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Julian Anderson’s first cello concerto can be seen as an exploration in the possibilities of the cello, beginning with a Toccata and working through a full range of textures and techniques available to the instrument. The musical material is highly varied and includes unusual tunings as well as diatonic modes which are sharply contrasted.
Following the traditional three movement form, albeit without break, the concerto features a central slow section with lyrical passages exploiting the cello’s singing qualities. A chorale at the end of this section is written in memory of Anderson’s dear friend, the composer/ conductor Oliver Knussen. The faster opening and closing sections contrast this central movement, ending with a lively finale which takes its inspiration from Dance.
Following the traditional three movement form, albeit without break, the concerto features a central slow section with lyrical passages exploiting the cello’s singing qualities. A chorale at the end of this section is written in memory of Anderson’s dear friend, the composer/ conductor Oliver Knussen. The faster opening and closing sections contrast this central movement, ending with a lively finale which takes its inspiration from Dance.
| Auftragswerk : | Commissioned by Radio France, Hong Kong Sinfonietta, the City of Birmingham Symphony Orchestra, the Norwegian Chamber Orchestra, the Swedish Chamber Orchestra, and the Orchestre de Chambre de Lausanne. |
|---|---|
| Performance duration: | 25'0" |
| Publisher: | Schott Music Ltd., London |
| Year of composition: | 2018-2019 |
| instrumentation: | 2(2.pic & afl).2(2.ca).2.(2.bcl & cl tuned down 1/4 tone).2(2.cbsn)-2.2.1.0-perc(2 sus cym, tub bells, water bell, bell tree, sizzle cym, tam-t, steel drum, b.d., 2 congas, 2 tumbas, claves, anklung, maraca)-hp.pno(synth, pno & hp sounds with 1/4 tone pitch control)-str(10.8.6.6.4 max; 7.5.4.4.2 min) |
Julian Anderson’s first cello concerto can be seen as an exploration in the possibilities of the cello, beginning with a Toccata and working through a full range of textures and techniques available to the instrument. The musical material is highly varied and includes unusual tunings as well as diatonic modes which are sharply contrasted.
Following the traditional three movement form, albeit without break, the concerto features a central slow section with lyrical passages exploiting the cello’s singing qualities. A chorale at the end of this section is written in memory of Anderson’s dear friend, the composer/ conductor Oliver Knussen. The faster opening and closing sections contrast this central movement, ending with a lively finale which takes its inspiration from Dance.
Following the traditional three movement form, albeit without break, the concerto features a central slow section with lyrical passages exploiting the cello’s singing qualities. A chorale at the end of this section is written in memory of Anderson’s dear friend, the composer/ conductor Oliver Knussen. The faster opening and closing sections contrast this central movement, ending with a lively finale which takes its inspiration from Dance.
| Auftragswerk : | Commissioned by Radio France, Hong Kong Sinfonietta, the City of Birmingham Symphony Orchestra, the Norwegian Chamber Orchestra, the Swedish Chamber Orchestra, and the Orchestre de Chambre de Lausanne. |
|---|---|
| Performance duration: | 25'0" |
| Publisher: | Schott Music Ltd., London |
| Year of composition: | 2018-2019 |
| instrumentation: | 2(2.pic & afl).2(2.ca).2.(2.bcl & cl tuned down 1/4 tone).2(2.cbsn)-2.2.1.0-perc(2 sus cym, tub bells, water bell, bell tree, sizzle cym, tam-t, steel drum, b.d., 2 congas, 2 tumbas, claves, anklung, maraca)-hp.pno(synth, pno & hp sounds with 1/4 tone pitch control)-str(10.8.6.6.4 max; 7.5.4.4.2 min) |
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