Bladmusiek $41.95

Oorspronklik

Violintango Concerto.

Vertaling

Violintango Concerto.

Oorspronklik

Violintango Concerto composed by Melani Mestre. For violin and string orchestra. Published by Editorial de Musica Boileau. BO.B.3671. The piece, structured in three movements, Allegro - Lento - Allegro, is written, as its name suggests, for a solo violin accompanied by an orchestra -a string orchestra, in this case. Its name aims at relating the composition not only to the instrument for which it was conceived, but also to the genre that marks the aesthetic content of the work. this is the only existing original concert for violin and orchestra of this category to date. The piece was written in February 2009 in the Ukrainian city of Lviv, while I was the conductor of the city's Symphonic Orchestra and we were rehearsing a concert in which we would interpret an instrumental suite from Astor Piazzolla‘s Operatango Maria de Buenos Aires, that had been written some time before. Therefore, the use of the language of tango in the composition of this concert was certainly not fortuitous, but although it seems contradictory, employing it was not an intentional act either. The work itself intends to explore the language of tango by means of all the technical and musical resources offered by the violin, but without letting this become an excuse to just write a tango for violin and orchestra or a tango-style concert. In fact, the piece shows a will to develop and experiment with the several diverse ways in which the language of tango can be presented, with all its dialects and its variants. The language employed in this concert explores all these postulations and develops them, starting from a few rhythmical cells of their own that are juxtaposed and intertwined throughout the three movements, forming an indivisible unit. The accents take a special relevance and become a significant part all the way through the musical discourse, as do the different rhythms that not only shape a particular kind of orchestral accompaniment, but also make up a specific counterpoint to the expressive and melodic needs of the solo violin. Not only does the orchestra accompany its soloist, but in many cases it becomes a soloist in itself. The counterpoint, never used as a compositional tool or as a merely acrobatic display, confers structural meaning to a language that allows a dialog between the couple made up by the soloist and the orchestra, in which they can both speak at the same time without any of the two sides being pushed into the background. The second movement, Lento, the aria structure used is typical from Bach -not so much from Johann Sebastian as from his son, Johann Christian. This structure allows for the juxtaposition in one milonga melody, of a solo violin with a basso continuo by four, whose tempo is marked by the strings. The third movement attempts to explain, gradually and in a linear way, the evolution of the metric of tango, as it moves from a bar of 4. typical of tango. to one of 6. Havanera-like. , thus demonstrating the historical origin of tango as deriving from Havaneras, and the various transformations it has undergone. We then reach the coda of the third movement where, after one of the two cadences of the solo part, all the tunes that have been emerging throughout the concert overlap contrapuntally with all the polyrhythms they make up together, expanding and contracting by way of the internal accents of the music itself and producing the feel of being simultaneously listening to a bar of 4. 4, a 3. 4 and a 6.

Vertaling

Violintango Concerto saamgestel deur Melani Mestre. Vir viool en strykorkes. Gepubliseer deur Redaksionele de Musica Boileau. BO.B.3671. Die stuk, in drie bewegings, Allegro - Lento - Allegro, geskryf is, soos sy naam suggereer, vir 'n solo-viool begelei deur 'n orkes-'n strykorkes, in hierdie geval. Sy naam is daarop gemik verband die samestelling nie net die instrument waarvoor dit ontvang is nie, maar ook om die genre wat die estetiese inhoud van die werk punte. dit is die enigste bestaande oorspronklike konsert vir viool en orkes van hierdie kategorie tot op datum. Die stuk is in Februarie 2009 geskryf is in die Oekraïense stad van Lviv, terwyl ek besig was om die dirigent van die stad se Simfonie-orkes en ons repeteer 'n konsert in wat ons sou 'n instrumentele suite van Astor Piazzolla se Operatango Maria de Buenos Aires uitlê, sodat het 'n geruime tyd geskryf is, voor. Daarom is die gebruik van die taal van die tango in die samestelling van hierdie konsert was beslis nie toevallig nie, maar hoewel dit lyk teenstrydige, waar dit was nie 'n opsetlike handeling of. Die werk self beoog om die taal van die tango te verken deur middel van al die tegniese en musikale hulpbronne wat deur die viool, maar sonder om dit 'n verskoning om net te skryf 'n tango vir viool en orkes of 'n tango-styl konsert. Trouens, die stuk toon 'n wil om te ontwikkel en te eksperimenteer met die verskillende diverse maniere waarop die taal van tango aangebied kan word, met al sy dialekte en sy variante. Die taal wat in hierdie konsert verken al hierdie vooropstellings en ontwikkel hulle vanaf 'n paar ritmiese selle van hul eie wat teenoor mekaar gestel en verweef oor die drie bewegings, die vorming van 'n onverdeelbare eenheid. Die aksent neem 'n spesiale relevansie en 'n belangrike deel al die pad deur die musikale diskoers, soos die verskillende ritmes wat nie net die vorm van 'n bepaalde soort van orkestrale begeleiding, maar ook om 'n spesifieke kontrapunt tot die ekspressiewe en melodies behoeftes van die solo viool. Nie net het die orkes vergesel die solis, maar in baie gevalle is dit 'n solis in homself. Die kontrapunt, nooit gebruik as 'n komposisie instrument of as 'n bloot akrobatiese vertoning, verleen strukturele betekenis aan 'n taal wat toelaat dat 'n dialoog tussen die paartjie gemaak deur die solis en orkes, waarin hulle kan beide praat op dieselfde tyd sonder enige van die twee kante word gestoot in die agtergrond. Die tweede beweging, Lento, die aria struktuur wat gebruik word is tipies van Bach-nie so baie van Johann Sebastian as van sy seun, Johann Christian. Hierdie struktuur maak voorsiening vir die jukstaposisie in een Milonga melodie van 'n solo-viool met 'n basso continuo deur vier, wie se tempo is gekenmerk deur die snare. Die derde beweging poog om te verduidelik, geleidelik en in 'n lineêre manier, die evolusie van die maatstaf van tango, as dit van 'n bar van 4 beweeg. tipies van tango. aan een van 6. Havanera-agtige. So toon die historiese oorsprong van tango soos vloei uit Havaneras, en die verskillende transformasies dit ondergaan het. Ons reik dan die koda van die derde beweging waar, na een van die twee kadense van die solo deel, al die liedjies wat opkomende regdeur die konsert oorvleuel kontrapuntaal met al die poliritmes hulle maak saam, uit te brei en kontraktering deur middel van die interne aksent van die musiek self en die vervaardiging van die gevoel van om tegelykertyd te luister na 'n bar van 4. 4, 3. 4 en 'n 6.