Download Beethoven: Violin Concerto by Robin Stowell PDF

By Robin Stowell

This is often the 1st person learn of Beethoven's Violin Concerto. It explores the work's historical past and the impacts that mixed in its production, and describes its detached preliminary reception. It considers the varied textual difficulties that confront the performer, together with dialogue of Beethoven's version for piano and orchestra. Following an in depth synopsis of the paintings itself, a last part studies the wide range of cadenzas which have been written to enrich the concerto all through its functionality background.

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Extra resources for Beethoven: Violin Concerto

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38 Szigeti recorded Beethoven's Violin Concerto three times, twice with Bruno Walter at the helm (1932 and 1947), but his recording at the age of seventy-two with the London Symphony Orchestra and Antal Dorati, though not technicallyflawless,is undoubtedly his most communicative performance. Zino Francescatti's (1902-91) collaboration with the eighty-five-year-old Walter and the Columbia Symphony Orchestra is the most highly regarded of his three major recordings of the concerto. Walter also conducted the Flesch disciple Henryk Szeryng's (1918-88) debut with the Beethoven concerto in Warsaw, but Szeryng later made three acclaimed recordings of the work, that with Haitink and the Concertgebouw Orchestra (1973) best demonstrating his suave technique, intellectual phrasing and mature artistry.

After a stark four-bar introduction, the soloist provides a link to the main rondo idea, a simple, unadorned sixteen-bar melody which reappears in varied form after each of the movement's three episodes, whether the modification be through elaboration, harmony, texture or orchestration. The third and most substantial episode takes the form of a piu moto section in G minor, in which the soloist decorates in triplet semiquavers the melody played by the flute. Although the movement has some elements in common with Beethoven's Larghetto, notably its derivation from the romance and its exploitation of variation treatment for each reprise of the main rondo theme, the similarities between the two movements are not especially striking; furthermore, Clement's Adagio does not lead straight into the finale.

38 Szigeti recorded Beethoven's Violin Concerto three times, twice with Bruno Walter at the helm (1932 and 1947), but his recording at the age of seventy-two with the London Symphony Orchestra and Antal Dorati, though not technicallyflawless,is undoubtedly his most communicative performance. Zino Francescatti's (1902-91) collaboration with the eighty-five-year-old Walter and the Columbia Symphony Orchestra is the most highly regarded of his three major recordings of the concerto. Walter also conducted the Flesch disciple Henryk Szeryng's (1918-88) debut with the Beethoven concerto in Warsaw, but Szeryng later made three acclaimed recordings of the work, that with Haitink and the Concertgebouw Orchestra (1973) best demonstrating his suave technique, intellectual phrasing and mature artistry.

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