Virtuoso Cello Encores
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VIRTUOSO CELLO ENCORES Gaspar Cassado (1897-1966) 1) Dance of the Green Devil David Popper (1843-1913) 2) Fantasy on Little Russian Songs, Op. 43 3)...
VIRTUOSO CELLO ENCORES
Gaspar Cassado (1897-1966)
1) Dance of the Green Devil
David Popper (1843-1913)
2) Fantasy on Little Russian Songs, Op. 43
3) Serenade, Op. 54, No. 2
Johann Sebastian Bach (1685-1750)
4) Suite No. 3 in D major, BWV 1068: Air (transcribed by Leonard Rose)
Franz Schubert (1797-1828)
5) Standchen (Serenade) (transcribed by Henri Marteau)
Franz Schubert (1808-1878)
6) Die Biene (The Bee) (transcribed by Werner Thomas-Mifune)
Enrique Granados (1867-1916)
7) Goyescas: Intermezzo (transcribed by Gaspar Cassado)
Dmitry Shostakovich (1906-1975)
8) The Gadfly, Op. 97: Tarantella (transcribed by Jusas Tschelkauskas)
Maurice Ravel (1875-1937)
9) Habanera (transcribed by Paul Bazelaire)
Claude Debussy (1862-1918)
10) 24 Preludes: No. 8 - The Girl with the Flaxen Hair (transcribed by L.-R. Feuillard)
Jean Baptiste Senaille (1687-1730)
11) Allegro spiritoso (transcribed by J. Salmon)
Henri Vieuxtemps (1820-1881)
12) Cantilena, Op. 48, No. 24 (transcribed by Jenő Hubay)
Siegfried Barchet (1918-1982)
13) Images de Menton: Boulevad de Garavan
Jacques Offenbach (1819-1880)
14) Danse Bohemienne, Op.28
Sergey Rachmaninov (1873-1943)
15) Vocalise, Op. 34, No. 14 (transcribed by Leonard Rose)
George Gershwin (1898-1937)
16) Short Story (transcribed by Samuel Dushkin)
The violoncello, generally known in a nonsensical
abbreviation as the cello, developed as the bass instrument
of the violin family in the early sixteenth century. Its
emancipation began towards the end of the seventeenth
century, when composers occasionally gave the
instrument freedom from the bass line. In Bologna at the
Basilica of San Petronio, cellist-composers wrote solo
sonatas and concerto movements for the cello, while the
newly developed concerto grosso allowed occasional
virtuosity, with a solo cello included in the group of
soloists forming the usual concertino group. The new
century brought full solo concertos for the instrument
from composers like Vivaldi in Venice, and from Bach in
Cothen a set of six suites for unaccompanied cello. The
cello continued to serve a double purpose, as an essential
component of the basic string orchestra or the classical
string quartet, with occasional excursions into virtuosity.
It was left to the nineteenth century to produce a series of
cellist-composers and composers for the cello, drawing
inspiration from the compositions of the period for the
violin, and eventually providing a smaller but significant
romantic repertoire.
Among the great cellists of the present century was
Gaspar Cassado, who was born in Barcelona in 1897. He
started to learn the cello at the age of seven and two years
later gave his first public concert. In 1910 he became a
pupil of Casals in Paris, where he was also influenced by
Ravel and his compatriot Manuel de Falla. In 1914 he
returned to Barcelona and there studied harmony and
counterpoint with his father during the war years,
embarking on a career as a soloist with tours throughout
Europe and in South America in 1918. His Dance of the
Green Devil is a characteristic jeu d'esprit. Cassado died
in Madrid in 1966.
