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Concerten voor viool - Verschenen op 15 november 2019 | SDG

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Concerten voor viool - Verschenen op 18 oktober 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason
Don't be fooled: this youthful face belongs to an 18 year old violinist with a wealth of knowledge and a tried-and-tested technique. For proof, just look at his Bach record, which came out before this Tchaikovsky Concerto, also on Deutsche Grammophon. With every new outing, Daniel Lozakovich surrounds himself with famous formations: for Bach, the Bavarian Radio Chamber Orchestra; for Tchaikovsky, the Russian National Philharmonic under Vladimir Spivakov (himself a great violinist who conducted his first recital in 2010). This gutsy concerto is addressed by a musician with an ample, sparkling sound, capable of an intense virtuosity and a very tender melancholy. Alongside Spivakov, who also recorded this score, he is quite at home. The hands-on sound recording seeks out the fullness of lyricism here, without robbing the strings of their bite. Note that the young soloist learned his scales under Eduard Wulfson in Karlsruhe. This student of giants like Henryk Szeryng, Nathan Milstein and Yehudi Menuhin (no less) taught his young disciple the violin of the Russian school.This young artist's voracious curiosity did the rest. And so, the second part of his programme here offers passages where pure melancholy has been distilled into music, as in Lensky's aria from Eugene Onegin, an opera that the violinist adores and knows by heart. His performance is inspired by previous interpretations by Fritz Wunderlich and Ivan Kozlovsky. And no-one could deny it: Daniel Lozakovich's violin sings! © Elsa Siffert/Qobuz
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Concerten voor viool - Verschenen op 13 september 2019 | Ondine

Hi-Res Booklet
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Concerten voor viool - Verschenen op 13 september 2019 | Orfeo

Hi-Res Onderscheidingen Diapason d'or
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Concerten voor viool - Verschenen op 13 september 2019 | Channel Classics Records

Hi-Res Booklet
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 10 mei 2019 | Naxos

Hi-Res Booklet Onderscheidingen 5 de Diapason
Brahms’ string concertos are indissolubly linked with the musicians for whom the works were written. He wrote his Violin Concerto for Joseph Joachim, and in it he combined what a contemporary critic termed ‘the great and serious’ with songful lyricism, melodic beauty, and a fiery Hungarian finale. To mend a breach with the violinist, Brahms later composed a concerto with the unusual combination of violin and cello, the latter played at the premiere by Joachim’s colleague Robert Hausmann. Neither instrument predominates in a work of reconciliation that embodies both drama and reflection. © Naxos
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Concerten voor viool - Verschenen op 3 mei 2019 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Concerten voor viool - Verschenen op 5 april 2019 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason
With a quartet of violin concertos by Jean-Marie Leclair, Leila Schayegh continues her exploration of the instrument’s repertory, combining musical insight, virtuosic brilliance and historical understanding. Leclair, who grew up in Lyon and studied in Turin before moving to Paris (he held a short-lived official post at Louis XV’s court in the 1730s) produced solo sonatas (and duos) as well as his acclaimed concertos. In her booklet notes, Leila Schayegh, who currently teaches Baroque violin at the Schola Cantorum Basiliensis, comments on how Leclair – an outstanding violinist himself – was in thrall to the Italian instrumental style but was concerned that his music should not be played too fast; he was praised for his “netteté”, a combination of impeccable technique and musical perfection. This first volume in Schayegh’s projected series of recordings of the Leclair violin concertos embraces the Nos. 2 and 6 works from the two six-concerto series of Opp 7 and 10. The G minor concerto, Op. 10 No. 6, is frequently cited as being the highpoint of Leclair’s output. For this dazzling new exhibition of the Swiss violinist’s art, Schayegh – who plays a late-seventeenth-century Andrea Guarneri instrument – directs Basel’s La Cetra Barockorchester, which features Eva Saladin as its “konzertmeisterin” and Sonoko Asabuki as a further principal violinist (Leclair’s concertos often called for up to three soloists). © Glossa
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Concerten voor viool - Verschenen op 15 maart 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
After the double album of the Violin and Harpsichord Sonatas with Kristian Bezuidenhout, here is the next instalment in a Bach recording adventure that began nine years ago with a set of the Sonatas and Partitas. Isabelle Faust, Bernhard Forck and his partners at the Akademie für Alte Musik Berlin have explored a multitude of other works by Bach: harpsichord concertos, trio sonatas for organ, instrumental movements from sacred cantatas etc. All are revealed here as direct or indirect relatives of the three monumental Concertos BWV 1041-43. This fascinating achievement is a timely reminder that the master of The Well-Tempered Clavier was also a virtuoso violinist! © harmonia mundi
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Concerten voor viool - Verschenen op 15 maart 2019 | Gramola Records

Hi-Res Booklet Onderscheidingen 5 de Diapason