15 de marzo de 2013
Orquesta Sinfónica de RTVE
Alban Gerhardt (violonchelo)
Director Carlos Kalmar
William Walton PORTSMOUTH POINT
WIKIPEDIA http://en.wikipedia.org/wiki/Portsmouth_Point_(Walton)
Portsmouth Point is an overture for orchestra by the English composer William Walton, composed in 1925. The work was inspired by Rowlandson's print depicting Portsmouth Point. Walton recalled that the main musical had come into his mind whilst riding on a route 22 bus in London.[1] Walton dedicated the score to the poet Siegfried Sassoon,[2] who had recommended that Oxford University Press publish the score.[3] The score was first published in piano-duet form in 1925. The full orchestral score was published in 1928.[1]
- The overture was selected for performance at the 1926 International Society for Contemporary Music festival, and received its first performance in Zürich on 22 June 1926, conducted by Volkmar Andreae. The first London performance was on 28 June 1926, withEugene Goossens conducting the overture as an interval work in the midst of a Diaghilev ballet performance.[1] Walton himself conducted the overture at The Proms in 1927. Constant Lambert later prepared a version of the overture, with a reduced orchestration, from Walton's original, and also with simplified time signatures. Lambert first conducted this version in 1932.[3]
Portsmouth Point depicts in musical form the rumbustuous life of British 18th century sailors. Commentators have noted the influence of Igor Stravinsky's music and of jazz in the rhythms of the score,[4][5] as well as the rhythm of the Catalonian sardanadance.[1]
In 1953, Walton briefly quoted this work in his contribution to the collaborative work Variations on an Elizabethan Theme.
Benjamin Britten SINFONÍA PARA VIOLONCHELO Y ORQUESTA Op. 68
The Symphony for Cello and Orchestra or Cello Symphony Op. 68 was written in 1963 by the British composer Benjamin Britten. He dedicated the work to Mstislav Rostropovich, who gave the work its premiere in Moscow with the composer and the Moscow Philharmonic Orchestra on March 12, 1964. The work's title reflects the music's more even balance between soloist and orchestra than in the traditional concerto format.
The piece is in the four-movement structure typical of a symphony, but the final two movements are linked by a cello cadenza:
- Allegro maestoso
- Presto inquieto
- Adagio - cadenza ad lib
- Passacaglia: Andante allegro
En el vídeo anterior está el primer movimiento. Para escuchar la obra completa se puede usar el enlace
Piotr Ilich Chaikovski SUITE Nº 3 Op. 55
WIKIPEDIA http://en.wikipedia.org/wiki/Orchestral_Suite_No._3_(Tchaikovsky)
Pyotr Ilyich Tchaikovsky composed his Orchestral Suite No. 3 in G, Op. 55 in 1884, writing it concurrently with his Concert Fantasia in G, Op. 56, for piano and orchestra. The originally intended opening movement of the suite, Contrastes, instead became the closing movement of the fantasia. Both works were also intended initially as more mainstream compositions than they became; the fantasia was intended as a piano concerto, while the suite was conceived as a symphony.
The suite's first performance was in Saint Petersburg, Russia on January 24, 1885, under the direction of Hans von Bülow. It was dedicated to the conductor Max Erdmannsdörfer, who gave theMoscow premiere a few days later, and who had conducted the premieres of the first two suites.
The suite is divided into four movements, the fourth a theme and variations longer than the other three movements combined:
I) Élégie (Andantino molto cantabile, G major)
- Wiley calls this movement "resolutely melodic." A change from B to B–flat "produces tension in the misalignment of theme and key," he comments. The first theme group returns in the key of the second, then to a bridge. He then returns to the home key and reprises the second theme group in the key of the first and follows it with a lengthy epilogue.[1]
II) Valse mélancolique (Allegro moderato, E minor)
- Wiley contends that while Tchaikovsky referred to this movement as the "obligatory waltz number," it is not typical of his work in this vein. The somber character of the opening theme is exceptional and the syncopated second subject much like that in the scherzo. Wiley adds, "The unusual periodicity in long, uneven spans is acharacteristic, as is the formal pattern, a tripratite reprise that also mimics the scherzo. The unwaltz–like result, sustained for 100 bars, is enigmatic. Abbreviating the reprise makes the Trio even more striking."[2]
III) Scherzo (Presto, E minor)
- The opening theme of this movement, Wiley writes, is similar to its counterpart in the Second Suite. The constant shift of timbral combinations and the tempo make this music, alternating between 6/8 and 2/4, a challenge for the orchestra. Tchaikovsky "plays with emphasis throughout," Wiley adds, "sometimes enriching the tonic triad with the addition of the sixth, creating a chord with the pitches of both chords simultaneously, and so creates a merging of G major and E minor." The orchestration of the Trio section, a march, includes snare drum and triangle.[3]
IV) Tema con variazioni (Andante con moto, G major)
- 1. Andante con moto, 2/4
- 2. Andante con moto, 2/4
- 3. Andante com moto, 2/4
- 4. Pochissimo meno animato, B minor
- 5. Allegro vivo, 3/4, G major
- 6. Allegro vivace, 6/8, G major
- 7. L'istesso tempo, 2/4, G major
- 8. Adagio, 3/4, A minor (closing in E major)
- 9. Allegro molto vivace, 2/4, A major
- 10. Allegro vivo e un poco rubato, 3/8, B minor
- 11. Moderato mosso, 4/4, B major
- 12. Finale. Polacca—Moderato maestoso e brillante, 3/4, G major
-
Wiley also says the quality of Prelest' (meaning "charming" or "pleasing") in the Third Suite "is too prominent for a symphony, while at the same time the suite's coherence advances well beyond the casual miscellency of the Second." This continuity, he suggests, "casts doubt on the freedom he so cherished when writing the First Suite six years earlier." The Third Suite, Wiley adds, is also much darker music in tone than in the two suites that preceded it.
In the fourth variation (pochissimo meno animato, B minor) of the fourth movement, a quotation of the Dies Irae theme is distinctly heard.
Tchaikovsky believed the public would appreciate the new suite; of the reception at its premiere, he wrote to his patroness Nadezhda von Meck six days after the event that "reality far exceeded my expectations. I have never before experienced such a triumph. I saw that then entire mass of the audience was moved, and grateful to me. These moments are the finest adornment of the artist's life. Thanks to these it is worth living and laboring."[10] The composer's brother Modest later claimed it was the greatest public triumph up to that point for a Russian symphonic work. The press was uniformly favorable, with the composer's friend Herman Laroche declaring Tchaikovsky's music the true music of the future.[11] Tchaikovsky's first two orchestral suites had also been received very warmly by the public and the critics, but the composer had not attended either of their premieres.
Laroche's comment can serve as a useful reminder that what may now sound conventional was taken at the time it was written as something very fresh and original. Tchaikovsky does not plumb any new emotional depths in this work, but his level of invention is at its most inspired. The Third Suite most notably explores further the melodic and orchestral possibilities exposed in its two predecessors as well as for Tchaikovsky's return to large-scale variation form.[11] The final movement, Tema con Variazione, is a wonderful example of the composer's creative genius and it is a locus classicus of scoring. During Tchaikovsky's lifetime it was not uncommon for him to be asked to perform this finale without the rest of the suite, such was its universal popularity; and the finale alone has been performed numerous times since.
Se puede ver una crítica a este concierto AQUÍ
Para terminar, un pequeño vídeo con Alban Gerhardt interpretando a Bach
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