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Oorspronklik

Benjamin Britten. Double Concerto. Score and Parts. Sheet Music. Violin, Viola, Piano. VLN. VLA. PF. Benjamin Britten.

Vertaling

Benjamin Britten. Double Concerto. Telling en Parts. Sheet Music. Viool, altviool, Piano. VLN. VLA. PF. Benjamin Britten.

Oorspronklik

For Violin, Viola and Piano. Reduced from the orchestra version. Britten was so remarkably prolific as a young composer that many of the works from his teens were put aside to await revision or completion as he rushed on to the next piece. This was particularly the case around the time of his Opus 1 Sinfonietta , composed in the summer of 1932, his second year as a student at the Royal College Of Music. The Sinfonietta was written. in less than three weeks. very soon after Britten had completed the first draft of the Double Concerto. but after finishing the Sinfonietta he went back to revise the Concerto's second movement. He started work on his Op.2 Phantasy for Oboe and String Trio a few weeks later. Although the Concerto follows the same three-movement pattern as the Sinfonietta , it is more ambitious in scale. and since the sketch is, unusually for Britten, complete in practically every detail, it is puzzling that he never made a full score of the work after finishing the composition, and seems to have made no attempt to get it performed. It is not clear if he had particular performers in mind. he was, of course, a Viola player, although he is not likely to have intended the part for himself. He showed the work to his composition teacher at the college, John Ireland, who, as Britten recorded in his diary, was 'pretty pleased' with it. but it is distinctly possible that his experience in rehearsing the Sinfonietta with a student orchestra in 1932. 'I have never heard such an appalling row. ' reads another diary entry. discouraged him from going on to complete the Double Concerto in score. He was not to hear any of his orchestral works until the first performance of Our Hunting Fathers in 1936. In the absence of Britten's full score it was necessary for me to prepare the work from the sketch. But the instrumentation is so carefully indicated in the draft that the resulting score is not far from being 100% Britten - only between bars 70 and 74 of the slow movement did there seem to be any need to add anything significant to Britten's texture. The Double Concerto. Britten's manuscript title was 'Concerto In B Minor', but he referred to it in his diary, in characteristic shorthand, as '2ble Concerto'. is the most recent addition to his corpus of works, mostly dating from Britten's youth and early maturity, that, since his death, have been revived after many years, or performed for the first time. Britten himself occasionally returned to his early works, and in his last years revised both the early String Quartet In D of 1931 and the opera Paul Bunyan. The Piano score published separately is not a reduction from the orchestral score, but a transcription of Britten's composition sketch, including his indications of instrumentation. The first performance of the Double Concerto was given at the 50th Aldeburgh Festival by Katherine Hunka and Philip Dukes, with the Britten-Pears Orchestra conducted by Kent Nagano, on June 15th 1997. -Colin Matthews.

Vertaling

For Violin, Viola and Piano. Reduced from the orchestra version. Britten was so merkwaardig produktiewe as 'n jong komponis dat baie van die werke van sy tienerjare is opsy gesit hersiening of voltooiing te wag as hy gehaas na die volgende stuk. Dit was veral die geval in die tyd van sy Opus 1 Sinfonietta, saamgestel in die somer van 1932, sy tweede jaar as 'n student by die Royal College of Music. Die Sinfonietta geskryf. in minder as drie weke. baie gou na Britten die eerste konsep van die Double Concerto voltooi het. maar nadat die Sinfonietta hy terug die Concerto se tweede beweging te hersien. Hy het begin werk aan sy OP.2 Phantasy vir hobo en String Trio 'n paar weke later. Hoewel die Concerto volg dieselfde drie-beweging patroon as die Sinfonietta, dit is meer ambisieuse skaal. en aangesien die skets is, buitengewoon vir Britten, voltooi in feitlik elke detail, dit is 'n raaisel dat hy nooit 'n volle telling van die werk na die afwerking van die samestelling, en het blykbaar geen poging om dit te kry uitgevoer gemaak. Dit is nie duidelik of hy besonder presteerders in gedagte. Hy was, natuurlik, 'n altviool, hoewel hy waarskynlik nie het bedoel om die deel vir homself. Hy het die werk aan sy samestelling onderwyser by die kollege, John Ierland, wat, soos Britten in sy dagboek aangeteken, was 'redelik tevrede' met dit. maar dit is duidelik moontlik dat sy ervaring in repeteer die Sinfonietta met 'n student orkes in 1932. "Ek het nog nooit so 'n verskriklike ry gehoor. "Lees 'n ander dagboekinskrywing. ontmoedig gaan oor die Double Concerto in telling te voltooi. Hy was nie een van sy orkeswerke te hoor tot by die eerste vertoning van ons Jag Vaders in 1936. In die afwesigheid van Britten se volle telling was dit nodig vir my om die werk voor te berei uit die skets. Maar die instrumentasie is so noukeurig in die konsep dat die gevolglike telling is nie ver van 100% Britten aangedui - slegs tussen bars 70 en 74 van die stadige beweging het daar blyk 'n behoefte om iets beduidende te voeg tot Britten se tekstuur te wees. Die Double Concerto. Britten se manuskrip titel was 'Concerto In B mineur', maar hy verwys na dit in sy dagboek, in kenmerkende snelskrif, as '2ble Concerto'. is die jongste toevoeging tot sy korpus van werke, meestal dateer uit Britten se jeug en vroeë volwassenheid, wat sedert sy dood, het herleef ná baie jare, of vir die eerste keer. Britten homself soms terug na sy vroeë werke, en in sy laaste jaar hersien beide die vroeë String Quartet in D van 1931 en die opera Paul Bunyan. Die Klavier telling afsonderlik gepubliseer is nie 'n vermindering van die orkespartituur, maar 'n transkripsie van Britten se samestelling skets, insluitend sy aanduidings van instrumentasie. Die eerste vertoning van die Double Concerto gegee aan die 50 Aldeburgh Festival deur Katherine Hunka en Philip Dukes, met die Britten-Pears-orkes uitgevoer deur Kent Nagano, op 15 Junie 1997. -Colin Matthews.