DAS LAND UND SEINE MUSIK...das Lied „Jovano Jovanke“ welches in der Übersetzung folgenden Text...

DEMO SCORE

MAZEDONIA Mario Bürki

DAS LAND UND SEINE MUSIK

Mazedonien liegt im Zentrum der Balkan-Halbinsel und war die südlichste Teilrepublik der früheren Bundesrepublik Jugoslawien. Es grenzt im Norden an Serbien, im Osten an Bulgarien, im Süden an Griechenland und im Westen an Albanien. Der Staat Mazedonien entspricht etwa der nordwestlichen Hälfte der historischen Region Makedonien. Mazedonien hat eine Geschichte von tausenden von Jahren, wie anhand Spuren des menschlichen Bestehens von der Paleogeschichte in der Petralona Höhle in der Chalkidhiki Halbinsel gefunden werden können. Der Höhepunkt dieser griechischen Nordregion waren die Herrschaften von Phillip II und von seinem Sohn Alexander der Große im 300s B.C.E. Ihr Beitrag zur Menschheitsgeschichte war unermesslich und die Verbreitung der griechischen Sprache und der Kultur zur damaligen bekannten Welt hat den Kurs der Geschichte geändert.Die Region von Mazedonien ist eine der reichsten im Bezug des Musikausdrucks und des Tanzes. Die Musik von Mazedonien gehört den musikalischen Idiomen des Festlandes Griechenland an, stellt aber auch eine interessante interne Verschiedenartigkeit dar, welche an der großen Masse von Flüchtlingen liegt, welche nach Mazedonien imigrierten. Die Musik Mazedoniens wird durch regelmäßige Rhythmen und harmonische Melodien gekennzeichnet, jedoch gibt es in den verschiedenen Regionen starke Unterschiede der traditionellen Musik, welche auch durch die Vielzahl der verschiedenen Instrumenten geprägt wird: Zusätzlich zum üblichen Ensemble der Violine, des Clarinet und des Laouto (Laute), finden wir Kombinationen von Zournas (Oboenähnlich), von Dudelsack mit Drohne und Daires (ein großes Tambourine), von Lyra (birnenförmige Geige) und von Trommeln.

DAS WERK

Schon länger hat mich die Musik des ehemaligen Jugoslawien fasziniert, nach langem Suchen nach geeigneter Musik für meine Komposition bin ich zufällig auf traditionelle Musik von Mazedonien gestossen und ich entschied mich, darüber ein Werk zu schreiben. Mein Werk Mazedonia ist dreiteilig aufgebaut: Während der erste Teil nur im Stile von mazedonischer Musik nach meinem Empfinden komponiert ist, zitiere ich in den beiden folgenden Teilen traditionelle Volkslieder: Im langsamen Mittelteil das Lied „Jovano Jovanke“ welches in der Übersetzung folgenden Text hat: „Jovana, Jovanke, du sitzt am Vardar, bleichst das weiße Leinen und schaust nach oben. Jovana, ich warte auf dich, dass du in mein Haus kommst. Aber du darfst nicht, mein Herz, Jovana. Jovana, deine Mutter läßt dich nicht zu mir kommen, mein Herz, Jovana.“ Und im letzten Teil das Lied „Dunje Raike“.

DER KOMPONISTMario Bürki wurde am 26. Oktober 1977 geboren. Er studierte Blasmusikdirektion am Konservatorium in Bern und erreichte am Diplom sowie dem Höheren Studienaus-weis das Prädikat „Sehr Gut“. Bürki besuchte Meisterkurse bei U.P. Schneider (Komposition) und Toshiyuki Shimada / Andreas Spörri (Dirigieren). Sein erstes grosses Werk - Szenen aus: Max und Moritz - erreichte am Kompositions-wettbewerb der World Association for Symphonic Bands and Ensembles (WASBE) in Luzern den zweiten Preis und seine Komposition Indian Fire wurde am Wettbewerb Flicorno d’Oro Junior (Italien) mit dem Spezialpreis für das orginellste Konzertstück ausgezeichnet. Zwei seiner Werke (Cap Hoorn und 1405: Der Brand von Bern) wurden an der Mid-Europe in Schladming uraufgeführt. Im November 2005 wurde 1405: Der Brand von Bern vom weltbekannten spanischen Blasorchester „La Artistica Buñol“ in Valencia aufgeführt.Mario Bürki ist Musikschulleiter an der Musikschule der Jugendmusik Ostermundigen. Als Instrumentalist spielt er Trompete, Klavier und Orgel. Mario erhält regelmässig Kompositionsaufträge.

