SCHUMANN Cello Concerto + ENCORE | Jan Vogler at the Berlin Philharmonie скачать в хорошем качестве

SCHUMANN Cello Concerto + ENCORE | Jan Vogler at the Berlin Philharmonie

Quite why Schumann chose to write a cello concerto (he described it as a “Concert Piece for cello with orchestral accompaniment”) remains something of a mystery. He had played the cello as a child and, as his right hand began to lose its function (a consequence of his growing mental disorder), he wrote to his mother that, “I will take up the cello again (for which only the left hand is needed)”. He had no soloist in mind, although he asked a cellist friend from Frankfurt, Robert Bockmühl, to consider the piece. Bockmühl clearly had no great wish to play it and the work was never publicly performed during his lifetime. Clara did play it through on the piano and wrote, in October 1851; “The romantic quality, the vivacity, the freshness and humour, also the highly interesting interweaving of cello and orchestra are indeed wholly ravishing, and what euphony and deep feeling one finds in all the melodic passages!” It was not until 23rd April 1860, almost four years after Schumann’s death, that the work was premièred by Ludwig Ebert in a performance conducted by Karl Franzen. Schumann disliked having movements of a concerto interrupted by applause, so he composed the Cello Concerto with its three movements linked without a break. It begins (marked to be played “not too fast”) with three gentle orchestral chords after which the cello enters with a sombre theme above shimmering violins and violas. The full orchestra bursts in energetically only to be abruptly pulled up by the cello whose reappearance immediately brings a more reflective mood to the proceedings. The cello gradually becomes more animated and is joined by some perky chords from the woodwind before the opening idea re-emerges and seems to be about to reach a climax with a virile orchestral passage when the cello suddenly forces the mood and speed down and embarks on a long, lyrical section (marked “slowly”) which corresponds to a conventional slow movement. Here, after the lovely song-like opening the character becomes more a thoughtful conversation between cello and orchestra and, as the speed and teÿsion increases, the music turns into the lively (“very light”) final movement. Short, snappy orchestral chords followed by arpeggios from the cello provide a taste of what is to come here, with the cello’s more expansive line supported mostly by brittle, rhythmic orchestral figures which drive it along with great energy. Unusually it is towards the end of this movement that Schumann adds the Cadenza and, more unusually still, Schumann writes out the cadenza to be accompanied by the orchestra. Unconventional, certainly, but far from being the kind of thing one would expect from someone destined, so shortly, to end his days in a lunatic asylum. (Marc Rochester) During her 2016 European tour, the Singapore Symphony Orchestra performed Schumann’s Cello Concerto in A Minor together with cellist Jan Vogler in the Berlin Philharmonie, Germany. SCHUMANN Cello Concerto, Op. 12 I. Nicht zu schnell 0:00 II. Langsam 12:10 III. Sehr lebhaft 16:22 Applause 23:46 Encore: BACH Sarabande from Cello Suite No. 3 26:42 Jan Vogler, cello Singapore Symphony Orchestra Lan Shui, conductor Photo: Olivier Killig