[스크랩] 드보르작 : 첼로와 피아노를 위한 론도 G단조 Op.94 B.171 (Rondo for Cello & Piano in G minor, Op.94 B.171)

드보르작 : 첼로와 피아노를 위한 론도 G단조 Op.94 B.171

Rondo for Cello & Piano in G minor, Op.94 B.171

Rondo for Cello & Piano in G minor / Andre Navarra, Cello   드보르작 : 첼로와 피아노를 위한 론도 G단조 Op.94 B.171 Rondo for Cello & Piano in G minor, Op.94 B.171 안토닌 드보르작 (Antonín Dvorák 1841∼1904) 체코슬로바케아   드보르작은 1891년 크리스마스를 이 첼로와 피아노를 위한 론도 사단조를 작업하면서 보냈다고 한다. 이 작품은 보헤미안 현악4중주단의 맴버였던 첼리스트 한스 비한에게 헌정되었는데, 한스 비한은 드보르작의 절친한 친구로 유명한 첼로 협주곡 b단조를 헌정받은 사람이기도 하다. 드보르작은 이들과 함께 보헤미아를 순회했는데 비한의 능력을 발휘할만한 마땅한 독주곡이 없자 이 작품을 작곡하게 되었다. 이 곡의 반주에는 피아노가 효과적이지만 드보르작은 색채감과 극성을 더하기 위해 관현악 반주 버전을 만들었다. Antonín Dvořák composed his Rondo for cello and piano in 1891. Two years later, during his stay in America, he arranged the piano part for small orchestra consisting of strings, two oboes, two bassoons and timpani. This transcription is based mainly on the latter version. The warm timbre of the cello octet seems particularly suitable for this music of truly Bohemian character. one member of the octet plays the solo part while the orchestral texture is divided among the others. It is recommend that some high passages in the accompanying parts be played on D string rather than A – this would better resemble the sound of violins on the middle strings, and thereby will not interfere with the brighter sonority of the solo part. For the eighth part special attention should be paid to the open fourth string which is tuned a fourth lower: less bow should be used there, and more into the string, otherwise the intonation might get distorted. A long time standard in the repertoire of cellists, Dvořák's Rondo is a wonderfully entertaining piece dedicated to the composer's friend and cellist Hanus Wihan. With Deckert's arrangement, you and four of your fellow cellists can share the intimate musical experiences of Dvořák and Wihan with modern audiences. About Dvořák 's Rondo for Cello Quintet After Dvořák had agreed to become Director of the newly formed Conservatory of Music of America, he put together a "farewell" tour of Bohemian and Moravian cities in which himself, Wihan, and violinist Ferdinand Lachner performed solo works and Dvorak’s piano trios together. Dvořák wrote the Rondo to be played with Wihan throughout the tour, and two years later he arranged the piano accompaniment for small orchestra. American music lecturer Benjamin Folkman notes that the Rondo uses a "dance-like Slavic-voiced theme which combines jaunty humor with wistfulness in typically Dvořákian fashion." In addition, the rondo has two contrasting counter-subjects: "one suavely amorous in its melodic arch, the other euphoric with irrepressible scampering triplets." These three distinctive motifs evolve according to the regular form A-B-A-C-A-B-A. In this arrangement, Deckert transcribed the piano part for the four cellos, while preserving the original solo part. This makes it particularly suitable for a cello class with solo talents. Karmen Pečar - A. Dvořák: Rondo, op. 94 (cello ensemble)

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