazioso", then "Allegro con brio", Doppio piu lento" and ending "Un poco maestoso". The piece is bombastic throughout most of the piece in a style similar to the Battalla of Samuel Scheidt (Germany) of approximately the same time period. There are many flourishes in woodwinds over mostly tonic and dominant harmonies. The last section grows in dynamic with the clarinets starting dolce and the instrumentation building up to a tutti fortissimo.

Composer Notes

Born in Algemesí (Valencia) September 6, 1644 died in Valencia April 29, 1712. Considered one of the most important Valencia composers of the Seventeenth Century. When he was twenty-four years old, he became the organist of the Cathedral of Valencia a post which he continued to occupy until his death. He composed many compositions for organ and also for chorus. The "Batalla Imperial" is an arrangement for band (from an organ composition) by José Ferriz.

Performance Information

Date of Composition

Bolero D'Alcudia

Composer's Last Name	Murrillo
Composer's Second Name	Arce
Composer's First Name	José Angel

Level of Difficulty - Grade 5

Duration - 8:00

Instrumentation

Piccolo, 3 Flutes, 2 Oboes, English Horn, Eb Clarinet, Principal Bb Clarinet, 3 Bb Clarinet, Bass Clarinet, 2 Bassoons, 2 Alto Saxophones, 2 Tenor Saxophones, Baritone Saxophone, 4 Horns in F, Flüglehorns, 3 Bb Trumpets, 4 Trombones, Euphonium, Tuba, Cellos, Contrabasses, Orchestra Bells, Vibraphone, Bongos, Chimes, Xylophone, Timpani, Suspended Cymbal, Temple Blocks, Bass Drum, Triangle, Gong, Snare Drum, Crash Cymbals, Latin Instruments

Composition Notes

A Bolero with metrical play between 6/8 and 3/4 meters. The piece starts in 6/8 in the key of A major. Solo orders of the melody is French horn, oboe, alto saxophone, flutes and piccolo (with embellishments), trombone, clarinets (with embellishments) then full orchestration to a fortissimo. Harmonies are mostly traditional tertian structures and progressions. No modulations occur, the piece remains in A major for the entire composition.

Composer Notes
Born August 1961. First studies were with his father and Granell. At nine years old he went to a Valencian conservatory to study clarinet and percussion. He was a member of the Military Band and also was a member of a folk group "Quaranta Maula" recording a the record "Remors de mar" (Troubles of the Sea). He later recorded "Silenci, grabem", "Carrer Alfa" and "Nadal Valenciá".

Performance Information
Municipal Band of Valencia

Date of Composition

Cantos Lianos y Profanos

Composer's Last Name	Montesinos
Composer's Second Name	Comas
Composer's First Name	Eduardo

Level of Difficulty - Grade 6

Duration -

Instrumentation
Piccolo, Flutes, Oboes, English Horn, Eb Clarinets, Principal Clarinet, 3 Bb Clarinets, Bass Clarinet, Alto Saxophones, Tenor Saxophones, Baritone Saxophone, Bassoons, 4 French Horns, $ Bb Trumpets, 2 Tenor Trombones, Bass Trombone, Flüglehorns, Euphoniums, Tubas, Timpani, Xylophone, Castanets, Cymbals, Bass Drum

Composition Notes

A composition in six movements. The title indicates songs "simple and common" but the level of difficulty is very high for all instruments. Composed for the 1992 Certamen International de Música Valencia. The first movement "Introito" acts as the main theme for the composition as it presents a Gregorian chant-like melody in unison in most of the instruments. The additional indication of "Antífona" with metronome marking of quartet note at 90 presents a comfortable singing tempo, although there are many odd changing measures with the beat groupings frequently changing from duple to triple. The second movement is a formal variation, listed as "Variación 1" where the melody from the previous movement is presented in Allegro and in changing odd meters of 5/8, 3/8, etc. The third movement "Antífona en modo profane" and fifth movement "Salmo" are also variations on similar material to the first movement with spurts of virtuosic playing in certain sections. The fourth movement is labeled as a variation. The sixth movement is the finally with the end building to a grand climax. The entire composition is very rhythmic both in subtle ways in which the composer uses accompaniment patterns, and also very complex melodies using tuplets of 3, 5, 6 and 10 sometimes using nested tuplets. The counterpoint is not very dense, with the complex rhythms usually played in many sections of the band. The orchestration is varied with many tutti sections but also with several places where families of instruments are highlighted. The harmonies are tonally based with melodies often based on intervalic modifications, giving the vertical structures more dissonance.

