Скачать или смотреть [Eduard Tubin] Double Bass Concerto ETW 22 (Score-Video)

Performers:
Håkan Ehrén (double bass)
Gothenburg Symphony Orchestra / Neeme Järvi

The different parts of the concerto follow each other without a pause. At the beginning of the Allegro con moto the soloist plays an energetic theme (1). In the meantime the orchestra presents jazz-like rhythms. The theme is further developed in the powerful orchestral interlude.

The Allegro non troppo is calmer and more lyrical. The double bass presents a theme (II) which is later taken over by the entire orchestra. The oboe and then the flute add a new idea (III). The soloist, who has until this point been playing anxiously and violently, now plays a powerful, expressive theme (IV). The theme is quickly played by the horn so it resounds over the whole orchestra. At the climax the trumpets enter and play shining triads.

The Andante sostenuto is built upon a broadly developed melody (V) played by the soloist, accompanied by the strings and harp. When this theme appears for the second time, the woodwind start to contribute syncopated chords which create a feeling of movement. The soloist presents an anxious idea (VI). This is accompanied by short chords from the brass. The main theme of the slow section (V) is heard again in the orchestral interlude which follows, now on the trombones, violas and cellos. In the background we hear the signals from the trumpets. A major crescendo follows, leading to the soloist's cadenza. Here the soloist has a fine chance to show his ability.

The Allegro non troppo, poco marciale starts slightly tentatively on the solo instrument and the clarinet. The clarinets soon develop this into a theme which is taken up first by the soloist (VII) and later by the whole orchestra. The cor anglais plays the main theme of the slow section (V), this time with different rhythm (VIII). The soloist develops this further. The sixth theme is heard in an orchestral interlude, now in the form of a wild dance. A glissando from the soloist leads us into the coda; the concerto ends powerfully.

(Written by Harri Kiisk)

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