Search

The article focuses on Dmitry Sitkovetsky's analysis of Mozart's Violin Concerto No. 5, emphasizing the teenage Mozart's mastery, innovative elements in the composition, and the importance of contextual awareness for the performer. Topics include the unique structure of the concerto's first movement, specific challenges for the soloist, and the interpretive considerations related to vibrato, speed, and mood changes throughout the piece.

An interview with violinist Steven Staryk is presented. Topics covered include his views on the favorable response to "Steven Staryk Retrospective" series of recordings, reason for his decision to have isolated concerto movements in the series and the impact of his age on his ability to teach or coach musicians.

The article focuses on the insights of London Symphony Orchestra concertmaster Roman Simović regarding the use of Baroque style as a framework to interpret Johann Sebastian Bach's Concerto in D minor for two violins. Topics include the use of delicate vibrato, holding of the bow, and use of open strings.

The article discusses the musical construction and inspirations behind the music piece "Violin Concerto" composed by Alban Berg. The influence played by Arnold Schoenberg, Ferruccio Busoni, and Charles Baudelaire are noted. Musical themes and psychological symbolism of the "Mélisande's sickroom" and "Es ist genug!" sections are analyzed.

The article traces back the significant inspirations which motivated violinist Gil Shaham to come up with a concert series that renders an accurate portrayal of the violin concertos performed during the 1930s. It narrates how Shaham has amassed several versions of the 20th-century violin works including the Prokofiev Violin Concerto No. 2 in G minor in 1935 and Karl Amadeus Hartmann's Concerto funebre in 1939. It also discusses some of the improvisations made by Shaham to his renditions of the violin concertos during the era.

The article discusses the Violin concerto piece composed by Berg. The work was largely influenced by the death of a girl named Manon Gropius due to poliomyelitis and is characterised with her struggle to live. A carefree tone begins the piece and highlights a violin solo in the last part of the composition. Elements of Baroque, Impressionism, Romanticism and folk music is said to be evident. Likewise , it is considered as Berg's autobiography who shortly died after finishing it in August 1935.

The article discusses the double concerto for violin and cello by Johannes Brahms. It states that this was a way Brahms reached out to reconcile with friend and collaborator Joachim who he had broken ties over because of Joachim's divorce with contralto Amali Schnweiss and that the composition seemed to work as the two spoke to each other again after several years. It also offers accounts on playing the concerto from experts such as master violinist Mark Kaplan and cellist Alisa Weilerstein.

The article reviews several music releases including "Violin Concerto," composed by Samuel Barber, "Chichester Psalms," composed by Leonard Bernstein and "Symphonic Sketches," composed by George Whitefield Chadwick.

The article discusses the Violin Concerto in D minor op. 47 that was composed by Jean Sibelius, which has earned a place in the pantheon of great musical compositions. Violinist Jascha Heifetz was the first musician to make a recording of the difficult piece. The author discusses other musicians in the twentieth century who have recorded Sibelius' composition including David Oistrakh, Zino Francescatti, and Isaac Stern.

The article presents an in-depth exploration into the historical context of the violin concerto composed by Alban Berg. Details are given regarding the inspiration of the piece, the death of Manon Gropius, along with the later association of the piece to Berg's own death. A thorough analysis of the themes and motives of the work is given.

The article spotlights violinist Anne-Sophie Mutter. Mutter is well-known for playing and recording violin concertos by Wolfgang Amadeus Mozart. In her latest recording, she attempted to achieve a chamber-music feel that violin concertos reflect with the London Philharmonic Orchestra. Mutter's playing style is also described.

Focuses on the relationship between the tempos of the adagio and allegro aperto in Mozart's violin concerto number 5. Thing to consider in the opening of the adagio; Fingering position during the playing from allegro aperto to adagio and back to allegro aperto; Suggestion to slowing down of the tempo for slurred notes.

Presents an interview with violinist Anne-Sophie Mutter regarding the her recording of Mozart's violin concertos. Differences between the 1978 and recent concerto recordings of Mutter; Comment of Mutter on working with the London Philharmonic Orchestra; Reason behind Mutter's fondness for K454 in B flat major sonata.