David Popper was a pupil of Goltermann at the
Conservatory in Prague, where he had been born in 1843,
the son of the Prague Kantor. He started his virtuoso
career in 1863, working often with Hans von Bülow. In
1868 he became principal cellist at the Vienna Court
Opera and later joined the Hellmesberger Quartet. From
1896 until his death in 1913 he taught at the Budapest
Conservatory. Popper wrote extensively for the cello,
providing useful studies and seventy or so attractive salon
pieces, in addition to more substantial concertos and a
Requiem for three cellos and orchestra. His choice of
Russian melody for his Fantasy, Op. 43, allows an
interesting development of very characteristic material
and much technical display. The latter element finds a
less obtrusive place in Popper's mellifluous Serenade,
Op. 54, No. 2.
The famous Air on the G string owes its popular title
to the violinist August Wilhelmj. It is in fact the Air from
Bach's D major orchestral Suite, where it is certainly not
confined to the G string. The present transcription for
cello is by the distinguished American cellist Leonard
Rose.
Schubert's Standchen (Serenade) enjoys popularity in
its original form, as a song, and also in a variety of
transcriptions. The song, a setting of a poem by Rellstab,
was written in August 1828, three months before
Schubert's death, and was published posthumously in the
first volume of Schwanengesang. The Dresden composer
Franz Schubert, born in that city in 1808, had just as much
right to his name as his more famous older contemporary
in Vienna. Named after his father, a double bass player
and composer, Franz Schubert studied for a time in Paris,
where he became a friend of Chopin, but is probably best
remembered for one popular piece, Die Biene (The Bee).
Enrique Granados belongs to an earlier generation of
Barcelona composers than Cassado, who arranged the
Intermezzo from the opera Goyescas for cello and piano.
The opera itself, the first Spanish opera ever to be
performed at the Metropolitan Opera in New York, where
it was staged in January 1916, was derived musically from
a set of piano pieces of the same title. The work was
inspired by the painting of Goya and is a story of love
and jealousy, ending in tragedy. Granados was drowned
in the English Channel in 1916, when the ship he had
taken from Liverpool was torpedoed, a misfortune he
might have avoided, had he not been detained in the
United States to play for the President of that country and
therefore been obliged to sail on an English ship for the
final stage of his voyage home.
Shostakovich wrote a considerable amount of music
for films, from his score for New Babylon in 1929 to
music in 1970 for King Lear. The Tarantella, a version of
the energetic and restless Neapolitan dance, was written
in 1955 for the folk festival scene in The Gadfly.
Ravel, Swiss by paternal ancestry and Basque through
his mother, combined these two strains in a very French
synthesis. His Habanera, well known in a number of
arrangements, was originally a piano piece, completed in
1897 and making use of a Cuban dance-form popularised
by Yradier, a composer to whom Bizet was indebted in his
Spanish opera Carmen. Debussy, thirteen years Ravel's
senior, resented comparison with his compatriot, whose
style of composition was, in any case, generally very
different in character. The Girl with the Flaxen Hair was
written as a piano piece, one of the first book of Preludes,
written and published in 1910.
Jean Baptiste Senaille belongs to an earlier generation
of French composers. The son of a member of the French
royal orchestra, the 24 Violons du Roi, he succeeded his
father in 1713, and from 1720 until his death in 1730
remained in the royal service. His compositions consist
principally of some fifty sonatas for violin and basso
continuo, a number of them arranged for other solo
instruments in the eighteenth century and later.
Henri Vieuxtemps, known principally as one of the
great violinists of the nineteenth century, wrote a
considerable amount of music for his own use, concertos,
salon pieces, fantasies and studies. One of his brothers
was a pianist and the other a cellist working at first at the
Italian opera in London and then serving as principal
cellist with the Halle Orchestra in Manchester. The
Cantilena, true to its name, serves the cello very well.
Siegfried Barchet takes the cello into the world of Segovia
and the guitar, providing an attractive vehicle for a novel
use of the instrument in his Boulevard de Garavan from
Images de Menton.
