Kjos String OrchestraGrade 2½

Full Conductor ScoreSO375F

$7.00

Nikolai Rimsky-KorsakovDeborah Baker Monday, Arranger

Alborada

Neil A. Kjos Music Company • Publisher

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About the ArrangerDeborah Baker Monday continues to teach in the award-winning Logan City, Utah orchestra program. She received her B.M.E., magna cum laude, from Florida State University with an emphasis in string education. She was awarded an academic fellowship to attend the University of Alabama where she received her M.M. in Composition. She continued her studies at Louisiana State University, where she received the Chancellor’s Award to participate with the LSU sym-phony orchestra under the direction of James Yestadt. She has studied theory and composition with Harold Schiffman, John Boda, Frederic Goossen, Paul Hedwall and Dinos Constantinides.

Ms. Monday continued to be an active bass performer when she moved to Utah. After completing the coursework and passing the written and oral portions of the doctoral exams, she was hired to teach in the Logan City School District as a low string specialist. During her tenure with Logan, she has pursued her interest

in composition and arranging for educational strings. This has been a rewarding part of her career while she and her husband, Bill, have raised four amazing children.

Ms. Monday has presented at numerous state music conferences throughout America, as well as several national ASTA conventions and the Midwest Clinic. She is very active as a guest conductor and adjudicator and has re-ceived awards and commissions for her work. Her studies in composition and experience in string teaching com-bine to make her one of the leading contributors to the repertoire for young string players.

Instrumentation List (Set C)

8 – 1st Violin 8 – 2nd Violin5 – 3rd Violin (Viola T.C.) 5 – Viola 5 – Cello 5 – String Bass2 – Tambourine/Triangle 1 – Full Conductor Score Additional scores and parts are available.

To hear a recording of this piece or any other Kjos publication, please visit www.kjos.com.

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About Nikolai Rimsky-KorsakovNikolai Rimsky-Korsakov (1844–1908) was a Russian nationalist composer. Although he wrote in many genres, including opera, it is his glittering orchestral works that are most often performed today in the United States, including Scheherazade (1888), Russian Easter Overture(1888), and Capriccio Espagnol (1887), which is the work from which “Alborada” comes.

It is astonishing to think about how much Russian music developed during Rimsky-Korsakov’s lifetime. When he was born, only one Russian composer—Mikhail Glinka—had acclaim through out his homeland. When Rimsky-Korsakov died in 1908, Russian composers such as himself, Pyotr Illych Tchaikovsky (1840–1893), and Modest Mussorgsky (1839–1881), were internationally known and revered. And just before his death, Rimsky-Korsakov taught a young Igor Stravinsky (1882–1971), who would shortly rise to international fame and become one of the most influential composers of the twentieth century. An astonishing lifetime indeed! If that was not enough, Rimsky-Korsakov also advanced the study of orchestration, which is the art of choosing which notes to put in which instruments throughout the orchestra.

Rimsky-Korsakov had great musical talent as a young man, having started piano lessons at age six. Although music was a passion, he pursued an education at the School for Mathematical and Navigational Sciences in St. Petersburg. He also joined the Imperial Russian Navy. Rimsky-Korsakov loved ships and the sea and wanted to make the navy his career.

Rimsky-Korsakov also had something else: friends who encouraged and challenged him as a musician and compos-er. These friends were also Russian, and also aspiring composers. There were five core composers in this group: Alexander Borodin (1833–1887), Mily Balakirev (1837–1910), César Cui (1835–1918), Mussorgsky, and Rimsky-Korsakov. This group came to be know as “The Kuchka” (the “little heap” or “little bunch” of composers), and its composers created operas and orchestral works that defined the sound of Russian music in the ears of the world.

“Alborada” comes from the first movement of Rimsky-Korsakov’s Capriccio Espagnol (Capriccio on Spanish Themes). The melody forms a refrain throughout this fifteen-minute long piece, recurring in movement three and again at the end of the piece. The “alborada” in the title refers to a lively dance from western Spain. In its popular conception, it is a dance of country people. Imagine a group of shepherds in the field, playing bagpipes and rollick-ing joyfully, and you can get a sense of the mood that Rimsky-Korsakov was evoking through this dance. It is a fit-ting melody for the beginning of such a brilliant work, and can inject great energy into any concert.

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AlboradaNikolai Rimsky-Korsakov

Arranged by Deborah Baker Monday

© 2015 Neil A. Kjos Music Company, 4382 Jutland Drive, San Diego, California, 92117. International copyright secured. All rights reserved. Printed in the U. S. A. Warning! The contents of this publication are protected by copyright law. To copy or reproduce them by any method is an infringement of the copyright law.

Anyone who reproduces copyrighted matter is subject to substantial penalties and assessments for each infringement.

Full Conductor Scorefrom Capriccio Espagnol, Op. 34

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SO375

About NikolAi Rimsky-koRsAkovNikolai Rimsky-koRsakov(1844–1908) was a Russian nationalist composer. Although he wrote in many genres, including opera, it is his glittering orchestral works that are most often performed today in the United States, including Scheherazade (1888), Russian Easter Overture(1888), and Capriccio Espagnol (1887), which is the work from which “Alborada” comes.

