Janacek pohadka program notes

Cello Solos for Worship. Sonata for Violoncello and Piano. Ma mere l'oye. Three Early Pieces. Six Pieces for Violoncello. O Divine Redeemer - Cello. Elegie, op. Two Pieces for solo cello. Cello Concerto. Stone Rose: 3 Pieces for Cello and Great Movie Themes. Works for Violin and Piano. Your Screen Name: optional. Review Title:. Rate this product's difficulty level:. Location: optional.

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Are you a beginner who started playing last month? Do you usually like this style of music? There is really very little musical material that the two instruments share between them although they do appear to be in dialogue, or at least motivated by the same waves of emotional intensity as they travel along. The second movement, which follows immediately, is on a more regular rhythmic footing.

The pulse of the dance animates much this movement, as well as a distinctly acrobatic urge on the part of both instruments as moments of madcap frenzy alternate with pauses for lyrical reflection. After many an exhilarating climax is reached the opening improvisatory musings in the violin return to wind down the momentum of the movement to a point of stillness.

Structured in two large parts, it features an introductory Andante followed immediately by an Allegro in sonata-rondo form A-B-A-C-A , a hybrid of the simple rondo toggling between a fixed refrain and contrasting sections and the sonata, with its play of key relationships and central development section. The Introduction begins imposingly with the double-dotted rhythms of a Baroque French overture in the piano, answered by a pair of dazzling runs rocketing up to the high register — just to let you know who the star of the show is going to be.

The tension built up from this family drama is relieved when the Allegro gives both instruments common cause in propelling more uniformly rhythmic impulses to the fore. Although titularly in B minor, the main refrain theme of this rondo self-identifies as trans-tonal the work actually ends in B major , but all such distinctions are rendered moot by the free and easy hand that Schubert uses when applying his modulatory magic.

A coda to rival that of any Rossini overture threatens the structural integrity of the roof, bringing the house down in a mad dash to the finish.

As a consequence, the market for Hausmusik music for amateur performance by small ensembles in the home expanded considerably. Robert Schumann, after spending the s composing solo piano music exclusively, made up for lost time at the end of the s with a bumper crop of Hausmusik including his Five Pieces in Popular Style , his only work for cello and piano.

This was not Dolly Parton arranged for chamber ensemble. It has a heavy peasant swing to it but, like many an engaging tippler, is not without occasional touches of sly whimsy. The drowsy second piece may make you yawn. It seems perfectly content to live in its own world, a world characterized by an almost Mozartean sense of balance and equilibrium: between formal sections, between instrumental entries, and between the motivic units used to construct each phrase.

Consider the opening. A rhythmically tranquil theme, beginning with a rising 5th, is presented by the solo cello in the manner of a fugue subject, its balanced mix of open and stepwise intervals symmetrically arranged on either side of the home-key note of A. The second theme of the movement is similarly tongue-in-groove with the aforementioned, being a mirror image of the opening theme, inverting its rising interval to a pair of falling intervals with the same rhythmic imprint.

And throughout it all, cello and piano bask in a honeymoon of mutual admiration and support, even when touring through quite a bit of minor-mode drama and Italian-style pathos in the development section. The third movement Adagio cantabile holds more surprises in store, however. His is a voice of visionary ecstatic utterances, of mysterious murmurings evoking the folk music of his Moravian heritage, all tinged with the blurry soft hum of its favourite instrument, the cimbalom.

As American conductor Kenneth Woods puts it:. Utterly indifferent to the compositional conventions of his time, he creates his textures out of short bursts of melody that shimmer with sudden changes of modal colouring.

These build to powerful emotional climaxes by the repetition of ostinato fragments that rarely seem to start on the strong beats of the bar.

Like much of his instrumental music, this three-movement work is programmatic, loosely based on scenes from The Tale of Tsar Berendyey by the Russian poet Vasily Zhukovsky Steven Isserlis offers a very suggestive version of how the music illustrates the story, as follows.

The second movement is full of magic. To say that the composer of Til Eulenspiegel and Der Rosenkavalier was a prodigy is to state the obvious. His Sonata for Cello and Piano Op. The development section percolates along, bubbling with imitative motivic play, until unable to hold off the urge to burst into a full-on fugato. Call this boy a show-off if you will, but he sure can write imitative counterpoint.

Its sound world is that of the fiddles and cimbalom hammered dulcimer of Moravian folk music. Equally folk-like is its use of small melodic fragments, repeated and transformed in various ways. The Andante sets the tone of introspection with its dreamlike repetitions of a tonally ambivalent 5-note melody, set against non-committal harmonies in the left-hand ostinato. A contrasting middle section brings in a less troubled chorale melody that alternates with, and then struggles against, a cascade of cimbalom -like runs, before the nostalgic return of its melancholy opening theme.

The varied repetition of a four-note motive dominates the many contrasting sections of the Adagio , as a noble but halting melody engages in conversation with rhythmically and melodically transformed versions of itself. The Andantino is similarly fixated on a single idea, presenting the gracious opening phrase in a number of different keys until it is interrupted by an impetuous development of its accompaniment figure, and then ends exactly as it begins.

The fourth movement, Presto, with its many changes of meter, is reminiscent of the rhapsodic improvisational style of the gypsy violin. The cimbalom of Moravian folk music can be heard most clearly in the thrumming drones of the left-hand accompaniment and in the occasional washes of metallic tone colour in the right hand.

Franz Schubert: Four Impromptus, D. Schubert wrote these four works, along with another group of four impromptus D. Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. The dreamy opening of the first movement, apparently representing the magical lake at which Ivan and Maria meet, leads to a touching love-duet; but after that the urgency increases, culminating in a passage of violent syncopations as Kaschei chases the young lovers on horseback.

The second movement also begins with a strong sense of magic. The young lovers have reached safety at the palace of a neighbouring Tsar; but alas, all is not well, since this Tsar and Tsarina are rather too taken with young Ivan, fancying him as the perfect match for their own daughter and putting a spell on him, causing him to fall in love with said daughter.

Maria reacts just as any normal adolescent girl would under these circumstances: she turns into a blue flower.