youtu.be/Xu452xs9QUc
Zdjęcie z próby:John Williams’s new work is scored for solo violin with harp and strings, an ensemble that recalls Bernstein’s 1954 Serenade (after Plato’s Symposium), which is for solo violin with harp, strings, and percussion. Although the correspondence is coincidental—Williams didn’t have Bernstein’s piece in mind when he wrote Markings—it’s nice to think that both composers hit upon this idea independently, particularly since it was Williams who commissioned the sculpted bronze head of Leonard Bernstein that resides on the first floor of Tanglewood’s Highwood manor house. Williams’s piece contains a certain “American” gestural drama and lyricism in the violin solo part, and an episode of great rhythmic vitality that fits the tradition in which Bernstein worked, but overall Markings is music of very different scope and effect than the Serenade.
Markings opens with the hushed string orchestra creating an atmospheric foundation. The soloist’s opening gesture, marked “reflectively,” is like an intake and release of breath—a rising arpeggio (hinting at the central motif of Berg’s Violin Concerto, a piece significant in Mutter’s repertoire) followed by an accelerating/decelerating gesture mostly on the open G (the lowest string). The soloist’s series of fast, freely articulated arpeggios across the four strings of the violin lead to a glissando up to its highest range. After a pause, a defined but still introspective chordal figure in lower strings underpins a yearning melody for the soloist expanding over four octaves. Increased rhythmic activity in the string accompaniment, with an accelerando, leads to a dancelike episode. The harp is introduced finally as part of the ensemble texture, creating a sparkling aura. The initial alteration between 3/4 and 5/8 meter in this passage adds a destabilizing and energizing element. The solo violin part becomes more aggressive and syncopated, big leaps in register countering short bursts of scales. Following a climactic series of sforzando quadruple stops in tandem with the harp, the solo violin releases tension with rapid rising and falling scales and an unaccompanied, notated cadenza. A coda revisits the lyrical passage and takes us to an introspective close, the solo violin rising into the stratosphere.
to może i ja bym sięprzekonał do Giacchino kto wie 