A Song for Chris Cello and Piano 大提琴 钢琴

纪念克里斯托弗-罗兰。该协奏曲原为大提琴与室内乐协奏曲，现为大提琴协奏曲，管弦乐部分为钢琴缩写。协奏曲分为四个乐章，演奏时不间断： 冥想、间奏曲、托卡塔-歇后语和歌曲。作品时长约 18 分钟，为两支双簧管、两支圆号、定音鼓（双管钟）和弦乐（此处为大提琴/钢琴形式）谱写。乐曲采用大型拱形结构，两个快速的内乐章和两个慢速的外乐章相辅相成。 大提琴独奏以反思的方式拉开了作品的序幕，并引入了核心旋律素材，该素材在整个协奏曲中不断发展。弦乐逐渐进入，然后是管乐和定音鼓，并构建了一个金字塔式的十二音和弦，在和弦的顶峰出现了一个戏剧性的高潮。随后音乐逐渐平息（又是大提琴独奏），但又与两个较快的中间乐章衔接起来。 第二乐章 "间奏曲"采用 ABA 结构，中间部分引用了肖斯塔科维奇第三弦乐四重奏（克里斯托弗-罗兰出生在同一年）的开头。事实上，肖斯塔科维奇的幽灵在这首协奏曲中以多种方式闪现。托卡塔-回旋曲》（Toccata-Scherzo）充满活力和节奏感，同样采用了 ABA 结构。在这里，大提琴独奏的写作相当精湛，但我希望这并不是肤浅的。音乐在开头十二音和弦的再次出现以及定音鼓的猛烈爆发的烘托下，不可阻挡地走向一个强有力的高潮，此时，通过弦乐上的一个钢琴音和弦，调性得到了解决（G调），直接进入了最后乐章--歌曲。 在圆号和弦乐的静谧背景下，大提琴独奏在最高音区奏出一段简单的旋律（在整部作品中以其他形式出现），音乐由此进入情感的核心。随后，双簧管独奏进入，大提琴以协奏曲的形式做出回应，音乐的质感和力度不断加强，最后管钟也加入到欢快而乐观的结尾中"

作曲家: Edward Gregson
乐器: Cello; Piano Accompaniment
出版社: Novello
原文简介:
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.