František Hertl – Double Bass Sonata (1946) скачать в хорошем качестве

František Hertl – Double Bass Sonata (1946)

František Hertl (1906-1973) – Sonata for Double Bass and Piano (1946) Szymon Marciniak – Double Bass Evan Mitchell – Piano Original videos:    • František Hertl Sonata for Double-Bass and...      • František Hertl Sonata for Double-Bass and...      • František Hertl Sonata for Double-Bass & P...   Score available here: https://www.baerenreiter.com/shop/pro... Looking for new chamber music repertoire? Go take a look at the ContrebasseClassique website: https://www.contrebasseclassique.com/ Details by David Heyes (excerpts) (https://liuzzivito.blogspot.com/2014/...) Frantisek Hertl was born on 18 April 1906 in the village of Zbuchy, near Plzen, and began to learn the double bass in his early teens. He studied double bass with Frantisek Cerny at the Prague Conservatoire, subsequently becoming Principal Bass of the Czech Philharmonic Orchestra in 1929. Vaclav Talich, the revered director of the Czech Philharmonic was his conducting teacher, and he studied composition at the Prague Conservatoire from 1933-36 with Otakar Sin and Jaroslav Ridky. The 1930s and 40s were primarily Hertl's years as an orchestral musician, initially with the Czech Philharmonic and then from 1935-50 as a member of the Czech Radio Symphony Orchestra. His work as a composer was becoming increasingly important at this time and his Sonata for double bass and piano, arguably the finest sonata for double bass, was composed in 1946. 1950 was a turning point in Hertl's life as he made a significant move from with the orchestra to the conductor's podium. He also left the Czech Nonet, after fifteen years with the ensemble, and gradually composing, conducting and teaching activities took on a more important role in his life. In 1950/51 Hertl founded the Prague Chamber Orchestra, becoming its artistic director and helping to secure state funding. This ensemble grew from the ashes of the Czech Chamber Orchestra, formed in 1946 by Vaclav Talich, but which only survived two years. Frantisek Hertl died in Prague on 23 December 1973, having been at the centre of Czech musical life for more than 40 years. He composed a number of important works for double bass, although very few of them were promoted and sold in the West. As the Berlin wall fell, so the interest and access to many aspects of music and cultural life in the former Communist countries increased. The rich and varied Czech repertoire for double bass began to be disseminated from player to player, and more international performances, publications and recordings have helped to increase further interest in the music. Frantisek Hertl's Sonata for double bass and piano was composed in 1946, a time of great upheaval and change for central Europe, after the horrors and devastation of the Second World War. In three contrasting movements, the sonata successfully exploits the double bass as a serious and viable solo instrument and points the way forward for the image of the double bass in the second half of the 20th-century. It was first published in 1956 in Prague. The first movement is the longest of the three, and begins haltingly by both performers before the main theme is stated confidently by the double bass, quickly climbing into the higher register. Hertl successfully partners the two instruments, often emphasising the lyrical and cantabile qualities of the double bass in all registers. The accompaniment is always interesting and supportive, creating a commentary or music of a declamatory nature and the range of the piano part is carefully constructed to allow the double bass to be heard at all times. the second theme is particularly beautiful and evocative and a romantic-style accompaniment encourages the bassist to sing before the mood changes and a much more urgent statement of the opening theme builds to a fast, energetic and dramatic conclusion. The lyricism of the double bass is evident from the first note of the slow movement which is particularly effective as the mood quickly changes to one of more urgency and uncertainty. The double bass climbs to its highest register and gradually falling away to a recapitulation with a much more contrapuntal accompaniment. The opening theme is restated from the lowest register to the highest, now in harmonics, and a peaceful ending paves the way for the final movement, a Rondo. Marked 'Alla polka, moderato' the third movement has a driving and urgent feel, creating a polka but within a modern style and idiom. The middle section reverts to the lyricism of the double bass in a period of reflection before building to a development of the opening theme and music gradually gains momentum and drive and a final Allegro molto pushes the music forward, with energy and rhythmic vitality ending suddenly and with great drama and finality.