Modern Violin, Viola and Cello Concertos

Concerto for Violin and Orchestra - Robert Groslot

Composed from August until October 2014

Live Recording of the Premiere at the Konzerthaus Berlin on February 4th 2015
Viola: Isabelle-Fleur Reber
Conductor: Antoine Rebstein
Junges Orchester der FU Berlin

www.hectormarroquin.com

Bratschenkonzert [Viola Concerto] (Live Recording / Berlin 2015)

Viola Con­certo (1995) was writ­ten for Atar Arad. Every idea in the piece reflects one of the mar­velous qual­i­ties of a viola in the hands of an artist. No other instru­ment has such a nat­ural warmth, mys­tery, ami­able joc­u­lar­ity, forth­right direct­ness, and folk-like voice. In this Viola Con­certo, the sound and char­ac­ter of the solo instru­ment is set apart from its sur­round­ings in a vari­ety of ways; the viola and orches­tra rarely share material.

The one-movement form pro­vides ample oppor­tu­ni­ties for sec­tional over­lap­ping, jux­ta­po­si­tion­ing, inter­lock­ing, and cross-referencing, but the lis­tener should be able to rec­og­nize six dis­tinct sec­tions (aver­ag­ing 3–4 min­utes in length) which alter­nate slow and fast tem­pos. The ini­tial idea, a ges­ture which grows out of a repeated C£ (marked &Mac185;, mar­cato, relent­less) presents a rit­u­al­is­tic char­ac­ter which re-appears through­out the piece. The three fast sec­tions are defined by (sec­tion 2 – at CD track time 3:03) demonic, inci­sive stac­cato eighth-notes; (sec­tion 4 – at 7:49) a “rus­tic, hearty” folk-like melody pep­pered with dri­ving repeated 32nd-notes inter­laced with the orchestra’s del­i­cate triplet weav­ings; and (sec­tion 6 – at 16:40) a bright, high-spirited scherzo-finale. The work’s cen­ter of grav­ity is the piv­otal fifth sec­tion, a free “Blues” (at 12:50).

Viola Con­certo is scored for 2 antiphonal wind quin­tets, per­cus­sion, harp, piano and strings.

Atar Arad  is Pro­fes­sor of Viola at the Indi­ana Uni­ver­sity School of Music. His hon­ors and prizes include Artist Diploma, Israeli Acad­emy, 1966. Graduo, La Chapelle Musi­cale de la Reine Elis­a­beth, Brus­sels, 1971. He won First Prize, Geneva Inter­na­tional Com­pe­ti­tion, 1972. He has been prin­ci­pal vio­list for the Frank­furt Sym­phony Orches­tra, Senior Lec­turer at the Royal North­ern School of Music and Rice Uni­ver­sity. He was the vio­list of the Cleve­land Quar­tet from 1980–87. He has been Artist-Faculty at the Aspen Music Fes­ti­val, and has appeared in con­cert tours and fes­ti­vals world­wide, includ­ing fea­tured per­for­mances in Berlin, Edin­burgh, Israel, Paris and Salzburg.

Score PDF: http://www.donfreund.com/media/scores/chamber_orchestra/Viola_Concerto_score.pdf
Publisher: Lauren Keiser Music Publishing
Other scores: http://donfreund.com/

Viola Concerto (1995)

Unknown Album

Cello Concerto (1979)

'Tributes' Violin concerto, by James M. Stephenson.
Premiered by Jennifer Frautschi, with the Minnesota Orchestra/Osmo Vanska. April 11-14, 2012.

Stephenson - Tributes concerto for Violin and Orchestra

Live performance of James M. Stephenson's Fantasie concerto for violin and orchestra.
Alex Kerr, soloist, with the Rhode Island Philharmonic; Larry Rachleff conducting.

Stephenson -  Fantasie for Violin and Orchestra (complete)

Performed by Roger Myers, with the Idyllwild Arts Academy Orchestra; Peter Askim, Music Director

Peter Askim: Viola Concerto

200326 Second Violin Concerto

Commissioned by the Manhattan Sinfonia and violist Karen Dreyfus. Premiered at Alice Tully Hall in 1993. Recorded here with the Warsaw Philharmonic under the direction of George Manahan and Karen Dreyfus as soloist.

