 
|
Audio Asylum Thread Printer Get a view of an entire thread on one page |
For Sale Ads |
|
|
Audio Asylum Thread Printer Get a view of an entire thread on one page |
For Sale Ads |
97.82.220.193
I'm not talking about call and response duets with the orchestra but rather 16 bars alone.
I'm listing right now to the Poulenc Concerto and the lengthy 'solos' of the Organ took me by surprise.
At the request of the Moderators,
This space has been deleted
Follow Ups:
Lots of concertos have places to insert cadenzas for the solo instrument, some of which were written out by the composer, although there are often cadenzas by other composers that may be used (for example, Beethoven, Saint-Saens, Artur Schnabel, many others wrote cadenzas for some of Mozart's piano concertos).
But the following examples, like Poulenc's organ concerto, have written-out solo sections or cadenzas by the composer of the piece, and these are invariably played:
Prokofiev Concerto #2 has a long section for solo piano in the first movement; it's a monster!
https://www.youtube.com/watch?v=CCeo1vyewEg
(starts about 5 minutes into the piece)
Shostakovich Cello Concerto 1 has a long cadenza for solo cello
Starts about 17 minutes:
https://www.youtube.com/watch?v=dSPO0d1SVbw
Shostakovich Violin Concerto 1 has a cadenza for solo violin staerting at around 30 min in:
http://youtu.be/t9AJuJAs4Z4?t=30m18s
There is also the piano-only opening of Saint-Saens Concerto 2:
https://www.youtube.com/watch?v=v57cJC6broI
Rachmaninov wrote two cadenzas for the first movement of his piano concerto #3:
http://youtu.be/f6vARZLkaSY?t=11m6s
(which is the one that most pianists play)
or this one, which is played much less often:
https://www.youtube.com/watch?v=Bhj7hunyVjw
nt
It is used to mean singing without instrumental accompaniment. Not "without music."
That's the appropriate use of the term, which, as you imply, is really NOT used in connection with instrumental music. What the OP refers to as "a capella" parts in a concerto should really be referred to as "unaccompanied soloist sections" or something like that.Also, I've never heard a reference to "a capella" as meaning "without music" - the literal translation would be "in [the manner of] the chapel".
As far as the OP's original question is concerned, almost all concertos have cadenzas for the soloist (per John's post below), so the cadenzas in the concerto would fulfill the OP's requirements for extended unaccompanied sections for the soloist.
Edits: 11/30/14
At the request of the Moderators,
This space has been deleted
Technically you are correct. however in the end it means without instrument accompaniment. It does not really matter anyway. I knew what he meant. But this is a "music" asylum.
The structural form known as the Baroque or Classical concerto almost always has a place for an instrumental solo without orchestra built into the scheme of at least the first movement.
As is often the case, musical terms or names that grew up organically can be confusing. Bartok called his last orchestral piece "Concerto for Orchestra," but there are no strictly solo passages that I recall.
The usual meaning of the term concerto is when a solo instrumentalist, most often a pianist or violinist, "strives with" (con-cert) an orchestra, in that passages where the orchestra states a theme without the soloist alternate with passages where the orchestra accompanies the soloist as the soloist's part develops, enlarges, or varies the thematic material, usually making some movement through the cycle of tonic keys, thereby creating tension.
At the point where the first movement is about 80% gone through, the orchestra ends a section on a sustained chord in a key that has a particular relationship to the music as a whole, and then the soloist plays a solo, the goals of which are to impress with instrumental technique and musical imagination over the course of about 3 minutes, while at the same time moving the tonal center of the music away from the orchestra's chord and toward the key that the movement will end in.
Moving from a non-resolving chord to a resolving chord is called a "harmonic cadence," and so this technical feature of a concerto is called "Cadenza" in Italian.
This practice on the part of composers was probably a nod to the expectations of audiences that virtuoso soloists should get a chance to improvise, and that expectation was perhaps a legacy of opera performances going back to the Renaissance. In opera performance (more so in the distant Bel Canto past than modern times), the music would come to a stop so a leading soloist could improvise on a line of text or a musical phrase.
If you listen to the last two minutes of this YouTube:
They set up the Cadenza, which is Fritz Kreisler's very very difficult cadenza to the Brahms Violin Concerto's first movement. It has nearly everything--tremolo double stops, chordal chromatic cycles, and trills that sustain while other "stuff" is also going on.
Music History and Theory lesson over,
JM
Thank you for your interesting and informative post. :-)
nt
The Saint-Saens second piano concerto and the Stravinsky violin concerto both begin with extended passages for the soloists by themselves.
The Ravel concerto for the left hand has long solo piano sections.
Alan
Post a Followup:
| FAQ |
Post a Message! |
Forgot Password? |
|
||||||||||||||
|
||||||||||||||
This post is made possible by the generous support of people like you and our sponsors:
Top of Page ]
[ Contact Us ]
[ Support/Wish List ]
[ Copyright © 2024, Audio Asylum, all rights reserved ]
