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Festivals
Bach's Chaconne
Paganini's 24th Caprice
Meditation from Thais
Kreutzer Sonata
Tchaikovsky VConcerto
Mendelssohn VC
Kreisler's Liebeslied
Beethoven VConcerto
Brahms Violin Concerto
Bruch Violin Concerto
Sibelius Violin Concerto
Mozart Violin Concerto
Szymanowski Violin Concerto
Shostakovich Violin Concerto
Dinicu's Hora Staccato
Bach Double Concerto
Paganini Violin Concerto

Bach Chaconne
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From Wikipedia, the free encyclopedia

In music, a chaconne (IPA: [ʃaˈkɔn]; Italian: ciaccona) is a musical form whose primary formal feature involves variation on a repeated short harmonic progression. Originally a quick dance-song emerging in Spanish culture, possibly from the New World, in the late 16th century, it was characterized by suggestive movements and mocking texts,[1] the chaconne eventually became a slow triple meter dance which first emerged in the 16th century.

Heifetz:
Heifetz Chaconne Pt1
Heifetz Chaconne Pt2

Yehudi Menhuin:
Menhuin Chaconne Pt1
Menhuin Chaconne Pt2

Nathan Milstein:
Milstein Chaconne Pt1
Milstein Chaconne Pt2

Victoria Mullova:
Mullova Chaconne Pt1
Mullova Chaconne Pt2


Perlman:
Perlman Chaconne Pt1
Perlman Chaconne Pt2

Andres Segovia(Who could resist a little nice guitar):
Segovia Chaconne Pt1
Segovia Chaconne Pt2
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Paganini's 24th Caprice
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From Wikipedia, the free encyclopedia

It is widely considered one of the most difficult pieces written for the solo violin. It requires many highly advanced techniques such as parallel octaves and rapid shifting covering many intervals, extremely fast scales and arpeggios including minor scales in thirds and tenths, left hand pizzicato, high positions, and quick string crossing. As a result, many violinists after studying for many years still lack the virtuosity required for such a demanding piece.

The caprice has provided a rich seam of material for works by subsequent composers.
Ms. Hahn:
Ms. Hahn

Ruggierro Rici:
Ruggierro Ricci

Jascha Heifetz
Heifetz

Vanessa Mae:
Vanessa Mae

Eliot Fisk: (There I go again with that silly guitar thing)
Fisk
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Meditation from Thais
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Besides being inherently very beautiful,

From Wikipedia, the free encyclopedia

"Thaïs is an opera in three acts by Jules Massenet to a French libretto by Louis Gallet based on the novel of the same name by Anatole France. It was first performed at the Opéra in Paris on March 16, 1894, starring the American soprano Sybil Sanderson, for whom Massenet had written the title role. In 1907, the role served as Mary Garden's American debut in New York."

Anne-Sophie Mutter:
Mutter

Sarah Chang
Chang

Nathan Milstein:
Milstein

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Kreutzer Sonata
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From Wikipedia, the free encyclopedia

"Kreutzer Sonata" is the name of several works of art.
* Beethoven's Kreutzer Sonata (Violin Sonata No. 9 in A major) was originally inscribed "Sonata mulattica composta per il mulatto Brischdauer", in honour of the half-Polish half-West Indian violinist George Bridgetower (1780 - 1860) who first performed it in 1802 at an 8:00 am concert. (Beethoven himself is sometimes regarded as being a mulatto.) (Sunday Times Culture Supplement, 8 July 2007, p.300)

However, after the performance, while the two were drinking, Bridgetower insulted the morals of a woman who turned out to be Beethoven's friend. Enraged, Beethoven changed the name of the piece to the Kreutzer Sonata, dedicating it to Rudolphe Kreutzer, considered the finest violinist of the day. However, Kreutzer never performed it, and considered it unplayable.

* In 1889, Leo Tolstoy published a novella entitled The Kreutzer Sonata, using the Beethoven piece as an example of how people can be led astray by their unruly passions.


