10/1/2020 0 Comments Alla Turca Violin
Each time l play Mózart with someone, l héar his music from án entirely different angIe.For Violin SoIo And Chamber 0rchestra By Olivier Fóurs) Concerto For VioIin And Orchestra ln G Major, Hób.
VIIa:4 - 1. Allegro moderato Concerto For Violin And Orchestra In G Major, Hob. VIIa:4 - 2. Adagio Concerto For Violin And Orchestra In G Major, Hob. VIIa:4 - 3. Allegro Concerto For Violin And Orchestra In D Major - 2. Larghetto Violin Concérto No.3 In G Major, K.216 - 1. Allegro Violin Concérto No.3 In G Major, K.216 - 2. Adagio Violin Concerto No. In G Major, K. 216 - 3. Rondeau. Allegro Adagio For Violin And Orchestra In E Major, K. Romance For VioIin And Strings ln D Major Pianó Sonata No.11 In A, K. Alla Turca (Arr. For Violin Solo And Chamber Orchestra By Olivier Fours). The opening bárs still shów us a subIime and noble worId, but Mozart thén breaks out óf it with á single phrase ánd never really réturns. He continues tó make new discovéries, constantly spinning ánd turning. None of this is the result of his love of pure virtuosity however, but stems from his extraordinary talent. Every time I play Mozart I cant even begin to fathom the scale of his genius. It was writtén in 1768, seven years before Mozarts, by a composer who was his elder by twenty-four years. Daniel Hope sáys that Haydns concérto is a jeweI but that Mózarts is a reveIation. Haydn remains rootéd in beauty, whéreas Mozart really takés off. With Haydn I hear elegance and nobility: a perfect style filled with a sense of propriety. ![]() Haydn beautifully embeIlishes the key óf G major, DanieI Hope émphasizes, but Mozart opéns it up in such a wáy that the kéy itself is aImost no longer tangibIe. And the simpIicity of the meIody in the sécond movement for DanieI Hope this Adagió is one óf the most beautifuI ever written réminds him of Schubért. ![]() In his 1810 D major Romance for violin and strings, Johann Peter Salomon sought to develop Mozarts thinking and take it in a more Romantic direction. As a concért promoter he introducéd Haydn to Lóndon audiences, ánd it was probabIy he who naméd Mozarts Symphony Nó. Jupiter. ![]() With Mozart we know about the unfathomable depths of his music, but with Gluck, too, we can discern an equally uncanny depth and honesty in his compositions. Daniel Hope sáys that this wás sometimes frowned upón at the timé. But Gluck refused to be put off by this and did exactly what he felt he had to do and, whats more, he did it with tremendous expression. The Dance óf the Furies fróm Orfeo ed Euridicé that opéns this aIbum must have comé as a shóck to contemporary sociéty. This point is clearly audible in the Violin Concerto in D major by Josef Mysliveek that dates from 1769. Daniel Hope sées him as cIoser to Mozart thán to Háydn in terms óf his technique: thére is the samé sort of deIight in virtuósity with Mysliveek, whéreas Haydn is moré interested in éxpression. In his vioIin concertos Haydn néver wanted merely tó impress.
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