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luís soares

Blog do escritor Luís Soares

Weinberg: Cello concerto in d minor op.43

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.

More concerts on : https://www.francemusique.com/concerts

Pequena aula de música

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.

Perpetual Motion

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

Ma, Bernstein, Kennedy

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."

Violino & Violoncelo

Well known violist Simone Lamsma and cellist Victor Julien-Laferrière join their forces during the Utrecht International Chamber Music Festival 2018. They perform Martinů's 'Duo for Violin and Cello No. 1', a musical wonder filled with Bohemian melodies and rhythms.

 

Martinů: Duo for Violin and Cello No. 1, H. 157
Simone Lamsma [violin]
Victor Julien-Laferrière [cello]

 

Recording: Saturday the 30th of June 2018, during The Utrecht International Chamber Music Festival in TivoliVredenburg in Utrecht.

Ouroboros

Thomas Larcher: Ouroboros for cello and orchestra

 

Jean-Guihen Queyras, cello
Per Kristian Skalstad, conductor
Norwegian Chamber Orchestra

Recorded live at Sentralen, Oslo 13 September 2016

 

The ouroboros or uroborus (/ˌjʊərəˈbɒrəs/) is an ancient symbol depicting a serpent or dragon eating its own tail. Originating in ancient Egyptian iconography, the ouroboros entered western tradition via Greek magical tradition and was adopted as a symbol in Gnosticism and Hermeticism and most notably in alchemy. Via medieval alchemical tradition, the symbol entered Renaissance magic and modern symbolism, often taken to symbolize introspection, the eternal return or cyclicality, especially in the sense of something constantly re-creating itself. It also represents the infinite cycle of nature's endless creation and destructionlife, and death. The term derives from Ancient Greekοὐροβόρος, from οὐρά (oura), "tail" + βορά (bora), "food", from βιβρώσκω (bibrōskō), "I eat".