아테르베리 / ♬첼로 협주곡 (Concerto for Cello and Orchestra, Op.21)

[차연옥]

아테르베리 / ♬첼로 협주곡 (Concerto for Cello and Orchestra, Op.21)

Concerto for Cello and Orchestra, Op.21

아테르베리 / 첼로 협주곡

Kurt Atterberg 1887~1974

Karl Anton Rickenbacher, Cond / Berlin Radio Symphony Orch

3. Adagio
Werner Thomas-Mifune, Cello
Karl Anton Rickenbacher, Conductor
Berlin Radio Symphony Orchestra
(Runfunk Sinfonieorchester Berlin)

Concerto for Cello and Orchestra, Op.21

1. Andante cantabile
2. Allegro
3. Adagio
4. Allegro

쿠르트 아테르베리(Kurt Atterberg)는 Hugo Alfven(1872~1960)과 동시대에 활동한 스웨덴 작곡가로 스칸디나비아반도의 아름다운 자연을 배경으로 교향곡을 비롯해 많은 작품을 작곡하였습다. 그래서인지 그의 작품은 마치 한폭의 아름다운 자연경치을 보는 듯한 느낌에 빠져들게 합니다.

쿠르트 아테르베리(Kurt Atterberg 1887.12.12~1974. 2.15)

Born in Gothenburg on 12th December 1887, died in Stockholm on 15th February 1974. In 1910-1911 he studied at the Stockholm Conservatory, attending Andreas Hallén’s composition and instrumentation classes. As a composer, however, Atterberg was really self-taught. He also had an extensive technical education behind him. He studied at the Royal Institute of Technology in Stockholm where in 1911 he graduated as an engineer. He was employed by the National Patent and Registration Office between 1912 and 1940, becoming a Head of Division there in 1937.

Atterberg was a founder member of the Society of Swedish Composers, serving as its Chairman between 1924 and 1943 and becoming Honorary Chairman in 1947. He was Secretary of the Royal Swedish Academy of Music 1940-1953, and Chairman of the Swedish Performing Rights Society 1924-1943. Atterberg was a prolific writer, e.g. as music reviewer for Stockholmstidningen 1919-1957. His distinctions included first prize in the Columbia gramophone company’s “Schubert Competition“ in 1928 and Litteris et Artibus in 1936.

Atterberg’s musical strength ranges from clear and brightly melodious compositions on a small scale to grandly conceived symphonic works. His unflinching aim was to create living, substantial parts both for the melodic foreground and for the surrounding strata of the accompaniment. The solidity and saturation of his scores is also partly the result of an extensive knowledge of instrumentation.

His romantic disposition is betrayed by several compositions. He paid special tribute to romanticism as a stylistic ideal in his Seventh Symphony, Sinfonia romantica, with its seamless fluency of form, its protracted melody and its many-facetted harmony. Pathos and passion were other moods which he aimed to depict, not least in his operas (Fanal being an eminent instance).

Other compositions – the String Quartet Opus 11, ballet music and several of the orchestral suites (there are ten in all) – are distinguished by their delicacy of touch. In the orchestral suites, Atterberg’s classical interest comes into its own and the third of these suites has become one of his most frequently performed works. Despite the limitations imposed by the form, the interaction of the solo violin and viola with the orchestra is permeated by that affectionate sense of melody which is such a beautiful quality of Atterberg’s artistry.

[조 인]

첼로음의 갈등이 감동적이었습니다. 새롭고 좋은 음악 감사합니다
무척 덥지만 즐거운날 되세요

[차연옥]

<조인>님도 이 여름 건강히 보내세요. 손위 여섯살 위 오빠가 cello를 해서 저도 이 음을 듣고 자라서인지 좋아합니다. 사람의 목소리와 체감에 가장 가까운 소리가 cello라 그런지 안정적이며 편한 음색이 좋습니다.

[세윤]

오늘은 일 빨리 마치고 음악듣습니다.
마음을 차분하게 만들어 줍니다.

[초록사랑]

숲과 호수의 나라 --87세까지 장수하셨네요, 장엄일출 숲 일렁거림 바다 파도를 헤치는 사람들의 노래도 .... 마지막 펄럭이는 연을 감은 연줄 떨구어 놓아버리는듯 비움의 자세가 일품입니다. 감사히 모셔갑니다,.

[삼손박]

잘듣고 갑니다 감사합니다.