Saint-Saëns : Concerto pour violoncelle n°2 (Sol Gabetta / Cristian Măcelaru)
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Sol Gabetta joue avec l'Orchestre national de France sous la direction de Cristian Macelaru le 2e Concerto pour violoncelle n°2 de Camille Saint-Saëns. Extrait du concert donné le 26 novembre 2021 à la Philharmonie de Paris.
#SaintSaens #SolGabetta #CristianMacelaru
Saint-Saëns fait partie de ces compositeurs arrivés à point nommé. Né en 1835, il avait
en 1871 suffisamment de maturité, déjà, et suffisamment de fougue, encore, pour incarner
ce qu’on appelle le renouveau de la musique française. Car si l’on ne peut pas réduire
« la belle époque de la musique française », comme l’appelle François Porcile, aux
conséquences de la guerre franco-prussienne et au désir des Français de se relever, il
est un fait qu’un bouquet de compositeurs remit la musique, singulièrement la musique
symphonique, la musique de chambre et la mélodie, à l’honneur dans notre pays. Lalo,
Fauré, Duparc, Chausson, Saint-Saëns, Chabrier et bien d’autres, en attendant Dukas,
Debussy, Ravel, furent de ceux qui ne se contentèrent pas de composer des opéras mais
eurent à cœur d’écrire les grandes heures d’une musique inventive dans tous les registres.
Saint-Saëns, ainsi, composa deux concertos pour violoncelle, le premier en la mineur,
entrepris alors que le compositeur avait déjà écrit trois concertos pour piano, le second
en ré mineur. C’est le Premier Concerto qui est le plus souvent joué. L’attrait qu’il exerce
est dû, sans doute, à sa concision, à son orchestration légère, à la grâce du menuet qui
fait figure d’épisode central mais non de mouvement lent, car les trois parties de cette
partition sont enchaînées. Comme le rappelle Roger Nichols, Saint-Saëns, « lorsqu’il était
étudiant, avait reçu des cours d’accompagnement pianistique d’Auguste Franchomme
(1808-1884), le violoncelliste auquel Chopin avait dédié sa Sonate pour violoncelle
et piano et qui développa une technique d’archet légère spécifique généralement
qualifiée de “française”. » Créé à Paris le 19 janvier 1873 par la Société des concerts du
conservatoire, ce concerto est typique de la manière du Saint-Saëns hédoniste et détaché.
Le Concerto pour violoncelle n° 2 peut déconcerter par sa forme en deux mouvements.
Le premier est un Allegro assez classique, noté toutefois moderato e maestoso, que suit un
Andante sostenuto pensif. Le second contient la cadence qu’on aurait attendue à la fin du
premier Allegro.
Ce Second Concerto a été dédié par Saint-Saëns à Joseph Hollman (1852-1926), avec
qui il avait joué en duo à Londres quelque temps plus tôt. Hollman, virtuose athlétique,
était aussi compositeur ; il écrivit notamment plusieurs concertos pour son instrument, ce
qui peut expliquer que Saint-Saëns ait souhaité lui montrer ce qu’il savait faire et exiger
de la part du soliste, en retour, toutes les marques de sa virtuosité. On parla, à l’issue de
la création de l’œuvre, de « mauvaise musique bien écrite », mais Saint-Saëns expliquait
autrement le destin qu’il imaginait pour son concerto : « Il ne sera jamais aussi répandu
que le premier, il est trop difficile. »
00:00 : I. Allegro moderato e maestoso - Andante sostenuto
11:03 : II. Allegro non troppo - Cadenza - Molto allegro
Пікірлер: 25
She owns this concerto. The other recordings I’ve seen from other cellists just aren’t even close
@c08lam
27 күн бұрын
Her Shostakovich concerto is also one of the greatest piece that I have ever listened to, unfortunately there is no complete recording on KZread.