Nathan`Milstein:
Note: Only 1st and 3rd Movements seem to exist, but were worth it.
Milstein MVT1
Milstein MVT3

Anne-Sophie Mutter:
Mutter Part 1/2
Mutter Part 2/2

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Tchaikovsky Violin Concerto
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From Wikipedia, the free encyclopedia

The Violin Concerto in D major, Op. 35 by Pyotr Ilyich Tchaikovsky is one of the best known of all violin concertos. It is also considered to be among the most technically difficult works for violin.

As with most concerti, the piece is in three movements, the first and last quick, the second slow:

1. Allegro moderato (D major)
2. Canzonetta: Andante (G minor)
3. Finale: Allegro vivacissimo (D major)

There is no break or pause between the second and third movements. The piece was written in 1878 in Clarens, a Swiss resort on the shores of Lake Geneva.

David Oistrakh:
Oistrakh Mvt1 Part 1
Oistrakh Mvt1 Part 2
Oistrakh Mvt 2
Oistrakh Mvt 3


Viktoria Mullova:
Mullova 1/4
Mullova 2/4
Mullova 3/4
Mullova 4/4

Maxim Vengerov:
Vengerov 1/6
Vengerov 2/6
Vengerov 3/6
Vengerov 4/6
Vengerov 5/6
Vengerov 6/6

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Mendelssohn Violin Concerto
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From Wikipedia, the free encyclopedia

Felix Mendelssohn's Violin Concerto in E minor, Op. 64 is his last large orchestral work. It forms an important part of the violin repertoire and is one of the most popular and most frequently performed violin concertos of all time.[1][2][3] A typical performance lasts just under half an hour.

Mendelssohn had originally promised a violin concerto in 1838 to Ferdinand David, a close friend who was a talented violinist. However, the work took another six years to complete and was not premiered until the following year in 1845. During this time, Mendelssohn maintained a regular correspondence with David, seeking his advice with the concerto. The work itself was one of the first violin concertos of the Romantic era and was influential to the compositions of many other composers. Although the concerto has three movements in a standard fast–slow–fast structure and each movement follows a traditional form, the concerto was innovative and included many novel features for its time. Distinctive aspects of the concerto include the immediate entrance of the violin at the beginning of the work and the linking of the three movements with each movement immediately following the previous one.

The concerto was initially well received and soon became regarded as one of the greatest violin concertos of all time. The concerto remains popular and has developed a reputation as an essential concerto for all aspiring concert violinists to master, and usually one of the first Romantic era concerto they learn. Many of the top professional violinists have recorded the concerto and the work is regularly performed in concerts and classical music

Mr. Yehudi Menhuin:
Menhuin Part 1
Menhuin Part 2
Menhuin part 3
Menhing part 4


Ms. Janine Jansen:
Janine Part 1
Janine Part 2
Janine Part 3
Janine Part 4

Kristof Barati:
Barati 1st Mvt
Barati 2nd Mvt
Barati 3rd Mvt

Mr. Eugene Ysaye (3rd Mvt Only--couldn't resist):
Ysaye Mvt 3 Only

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Fritz Kreisler Liebeslied
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From Carl Fischer publishers:
Born in Vienna 1875 - Died in New York 1962

When an outstanding concert artist decides to compose for his solo instrument, the results are certain to be of interest. When the concert artist was Fritz Kreisler, universally acknowledged as one of the greatest and best loved violinists of all time, the results were some of the most popular violin pieces in the world.

Kreisler's output of approximately 60 original compositions, over half of which are for violin and piano, was augmented by numerous arrangements and transcriptions of works by Tartini, Corelli, Paganini, Poldini, Paderewski, Schumann, Granados, etc. The demand for his own compositions such as: Schön Rosmarin, Liebesfreud, Caprice Viennois, Liebeslied, to mention only four, was so great that Kreisler himself made arrangements for instruments other than the original setting for many of them. If he did not actually write the arrangement, he never permitted the arrangement made by anyone else to be sold unless it had his approval.

Mr. Fritz Kreisler:
Kreisler

Mr. Josh Bell:
Josh Bell

Mr. Abram Shtern:
Shtern

Mr. Yehudi Menhuin:
Menhuin

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Beethoven Violin Concerto
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From Wikipedia, the free encyclopedia

Ludwig van Beethoven's Violin Concerto in D major, Op. 61, was written in 1806.

