Description
Romantic Music forCello and OrchestraVirtuoso cello music developed in the earlier years of the nineteenthcentury, coinciding with a change in musical fashions. The expressive range ofthe instrument, coupled with an extension of technique parallel to thecontemporary development of violin technique, led to an exploration of thepossibilities of the instrument in music of varying quality, some of which nowsurvives principally in the practice studio. At the same time the needs of thetravelling virtuoso were increasingly met by transcriptions. The presentcollection represents repertoire by leading Russian and Lithuanian composers ofthe later nineteenth century and the twentieth.Rimsky-Korsakov's dramatic Flight of the Bumble-Bee has taxed thedexterity of many an instrumentalist in arrangement after arrangement. The beein question, a young prince in disguise and set on revenge against his wickedaunts, makes his flight in the opera The Tale of Tsar Saltan. It waslate in his career that Rimsky-Korsakov wrote his Serenade, Opus 37, forcello and orchestra, an arrangement of a work for cello and piano written tenyears earlier. The new arrangement was dedicated to the composer's son, Andrey.The Lithuanian composer, pianist and conductor Balys Dvarionas was theson of an instrument maker and member of a family that earned much distinctionin music. He studied at the Leipzig Conservatory with Abendroth and Karg-Elertand in Berlin with Egon Petri. He established an international career as apianist, before turning to conducting, notably as founder of the VilniusSymphony Orchestra. His By the Lake, characteristic of a style that hadits roots in the folk-music of his country, makes full use of the range andlyrical power of the cello. The Introduction and Rondino for cello andorchestra draws on material of similar character. The Introduction allowsthe cello an expressive melodic line, followed by a lively dance-like principalmelody for the little rondo, with its attractively contrasting episodes.Tchaikovsky's most significant addition to solo cello repertoire lies inhis Rococo Variations and, to a lesser extent, his Pezzo Capriccioso.The Melodie, here transcribed for cello and orchestra, is the thirdof the pieces for violin and piano published as Souvenirs d'un lieu cher. Themonths after the early break-down of his disastrous marriage had takenTchaikovsky abroad, where he was, nevertheless, able to write his ViolinConcerto. Returning to Russia, he took advantage of the hospitality offeredby his new and unseen patron, Nadezhda von Meck, staying, in her absence, ather Ukraine estate at Brailov, and leaving the set of pieces of which thecharming Melodie is the third, for his benefactress as a token ofgratitude. It was Tchaikovsky's friendship in Paris with the young Russiancellist Anatoly Brandukov that brought about the Pezzo Capriccioso andBrandukov was also able to augment his repertoire with two transcriptions thatTchaikovsky made in 1886-7 and 1888. The first of th