Walton: Violin Concerto CHAN 9073. About Chandos. About Us; Chandos Records is one of the world's premier classical music record companies, best known for. Sep 03, 2020 FORSYTH VIOLA CONCERTO PDF. I distinctly remember the first time that I heard Cecil Forsyth’s Viola Concerto in G Minor. It was the summer of, and I was spending some. Cecil Forsyth (30 November – 7 December ) was an English composer and His compositions include the Viola Concerto in G minor (which was. Preview, buy and download songs from.
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- The Violin Concerto In 1936 Jasha Heifetz took Walton out to lunch in London and commissioned him to write a Violin Concerto for 300 pounds, a great honour from the greatest virtuoso of the day. Walton had actually been thinking of writing a piece for clarinet and violin that Benny Goodman and Joseph Szigetti had asked him to do when Spike Hughes, an old friend, introduced him to Heifetz.
- The rhythmic analyses (derived from the rhythm tables of Chapter II) reveal: 1. Walton used rhythms sparingly. Walton's rhythms constitute an evolutionary state of re-creation, i. E., Walton's rhythms are in empathy with each other. The harmonic analyses (derived from the harmonic fluctuation tables of Chapter II) reveal: 1. The most frequent chords of any classification occur in groups III.
- Rubbra’s concerto became the first in a triptych (the others are for piano and violin), written at a crucial time, the 1950s. He had just converted to Roman Catholicism and become a lecturer and tutor at Oxford University, but his quarter-century of marriage was entering a stormy period, and powerful underlying emotions affect the concertos.
- Andante tranquillo
- Presto capriccioso alla napolitana – Trio (Canzonetta) – Tempo I
- Vivace
Walton composed his Violin Concerto in 1938 and 1939. Considering the agonisingly slow pace at which he habitually worked, it is perhaps an exaggeration to say that he was at the height of his compositional powers at the time. Nevertheless, the previous decade had seen the emergence of the three large-scale masterpieces – the Viola Concerto, Belshazzar’s Feast and the Symphony No. 1 – on which, combined with the present concerto and a few shorter works, Walton’s reputation securely rests.
The Violin Concerto was commissioned by the great virtuoso Jascha Heifetz, whom Walton had first met in 1936. In May 1939 Walton made a short visited to the USA to work with Heifetz on refining details in the solo part. But by the time of the premiere, in December of that year, with Artur Rodziński conducting the Cleveland Orchestra, Britain was at war and Walton was unable to risk the crossing to the USA to hear it.
The initial stages of the work’s composition had taken place in 1938, in Ravello, Italy, where Alice Wimborne, his partner at the time, had taken Walton to recover from surgery. Ever since he first visited the country as an 18-year-old, Italy had been Walton’s spiritual home and the concerto undoubtedly reflects this love. It is suffused with Italianate warmth and a lyrical, singing quality reflecting not only the influence of bel canto opera, but, perhaps even more prominently, Italian popular song. Temperamentally, too, it displays Latinate volatility, with capricious changes of mood at every turn. Throughout the work, often without warning, lyrical contemplation may yield to spiteful aggression, melancholic introspection to choleric rage. The productive influence of other composers can be felt at various points: Prokofiev, Hindemith and especially Elgar, whose own Violin Concerto was clearly the inspiration for the finale’s accompanied cadenza.
The Violin Concerto is the second of Walton’s three string concertos. Bitcoin miner for mac download. The others – for Viola (1928–9, revised 1936–7, 1961) and for Cello (1955–6, rev. 1975) – share the same three-movement plan, with more moderately paced outer movements framing a central scherzo.
Walton Viola Concerto
The opening plunges straight into the heart of the matter with the soloist immediately unfolding one of Walton’s greatest and most memorable melodies. The rising accompanying line in the bassoon is important, too: not only will this form the basis of some of the fast music later on, but when the opening is finally recapitulated the two themes are swapped round, with the rising line now taken by the violin and the main melody by the orchestra. Such is Walton’s extraordinary technical dexterity throughout the work. Even more remarkable is the variety of moods encompassed in this movement. Having established a decidedly nocturnal atmosphere (the main tune is marked sognando – ‘dreaming’), the peace is shattered by a vicious orchestral outburst, full of snarling brass and aggressive cross-rhythms. It is left to the solo violin gradually to calm the mood and to restore a measure of tranquillity, though a second aggressive assault later on sees the soloist taking no part in proceedings. The final phase of the movement recapitulates the opening themes, now with the addition of many felicitous decorations and counter-melodies.
The second movement is a multi-faceted scherzo. With its marking alla Napolitana (in Neapolitan style) it is the most obviously Italianate of the three movements. It begins as a tarantella (Walton had been bitten by a tarantula shortly before composing the movement, so is said to have included this to mark the event!), but suddenly switches course and turns into a slow waltz that might be mistaken for sentimentality, were it not so laced with irony. A brief return to the tarantella leads into a central Trio, described in the score as a Canzonetta – a reference to a type of light-hearted madrigal, popular in 16th-century Italy. This slow section is allowed to luxuriate for some time before the tarantella bursts in again with an extended display of virtuoso fiddling, a final brief reference to the ironic waltz and a sudden evaporation.
The finale has the character of a rondo, the busy, yet measured, counterpoint of the opening appearing four times. In between, gorgeously lyrical interludes, led by the soloist and often supported by harp and shimmering strings, gradually unlock memories of themes heard earlier in the concerto. Eventually, a rapturous, Elgarian cadenza, discreetly supported by the orchestra, ingeniously draws the concerto’s thematic threads together, before a brief return to the movement’s opening heralds a final flourish – as emphatic an end as any concerto could wish for, but with an added dash of Waltonian unpredictability.
Programme note © John Pickard
M | T | W | T | F | S | S |
---|---|---|---|---|---|---|
14 | 15 | 16 | 17 | 18 | 19 | 20 |
21 | 22 | 23 | 24 | 25 | 26 | 27 |
28 | 29 | 30 | 31 | 1 | 2 | 3 |
M | T | W | T | F | S | S |
---|---|---|---|---|---|---|
28 | 29 | 30 | 31 | 1 | 2 | 3 |
4 | 5 | 6 | 7 | 8 | 9 | 10 |
11 | 12 | 13 | 14 | 15 | 16 | 17 |
18 | 19 | 20 | 21 | 22 | 23 | 24 |
25 | 26 | 27 | 28 | 29 | 30 | 31 |
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