Program Notes:
"I have had the good fortune to have worked with and composed for some of America's finest violists, among whom several stand out: James Dunham of the Cleveland Quartet, Marcus Thompson, Walter Trampler, Sol Greitzer, and, most recently, Karen Dreyfus, who will give the world premiere of my Viola Concerto No. 3.
"It is to the many lessons and experiences taught me by these wonderful violists that my new concerto owes its creative and spiritual stimulus. My third concerto seeks to compress the most resonant tonal areas inherent in the viola, and at the same time, expand these areas into a romantic weave of dialogue and argument.
"Cast in three movements, there are strong Baroque and Classical reminiscences which nourish the musical narrative in traditional fashion.
"Throughout the Concerto's extended development, the intrinsic difficulties of balance and compatibility between the solo viola and the orchestra are compensated for in several ways. There are many interspersed cadenzas of varying length, as well as antiphonal passages between solo and tutti and strong orchestral developments which allow the viola to remain silent from time to time.    
"I was not content with 'baby-fied' accompaniments behind the soloist. Rather, I sought a rich and texturally interesting orchestral backdrop, giving the orchestra players an interactive role in the narrative. At the same time, I hoped to preserve and showcase the richness of the viola's most sonorous properties, or dramatis personae if you will.
"Beyond all explanation, the Concerto strives for direct and visceral communication, so as to draw the listener into its action and emotional drama."
—William Thomas McKinley (© 1993), from 22 Feb 1993 and 23 Feb 1993 programs.

Concerto No. 3 for Viola and Orchestra (1992): III. Prestissimo e diabolico

Concerto No. 3 for Viola and Orchestra (1992): II. Largo

Concerto No. 3 for Viola and Orchestra (1992): I. Lamento

JAAP VAN ZWEDEN conducts
ALEXANDER KERR violin

JONATHAN LESHNOFF Violin Concerto No. 2

JONATHAN LESHNOFF Violin Concerto No. 2

Commissioned by Sol Greitzer and premiered with Greitzer as soloist with Jorge Mester conducting the Pasadena Symphony Orchestra in 1987. Recorded here with Karen Dreyfus and the Silesian Philharmonic under the direction of Jerzy Swoboda.

Program Notes:
"Composing in a neo-tonal, euphonious, contemporary language, I owe much to the achievements of the American romantic composers such as George Gershwin and William Schuman filtered and synthesized through my own personal experiences in American jazz. Although this new concerto is not meant to be an overtly jazzy work, the listener who is familiar with certain modern tonalities of jazz and popular music will hear the expansion of these tonalities along with modernist rhythmic elements, cast within a wide palette of orchestral color.
"I envisioned Sol Greitzer's role in the manner of Harold in Italy. (We have occasionally teased with the idea of 'Sol in Los Angeles' or 'Sol in NewYork'). The viola part is quite continuous, seldom resting, and moves in and out of phase with the orchestra. Its presence is usually dominant, but sometimes the viola is meant to be heard only as part of the total fabric. This allows me to indulge occasionally in the large sound of the orchestra and, due to intrinsic problems of balance when the viola is used as a concerto solo instrument, I was faced with the traditional task of balancing the viola against the orchestra while at the same time justifying and enhancing the orchestral presence and involvement in the musical dialogue. Thus, as in Harold in Italy, my concerto may be viewed as a symphony with the cantus firmus or main thread of continuity throughout the work's entirety centered in the solo part.
"There are three movements, the first cast a la Haydn in a monothematic or distilled sonata form, the second a veritable presto vivo scherzo type, and the finale a chaconne cast in a very large, developing variation form not entirely unlike the form of the passacaglia in Brahms' Fourth Symphony. There are cadenzas in the first and last movements interspersed with smaller quasi-cadenza-like passages. The cadenza in the third movement begins accompanied and gradually evolves into solo. Although I have used principally classical structures for the concerto's architecture, the overall drama does indeed unfold in a long-lined, romantically lyrical manner. Melody is extremely important.  Only in the domain of harmony and color have I consciously sought a modern surface."
— William Thomas McKinley (© 1987), from 13 Mar 1987 program.