Translation: Saint-Saëns is one of those composers who arrived at the right time. Born in 1835, he had in 1871 enough maturity, already, and enough passion, still, to embody what we call the revival of French music. Because if we cannot reduce “the beautiful era of French music”, as François Porcile calls it, consequences of the Franco-Prussian war and the desire of the French to recover, it is a fact that a bouquet of composers brought music back, particularly music symphonic, chamber music and melody, in the spotlight in our country. Lalo, Fauré, Duparc, Chausson, Saint-Saëns, Chabrier and many others, while waiting for Dukas, Debussy, Ravel, were among those who were not content to compose operas but were keen to write the heyday of inventive music in all registers. Saint-Saëns, thus, composed two concertos for cello, the first in A minor, undertaken when the composer had already written three piano concertos, the second in D minor. It is the First Concerto that is most often played. The attraction it exerts is due, no doubt, to its conciseness, to its light orchestration, to the grace of the minuet which is a central episode but not a slow movement, because the three parts of this partition are chained. As Roger Nichols recalls, Saint-Saëns, “when he was student, had received piano accompaniment lessons from Auguste Franchomme (1808-1884), the cellist to whom Chopin dedicated his Cello Sonata and piano and who developed a specific light bow technique generally described as “French”. » Created in Paris on January 19, 1873 by the Société des concerts du conservatory, this concerto is typical of the style of the hedonistic and detached Saint-Saëns. The Cello Concerto No. 2 can be disconcerting due to its two-movement form. The first is a fairly classic Allegro, noted however moderato e maestoso, followed by a Andante sostenuto pensive. The second contains the cadence that one would have expected at the end of thefirst Allegro. This Second Concerto was dedicated by Saint-Saëns to Joseph Hollman (1852-1926), with which he had performed as a duo in London some time earlier. Hollman, athletic virtuoso, was also a composer; he notably wrote several concertos for his instrument, this who can explain that Saint-Saëns wanted to show him what he knew how to do and demand from the soloist, in return, all the marks of his virtuosity. We spoke, at the end of the creation of the work, “bad, well-written music”, but Saint-Saëns explained otherwise the destiny he imagined for his concerto: “It will never be as widespread that the first one is too difficult. »
Gabetta is the best!
@kevinlebagousse6517
Жыл бұрын
isserlis is too a velvet master
@andrewpetersen5272
Жыл бұрын
Beyond the best!
00:00 I. Allegro moderato e maestoso - Andante sostenuto 11:03 II. Allegro non troppo - Cadenza - Molto allegro
Why is this not as well-known as the 1st cello concerto? And those false tones were amazing!
@andrewpetersen5272
Жыл бұрын
Too hard for most cellists to play.
@MrDvdelft
Жыл бұрын
Black Bart is right. It is fiendishly difficult. And since it's not well know, audiences are too "lazy" to get to know it. It's a brilliant work and should be the more often played. Every second rate student manage the first concerto, to play the 2nd, you need to true greats - Lynn Harrell and Steven Isserlis are of the few cellists who have recorded this. Not even Rostropovich ventured here - which is odd. Fournier revived and advocated for the First Concerto and its therefore more of a pity that he didn't record the 2nd - not to my knowledge at least
This concerto is usually considered as significantly "weaker" than the first one - which is just a part of the bad reputation of the "late" works of the composer. The tone is simply more serious, a bit like the piano 4th when compared to the second one. But it is very strict and firmly composed, its hearing is a demanding exercise. All in all, an excellent concerto. ❤❤❤🧡💛💜💛🧡❤❤❤
First time listening to this music, absolutely marvelous!
Gracias por compartirlo!!! BRAVOOOO!!!!!!
Bravo bravo 👏 👏 🎶 🎶 🎻 ♥️
superb.
Cello Concerto No. 2 in D minor, Op. 119 The movements are: I. Allegro moderato e maestoso - Andante sostenuto II. Allegro non troppo - Cadenza - Molto allegro
👏🏻🤓
Can’t believe it’s not on Tidal
Ficou um Pouco baixo distante a captura do mic para o solo cello.
who said aliens are smarter than humans?🤓
@Bernadette2614
9 ай бұрын
Best comment haha
En que espacio se llevo acabo?
Concerto de Saint-Saëns véritablement virtuose mais pas assez mélodieux pour le violoncelle ,ce qui peut expliquer en partie sa légère désafection
@thierryastolfi889
Жыл бұрын
Bonjour Je suis d'accord avec vous et pourtant en écoutant une autre très belle version qui fait la part belle à tous les moments lyriques de ce concerto et notamment son sublime mouvement lent, l'équilibre entre virtuosité et lyrisme se fait jour. kzread.info/dash/bejne/f6OdmqqPl8a1lKg.html
@thomasfauchier1229
2 ай бұрын
Je travaille le numéro 1 et je rêve un jour de travailler le numéro 2 qui reste un de mes préférés pour cello