Sonatasia: Lacy Rostyak plays Praeludium and Allegro by Kreisler скачать в хорошем качестве

Sonatasia: Lacy Rostyak plays Praeludium and Allegro by Kreisler

Please visit www.sonatasia.org for information on upcoming events. Sonatasia is a dynamic performance experience in a private home combining music, theater, dance, and architecture. There is no stage, the entire space is a stage, and the performance unfolds all around. Fritz Kreisler's "Praeludium and Allegro" performed by violinist Lacy Rostyak and pianist Jonathan Paul Cambry at Laguna Country United Methodist Church in Laguna Woods, Calif. on July 1, 2011 Friedrich 'Fritz' Kreisler (February 2, 1875 -- January 29, 1962) was an Austrian-born violinist and composer. One of the most famous violin masters of his or any other day, he was known for his sweet tone and expressive phrasing. Like many great violinists of his generation, he produced a characteristic sound which was immediately recognizable as his own. Kreisler wrote a number of pieces for the violin, including solos for encores, such as "Liebesleid" and "Liebesfreud". Some of Kreisler's compositions were pastiches in an ostensible style of other composers, originally ascribed to earlier composers such as Gaetano Pugnani, Giuseppe Tartini, and Antonio Vivaldi. When Kreisler revealed in 1935 that they were actually by him and critics complained, Kreisler answered that critics had already deemed the compositions worthy: "The name changes, the value remains" he said. He also wrote operettas including Apple Blossoms in 1919 and Sissy in 1932, a string quartet and cadenzas, including ones for the Brahms D major violin concerto, the Paganini D major violin concerto, and the Beethoven D major violin concerto. His cadenza for the Beethoven concerto is the one most often employed by violinists today. He performed and recorded his own version of the first movement of the Paganini D major violin concerto. This version is rescored and in some places reharmonised. The orchestral introduction is completely rewritten in some places. The overall effect is of a late nineteenth century work. Kreisler owned several antique violins by luthiers Antonio Stradivari, Pietro Guarneri, Giuseppe Guarneri, and Carlo Bergonzi, most of which eventually came to bear his name. He also owned a Jean-Baptiste Vuillaume violin of 1860, which he often used as his second violin, and which he often loaned to the young prodigy Josef Hassid. On recordings, Kreisler's style bears a resemblance to that of his younger contemporary Mischa Elman, with a tendency toward expansive tempi, a continuous and varied vibrato, expressive phrasing, and a melodic approach to passage-work. Kreisler makes considerable use of portamento and rubato. The two violinists' approaches are less similar in big works of the standard repertoire, such as Felix Mendelssohn's Violin Concerto, than in smaller pieces. Kreisler's emotionally expressive and accessible manner has been contrasted with Jascha Heifetz's infallible technical precision, more emotionally detached, and with a less immediately colorful sound. It has been repeatedly observed that while Heifetz was the most conspicuously perfect violinist, Kreisler was the most beloved.