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Violin, page 17

   Found CDs: 283
 

B. Martinu - PETER RYBAR EDITION VOL. II - Duo concert,

B. Martinu - PETER RYBAR EDITION VOL. II - Duo concert,
ID: TLS023
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Violin

Martinů: Duo concertant für zwei Violinen und Orchester /for two violins and orchestra (1937 ; Streichquartett/ String Quartet No. 6 (1946) ; Concerto da Camera für Violine, Klavier, Perkussion und Streicher/for violin, piano, percussion and string orchestra (1941)
18.00 eur Buy

Jack Liebeck - Works for Violin & Piano

Jack Liebeck - Works for Violin & Piano
ID: QTZ2002
CDs: 1
Type: CD
Subcollection: Piano

The debut disc by one of the most talented and acclaimed young violinists to emerge in recent years. Liebeck has established an international reputation for mature, intense and virtuosic performances and this disc of early 20th Century works demonstrates these characteristics in abundance. Partnered here by the virtuoso, award-winning pianist, Katya Apekisheva, this is duo playing of the highest calibre.

Works for Violin & Piano
In 1943, Sergei Prokofiev (1891-1953) was evacuated, along with many other prominent artists, to Alma-Ata (Almaty) in modern-day Kazakhstan while the Soviet army fought against the Germans in the West. It was here that he wrote his Sonata for Flute and Piano Op 94 which, at the suggestion of David Oistrakh, he transcribed the following year for violin. The amount of revision needed was minimal and indeed the piano part is exactly the same in both versions.
The Sonata is in stark contrast to the huge upheaval that was taking place on the other side of the country and Prokofiev himself described the work as "perhaps inappropriate at the moment, but pleasant". The key of D Major is perhaps a conscious reference to the Classical Symphony and certainly the Sonata follows the classical model closely, even incorporating all elements of the standard first-movement sonata-form structure although the boisterous Russian finale has more in common with later models. Prokofiev was reputedly inspired to compose the Sonata after hearing the French flautist Georges Barrere, one of the great exponents of 19th Century French flute music as well as the dedicatee of Edgar Varese's experimental Density 21.5 and it is perhaps appropriate that he should have been the motivating force behind this work which harks back to earlier forms and yet is very much of its time.

The violinist Eugene Ysaye (1858-1931) was held in high esteem by his Parisian contemporaries as a powerful interpreter of their works. These famous figures included Saint-Saëens, Debussy, Franck and Chausson who all dedicated works to him (indee Chausson's Poeme was written for Ysaye).

As he was primarily a performer, Ysaye not compose a large catalogue of works and almost all of them were violin pieces. Ysaye's six solo violin sonatas were inspired by the young Joseph Szigeti's performance of a Bach solo sonata in 1923. Ysaye is said to have been so inspired that he immediately locked himself away for twenty four hours and emerged with all six in sketch form. Each sonata was dedicated and tailored to a violinist of his time; Szigeti, Thibaud, Enesco, Kreisler, Crickboom and Quiroga. The First and Second Sonatas follow a similar movement structure to Bach's solo Sonatas and Partitas. Ysaye even quoted the E major Partita in his 2nd sonata ("Obsession") symbolising and perhaps teasing Jacques Thibaud about his obsession with its opening.

By the Third Sonata (featured here), Ysaye ideas started to move more into his own unique and personal sound world with more chromaticism and free-flowing movement. The sonata is dominated by a fiery and distinctive main thematic idea that develops right until the very end of the piece. He managed to combine this idea with many different episodes of colour and figuration in a way that only a musician with intimate knowledge of the mechanics and capabilities of the violin could. Technically very demanding though the piece is, it is so well tailored to the nature of the violin that it is very playable and has become one of the staples of the violin repertoire. JL.

Ernest Chausson (1855-1899) came to music relatively late in life and was often considered something of an outsider, partly by virtue of his relatively well-off background which meant that he was financially independent throughout his life but also for purely musical reasons.

His music bears the hallmarks of many of the great influences of his day, including Franck, Massenet and Wagner but also exhibits the outcome of his own personal interests and explorations. Towards the end of his life, Chausson became increasingly interested in Russian literature and the work of the Metaphysical poets and the Poeme is based on a short story by Turgenev. Originally titled "Le chant de l'amour triomphant: Poeme symphonique pour violon et orchestre" it was subsequently reduced to "Poeme pour violon et orchestre" and finally simply "Poeme".

The Poeme was written for and dedicated to the man who gave its premiere, Eugene Ysaye Although the Poeme was written for one of the greatest virtuosos of his day, it is essentially lyrical in style and focuses on emotional intensity rather than technical pyrotechnics, an approach that reflected Ysaye view that virtuosity should never be an end in itself but, rather, a valuable tool in the violinist's overall technique. It is seamlessly constructed in one movement and demonstrates Chausson's ability to combine complete command of form and structure while allowing the music to sound freely rhapsodic and lyrical.