Composer Notes

Born March 2, 1945 in Valencia. Attended the Conservatorio Superior in Valencia where he studied solfége, piano, composition and orchestral conducting attaining the maximum grades including the award "Fin de Carrera" in piano and fugue. Was the music critic for the Valencian paper "Levante" for three years. Is presently the head of the solfége department at the Conservatorio Superior in Valencia. His compositions have been performed by the Orchestra and Municipal Band of Valencia, the Radio Orchestra of Spain (Madrid), the Concert Band Vooruit de relbeke (Belgium) and others.

Performance Information
Municipal Band of Valencia

Date of Composition - November 8, 1991

Caos

Composer's Last Name	Tamarit
Composer's Second Name	Fayos
Composer's First Name	Francisco

Level of Difficulty - Grade 6

Duration - 19:47

Play Caos.ra

Instrumentation
Full Concert Band: Piccolo, Flutes, Oboes, Bassoons, Eb Clarinet, Principal Clarinet, 3 Bb Clarinets, Bass Clarinet, Alto Saxophones, Tenor Saxophones, Baritone Saxophone, French Horns, Trumpets, Flüglehorns, Trombones, Euphoniums, Tubas and Percussion.

Composition Notes

Winner of Premio "Maestro Villa" 1985. In four movements 1. "Tocata" acts as the prelude of the piece starting with descending patterns of various distinctions including clusters, repeating ostinatos, and rhythmic elements which are later developed. 2. "Aria" Has an extended solo for the oboe over a sparsely orchestrated ostinato. The melody is repeated and developed in other orchestrations with other soloists. Some parts seem to be inspired by Shönberg's "Five Pieces for Orchestra" 3. "Rondó" Features a flüglehorn solo over orchestration as the primary theme then features a second section of a sextet of three flutes and three bassoons. After a return of the Flüglehorn theme another section features three oboes. 4. "Finale" Presents a twelve-tone series in chorale texture alternating with more rhythmic presentations. After extensive development with different orchestrations, a grand choral based on the twelve-tone row precedes a coda based on the beginning material from the first movement.

Harmonic vocabulary is rich with tone clusters, vertical structures based on twelve-tone rows, with several kinds of color sonorities built on intervals of thirds, fourths and mixtures. The melodies are often atonal, but sometimes modal over an atonal accompaniment. Textures vary greatly with extensive polyphony contrasted with homophonic and block textures. Instrumentation utilizes virtuosic solos for several instruments including Eb clarinet, oboe and percussion.

Composer Notes

Born in Riola (Valencia) in 1941. As a youth he played in the town band under the direction of his father. He studied at the Conservatory Superior where he won awards in harmony and counterpoint studying with Palau, composition with Blanquer and conducting with Ferríz. He conducted several bands in Buñol, Carcagente, Cullera and Cheste and won awards in Kerkrade (Holland) and in the Certamen of Valencia with the "El Litro" Band of Buñol. He became head of the counterpoint department at the Conservatory Superior of Valencia. His numerous composition awards including the "Polifonía Religiosa de Moncada" in 1968 and the "Ricardo Villa" award in 1985 for "Caos". His compositions are known to have an extended vocabulary of harmony, textures and counterpoint.

Performance Information
Municipal Band of Madrid Recording available on RTVE-Música 65096 Banda "Premios Maestro Villa" Sinfónica Municipal de Madrid

Date of Composition

Concert de Primavera

Composer's Last Name	Costa
Composer's Second Name	Ciscar
Composer's First Name	Javier

Level of Difficulty - Grade 5

Duration - 15:00