エルネスト・ブロッホ(米語の発音ではアーネスト・ブラック)(Ernest Bloch, 1880年 7月24日 - 1959年 7月15日)はスイス出身のユダヤ人 作曲家・音楽教師。アメリカ合衆国. Ernest Bloch (Ginebra 24 de julio de 1880 – Portland (Oregón), 15 de julio de 1959) fue un compositor nacido en Suiza naturalizado estadounidense. Donald McInnes Representative List of Viola Repertoire. Please note that although pieces are listed in order of technical difficulty, all are presentable in a concert program. Download in PDF format. Level I Level II Level. Selected Clarinet Repertoire Technical Studies and Etudes Albert, J. B. 24 Varied Scales and Excercises Carl Fischer Baermann, ed. Hite Foundation Studies, Op. 63 SMC Baermann, ed. Hite Artistic Studies. REPRESENTATIVE LIST OF VIOLA REPERTOIRE compiled by Donald McInnes viola.com/McInnes Please note that although pieces are listed in order of technical difficulty, a ll are presentable in a concert program. Readbag users suggest that Item List is worth reading. The file contains 683 page(s) and is free to view, download or print. Ernest Bloch (July 24, 1880 – July 15, 1959) was a Swiss-born American composer. [1.
Bloch Suite Hebraique Pdf File
Bloch Suite Hebraique Pdf Download
Each of the three ‘Jewish’ works by Ernest Bloch on this recording was written during a different biographical and musical phase of the composer’s life. Schelomo was completed in Geneva when he was at the height of his ‘Jewish Cycle’ (six epic works dating from 1. Jézabel). From Jewish Life came nearly a decade later, when he was focusing mainly upon writing chamber music and teaching at the Cleveland Institute of Music (which he had founded in 1. Voice in the Wilderness was composed just over a decade after that, when Bloch had temporarily returned to Europe (1. Geneva. Schelomo, subtitled ‘Rhapsodie hébraïque’, was written in the space of six weeks during January and February 1. Bloch had, over a number of years, noted down thematic ideas for a vocal setting of selected verses from the biblical book of Ecclesiastes, the authorship of which is attributed to King Solomon (Hebrew: Schelomo) who reigned some 3.
Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.
Ernest Bloch (* 24. Juli 1880 in Genf; † 15. Juli 1959 in Portland, Oregon) war ein schweizerisch-amerikanischer Komponist jüdischer Abstammung.
Bloch had felt, however, that French, German or English were somehow unsuitable for the purpose, and that his grasp of Hebrew was inadequate. Coming into contact with the celebrated Russian cellist Alexandre Barjansky (1. Katja in Geneva towards the end of 1. Bloch was keen to share with them his ‘Jewish Cycle’ in general, and this new work in particular. Barjansky was greatly moved by what he heard.
Realizing that the cello was the solution to the language problem, Bloch reformulated his sketches and passed them to Alexandre for scrutiny, while Katja at the same time made a small sculpture of King Solomon. In gratitude, Bloch dedicated Schelomo to the Barjanskys. According to Bloch: ‘It is possible to imagine that the solo cello is the incarnation of King Solomon, and that the orchestra represents his internal world and his experience of life, though sometimes it is the orchestra that seems to reflect Solomon’s thoughts, while the solo instrument voices his words: “All is vanity.”’ Bloch places much emphasis on the king’s pessimism, despite ‘the royal pomp, the treasure, the wealth, the power, the women, all that a man might desire in this world’, and ‘the barbaric coloration of an Oriental world’ that surround him. The rhapsodic manner and glittering instrumentation may give the work an improvised air, but the underlying structure is a sturdy ‘ternary’ form (ABA), plus an introduction and coda.
The heroic melody that appears before and during the great orchestral climaxes occurring towards the end of the first and third sections of Schelomo is built upon motifs that bear a remarkable resemblance to the those of Tzur Yisroel (‘Rock of Israel’), a traditional chant that Bloch received from Reuben Rinder (1. Cantor at Temple Emanu- El, San Francisco) in the late 1. Avodath Hakodesh (‘Sacred Service’, 1. Nevertheless, although numerous motifs throughout the six published works of the ‘Jewish Cycle’ are the composer’s subconscious transformations of biblical and cantorial chant, in only one instance did Bloch acknowledge that he had consciously taken a melody from a traditional source—a motif that his father ‘sang often, in Hebrew’, which appears for the first time at the beginning of the middle section of Schelomo. Bloch quoted the Hebrew text in a letter written to his mother four years after the work had been completed; and the melody is, in fact, an adaptation of a South German cantorial chant Uv’chen ten pachdecha, sung in Ashkenazi synagogues during High Holy Days.‘Almost all my works, even the darkest ones, still end optimistically, or at least with some hope. This is the only one that concludes in complete negation. But the subject demanded it.’ The opening of Ecclesiastes confirms Bloch’s observation: ‘The words of Kohelet, the son of David, king in Jerusalem.