Analyzes the Violin Concerto by Edward Elgar. Ways of playing the A in the fifth bar of figure nine; Difference in rhythm between the third and fourth bars of figure 13; Intervals of pauses.

Profiles British violinist Leila Josefowicz. Career background; Information on the repertory Shostakovich, the first violin concerto she performed in 2006; Characteristics of Josefowicz as a violinist. INSET: JOSEFOWICZ plays….

Discusses the interpretation of the Sibelius Concerto by violinist Anja Ignatius in 1943. Reasons for the unpopularity of Ignatius and her recording of the concerto; Opinion of Jean Sibelius on the ability of Ignatius; History of the concerto's recording; Problems encountered in recording the concerto. INSET: LIFE OF ANJA IGNATIUS.

Recommends several recordings of the symphonies and concertos of composer, Ludwig van Beethoven. Interpretation of the symphonies of Beethoven by the Vienna Philharmonic Orchestra under conductor Leonard Bernstein; Piano concerto recordings of the Chicago Symphony Orchestra; Violin concerto from the Boston Symphony Orchestra.

Questions some of the traditional assumptions made about Johannes Brahms' D major Violin Concerto. Background of Brahms' Violin Concerto op.77; Role of violinist Joseph Joachim in the story of the violin concerto; Reaction of Peter Illyich Tchaikovsky to Brahm's Violin Concerto.

The article discusses the insights of violinist Racher Podger regarding the mastery of Baroque music and the difference between playing modern and Baroque violin. Topics discussed include the different mindsets of playing Baroque violin and modern violin in relation to playing concertos, separation of musicians and composers, and other musical or instrument knowledge. Also discussed are the ornamentation of the music, and the different approach to sound of baroque and modern violin.

The article presents the author's insights on his performance of the music "Violin Concerto Concentric Paths op.23," by Thomas Adès. The author mentions that the key requirements for the performance of the music are precise intonation and careful shifting. He adds that the second movement was described by Adès as an attempt of moving the traditional weight to the first movement.

This article focuses on musician Jean Sibelius' Violin Concerto with the remainder of the Sibelius Society Volume 4— the symphonic poems "Night Ride and Sunrise" and "The Oceanides," played, with occasional wavering of pitch at the ends of records, by the B.B.C. Symphony under Boult. The author says these are works that he would expect a record company to issue only by subscription for the Sibelius-cultists, since he cannot imagine anyone else believing with Sibelius that his skill in construction and orchestration has succeeded in converting nothing into something.

The article presents guidelines on performing Felix Mendelssohn's Violin Concerto, Opus 64. According to the author, Mendelssohn's piece immediately became an audience favorite and continues to be one of the most frequently played violin concertos in the repertoire. The author notes that the virtuosic writing demonstrates the soloist's technique to a degree that was exceptionally unusual at the time.

The article presents insights on the reviews of several classical music. Christopher Abbot says that he forgot to point out that the concert starts with simple remarks by Alan Gilbert. Susan Kagan notes that she had learned to listen to music recordings in varied way and to redefine her writing in response to the music performance. James H. North tells that his review of the live performance of Efrem Zimbalist denoted to a difficult echo in the starting minutes of the Sibelius violin concertos.

The article focuses on the views of composer Arrison Birtwistle and soloist Christian Tetzlaff on the the Violin Concerto that will be performed in Boston, Massachusetts. It says that Birtwistle's revealed that he is more concerned on duration and scale and aspects of time, in which he regarded as the most difficult things to estimate as a composer. Moreover, Tetzlaff expressed the difference of the new concerto with the previous ones he performed in terms of his collaboration with a composer.

The article profiles French violinist Renaud Capuçon and discusses his passion for Korngold Violin Concerto. According to Capuçon, he made his debut in 2002 with the Berlin Philharmonic orchestra of Germany in the Korngold. It notes that Capuçon also played the Korngold Violin Concerto during the 2008-2009 season of the Orchestre Philharmonique de Radio France. Information regarding his latest EMI recording as of August 2010 is offered.

In this article the author, a noted concert violinist, discusses the challenges and rewards of Paganini's Violin Concerto Number One. While many players avoid this complicated piece, the author notes that many artistic rewards await those who master it. Taking an excerpt from the third movement she advises on intonation, rhythm, phrasing, harmonics, semiquavers and staccato.