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DEMO SCORE

MAZEDONIA Mario Bürki

THE COUNTRY AND ITS MUSICMacedonia is situated in the centre of the Balkan Peninsula and was the most southern republic in the former Yugoslav Federation. Its neighbours are Serbia in the north, Bulgaria, in the east, Greece in the south, and Albania in the west. The State of Macedonia lies in the northwestern half of the ancient kingdom of Macedonia. Macedonia’s history stretches back for thousands of years. Archeological finds discovered in the Petralona cave on the Halkidiki Peninsula, have proven human existence in that region as far back as the Paleolithic Period. This northern region of ancient Greece was at its peak in 300 BC, during the reigns of Philip II and his son Alexander the Great. Their contribution to the history of humankind is immense and the expansion of the Greek language and its culture to the then known world has defined the course of history.

The Macedonian region is one of the richest in regards of dance and musical expression. Macedonian music is part of the musical idioms of the Greek mainland, but it also displays many interesting internal nuances, influenced by the many refugees who emigrated to Macedonia. Regular rhythms and harmonic melodies are typical for Macedonian music. However, there are many regional differences, also seen in the multitude of different regional instruments. In addition to the usual ensemble of violin, clarinet and “Laouto” (lute), we also find combinations of “Zournas” (similar to the oboe), bagpipes with drones, “Daires” (a big tambourine-like instrument), “Lyra” (a pear-shaped violin), and also drums.

THE PIECEI have been fascinated by the music of former Yugoslavia for a while now. After extensive searches for suitable music for my compositions I came across the traditional music of Macedonia and I decided to write a piece about it. My composition Mazedonia is written in three parts. The first part is written merely in the style of how I perceive Macedonian music, whereas in the second and third parts I directly quote two traditional Macedonian folk songs. In the slow middle part I quote the song „Jovano Jovanke“, whose lyrics translate to: „Jovana, Jovanke, you sit at the Vardar, bleaching the white linen and gazing upwards. Jovana, I wait for you, to come to my house. But you mustn’t, my love, Jovana. Jovana, your mother won’t let you come to me, my love, Jovana.“ And in the last part I quote the song „Dunje Raike“.

THE COMPOSERBorn the 26 October 1977, Mario Bürki studied wind orchestral conducting at the Berne conservatory. He also followed courses in composition with Urs Peter Scheider and conducting under the direction of Toshiyuki Shimada and Andreas Spörri. His first grand scale work Scenes of Max and Moritz gained a second place in the composition contest in Lucerne organized by the World Association for Symphonic Bands and Ensembles ( WASBE). During the Flicorno d`Oro junior contest (Italy), Indian Fire was awarded a special prize in acknowledgement of its originality. Mario Bürki is regularly commissioned to write for Wind and Brass Band. Two of his works (Cap Hoorn und 1405 : Der Brand von Bern) were premiered at the Mid-Europe Conference in Schladming and several have been chosen as set test-piece for contests. Alongside his composing he conducts various Wind Bands and teaches trumpet and theory. Mario himself plays the trumpet, the piano and the organ.

