Romeo and Juliet is an orchestral work composed by Pyotr Ilyich Tchaikovsky. It is styled an Overture-Fantasy, and is based on Shakespeare’s play of the same name. Unlike Tchaikovsky’s other major compositions, Romeo and Juliet does not have an opus number.
In 1880, ten years after his first reworking of the piece, Tchaikovsky rewrote the ending and gave the piece the sub-title “Overture-Fantasia”. It was completed by September 10, 1880, but did not receive its premiere until May 1, 1886, in Tbilisi, Georgia (then part of the Russian Empire), under Mikhail Ippolitov-Ivanov.
Conductor: Julian Kovatchev Orchestra: Sofia Festival Orchestra
Amati Chamber Ensemble. Gil Sharon, violin. Ron Ephrat, viola. Alexander Hülshoff, cello. Jean Sassen, double-bass. Dalia Ouziel, piano. Franz Schubert – Quintet for piano, violin, viola, cello & double-bass, in A major, D 667 “The Trout” I. Allegro vivace II. Andante III. Scherzo, presto IV. Tema con variazioni (Die Forelle) V. Allegro giusto
1878 fue un año importante para Antonín Dvorák : Dvorák amigo de Johannes Brahms le ayudó a levantar desde el pozo de la oscuridad haciendo los arreglos para la publicación alemana de sus Duetos moravos; en consecuencia, recibió el encargo del primer volumen de sus Danzas eslavas que, hasta el día de hoy, siguen siendo, junto con el “Nuevo Mundo” Symphony, Dvorák música más conocidas. Estos eventos marcan el inicio de Dvorák llamado períodos eslavo “(finales de 1870 a principios de 1880), durante el cual él respondió directamente a la demanda del público y de los deseos de su editor por componer música explícitamente bohemio / Checo / Morava de tono, el estilo, y en cierta medida, de diseño. Las tres eslava rapsodias para orquesta, op. 45, de 1878, son las más grandes manifestaciones de esa financieramente rentable vena musical.
El primero de los tres eslava rapsodias en re mayor, op. 45/1, fue compuesto durante febrero y marzo de 1878 y por lo tanto en realidad es anterior a las Danzas eslavas; N º 2 en sol menor y n º 3 en La bemol mayor que siguió en el otoño y principios del invierno, respectivamente. La orquesta empleada es bastante grande; el contingente habitual de los vientos y las cuerdas se ve aumentada por el arpa y una brigada de percusión de tamaño considerable. Las tres piezas se unen para formar un ciclo de clases, aunque casi nunca se oye hablar de ellos interpretados juntos como un conjunto. La característica más memorable del N º 1 es el episodio-march como central, mientras que el No. 2 se distingue por sus numerosos cambios entre 3/4 y 4/4. La tercera eslava Rhapsody se abre con un solo de arpa cuya sustancia es inmediatamente absorbido por los instrumentos de viento, y procede a explorar una serie de melodías de buen carácter; la gran culminación parece disolverse elusively sin una resolución final, pero al final dos acordes brillantes dibujar la pieza a la cadencia que anhelamos
1878wasan important year forAntonínDvorák: DvorákfriendJohannesBrahmshelped him liftfrom the pitof darknessmaking arrangementsfor the Germanpublication of hisMoravian Duets; consequently,he was commissionedthefirst volume of hisSlavonic Dancesthat untiltoday, remain, along with the “New World” Symphony, Dvorák‘s musicknown. These eventsmark the beginning ofDvorákSlavoniccalledperiods“(late 1870s toearly 1880s), during whichhe answereddirectly to thepublic demandandthe wishes of hiseditorto composemusicspecificallyBohemian /Czech /Moraviantone, style, and to some extent, design. SlavicThreerhapsodiesfor orchestra,op.45,1878,arethe largest demonstrationsthatfinancially rewardingmusicalvein.
Thefirst of the threeSlavonicRhapsodiesin D major,op.45/1, was composed duringFebruary andMarch 1878and thereforeactuallypredates theSlavonic Dances; No.2 in G minorand No.3 insun-flat major followedin the fall andearly winter, respectively. The orchestraemployed isquite large; the usualcontingentof windsand stringsis augmented byharp andpercussionbrigadeof considerable size.The threepieces come togetherto forma cycle ofclasses, butalmost neverhear ofthem performedtogether as awhole. The mostmemorablefeature of theNo. 1-march is thecentralepisode, while No.2 wasdistinguished byits manychanges between3.4and4.4. ThethirdSlavonicRhapsodyopens with aharp solowhose substanceis immediatelyabsorbed bythe wind instruments, and proceeds to explore a number oftunesof good character; seems to dissolvethe grand climaxelusivelywithouta final resolution, but in the endtwo brightchordsdrawingthe piece to thecadence thatyearn
World-famous Americancellist Yo-Yo Ma was born in France to Chinese parents in 1955. A musical prodigy, he gave a public recital in Paris at age six and his first performance at Carnegie Hall at age nine. He later attended the prestigious Julliard School of Music and ascended rapidly to the highest rank of international soloists, winning the Avery Fisher Prize in 1978. What became of a centuries-old cello valued at $2.5 million that Ma accidentally left in a New York City taxi in 1999? More…Discuss
Camille Saint-Saëns composed his Cello Concerto No. 1 in A minor, Op. 33 in 1872, when the composer was 37 years old. He wrote this work for the Belgian cellist, viola de gamba player and instrument maker Auguste Tolbecque. Tolbecque was part of a distinguished family of musicians closely associated with the Société des Concerts du Conservatoire, France’s leading concert society. The concerto was first performed on January 19, 1873 at a conservatoire concert with Tolbecque as soloist. This was considered a mark of Saint-Saëns’ growing acceptance by the French musical establishment.
