Описание CD

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  Исполнитель(и) :
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  Наименование CD :
   Konzert Fur Violoncello Und Orchester, Lantano, Doppelkonzert, San Francisco Polyphony

Год издания : 1993/1988

Компания звукозаписи : Wergo

Время звучания : 46:22

Код CD : Wergo 60163-50

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Classics (Modern Classics)      

#1 Sinfonie-Orchester des Hessischen Rundfunks, Frankfrut - conductor, Michael Gielen

#2 Sinfonie-Orchester des Sudwestfunks, Baden-Baden - conductor, Ernest Bour

## 3,4 Sinfonie-Orchester des Schwedischen Rundfunks - conductor, Elgar Howrth

========= from the cover ==========

Concerto for Cello and Orchestra. Composed autumn 1966

First performance 19 April 1967, Berlin, Siegfried Palm, Radio

Symphony Orchestra, conductor: Henryk Czyz.

For cello solo, flute (doubling piccolo), Oboe (doubling cor anglais); 2 clarinets (the 2nd doubling bass clarinet), bassoon, horn, trumpet, trombone, strings (ad lib. as soloists) 1. Crotchet = 40; 2. Lo stesso tempo

The first movement is slow and restrained, its gradual musical unfolding almost static. The second movement begins with a quiet, gentle motion and passes through areas of the most different types of motion which nevertheless together create a unity in so far as each new type of motion is a variant of the earlier types: the gentle motion of the beginning becomes denser, is broken up from within, attains the extremes of wild passion and rigid, clockwork-like alienation and then dies away in the almost noiseless, as it were whispered final cadence of the solo cello. The two movements, contrasted though they seem, are in fact closely related to one another: they represent two different realizations of the same idea of musical form and they are even based on the same musical blueprint. The two closing passages of the movements may serve as an example for this formal correspondence. In the first movement, the end suggests being alone and lost: the solo cello remains suspended over the abyss-like depths of the basses as if at immeasurable heights and its dangerously thin, piping harmonic is finally shattered. The end of the second movement is formed by the whispered cadence which seems to disappear into nothingness: it is a figured variant of the previous shattered harmonic. Similar correspondences arc to be found in all the details of the two movements: musical seeds that are sown in the first movement come to full flowering in the second. The work's nature as a concerto is not to be interpreted as though the solo cello and the orchestra were two separate entities, opposing each other competitively and contrastingly; nor does the work correspond to the symphonic type of concerto of Romanticism. The whole texture of the music, however, is constructed in a concerto-like manner. New groups of instruments constantly spin the motions further, while the solo cello constantly provides the basis of the changing combinations of instruments; moreover, through virtuoso part-writing it also emerges as the chief concertante instrument, although its unity with what is happening in the orchestra is always preserved.

-Gyorgy Ligeti

Lontano for large orchestra. Composed May 1967

First performance: 22 October 1967, Donaueschingen, SWF Symphony Orchestra, conductor: Ernest Bour

For quadruple wind (including piccolos, alto flute, cor anglais, bass clarinet, double-bass clarinet ad lib., double-bassoon) 4 horns, 3 trumpets, 3 trombones, tuba, strings

As far as its overall form is concerned, "Lontano" ("far", "distant") is related to "Atmospheres". Both belong to the prototype of continuous music. The harmonic and polyphonic technique harks back, to some extent, to the "Lacrimosa" movement of the Requiem and to "Lux aeterna", and yet the questions of composition that it raises and the solutions to them are completely different. The quality of tone-colour reverts to the quality of harmony and harmonic-polyphonic transformations have the appearance of tone-colour transformations. The "harmonic crystallization" within the area ofsonority leads to an intervallic-harmonic way of thinking that differs radically from traditional harmony - even from atonal harmony - in as much as no direct succession or linking of harmonies takes place here; there is instead a gradual metamorphosis of intervallic constellations, that is to say: certain harmonic formations merge and develop into others, as it were -within one harmonic formation the precognition of the next harmonic constellation appears and then prevails, gradually clouding the first until only traces of it remain and the new formation has completely evolved. This is achieved technically by polyphonic means: the imaginary harmonies are the result of the complex interweaving of the parts, whereas the gradual clouding and renewed crystallization are the result of the discrete changes in the separate parts. The polyphony itself is almost imperceptible, and yet its harmonic effect represents what is happening musically: polyphony is what is written, harmony is what is heard. The harmonic crystal formations have many layers: within the harmonies are sub-harmonies and within these are further sub-harmonies and so on. There is not just one single harmonic form process, but several simultaneous processes with different speeds which glimmer through, superimpose each other and produce an imaginary perspective through multiple refraction and reflection. This perspective reveals itself gradually to the listener, as though he were going into a dark room from bright sunlight and little by little becoming aware of the colours and contours.

