Informationen zu "Bernard Salles Two for Three Cello & Double Bass"
Verlag: Recital Music
Verlagsnummer: RM769
EAN: 9790570457694
ISMN: M-57045-769-4
Beschreibung
Two for Three was written for Oystein Birkeland and Dan Styffe, and is
dedicated to them. The duet consists of three movements for two musicians ?
hence the title. The first movement ? Moderato ? is a long recitative in
which the two instruments dialogue with each other, as two people having a
conversation. The first theme is exposed by the cello alone, then repeated in
canon by the double bass whilst the cello develops a second theme, still
based on the first melody. Like a chorale, each fragment of melody reaches
its end with a pause which reunites the two instruments. Eight sequences
follow on in this manner. The last one repeats the first, but is played by
the double bass with a long held note on the cello. Second movement ?
Chorale. Constructed like a Lutheran chorale, the two instruments develop a
simple melody with long, double stopped notes, as if imitating a hypothetical
organ with the bow. Third movement ? Presto ritmico. Over a double bass
ostinato, the cello develops the first melodic cell which takes its essence
from the first movement. The themes follow each other and are reversed, each
theme taken in turn by the cello or the double bass. At the end of this first
sequence is a rigorous counterpoint in canon between the two instruments, all
the time keeping the ostinato of repeated quavers. The piece gains its
strength from the unity (monotony?) of these virtually unchangeable quavers.
The last sequence finally takes up the head of the first theme to conclude
the movement at a monolithic pace. Two for Three à été écrit pour Oystein
Birkeland et Dan Styffe, à qui il est dédié. Le duo compte trois mouvements
pour deux interprètes? D'où le titre. Le premier mouvement ? Moderato- et un
long récitatif qui fait dialoguer les deux instruments, comme deux personnes
échangeant une conversation. Le premier motif est exposé au violoncelle seul,
puis repris en canon par la contrebasse, pendant que le violoncelle développe
un autre motif, toujours basé sur la première mélopée. Comme un choral,
chaque fragment de mélopée s'arrête sur un point d'orgue qui réuni les deux
instruments. Huit séquences s'enchaînent ainsi. La dernière reprenant
exactement la première, mais jouée à la contrebasse sur une longue tenue du
violoncelle. Deuxième mouvement : Choral. Construit comme un choral
Luthérien, les deux instruments développent une mélodie simple en valeurs
longues et en accords, comme pour imiter un hypothétique orgue à archet.
Troisième mouvement : Presto ritmico. Sur un obstinato de contrebasse, le
violoncelle développe la première cellule mélodique qui tire son essence du
premier mouvement. Les s'enchainent en renversement, le thème étant pris à
tour de rôle par le violoncelle ou la contrebasse. A l'issu de cette première
séquence, va s'enchaîner un contrepoint rigoureux en canon entre les deux
instruments, tout en gardant l'obstinato des croches répétées. La pièce tire
sa force de cette unité (monotonie ?) des croches quasi immuables. Enfin la
dernière séquence reprendra la tête du premier thème pour conclure ce
mouvement à l'allure monolithique. Two for Three, fue escrito por Oystein
Birkeland y Dan Styffe, a quien es dédicada. El dúo cuenta tres movimientos
para dos intérpretes ? De donde el título. El primer movimiento ? Moderato-
es un recitativo largo que hace dialogar ambos instrumentos, como dos
personas que cambian una conversacion. El primer motivo es expuesto al
violoncelo solo, luego repetida en canon por el contrabajo, mientras que el
violoncelo desarrolla otro motivo, siempre basado en la primera melopea. Como
un coral, cada fragmento de melopea se para sobre un calderon que reunido
ambos instrumentos. Ochos secuencias se encadenan asi. La última que
exactamente repite la primera, pero es tocada al contrabajo sobre una nota
pedal del violoncelo. Segundo movimiento : Coral. Construido como un coral
Luterana, ambos desarrollan una melodia simple en valores largas y en
acuerdos, como para imitar un organo hipotético a arco. Tercer movimiento :
Presto rítmico. Sobre un obstinato del contrabajo, el violoncelo desarrolla
la primera célula melodica que saca su esencia del primer movimiento. Los
motivos se encadenan en reverso, el tema que es tomado por turno por el
violoncelo o el contrabjo. Despues de esta primera secuencia, va a
encadenarse un contrapunto rigoroso en canon entre ambos instrumentos,
guardando el obstinato de la corcheas repetidas. La pieza tira su fuerza de
esta unidad (monotonia ?) de las corcheas casí inmutables. Por fin la última
secuencia repetira la cabeza del primer tema para concluir este movimiento de
caracter monolítico. Bernard Salles was born in 1954 and began his musical
education in his home town of Perpignan (France) where he studied double
bass, organ, composition and orchestral conducting at the Conservatoire. In
1973 he want to the Conservatoire of Versailles and in 1976, at the age of
22, he was awarded a double bass teaching diploma. Since then he has taught
at the Conservatoire of Pau (South-west France) and played with many major
French orchestras including the Orchestre de Paris and the National Orchestra
of France, under the direction of conductors such as Daniel Barenboim, Pierre
Boulez, Zubin Metha and Lorin Maazel. In 1983 he began a parallel career as
a conductor and was Music Director of the Orchestra of Pau from 1996-2001. He
has directed the Orchestra of Pamplona (Spain) and is currently Music
Director of the OSSO (Orchestre Symphonique du Sud-Ouest). As a composer and
member of SACEM (Society of Authors, Composers and Editors of Music), he has
written over 30 works including two symphonies, a cantata, a psalm for bass
and orchestra, a concerto for double bass and small orchestra, Rhapsody for
viola and orchestra, Triptych for orchestra, Prelude for cello and orchestra,
a symphonic poem for soprano, cello and orchestra, as well as works for
chamber groups, and for choir and organ. His pedagogic works are published by
G.Billaudot in Paris and his works for double bass are published by Recital
Music (England). In 2010 he began a series of short pieces for unaccompanied
double bass - Portraits for Friends - dedicated to his double bass playing
friends.
