When Brahms decided to write a double concerto for violin and cello, he had few recent precedents. During the Baroque era, composers had delighted in the concerto grosso, a concerto for orchestra with multiple soloists. Mozart composed several double concerti for two or three pianos, one for harp and flute, one for violin and viola, and one (of uncertain authenticity) for four wind soloists. From Beethoven came a triple concerto for violin, cello, and piano. Yet all those examples were decades in the past. Other than an occasional double piano concerto, Romantic composers of the nineteenth century never bothered with concerti for more than one soloist. Brahms, however, rarely interested himself in the same things that attracted others of his generation. This return to an earlier genre was typical of his life-long fascination with classic styles of composition, and it shows how he updated those styles to fit the grandeur of a Romantic orchestra. Although, in conception, his Double Concerto is the sort of piece that might have come from Mozart's time, it is given its fullest expression through the rich voice of Romanticism.
This concerto was Brahms' last concerto, as well as his final composition using the orchestra. Dating from 1887, it followed his fourth and final symphony by two years. In this work, Brahms may have planned to pay modern tribute to the Baroque ideal of the concerto grosso, yet he also hoped to kill two birds with one stone. He had promised his friend, the cellist Robert Hausmann a solo concerto, but had never gotten around to writing such a work. Also, he had recently had a falling-out with his long-time colleague, the violinist Joseph Joachim, who felt that Brahms had sided with Joachim's ex-wife during their recent divorce proceedings. Through the balm of one composition, Brahms hoped to soothe three souls: Joachim's, Hausmann's, and his own.
Since he had previously completed his Violin Concerto, two violin sonatas, and two cello sonatas, it would seem that he would have possessed the necessary familiarity to write for these two instruments together, but Brahms was less certain of his suitability. Himself a pianist, he felt insecure composing for a solo instrument that he could not play, and the fact that virtuoso players would willingly offer advice was not much comfort. As he remarked in a letter to his dear friend Clara Schumann, "It is quite a different matter writing for instruments whose character and sound one can only incidentally imagine, than for an instrument which one knows totally." She firmly reassured him as to his fitness for the task, and even offered her own home in Baden-Baden for the new work's first rehearsals. Its premiere was given in Cologne on October 18, 1887. Brahms himself conducted that performance. The soloists were the men for whom it had been written: Joachim and Hausmann. (Robert Hausmann and violinist Joseph Joachim )
I mvt: Allegro http://w3.rz-berlin.mpg.de/cmp/brahms_double_con1.mp3
II mvt: Andante http://w3.rz-berlin.mpg.de/cmp/brahms_double_con2.mp3
III mvt: Vivace non troppo http://w3.rz-berlin.mpg.de/cmp/brahms_double_con3.mp3
(轉載http://w3.rz-berlin.mpg.de/cmp/brahms_double_con.html)
因為我也不知道怎麼翻譯,大家就看看原文吧~我倒覺得會比翻譯的清楚多了,
今天是我們老師Daniel Phillps,跟Marcy Rosen 擔任Solo,
兩位角頭一起合作,是最適合不過的吧~ ^^
話說他們一起合作的歷史可以追溯到以前學生時代吧(我想啦)~
因為他們曾是couple,老師辦公室還有一張跟Marcy 的合照呢,
從照片不難想見那是一場音樂會之後的reception,
總而言之,他們的默契十足,音樂性超級佳,
尤其一剛開始大提琴進來的時候,那種低沉令人回味的power,是很難不豎起大拇指的!!
再來Danny的小提琴跟大提琴不管是競爭還是對話,
可以感覺的到他們兩個人的Speaking,
老師常常說拉音樂就像是講話一樣,
你要拉的生動,你要先會講話,我們要用弓來講話....
在rehearsal的時候,老師很搞笑的,為了要帶動學生的音樂性,
他都會不顧形象的表演,
然後他會做些可愛的小動作,
一方面他身材也像隻可愛的小熊,
一方面,他真的很會表演啊~ ~
都會覺得跟他合作是無比的快樂!!!!
今天當然音樂會圓滿成功囉~
我的老師最棒了!!!
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