• Aucun résultat trouvé

Ioan Dobrinescu Arrangeur, Compositeur

N/A
N/A
Protected

Academic year: 2022

Partager "Ioan Dobrinescu Arrangeur, Compositeur"

Copied!
12
0
0

Texte intégral

(1)

Ioan Dobrinescu

Arrangeur, Compositeur Roumanie, Bucharest A propos de l'artiste

Ioan Dobrinescu was born in 1960 and studied the violin at the George Enescu Music High school and then composition at the University of Music in Bucharest, which he graduated in 1986 as head of his class. Among the masters that have marked his artistic path are the late composers and professors Aurel Stroe, Tiberiu Olah, Stefan Niculescu, Alexandru Pascanu, Dan Constantinescu, Anatol Vieru and Constantin Bugeanu.

After a short career in teaching, Ioan Dobrinescu becomes an editor for Actualitatea Muzicala, the magazine of the Romanian Composers and Musicologist Union. From 1991 onward he became editor and later artistic counselor for the Romanian Broadcasting Corporation. He is currently the head of the Evaluation Committee for Musical Recordings.

In tandem with his numerous programs and music shows of all genres, Ioan Dobrinescu has also written as a music critic, presented numerous concerts and written con... (la suite en ligne)

Sociétaire : UCMR-ADA - Code IPI artiste : 00 262 54 16 76

Page artiste : https://www.free-scores.com/partitions_gratuites_jeandob.htm

A propos de la pièce

Titre : Mi mindig bucsuzunk-An eternal farewell Compositeur : Bacs, Ludovic

Arrangeur : Dobrinescu, Ioan

Droit d'auteur : Copyright © Ioan Dobrinescu Editeur : Dobrinescu, Ioan

Instrumentation : Voix, Ensemble à cordes

Style : Contemporain

Ioan Dobrinescu sur free-scores.com

Cette partition ne fait pas partie du domaine public. Merci de contacter l'artiste pour toute utilisation hors du cadre privé.

Interdiction de diffusion sur d'autres sites Web.

• écouter l'audio

• partager votre interprétation

• commenter la partition

• contacter l'artiste

Ajoutée le : 2020-01-19 Dernière mise à jour le : 2021-02-06 15:22:23

(2)

Voice

1st Violin

2nd Violin

Viola

Violoncello

Moderato q = 60 q = 62 accel.

pp p mf f mf

Moderato q = 60 q = 62 accel.

p mf f mf

mf f mf

mf f mf

Voice

Vln. 1

Vln. 2

Vla.

Vc.

rit.

A

q = 60 q = 62

7

p pp

rit.

A

q = 60 q = 62

p pp mf

p pp mp p

p pp mp p

3 4

3 4 3 4 3 4 3 4

Mi mindig bucsuzunk

Bacs Ludovic Remenik Sandor

3 3 3 3 3

3 3 3 3

3 3 3

3 3 3

6 6 6

6 6

6

6 6 6

3

6 6 6 3

(3)

Voice

Vln. 1

Vln. 2

Vla.

Vc.

q = 66 poco rit. q = 72

13

mf mf pp mf pp mf pp

q = 66 poco rit. q = 72

p pp mf pp mf pp mf

pp

pp

Voice

Vln. 1

Vln. 2

Vla.

Vc.

q = 66 poco rit. q = 66

poco accel.

18

pizz.

pp

q = 66 poco rit. q = 66 poco accel.

pizz.

pp

p mp p mp p mp

pizz.

pp

mp p` mp mp p

pizz.

pp

3 6 6 6

3 6 6 6

3 3 3

3 3 3 3 3 3 3 3 3

3 3 3

3 3

3

3 3 3 3

3

3

3 3 3

3 6 3

6 3 6 3 3 3

3 3 3

6 3 6 3 6 3 3 3 3

(4)

Voice

Vln. 1

Vln. 2

Vla.

Vc.

q = 72 rit. q = 64 q = 60

22

arco

sf ff fp fp

q = 72 rit. q = 64 q = 60

arco

sf ff fp fp

arco

sf ff fp

arco

sf ff fp

espressivo

fp

Voice

Vln. 1

Vln. 2

Vla.

Vc.

Mi mp

min dig csú zunk Mi

q = 64 rit.

B

30

fp

sul tasto

pp q = 64 rit.

B

sul tasto

pp

fp

sul tasto

pp

fp

sul tasto

pp 6

6 3

6

6 3

6 6

3

6 6 3

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

3

(5)

Voice

Vln. 1

Vln. 2

Vla.

Vc.

min dig csu zunk Az

mf

èj töl reg gel A

q = 68 38

ord.

pp spicatto

detaché

p q = 68

ord.

pp spicatto

detaché

p ord.

pp ord.

pp

Voice

Vln. 1

Vln. 2

Vla.

Vc.

nap al tol es te A szi nek tol ha szü rke por be lep te A csönd töl Mi

f

cor

q = 72 q = 72

poco rit. q = 68 43

mf

q = 72 poco rit. q = 68 q = 72

mf

mf

mf

3 3 3 3 3 3

3 3 3 3 3 3

3 3 3

3 3 3

3 3

3 3

3 3

3 3

(6)

Voice

Vln. 1

Vln. 2

Vla.

Vc.

hang za var ta fel A hang tól Mi

mp

corcsönbe hal kul el.

cresc. diminuendo al niente

rit.

