
Wydawnictwo: Chandos
Nr katalogowy: CHAN 10881
Nośnik: 1 CD
Data wydania: listopad 2015
EAN: 95115188125
Nr katalogowy: CHAN 10881
Nośnik: 1 CD
Data wydania: listopad 2015
EAN: 95115188125
Nasze kategorie wyszukiwania
Epoka muzyczna: współczesna, 20 wiek do 1960
Obszar (język): angielski, angielski (USA)
Instrumenty: wiolonczela, fortepian
Rodzaj: sonata
Epoka muzyczna: współczesna, 20 wiek do 1960
Obszar (język): angielski, angielski (USA)
Instrumenty: wiolonczela, fortepian
Rodzaj: sonata
Barber / Bernstein / Carter: American Works for Cello and Piano
Chandos - CHAN 10881
Utwory na płycie:
Samuel Barber:
Sonata, Op. 6
Elliot Carter:
Sonata
Aaron Copland:
Waltz and Celebration
George Crumb:
Sonata for Solo Cello
Leonard Bernstein:
Three Meditations from Mass
Sonata, Op. 6
Elliot Carter:
Sonata
Aaron Copland:
Waltz and Celebration
George Crumb:
Sonata for Solo Cello
Leonard Bernstein:
Three Meditations from Mass
Having explored much of twentieth-century British works for cello and piano, the Watkins brothers now turn their attention to
the American contribution to this repertoire. The music spans a fascinating period of some four decades of intensive
compositional activity in the United-States. The earliest piece in the collection, Barber’s Cello Sonata (1932), was for many
years considered as the only modern work in the genre. It is imbued with an intensely romantic spirit utterly different from the
folk-tinged nationalism of contemporaneous music by Copland, represented here by arrangements of two numbers from his
popular cowboy ballet Billy the Kid. Carter’s highly original and technically demanding Cello Sonata and Crumb’s
idiosyncratic Sonata for Solo Cello are worlds apart from the traditional vein of Barber piece. The works marked watershed
moments in the stylistic development of two of the most imaginative and distinctive creative voices of their time. Lastly, the
‘Meditations’ offer a contrast between searing melancholy and moments of jazzy dynamism, typical of Bernstein’s stylistic
eclecticism.
the American contribution to this repertoire. The music spans a fascinating period of some four decades of intensive
compositional activity in the United-States. The earliest piece in the collection, Barber’s Cello Sonata (1932), was for many
years considered as the only modern work in the genre. It is imbued with an intensely romantic spirit utterly different from the
folk-tinged nationalism of contemporaneous music by Copland, represented here by arrangements of two numbers from his
popular cowboy ballet Billy the Kid. Carter’s highly original and technically demanding Cello Sonata and Crumb’s
idiosyncratic Sonata for Solo Cello are worlds apart from the traditional vein of Barber piece. The works marked watershed
moments in the stylistic development of two of the most imaginative and distinctive creative voices of their time. Lastly, the
‘Meditations’ offer a contrast between searing melancholy and moments of jazzy dynamism, typical of Bernstein’s stylistic
eclecticism.