La plus que lente or The More Than Slow is a work in the manner of English waltz, which gain popularity at the beguinning of the XXth century in the so called five-o'clock-tea-parties in Parisian salons and cafes. The title refers not so much to the tempo of the waltz as to the time it took to create it—the piece is a production of an entire summer, says Ms. Debussy. Two years later, presenting the orchestration of the waltz to his publisherJacques Durand, the composer writes: But let's not limit ourselves to beer parlors. Let's think of the numberless five-o'clock teas where assemble the beautiful audiences I've dreamed of.
The miller's wife dances the Fandango and pretends to be so absorbed in her dance as not to notice the return of the Corregidor, who betrays his admiration of the dancer. Her joyful Fandango closes the first act of the ballet El sombrero de tres picos (1919), from Manuel de Falla.
Name it The Little Fledermaus but it has its own micro overture – the Entr'act (No. 12) to the Third act, and a quick but full run-down the themes from the opereta – the Melodram (No. 13). This hangover scene is so charming! It is musically and thematically completed, and fits perfectly well to the brass instruments' abilities.
Commissioned by Swiss bass trombone player Johannes Bigler this Concerto was and premiered in 1998 during Varna Summer music festival. It was named by the critics as a brilliant piece... a model of miniature form.
Scherzo. Vivace con fuoco – Poco meno vivo – Vivace come prima
Finale. Allegro giusto – Vivacissimo
Milcho Leviev (1937–2019) composed his String Quartet for his Master’s graduation exam in Composition. This early work, strongly influenced by the music of Paul Hindemith, had a single premiere performance in 1960. In 2019, the score was rediscovered by the Philharmonica String Quartet, whose members took up the task of programming it. While attending one of their rehearsals, Leviev made certain minor amendments to the score.
Arranged for solo violin and brass ensemble by Ivaylo Hristov.
For 3 trumpets in B, 2 horns in F, trombone, bass trombone, tuba and solo violin.
Slovak violinist Boris Kucharsky had commissioned the American composer Robert Aldridge an encore piece for solo violin and string orchestra — Tango for a Beautiful Woman, inspired by Gabriela Skrabakova. We publish a transcription for solo violin and brass ensemble, where the brass instruments are supposed to play all the time quasi pizzicato.
Originally for piano, this collection of 12 waltzes was written for Viennese ballrooms a few months before the composer passed away. It is their lilting and distinctive Viennese rhythm, rubato, balanced phrases, straightforward form, gliding middle voices, melodic suspensions, and unexpected harmonic subtleties that attract the listener.
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EB5Brass Quintet arrangements of Ivaylo Hristov
EF5All Five Dances by de Falla for Brass Quintet
ET8Trombone Ensembles arr. of Ivaylo Hristov
ES1Bulgarian Music for Solo Trombone
EP7Pantcho Vladigueroff – Piano Works
ED7Pantcho Vladigueroff – Works for 2 Pianos
EV7Pantcho Vladigueroff – Complete set
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Former President of International Trombone Association ITA
Recording artist in The Netherlands
Edition Elm manager Ivaylo Hristov has compiled a wonderful collection of original brass works and transcriptions in his Edition Elm catalog. He has chosen many works that are not otherwise available, so he does the brass community a great service. His attention to Bulgarian music is especially gratifying, in that he is introducing some very interesting new works. His transcriptions are well-chosen and well-done, although sometimes quite challenging.
For half a century, the contemporary culture of Eastern Europe was closed to us in the West. Towering beacons shone through the gloom, but our knowledge was largely restricted to those masters who either transcended the Iron Curtain, or who left to teach and compose in the West. Since 1990, a whole new world has opened up, revealing the wealth of creativity which thrived beyond our hearing – each nation swallowed by the Soviet whale struggling to maintain its own cultural identity in every art form.
Bulgaria is a small nation with an ancient and proud culture stretching back to the time of Alexander the Great. From 1945 Bulgarian musical life fostered a distinctive school of trombone playing, with a rich teaching tradition, producing a substantial body of superb recital and study material. Today the country is home to a community of talented and prolific composers – and Edition Elm has committed itself to both documenting the past, and encouraging the contemporary. Every piece in Elm’s collection has been chosen and edited by professionals, and is presented in performing materials of the highest quality and clarity, complete with biographies of all composers. These works are an invaluable addition to both personal and institutional libraries, and I have no hesitation in recommending them to performers and teachers internationally.
Professor for the interpretation of contemporary music
Guildhall School of Music and Drama, London
Professor of Sackbut
The Royal Conservatoire of Scotland, Glasgow
I ardently acclaim the appearance of Edition Elm and the idea to publish the works of Pantcho Vladigueroff. This rectifies a serious deficiency in Bulgarian musical culture and represents a significant contribution to the consolidation of national conscience and self-confidence.
Leading modern Bulgarian pianists are involved as editors and exponents in the preparation of this publication. These are people who were close friends with the composer and through their personal contacts with him had an opportunity to acquire knowledge and understanding straight from the horse’s mouth.
The print is state-of-the-art technology and easy to read.
I wish the publisher success with his noble mission.