CAN CAN, 4 cellos
“These little tunes - Can Can, Valzer, Marcia, Hora - are from my days studying in Stuttgart and Salzburg... I wrote them in Salzburg to play with some study buddies, including Mario Brunello, in the streets!
I remember being short on time, so I composed them directly without writing out the full score. I also remember that we had great success playing at different spots in the city, and our cello cases were filled with money (coins and bills) mostly spent on beer. Our Maestro, Antonio Janigro, was excited and told us to play them at the Mozarteum class final concert, which we did, causing lots of laughter, especially during the Valzer.
Then, for years (these pieces are from the early '80s), these handwritten scores disappeared (I, of course, being disorganized, had lost everything...) and I found them again - many years later - thanks to Gautier Capuçon and other colleagues. The incredible thing is that there has always been a continuous demand for these pieces, especially for the Marcia. A demand to which, until now, I was not able to respond.”
“These little tunes - Can Can, Valzer, Marcia, Hora - are from my days studying in Stuttgart and Salzburg... I wrote them in Salzburg to play with some study buddies, including Mario Brunello, in the streets!
I remember being short on time, so I composed them directly without writing out the full score. I also remember that we had great success playing at different spots in the city, and our cello cases were filled with money (coins and bills) mostly spent on beer. Our Maestro, Antonio Janigro, was excited and told us to play them at the Mozarteum class final concert, which we did, causing lots of laughter, especially during the Valzer.
Then, for years (these pieces are from the early '80s), these handwritten scores disappeared (I, of course, being disorganized, had lost everything...) and I found them again - many years later - thanks to Gautier Capuçon and other colleagues. The incredible thing is that there has always been a continuous demand for these pieces, especially for the Marcia. A demand to which, until now, I was not able to respond.”
“These little tunes - Can Can, Valzer, Marcia, Hora - are from my days studying in Stuttgart and Salzburg... I wrote them in Salzburg to play with some study buddies, including Mario Brunello, in the streets!
I remember being short on time, so I composed them directly without writing out the full score. I also remember that we had great success playing at different spots in the city, and our cello cases were filled with money (coins and bills) mostly spent on beer. Our Maestro, Antonio Janigro, was excited and told us to play them at the Mozarteum class final concert, which we did, causing lots of laughter, especially during the Valzer.
Then, for years (these pieces are from the early '80s), these handwritten scores disappeared (I, of course, being disorganized, had lost everything...) and I found them again - many years later - thanks to Gautier Capuçon and other colleagues. The incredible thing is that there has always been a continuous demand for these pieces, especially for the Marcia. A demand to which, until now, I was not able to respond.”