Violin Concerto in D minor, Op. 47 (1904-5), Jean Sibelius (1865-1957) with Adam LaMotte скачать в хорошем качестве

Violin Concerto in D minor, Op. 47 (1904-5), Jean Sibelius (1865-1957) with Adam LaMotte

Beaverton Symphony Orchestra Travis Hatton, Music Director Violin Concerto in D minor, Op. 47 (1904-5) Jean Sibelius (1865-1957) Allegro moderato Adagio di molto Allegro ma non tanto The Violin Concerto in D minor, Op. 47, was written by Jean Sibelius in 1904 and revised in 1905. His only concerto, it is symphonic in scope, with the solo violin and all sections of the orchestra being equal voices. For financial reasons Sibelius decided to premiere it in Helsinki, and engaged Victor Nováček (1873–1914), a Hungarian violin pedagogue of Czech origin who was then teaching at the Helsinki Institute of Music (now the Sibelius Academy). Sibelius had barely finished the work in time for the premiere, giving Nováček precious little time to prepare, and the piece was of such difficulty that it would have sorely tested even a player of much greater skill. The concerto premiered on 8 February 1904 with Sibelius conducting. It was a disaster. Sibelius made substantial revisions, deleting much material he felt did not work. The new version premiered on 19 October 1905 with Richard Strauss conducting the Berlin Court Orchestra and the orchestra's leader Karel Halíř as soloist. One noteworthy feature of the work is the way in which an extended cadenza for the soloist takes on the role of the development section in the sonata form first movement. Donald Tovey described the final movement as a "polonaise for polar bears". However, he was not intending to be derogatory, as he went on: "In the easier and looser concerto forms invented by Mendelssohn and Schumann I have not met a more original, a more masterly, and a more exhilarating work than the Sibelius violin concerto". The soloist: Adam LaMotte is well known to audiences throughout the country as a leader of both period and modern ensembles. He has appeared as soloist, concertmaster, and conductor of numerous orchestras, including the Northwest Sinfonietta in Seattle, String Orchestra of the Rockies, Astoria Festival Orchestra, Portland Baroque Orchestra, and the Maggini String Orchestra in Houston. His new CD, The Exquisite Hour, features Romantic works for violin and piano. As violinist and violist, Adam has been hailed by critics as an "especially compelling" and "superb violinist" with "exceptional talent," whose performances are "energetic and exquisite." As artistic director of the Montana Baroque Festival, he brings first-class period instrument performances to the rural Montana community. He has co-founded two critically acclaimed ensembles, in Portland and in Houston, and continues to produce many chamber music and chamber orchestra performances. In collaboration with ensembles such as American Bach Soloists, Portland Baroque Orchestra, Ars Lyrica, and Chanticleer, Mr. LaMotte performs on period instruments, using a fine Italian instrument made in 1730 by Bernardo Calcagni, for which he is indebted to his generous patrons who made the purchase possible. About the piece, Adam LaMotte writes: When I was a kid, probably around 7 or so, I was first introduced to this amazing piece of music by a cassette recording of the great Jascha Heifetz. I remember being completely fascinated by its massive, symphonic scope, and wondered how such an otherwise boring thing like classical music (I was probably in Suzuki Book 2) could stir such excitement in me. I remember absolutely loving the third movement, in all its relentless drive and virtuosity, as well as the utter astonishment at finding out that that part just before the cadenza in the first movement was only ONE violin. It certainly stuck with me in all those years of practice. When I was "done" with the Suzuki books, I asked my teacher if I could start learning the Sibelius. She said "You mean the Concerto?!" Obviously clueless, I went to our local sheet music store and started trying to figure it out on my own. Well, I didn't get very far, needless to say. I did, however, convince my later teacher, Ken Goldsmith, to let me at least attempt it. I still use the sheet music from that year, probably 1991. He wrote, at the top, "White hot" - an absolute perfect image for the opening phrase. I've always gravitated towards the slow, lyrical middle movements of concertos, the moment the composer can write an aria, as if for a singer, through the violin. It can realize, in the best of circumstances, the seamless confluence of virtuosity and voice. This second movement stands alone in the otherwise vast repertoire of violin concertos. I'm not sure any Finn could be described as heart-on-his-sleeve, and Sibelius is certainly no exception. But he has his own brand of definitive Romantic outpour, full of self doubt, love and despair, culminating in a truly symphonic dialogue, a bit of large-scale chamber music, in a rare encapsulation of that white hot, deeply felt but controlled Scandinavian emotion. This piece has been with me for almost forever, and I'm truly honored to play it for you today.