Concerto Grosso for four timpani, obbligato trumpet and string orchestra
Program Note:
CONCERTO GROSSO for four timpani, obbligato trumpet and string orchestra is acknowledged, with Maya Badian's Concerto for marimba, vibraphone and orchestra, and her Concerto for guitar and orchestra, as the first composition ever composed for this specific combination of instruments in the Romanian music history.
“Although Maya Badian’s ‘Concerto Grosso’ for timpani, obbligato trumpet and string orchestra was written in the 1980’s, there is a strong connection between this exciting work and the various musical periods of the past 300 years - a concerto that spans at least 300 years of music and all of its fascinating styles. Badian’s ‘Concerto Grosso’ is a wonderful piece that crosses so many musical styles but still retains a distinct 'Badian' sound and feel.” - Eric Paetkau, conductor, after his performance of the Canadian premiere of the Concerto Grosso’s original score, in Toronto, Canada, on 14 February 2014.
The three-movement Concerto: I. Allegro-Sonata II. Serenata III. Toccata, in concerto grosso style, presents the timpani and trumpet as the concertino, while the strings performing the role of the tutti.
Allegro-Sonata, the first movement, emphasizes the technical development of an initial rhythmic motive, announced by the timpani. This rhythmic motive is transformed and used in both the solo parts and in the accompanying strings.
Serenata, the second movement, is a reflection of the Romantic period, containing a rich theme simply presented, in a few bars, by the strings. In this movement, the only contribution of the solo timpani comes in an abstract and unusual glissando passage.
Toccata, the third and final movement, is totally modern in concept.
Glissandi, formally given to the timpani, now become aleatoric material for strings.
The timpani present brief elements of the thematic material, surprisingly combined with a vox vagans (trumpet). This voice independently "sings" above the concertino and tutti to finally introduce unexpected jazz elements. As unification, at the very end, the timpani return to reflect on the initial motive.

Concerto Grosso - 4 timpani, trumpet & strings: I. Allegro - Sonata by Maya Badian

Program Note:
Deeply shattered with the dreadfulness of the Nazi Holocaust, its meaning and implications for our times, I composed the Symphony Holocaust - In Memoriam in memory of the Holocaust victims. “The Fifth Son” Elie Wiesel’s novel is the source of inspiration for this work. The tragedy and the depth of this Symphony are suggested by two themes that symbolize Life and Death as an obsession: The first one, inspired by a Hora Lunga, a folklore melody from Sighetul Marmatiei, Maramuresh district, Romania, recalls the place where Wiesel was born. Metamorphosed and leading towards the second theme, this melody symbolizes Life. The second theme, inspired by the song From Suffering Through Hope To Victory, which Jews murmured in the concentration camps, symbolizes Death.
I consider my music a message for peace, love and harmony between people. - Maya Badian

Holocaust - In Memoriam Symphony: II Fuga by Maya Badian

Holocaust - In Memoriam Symphony: I Preludio by Maya Badian

Program Note:
“SINFONIETTA is structured in three movements:
(1) Grave; (2) Andante, molto legato ed espressivo; (3) Allegro ma non troppo.
Grave, the first movement, is of dramatic character, in polyphonic style. The theme is announced in the
low register of the strings, and it progressively encompasses the whole orchestra. Near to the close, a
cello cadenza accompanied by the double-bass sustained tones precedes a closing stretto in the strings,
marked Allegro assai.
Andante, the second movement, constitutes a lyrical intermezzo, and it is performed by an instrumental
quartet (oboe, viola, cello and violin).
It leads, without pause, into:
Allegro ma non troppo, the final movement, in which the horns introduce the main theme. The mood of
the movement is optimistic, a march of youthful, high spirit.

Sinfonietta For Orchestra: III. Allegro ma non troppo by Maya Badian

Program Note:
“SINFONIETTA is structured in three movements:
(1) Grave; (2) Andante, molto legato ed espressivo; (3) Allegro ma non troppo.
Grave, the first movement, is of dramatic character, in polyphonic style. The theme is announced in the
low register of the strings, and it progressively encompasses the whole orchestra. Near to the close, acello cadenza accompanied by the double-bass sustained tones precedes a closing stretto in the strings,
marked Allegro assai.Andante, the second movement, constitutes a lyrical intermezzo, and it is performed by an instrumental
quartet (oboe, viola, cello and violin).
It leads, without pause, into:
Allegro ma non troppo, the final movement, in which the horns introduce the main theme. The mood of the movement is optimistic, a march of youthful, high spirit.

Sinfonietta For Orchestra: II. Andante, molto legato ed espressivo by Maya Badian

Program Note:
“SINFONIETTA is structured in three movements:
(1) Grave; (2) Andante, molto legato ed espressivo; (3) Allegro ma non troppo.
Grave, the first movement, is of dramatic character, in polyphonic style. The theme is announced in the low register of the strings, and it progressively encompasses the whole orchestra. Near to the close, a cello cadenza accompanied by the double-bass sustained tones precedes a closing stretto in the strings,
marked Allegro assai.
Andante, the second movement, constitutes a lyrical intermezzo, and it is performed by an instrumental
quartet (oboe, viola, cello and violin).
It leads, without pause, into:
Allegro ma non troppo, the final movement, in which the horns introduce the main theme. The mood of the movement is optimistic, a march of youthful, high spirit.

