Close Subscribe to our newsletter Get the latest new-releases in your inbox along with personal producer's notes, insights, and new offers. Channel Classics. Download booklet. Facebook Twitter. Play Pause. Press reviews Nederlands Dagblad 4 out of 5 … beide werken krijgen een uitstekende vertolking … De jonge violist heeft diverse prijzen gewonnen, deze cd laat horen hoe terecht dat is.
On 4 November both men were back at the Crystal Palace for the premiere of the second concerto, played from manuscript parts. The interpretation of the work by the Spanish fiddler was clever and well sustained throughout, but that does not lead us to entertain a high opinion of the composition.
He took advice from the violinist Robert Heckmann and, as so often before, from Joachim, whom he met in Barmen and Koblenz in February. The musicologist Wilhelm Altmann revealed that Sarasate, who had a picturesque imagination, had given Bruch a scenario for the concerto, depicting the aftermath of a battle in the Spanish Carlist Wars.
Apparently the first movement, a dramatic Adagio ma non troppo which opens darkly and threateningly, represents a battlefield littered with dead and dying soldiers.
A young woman moves among this carnage, searching for the man she loves, and a funeral march accompanies a burial procession. The movement is in sonata form with two main themes, the first quite flowing, the second more dramatic. Brahms was scathing about the whole idea of starting a concerto with an Adagio, although he later modified his opinion. The Recitativo ends with an evocative horn passage and leads straight into the finale, again in sonata form and apparently depicting a cavalry action: it begins by continuing the expectant mood of the Recitativo, with drumming hoof beats, and features martial rhythms, as well as some music that is more yielding and a great deal of the virtuoso violin passage-work in which Sarasate excelled.
The Adagio appassionato in F minor, Op 57, was composed in , just after two important works for cello and orchestra and just before the third violin concerto, but does not appear to have had anything to do with the latter, despite one trivial thematic similarity. The orchestra carries the main burden, with the solo violin commenting in yearning phrases.
His warlike Allegro is thoroughly defiant, even aggressive, and the solo violin, which throughout the Fantasy is required to perform the most virtuosic of decorations, is here fully employed in brilliant elaborations and triple- and double-stops. No wonder many great violinists, notably Jascha Heifetz, have enjoyed playing this work. Towards the end of August Bruch moved to Liverpool to begin a three-year stint as director of the Philharmonic Society; and it was there, under his baton, that the Scottish Fantasy was premiered on 22 February —not by its dedicatee Sarasate, but by Joachim, who had helped Bruch by editing the solo part.
Il est aussi plus convenu. La fin est des plus concluantes, sans grandiloquence aucune. Die Tonart des dritten Konzerts—dieselbe, in der auch das zweite Konzert steht—mag vielleicht Anlass zur Annahme gegeben haben, dass Bruch sich wiederholt habe. Solche Bedenken haben mit der Wahrheit allerdings nicht viel zu tun.
In einem Brief vom Das Adagio, das unerwartet in B-Dur steht, ist eine wunderbar schlichte Romanze: eine langatmige Melodie wird vom Solisten begonnen und gegen einen ruhigen orchestralen Hintergrund ausgearbeitet. Das Finale ist ein Rondo mit einem spielerischen, fast volksliedartigen Hauptthema. Books Video icon An illustration of two cells of a film strip.
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