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DEMO SCORE

MAZEDONIA Mario Bürki

Dauer / Durée / Duration: 9.00´´Schwierigkeitsgrad / Degré de difficulté / Grade: 4

Blasorchester / Musique d´harmonie / Wind Band

Piccolo1st Flute2nd FluteOboeBassoonClarinet Eb1st Clarinet Bb2nd Clarinet Bb3rd Clarinet BbBassclarinet Bb1st Alto Saxophone Eb2nd Alto Saxophone EbTenor Saxophone BbBaritone Saxophone Eb1st Trumpet Bb2nd Trumpet Bb3rd Trumpet Bb1st Horn Eb/F2nd Horn Eb/F3rd Horn Eb/F4th Horn Eb/F1st Trombone Bb/C 2nd Trombone Bb/C3rd Trombone Bb/CEuphonium Bb/CTuba Bb/Eb/CContrabassPercussion 1Percussion 2Percussion 3Percussion 4

musikverlag frank, Industriestrasse 30, CH-4542 Luterbachphone +41 (0)32 685 48 80 fax +41 (0)32 685 48 81mf@musikverlag-frank.ch, www.musikverlag-frank.ch

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© 2010 by

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© 2010 by musikverlag frank, Industriestrasse 30, CH-4542 Luterbach (Switzerland)

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MAZEDONIA Mario Bürki

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Bass Eb

Bass Bb

1st Perc.

2nd Perc.

4th Perc.

4th Perc.

p

180178 179 181 182 183 184

p mf

mf

mf

mf

mf

mf

mf

mf

mf

p

p

p

mf mf

mf

mf mf

mf

mf

B.D.

25

DEMO SCORE

Sop. Cor.

Solo-Cor.

Rep.-Cor.

2nd Cor.

3rd Cor.

Flhn.

Solo-Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Trb.

2nd Trb.

B. Tbn.

Euph.

Bass Eb

Bass Bb

1st Perc.

2nd Perc.

4th Perc.

4th Perc.

185 186 187 188 189 190 191

p

p

26

DEMO SCORE

Sop. Cor.

Solo-Cor.

Rep.-Cor.

2nd Cor.

3rd Cor.

Flhn.

Solo-Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Trb.

2nd Trb.

B. Tbn.

Euph.

Bass Eb

Bass Bb

1st Perc.

2nd Perc.

4th Perc.

4th Perc.

f cresc.

192 193 194 195 196 197

f cresc.

f cresc.

f cresc.

f cresc.

cresc.

mf cresc. f cresc.

mf cresc. f cresc.

mf cresc. f cresc.

mf cresc. f cresc.

mf cresc. f cresc.

ff

ff

ff

mf cresc. f cresc.

mf cresc. f cresc.

mf cresc. f cresc.

ff

mf

ff

f cresc.

Timpani

Drum Set Ride

B.D.

Xylophon

27

DEMO SCORE

Sop. Cor.

Solo-Cor.

Rep.-Cor.

2nd Cor.

3rd Cor.

Flhn.

Solo-Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Trb.

2nd Trb.

B. Tbn.

Euph.

Bass Eb

Bass Bb

1st Perc.

2nd Perc.

3rd Perc.

4th Perc.

ff

198 199 200 201 202 203

ff

ff

ff

ff

ff

ff

ff

ff

ff p

ff

p

p

p

ff

ff

ff

p

p

p

ff

28

DEMO SCORE

Sop. Cor.

Solo-Cor.

Rep.-Cor.

2nd Cor.

3rd Cor.

Flhn.

Solo-Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Trb.

2nd Trb.

B. Tbn.

Euph.

Bass Eb

Bass Bb

1st Perc.

2nd Perc.

3rd Perc.

4th Perc.

mf

205204 206 207 208 209 210

mf mf

p

29

DEMO SCORE

Sop. Cor.

Solo-Cor.

Rep.-Cor.

2nd Cor.

3rd Cor.

Flhn.

Solo-Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Trb.

2nd Trb.

B. Tbn.

Euph.

Bass Eb

Bass Bb

1st Perc.

2nd Perc.

3rd Perc.

4th Perc.

mp

213211 212 214 215 216 217

mp mp mf

p mp

p mp

p mp

p p

mp

p mp

p

mp

mp mp

Solo

solo solo

one

Bongos

Glockenspiel

solo

30

DEMO SCORE

Sop. Cor.