-Gyorgy Ligeti

Double Concerto for flute, oboe and orchestra. Composed 1971/72

First performance: 16 September 1972, Berlin, Karlheinz Zoller, flute; Lothar Koch, oboe; Berlin Philharmonic Orchestra. Conductor: Christoph von Dohnanyi

For flute (doubling alto flute and bass flute) and oboe solo, triple wind (including piccolos, oboe d'amore, cor anglais, E flat clarinet, bass clarinet and double-bassoon), 2 horns, trumpet, trombone, Glockenspiel, xylophone, vibraphone, celesta, harp, 4 violas, 6 cellos, 4 double-basses 1. Calmo, con tenerezza; 2. Allegro corrente

Ligeti started to withdraw from the chromatic cluster technique in "Lux aetema", and to search for a new and completely different harmonic language. This led in the Double Concerto to a logical conclusion: to the harmonic system of subtle microtones - soft sounding, rainbow-like, iridescent harmonies in the interstice of pale, microtonal colourings. The harmonic language of the Double Concerto circles like a cloud between the mutually exclusive ordered systems, softens their contours and allows their atmospheric layers, long shut off from one another, finally to interpenetrate: concords and mild dissonances are permeated by a diffuse, dim light by means of the microtonal fluctuations -just as a painter softens the brightness of primitive colours by applying grey. Conversely, sharper clusters are bathed in a kinder light by crystal-clear instrumentation and differentiated dynamics. If the two solo instruments are subordinate for the most part in the first movement - partly on account of the coalescing orchestral colours (without violins) - their fellow wind instruments bring them support in the acrobatic second movement: like a net in the circus they permit the soloists an increasingly somersaulting virtuosity. Yet the two movements are not disparate or contrasted, but rather, two different ways of illustrating one and the same phenomenon: it is their open, extra-terrestrial character, tending towards weightlessness, that unites them.

-Hans-Christian von Dadelsen

San Francisco Polyphony for orchestra. Composed: 1973/74

First performance: 8 January 1975, San Francisco, San Francisco Symphony Orchestra, conductor: Seiji Ozawa

For triple wind (including piccolos, alto flute, oboe d'amore, cor anglais, E flat clarinet, bass clarinet, double-bassoon), 2 horns, 2 trumpets, 2 trombones, tuba; xylophone, Glockenspiel, vibraphone, tam-tam, bass drum, whip; piano, celesta, harp; strings

In the late 1950s my music was based chiefly on "micropolyph-ony", that is to say on the technique of weaving instrumental parts (and also vocal parts) into a dense, webbed texture. But from about the mid-1960s I gravitated in the direction of a polyphony that was more transparent, more clearly drawn, thinner and more brittle. The static, blurred nets of sound became increasingly translucent; divergent, heterogenous and contrasting melodic processes began to establish themselves in the complex nets of sound. The orchestral piece "San Francisco Polyphony" is, as it were, the end product of the stylistic line which goes from the Wind Quintet (1968) to "Melodien" (1971). While the earlier orchestral work "Melodien" had a "soft-line" character, "San Francisco Polyphony" is drier, sharper and more graphic in the drawing of the melodic lines. The divergence of the individual melodic lines is greater, and the point at which they coalesce is lower. In "Melodien" as well as in "San Francisco Polyphony", there is an overriding formal progress, a planning of the system of intervals and harmonies which determines the heterogeneous melodic parts like a kind of magnetic field (the melodies are heterogeneous and yet they weld themselves more or less together and are governed by certain intervallic structures which alter during the course of the work); yet in "San Francisco Polyphony" the divergence of the melodic lines is greater than the merging harmonic system. There is an interplay of order and chaos: the individual melodic lines are regular; their combination, either simultaneously or successively, is chaotic; in the overall form, however, in the overruling progress of musical events, order is again to be found - one might imagine individual objects which are all hurled in the greatest disarray into a drawer, and yet the drawer itself has a clearly defined form: chaos reigns inside it, but the drawer itself is well-constructed.

-Gyorgy Ligeti

(English translation of all preceding introductory comments by Sarah E. Soulsby)

  Соисполнители :

Elgar Howrth (Conductor)
Ernest Bour (Conductor)
Gunilla Von Bahe (Flute)
Michael Gielen (Conductor)
Siegfried Palm (Violoncello)
Torleif Lannerholm (Oboe)

№ п/п

Наименование трека



   1 Konzert Fur Violincello Und Orchester         0:12:44 1966
   2 Lontano For Grosses Orchester         0:10:26 1967
   3 Calmo, Con Tenerezza         0:06:37 Doppelkonzert Fur Flute, Oboe Und Orchester 1972
   4 Allegro Corrente         0:06:07 -"-
   5 San Francisco Polyphony Fur Orchester         0:10:27 1973/1974


 T   'щелкнуть' - переход к тексту композиции.

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