Édouard Lalo wrote his Cello Concerto in D minor in 1876, in collaboration with the Belgian cellist Adolphe Fischer. The work was premièred the following year at the Cirque d'Hiver with Fischer as soloist. The concerto is in three movements:
1. Prelude, lento – Allegro maestoso 2. Intermezzo, andantino con moto – Allegro presto – Andantino – Tempo I 3. Introduction, andante – Allegro vivace
Greek cellist, Timotheos Gavriilidis-Petrin, is quickly garnering an international reputation for his distinctive voice. He gained international recognition as a top-prize winner at the prestigious International Paulo Cello Competition in Finland, where he was praised for "a great and passionate soloist style: expressive, vibrant singing lines, sparkling rhythm", "an interesting, original personality" (Helsingin Sanomat). Born into a family of musicians in Thessaloniki, Greece, Mr. Petrin studied with Dimitris Patras at the Thessaloniki State Conservatory. He entered the Curtis Institute of Music in 2012 where he studied with Carter Brey and Peter Wiley, and received his Bachelor of Music degree in 2017. He is currently pursuing his Artist Diploma degree at New England Conservatory under the tutelage of Laurence Lesser.
Guest conductor Ludovic Morlot’s élan, elegance and intensity on stage have endeared him to audiences and orchestras worldwide. During his eight years as Music Director of the Seattle Symphony he pushed the boundaries of traditional concert programming, winning several Grammys. He is now Conductor Emeritus in Seattle, and in 2019 he was appointed Associate Artist of the BBC Philharmonic Orchestra with whom he has had a close relationship over many years. Morlot has conducted the Berliner Philharmonic, Royal Concertgebouw, Czech Philharmonic, Dresden Staaksapelle, London Philharmonic and Budapest Festival orchestras, and many of the leading North American orchestras, notably the New York Philharmonic, Los Angeles Philharmonic, and Chicago and Boston Symphony Orchestras. He has a particularly strong connection with Boston, having been the Seiji Ozawa Fellowship Conductor at Tanglewood and the subsequently appointed assistant conductor for the Boston Symphony.
Sol Gabetta and the Orchestre Philharmonique de Radio France,conducted by Mikko Franck, perform the Cello in d minor op.43 composed in 1958 by Mieczyslaw Weinberg (1919-1996). Excerpt from the concert recorded on 21 décembre 2018, live from de Radio France Auditorium.
Mieczyslaw Weinberg is a relatively little-known composer whose fate was intertwined with the tragic events of the 20th century. Born in Warsaw in 1919, Weinberg studied the piano with his father before joining the conservatoire. He was twenty years old when Poland was invaded and his entire family killed. The only survivor, he sought refuge in Belarus and moved to Minsk, where he studied composition with Vassili Zolotarev. When the Nazis eventually invaded the USSR, he fled yet again and moved this time to Tachkent, in Uzbekistan. Having caught the attention of Shostakovitch, he moved to Moscow in 1943 but was arrested in 1953, by order of Stalin himself, for suppsed sionist activities; the death of the dictator only a few weeks later facilitated his release.
The end of the 1950s marked the beginning of a growing recognition, aided by the help of Shostakovitch. Though his music was performed by many of the greatest Russian musicians, his final years were marked by growing confusion and material difficulties. He died alone and desperate, having converted to Christianity in extremis shortly before his death. Seven operas, twenty two symhponies, and seventeen string quartets are part of an immense catalogue of works whose abundance is comparable to that of Darius Milhaud, even if Weinberg only assigned an opus number to barely a third of his compositions.
His opera, The Passanger, completed in 1968 but premiered posthumously in 2006, has since been staged throughout the world. It tells the story of an old female Nazi jailer who believes to have recognised, on a boat, a prisoner from Auschwitz.
Weinberg is also the composer of countless works of chamber music. It is said that for over thirty years Shostakovitch and Weinberg exchanged works in order to provide feedback on each other's music. It would, however, be unfair to consider Weinberg imitator: his music is also the result of influences from central European composers (Mahler, Bartok), but also the music of other Russian composers (Prokofiev), and even Jewish traditions.
Weinberg composed seven concertos, including a Cello Concerto premiered in 1957 by Mstislav Rostropovitch and recorded seven years later, again by Rostropovitch and the Moscow Philharmonic Orchestra, conducted by Kirill Kondrachine. The work, in four movements, is of a meditative colour, sombre and tense, with an orchestra strangely deprived of its oboe and bassoons but afforded a bass trombone, which strengthens its menacing character. The solo cello opens the work with a dark and painful melody. The music grows gradually, then La musique prend peu à peu son essor, before falling yet again into a sense of despondency. The second movement, vehement and angry, is followed by an Allegro with an air of false joy on the brink of madness; several extremely high notes from the cello testify to the bitterness of Weinberg's music, with a hammering orchestra, reminiscent of Béla Bartók. The cadenza is in fact a moment of meditation before a final hectic Allegro, this time evoking the orchestral music of Shostakovitch.
Bach's G major prelude has captivated cellists and music lovers for years. Cellist Alisa Weilerstein deconstructs it. Bach's six cello suites are considered a rite of passage for cellists. They're masterpieces of classical music, and the prelude in G major — the first movement of the suites — is perhaps the best example of Bach's power as a composer. In it, he's able to achieve rich and complex harmonic movements with just a four-stringed instrument, while using the very basic tenets of music composition. Those basic tenets are what Alisa Weilerstein, a renowned cellist and McArthur fellow, helps us understand.
In collaboration with Exposure TV, a student-led organization highlighting composers of marginalized identities, WQXR's summer interns filmed acclaimed cellist Khari Joyner playing Coleridge-Taylor Perkinson's Lamentations, "Black Folk Song Suite."
Performed by Khari Joyner Produced and Filmed by Allison Weiss and Chelsea Daniel Audio by George Wellington Edited by Allison Weiss Special thanks to Justin Sergi, John Daniels, Jacqui Cheng, Natalia Ramirez, Elli Smerling, and Greta Rainbow
Dez anos antes de eu nascer, no dia exato, aconteceu isto.
The New York Times reported that on November 29, 1962, a benefit concert called "The American Pageant of the Arts" was to be held with "a cast of 100, including President and Mrs. Kennedy, Dwight D. Eisenhower, Leonard Bernstein (as master of ceremonies), Pablo Casals, Marian Anderson, Van Cliburn, Robert Frost, Fredric March, Benny Goodman, Bob Newhart and a 7-year-old Chinese cellist called Yo-yo Ma, who was brought to the program's attention by Casals."
As biographer Jim Whiting noted, "the article was noteworthy in two respects. First, it included Yo-Yo's name in the same sentence as those of two U.S. presidents and eight world-famous performers and writers. Second, Yo-Yo had been identified in a major newspaper for the first time. It would hardly be the last. In the years since then, the New York Times alone has written about him more than 1,000 times."