CELLO SOLO PIECES OF THE 20TH CENTURY JEEHYUNG MOON Producer / Balance Engineer Jung-Hoon Choi Assistant Engineer Sung-Bum Park Recorded & Mastered at Audioguy Studio, Seoul Microphone: Neumann USM69i(MS) Recording Format: DXD Publisher Hindemith: Schott Music GmbH & Co. KG Crumb: Edition peters Ligeti: Schott Sollima: Casa Musicale Sonzogno Kodaly: Masters Music Publications, Inc
01 02 03 04 05 Paul Hindemith (1895-1963) - Sonata for Cello Solo Op. 25, No.3 (1922) I. Lebhaft, sehr markiert II. Mässig schnell, Gemächlich III. Langsam IV. Lebhafte Viertel V. Mässig schnell 01:39 01:14 03:46 00:36 01:55 06 07 08 George Crumb (1929- ) - Sonata for Cello Solo (1955) I. Fantasia II. Tema pastoral con variozioni III. Toccata 03:08 03:59 02:15 09 10 Geörgy Ligeti (1923-2006) - Sonata for Cello Solo (1948-53) I. Dialogo II. Capriccio 03:36 03:55 11 Giovanni Sollima (1962- ) - Alone for Cello Solo (1998) 05:50 12 13 14 Zoltan Kodaly (1882-1967) - Sonata in B minor for Cello Solo, Op. 8 (1915) I. Allegro maestoso ma appassionato II. Adagio III. Allegro molto vivace 06:45 10:00 10:21 Total : 59:16
Paul Hindemith (1895-1963) Sonata for Cello Solo Op. 25, No.3 (1922), Hindemith. 25 4 1. 2 3 Langsam. 4. 5. George Crumb (1929- ) Sonata for Cello Solo (1955) George Crumb avant-garde. 1955 Berlin, 1 Fantasia. 2. 3 Toccata 1. Vivian Camilla Doppmann 1957 1998.
Geörgy Ligeti (1923-2006) Sonata for Cello Solo (1948-53) György Ligeti (1923-2006) 1948 1 Dialogo. Annuss Virány 1953 Vera Dénes Ligeti 2 Cappricio. 1983, 1990. Béla Bartók Zoltán Kodály. 1 Dialogo. G C. Pizzicato. 2 Capriccio Virtuosic. 3/8 Dialogo. 1 Kodály 2 Bartók Paganini Caprice Capriccio. Giovanni Sollima (1962- ) Alone for Cello Solo (1998) Sollima Palermo 1962. Antonio Janigro Milko Kelemen Sollima. Alone 1999 Caruana. Sollima minimalism. Adagio D. Allegro 16 sul ponticello. Sollima 1998 Palermo. 6.
Zoltan Kodaly (1882-1967) Sonata in B minor for Cello Solo, Op. 8 (1915) Kodaly. 1915 B minor F# B( G C).. Scordatura ( ). premiere Jen Kerpely Budapest 1918 5 7, Universal Edition 1921..
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The sound of the name by modern music From the middle Ages to Baroque to Classical Romantic, Western music has changed the look of musical instruments as well as musical technique. In the early days, the music played in the church and the court became popular to public and as a result, instruments have been changed to sound bigger and farther. It is both interesting to play the music of the past with modern instruments and to play the modern music with the past instruments. But the 20th century composers, who are close to us, comprehend the characteristics of each instrument and know how to deliver their musical composition with instruments. In the 20th century music, many different parts of musical notes can be converted into "sound". From this album, you can listen to a variety of music and sounds like Marin Marais's two viola da gamba, instrumental music to movie soundtracks, but it's as natural as if it has just one theme. This 20th century music played with cello solo is recorded in almost the same sound as the real ear listening in the studio. In most music production process, people often boost the high frequency of the instrument by equalizer, reduce the dynamics of music by compressor, or add resonance through the digital reverb to make it sound better. Since these works are not used at all on this album, the sound of the high frequency may be calm and perhaps sounds flat rather than the ordinary cello recorded sound. In many recordings of the cello, the sound of cello is becoming more like violas and violins. However, the cello can be defined as midrange musical instrument close to the human voice which is not too low like a contrabass, nor too high like a violin.
That's why the music we play with cellos is more sensitive to our ears and has a big impact on our emotions. If we make the high-end bright with the equalizer in the production of this record, you might hear the sound of the cello more colorful when playing with computer speakers. However, in large volumes above a certain level, such as real instrument sound, the high frequency becomes too strong. It could be the reason why the instrument sounds unnatural. Due to the tone and length of the sound are different in between playing instrument quietly and loudly, the natural sound of the space can be varied. On the other hand, using digital reverb can make the music flatten regardless you play loudly or not, because the length and tone of the sound are the same. The reverberation of the space that moves like dancing along with the cello is also a part of the music of this record, so please listen to the beginning and end of the sound and also the fading sound of reverb. Jung-Hoon Choi / Bin Lee, Translation
Jeehyung Moon, Cello,,. (Royal Academy of Music) (Conservatoire de Musique de Genéve) 2004 Verbania Francesco Forgione 1. (The University of Iowa) (Doctor of Musical Arts),,.