for two violas, four violoncellos and double bass


Original version:
- Three Concert Movements for four violoncellos (1995)

Other version:
- Three Concert Movements for violoncello and string Orchestra (1997)

- I
- II

Duration: 10’

Commissioned by the CRR de Poitiers, 2005

Publisher: The Henry Lemoine Editions display more information on this work on

For more information, contact:
Henry Lemoine Editions – Paris
Mrs Laurence Fauvet - Rental and purchase of score / +33 (0) 1 56 68 86 75
Jobert Editions

Henry Lemoine Editions – Paris
Mr. Benoît Walther - Promotion and distribution service / +33 (0) 1 56 68 86 74
Jobert Editions

Listen to the version for four violoncellos

Extact from the score:

Notes on the work:

These Three Concert Movements, here in their original version, were written for solo violoncello accompanied by three violoncellos. Three configurations are possible for the execution of the piece: the solo part can be provided by a single cellist throughout the piece, or shared between three cellists in each different movement, or even “distributed” between several musicians within these movements. For each movement, four parameters (tempo, harmony, pitch, rhythm) are set a priori. The resulting series change from one movement to another without the calculation being ever apparent.

An uncertain quiver of tremolos opens the first movement. At no time does this rustling of the strings suggest the series of contrasting atmospheres that will constitute the first ten pages of the score. These are indeed based on a succession of melodious and nostalgic phrases alternating with more rhythmically marked and more incisive sections. During these differentiated episodes, the strings accompany the soloist thanks to sound effects (tremolos, harmonic sounds and sul ponticello...), rhythms or characteristic intervals, without however intervening directly in his melodic universe. The second movement starts abruptly with a fiery cadenza of the solo violoncello. The effect of glissando on the strings that punctuates this recitative returns episodically during the infernal race in repeated notes that constitutes this part. Played attacca, the third movement returns to the nostalgic atmosphere of the first. In a much shorter time, the research on colours and timbres (playing sul ponticello, col legno, con sordino...) is more pronounced.