Sir Donald Francis Tovey later wrote “Here, for once, is a violoncello concerto in which the solo instrument displays every register without the slightest difficulty in penetrating the orchestra.” Many composers, including Shostakovich and Rachmaninoff, considered this concerto to be the greatest of all cello concertos.
The work can be split into three different sections as follows:
The concerto begins unusually. Instead of the traditional orchestral introduction, the piece begins with one short chord from the orchestra. The cello follows, stating the main motif. Soon, countermelodies flow from both the orchestra and soloist, at times the two playfully “calling and answering” each other.
A restatement of the opening material from the first movement opens the finale. While Saint-Saëns uses the finale mainly as a recapitulation of earlier material, he concludes it with the introduction of an entirely new idea for the cello.
Saint-Saëns very often uses the solo cello here as a declamatory instrument. This keeps the soloist in the dramatic and musical foreground, the orchestra offering a shimmering backdrop. The music is tremendously demanding for soloists, especially in the fast third section. This difficulty has not stopped the concerto from becoming a favourite of the great virtuoso cellists.
Buy “Cello Concerto No. 1 in A Minor, Op.33 (2000 – Remaster): I. Allegro non troppo -” on
Gabriel Fauré – Élégie pour violoncelle et piano
– Germaine Thyssens Valentin & Robert Salles
From Wikipedia, the free encyclopedia
Fauré in early middle age
The Élégie (Elegy), Op. 24, was written by the French composer Gabriel Fauré in 1880, and first published and performed in public in 1883. Originally for cello and piano, the piece was later orchestrated by Fauré. The work, in C minor, features a sad and sombre opening and climaxes with an intense, fast-paced central section, before the return of the elegiac opening theme.
In 1880, having completed his First Piano Quartet, Fauré began work on a cello sonata. It was his frequent practice to compose the slow movement of a work first, and he did so for the new sonata. The completed movement was probably premiered at the salon of Camille Saint-Saëns in June 1880. The movement, like the quartet, is in the key of C minor. Whether the rest of the sonata would have been in that key is unknown: Fauré never completed it, and in January 1883 the slow movement was published as a stand-alone piece under the title Élégie.
The first performance of the work under its new title was given at the Société Nationale de Musique in December 1883 by the composer and the cellist Jules Loeb to whom the piece is dedicated.[n 1] The Élégie was a great success from the outset, and the conductor Édouard Colonne asked Fauré for a version for cello and orchestra. Fauré agreed, and that version was premiered at the Société Nationale in April 1901, with Pablo Casals as soloist and the composer as conductor.[2
Antonín Dvořák – Cello Concerto in B minor, Op. 104, B. 191 Complete All The Cello Concerto in B minor, Op. 104, B. 191, by Antonín Dvořák was the composer’s last solo concerto, and was written in 1894–1895 for his friend, the cellistHanuš Wihan, but premiered by the English cellist Leo Stern Structure The piece is scored for a full romantic orchestra (with the exception of a 4th horn) containing two flutes (second doubling piccolo), two oboes, two clarinets, two bassoons, three horns, two trumpets, three trombones, tuba, timpani, triangle (last movement only), and strings, and is in the standard three-movement concerto format: Allegro (B minor then B major) Adagio, ma non troppo (G major) Finale: Allegro moderato — Andante — Allegro vivo (B minor then B major)
Please watch in (1080) HD ! Felix Mendelssohn Bartholdy (1809-1847 ) Piano Quartet in F minor op.2 – Adagio. The Schubert Ensemble of London: William Howard : Piano . Simon Blendis : Violin. Douglas Paterson : Viola. Jane Salmon : Cello. Recording 1998, St,George”s Brandon Hill, Bristol. ———————————- Photography / Artwork and Video : PETER SCHNEIDER. 2012 .
Alexandre Debrus was born in 1976, into a family of musicians, his father Raoul Debrus and his mother Eliane Debrus-Boucher, were respectively lead viola and cello to the RTBF Symphony Orchestra in Belgium. At the age of four he started to play the cello under the guidance of his mother. He was studying with Luc Dewez (Mons and Waterloo in Belgium), Mischa Maisky (Siena), Mark Drobinsky (Siena and Paris), Yvan Monighetti (Basel) and Mstislav Rostropovich (Beloeil in Belgium). He gives numerous concerts in Belgium, France, Switzerland, Germany, Serbia, Italy, Spain, Greece, the United States, Russia, Argentina, Japan and to China. He recorded 19 CD as soloist and with chamber music ensemble under different labels, such as Pavane Records, BMG-RCA, Victor Read Seal, EMI Classics and Artès Classics. Continue reading →
Mstislav Leopoldovich Rostropovich, KBE (Russian: Мстисла́в Леопо́льдович Ростропо́вич, Mstislav Leopol’dovič Rostropovič, pronounced [rəstrɐˈpɔvʲɪtɕ]; March 27, 1927 – April 27, 2007), known to close friends as Slava, was a Soviet and Russiancellist and conductor. He was married to the soprano Galina Vishnevskaya. He is widely considered to have been the greatest cellist of the second half of the 20th century, and one of the greatest of all time. In addition to his outstanding interpretations and technique, he was well-known for his commissions of new works which enlarged the cello repertoire more than any cellist before or since. He gave the premieres of over 100 pieces.