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Concerten voor viool - Verschenen op 3 januari 2020 | CPO

Booklet Onderscheidingen 5 de Diapason
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Concerten voor viool - Verschenen op 13 september 2019 | Ondine

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Concerten voor viool - Verschenen op 13 september 2019 | Channel Classics Records

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Ning Feng, 1st Prize Winner of the Paganini Competition 2006, brings you Paganini’s Violin Concerto No. 1 and Vieuxtemps’ Violin Concerto No. 4 on his Stradivari ‘MacMillan’, 1721. ‘Virtuosismo’ is his second recording with OSPA – Orquesta Sinfónica del Principado de Asturias under the baton of conductor Rossen Milanov. The previous album ‘Apasionado‘ received excellent reviews. Paganini, Violin Concerto No. 1 Paganini composed all his pieces for violin and orchestra for his own use, keeping them secretly stowed away. Consequently, most were published only after his death, and some not until recent decades. The first of his six violin concertos is a virtuosic tour de force, demonstrating not only his incredible technical command but also his great talent for melody and drama. It breathes the spirit of Rossini, whose operas were enormously popular at the time. Originally composed in the key of E flat major, Paganini tuned his violin a semitone up so that he could play in D major, as it were, and thus execute complicated double stops that are impossible in E flat while producing a brighter sound from his instrument. It was partly for this reason that contemporaries said the concerto was ‘unplayable’. Today the work is always performed in D major. Vieuxtemps, Violin Concerto No. 4 The next piece was written by the son of a weaver, amateur violinist and violin maker from Belgian Verviers named Henri Vieuxtemps (1820-1882). A child prodigy, he enjoyed an outstanding career as a violinist from the age of six, studying in Vienna and Paris (with Charles de Bériot) and touring Europe, Russia and the USA. From 1871 he was an influential teacher at the Brussels conservatory, where his pupils included Eugène Ysaÿe. But within two years, in 1873, a stroke caused lameness in his right arm, and Vieuxtemps was forced to withdraw from teaching. He spent his final years composing in a sanatorium in Algeria, where his daughter had settled with her husband. Vieuxtemps was greatly admired by contempories such as Berlioz and Paganini, whom he met in London. When Robert Schumann heard him in Leipzig in 1834, he described the fourteen-year-old’s playing as magical and compared him with Paganini. That was during a tour of Germany and Austria, when Vieuxtemps was accompanied by his father. After playing Beethoven’s Violin Concerto in Vienna, he decided to stay there for some time to study composition with Simon Sechter, under whom Anton Bruckner was later to study counterpoint. After his London debut in 1834, Vieuxtemps pursued his composition studies with Anton Reicha in Paris, the fruits of which are particularly evident in his First Violin Concerto, dating from 1836 (and later published as no. 2). The Fourth Violin Concerto in D minor opus 31, on this recording, was Vieuxtemps’ own favourite concerto. He composed it when employed as a court violinist in Saint Petersburg (1846-1851). © Channel Classics
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Concerten voor viool - Verschenen op 21 juni 2019 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama
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Concerten voor viool - Verschenen op 7 september 2018 | Melodiya

Onderscheidingen Diapason d'or
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Concerten voor viool - Verschenen op 8 juni 2018 | Claves Records

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Concerten voor viool - Verschenen op 1 juni 2018 | DOREMI

Booklet Onderscheidingen 5 de Diapason
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Concerten voor viool - Verschenen op 27 april 2018 | Berlin Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason
Undesired babies, in this case little girls, were dropped off in the famous convent, conservatory and orphanage of the Ospedale della Pietà in Venice, where Vivaldi was a violin teacher and main composer for a long time. Many of these girls, once adults, became musicians and quite a few of them reached the highest level of recognition. For one of these pupils, by the name of Anna-Maria dal Violin (the “dal Violin” wasn’t her last name, but rather a nickname highlighting her ability as a musician), Vivaldi wrote twenty-five concertos, a shining proof of her tremendous mastery; to the extent that, it seems, people came from afar to listen to her perform. Listen only in fact, not see her, as young ladies had to play behind a screen so that it was impossible to have the slightest glimpse at their appearance. But Rousseau did manage to catch one in 1743: "If you are so desirous," said an ambassador to him, "to see those little girls, it will be an easy matter to satisfy your wishes. I entering the saloon, which contained these beauties I so much sighed to see, I felt a trembling of love, which I had never before experienced. Mr le Blond presented to me, one after the other, these celebrated female singers, of whom the names and voices were all with which I was acquainted. Come, Sophia − she was horrid. Come, Cattina − she had but one eye. Come, Bettina − the smallpox had entirely disfigured her. Violinist Midori Seiler, accompanied by the Concerto Köln, selected a nice handful of concertos written for the aforementioned Anna-Maria. Granted we’ll never know how she played, but one can get an idea of a few of her tendencies, as the young lady kept a musical journal in which she wrote a few variants for the second movement of the Concerto RV270a that can be heard here. In parallel, this selection also features a concerto by Galuppi and another by Albinoni, that are both in a similar vein, although they weren’t written for Anna-Maria. In tune with the custom/etiquette of the Ospedale, the Concerto Köln didn’t hesitate to add in the partition a few moments of woodwinds doubling on the chords: flutes, oboes and even chalumeau, the ancestor of the clarinet that Vivaldi himself used a few times in his concertos. © SM/Qobuz
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Concerten voor viool - Verschenen op 1 januari 1953 | Universal Music Australia Pty. Ltd.

Onderscheidingen 5 de Diapason - 5 étoiles de Classica
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Concerten voor viool - Verschenen op 1 januari 1955 | Universal Music Australia Pty. Ltd.

Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 5 étoiles de Classica
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Concerten voor viool - Verschenen op 21 april 2017 | Orchid Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Concerten voor viool - Verschenen op 6 mei 2016 | RCA Red Seal

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Concerten voor viool - Verschenen op 1 januari 2016 | Orfeo

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Concerten voor viool - Verschenen op 2 juni 2015 | PentaTone

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Concerten voor viool - Verschenen op 1 januari 1992 | Decca Music Group Ltd.

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Concerten voor viool - Verschenen op 1 januari 1994 | Decca Music Group Ltd.

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Concerten voor viool - Verschenen op 26 maart 2013 | PentaTone

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Concerten voor viool - Verschenen op 1 november 2011 | Music and Arts Programs of America

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Concerten voor viool - Verschenen op 1 januari 2009 | Denon

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Concerten voor viool - Verschenen op 1 februari 2000 | Sony Classical