The work was premiered on December 23, 1806 in the Theater an der Wien in Vienna. Beethoven wrote the concerto for his colleague Franz Clement, a leading violinist of the day, who had earlier given him helpful advice on his opera Fidelio. The occasion was a benefit concert for Clement.

It is believed that Beethoven finished the solo part so late that Clement had to sight-read part of his performance. Perhaps to express his annoyance, or to show what he could do when he had time to prepare, Clement interrupted the concerto between the first and second movements with a solo composition of his own, played on one string of the violin held upside down.

The premiere was not a success, and the concerto was little performed in the following decades.

The work was revived in the 1840s, well after Beethoven's death, with performances by the violinist Joseph Joachim with the orchestra led by Felix Mendelssohn. Ever since, it has been one of the most important works of the violin concerto repertoire, and it is frequently performed and recorded today.

The work is in three movements:

1. Allegro ma non troppo (D major)
2. Larghetto (G major)
3. Rondo. Allegro (D major)


Mr. Joshua Bell:
Bell 1/5
Bell 2/5
Bell 3/5
Bell 4/4
Bell 5/5

Mr. Gergieve Repin:
Repin Mvt1. Pt1.
Repin Mvt1. Pt2.
Repin Mvt1. Pt3.
Repin Mvt2.
Repin Mvt3.

Mr. Isaac Stern:
Repin Mvt1. Pt1.
Repin Mvt1. Pt2.
Repin Mvt1. Pt3.
Repin Mvt2.
Repin Mvt3.

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Brahms Violin Concerto
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From Wikipedia, the free encyclopedia

Brahms Violin Concerto in D major, Op. 77 is one of the best-known of all violin concertos.

It follows the standard concerto form, with three movements in the pattern quick-slow-quick:

1. Allegro non troppo (D major)
2. Adagio (F major)
3. Allegro giocoso, ma non troppo vivace - Poco piu presto (D major)

Originally, however, the work was planned in four movements like the second piano concerto. The middle movements, one of which was intended to be a scherzo, were replaced with what Brahms called a "feeble Adagio."

The work was written in 1878 for the violinist and friend of Brahms, Joseph Joachim, who was the dedicatee. Brahms asked Joachim's advice on the writing of the solo violin part. The most familiar cadenzas used in the work are by Joachim, though a number of people have provided alternatives, including Leopold Auer, Max Reger, Fritz Kreisler, Jascha Heifetz, George Enesco, Nigel Kennedy and Rachel Barton Pine. A recording of the concerto released by Ruggiero Ricci has been coupled with sixteen different cadenzas.

Mr. Henryk Szeryng:
Szeryng Mvt1
Szeryng Mvt2
Szeryng Mvt3

The Great Heifetz:
Heifetz 1/1 (3rd)

Ms Kyung Sun Lee:
Sun Lee 1/5
Sun Lee 2/5
Sun Lee 3/5
Sun Lee 4/5
Sun Lee 5/5

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Bruch Violin Concerto
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From wikipedia, the free encyclopedia
The concerto was first completed in 1866 and the first performance was given on 24 April 1866 by Otto von Königslow with Bruch himself conducting. The concerto was then considerably revised with help from celebrated violinist Joseph Joachim and completed in its present form in 1867. The première of the revised concerto was given by Joachim in Bremen on 5 January 1868 with Karl Martin Rheinthaler conducting.[1]

Instrumentation
The work is scored for solo violin and a standard classical orchestra consisting of two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, and strings.[1]

Movements

The concerto is in three movements:

1. Vorspiel: Allegro moderato
2. Adagio
3. Finale: Allegro energico

The first movement is unusual in that it is a Vorspiel, a prelude and it, indeed, serves as a prelude to the second movement and is directly linked to it. The impression it gives towards listeners, is almost like a smooth army march. The first note is unvibrated and unexaggerated. The melody is first taken by flutes, then the ravishing solo violin becomes audible.

The slow second movement is adored for its ravishing melody.

The third movement, the finale, opens with a few subdued bars of orchestral introduction that yield to the soloist's statement of the exuberant theme in double stops. The second subject is a fine example of Romantic lyricism.