50

f sub p ppp

cresc. rit.

diminuendo al niente

f subp ppp

f sub p ppp

f p ppp

Voice

Vln. 1

Vln. 2

Vla.

Vc.

Min p

den szó tól a mit ki mond a szánk, Poco meno mosso q = 60

59

C

pp sul tasto

Poco meno mosso q = 60

C

pp sul tasto

pp sul tasto

pp sul tasto

3 2

3 2 3 2 3 2 3 2

3 2

2 4

3 2

2 4

3 2

2 4

3 2

2 4

3 2

2 4

3

3 3 3 3

3 3

3 3

3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3

5

(7)

Voice

Vln. 1

Vln. 2

Vla.

Vc.

Min den mo soly tól mely sugár zott rank, Min den sebtöl melyfájt és é ge tett, Min denkép töl 69

Voice

Vln. 1

Vln. 2

Vla.

Vc.

mely belénk lye dett, Az ál ma ienk töl mik nem

f

tel yesül tek, A

q 66 rit. q = 66

cresc.

80

D

mf mp

q 66cresc. rit. q = 66

D

mf mp

mf mp

mf mp

3 3

3 3 3 3 3 3

3 3

3 3

3

3 3 3

3 3 3 3

(8)

Voice

Vln. 1

Vln. 2

Vla.

Vc.

láng f

ja ink töl mik las p

san kihül tek, A mp

táj tól mit vo nat rol lat tunk

rit. q = 66

90

sul pont.

p

rit. q = 66

sul pont.

sul pont. p

p

p sul pont.

Voice

Vln. 1

Vln. 2

Vla.

Vc.

A ke mény rög töl min megállt a p

bunk.

longa q = 66

E

99

p longa

mp q = 66

E

p longa

p

p longa

p

p longa

mp 3

3 3

3

3 3 3 3

7

(9)

Voice

Vln. 1

Vln. 2

Vla.

Vc.

poco accel. rit.

113

p f

poco accel. rit.

p p f

p f

p f

Voice

Vln. 1

Vln. 2

Vla.

Vc.

Mert mf

nincs nap kel te ket u gyan az Mert min den csönd màs Min den könny vi gosz.

q = 72 poco rit. q = 76 rit.

F

124

fp

vibrato espressivo

p

q = 72 poco rit. q = 76 rit.

F

fp

vibrato espressivo

p

fp

vibrato espressivo

p

fp

vibrato espressivo

p

3 3

3 3

3 3

3 3

3

(10)

Voice

Vln. 1

Vln. 2

Vla.

Vc.

El mf

fut a perc az ö rök i vár ja. Lell künk mint fehér ken q = 72

G

137

pp q = 72

G

pp

pp

pp

Voice

Vln. 1

Vln. 2

Vla.

Vc.

leng u na. Sok

mp

szor kön nyünk se hul szi vünk se fáj hi de gen hagy az el ha gyott

poco rit. q = 66 q = 72

145

p

poco rit. q = 66 q = 72

p

p

p 3

3 3 3 3 3

3 3

3 3

3 3

3 3

3 3 3

3 3 3 3 3 3 3

3 3

3 3 3 3 3 3 3

3 3

3

3 3 3

3 3 3 3

9

(11)

Voice

Vln. 1

Vln. 2

Vla.

Vc.

táj Hogy el te met tük ro la nem tu dunk És mé gis mon dom nek tek

q = 66 154

q = 66

Voice

Vln. 1

Vln. 2

Vla.

Vc.

va la mi töl Mi

mp

min dig bu csu zunk Mi min dig bu csu zunk Mi mind dig bu csu zunk q = 60

poco rit.

162

q = 60 poco rit.

3 3 3

(12)

Voice

Vln. 1

Vln. 2

Vla.

Vc.

Mi min dig bu csu zunk bu csu zungm bu csu zunk,

H

168

p

H

p

p mf

mf p

Voice

Vln. 1

Vln. 2

Vla.

Vc.

bu csu zung, bu csu zung, bu csu zung.

rit.

176

mf pp

rit.

mf pp

p pp

pp 3

3 3 3

3 3 3

3 3

3

3

3 3

3

3

3

3

3

3

3 3

11

Références

Documents relatifs

This issue of Revue Roumaine de Mathematiques Pures et Appliquees is dedicated to Professor Serban Stratila, on the occasion of his 70th birthday in June 2013, in appreciation for

The evaluation set consists of 58 complete songs, one half from medleyDB dataset [3] of royalty-free multitrack record- ings and another half from the jamendo.com music website,

4 Bertrand Lemonnier, in his article “Musiques et culture pop 1964-70” 2 , dealing with the previous decade, the 1960s, emphasized the importance of popular music to young people

This paper presents a pioneer study of speech pro- sody and musical prosody in modern popular music, with a specific attention to music where the voice is closer to speech than

Proprium de 1689 As well being the proprium of the Sainte-Chapelle in Paris, that is to say the entire liturgical texts belonging to the Sainte-Chapelle, he also gives a precise

The submission evidences the innovative aspects of that work and, more generally, of the role of the Computer Music Designer through consideration of a number of Max patches

Rameau’s harmonic theory was research, and it surely influenced his music (and music in general), but the Traité de l’harmonie is not a musical composition.. The development of

The idea of sound-object structures lended itself to several developments: polyphony, with polymetric structures retaining the notational concepts of Indian rhythm, and an