Sinfonietta For Orchestra: I Grave by Maya Badian

Program Note:
TOCCATA AND PASSACAGLIA for Orchestra presents my homage to two of the major Western musical forms, transmuted in accordance with the requirements of this work.
Toccata, the first movement, is based on the first seven overtones from the rising series of the natural resonance on C. These seven overtones, first suggested by percussion instruments, become the rhythmic-dynamic motive, extended over the main of the sound parameters (pitch, duration, dynamics,
timbre), generating the entire Toccata.
Passacaglia, the second movement, is based on continuous variations over my original ground bass.

Toccata & Passacaglia: II  Passacaglia by Maya Badian

Toccata & Passacaglia: I  Toccata by Maya Badian

Concerto Grosso - 4 timpani, trumpet & strings: III. Toccata by Maya Badian

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Concerto grosso for Trumpet, Percussion, Piano and Strings.
WP: Oct. 2022 Palais of Arts, Budapest
Gábor Boldoczki, Tamás Schlanger, Borbély László, Franz Liszt Chamber Orchestra, Gregory Vajda conductor

Aufnahme

Bending Space And Time_Concerto Grosso for Trumpet, Percussion, Piano and Strings

Volante (Italian for "steering wheel") combines formal aspects of the
Baroque Conerto Grosso with the Classical Scherzo, emphasizing
rapid, toccata-like passages. The single movement piece is scored
for two groups of instruments: a consort of oboe, English horn and
bassoon, pitted against a chamber ensemble of harp, piano, percussion 
and strings. 

This piece is somewhat of a palindrome, with the beginning and ending 
of tense, rhythmically static episodes framing a central scherzo, which 
in turn, contains a slower, more lyrical core featuring short cadenzas 
by the double reed soloists soloists. The rhythmic ostinati that dominates 
the scherzo are frequently modified by changing meters and metric 
modulations.

Volante has been recorded by the Lviv Philharmonic Orchestra, Yurly Lutsiv,
 conductor, available on Music from Ukraine, CRS 0380. 

Volante

A neoclassical composition for violin with string ensemble, in the style of Vivaldi or Mozart 'concerto grosso'. Stately and elegant, impassioned and baroque-inspired, this finely balanced composition showcases a virtuoso violin over a bed of classical strings. Great music for fine art, culture, ballet, history, drama / melodrama, period drama and more. (Stem files available.)

Experiments in Classical Strings

Buy/License

Pawel Orlow - Windswept Classical Strings

A Baroque Concerto Grosso inspired by the New Years Eve in the key of C# Minor (2024)
Check out the score on Musescore: https://musescore.com/user/3493086/scores/22656007

Concerto Grosso in C# Minor

A Baroque Concerto Grosso inspired by New Years fireworks in Bb Major
Check out the score on Musescore: https://musescore.com/user/3493086/scores/22706905

Concerto in Bb Major

Steingrímur Rohloff: Concerto Grosso (excerpt)

Bach's piano rearrangement for Vivaldi's score,
manually re-typed by Zakir in Finale 2006,
exported as a score to MIDI,
drums added in a Yamaha PSR550 synth,
then the MIDI remixed in Reason3,
added some voice overlay and effects.

First release: 2010.
Sound: 2025.

Sound producer & publisher: Z studio.
© License of the 'Realrocks' (www.realrocks.ru)

Vivaldi-Bach Concerto Grosso G-dur

Dr. Maya Badian is a Contemporary Classical Music Canadian Composer of Romanian Origin. 
Maya Badian has more than 100 published original compositions including symphonies, orchestral music, concertos, cantatas, chamber music, music for multimedia, and musicology and pedagogy works. All her works are published and internationally distributed by Lucian Badian Editions. Her musical output is part of the collections of international libraries, such as Library and Archives Canada, The Library of Congress in Washington, D.C., Bibliothèque Božidar Kantušer, Paris, France, and of many music libraries across Canada, the USA, Europe, Australia, Japan, and National Library of New Zealand. 
”Maya Badian is an important composer, if it does not use some of the extreme devices discovered by earlier 20th century composers, Badian’s music does reflect the accumulated wisdom of a century of experiment and invention.” – The Ottawa Citizen
Dr. Maya Badian have her life and achievements reflected in an international biography work: The Life and The Music of Maya Badian, A Privilege to Soar by Fred Popovici, Pro ARS Publications, Ottawa, 2010.
“An internationally acclaimed composer” – as described in Orchestral Works CD Review, Winnipeg Sun, 1999.
Dr. Badian is a member of the Canadian Music Center, Canadian League of Composers, Association of Canadian Women Composers, Ottawa New Music Creators, Romanian Union of Composers and Musicologists, Union of Composers and Musicologists of Moldova.

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