Академический Документы
Профессиональный Документы
Культура Документы
CD 1
Johannes Brahms: Sonata No. 1 in E Minor for piano and cello, Op. 38
. . . . . . . . . . . . . . . . . . . . . 15:27
e I. Allegro non troppo
05:21
2 II. Allegretto quasi menuetto . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . 06:27
g III. Allegro
Johannes Brahms: Sonata No. 2 in F Major for piano and cello, Op. 99
. . . . . . . . . . . . . . . . . . . . . . . 08:28
i I. Allegro vivace
07:14
5 II. Adagio affettuoso . . . . . . . . . . . . . . . . . . . . .
06:53
6 III. Allegro passionato. . . . . . . . . . . . . . . . . . . . .
04:32
l IV. Allegro molt0 . . . . . . . . . . . . . . . . . . . . . .
TOTAL TIME: 54:22
CD 2
Benjamin Britten: Cello Suite No. 3, Op. 87
02:28
e Introduzione: Lento . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . 01:48
2 Marcia: Allegro
. . . . . . . . . . . . . . . . . . . . . . . 01:26
3 Canto: Con Moto
. . . . . . . . . . . . . . . . . . . . . . 01:54
4 Barcarolla: Lento
02:06
5 Dialogo: Allegretto . . . . . . . . . . . . . . . . . . . . .
02:53
6 Fuga: Andante espressivo . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . 01:20
7 Recitativo: Fantastico
00:56
8 Moto perpetuo: Presto . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . 11:31
n Passacaglia: Lento solenne
02:41
o Traditional/Shaw: A Brit in Denmark . . . . . . . . . . . . . . .
04:21
r Ernst Bloch/Shaw: ( Prayer). . . . . . . . . . . . . . . . .
(Persian Sam). . . . . . . . . . . . 06:43
s Thophile De Wallensbourg:
03:22
t Traditional/Shaw-Casals: El Cant dels Ocells (Song of the Birds) . . . . . .
07:16
u Wang Liping/Henderson: (Song of the Burial of Flowers) . . . . . .
TOTAL TIME: 50:45
are unique. There are so many things I could write about the Brahms sonatas : The first sonata and its
homage to Bach D ie Kunst der Fuge, the second written for friend and cellist Robert Hausmann (cellist
of the Joachim quartet), and so on and so forth. Most of these things (if not all) have been written down
and explained over and over. So instead I will answer a question:Why have I chosen to record perhaps
some of the most well known repertoire for cello in my first ever commercial recording? The answer is
simple. I love his music. Passion, drama, love, fragility, beauty. I hear and feel in his music all aspects
of life.
The Third Suite for Solo Cello by Benjamin Britten (CD 2, e-n) is based on three Russian songs from
Tchaikovskys volumes of arrangements along with Kontakion (Hymn for the Departed). This suite is
Brittens final work for the cello. As with his other works for cello, it was written for the great Russian
cellist Mstislav Rostropovich in 1971. It is often said that when a person nears death their life plays out
backwards, flashing in front of their eyes for just a split second. Similarly, the form of this piece appears
backwards, with nine movements containing variations on themes that appear only in the coda at the end
of the suite. Furthermore, I cannot help but draw parallels between the form of this piece and the personal
struggle undertaken by Rostropovich in the USSR during the early 1970s. His friendship and sheltering of
Aleksandr Solzhenitsyn coupled with his support for dissidents led to official disgrace and eventual exile.
Britten quotes the G major prelude of Bach (CD 2, i) and throughout the suite intertwines variations on
Russian songs, before ending almost 30 minutes of heart wrenching passion and beauty with Hymn for the
Departed (CD 2, n). I believe this demonstrates a strong show of support for Rostropovich during such a
delicate political and humanistic struggle.
A Brit in Denmark (CD 2, o) is a combination of two traditional melodies: the first, from the Danish island
of r and the second, a Scottish fiddle tune. Following my relocation to Denmark in 2012 I have become
interested in Scandinavian folk music, which has captured my imagination. It felt only natural to merge the
wonderful fiddle culture I experienced during trips to Scotland with a beautiful Danish melody and form
this piece.
