Author: Fleta Polo, Francisco
Capricho concertante no. 3 is a two-movement piece for flute and guitar. In this work, the order of the factors does not change the product, since both instruments are given the same concertante treatment, without giving either instrument prevalence over the other.
Author: Fleta Polo, Francisco
The initial cell of the descending arpeggio gives unity to the work that, despite its briefness, clearly shows the personality of Fleta Polo’s language and his deep knowledge of the different instruments he writes for.
Author: Fleta Polo, Francisco
The initial cell of the descending arpeggio gives unity to the work that, despite its briefness, clearly shows the personality of Fleta Polo’s language and his deep knowledge of the different instruments he writes for.
Author: Fleta Polo, Francisco
The initial cell of the descending arpeggio gives unity to the work that, despite its briefness, clearly shows the personality of Fleta Polo’s language and his deep knowledge of the different instruments he writes for.
Author: Fleta Polo, Francisco
The first movement is almost a perpetual movement in which the imitative writing stands out from the first to the last bar. The second movement, slower and reflexive, raises an issue that is revealed on three occasions.
Author: Fleta Polo, Francisco
The composer he does not limit himself to using the trumpet as a fanfare instrument; rather he makes use of all its resources. The piece, though not exceptionally difficult to play, is demanding at the chamber level. The piano part is optional: it reinforces the rhythmical element of the piece and can help to set tuning when the piece is played by...
Author: Fleta Polo, Francisco
The composer he does not limit himself to using the trumpet as a fanfare instrument; rather he makes use of all its resources. The piece, though not exceptionally difficult to play, is demanding at the chamber level. The piano part is optional: it reinforces the rhythmical element of the piece and can help to set tuning when the piece is played by...
Author: Fleta Polo, Francisco
The composer he does not limit himself to using the trumpet as a fanfare instrument; rather he makes use of all its resources. The piece, though not exceptionally difficult to play, is demanding at the chamber level. The piano part is optional: it reinforces the rhythmical element of the piece and can help to set tuning when the piece is played by...
Author: Fleta Polo, Francisco
The composer he does not limit himself to using the trumpet as a fanfare instrument; rather he makes use of all its resources. The piece, though not exceptionally difficult to play, is demanding at the chamber level. The piano part is optional: it reinforces the rhythmical element of the piece and can help to set tuning when the piece is played by...