Cello Concerto Farewell to philosophy 布莱亚斯 协奏曲 大提琴加管弦乐团 朔特版

我对低弦乐器情有独钟： 我是一名低音提琴演奏家，我的母亲是一名大提琴演奏家，我的两个女儿也是如此；我自己的乐队包括两把中提琴、一把大提琴和一把低音提琴，而在歌剧《美狄亚》的配器中，我从乐队中省略了整个小提琴声部。 我写过许多乐器独奏或声乐与管弦乐队合奏的作品，因此我很高兴有机会为大提琴和管弦乐队写一首协奏曲，尤其是一首特别注重乐器抒情特质的协奏曲。 虽然这首曲子是一个连续的乐章，独奏者的演奏几乎没有间断，但它还是分为几个不同的部分，这些部分可以通过节奏的变化和音乐特点的变化辨认出来。朱利安-劳埃德-韦伯（Julian Lloyd Webber）和我讨论的早期想法之一是，这首曲子可以作为海登协奏曲的伴奏曲目。 鉴于我与英国室内乐团一些成员的友谊，以及我对他们曲目的了解，这让我想到了一些特别的音乐参考。 例如，作品的副标题结合了海登两部特立独行的交响曲的副标题，我用不同的方式但主要是通过配器来暗示它们：在《哲学家》中，我在协奏曲中加入了一段配器类似于交响曲第一乐章的配器（一对英国号和一对法国号、低音小提琴和无低音弦乐）；在《告别》中，我在结尾处逐渐减少了配器。 事实上，除了最后几小节的管弦乐四重奏之外，乐谱的最后几页几乎都是弦乐四重奏。 这部作品是飞利浦古典音乐公司委托朱利安-劳埃德-韦伯创作的，也是献给他的。首演是由朱利安-劳埃德-韦伯和英国室内乐团在詹姆斯-贾德的指挥下于 1995 年 11 月 21 日在伦敦巴比肯音乐厅举行的

作曲家: Bryars, Gavin
乐器: cello and orchestra
出版社: Schott Music
原文简介:
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