UNVEILED (2020/2021)

concerto for violoncello and orchestra

solo: vc
instrumentation: 2*.2.2*.2*/2.2.1.0/timp/3perc/arp/gtr/12.10.8.6.4
duration: 25 minutes
première: September 11, 2021
Festival Ljubljana
ORF Vienna Radio Symphony Orchestra
Jean-Guihen Queyras, violoncello
Conducted by Kerem Hasan

Co-commissioned by Konzerthaus Berlin, Gürzenich-Orchester Köln, ORF Vienna Radio Symphony Orchestra and Festival Ljubljana

VIDEO

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UNVEILED

score preview

API-DANZA MACABRA

June 25, 2021, Kölner Philharmonie (première)
WDR Sinfonieorchester Köln, conducted by Cristian Măcelaru

Additional performances

January 16, 17, 18 2022, Kölner Philharmonie
Jean-Guihen Queyras, violoncello
Gürzenich-Orchester Köln
Conducted by François-Xavier Roth

VIDEO

UNVEILED: Full recording
Gürzenich-Orchester Köln
Jean-Guihen Queyras, violoncello
Conducted by François-Xavier Roth
Kölner Philharmonie
© 2022 by Gürzenich-Orchester Köln

UNVEILED: Full recording
ORF Vienna Radio Symphony Orchestra
Jean-Guihen Queyras, violoncello
Conducted by Kerem Hasan
Cankarjev dom, Ljubljana
© 2021 by Festival Ljubljana

PHOTO

ABOUT

CLOOP is a trio for alto flute, musical saw and percussion. It is predominantly in an almost improvisatory vein, with the flute and percussion adorning the long cantilena of the musical saw with arabesques that exude a hint of orient.al colour. The musical saw’s naturally sinuous lines, sliding from one note to the next, are complemented by a considerable degree of rhythmic freedom in the other instruments. In a subtle but judicious contrast to the prevailing improvised character, the musical saw’s lines are occasionally doubled by the other instruments, resulting in moments of crystal clarity clothed in unexpected timbres.

Alwyn Tomas Westbrooke

CLOOP is a trio for alto flute, musical saw and percussion. It is predominantly in an almost improvisatory vein, with the flute and percussion adorning the long cantilena of the musical saw with arabesques that exude a hint of orient.al colour. The musical saw’s naturally sinuous lines, sliding from one note to the next, are complemented by a considerable degree of rhythmic freedom in the other instruments. In a subtle but judicious contrast to the prevailing improvised character, the musical saw’s lines are occasionally doubled by the other instruments, resulting in moments of crystal clarity clothed in unexpected timbres.

Alwyn Tomas Westbrooke

Travelling Pieces (2014)

Published by Ensemble Modern Medien

Saar Berger, Rumi Ogawa, David Haller (Ensemble Modern)

recorded pieces:
WARM-UP

ORDER

Stop & Horn (2014)

Published by Edicije DSS

Saar Berger, SToP

recorded pieces:
WARM-UP

ORDER