Par JARRELL MICHAEL. Composition works like an arborescent structure. At each ramification you choose a path, which depends on the whole dynamic of the whole piece. Doing this, you leave quite a lot of ideas and fragments behind. Nachlese is a german term already used by Goethe for the idea of 'reading again', referring to, commenting something... The idea of this cycle (Nachlese) is to come back to some musical ideas which I liked and found interesting, but were inappropriate in a different context and to develop them in new directions. When choosing a title I like it to refer to different techniques used in the piece, but also very directly to what is heard at some moments. For instance, in the first movement the orchestra 'emerges' from the very fast and nervous line played by the soloist and then, later, the 'climax' of this movement 'emerges' from the fast line then played by the orchestra. This piece is dedicated to Jean-Guihen Queyras and Thierry Fischer. / contemporain / Répertoire / Violoncelle et Orchestre

Original Version. Par TCHAIKOVSKI PIOTR ILITCH. Cet hommage de Tchaïkovski à l'excellent exemple admiré de Mozart et un défi pour le violoncelliste solo: ' Rokoko-variations ', dont le thème suit de près le style de musique du XVIIIe siècle, exige un maximum d'accomplir et brillance technique de la violoncelliste solo. Les variations sont connectées musicalement par orchestrales ritournelles qui, en matière de musique et de la substance, presque forment une deuxième séquence de variations./ Répertoire / Violoncelle et Orchestre

Cet ouvrage est un hommage à Lorca dont le dernier recueil de poèmes (Divan du Tamarit) peut apparaître, a posteriori, comme une prémonition de sa propre mort. Les neuf Casidas, qui en composent la seconde partie, sont autant de visions désespérées ou amères que Maurice Ohana imagine peuplant la mémoire du poète tout au long de la route de la Fontaine aux larmes qui fut son chemin de croix. Mots et images tournent autour du condamné, anneau qui l'encercle, l'emprisonne, mais aussi le protège à l'heure ultime. L'ouvrage est d'un seul tenant, les séquences s'enchaînant comme autant de visions tour à tour sombres, violentes, déchirantes, dépouillées ou tragiques, en un poème de la mort qui rejoint, après vingt-cinq années, cet autre poème de mort qu'était le Llanto por Ignacio Sanchez Mejias. / Contre-ténor et ensemble

Op. 65 in G Major-This concerto by Georg Goltermann is one of the easiest of the eight solo concerts he wrote for this instrument. Drawing closely on famous predecessors such as Robert Schumann's A minor Concerto his piece captivates the listener with a rich vein of melody an expansive and elegiac slow movement and a wittily amusing Allegro presto as a finale. The publication is a revised and updated edition in which the existing Dowani recording has been augmented with a new piano reduction and the solo part has been supplied with fingering marks.

Cello Concerto was composed by Thomas Agerfeldt Olesen in 2015 (rev. 2017) - 'To the memory of my mother'. Written to Nicolas Altstaedt on commission from Aarhus Symfoniorkester and Die Duisburger Philharmoniker with support from The Danish Arts Foundation First perfomance in Århus Sept 24 2015. Programme note: This concerto contains a lot of technical and structural stuff that I have forgotten all about now. Without it though the piece would have been a big mess of emotions since it was written while my family and I were taking care of my mother as she was terminally ill. I recognize ithaving become a kind of rondo. The music wanted a place to return to and perhaps it is due to the fact that my mother was always someone I could return to when everything else was exploding. In the end the rondo dies and the music goes somewhere else like all mothers.

Farewell to philosophy. Par BRYARS GAVIN. 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/ Répertoire / Violoncelle et Orchestre

This is one of the best Cello concertos of the twentieth century and readily communicates the Bohuslav Martinu strong feelings for his homeland. Written over the Christmas and New year period of 1944-45 in New York it is full ofhis reactions to that last dramatic winter of the war and the desire to go home. It is an expansive work over 35 minutes in length in the standard three movements. Typically for Martinu the first movement is inModerato tempo. The opening gesture is highly characteristic: A pulsing rhythm establishes itself in the orchestra and a striving rising theme with a contradictory rhythm contends with it. The second movement Andante pocomoderato has a general pulse that is not much slower than that of the first. It is episodic with a faster central section and then a truly magical and heartfelt treatment of the main subject in which Martinu expresses hislonging for home. The final movement Allegro is a driving energetic conclusion with a solo cadenza that breaks the ongoing rhythm and provides a touching moment of contemplation before the joyous conclusion. This editioncontains a Piano reduction of the Orchestral part for rehearsal purposes.

Par RODRIGO JOAQUIN. Tabea Zimmermann a été présenté les six mouvements de ce travail qui exploite les possibilités de l'alto au maximum - à partir de la lyrique à double-stopping chromatique explosive. Incorporant Eastern folktunes européen, polyphonie abstraite ainsi que des fragments de subtiles répétées de forme sonate, c'est une version miniature de la cosmologie musicale vaste de Ligeti. Bien que virtuose de la pièce est idiome-atic et de l'artisanat exquis et artifice. Un must pour les joueurs de toutes les avancées./ Répertoire / Violoncelle et Orchestre

In Latin Anima means soul but it is also a Jungian expression for the female element of the male. Anima forms the first part of a nameless trilogy of solo concertos which emphasizes reflective moods. In this cello concerto it is mainly the melodic aspect that is in the foreground a bitter-sweet but always gentle song for cello.

La confrontation d'un instrument à cordes soliste et d'un grand orchestre d'harmonie est sans doute une gageure risquée, Aussi le compositeur a-t-il été particulièrement attentif au dosage des masses sonores dans cette oeuvre, Le lyrisme généreux du violoncelle se mêle harmonieusement aux grappes de couleurs sonores des instruments à vent dans les deux mouvements liminaires - dans le mouvement central seulement le soliste semble devoir être écrasé par la masse de l'orchestre, mais à la fin de l'oeuvre c'est lui seul qui a le dernier mot, - Couleurs, ombres, lumières (07'00'')- Duel (07'30'')- Espaces des songes (05'30) Conducteur - ref, DLT2366Matériel - ref, DLT2366ESoliste - DLT2385 / Violoncelle Et Orchestre

La confrontation d'un instrument à cordes soliste et d'un grand orchestre d'harmonie est sans doute une gageure risquée, Aussi le compositeur a-t-il été particulièrement attentif au dosage des masses sonores dans cette oeuvre, Le lyrisme généreux du violoncelle se mêle harmonieusement aux grappes de couleurs sonores des instruments à vent dans les deux mouvements liminaires - dans le mouvement central seulement le soliste semble devoir être écrasé par la masse de l'orchestre, mais à la fin de l'oeuvre c'est lui seul qui a le dernier mot, - Couleurs, ombres, lumières (07'00'')- Duel (07'30'')- Espaces des songes (05'30) Conducteur - ref, DLT2366Matériel - ref, DLT2366ESoliste - DLT2385 / Violoncelle Et Orchestre