無止盡的大提琴 丹尼爾・穆勒-修特 大提琴獨奏 Muller-Schott / Cello Unlimited

無止盡的大提琴(高大宜/普羅高菲夫/亨德密特)
丹尼爾・穆勒-修特 大提琴獨奏

在J.S.巴哈的大提琴獨奏組曲在18世紀初發表後, 這類型的音樂經歷了一段休眠期一直到高大宜(Zolta Kodaly)在1915年以一首重要的大提琴獨奏奏曲帶頭並啟發了各種類似的作品. 但他30分鐘的奏鳴曲作品仍然像是此專輯的獨奏家穆勒-修特描述: ”如聖母峰一般高不可攀”. 此專輯的節目包含普羅高菲夫, 亨德密特, 亨策(Henze), 克拉姆(Crumb), 卡薩爾斯(Casals)和穆勒-修特自己的首錄作品”華彩樂段”(Cadenza), 此作品延續了其他大提琴家都會加入他們的音樂會節目中的傳統. 穆勒-修特說:“在這裡, 你可辨認出在多年來影響我的獨奏作品. 在華彩樂段中, 我的樂器世界中的對比元素在緊密的空間中出現 - 大提琴是純粹的抒情主義, 就如同旋律性模進(sequence)被投入原始節奏中最高的音域(register), 然後在結尾的高潮後立即結束該樂章”.

Daniel Muller-Schott (cello)

After J. S. Bach's solo cello suites in the early 18th century, the genre experienced a fallow period until Zoltan Kodaly set the pace with a monumental sonata for solo cello in 1915. It inspired a variety of similar works, but Kodaly's 30-minute sonata still stands "like Mount Everest", to quote Daniel Muller-Schott, the soloist on this recording. His programme also includes music by Prokofiev, Hindemith, Henze, Crumb and Casals, and features a work of his own for the first time: Cadenza continues the tradition of compositions that other cellists have always added to their recital programmes. "Here, you can recognise influences of the solo works that have influenced me over the years. In Cadenza, the contrasting elements of the world of my instrument appear in the closest space – the cello in pure lyricism, just as sequences catapulting themselves into the highest registers in rhythmical savagery and immediately concluding the movement after a final culmination." (Daniel Muller-Schott)