Britten
Violin Concerto, Op. 15 (1939)

I. Moderato con moto — Agitato — Tempo primo
II. Vivace — Animando — Largamente — Cadenza
III. Passcaglia: Andante lento

Janine Jansen
Orchestre de Paris
Paavo Järvi

Britten fanboys Prokofiev, Berg, and even a little Beethoven simultaneously.

9 September 2014 ·

440 plays

Pièce en forme de Habanera

Maurice Ravel

Maurice Ravel | Pièce en forme de Habanera (1909)

Jascha Heifetz, violin
Milton Kaye, piano

[Odilon Redon, Ophelia]

(Source: allegroinquieto, via allegroinquieto)

6 September 2014 ·

Beethoven
Violin Concerto in D major, Op. 61
I. Allegro ma non troppo
II. Larghetto
III. Rondo: Allegro

Anne-Sophie Mutter
Berliner Philharmoniker
Seiji Ozawa

5 September 2014 ·

59 plays

J. S. Bach
Sonata Nº 1 in B minor for violin and harpsichord, BWV 1014
IV. Allegro

Giuliano Carmignola, violin
Andrea Marcon, harpsichord

It is believed that the six sonatas for violin and keyboard were composed circa 1719-1720, during Bach’s employment at Cöthen. At this time he had come into possession of an exceptionally fine harpsichord offering new possibilities from a technical standpoint, and was eager to try it out in what had previously been largely unexplored chamber and solo formats. It is interesting indeed to think of what a tremendous influence on the future of keyboard music both solo and collaborative is owed to a Kapellmeister’s new toy (and ultimately to a gleam in the eye of an engineer)—and yet that has often proven the way of it. 

(rec)
(img: ?)   

20 August 2014 ·

Pärt
Fratres

Vadim Repin

10 August 2014 ·

419 plays

Karen Khachaturian
Sonata for violin and piano in G minor, Op. 1
III. Presto — Andantino — Tempo Iº —- Più mosso

David Oistrakh
Vladimir Yampolsky

(Edgar Chahine | Monkeys at the Fair)

13 March 2014 ·

Mozart
Duo Nº 2 for violin & viola, K. 424
III. Andante con variazioni

Arthur Grumiaux
Arrigo Pellicia

16 February 2014 ·

Arthur Grumiaux.

Arthur Grumiaux.

16 February 2014 ·

Schubert
Introduction and Rondo for violin and piano in B minor, D. 895

10 December 2013 ·

30 plays

Dutilleux
L’arbre des songes
I. Librement

Olivier Charlier, violin
BBC Philharmonic
Yan Pascal Tortelier

(Megan Duncanson)

27 November 2013 ·

769 plays

Franck
Sonata for violin and piano in A minor, FWV 8
II. Allegro

Gil Shaham
Gerhard Oppitz

(Camille Pissarro - Point Boieldieu en Rouen)

11 November 2013 ·

Sarasate
Carmen Fantasy

Gil Shaham
Claudio Abbado

7 November 2013 ·

fleurdulys:

The Violinist - Pekka Halonen
1900

fleurdulys:

The Violinist - Pekka Halonen

1900

(via thepianoblog)

28 September 2013 ·

Martinů poses with his violin, age 7, 1897.

Martinů poses with his violin, age 7, 1897.

6 September 2013 ·

thetideraises-everyship-deactiv said: Hi, do you have any advice on writing your own cadenza to a concerto? My teacher wants me to write one for the 1st movement of Paganini violin concerto 1, and I have no idea where to start or how to begin.

Since Paganini generally improvised the cadenzas in many performances of his own works, it becomes necessary (or at least appropriate) to write one’s own cadenza or select one by any of a variety of performers/editors. Writing your own cadenza could be an immensely rewarding experience, albeit maybe a frustrating one at first if you’re not accustomed to composition.

Remember that of course the primary function of a Paganini cadenza, in keeping with the original practice, is going to be shock-and-awe. 

That taken under advisement, sound construction of cadenzas often relies on a basis in thematic material that the audience has already heard; it then becomes your job to use that material in surprising ways. So, for instance, you might look for ways to develop and juxtapose the opening maestoso march-like motive from the orchestra against motives from the dolce second theme. Look for ways to modulate in unexpected directions (sequences, common tones, and so forth), and places in which you can inject virtuosic passagework in such a way that it enhances the flow of the music. Find little motives from the movement and spend some time improvising with them, playing around. 

Of course it goes without saying that the cadenza should end idiomatically and in such a way that the conductor/pianist can be sure of how to proceed! Also, one wants the listener to feel that a complete statement — and one that fits more or less organically within the context of the movement as whole — has been made. 

Check out other cadenzas written for Paganini, and also take some time to scan cadenzas from elsewhere in the Romantic repertoire, violin and otherwise. Good luck, and have fun! If you come up with some ideas and would like a second eye, I’d be happy to look at them from the standpoint of composition — your specific knowledge of violin technique certainly would far exceed mine, though. 

Anyone else with experience in these matters — your thoughts?

29 August 2013 ·

Curtis Lindsay
Pianist, composer,
expert in nonsense.



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