DIVERSIONS FOR CELLO AND PIANO op.337A (1985)

A suite for cello and piano (transcribed from the work for cello and orchestra, opus 327)

Published by: Highbridge Music Ltd
Instrumentation: violoncello and piano
[Key to Abbreviations]
Duration: 23 mins
First Performance: Martin Rummel and the composer at The British Music Information Centre, London May 2000

Sheet Music Available
Instrumental / piano score for sale
Instrumental parts for sale

Recordings Available

A recording of the orchestral version was made by Robert Cohen and The Philharmonia conducted by the composer, first issued on Sony CD HB3 in 1991 and re-issued by Sony BMG Music Entertainment UK Ltd 8697376972 in 2008 with a new booklet and artwork.

Movements

1: Prelude (moderato) 1 minutes 28 seconds
2: Scherzo (vivace) 1 minutes 03 seconds
3: March (tempo di marcia)
4: Waltz (vivo) 2 minutes 43 seconds
5: Aria (andante espressivo) 4 minutes 26 seconds
6: Serenade (allegretto) 2 minutes 30 seconds
7: Sarabande (lento non troppo) 3 minutes 00 seconds
8: Finale (vivo) 3 minutes 27 seconds

Notes

‘Diversions’ was originally conceived as a suite for cello and piano as far back as 1973. In 1984 the great French cellist Maurice Gendron encouraged the composer to rework the piece for cello and orchestra, and he himself edited the cello part. The first performance of the work in this orchestral form was given by Steven Isserlis and The Royal Philharmonic Orchestra conducted by Sir Charles Groves at The Fairfield Halls Croydon on 29^th March 1989. This transcription for cello and piano was made by the composer at about the same time

Programme-note by the composer: The work pays mischievous homage to instrumental suites of the past. The Scherzo is not quite a scherzo, the March more than a march. The Waltz has a wrong-stepping jazz tinge to it, the Aria a sudden profundity. The Serenade bursts into arrogant display, the guitar-like Sarabande becomes an eloquent cadenza. We are led back to the theme of the Prelude via a Finale of such bristling virtuosic energy that its simple melodic line assumes a far more complex character – having been well and truly ‘diverted’.

A new lease of life was given to the work in November 2010 when the brilliant young German cellist, Benedict Kloeckner, accompanied by Spanish pianist Jose Gallardo, won the penultimate round of the EBU Young Artists Competition in Bratislava, which led to Benedict playing the Elgar Concerto and winning the entire contest. To celebrate the event Howard transcribed his violin sonata for cello and piano and in the following Spring assembled an entire recital of cello and piano music for Benedict, which the two of them performed in concert in the Historisches Cafehalle in Schlangenbad near Mainz on May 8th 2011. The recital consisted of Pennillion, Diversions, Jazz Dances, Cello Sonata and various encores, including a new cello and piano version of 'Walking in the Air'.

Performances

18th January 2012	Benedict Kloeckner, cello and Jose Gallardo, piano, Schloss Ettlingen, Karlsruhe, Germany Kloeckner and Gallardo play 'Diversions' again - Howard's virtuosic work for cello and piano that qualified them as finalists in the EBU youth music prize 2010 and led to the winning of the first prize. The programme couples the work with a Brahms sonata.<br />
2nd October 2011	Benedict Kloeckner and Howard Blake perform a lunchtime concert programme of 'Diversions for cello and piano' and 'Cello Sonata', The International Cello Festival, Kronberg Academy, Kronberg, Germany, 10.30-12.00am
8th May 2011	Benedict Kloeckner and Howard Blake, Historische Cafehalle, Schlangenbad, Mainz Benedict Kloeckner spielt Howard Blake - werke des beruhmten britischen Komponisten fur cello und Klavier
26th November 2010	Benedict Kloeckner, Bratislava EBU Young Artists Competition
20th April 2010	Benedict Kloeckner, Roope Groendahl, Burgersaal, Altes Rathaus, Esslingen, Germany 20.00 Opening concert of the Young European Music Festival 2010
8th February 2010	Benedict Klockner and Jose Gallardo, Sud West Deutche Rundfunk, Mainz, Germany A recording for future broadcast
May 2000	Martin Rummel (cello) and Howard Blake (piano), The British Music Information Centre
3rd May 1992	Robert Cohen, Howard Blake, The Manchester Cello Festival at the RNCM

Reviews

...Robert Cohen gave a joyous, virtuoso account of Howard Blake's attractive 'Diversions' on his newly-acquired Tecchler, with the composer at the piano.

MANCHESTER GUARDIAN, 7/1992

In Howard Blake's 'Diversions' for cello and orchestra, an attractively picaresque suite of eight linked movements, soloist Steven Isserlis seemed completely unfazed, veering effortlessly between sections of exquisite tonal shading and passage-work of considerable complexity. As accompanists, Handley and the Royal Liverpool Orchestra were deftly sensitive.

BIRMINGHAM POST, 23/8/1991

THE THREE CHOIRS FESTIVAL, HEREFORD CATHEDRAL

The chorus had a much deserved night off yesterday as The Royal Philharmonic Orchestra produced some marvellous playing under principal conductor Vernon Handley. It was an opportunity to hear some unusual music - three of the four items being real rarities. By far the most interesting was Gordon Jacob's transcription of Elgar's Organ Sonata in G. But Howard Blake's Diversions for Cello and Orchestra- also originally coceived in a more limited form for cello and piano- came a very close second in its orchestral version. The cellist Steven Isserlis gave a vigorous and convincing performance.

NIGEL EVANS, WESTERN DAILY PRESS, 22/8/1991

It is unusual to find a group of distinguished artists, with the Bach Choir and the Philharmonia Orchestra, giving a concert in the Royal Festival Hall devoted to the music of a 50-year old composer, but that is what happened on 2nd June. Howard Blake has...in recent years received many commissions from ballet companies, orchestras, and brass and vocal ensembles. On this ocasion...the composer himself directed the lively 'Diversions' for cello and orchestra. The solo part was played with dazzling virtuosity by Steven Isserlis and the overall effct of this piece which 'pays mischievous homage to instrumental suites of the past' was plaeasing.

Music and Musicians, 1/8/1989

The dearth of repertoire for the solo cello should encourage more composers to write for the instrument ... 'Diversions' is a welcome newcomer which could become an old friend. The eight movements all have an individual character, made more convincing by economic scoring in which each theme or effect is clearly defined. It is a bright, colourful, tuneful piece with tremendous rhythmic drive, especially where a little Spanish influence seems to creep in.

THE STRAD, 1989

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