OSANNA IN EXCELSIS – Special version for Soloist and Piano (*Version 2)
18,00€ IVA no incluido / VAT not included
SPECIAL VERSION FOR SOLOIST (CLARINET, BASSOON, FRENCH HORN, TROMBONE, EUPHONIUM or CELLO) AND PIANOSOLO PART + PIANO INCLUDES CD WITH PIANO ACCOMPANIMENT Demo PDF INCLUDES SOLO PARTS OF:
- FRENCH HORN IN F
- EUPHONIUM IN C
“OSANNA IN EXCELSIS”
(Special versión for Clarinet and Piano)
Includes additional solo parts of Bassoon/French Horn/Trombone/Euphonium/Cello and CD with Piano accompaniment
“Osanna in Excelsis” was created in 2009 for the “II National Processional Marches Composition Competition Memorial Manuel Font de Anta” of Seville. This work was composed during the composer’s stay in Los Angeles (California, USA), where he was studying Film and TV Composition.
“Osanna in Excelsis” was the first processional march composed by Oscar Navarro, at the time not being able to imagine the impact it would have in the years to come.
Today it is an almost indispensable part of “Holy Week” in every corner of Spain.
In 2014 it was played at the National Auditorium of Spain (Madrid) in its version for Symphony Orchestra.
Technically, it is a march in which the use of harmonies (modal) creates a breech between the more traditional marches and the modern. The use of the less common modal harmony and rhythm has made “Osanna in Excelsis” awaken the interest of the members of the religious brotherhoods and the general public.
It is built on three main contrasting themes:
– The first, of calm and melancholy character immerses us in an atmosphere of calm, solemnity and respect.
– After hearing the first theme, a second breaks off completely with the feeling of the first section of the work. This second theme has a more martial character, charged with emotion and strength. The use of the trills in the woodwinds, creating certain dissonance, makes this moment much more painful and penetrating, injecting an extra dose of strength and energy.
– After this section, comes the calm. The third theme takes us to an intimate place, with just a rhythmic accompaniment in the woodwinds without the support of the basses, both lead us to the final part of the work, in which this theme returns with a much more triumphant and martial character.