Solo-Cor.

Rep.-Cor.

2nd Cor.

3rd Cor.

Flhn.

Solo-Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Trb.

2nd Trb.

B. Tbn.

Euph.

Bass Eb

Bass Bb

1st Perc.

2nd Perc.

3rd Perc.

4th Perc.

mf

rit. 218 219 220 221 222 223 224 225

mf

mp

mp

31

DEMO SCORE

Sop. Cor.

Solo-Cor.

Rep.-Cor.

2nd Cor.

3rd Cor.

Flhn.

Solo-Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Trb.

2nd Trb.

B. Tbn.

Euph.

Bass Eb

Bass Bb

1st Perc.

2nd Perc.

3rd Perc.

4th Perc.

Con Temperamente (q=132-144)228226 227 229 230 231 232

mp

mp

mp

mp

mp

mp

mp

mp

mf

mf

Tenor Drum (or Snare with snares off)

B.D.

32

DEMO SCORE

Sop. Cor.

Solo-Cor.

Rep.-Cor.

2nd Cor.

3rd Cor.

Flhn.

Solo-Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Trb.

2nd Trb.

B. Tbn.

Euph.

Bass Eb

Bass Bb

1st Perc.

2nd Perc.

3rd Perc.

4th Perc.

mf cresc. f

236233 234 235 237

f

f

f

f

mf cresc. f

cresc.f

cresc. f

cresc. f

mf cresc. f

cresc. f

mfcresc.

f

mf cresc. f

cresc. f

mfcresc. f

cresc. f

cresc. f

cresc. f

f

f

33

DEMO SCORE

Sop. Cor.

Solo-Cor.

Rep.-Cor.

2nd Cor.

3rd Cor.

Flhn.

Solo-Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Trb.

2nd Trb.

B. Tbn.

Euph.

Bass Eb

Bass Bb

1st Perc.

2nd Perc.

3rd Perc.

4th Perc.

238 239 240 241 242

34

DEMO SCORE

Sop. Cor.

Solo-Cor.

Rep.-Cor.

2nd Cor.

3rd Cor.

Flhn.

Solo-Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Trb.

2nd Trb.

B. Tbn.

Euph.

Bass Eb

Bass Bb

1st Perc.

2nd Perc.

3rd Perc.

4th Perc.

f

244243 245 246 247

f

f

f

f

f

f

f

f

f

f

3 3

3 3

3 3

3 3

Belltree

Xylophon

3 3

35

DEMO SCORE

Sop. Cor.

Solo-Cor.

Rep.-Cor.

2nd Cor.

3rd Cor.

Flhn.

Solo-Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Trb.

2nd Trb.

B. Tbn.

Euph.

Bass Eb

Bass Bb

1st Perc.

2nd Perc.

3rd Perc.

4th Perc.

252248 249 250 251

mf

mf f

mf f

mf f

mf

f

f

f

f

f

f

f

f

f

3 3 3 3

3 3 3 3

3 3 3 3

3 3 3 3

3

3

3

3 3 3 3 3

36

DEMO SCORE

Sop. Cor.

Solo-Cor.

Rep.-Cor.

2nd Cor.

3rd Cor.

Flhn.

Solo-Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Trb.

2nd Trb.

B. Tbn.

Euph.

Bass Eb

Bass Bb

1st Perc.

2nd Perc.

3rd Perc.

4th Perc.

256253 254 255 257

f

f

f

f

f

f

f

f

mf

mf

mf

mf

mf

mf

mf

mf

3

3

3

3

37

DEMO SCORE

Sop. Cor.

Solo-Cor.

Rep.-Cor.

2nd Cor.

3rd Cor.

Flhn.

Solo-Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Trb.

2nd Trb.

B. Tbn.

Euph.

Bass Eb

Bass Bb

1st Perc.

2nd Perc.

3rd Perc.

4th Perc.

f

258 259 260 261 262 263

f

f

f

f

f

f

f

f

38

DEMO SCORE

Sop. Cor.

Solo-Cor.

