Three Nocturnes for Violin, Cello and Piano Ernest Bloch
I. Andante; II. Andante Quieto; III. Tempestoso
Ernest Bloch's Three Nocturnes were written in 1924 in Cleveland where the Swiss-born Bloch was serving as director of the newly formed Cleveland Institute of Music. The work is Neoclassical in style and tightly knit. Each nocturne is characterized by restraint in both expression and style and depicts a different aspect of the night.
In the Andante movement, the night is tranquil and mysterious with only the hints of a melody trying to emerge. In contrast, the second nocturne is a tender lullaby, strung out in long, expressive phrases. As the movement progresses, Bloch develops the theme while the mood remains calm and serene. The final nocturne suggests "the pent-up excitement of a night chase," and true to Bloch's Tempestoso marking, its opening is stormy, passionate, and impetuous. A return to the second nocturne's theme and tempo offers a brief respite, but the dark clouds return before the music dissolves into thin air. Alon Goldstein
Classical Music | Music for Trio
Ernest Bloch
Three Nocturnes for Violin, Cello and Piano
PlayRecorded on 01/27/2010, uploaded on 08/12/2010
Musician's or Publisher's Notes
Three Nocturnes for Violin, Cello and Piano Ernest Bloch
I. Andante; II. Andante Quieto; III. Tempestoso
Ernest Bloch's Three Nocturnes were written in 1924 in Cleveland where the Swiss-born Bloch was serving as director of the newly formed Cleveland Institute of Music. The work is Neoclassical in style and tightly knit. Each nocturne is characterized by restraint in both expression and style and depicts a different aspect of the night.
In the Andante movement, the night is tranquil and mysterious with only the hints of a melody trying to emerge. In contrast, the second nocturne is a tender lullaby, strung out in long, expressive phrases. As the movement progresses, Bloch develops the theme while the mood remains calm and serene. The final nocturne suggests "the pent-up excitement of a night chase," and true to Bloch's Tempestoso marking, its opening is stormy, passionate, and impetuous. A return to the second nocturne's theme and tempo offers a brief respite, but the dark clouds return before the music dissolves into thin air. Alon Goldstein
More music by Ernest Bloch
Prayer, From Jewish Life
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Prayer, From Jewish Life
Méditation hébraïque for cello and piano
Nigun, from Baal Shem Suite
Teaser Cd "Poème mystique" -Ernest Bloch, Arvo Pärt
Baal Shem
Vidui, from Baal Shem
Nigun, from Baal Shem
Schelomo, Rhapsodie Hébraïque
Performances by same musician(s)
Trio No. 2 in F Major for Violin, Cello and Piano, Op. 80
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