Symphonie espagnole, Op (Lalo, Édouard) .. Work Title, Symphonie espagnole. Alternative. Title, Violin Concerto No Name Translations, スペイン 交響曲;. Free violin sheet music for Symphonie espagnole in D Minor, Op. 21 by Edouard Lalo. Symphonie espagnole by French composer Édouard Lalo () is But though he lived and worked in France, Lalo actually was of Spanish descent; he.
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[PDF] + Video - Violin and Piano - Romantic * License: Public Domain - 5 movements: 1. Allegro non troppo 2. Scherzando. Allegro molto 3. [PDF] + Video - Violin, Orchestra - Romantic * License: Public Domain - 5 movements: 1. Allegro non troppo 2. Scherzando. Allegro molto 3. Page ronaldweinland.info Edouard Lalo. Symphonie. Espagnole for Violin and Orchestra opus Transcription for Violin and Piano. Page 2. Page 3. Page 4. Page 5.
Deutsch During the nineteenth century Paris, and by extension France, was certainly not a place at ease with itself. Who knows what might have happened had Napoleon won at Waterloo. But as it was, revolution reared its head again in and , followed by the trauma of the Commune in and anarchist bombs in the early s. And so they were—but this did not prevent those outside the loop from feeling marginalized. He then moved to Paris and for some time made a living as a violinist and teacher, but we know of no compositions before , when he submitted an overture to Berlioz, in some of whose concerts he played.
Yet his great breakthrough to public acclaim came late, when he was already in his fifties, and it was in orchestral music: the Symphonie espagnole, a de facto violin concerto premiered by the celebrity violinist Pablo de Sarasate in Lalo's gifts as an opera composer had to wait even longer to be acknowledged: in came the belated though successful premiere of Le roi d'Ys The King of Ys , a major work based on a legend about the mythical city on the coast of Brittany that is swallowed by the sea.
Nowadays the Symphonie espagnole tends to overshadow everything else Lalo composed, but his Cello Concerto in D minor-written just a few years after the former, by which time Lalo had enjoyed his first real taste of success-also ranks among his finest achievements.
Violinists and pianists had long enjoyed star status as soloists, but the cello was still considered a dubious platform for a solo career. Lalo composed the work for Parisian cellist Adolf Fischer In general, the Cello Concerto is remarkable for the assuredness with which Lalo keeps the soloist in the foreground as protagonist.
The Spanish flavor suggested by aspects of his material-its rhythms and textural treatment-has been widely observed. With the earlier Symphonie espagnole, Lalo, like his contemporary Bizet in the opera Carmen, had already anticipated the vogue for evoking Spanish atmosphere that attracted French composers at the end of the century.
But some traces of Lalo's understanding of German masters such as Beethoven can also be heard-particularly in the stern rhetorical pose of the slow introduction. After just a few bars of the orchestra's exhortation, the cello enters with its own lyrical musings, not unlike the search for the "joy" theme at the beginning of the finale of Beethoven's Ninth. So far the beginning of each movement has been traditional enough, but Lalo now surprises us by starting the finale with a short cello recitative.
This then turns into a theme, freedom brought to heel by discipline.
The movement is built on a series of contrasts between passages of solo-plus- accompaniment and contrapuntal ones, with Lalo showing considerable virtuosity in moving persuasively from one to the other. Twice the piano offers a seductive vision of what life might be like in a major key, but finally C minor wins the day, lento, pesante.
Violin and cello in octaves proclaim an energetic, dotted theme that, once more, puts us in mind of Schumann, and Lalo builds to a climax by using canon.
The suave, hymn-like second theme on the cello, then violin, is accompanied by delightfully tinkling arpeggios on the piano, and the serious mood seems set to dissolve into one of pure enjoyment—but then, of course, the exposition is repeated, so we have to wait to see how the drama is played out.
The development, brief though it is, shows Lalo at his most inventive in both texture and harmony. The Minuetto begins with a gesture of deep seriousness—which then proves to be a blind.
For the twelve years that followed the second piano trio Lalo wrote very little, apparently disheartened by his lack of headway as a composer. Unfortunately the work on which he lavished most of his time, the opera Fiesque, never made it on to the stage and was heard only in extracts. Whereas the opening Allegros of the two previous trios had been moderato and maestoso, this one is appassionato, even if takes a few bars to reach the heights of passion.
In the nearly thirty years since its predecessor, Lalo had expanded his harmonic vocabulary and now uses unexpected chords to add savour to the discourse. He also integrates the piano with the strings more effectively and gives it a more virtuoso role.
At the reprise, the cello is again given the beginning of the first theme and the events of the exposition are largely followed thereafter until the piano proclaims this first theme in loud octaves, presumably to announce a vigorous coda. But no: the strings answer with a bare, dolcissimo rendering of the theme and the movement ends in a whisper.
Is it disillusion? If so, the response spells out anything but acceptance.
A loud, high, relentless D minor chord initially governs everything and it is no surprise that four years later Lalo scored the movement for full orchestra, adding four bars of trumpets and cornets as a preamble. The middle section provides respite, but the energy can still be felt underground. In the finale Lalo returns to his beloved Schumann, dotted rhythms and all.