Rep.-Cor.

2nd Cor.

3rd Cor.

Flhn.

Solo-Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Trb.

2nd Trb.

B. Tbn.

Euph.

Bass Eb

Bass Bb

1st Perc.

2nd Perc.

3rd Perc.

4th Perc.

264 265 266 267 268

f

f

f

f

mf f

mf f

mf f

mf

mf

f

f

f

mf

mf

f

f

f

mf

one

all

one

all

39

DEMO SCORE

Sop. Cor.

Solo-Cor.

Rep.-Cor.

2nd Cor.

3rd Cor.

Flhn.

Solo-Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Trb.

2nd Trb.

B. Tbn.

Euph.

Bass Eb

Bass Bb

1st Perc.

2nd Perc.

3rd Perc.

4th Perc.

Più mosso (q=144-158)272269 270 271 273 274

mf

mf

mf

mf

mf

mf

f

f

mp

mp

mp

f

mf

mf

mf

mf

mf

40

DEMO SCORE

Sop. Cor.

Solo-Cor.

Rep.-Cor.

2nd Cor.

3rd Cor.

Flhn.

Solo-Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Trb.

2nd Trb.

B. Tbn.

Euph.

Bass Eb

Bass Bb

1st Perc.

2nd Perc.

3rd Perc.

4th Perc.

280275 276 277 278 279

mf

mf

mf

mf

mf

mf

mf

mf

mf

mf

mf

41

DEMO SCORE

Sop. Cor.

Solo-Cor.

Rep.-Cor.

2nd Cor.

3rd Cor.

Flhn.

Solo-Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Trb.

2nd Trb.

B. Tbn.

Euph.

Bass Eb

Bass Bb

1st Perc.

2nd Perc.

3rd Perc.

4th Perc.

281 282 283 284 285 286

mf

mf

mf

mf

42

DEMO SCORE

Sop. Cor.

Solo-Cor.

Rep.-Cor.

2nd Cor.

3rd Cor.

Flhn.

Solo-Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Trb.

2nd Trb.

B. Tbn.

Euph.

Bass Eb

Bass Bb

1st Perc.

2nd Perc.

3rd Perc.

4th Perc.

f

288287 289 290 291

f f

f f

f f

f f

f

f

f

f

f

f

f

f

f

f

f

f

f

43

DEMO SCORE

Sop. Cor.

Solo-Cor.

Rep.-Cor.

2nd Cor.

3rd Cor.

Flhn.

Solo-Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Trb.

2nd Trb.

B. Tbn.

Euph.

Bass Eb

Bass Bb

1st Perc.

2nd Perc.

3rd Perc.

4th Perc.

fff

Più mosso (q=158-164)296292 293 294 295

ff

f ff

f ff

f ff

ff

ff

ff

ff

f

f

f f

f f

f f

f

f

f

f

f

f

one

all

one

all

44

DEMO SCORE

Sop. Cor.

Solo-Cor.

Rep.-Cor.

2nd Cor.

3rd Cor.

Flhn.

Solo-Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Trb.

2nd Trb.

B. Tbn.

Euph.

Bass Eb

Bass Bb

1st Perc.

2nd Perc.

3rd Perc.

4th Perc.

accelerando297 298 299 300 301 302

45

DEMO SCORE

Sop. Cor.

Solo-Cor.

Rep.-Cor.

2nd Cor.

3rd Cor.

Flhn.

Solo-Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Trb.

2nd Trb.

B. Tbn.

Euph.

Bass Eb

Bass Bb

1st Perc.

2nd Perc.

3rd Perc.

4th Perc.

Più mosso (q=164-172)304303 305 306 307

46

DEMO SCORE

Sop. Cor.

Solo-Cor.

Rep.-Cor.

2nd Cor.

3rd Cor.

Flhn.

Solo-Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

1st Trb.

2nd Trb.

B. Tbn.

Euph.

Bass Eb

Bass Bb

1st Perc.

2nd Perc.

3rd Perc.

4th Perc.

ff

accelerando308 309 310 311

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

47