Concerto for Viola and Orchestra No. 2 (1985): III. Molto maestoso

Concerto for Viola and Orchestra No. 2 (1985): II. Vivo

Concerto for Viola and Orchestra No. 2 (1985): I. Andante ma non troppo

The Blue Room, mmt 1  - Concerto for Violin and Orchestra

The Blue Room, mmt 2  - Concerto for Violin and Orchestra

Primavera Doubles (2000)
Double Con­certo for Vio­lin, Cello, and Orches­tra

Pri­mav­era Dou­bles (2000) was com­mis­sioned by the Bald­win Wal­lace Con­ser­va­tory of Music for vio­lin­ist Julian Ross, cel­list Regina Mushabac, and the Con­ser­va­tory Orches­tra, con­ducted by Dwight Olt­man. This Dou­ble Con­certo fea­tures a pair of soloists, but there are other “doubles”as well: each of the three move­ments is a double-movement; reflec­tions of mate­r­ial using vari­a­tion and imi­ta­tion pop­u­late the work; and two-voice writ­ing is abun­dant — the most obvi­ous exam­ple being “Echo la Pri­mav­era,” a two-voice madri­gal by 14th-century Ital­ian com­poser Francesco Lan­dini, which haunts the piece, appear­ing in var­i­ous guises and finally pro­vid­ing the work’s conclusion.

First Dou­bles: Sug­ges­tions and Saun­ter­songs begins with a dou­ble cadenza that is intro­duced and inter­rupted by a uni­son tutti motto rhythm which will re-appear obses­sively in the last move­ment. The cadenza fades to a glim­mer of dis­em­bod­ied Lan­dini and then to the Saun­ter­songs, pre­sented over a trundling pas­sacaglia bass.

Sec­ond Dou­bles: Scher­zos and Somber­songs breaks in with a rough, tur­bu­lent tutti act­ing as a foil to another lighter scherzo, which pits the pair of string soloists against a pair of drum­mers. The ensu­ing Somber­songs sim­i­larly alter­nate dark, brood­ing phrases (tuba solo answered by cello) with a high, bright ver­sion of the Lan­dini (vio­lin and glock­en­spiel, echoed by flutes). Other soul­ful and even­tu­ally radi­ant dia­logues fol­low, closed by a ghostly return of the “pairs” scherzo.

Third Dou­bles: Swag­ger­song and Saltarello reverses the shape of the other move­ments, begin­ning with a heav­ily char­ac­tered folk-song which accel­er­ates into a swirling dance. At the end, the open­ing cadenza returns, but this time it leads to a cul­mi­nat­ing invo­ca­tion of Landini’s “Pri­mav­era” madrigal.

Score PDF: http://www.donfreund.com/media/scores/orchestra/Primavera_Doubles_score.pdf
Publisher: Lauren Keiser Music Publishing
Other scores: http://www.donfreund.com

Primavera Doubles (2000)- First Dou­bles: Sug­ges­tions and Saun­ter­songs

Primavera Doubles (2000)
Double Con­certo for Vio­lin, Cello, and Orches­tra

Pri­mav­era Dou­bles (2000) was com­mis­sioned by the Bald­win Wal­lace Con­ser­va­tory of Music for vio­lin­ist Julian Ross, cel­list Regina Mushabac, and the Con­ser­va­tory Orches­tra, con­ducted by Dwight Olt­man. This Dou­ble Con­certo fea­tures a pair of soloists, but there are other “doubles”as well: each of the three move­ments is a double-movement; reflec­tions of mate­r­ial using vari­a­tion and imi­ta­tion pop­u­late the work; and two-voice writ­ing is abun­dant — the most obvi­ous exam­ple being “Echo la Pri­mav­era,” a two-voice madri­gal by 14th-century Ital­ian com­poser Francesco Lan­dini, which haunts the piece, appear­ing in var­i­ous guises and finally pro­vid­ing the work’s conclusion.



