Tenor Trombone Concerto "Orion Machine" - Takashi Yoshimatsu скачать в хорошем качестве

Tenor Trombone Concerto "Orion Machine" - Takashi Yoshimatsu

BBC Philharmonic Orchestra conducted by Sachio Fujioka. Ian Bousfield as the soloist. I - Betelgeuse. Largo - (attacca): 0:00 II - Bellatrix. Presto - (attacca): 5:54 III - Trapezium. Lento - Tempo di Waltz - Lento: 9:54 IV - Saiph. [No tempo mark] - Moderato [Swing!] - Solo Cadenza - Fanfare: Allegro: 12:43 V - Rigel. Finale. Moderato - Andante - Adagio - Largo: 19:15 Yoshimatsu's Trombone Concerto was composed between 1992-3, after a request of the Japan Philharmonic Symphony Orchestra for a concerto for the principal trombonist Yoshiki Hakoyama. The work was premiered on April 15 of 1993, performed by the Japan Philharmonic Symphony Orchestra conducted by Yuzo Toyama, with Yoshiki Hakoyama as the soloist. The work is divided in five movements that are performed continuously. The composer himself describes his work: "The request I received led to a vision of the galactic hunter Orion amusing himself with a wondrous machine called a trombone. Mr Hakoyama’s name suggested to me the stars of the constellation Orion. ‘Hako’ is a box with four corners, described in this constellation by the stars Betelgeuse, Bellatrix, Saiph and Rigel, and the three stars of Orion’s belt, situated in the centre of the constellation, resemble the three tips of the kanji, or hieroglyphic Japanese character, for the word ‘yama’ (mountain). The concerto, in rough analogy to these five stars or groups of stars, which define the characteristic shape of the constellation, is made up of five movements. The orchestra, for its part, features a quasi-solo section consisting of piano, harp and percussion, which is situated in the centre and surrounded on four sides by the other orchestral instruments." The first movement, a kind of introduction, starts with explosions of stellar light, creating a spacial ambient. The lyrical largo starts with the trombone presenting a warm melody of nostalgic spirit. The tension and dissonance grows slowly, reaching the firsts climaxes, coming then an intimate solo of the trombone. The orchestra reaches a new climax, after which the trombone starts a new solo but more ominous and darker. The orchestra starts a transitional section, full of tension that leads us to the next movement. The second movement is described by the composer with the following word: "A fast movement in big-band-jazz or perhaps brass-rock style, featuring a 5/8-time ten-beat 'engine-room', or motivic kernel". Starts with the soloist playing virtuously fast with the rhyhthm marked by the percussion, like if it were a mambo full of dissonances, polyrhythms and tension. A violent climax is reached, giving way with a decrescendo to the following movement. The third movement is a kind of slow intermezzo, described by the composer with the following words: "is a dirge and a broken waltz for three stars. Galaxy M42 is located below Orion's belt, so the dirge is in 'MM42 time' (42 beats per minute on the metronome)". Starts with a dirge in an intimate ambient in which the winds imitate bird songs. Then the trombone emerges, presenting a pathetic waltz along with the piano. The dirge of the start is recapitulated, leading us to the next movement. The fourth movement is a large cadenza for the soloist. The composer describes it: "serves chiefly as a crazy cadenza with woodwind and strings in toy-like engagement and with faint suggestions of swing jazz. The second half of the movement leaves the players completely free to improvise". Starts with the soloist accompanied by the orchestra. This is the most avant-garde part of the work, including jazz swing influences, dissonances, etc. Then comes a free improvisation of the soloist, reaching moments of great virtuosity and extreme difficult playing. The entrance of the percussion marks the transition to the finale. The fifth and last movement starts with a great climax of the full orchestra. The ambient has changed from the modernism of the previous part to a kind of neorromanticism. After a new climax, the orchestra and the soloist, full of a serene peace, conclude the work with a warm slow coda, full of beauty. Picture: Scene from the comic "Watchmen" (1986) by Alan Moore and Dave Gibbons. Musical analysis written partially by myself. Sources: https://tinyurl.com/2xupmp6c and https://tinyurl.com/2acxddsc Unfortunately, the score is not freely available.