Aged 17 I moved to Paris, to study. It was here that I met my great friend Theophile de Wallensbourg
who introduced me to a new world of art, culture, music and Parisian life. I have since performed several
of his works.
(Persian Sam) (CD 2, s) is dedicated to me and inspired by Persian music and the
Kamancheh (4 stringed instrument).
One of the great classical Chinese novels A Dream in Red Mansions was written by Xueqin Cao in 1784.
In the 1980s this book was adapted for Chinese television and became one of Chinas most celebrated
television dramas. Song of the Burial of Flowers (CD 2, u), written by Chinese composer Liping Wang,
is the theme tune to this drama and is sung by the beautiful, young heroine Daiyu Lin. In 2013 I premiered
the cello concerto On the Beach with Alice in Bejing, written by British composer Philip Henderson. In
2015, Philip kindly agreed to arrange Song of the Burial of Flowers for me to play together with a group
of traditional Chinese musicians visiting Copenhagen. It gives me great pleasure to include Song of the
Burial of Flowers as the last track of my release.
The most important thing I have learnt in the 6 years, between my first ever recording (the passion of
Brahms op.99) and my last (the simple beauty of the Catalonian folk tune, El cant dels ocells), is the
irreplaceable significance of music to my life. As Nietzsche so eloquently wrote Ohne Musik wre das
Leben ein Irrtum. (Without music, life would be a mistake). I hope that you get as much pleasure listening
to this recording as I have had creating, constructing and realising each element of it.
With my warmest wishes,
2009620153
2009
Foundation of the Banque
Populaire
Julius Berger2000
Jos Gallardo
Robert Hausmann
CD2e-n
1971
2070
Aleksandr Solzhenitsyn
G
CD2i30
CD2n
CD2oAero
2012
10
17Theophile
de
Wallensbourg
Persian SamaCD2s
Kamancheh
17842080
CD2u
2013
Philip Henderson
On the Beach with Alice2015
99El
cant
dels ocells
Jacob
11
12
Jacob Shaw
13
Jos Gallardo
14
Jose Gallardo has won numerous national and international awards. Invitations to numerous tours and
festivals followed, including the Chamber Music Festival Lockenhaus, Verbier Festival, Lucerne Festival,
Chopin and his Europe Warsaw, Ludwigsburg Castle Festival, Schwetzingen Festival, Schleswig Holstein,
the Kronberg Cello Festival, Cork Music Festival, Musiktage Hitzacker, Kaposfest Hungary and the Rheingau
Music Festival.
A busy concert and chamber music Cooperation in Europe, Asia, Israel, Oceania and South America connects
him among others with Gidon Kremer, Barnabs Kelemen, Linus Roth, Benjamin Schmid, Carolin Widmann,
Alina Ibragimova, Dmitry Sitkovetski, Nils Mnkemeyer, Andreas Ottensammer, Nicolas Altstaedt, Mikls
Pernyi, Maximilian Hornung.
Recordings for EMI, Hnssler, Challenge Records Int., Oehms Classics, Neon, Genuin, Warner and Naxos as
well as television and radio productions in BR, SWR, MDR, BBC, RAI, etc.
From 1998 to 2008 he was a lecturer at the Department of Music, University of Mainz, since the fall of 2008
he taught at Leopold Mozart Centre, University of Augsburg.
Since 2013 he became, together with Andreas Ottensamer, artistic director of the chamber music festival
Brgenstock Festival in Lucerne.
between the Central Conservatory of Music (CCOM) in Beijing and The Royal Danish Academy of Music
(RDAM) in Copenhagen.
The purpose of the MCI is to facilitate musical and cultural exchange between China and Denmark. MCI
aims to actively contribute towards the future global development of music by creating synergies between
classical Western and Chinese musical traditions.
Through the power of creativity and inspiration, MCI believes we can harness the beautiful diversity of
sound. MCI is open to anyone who is interested in Chinese musical tradition and culture.
The traditional Chinese instruments on this recording are played by the teachers of the MCI.
15
www.rovenrecords.com
www.jacobshaw.de