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Concerto da camera (Jeffrey Ching)
''Concerto da camera'' is a composition for solo guitar, solo violoncello, soprano, and twenty strings, by the contemporary Chinese-British composer Jeffrey Ching.
==Analytical Description==
The composer describes the composition as a ‘quintuple concerto’ for the five nationalities of its original begetters: German for the guitarist Reinbert Evers; Lithuanian for his wife, the pianist Igina Mauzaite (although the concerto never included a piano part); Brazilian for the ‘cellist Matias de Oliveira Pinto; the Spanish ancestry of the composer’s wife, the soprano Andión Fernández; and the composer’s own Chinese parentage. Composed in Berlin between 2 March and 2 July 2008 and revised in 2011-2012, the concerto is about half an hour in duration, and divides into a slow and a quick movement, in each of which the five musical races combine in diverse ways:
The opening "Passacaglia à la sarabande" alternates three statements of a “V-I-L-N-I-U-S” motto (A-A-E-G-A-G-Eb) with three presentations of the Sarabande from J. S. Bach’s ''Fifth Suite'' for unaccompanied ‘cello (BWV 1011), each incorporating some figurative or abstract representation of a national element: sheng-type chords, quotations of zither music, and poetic fragments from mediaeval China; the rhythms and harmonies of Brazilian indigenous and popular music; the dissonant polyphony, nonsense syllables, and wide vocal glissandi of the Lithuanian sutartines; and in the optional soprano solo at the movement’s core, some Spanish lines from Cervantes’ ''Don Quixote''.
The concluding "Fuga concertante" exactly doubles the proportions of the finale of J. S. Bach’s ''Fourth Brandenburg Concerto'' (BWV 1049), as well as literally doubling its contrapuntal premise into a double fugue on two Lithuanian folk songs. As in the Bach, the fugal ritornelli are interspersed with elaborate cadenzas for the instrumental soloists, in one place in the form of the actual tracing on the guitar and ‘cello fingerboards of the Chinese brushstrokes for the ideographs for ‘broken string’. Where the movement divides at the Golden ratio, the string players stand and slash the air with their bows, to announce a structural demarcation usually left concealed by composers. During the fifth ritornello, the soprano’s first movement solo recurs in fragmentary guise as a wordless vocalise, so that in this movement the Spanish as well as Chinese presence survives only in allusive form. On the other hand, the Afro-Brazilian elements come into their own as a candomblé ceremony in miniature, the ethnomusicologically documented drumming, cowbell, and clapping effects all mimicked by the string orchestra and solo guitar without any actual percussion. The concerto ends with the dense Baroque counterpoint of solo guitar and ‘cello unwinding into silence like a rundown motor, by means of well-coordinated coups de grâce administered to the soloists’ tuning pegs by three players from the orchestra.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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