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原文

Violintango Concerto.

译文

Violintango协奏曲.

原文

Violintango Concerto composed by Melani Mestre. For violin and string orchestra. Published by Editorial de Musica Boileau. BO.B.3671. The piece, structured in three movements, Allegro - Lento - Allegro, is written, as its name suggests, for a solo violin accompanied by an orchestra -a string orchestra, in this case. Its name aims at relating the composition not only to the instrument for which it was conceived, but also to the genre that marks the aesthetic content of the work. this is the only existing original concert for violin and orchestra of this category to date. The piece was written in February 2009 in the Ukrainian city of Lviv, while I was the conductor of the city's Symphonic Orchestra and we were rehearsing a concert in which we would interpret an instrumental suite from Astor Piazzolla‘s Operatango Maria de Buenos Aires, that had been written some time before. Therefore, the use of the language of tango in the composition of this concert was certainly not fortuitous, but although it seems contradictory, employing it was not an intentional act either. The work itself intends to explore the language of tango by means of all the technical and musical resources offered by the violin, but without letting this become an excuse to just write a tango for violin and orchestra or a tango-style concert. In fact, the piece shows a will to develop and experiment with the several diverse ways in which the language of tango can be presented, with all its dialects and its variants. The language employed in this concert explores all these postulations and develops them, starting from a few rhythmical cells of their own that are juxtaposed and intertwined throughout the three movements, forming an indivisible unit. The accents take a special relevance and become a significant part all the way through the musical discourse, as do the different rhythms that not only shape a particular kind of orchestral accompaniment, but also make up a specific counterpoint to the expressive and melodic needs of the solo violin. Not only does the orchestra accompany its soloist, but in many cases it becomes a soloist in itself. The counterpoint, never used as a compositional tool or as a merely acrobatic display, confers structural meaning to a language that allows a dialog between the couple made up by the soloist and the orchestra, in which they can both speak at the same time without any of the two sides being pushed into the background. The second movement, Lento, the aria structure used is typical from Bach -not so much from Johann Sebastian as from his son, Johann Christian. This structure allows for the juxtaposition in one milonga melody, of a solo violin with a basso continuo by four, whose tempo is marked by the strings. The third movement attempts to explain, gradually and in a linear way, the evolution of the metric of tango, as it moves from a bar of 4. typical of tango. to one of 6. Havanera-like. , thus demonstrating the historical origin of tango as deriving from Havaneras, and the various transformations it has undergone. We then reach the coda of the third movement where, after one of the two cadences of the solo part, all the tunes that have been emerging throughout the concert overlap contrapuntally with all the polyrhythms they make up together, expanding and contracting by way of the internal accents of the music itself and producing the feel of being simultaneously listening to a bar of 4. 4, a 3. 4 and a 6.

译文

Violintango协奏曲梅拉尼组成梅斯特. 小提琴与弦乐队. 出版编辑部德Musica的布瓦洛. BO.B.3671. 这件作品，分为三个动作，快板 - 慢板 - 快板，写，正如它的名字所暗示的，为小提琴独奏伴随着管弦乐队，一个弦乐队，在这种情况下，. 它的名称目的在于与所述组合物不仅要为它被设想仪器，而且还标志着工作的审美内容的体裁. 这是为小提琴和这一类的乐团迄今唯一存在的原始演唱会. 这件作品是写于2009年2月在乌克兰城市利沃夫，而我是这个城市的交响乐团的指挥，我们排练演唱会中，我们将解释一个工具套件从皮亚佐拉的Operatango玛丽亚·布宜诺斯艾利斯，即已经写了一些时间才. 因此，在本次演唱会的组合物中使用探戈的语言绝对不是偶然的，但尽管它似乎是矛盾的，使用它不是一个故意行为或者. 作品本身拟全部由小提琴提供的技术和音乐资源的方式开拓探戈的语言，但没有让这成为一个借口，只写了探戈小提琴与管弦乐队或探戈风格的音乐会. 事实上，这块显示了意志，开发和试验中探戈的语言能够与所有的方言及其变种呈现，在几个不同的方式. 在这次演唱会中使用的语言探讨所有这些的假定和发展他们，从他们自己的一些节奏的细胞，是并列的，并交织贯穿三个乐章开始，形成一个不可分割的单元. 口音采取特殊的意义，并成为一个显著的部分，一路过关斩将，音乐话语，因为这样做的不同的节奏，不仅塑造一个特定类型的管弦乐伴奏，也构成了一个特定的对位的的表达和旋律的需求小提琴独奏. 不仅乐团陪它独奏，但在许多情况下，它成为一个独奏者本身. 对位，从来没有作为一个组分的工具或作为一个纯粹的杂技展示，赋予结构意义的语言，它允许弥补的独奏家和乐团，在其中他们可以同时说话的同时没有任何夫妻之间的对话的两侧被推向后台. 第二乐章慢板，使用的咏叹调结构是从巴赫没有那么多典型的从约翰·塞巴斯蒂安·从他的儿子，约翰基督教. 这种结构允许并列独奏小提琴与数字低音四个在一个舞会的旋律，节奏，其标志是字符串. 第三乐章试图解释，并逐渐以线性的方式，探戈，的度量标准的演变，因为它从4个酒吧移动. 典型的探戈. 到的6 1. Havanera样. ，从而表现出探戈的历史渊源来自Havaneras推导，以及各种变换它经历. 然后，我们的方式达到第三乐章的尾声，其中，独奏部分的两个节奏的一前一后，都已经出现在整个演唱会重叠contrapuntally与所有的多旋律的曲调他们做在一起，膨胀和收缩音乐本身和生产的是能够同时监听4个酒吧感觉的内部口音. 如图4所示，3. 4和6.