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Original tekst

Violintango Concerto.

Oversættelse

Violintango Concerto.

Original tekst

Violintango Concerto composed by Melani Mestre. For violin and string orchestra. Published by Editorial de Musica Boileau. BO.B.3671. The piece, structured in three movements, Allegro - Lento - Allegro, is written, as its name suggests, for a solo violin accompanied by an orchestra -a string orchestra, in this case. Its name aims at relating the composition not only to the instrument for which it was conceived, but also to the genre that marks the aesthetic content of the work. this is the only existing original concert for violin and orchestra of this category to date. The piece was written in February 2009 in the Ukrainian city of Lviv, while I was the conductor of the city's Symphonic Orchestra and we were rehearsing a concert in which we would interpret an instrumental suite from Astor Piazzolla‘s Operatango Maria de Buenos Aires, that had been written some time before. Therefore, the use of the language of tango in the composition of this concert was certainly not fortuitous, but although it seems contradictory, employing it was not an intentional act either. The work itself intends to explore the language of tango by means of all the technical and musical resources offered by the violin, but without letting this become an excuse to just write a tango for violin and orchestra or a tango-style concert. In fact, the piece shows a will to develop and experiment with the several diverse ways in which the language of tango can be presented, with all its dialects and its variants. The language employed in this concert explores all these postulations and develops them, starting from a few rhythmical cells of their own that are juxtaposed and intertwined throughout the three movements, forming an indivisible unit. The accents take a special relevance and become a significant part all the way through the musical discourse, as do the different rhythms that not only shape a particular kind of orchestral accompaniment, but also make up a specific counterpoint to the expressive and melodic needs of the solo violin. Not only does the orchestra accompany its soloist, but in many cases it becomes a soloist in itself. The counterpoint, never used as a compositional tool or as a merely acrobatic display, confers structural meaning to a language that allows a dialog between the couple made up by the soloist and the orchestra, in which they can both speak at the same time without any of the two sides being pushed into the background. The second movement, Lento, the aria structure used is typical from Bach -not so much from Johann Sebastian as from his son, Johann Christian. This structure allows for the juxtaposition in one milonga melody, of a solo violin with a basso continuo by four, whose tempo is marked by the strings. The third movement attempts to explain, gradually and in a linear way, the evolution of the metric of tango, as it moves from a bar of 4. typical of tango. to one of 6. Havanera-like. , thus demonstrating the historical origin of tango as deriving from Havaneras, and the various transformations it has undergone. We then reach the coda of the third movement where, after one of the two cadences of the solo part, all the tunes that have been emerging throughout the concert overlap contrapuntally with all the polyrhythms they make up together, expanding and contracting by way of the internal accents of the music itself and producing the feel of being simultaneously listening to a bar of 4. 4, a 3. 4 and a 6.

Oversættelse

Violintango Concerto komponeret af Melani Mestre. For violin og strygeorkester. Udgivet af Editorial de Musica Boileau. BO.B.3671. Stykket, struktureret i tre bevægelser, Allegro - Lento - Allegro, er skrevet, som navnet antyder, for en solo violin ledsaget af et orkester-et strygeorkester, i dette tilfælde. Dens navn sigter mod vedrørende sammensætningen ikke kun det instrument som den er udformet, men også til den genre, der markerer den æstetiske indholdet af arbejdet. dette er den eneste eksisterende originale koncert for violin og orkester af denne kategori til dato. Stykket blev skrevet i februar 2009 i den ukrainske by Lviv, mens jeg var dirigent for byens symfoniorkester og vi øvede en koncert, hvor vi ville fortolke en instrumental suite fra Astor Piazzollas Operatango Maria de Buenos Aires, at var blevet skrevet nogen tid, før. Derfor er brugen af ​​sproget i tango i sammensætningen af ​​denne koncert var bestemt ikke tilfældigt, men selvom det virker selvmodsigende, beskæftiger det ikke var en forsætlig handling enten. Det arbejde agter selv at udforske sproget i tango ved hjælp af alle de tekniske og musikalske ressourcer, som violin, men uden at lade dette blive en undskyldning for at bare skrive en tango for violin og orkester eller en tango-stil koncert. Faktisk brik viser en vilje til at udvikle og eksperimentere med de mange forskellige måder, hvorpå sprog tango kan præsenteres, med alle dets dialekter og dens varianter. Den anvendes i denne koncert sprog udforsker alle disse postulater og udvikler dem, startende fra et par rytmiske celler af deres egne, der er sideordnede og sammenflettede i de tre bevægelser, der udgør en udelelig enhed. Accenter tage en særlig relevans og blive en væsentlig del hele vejen igennem den musikalske diskurs, som gør de forskellige rytmer, der ikke kun forme en særlig form for orkesterakkompagnement, men også udgør en særlig kontrapunkt til de ekspressive og melodiske behov i soloviolin. Ikke alene orkestret ledsage sin solist, men i mange tilfælde bliver det en solist i sig selv. Den kontrapunkt, aldrig brugt som en kompositorisk værktøj eller som en blot akrobatisk skærm, giver strukturel betydning for et sprog, der gør det muligt for en dialog mellem parret udgøres af solist og orkester, hvor de begge kan tale på samme tid, uden at nogen af de to sider bliver skubbet i baggrunden. Den anden bevægelse, Lento, den arie struktur, der anvendes, er typisk fra Bach-ikke så meget fra Johann Sebastian fra hans søn, Johann Christian. Denne struktur giver mulighed for sidestilling i en milonga melodi, af en solo violin med en basso continuo med fire, hvis tempoet er præget af strengene. Den tredje bevægelse forsøger at forklare, gradvist og på en lineær måde, udviklingen af ​​metersystemet i tango, som den bevæger sig fra en bar på 4. typisk for tango. til en af ​​6. Havanera-lignende. , Hvilket viser den historiske oprindelse af tango, som stammer fra Havaneras, og de forskellige transformationer det har undergået. Vi derefter nå coda af den tredje bevægelse, hvis den efter en af ​​de to kadencer solostemmen, alle de melodier, der har været nye i hele koncerten overlapning kontrapunktisk med alle de polyrytmer de gør op sammen, udvide og kontraktindgåelse i form af den interne accenter af selve musikken og producerer fornemmelsen af ​​at være på samme tid lytte til en bar på 4. 4, en 3. 4 og 6,.