Cello Concerto Farewell to philosophy 布萊亞斯 協奏曲 大提琴加管弦樂團 朔特版

我對低絃樂器情有獨鍾： 我是一名低音提琴演奏家，我的母親是一名大提琴演奏家，我的兩個女兒也是如此；我自己的樂隊包括兩把中提琴、一把大提琴和一把低音提琴，而在歌劇《美狄亞》的配器中，我從樂隊中省略了整個小提琴聲部。 我寫過許多樂器獨奏或聲樂與管弦樂隊合奏的作品，因此我很高興有機會為大提琴和管弦樂隊寫一首協奏曲，尤其是一首特別注重樂器抒情特質的協奏曲。 雖然這首曲子是一個連續的樂章，獨奏者的演奏幾乎沒有間斷，但它還是分為幾個不同的部分，這些部分可以通過節奏的變化和音樂特點的變化辨認出來。朱利安-勞埃德-韋伯（Julian Lloyd Webber）和我討論的早期想法之一是，這首曲子可以作為海頓協奏曲的伴奏曲目。 鑒於我與英國室內樂團一些成員的友誼，以及我對他們曲目的瞭解，這讓我想到了一些特別的音樂參考。 例如，作品的副標題結合了海頓兩部特立獨行的交響曲的副標題，我用不同的方式但主要是通過配器來暗示它們：在《哲學家》中，我在協奏曲中加入了一段配器類似于交響曲第一樂章的配器（一對英國號和一對法國號、低音小提琴和無低音弦樂）；在《告別》中，我在結尾處逐漸減少了配器。 事實上，除了最後幾小節的管弦樂四重奏之外，樂譜的最後幾頁幾乎都是絃樂四重奏。 這部作品是飛利浦古典音樂公司委託朱利安-勞埃德-韋伯創作的，也是獻給他的。首演是由朱利安-勞埃德-韋伯和英國室內樂團在詹姆斯-賈德的指揮下于 1995 年 11 月 21 日在倫敦巴比肯音樂廳舉行的

作曲家: Bryars, Gavin
樂器: cello and orchestra
出版社: Schott Music
原文簡介:
I have a great fondness for the lower string instruments: I am a bass player, my mother is a cellist, as are both my daughters; my own ensemble includes two violas, a cello and a bass, and for the instrumentation of my opera Medea I omit the entire violin section from the orchestra. As I have written a number of works for solo instrument or voice with orchestra I welcomed the opportunity to write a concerto for cello and orchestra and especially one which focuses particularly on the instrument’s lyrical qualities. Although the piece is in one continuous movement, and the soloist is playing almost without a break, it nevertheless falls into distinct sections which are recognisable by a shift of tempo as well as by a change in the music’s character.One of the early ideas Julian Lloyd Webber and I discussed was that it might form a companion piece to one of the Haydn concertos. Given my friendship with some members of the English Chamber Orchestra and my awareness of their repertoire, this suggested a number of particular musical references. The subtitle to the work, for example, combines the subtitles of two idiosyncratic Haydn symphonies and I allude to them in different ways but chiefly through orchestration: for The Philosopher by including a section in the concerto where the orchestration resembles that of the symphony’s first movement (pairs of English and French horns, muted violins and unmuted lower strings); for The Farewell, by the progressive reduction in the orchestration towards the end. Indeed, apart from the orchestral tutti in the last few bars, the last pages of the score are virtually for string quartet. The subtitle also refers to my own background as a philosophy graduate...The piece was commissioned by Philips Classics for Julian Lloyd Webber and is dedicated to him.The first performance was given by Julian Lloyd Webber and the English Chamber Orchestra conducted by James Judd, 21 November 1995, Barbican Hall, London.Gavin Bryars