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Topic: Concertino for cello and orchestra. new work.

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  1. #1

    Concertino for cello and orchestra. new work.

    Well, "new" I guess is relative!

    This is the orchestration (and all of the incumbent changes that went along with that orchestration) of my sonata for cello and piano.

    It's scored for a small orchestra: 2222/2200/cello solo/strings

    Due to the orchestration, there are many changes between the original chamber version and this much larger version.

    In a sense, it is an unusual form for a concerto (or a sonata for that matter). It's a theme and 7 variations, but where the theme and variations subsume the entire structure of a four movement sonata.

    Theme plus Variations 1-3 is the "sonata-allegro" first movement.
    Variations 4 and 5 are the "Scherzo".
    Interludium and Variation 6 are the "slow" movement.
    And the 7th variation is the final "Rondo".

    Everything you could possibly want in a "classical era" sonata form

    the exact details of each variation:
    1st movement:
    1 - Lento, pulsing chords, supporting horn, lyrical cello
    2 - Grazioso, sweeping woodwinds and strings, excited cello
    3 - Cadenza, violent and dramatic, solo cello
    2nd movement:
    4 - Toccata, aggressive, punctuated
    5 - Fuga, rhythmic, light, humorous
    3rd movement:
    - - Interludium, rising phrase, moment of respite
    6 - Adagio, slow, sad, lyrical melody over softly pulsing strings
    4th movement
    7 - Allegro return to the opening material, including snippets from most of the preceding variations.

    The recording is the old Garritan Gofriller Solo Cello library, and all GPO orchestral accompaniment.
    Performed by Finale 2012b, using HumanPlayback, and the Ambience reverb.

    Recording of the Concertino

    At around 16 minutes, it's a bit of a large chunk to take in... but hey, it's still shorter than either of my symphonies.

    Amusing (and totally insignificant) details:
    -The concertino begins and ends on a chord of C major.
    -One of the only works in my catalog that contains key signatures.
    -The 6th variation is actually the first part I wrote, even before writing the "theme"... so in effect, the theme is a variation, and variation 6 is the theme.
    -Originally orchestrated for a MUCH larger ensemble, that version has since been discarded.

  2. #2

    Re: Concertino for cello and orchestra. new work.

    16 mins that's worth spending.

    Fabio
    Arrigo Beyle / Milanese / Lived, wrote, loved -- Stendhal
    Being Italian is a full-time job -- B. Severgnini

  3. #3

    Re: Concertino for cello and orchestra. new work.

    I Must echo Fabio's long string of applauding emoticons - I just spent the most rewarding 16 minutes I've had in recent memory.

    I love every moment of this, Michel. The final movement, with its bits and dashes from the whole piece really wrapped things up with an exciting splash.

    Take a bow and as many curtain calls as you want.

    Randy

  4. #4

    Re: Concertino for cello and orchestra. new work.

    thanks Fabio and Randy.

    I'm also very very happy with this work.
    In my mind, it works far better as an orchestral work than in its original form as a cello/piano duet.

    I'm very happy with the orchestration as well, although I'm aware that there are a few spots where the conductor will have to keep a tight rein on the orchestra to not completely drown out the soloist.

    happily, the young soloist to whom it is dedicated enjoyed the work very much.
    I had sent him a message about some particularly troublesome doublestops in the cadenza, and happily, he sent me back a message saying "it is hard as hell, but playable. This is really brilliant idiomatic writing!"

    Now THAT is a ringing endorsement.

  5. #5

    Re: Concertino for cello and orchestra. new work.

    It's scored for a small orchestra: 2222/2200/cello solo/strings
    What are these numbers?
    Listened to it. Really intriguing! Must come back tomorrow for a second view. It is quite late now to make any comment.

    Raymond

  6. #6

    Post Re: Concertino for cello and orchestra. new work.

    Quote Originally Posted by Raymond62 View Post
    What are these numbers?
    Listened to it. Really intriguing! Must come back tomorrow for a second view. It is quite late now to make any comment.

    Raymond
    2222/2200/cello solo/strings

    it means:
    2 flutes, 2 oboes, 2 clarinets, 2 bassoons / 2 horns, 2 trumpets, no trombones, no tuba / cello solo / strings.

    it's the standard way of enumerating the orchestration of a work.
    instruments are listed by numbers (for quantity), and in groups (for the different choirs of the orchestra).

    if there were underlined numbers, they would indicate that there are auxiliary instruments...

    for example,

    2332/4431 / timp., 2 perc.,/solo piano/strings

    means:
    2 flutes, 3 oboes, with third on english horn, 3 clarinets with 3rd on either bass clarinet or Eb clarinet, then 2 bassoons, a regular full brass section of 4 horns, 3 trombones (no need to specify that one is bass trmb.), tuba, then a timpanist, and 2 percussionists, a solo piano, and a string section.

    as you see, the numeric method is far more efficient space-wise! LOL

    when notating this way, you always put the standard group of four kinds of woodwinds, in orchestral order, then the four orchestral brass, again, in orchestral score order. After that, if you have timpani and percussion, you list them in order. If there are two timpani performers then write "2 timp." (and not the number of actual drums.. it is assumed that there are four). If there are multiple percussionists, add the number of players (no need to actually list the instruments themselves). Then would come a harp, or an organ, or a soloist, or all three of those, or a chorus, and finally, just "strings" which is presumed to mean a full quintet.

    This method of listing instrumentation is useful mostly for catalogs. it is concise and precise. it's not perfect, obviously, as underlined woodwinds could mean multiple auxiliary instruments. but for standard orchestrations, it's quite effective.

    In an orchestral score, it is imperative to actually list the instruments completely on one of the preface pages.

  7. #7

    Re: Concertino for cello and orchestra. new work.

    Really one of the best pieces for cello and orchestra I've ever listened to.
    Again, bravo!
    Fabio
    Arrigo Beyle / Milanese / Lived, wrote, loved -- Stendhal
    Being Italian is a full-time job -- B. Severgnini

  8. #8

    Re: Concertino for cello and orchestra. new work.

    Is there also a number for applaus!!!! Listened to it again and it is just..... great I think. I can't invent the right word for it.

    Raymond

  9. #9

    Re: Concertino for cello and orchestra. new work.

    many thanks, again.

    I've gotten very good reactions from people for this work, particularly the young cellist to whom it is destined.
    He sent me another message yesterday regarding the concertino. It's so exciting to be in contact with vibrant young artists. It is also very inspiring

    To the extent that I have finally decided that I WILL start work on my 1st opera. I can't guarantee the quality of my operatic writing, I hope that my love of opera will guide me along the way.

  10. #10

    Re: Concertino for cello and orchestra. new work.

    Quote Originally Posted by qccowboy View Post
    ..............To the extent that I have finally decided that I WILL start work on my 1st opera. I can't guarantee the quality of my operatic writing, I hope that my love of opera will guide me along the way.
    Good luck. Looking at your present work, it will be great. Don't hurry and always stick to the "ground-plan".

    Raymond

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