Turnage, Mark-Anthony: Mambo, Blues and Tarantella (2007) 20'
for violin and orchestra
Scoring
3(III=afl).2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(4: vib/marimba/roto-toms/tamb/boo-bams/2 timbales/small sizzle cymbal/2 cow bells (Latin)/2 tpl.bl(high, low)/large BD)-harp-pft(=cel)-strings
World Premiere
9/24/2008
Royal Festival Hall, London
Christian Tetzlaff, violin / London Philharmonic Orchestra / Vladimir Jurowski
Press Quotes
“…there's no doubting this is a significant addition to the repertoire. Accessible, tough and unmistakably Turnage, it has a blatantly classical shape, setting out like a baroque jig, with lots of arresting staccato gestures and complex rhythms, before moving on to a moody slow movement and a final dance of obsessive nerve and energy. A stunning piece."
Financial Times
“Unusually, in the energetic outer movements, the composer treats the violin as quasi-percussion, with jagged-edge multiple stopping and wild rhythmic abandon. The slow Blues movement is a serene oasis of calm at the heart of the work. This is a notable addition to the concerto repertory. The solo part was thrillingly played by the dedicatee, Christian Tetzlaff, a rare champion of new music among elite contemporary violinists.”
Sunday Times
News stories for this title :
Mark-Anthony Turnage: reviews of Mambo, Blues & Tarantella
Mark-Anthony Turnage: Premieres in Toronto & St. Louis
Mark-Anthony Turnage: Mambo, Blues and Tarantella premiere
for violin and orchestra
Scoring
3(III=afl).2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(4: vib/marimba/roto-toms/tamb/boo-bams/2 timbales/small sizzle cymbal/2 cow bells (Latin)/2 tpl.bl(high, low)/large BD)-harp-pft(=cel)-strings
World Premiere
9/24/2008
Royal Festival Hall, London
Christian Tetzlaff, violin / London Philharmonic Orchestra / Vladimir Jurowski
Press Quotes
“…there's no doubting this is a significant addition to the repertoire. Accessible, tough and unmistakably Turnage, it has a blatantly classical shape, setting out like a baroque jig, with lots of arresting staccato gestures and complex rhythms, before moving on to a moody slow movement and a final dance of obsessive nerve and energy. A stunning piece."
Financial Times
“Unusually, in the energetic outer movements, the composer treats the violin as quasi-percussion, with jagged-edge multiple stopping and wild rhythmic abandon. The slow Blues movement is a serene oasis of calm at the heart of the work. This is a notable addition to the concerto repertory. The solo part was thrillingly played by the dedicatee, Christian Tetzlaff, a rare champion of new music among elite contemporary violinists.”
Sunday Times
News stories for this title :
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