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Danza: Full Orchestra, Conductor Score & Parts

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Danza: Full Orchestra, Conductor Score & Parts

By Francisco De Madina

Item: 36-A167790

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Description
Francisco de Madina (1907-1972), also known as Aita Madina, received his education in Bordeaux and was ordained a priest in 1929. He served his first parish in Buenos Aires and became director of a school in Cuidad de Salta. During this time, he began to develop as a composer and started to premiere his work in Buenos Aires. His primary influences included Debussy, Ravel and Prokofiev. In 1955, he moved to New York, where he founded a residence for the Lateran Canons Regular. His music began to enjoy performances in America and Spain. DANZA features syncopated rhythms, brisk solos, and bright orchestral color. Instrumentation: 2+Picc.2+EH.2.2: 4.3.3.1: Timp.Perc(5-6): Hp.Clst: Str (9-8-7-6-5 in set).

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
UPC: 659359657061
SKU: 36-A167790
Instrumentation: 2+Picc.2+EH.2.2: 4.3.3.1: Timp.Perc(5-6): Hp.Clst: Str (9-8-7-6-5 in set)

More about this title

About the Composer: Francisco De Madina

Francisco de Madina (1907-1972), known to many as Aita Madina, was a Basque composer and priest whose musical voice bridged European modernism and Latin American concert traditions. Educated in Bordeaux and ordained in 1929, he initially served parishes in Buenos Aires and Salta, where he began composing in earnest. His style absorbed influences from Debussy, Ravel, and Prokofiev, evident in his sophisticated harmonic language and orchestral textures. After relocating to New York in 1955 to establish a residence for the Lateran Canons Regular, his works gained traction in both American and Spanish concert halls, establishing him as a significant voice in mid-twentieth-century orchestral writing.

Why we love this

Madina's orchestration is vivid without being thick, with syncopated rhythms that keep the ensemble engaged throughout. The score demands focused ensemble work from every section while showcasing individual soloists, making it rewarding for conductors who want their players to listen and respond rather than simply follow.

What to expect

Danza radiates energy through sharp rhythmic profiles and luminous orchestral color, with moments of lyrical warmth breaking through the syncopated motion. The piece feels expansive and spirited, driven by soloistic writing that invites listeners into the composer's harmonic world.

Who it's for

Orchestras with solid sight-reading skills and access to a complete instrumentation including harp, English horn, and piccolo will find this piece rewarding. Conductors seeking early-twentieth-century repertoire that bridges European and Latin American idioms will appreciate Madina's orchestral sophistication.

How to get the most out of it

  • Anchor the syncopated gestures in your woodwind and brass sections early in rehearsal; mark beat subdivisions clearly so the harp and strings can align with their rhythmic counterparts.
  • Balance the bright colors by letting your solo passages breathe without the full orchestra drowning them out. Use dynamics markings as a conversation starter about sectional balance.
  • Work the percussion and timpani as active rhythm partners, not accompaniment. Their interaction with the harp drives much of the harmonic momentum.

How to use it

Program this alongside other twentieth-century European-influenced works to show your orchestra's range in contemporary classical styles. It works especially well as a concert opener or as a pairing with darker, more introspective repertoire to provide tonal contrast.

Skills your students will build

  • Coordinating syncopated rhythms across multiple sections
  • Balancing soloistic writing with ensemble texture
  • Reading and executing non-traditional orchestral colors (harp, English horn, divided strings)
  • Responding to complex metric patterns while maintaining forward motion

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