Of Chausson, one contemporary wrote "all his works exhale a dreamy sensitiveness which is peculiar to him. His music is constantly saying the word 'cher"

In common with his younger contemporary Fauré chamber music runs across Camille Saint-Saëns (1835-1921) sizeable (and now neglected) output - from the often bravura ensemble works of the 1860s and '70s to the autumnal sonatas and character pieces of his last years. In 1885, his First Violin Sonata was written for and dedicated to Martin Marsick - teacher of, among others, Thibaud, Enescu and Flesch. The influence of Liszt is evident in the thematic transformation which operates throughout the piece, as also in the linking of the movements into two complementary pairs - a procedure which Saint-Saëns repeated only in his 'Organ Symphony', written in memory of Liszt the following year.

The darkly sensuous idea which opens the first movement has a fluid, rhythmic profile - in marked contrast with the wistful second theme, which retains its formal outline throughout. There is no development as such, but a modified reprise of the two themes, followed by a sombre coda which tapers away in a poetic transition to the Adagio. The main melody, a beautifully-judged dialogue, treads a fine line between sentimentality and pathos typical of Saint-Saëns. It twice alternates with a more impulsive (though related) idea, and closes in a mood of tranquil tenderness.

The Mendelssohnian scherzo evolves almost entirely from the tripping five-bar phrase with which it begins. Note how, in the brief trio section, the piano continues the underlying rhythm while the violin derives from it a more songful melody. A curtailed reprise, then a passage of pensive anticipation - leading into the finale. The main theme is a brilliant moto perpetuo, culminating in a high-flown melodic gesture. As in the opening movement, these ideas are modified rather than developed as such - working up to a coda which effectively integrates the two and rounds off the whole work in a stream of exhilarating passagework.

Copyright: Richard Whitehouse, 2003
18.00 eur Buy

G. MUFFAT - Concerti - La Concordanza

G. MUFFAT - Concerti - La Concordanza
ID: STR33897
CDs: 1
Type: CD
Subcollection: Violin

18.00 eur Temporarily out of stock

Jascha Heifetz (violin) Plays Wieniawski and Vieuxtemps

Jascha Heifetz (violin) Plays Wieniawski and Vieuxtemps
ID: IDIS6513
CDs: 1
Type: CD
Collection: Great Performers
Subcollection: Violin

18.00 eur Buy

Heifetz plays Beethoven and Spohr

Heifetz plays Beethoven and Spohr
ID: IDIS6475
CDs: 1
Type: CD
Subcollection: Violin

Recorded 1951-1955

Ludwig van Beethoven
Violin Concerto in D, Op.61
Romance for Violin and Orchestra No.1 in G, Op.40
Romance for Violin and Orchestra No.2 in F, Op.50
Louis Spohr
Violin Concerto No.8 in A-, Op.47
18.00 eur Buy

H. VIEUXTEMPS - Le violon Harmonique - Francesco Parrino, violin

H. VIEUXTEMPS - Le violon Harmonique - Francesco Parrino, violin
ID: STR37015
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Violin

18.00 eur Temporarily out of stock

Martinu, Honegger & Schulhoff - Ludwig, Christian & Johann

Martinu, Honegger & Schulhoff - Ludwig, Christian & Johann
ID: TLS029
CDs: 1
Type: CD
Subcollection: String instruments

Dorner: Duo
Honegger: Sonatine
Martinů: Duo Nr. 1; Duo Nr. 2
Schulhoff: Duo
18.00 eur Buy

SPIRALE PIANO TRIO - Mendelssohn, Shostakovich, Roost

SPIRALE PIANO TRIO - Mendelssohn, Shostakovich, Roost
ID: ACDHN013-2
CDs: 1
Type: SACD
Subcollection: Piano and Cello

SACD Hybrid Disc (SACDH) = CD Digital Audio + Super Audio CD
18.00 eur Buy

Georgy Catoire

Georgy Catoire
ID: ACDHN033-2
CDs: 1
Type: SACD
Subcollection: Piano

1- 4 B. Tsoukkerman-violin, I. Boytchev-piano
5 - 6 R.de Waal-piano, Ch. Bor-violin, Tsoukkerman-violin, M. Sidener-viola, G. Hoogeveen-cello

In 1896 gold was found in the northern Canadian river of Klondike, and from that moment on the word Klondike has stood for undiscovered treasure. Recently one musical treasure after the other is being unearthed. One of these discoveries is the music of the all but forgotten composer Georgy Catoire (Moscow 1861-1926). By the end of the twentieth century Catoire’s music has been gradually gaining worldwide public recognition. Old recordings have been released again and various English, American, German and Dutch musicians have made new ones. There is no doubt that the search for new Klondike treasures will be continued! Boris Tsoukkerman
18.00 eur Buy

Music of Pavlovsk's station

Music of Pavlovsk's station
ID: CDMAN176
CDs: 1
Type: CD
Subcollection: Cello

18.00 eur Buy

 
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