Aukso Chamber Orchestra of the City of Tychy - Grażyna Bacewicz & Krzysztof Penderecki & Giya Kancheli: Chamber Music of The 20th & 21th Centuries (2008) [Hi-Res]
![Aukso Chamber Orchestra of the City of Tychy - Grażyna Bacewicz & Krzysztof Penderecki & Giya Kancheli: Chamber Music of The 20th & 21th Centuries (2008) [Hi-Res]](https://www.dibpic.com/uploads/posts/2021-11/1637051217_grayna-bacewicz-krzysztof-penderecki-giya-kancheli-2021.jpg)
BAND/ARTIST: Aukso Chamber Orchestra of the City of Tychy
- Title: Grażyna Bacewicz & Krzysztof Penderecki & Giya Kancheli: Chamber Music of The 20th & 21th Centuries
- Year Of Release: 2008
- Label: BeArTon
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz
- Total Time: 00:54:06
- Total Size: 233 / 998 mb
- WebSite: Album Preview
Tracklist
01. Concerto for String Orchestra: Allegro
02. Concerto for String Orchestra: Andante
03. Concerto for String Orchestra: Vivo
04. Concerto for Cello and Chamber Orchestra
05. Valse Boston for Piano and String Orchestra
![Aukso Chamber Orchestra of the City of Tychy - Grażyna Bacewicz & Krzysztof Penderecki & Giya Kancheli: Chamber Music of The 20th & 21th Centuries (2008) [Hi-Res]](https://www.dibpic.com/uploads/posts/2021-11/1637051195_grayna-bacewicz-krzysztof-penderecki-giya-kancheli-2021-back.jpg)
The Concerto for String Orchestra was written in 1948, during the second stage of Grażyna Bacewicz’s compositional career, a period in which stylization occupied a prominent place in her music. Her works dating from that period were characterised by distinct form and a preference for sonata structures. This has a bearing on both the first movements of her pieces and on the three- and four-movement cycles, with their traditional pattern of tension and relaxation. The Concerto is a good example of this approach. A masterpiece of neo-classicism, it fascinates with its inventiveness and virtuosic shine and its perfect blend of tradition and innovative timbral, textural and harmonic solutions. In terms of form, the tripartite Concerto oscillates between the Baroque concerto grosso and sonata allegro. References to Baroque music are evident in the use of the concertante technique and linear texture, whereas the classical features are the rigours of periodicity and symmetry and the development of thematic motifs stemming therefrom.
The first movement (Allegro), cast in the form of the early-Classical sonata allegro, develops on the basis of three, diversified themes. The distinctive first theme is based on repeated figuration in oscillating semiquavers. The quasi-lyrical second theme is a polyphonically-oriented dialogue between the cellos and solo violin, whereas the energetic third theme is characterized by syncopation.
The ensuing Andante has a central theme elaborated by successive concertante instruments. It constitutes the starting point and the conclusion of a lyrical sequence of subdued emotion. The musical material in this movement is bound together by both an evolutionary development and instrumental timbre.
The third movement (Vivo) sees Bacewicz exploring music in her favourite mode – as an expression of pure motion, manifested by motivic figures with virtually unlimited possibilities of transformation. The spontaneity of the developing musical material, the constant changeability of events, the refined harmonic ideas (dominated by fourths) and an original timbre of consonances create a colourful mosaic in a musical continuum based on the sonata rondo.
The ever-popular Concerto for String Orchestra testifies to the composer’s stylization skills and her perfect handling of the technical and expressive possibilities of string instruments.
01. Concerto for String Orchestra: Allegro
02. Concerto for String Orchestra: Andante
03. Concerto for String Orchestra: Vivo
04. Concerto for Cello and Chamber Orchestra
05. Valse Boston for Piano and String Orchestra
The Concerto for String Orchestra was written in 1948, during the second stage of Grażyna Bacewicz’s compositional career, a period in which stylization occupied a prominent place in her music. Her works dating from that period were characterised by distinct form and a preference for sonata structures. This has a bearing on both the first movements of her pieces and on the three- and four-movement cycles, with their traditional pattern of tension and relaxation. The Concerto is a good example of this approach. A masterpiece of neo-classicism, it fascinates with its inventiveness and virtuosic shine and its perfect blend of tradition and innovative timbral, textural and harmonic solutions. In terms of form, the tripartite Concerto oscillates between the Baroque concerto grosso and sonata allegro. References to Baroque music are evident in the use of the concertante technique and linear texture, whereas the classical features are the rigours of periodicity and symmetry and the development of thematic motifs stemming therefrom.
The first movement (Allegro), cast in the form of the early-Classical sonata allegro, develops on the basis of three, diversified themes. The distinctive first theme is based on repeated figuration in oscillating semiquavers. The quasi-lyrical second theme is a polyphonically-oriented dialogue between the cellos and solo violin, whereas the energetic third theme is characterized by syncopation.
The ensuing Andante has a central theme elaborated by successive concertante instruments. It constitutes the starting point and the conclusion of a lyrical sequence of subdued emotion. The musical material in this movement is bound together by both an evolutionary development and instrumental timbre.
The third movement (Vivo) sees Bacewicz exploring music in her favourite mode – as an expression of pure motion, manifested by motivic figures with virtually unlimited possibilities of transformation. The spontaneity of the developing musical material, the constant changeability of events, the refined harmonic ideas (dominated by fourths) and an original timbre of consonances create a colourful mosaic in a musical continuum based on the sonata rondo.
The ever-popular Concerto for String Orchestra testifies to the composer’s stylization skills and her perfect handling of the technical and expressive possibilities of string instruments.
Classical | FLAC / APE | HD & Vinyl
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