A Song for Chris Cello and Piano 大提琴 鋼琴

紀念克里斯多夫-羅蘭。該協奏曲原為大提琴與室內樂協奏曲，現為大提琴協奏曲，管弦樂部分為鋼琴縮寫。協奏曲分為四個樂章，演奏時不間斷： 冥想、間奏曲、托卡塔-歇後語和歌曲。作品時長約 18 分鐘，為兩支雙簧管、兩支圓號、定音鼓（雙管鐘）和絃樂（此處為大提琴/鋼琴形式）譜寫。樂曲採用大型拱形結構，兩個快速的內樂章和兩個慢速的外樂章相輔相成。 大提琴獨奏以反思的方式拉開了作品的序幕，並引入了核心旋律素材，該素材在整個協奏曲中不斷發展。弦樂逐漸進入，然後是管樂和定音鼓，並構建了一個金字塔式的十二音和絃，在和絃的頂峰出現了一個戲劇性的高潮。隨後音樂逐漸平息（又是大提琴獨奏），但又與兩個較快的中間樂章銜接起來。 第二樂章 "間奏曲"採用 ABA 結構，中間部分引用了肖斯塔科維奇第三絃樂四重奏（克里斯多夫-羅蘭出生在同一年）的開頭。事實上，肖斯塔科維奇的幽靈在這首協奏曲中以多種方式閃現。托卡塔-迴旋曲》（Toccata-Scherzo）充滿活力和節奏感，同樣採用了 ABA 結構。在這裡，大提琴獨奏的寫作相當精湛，但我希望這並不是膚淺的。音樂在開頭十二音和絃的再次出現以及定音鼓的猛烈爆發的烘托下，不可阻擋地走向一個強有力的高潮，此時，通過弦樂上的一個鋼琴音和絃，調性得到了解決（G調），直接進入了最後樂章--歌曲。 在圓號和絃樂的靜謐背景下，大提琴獨奏在最高音區奏出一段簡單的旋律（在整部作品中以其他形式出現），音樂由此進入情感的核心。隨後，雙簧管獨奏進入，大提琴以協奏曲的形式做出回應，音樂的質感和力度不斷加強，最後管鐘也加入到歡快而樂觀的結尾中"

作曲家: Edward Gregson
樂器: Cello; Piano Accompaniment
出版社: Novello
原文簡介:
In memory of Christopher Rowland. Originally a concerto for cello and chamber orchestra, now for cello with a piano reduction of the orchestral part. The concerto is in four movements which are played without a break: Meditation, Intermezzo, Toccata-Scherzo and Song. The work lasts for some 18 minutes and was scored for two oboes, two horns, timpani (doubling tubular bells) and strings(found here in a Cello/Piano form). It is organised in one large arch-shaped structure, with two fast inner movements flanked by two outer slow ones. The solo cello opens the work reflectively, and introduces core melodic material which is continuously developed throughout the concerto. Gradually the strings enter, then wind and timpani, and build a pyramid twelve-note chord, at the peak of which there is a dramatic climax. The music then subsides (solo cello again), but links to the two faster middle movements. The second movement, Intermezzo has an ABA structure and in its middle section quotes the opening of Shostakovich's Third String Quartet (written in the same year as Christopher Rowland was born!). Indeed, the ghost of Shostakovich looms large throughout the concerto in more ways than one. The Toccata-Scherzo is energetic and rhythmically-charged, again using an ABA structure. Here the writing for solo cello is quite virtuosic, but not, I hope, in a shallow sense. The music builds inexorably towards a powerful climax, underpinned by the opening twelve-note chord's re-appearance, together with a violent outburst from the timpani, at which point a tonal resolution (on G) arrives through a pianissimo held chord on strings which leads directly to the final movement – Song. And so the music arrives at its emotional heart through a simple melody (present in other forms throughout the work) announced by solo cello at the very top of its register, against a quiet backdrop of horns and strings. A solo oboe enters, with cello in canonic reply, and all the time the music builds in texture and intensity, now with tubular bells joining in the joyful and optimistic conclusion.