Tag Archives: gypsy style

H. Wieniawski – Violin Concerto No. 2 in D minor, Op. 22 (Kobayashi)


Henryk Wieniawski (1835-1880)

Concerto for Violin and Orchestra No. 2 in D minor, Op. 22

Miki Kobayashi, violin
Orkiestra Kameralna Polskiego Radia Amadeus
Agnieszka Duczmal, conductor

Recorded at Auditorium Uniwersytet im. Adama Mickiewicza, Poznan, 2011

 
 

Violin Concerto No. 2 in D minor, Op. 22, by the Polish violin virtuosoHenryk Wieniawski, may have been started in 1856, but the first performance did not take place until November 27, 1862, when he played it in St. Petersburg with Anton Rubinstein conducting. It was published in 1879, inscribed to his dear friend Pablo de Sarasate. The work is in three movements:

  1. Allegro moderato in D minor
  2. Romance: Andante non troppo in B flat major
  3. Allegro con fuoco – Allegro moderato (à la Zingara) in D minor/D major

Both main elements of the first movement, its sombre, restless first subject, and its lyrical pendant (begun by a solo horn) are discussed freely and subject to dazzling embellishments by the solo violin. This movement includes a demanding variety of technique, including chromatic glissandi, double stops, arpeggios, sixths, octaves, thirds, chromatic scales, and artificial harmonics, not to mention a myriad of bowing techniques. The beat is based on a 4/4 or common time.

The slow movement, a Romance, follows without a break. It is based on a lilting tune in 12/8 time and rises to an impassioned central climax.

A rhapsodic passage marked Allegro con fuoco and mainly a solo cadenza, leads to the finale, a dashing rondo in the gypsy style, which quotes the first movement’s subsidiary theme in the course of its second and third episodes. The final movement implements a 2/4 time, which allows the violinists to emphasize certain notes in the beginning of some measures.

Wieniawski’s second Violin Concerto remains one of the greatest violin concertos of the Romantic era, memorable for its lush and moving melodies and harmonies.        More…

Rage over a lost penny op. 129 – beethoven ( Anatol Ugorski)



 Anatol Ugorski plays Beethoven: Rage over the lost penny
Exerpts from Wikipedia:  

“The Rondo alla ingharese quasi un capriccio in G major, Op. 129, is a piano rondo by Ludwig van Beethoven.[1] It is better known by the title Rage Over a Lost Penny, Vented in a Caprice(from German: Die Wut über den verlorenen Groschen, ausgetobt in einer Caprice). This title appears on the autograph manuscript, but not in Beethoven’s hand, and has been attributed to his friend Anton Schindler. It is a favourite with audiences and is frequently performed as a show piece.

Despite the late opus number, the work is now dated between 1795 and 1798.  Beethoven left the piece unpublished and incomplete; it was published in 1828 by Anton Diabelli, who obscured the fact that it had been left unfinished. The performance time runs between five and six minutes; the tempo of the piece is Allegro vivace (quarter note = 132–160).

The indication alla ingharese is of interest, as no such word as “ingharese” exists in standard Italian. To people of Beethoven’s day, “gypsy music” and “Hungarian music” were synonymous terms. Beethoven seems to have conflated alla zingarese (in the gypsy style) and all’ongarese (in the Hungarian style) to come up with a unique term alla ingharese.

Robert Schumann wrote of the work that “it would be difficult to find anything merrier than this whim… It is the most amiable, harmless anger, similar to that felt when one cannot pull a shoe from off the foot”, citing the work as an instance of Beethoven’s earthliness against those fixated upon a transcendental image of the composer.”