Frederick Delius - Légende for Violin and Orchestra (1895) скачать в хорошем качестве

Frederick Delius - Légende for Violin and Orchestra (1895)

Frederick Theodore Albert Delius, CH (29 January 1862 – 10 June 1934), originally Fritz Delius, was an English composer. Born in Bradford in the north of England to a prosperous mercantile family, he resisted attempts to recruit him to commerce. He was sent to Florida in the United States in 1884 to manage an orange plantation. He soon neglected his managerial duties and in 1886 returned to Europe. Please support my channels: https://ko-fi.com/bartjebartmans Légende for Violin and Orchestra (1895) Ralph Holmes, violin and the Royal Philharmonic Orchestra conducted by Vernon Handley Description by Adrian Corleonis [-] Composed in 1895, the Légende is a throwback to Delius' initial compositional essays, with their mélange of popular elements, spontaneous naiveté, and formal looseness compensated by rhapsodic effusiveness. Reflective of Delius' great personal charm, which made him a standout at all social levels, it also demonstrates how much he had to unlearn to disentangle his own peculiar melos from the Légende's Kreisler-like crooning. Effusiveness would become, for all its rhapsodic freedom, concentrated, as Delian melodic arches created their own novel balance and formal coherence, something we hear in embryonic form in the Légende, beset as it is by redundant repetition and pointless meander, all lush, schmaltzy, and -- if risible at moments -- ingratiating. One thinks, for instance, of the coda's rippling Mendelssohn spinoff. Hearing the works of the 1890s, it's apparent that a large part of Delius' apprenticeship lay in mastering conventional gestures and rules-of-thumb -- such as the heroics of the fantasy overture Over the Hills and Far Away, composed with the Légende, owing an obvious debt to Richard Strauss' Don Juan -- only to discard them as he entered his full compositional maturity at the turn of the century. That's not to say that the apprentice works are negligible. Over the Hills and Far Away gives an ineffable twist to conventional heroics, while Koanga, begun in 1895, makes a large advance on the wavering dramaturgy of The Magic Fountain, completed that year. Indeed, Koanga is viable, powerful theater -- even if Delius adapted its most potent scene from "La Calinda" of the Florida Suite (1887-1888) -- because Delius had mastered the verismo operatic manner, which he would abandon in A Village Romeo and Juliet (1900-1901). By 1895 the delights of bohemian life -- artistic camaraderie, Parisian nightlife, concerts, opera, visits to bordellos -- began to pall. The family wool business had taken a slide and Delius' father, who'd largely supported him since his majority, seeing no return on his investment, threatened to curtail Fritz's allowance. That was a cruel blow, for the musical anatomist is impressed with the steady industry, growing expressive power, and the slow realization of the remarkable originality that was Delius' unique gift. He was fulfilling Nietzsche's command, "Become who you are." Yet none of this was evident. Little of his work had been performed, while his tireless cultivation of publishers had seen only a few songs into print.