It is astonishing to think about how much Russian music developed during Rimsky-Korsakov’s lifetime. When he was born, only one Russian composer—Mikhail Glinka—had acclaim through out his homeland. When Rimsky-Korsakov died in 1908, Russian composers such as himself, Pyotr Illych Tchaikovsky (1840–1893), and Modest Mussorgsky (1839–1881), were internationally known and revered. And just before his death, Rimsky-Korsakov taught a young Igor Stravinsky (1882–1971), who would shortly rise to international fame and become one of the most influential composers of the twentieth century. An astonishing lifetime indeed! If that was not enough, Rimsky-Korsakov also advanced the study of orchestration, which is the art of choosing which notes to put in which instruments throughout the orchestra.

Rimsky-Korsakov had great musical talent as a young man, having started piano lessons at age six. Although music was a passion, he pursued an education at the School for Mathematical and Navigational Sciences in St. Petersburg. He also joined the Imperial Russian Navy. Rimsky-Korsakov loved ships and the sea and wanted to make the navy his career.

Rimsky-Korsakov also had something else: friends who encouraged and challenged him as a musician and compos-er. These friends were also Russian, and also aspiring composers. There were five core composers in this group: Alexander Borodin (1833–1887), Mily Balakirev (1837–1910), César Cui (1835–1918), Mussorgsky, and Rimsky-Korsakov. This group came to be know as “The Kuchka” (the “little heap” or “little bunch” of composers), and its composers created operas and orchestral works that defined the sound of Russian music in the ears of the world.

“Alborada” comes from the first movement of Rimsky-Korsakov’s Capriccio Espagnol(Capriccio on Spanish Themes). The melody forms a refrain throughout this fifteen-minute long piece, recurring in movement three and again at the end of the piece. The “alborada” in the title refers to a lively dance from western Spain. In its popular con-ception, it is a dance of country people. Imagine a group of shepherds in the field, playing bagpipes and rollicking joyfully, and you can get a sense of the mood that Rimsky-Korsakov was evoking through this dance. It is a fitting melody for the beginning of such a brilliant work, and can inject great energy into any concert.

Kjos Music’s Guide to © CopyrightComposers rely on the income that their compositions generate, and it is the job of the copyright holder to protect the work from infringement. Copyright laws can be pretty tricky to navigate, so here are a few helpful tips to guide you through the process.

Adjudicator CopiesDuring contest and festival season, the majority of the inquiries we receive concern making photocopies of scores to meet specific requirements for the judges at a festival.If you’re performing a concert selection out of one of our method books (Tradition of Excellence, String Basics: Steps to Success, First Place for Jazz, among others), permission may already be given to make the necessary photocopies for judges at these festivals. Please refer to the notices printed in the teacher score on the specific piece.If a student is performing a solo from one of the method books listed above, permission is already given. In addition, a photocopy may be given to the accompanist.Extra scores for our band and string repertoire (Beginning BandWorks, BandWorks, Conservatory Editions, StringTracks, and Steps to Successful Literature, among others) are available for purchase from your favorite music dealer. If you’re performing a work from a series that’s not listed above, please contact us for permission.

Making an Audio or Video RecordingA license is required any time you make an audio or video recording of a copyrighted work. Audio recordings are compulsory, meaning, we can’t deny your request; you just need to apply for the Mechanical License and pay the royalty. The royalty rate is set by the Library of Congress. For current rates, please visit www.copyright.gov.The license to make a video of a performance, known as a Synchronization License, is not compulsory. Permission must be obtained from the copyright holder before distributing any copies, regardless if they are being sold or given away for free.

Arranging for Marching Band or Another EnsembleWe’re pleased to grant licenses to make a marching band (or other) arrangement of one of our concert works. However, permission is required before work can begin, and there are a few works whose composers have indicated that they do not want their compositions to be altered. Please contact us to make sure the piece you’re interested in is available for licensing.If you’re planning to play the original piece without any alterations or additions, then a license isn’t needed. However, for example, if you’re rewriting the brass parts for marching instruments (mellophones, bugles), or adding marching percussion, or making cuts, adding repeats, or creating a medley with another composition, a license is required.

What If I Want To … ?If you’d like to use a composition in any other way, please contact us and we would be glad to advise you.Contest and festival season is a busy time for our Copyright Office. Please contact us at least three weeks before your concert date so that we may help you in time. Please visit www.kjos.com and click on the Licensing tab to find out more information or to submit a license request.We’re so pleased that you’ve chosen to perform one of our pieces! We appreciate your support and we want to make the licensing process as easy as possible for you.

Neil A. Kjos Music Company, Publisher • San Diego, CA • www.kjos.comNN1408K

Credit: The jacket and score photograph was taken at Robertson & Sons Violin Shop, Inc., Albuquerque, NM. For more information about their services, visit: www.robertsonviolins.com.

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SO375F - Alborada