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Dutilleux Sur le même accorde Nocturne for Violin and Orchestra
Although in one movement, at its centre are two expressive sections, which alternate with more rapid writing. The soloist plays a concertante role with the orchestra.
In both the solo part and the orchestral texture, a six-note chord can be heard throughout the work, either concealed or more overtly, given to soloists drawn from the orchestra. At the start of the work, the solo violin announces these six pitches, first as a monody, then double-stopped; this material is then distributed vertically (played as a chord) by various instrumental groups. Mirror writing and different orchestral colors transform this chord, but it is omnipresent, and obsession.
This relatively short work is dedicated to Anne-Sophie Mutter, and was premiered by Mutter and the London Philharmonic Orchestra on April 28, 2002.
In both the solo part and the orchestral texture, a six-note chord can be heard throughout the work, either concealed or more overtly, given to soloists drawn from the orchestra. At the start of the work, the solo violin announces these six pitches, first as a monody, then double-stopped; this material is then distributed vertically (played as a chord) by various instrumental groups. Mirror writing and different orchestral colors transform this chord, but it is omnipresent, and obsession.
This relatively short work is dedicated to Anne-Sophie Mutter, and was premiered by Mutter and the London Philharmonic Orchestra on April 28, 2002.
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Dutilleux Sur le même accorde Nocturne for Violin and Orchestra
Dutilleux Sur le même accorde Nocturne for Violin and Orchestra
Although in one movement, at its centre are two expressive sections, which alternate with more rapid writing. The soloist plays a concertante role with the orchestra.
In both the solo part and the orchestral texture, a six-note chord can be heard throughout the work, either concealed or more overtly, given to soloists drawn from the orchestra. At the start of the work, the solo violin announces these six pitches, first as a monody, then double-stopped; this material is then distributed vertically (played as a chord) by various instrumental groups. Mirror writing and different orchestral colors transform this chord, but it is omnipresent, and obsession.
This relatively short work is dedicated to Anne-Sophie Mutter, and was premiered by Mutter and the London Philharmonic Orchestra on April 28, 2002.
In both the solo part and the orchestral texture, a six-note chord can be heard throughout the work, either concealed or more overtly, given to soloists drawn from the orchestra. At the start of the work, the solo violin announces these six pitches, first as a monody, then double-stopped; this material is then distributed vertically (played as a chord) by various instrumental groups. Mirror writing and different orchestral colors transform this chord, but it is omnipresent, and obsession.
This relatively short work is dedicated to Anne-Sophie Mutter, and was premiered by Mutter and the London Philharmonic Orchestra on April 28, 2002.
$14.70
Original: $42.00
-65%Dutilleux Sur le même accorde Nocturne for Violin and Orchestra—
$42.00
$14.70Product Information
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Description
Although in one movement, at its centre are two expressive sections, which alternate with more rapid writing. The soloist plays a concertante role with the orchestra.
In both the solo part and the orchestral texture, a six-note chord can be heard throughout the work, either concealed or more overtly, given to soloists drawn from the orchestra. At the start of the work, the solo violin announces these six pitches, first as a monody, then double-stopped; this material is then distributed vertically (played as a chord) by various instrumental groups. Mirror writing and different orchestral colors transform this chord, but it is omnipresent, and obsession.
This relatively short work is dedicated to Anne-Sophie Mutter, and was premiered by Mutter and the London Philharmonic Orchestra on April 28, 2002.
In both the solo part and the orchestral texture, a six-note chord can be heard throughout the work, either concealed or more overtly, given to soloists drawn from the orchestra. At the start of the work, the solo violin announces these six pitches, first as a monody, then double-stopped; this material is then distributed vertically (played as a chord) by various instrumental groups. Mirror writing and different orchestral colors transform this chord, but it is omnipresent, and obsession.
This relatively short work is dedicated to Anne-Sophie Mutter, and was premiered by Mutter and the London Philharmonic Orchestra on April 28, 2002.