The concerto is also unusual in that Bruch declined to provide a cadenza of his own for the work or allow for the insertion of a cadenza by the soloist.

Bruch composed two more violin concertos, but neither are as well known as his first. The first is so famous that it is often referred to simply as "The Bruch" in classical music circles.


Ms. Sarah Chang:
Chang Mvt3

Mr. Ivry Gitlis
Gitlis Mvt1
Gitlis Mvt2
Gitlis Mvt3

Ms. Leila Josefowicz:
Josefowicz 1/4
Josefowicz 2/4
Josefowicz 3/4
Josefowicz 4/4

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Sibelius Violin Concerto
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From Wikipedia, the free encyclopedia


The Sibelius Violin Concerto in D minor, opus 47 by Jean Sibelius premiered in 1903 in Helsinki. Sibelius withheld this version from publication and made substantial revisions. The premiere performance was a disaster. Although the original version had good material, Sibelius deleted a lot of material that did not work. The new version premiered in 1905, in Berlin, with Richard Strauss conducting and Karl Halir as soloist (see the FMIC link). The work is dedicated to noted violinist Franz von Vecsey. The initial version was noticeably more demanding on the advanced skills of the soloist and was revived in the early 1990s on the BIS record label by violinist Leonidas Kavakos, with the permission of Sibelius' heirs. The revised version still requires a considerably high level of technical facility on the part of the soloist. Although the work has been described as having "broad and depressing" melodies, the melodic line of the Sibelius Violin Concerto tells a very definite story. Several brighter moments appear against what is essentially a dark melodic backdrop, and the inexorable force that propels the concerto's direction makes it irresistible.

Jascha Heifetz is generally considered to have resurrected the concerto in the 1930s, which he considered one of the great concertos in the violin repertoire[citation needed]. However, the 1987 recording of Cho-Liang Lin with Esa-Pekka Salonen and the Philharmonia Orchestra is considered one of the finest recordings of the work, although nearly every widely-known concertizing violinist has performed it regularly since Heifetz's so-called resurrection.

Like most concertos, the work is in three movements:

1. Allegro moderato in D minor and in 2/2 time
2. Adagio di molto in B-flat major and in 4/4 time
3. Allegro, ma non tanto in D major and in 3/4 time

This is the only large-scale work for solo instrument and orchestra (concerto) that Sibelius wrote, though he composed several other pieces for orchestra and solo instrument, including the six Humoresques for violin and orchestra.

Mr. David Oistrakh:
Oistrakh Mvt1 1/2
Oistrakh Mvt1 2/2
Oistrakh Mvt2
Oistrakh Mvt3


Mr.Christian Ferras:
Ferras Mvt1
Ferras Mvt2
Ferras Mvt3

Ms. Hilary Hahn:
Hahn 1/4
Hahn 2/4
Hahn 3/4
Hahn 4/4

Ms. Silvia Marcovici :
Marcovici Mvt.1 1/2
Marcovici Mvt.1 2/2
Marcovici Mvt.2
Marcovici Mvt.3


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Mozart Violin Concerto #5 (k219)
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From Wikipedia, the free encyclopedia

The Violin Concerto No. 5 in A Major (K. 219) was written by Wolfgang Amadeus Mozart in 1775, premiering during the holiday season that year in Salzburg. It follows the typical fast-slow-fast musical structure. The movements are as follows:

1. Allegro Aperto - Adagio - Allegro Aperto
2. Adagio
3. Rondo - Tempo di Minuetto

The aperto marking on the first movement is a rare marking, and appears in a few Mozart pieces, but in not many other places. It implies that the piece should be played in a broader, more majestic way than might be implied simply by allegro. The first movement opens with the orchestra playing the main theme, a typical Mozartian tune. The solo violin comes in with a short but sweet dolce adagio passage in A Major with a simple accompaniment in the orchestra. (This is the only instance in Mozart's concerto repertoire in which an adagio interlude of this sort occurs at the first soloist entry of the concerto.) It then transitions back to the main theme with the solo violin playing a different melody on top of the orchestra. The first movement is 10-11 minutes long.