Vanity of vanities, saith Kohelet … And I applied my heart to seek and to search out by wisdom concerning all things that are done under heaven … and, behold, all is vanity and a striving after wind.’Despite the enormously demanding technical skills required of the soloist, this is not a concerto in the usual sense, and virtuosity is always the servant of that expressiveness in which the spiritual and sensual are fused. Bloch composed From Jewish Life for cello and piano while on vacation in Santa Fe, New Mexico, at the end of 1.
Director of the Cleveland Institute of Music came to an end. This set of three short pieces was dedicated to Hans Kindler (1.
Schelomo at New York’s Carnegie Hall in 1. They explore the entire range of the solo instrument, musical structures are simple, and the use of Eastern European Ashkenazi modality creates a distinctive atmosphere. This recording features Christopher Palmer’s arrangement of Bloch’s original piano accompaniment for string orchestra and harp. Prayer is in ternary form, and the two contrasting themes—one broad, the other fragmented—are each introduced by the cello and then repeated in the orchestra. In the final section the melody of the opening appears an octave higher, and is extended into a kind of free recitative. The accompaniment is essentially chordal, but there are several passages of rich two- part counterpoint. The key of F minor incorporates elements of the Magen Avot and S’licha modes of the synagogue; but it is the Ahava Rabba mode (known more colloquially as Freigish) that predominates in the coda.
The cello solo ends with an especially poignant quartertone inflection. Supplication is based upon a single theme in two parts, each of which recurs in various guises. Although the tonality is basically E minor, there is frequent modulation into related keys as the movement progresses. Elements of the Av Harachamim (Mi Shebeirach), Adonay Malach, and Ahava Rabba modes are combined here in rapid succession; and occasional syncopations suggest the rhythms of Hassidic dance. After a spirited climax, a long chromatic descent leads to a peaceful close. Jewish Song is based upon a single melody in the Ahava Rabba mode on C.
And again there are two parts, the first of which appears three times, and the second twice. Quartertones are plentiful; they produce a consistently doleful effect—particularly at the beginning, where the accompaniment comprises a slowly and solemnly repeated drone on a bare fifth. The movement arches to a climax, following which the theme fades away to nothing.
Bloch’s second large- scale work for cello and orchestra, Voice in the Wilderness, was written some two decades after the first, yet the intimate relationship between the two compositions is tangible. However, there are subtle differences, not only in overall architecture, but also in musical colour: Schelomo has been described as ‘red and gold’, Voice in the Wilderness as ‘bronze and brown’. The composer described this series of meditations as follows: ‘The various movements follow and link each other quite naturally. They are sometimes bound together by a barely perceptive thematic relationship or “reminiscence” but each has its own clearly defined character.’The work was originally conceived for the piano—and indeed there is a separate version for piano solo, entitled Visions et Prophéties (comprising five of the six movements), which Bloch composed subsequently. But at this early stage the composer found himself constantly singing counterpoints while playing through the work. Despite suffering from poor health at the time, Bloch persevered with its construction and decided to add a cello part.
Although it was still incomplete, Bloch, with Alexandre Barjansky who was visiting him in June 1. Paris (where he was living temporarily), played sections of it to Edmond Fleg (1. Bloch’s operas Macbeth and Jézabel, and three Psalm settings. The great enthusiasm with which it was greeted encouraged Bloch to finish the cello- and- piano version by mid- August 1. January 1. 93. 6. The process of finding a suitable title was arduous.
Bloch had sent his friend Carl Engel a detailed analysis of his composition including indications as to the fluctuations of mood and atmosphere within each movement. Engel recalls that, during his subsequent visit to Bloch (now domiciled in Châtel, Haute- Savoie), he was deeply moved by the religious fervour and prophetic eloquence of Bloch’s performance on the piano; and the image of a ‘Voice in the Wilderness’ came spontaneously into his mind. Without hesitation, the composer wrote these words on the first page of his manuscript since, for him, this title perfectly evoked the journey of the soul through the whole spectrum of life’s experience. Each of the six short movements has, in principle, the same bipartite structure: the first section, purely orchestral, is where the thematic material is presented; the second is where the solo cello enters, to orchestral accompaniment, and reflects melodically and rhythmically upon the mood and ethos of what has come just before.
Any description of mood is bound to be subjective, especially since no specific ‘programme’ per se was intended by Bloch. But the following indicators might give a general impression of the emotional world depicted in each movement. The first expresses a grave and solemn sentiment, and the second reveals touches of bitterness; the third is more energetic and extrovert in character, whereas the fourth enters an idyllic dream- like dimension; the fifth, like the third, is more lively and forceful, and ends with a passionate and highly chromatic cadenza for solo cello; and the sixth, the longest of all, radiates joy, confidence, hope, and ‘the victory of the spirit’, concluding with a diatonic melody redolent of purification and peace.
All the movements follow each other without a break—except for a brief pause between the last two. Unity is ensured by the use of ‘cyclic’ form, where themes presented in earlier movements recur, sometimes identically and sometimes in different guises, in later movements. This is a feature common to many of Bloch’s works.