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TONY CLOSE (Violoncello)
THE WIRELESS Symphony ORCHESTRA
Conducted by BASIL CAMERON
THE sacred name ' Fatherland' probably means more to a Frenchman than to any other in the world, more even than to the German who uses the name in his own native Teuton ; in 1870 after the disastrous Prussian War, it had a specially deep significance for every son of France. It was then that Bizet composed this Overture, which is still regarded as a really national possession. Ho was quite a young man, and though as a music student he had won the highest award which a Frenchman may, he had not been successful with his first two operas, The Pearl Fishers and The Fair Maid of Perth. Even Carmen, now and for generations past among the most popular of all operas, met with no real success until after Bizet's death at the early age of thirty-seven...
The Overture, scored for full orchestra, with resonant brass and percussion, begins at once with a stirring theme played by the whole strength of the orchestra. After this is expanded and the opening has returned, there is a new tune played by Violoncellos and woodwind against a triplet figure on the higher strings. Trombones break in forcefully and the opening is heard again. Then. the time becomes manimated, and a new tune is played by violas and woodwinds, with the lower strings accompanying. This is worked out at some length and leads to a strenuous climax, and again the time changes, now to a slower movement. Violas, and Violoncellos together have then a fine rich tune accompanied by detached chords on the brass, with expressive little phrases on English horn andflarinet breaking in. Once more there is a change of time, and with it a change of key, and violas and woodwinds have a soft, delicate melody which muted violins accompany. On these materials the Overture is built up, coming to an end with a broad and forceful figure baaed chiefly on the second time. It closes the Overture with a sense of real triumph.
Tony CLOSE and Orchestra
THIS comparatively slight work is in one continuous movement, although tho time and the mood change more than once. The solo instrument begins at once with the first principal tune, an impetuous running figure, and this forms the foundation for most of tho first section. There follows a delicate tune in a sort of tripping waltz rhythm which the solo instrument accompanies with a counter melody in slower time. It gives way anon to the real slow movement of the Concerto. an unusual movement in which the soloist begins each successive phrase of the tune solemnly, gathering speed to reach a series of climaxes. It leads straight into the impetuous closing section, which finishes the short work in a mood of brilliance and onergy.
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