The rondo finale's main theme is a typical Mozartean theme, but the contrasting sections feature loud passages of Turkish music that have caused some to call this the "Turkish Concerto".

The whole piece is about 28 minutes long.


Ms Janine Jansen:
Janine Jansen 1/5
Janine Jansen 2/5
Janine Jansen 3/5
Janine Jansen 4/5
Janine Jansen 5/5

Ms Anne Sophie Mutter:
Mutter 1st Mvt.
Mutter 2nd Mvt.
Mutter 3rd Mvt.

Mr. Sergej Krylov:
Sergej Krylov Mvt.1
Sergej Krylov Mvt.2
Sergej Krylov Mvt.3


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Franck Sonata
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From Jason Sundram's Program Notes
Violin Sonata in A major (1886)

Cesar Franck (December 10, 1822–November 8, 1890)

1. Allegretto ben moderato
2. Allegro
3. Ben moderato
4. Allegretto poco mosso

Dedicated to violinist Eugene Ysaye

Franck was looked down upon by Brahms, who neglected even to glance at a score that Franck sent to him from Paris. Born in Belgium, Franck moved to France; there he became the dominant force in music, accruing a large group of ardent devotees. Unlike Brahms or Beethoven (or Wagner, for that matter), Franck was a saintly man, always kind in manner and speech. To increase the gulf separating him from Brahms and Beethoven, Franck, disinterested in fame and fortune, managed to get married (but it wasn’t a happy marriage). An unsuccesful—though virtuoso—pianist, it wasn’t until Franck began to play the organ at age 30, improvising for hours on the organ of Ste. Clothilde, that he found his vocation. Even then, he was a late bloomer; all of his best known music was written after he was 53 years old.

Oistrakh/Richter:
Ferras/Barbizet Part1
Ferras/Barbizet Part2
Ferras/Barbizet Part3
Ferras/Barbizet Part4

Mr. Yehudi Menhuin:
Menhuin Mvt 1
Menhuin Mvt 2
Menhuin Mvt 3
Menhuin Mvt 4

Mr. Christian Ferras :
Christian Ferras Part 1
Christian Ferras Part 2
Christian Ferras Part 3
Christian Ferras Part 4
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Szymanowski Violin Concerto
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From Music Web International:
Szymanowski's Concert Overture was pretty much unknown until the young Simon Rattle revived it in Birmingham during his early glory days. Now it has had several recordings. It is an exuberant, unblushingly Straussian piece with its lineage directed to Don Juan. You can also think of it as a shorter echo of Elgar's Alassio.

From a student:
"You have a choice of concertos to study now - it can be the Glazunov or the Szymanowski first concerto..." "Oh I'd love to do the Glazunov," I blurted out, thinking of all those lovely sugary melodies, grateful virtuosic writing and my LP of Heifetz, which I'd practically worn out. "I'm afraid Mark already chose the Glazunov this morning - you'll do the Szymanowski"

And so, and pretty reluctantly at first it must be said, I entered the world of this extraordinary composer. It was a world which fairly soon had completely taken me over. I adored the concerto - its sensuality and deep emotional currents, its luxuriant orchestration and above all its ability to summon a whole realm of fantasy and live within it. In this regard the concerto does something that few works for the violin manage; that is for the violin to assume a distinct yet complete character within the piece. Perhaps the work's closest relations are those two fabulous orchestral violin solos "Scheherezade" by Rimsky-Korsakov and Richard Strauss's "Heldenleben". The whole piece sustains an unbroken narrative thread through 25 minutes or so of uninterrupted music.

Ms Nicola Benedetti:
Bendetti Part1
Bendetti Part2
Bendetti Part3

Ersasmo Capilla:
Capilla Part1
Capilla Part2
Capilla Part3

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Shostakovich Violin Concerto
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From Wikipedia, the free encyclopedia
After a period influenced by Prokofiev and Stravinsky (Symphony No. 1), Shostakovich switched to modernism (Symphony No. 2 and The Nose) before developing a hybrid of styles with Lady Macbeth and the state-suppressed Fourth Symphony. This hybrid style ranged from the neo-classical (with Stravinskian influences) to the post-romantic music (with Mahlerian influences). His tonality involved much use of modality and some astringent neo-classical harmonies à la Hindemith and Prokofiev. His music frequently includes sharp contrasts and elements of the grotesque.