Offenbach is well enough known for his sparkling
Parisian operettas. His early career, however, was as a
cellist, initially in a trio with his violinist brother and
pianist sister, and then in the orchestra of the Paris Opera-
Comique. In addition to a number of works for cello and
orchestra, he wrote solos, duos and studies for his
instrument, many of them making considerable demands
on the player.
The Vocalise by Rachmaninov has long served
instrumentalists rather better than the singers for whom it
was conceived. Written in 1912, it was revised in 1915,
and seems imbued with the sweet melancholy of a world
that was passing. Rachmaninov's own life was compelled
into a different course after the revolution of 1917, when
he left Russia to make a career abroad for himself and
those members of his family he could take with him.
Gershwin's Novelettes, written in 1925, were arranged
by the Polish-born violinist Samuel Dushkin, pupil of
Auer and Kreisler and a friend and collaborator with
Stravinsky, for violin and piano, under the title Short
Story. The piece takes the performer and listener to the
entrance, at least, of Tin Pan Alley.
Keith Anderson
Dance of the Green Devil (more info)
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Dance of the Green Devil - 4:04
Fantasy on Little Russian Songs, Op. 43 (more info)
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Fantasy on Little Russian Songs, Op. 43 - 11:38
Serenade (Spanish Dance), Op. 54, No. 2 (more info)
Composed by:
David Popper
Raimund Havenith, piano
Janos Starker, cello
Maria Kliegel, cello
Guido Schiefen, cello
Mark Kosower, cello
Jee-Won Oh, piano
Therese Motard, cello
Louise-Andree Baril, piano
Shigeo Neriki, piano
Olaf Dressler, fortepiano
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Serenade, Op. 54, No. 2 - 3:58
Overture (Suite) No. 3 in D major, BWV 1068: II. Air, "Air on a G String" (arr. L. Rose) (more info)
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Overture (Suite) No. 3 in D major, BWV 1068: II. Air, "Air on a G String" (trans. L. Rose) - 5:28
Schwanengesang, D. 957 (arr. H. Marteau) (more info)
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Schwanengesang, D. 957: No. 4, Standchen (Serenade) (trans. H. Marteau) - 4:07
12 Bagatelles, Op. 13 (arr. W. Thomas-Mifune) (more info)
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12 Bagatelles, Op. 13: No. 9, Die Biene (The Bee) (trans. W. Thomas-Mifune) - 1:17
Goyescas: Intermezzo (arr. G. Cassado) (more info)
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Goyescas: Intermezzo (trans. G. Cassado) - 4:57
The Gadfly Suite, Op. 97a (arr. J. Tschelkauskas) (more info)
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The Gadfly, Op. 97: Tarantella (trans. J. Tschelkauskas) - 3:04
Piece en forme de habanera (arr. P. Bazelaire) (more info)
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Vocalise-etude en forme de habanera (trans. P. Bazelaire) - 2:58
Preludes, Book 1: No. 8. La fille aux cheveux de lin (The Girl with the Flaxen Hair) (arr. L.R. Feuillard) (more info)
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24 Preludes: No. 8, The Girl with the Flaxen Hair (trans. L. R. Feuillard) - 2:24
10 Violin Sonatas, Book 1 (arr. J. Salmon) (more info)
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10 Violin Sonatas, Book 1: No. 5 in D minor: Allegro spiritoso (trans. J. Salmon) - 2:29
36 Etudes, Op. 48 (arr. J. Hubay) (more info)
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36 Etudes, Op. 48: No. 24, Cantilena (trans. J. Hubay) - 6:36
Boulevard de Garavan (more info)
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Boulevard de Garavan - 1:37
Danse Bohemienne, Op. 28 (more info)
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Danse bohemienne, Op. 28 - 10:19
14 Songs, Op. 34 (arr. L. Rose) (more info)
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Vocalise, Op. 34, No. 14 (trans. L. Rose) - 6:53
Short Story (arr. S. Dushkin for cello and piano) (more info)
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Short Story (trans. S. Dushkin) - 2:59