On our blog, our contemporary composers present their favorite work from our catalogs. This time Adam Schoenberg introduces Eric Tanguy’s Concerto pour violoncelle n° 2.

“As a distinctly American composer whose music is more akin to the likes of Copland and Corigliano, it is the music of the French that has been my greatest source of inspiration. I consider Ravel to be the most masterful orchestrator of the 20th century, and Dutilleux’s Métaboles has had a more significant impact on my life than any other composition I can think of. There is a tradition of sensitivity, integrity, meticulousness, and emotional depth that can be found in the most notable French works, and I am continuously studying this music in order to deepen both my craft and skill.

Unbeknownst to me, an artist who follows in this lineage of great French composers was in my proximity for 10 weeks, but I did not take advantage of getting to know him and his music until after he had left. This person is Eric Tanguy.
 
Mr. Tanguy was a visiting distinguished professor at UCLA this past fall. We have been virtual friends on Facebook for quite some time, but I never studied his music until a few weeks ago. Since then, I have been deeply moved by Tanguy’s language, style, and craft. In particular, his Concerto pour violoncelle n° 2.
 
This concerto begins with a haunting cello line that soars elegantly into the upper stratosphere of the cello’s range. It somehow reminds me of the pain and beauty that one finds in the cello and piano movement (V. Louange à l'Éternité de Jésus) of Messiaen’s Quatuor pour la fin du temps.

The orchestra soon enters creating atmospheric pedal tones that highlight the motivic development of the movement. We quickly learn how sensitive and delicate Tanguy’s orchestrations are as the concerto evolves.

This work runs the gamut of human emotion and takes both the listener and musician on a journey through many different worlds. From the fragility and delicacy found in the nuanced colors of the orchestration, to the most luxurious and grand gestures that fill the hall with velocity and volume, the concerto melds complexity and artistry in the most honest and profound way. The last movement is filled with virtuosity and speed for both the cello and orchestra, and it exemplifies the impressiveness of Tanguy’s command over the orchestra. It is no wonder that Rostropovich personally commissioned and premiered this work.
 
Because of pieces like this, I can confidently say that classical music has never been more alive, invigorating, and relevant.”

Adam Schoenberg

Adam Schoenberg: works

Eric Tanguy: works