Shostakovich prided himself on his orchestration, which is clear, economical, and well-projected. This aspect of Shostakovich's technique owes more to Gustav Mahler than Rimsky-Korsakov. His greatest works are generally considered to be his symphonies and string quartets, fifteen of each. Other works include operas, six concertos, and a substantial quantity of film music. David Fanning concludes in Grove that, "Amid the conflicting pressures of official requirements, the mass suffering of his fellow countrymen, and his personal ideals of humanitarian and public service, he succeeded in forging a musical language of colossal emotional power."[2] Shostakovich is now regarded as "the most popular composer of serious art music of the middle years of the 20th century".

Ms Hilary Hahn:
Hahn Part1
Hahn Part2
Hahn Part 3
Hahn Part 4
Hahn Part 5

Ms. Sayaka Shoji :
Shoji Mvt1. Part1
Shoji Mvt1. Part2
Shoji Cadenza
Shoji Mvt3.
Shoji Mvt4.

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Hora Staccato
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From Wikipedia, the free encyclopedia

Hora staccato (1906) is a virtuoso violin showpiece by Grigoraş Dinicu. It is a short, fast work in a Romanian dance style, and has become a favorite encore of violinists, especially in the 1932 arrangement by Jascha Heifetz. The piece requires an exceptional command of both upbow and downbow staccato. The character of the piece also demands the notes be articulated in a crisp and clear manner so that the vibrancy of music comes out.

Dinicu wrote it for his graduation in 1906 from the Bucharest Conservatory, and performed it at the ceremony. Subsequently it has been arranged for other combinations of instruments, notably trumpet and piano.

Mr. Michale Rabin:
Rabin
Mr. Jascha Heifetz:
Heifetz
Mr. Mun Cheol Kim:
Kim
Mr. George Enesco:
Enesco
Mr. Alexandr Sorokow:
Sorokow


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Bach Double Concerto
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From Wikipedia, the free encyclopedia
The Concerto for Two Violins in D minor (BWV 1043) is perhaps one of the most famous works by J. S. Bach and considered among the best examples of the work of the late Baroque period. Bach wrote it in Leipzig sometime between 1730 and 1731, most likely for the Leipzig Collegium Musicum, of which he was the director. It also exists in an arrangement for two harpsichords, transposed into C minor (BWV 1062). In addition to the two soloists, the concerto is scored for strings and basso continuo.

The concerto is characterized by the subtle yet expressive relationship between the violins throughout the work. The musical structure of this piece uses fugal imitation and much counterpoint.

The concerto comprises three movements:

1. Vivace
2. Largo ma non tanto
3. Allegro


Rachel Podger-Andrew Manze:
Podger Manze Part 1
Podger Manze Part 2
Podger Manze Part 3

Nigel Kennedy-Azadeh Maghsoodi:
Mvt. 1
Mvt. 2
Mvt. 3

16 Year Old Yehudi Menhuin and George Enesco:
Menhuin

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Paganini Violin Concerto No. 1
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From Wikipedia, the free encyclopedia

Niccolò Paganini composed his first violin concerto in Italy, most probably during 1817 and 1818. The first concerto reveals that Paganini's technical wizardry was already fully fledged; in particular, contemporary audiences must have gasped at the quite extended passages of double-stop thirds, chromatic in some places but also sometimes in harmonics. Furthermore, the concerto itself also shows how greatly Paganini's melodic style was influenced by the Italian bel canto opera then in vogue, and especially by the work of his younger colleague Gioachino Rossini.

Paganini's first violin concerto is in three movements:

1. Allegro maestoso – Tempo giusto
2. Adagio
3. Rondo: Allegro spirituoso – Un poco più presto

Ms. A. Suwani:
Part 1
Part 2
Part 3
Part 4
Part 5

This ends our compare and contrast exercise at Fiddlers Cove for the time being. You will notice there is only one version here, and I find it more and more difficult to find complete works on youtube in the spirit of compare and contrast. The Inspiration entries will continue to be added fairly routinely though--so visit often.

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