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London Sinfonietta’s Tim Gill
Avant Cello
| Webern | 3 kleine Stücke, Op. 11 |
|---|---|
| Messiaen | ‘Louange à l’Éternite du Jesus Christ’ (‘Praise to the eternity of Jesus’) from Quartet for the End of Time (1941) |
| Henze | Serenade for solo cello (1949) |
| Arvo Pärt | Fratres (vrs. for cello & piano) (1977; 1989) |
| Xenakis | Kottos for solo cello (1977) |
| Jonathan Harvey | Ricercare una melodia for solo cello and electronics (1984) |
| Thomas Adès | ‘L’eaux’ from Lieux retrouvés (2009) |
| Anna Clyne | Paint Box for cello and tape (2006) |
| Harrison Birtwistle | Wie Eine Fuga from Bogenstrich (2006–9) |
| Tim Gill | cello, electric cello |
|---|---|
| Fali Pavri | piano |
| Sound Intermedia | sound design and live electronics |
For Elgar, Shostakovich and Britten the cello was a voice of heroism and lament. But how did other 20th and 21st century composers hear it? London Sinfonietta’s principal cellist Tim Gill presents a survey of pioneering cello repertoire though the 20th and 21st centuries. From the mesmeric spirituality of Messiaen and Pärt, through the concise pointillism of Webern, to the athletic virtuosity of Xenakis’ Kottos – ‘rough, harsh and full of noise’ – to Anna Clyne’s immersive soundscape with electronics, this programme probes the cello’s different voices from the turn of the century right up to the present day.