First Dou­bles: Sug­ges­tions and Saun­ter­songs begins with a dou­ble cadenza that is intro­duced and inter­rupted by a uni­son tutti motto rhythm which will re-appear obses­sively in the last move­ment. The cadenza fades to a glim­mer of dis­em­bod­ied Lan­dini and then to the Saun­ter­songs, pre­sented over a trundling pas­sacaglia bass.

Sec­ond Dou­bles: Scher­zos and Somber­songs breaks in with a rough, tur­bu­lent tutti act­ing as a foil to another lighter scherzo, which pits the pair of string soloists against a pair of drum­mers. The ensu­ing Somber­songs sim­i­larly alter­nate dark, brood­ing phrases (tuba solo answered by cello) with a high, bright ver­sion of the Lan­dini (vio­lin and glock­en­spiel, echoed by flutes). Other soul­ful and even­tu­ally radi­ant dia­logues fol­low, closed by a ghostly return of the “pairs” scherzo.

Third Dou­bles: Swag­ger­song and Saltarello reverses the shape of the other move­ments, begin­ning with a heav­ily char­ac­tered folk-song which accel­er­ates into a swirling dance. At the end, the open­ing cadenza returns, but this time it leads to a cul­mi­nat­ing invo­ca­tion of Landini’s “Pri­mav­era” madrigal.

Score PDF: http://www.donfreund.com/media/scores/orchestra/Primavera_Doubles_score.pdf
Publisher: Lauren Keiser Music Publishing
Other scores: http://www.donfreund.com

Primavera Doubles (2000) Sec­ond Dou­bles: Scher­zos and Somber­songs

Primavera Doubles (2000)
Double Con­certo for Vio­lin, Cello, and Orches­tra

Pri­mav­era Dou­bles (2000) was com­mis­sioned by the Bald­win Wal­lace Con­ser­va­tory of Music for vio­lin­ist Julian Ross, cel­list Regina Mushabac, and the Con­ser­va­tory Orches­tra, con­ducted by Dwight Olt­man. This Dou­ble Con­certo fea­tures a pair of soloists, but there are other “doubles”as well: each of the three move­ments is a double-movement; reflec­tions of mate­r­ial using vari­a­tion and imi­ta­tion pop­u­late the work; and two-voice writ­ing is abun­dant — the most obvi­ous exam­ple being “Echo la Pri­mav­era,” a two-voice madri­gal by 14th-century Ital­ian com­poser Francesco Lan­dini, which haunts the piece, appear­ing in var­i­ous guises and finally pro­vid­ing the work’s conclusion.

First Dou­bles: Sug­ges­tions and Saun­ter­songs begins with a dou­ble cadenza that is intro­duced and inter­rupted by a uni­son tutti motto rhythm which will re-appear obses­sively in the last move­ment. The cadenza fades to a glim­mer of dis­em­bod­ied Lan­dini and then to the Saun­ter­songs, pre­sented over a trundling pas­sacaglia bass.

Sec­ond Dou­bles: Scher­zos and Somber­songs breaks in with a rough, tur­bu­lent tutti act­ing as a foil to another lighter scherzo, which pits the pair of string soloists against a pair of drum­mers. The ensu­ing Somber­songs sim­i­larly alter­nate dark, brood­ing phrases (tuba solo answered by cello) with a high, bright ver­sion of the Lan­dini (vio­lin and glock­en­spiel, echoed by flutes). Other soul­ful and even­tu­ally radi­ant dia­logues fol­low, closed by a ghostly return of the “pairs” scherzo.

Third Dou­bles: Swag­ger­song and Saltarello reverses the shape of the other move­ments, begin­ning with a heav­ily char­ac­tered folk-song which accel­er­ates into a swirling dance. At the end, the open­ing cadenza returns, but this time it leads to a cul­mi­nat­ing invo­ca­tion of Landini’s “Pri­mav­era” madrigal.ç

Score PDF: http://www.donfreund.com/media/scores/orchestra/Primavera_Doubles_score.pdf
Publisher: Lauren Keiser Music Publishing
Other scores: http://www.donfreund.com

Modern Violin, Viola and Cello Concertos

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