Historic Musical Bits: Isaac Stern – Edouard Lalo – Symphonie Espagnole, Op.21

Édouard Lalo (Photo credit: Wikipedia)

Isaac Stern – Edouard Lalo – Symphonie Espagnole, Op.21

Published on Oct 24, 2012

Eugene Ormandy conducting Philadelphia Symphony Orchestra
I. Allegro non troppo
II. Scherzando
III. Intermezzo
IV. Andante
V. Rondo

• Music

  • “Symphonie espagnole, Op. 21: III. Intermezzo. Allegretto Non Troppo” by Isaac Stern;The Philadelphia Orchestra;Eugene Ormandy (Google Play • iTunes • AmazonMP3)

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From Wikipedia, the free encyclopedia

The Symphonie espagnole in D minor, Op. 21, is a work for violin and orchestra by Édouard Lalo.

History

The work was written in 1874 for violinist Pablo de Sarasate, and premiered in Paris in February 1875.

Although called a “Spanish Symphony” (see also Sinfonia concertante), it is considered a violin concerto by musicians today. The piece has Spanish motifs throughout, and launched a period when Spanish-themed music came into vogue. (Georges Bizet‘s opera Carmen premiered a month after the Symphonie espagnole.)

The Symphonie espagnole is one of Lalo’s two most often played works, the other being his Cello Concerto. His “official” Violin Concerto in F, and his Symphony in G minor, written thirteen years later, are neither performed nor recorded as often.^{[citation needed]}

Structure

1. Allegro non troppo
2. Scherzando: Allegro molto
3. Intermezzo: Allegro non troppo
4. Andante
5. Rondo: Allegro

A typical performance runs just over one-half hour. One of the shorter recordings, conductor Eugene Ormandy’s 1967 recording with the Philadelphia Orchestra, featuring violinist Isaac Stern, runs 32 minutes and 43 seconds.^[1]

Influence on Tchaikovsky

The Symphonie espagnole had some influence on the genesis of Tchaikovsky‘s Violin Concerto in D major. In March 1878, Tchaikovsky was staying at Nadezhda von Meck‘s estate at Clarens, Switzerland, while recovering from the breakdown of his disastrous marriage and his subsequent suicide attempt. His favourite pupil (and possibly his lover), the violinist Iosif Kotek, shortly arrived from Berlin with a lot of new music for violin. These included the Symphonie espagnole, which he and Tchaikovsky played through to great delight. This gave Tchaikovsky the idea of writing a violin concerto, and he immediately set aside his current work on a piano sonata and started on the concerto on 17 March.^[2] With Kotek’s technical help, the concerto was finished by 11 April.

References

 

• “Lalo: Symphonie Espagnole”. CD Universe. Retrieved 26 January 2014.
• Detroit Symphony Orchestra

 

 

Bach – Concerto for Oboe, Violin and Orchestra in C minor, BWV 1060 – Isaac Stern & Harold Gomberg

pianushko

Published on Oct 26, 2013

Isaac Stern (1920-2001), violin
Harold Gomberg (1916-1985), oboe
New York Philharmonic / Leonard Bernstein (1918-1990), conductor & harpsichord
Rec. 1966-02-7

00:00 1. Allegro
06:00 2. Adagio
12:58 3. Allegro

Max Bruch: Violin Concerto no. 1 in G minor, op. 26 – Akiko Suwanai (諏訪内 晶子), great compositions/performances ( 偉大な組成物/公演)

Max Bruch: Violin Concerto no. 1 in G minor, op. 26 – Akiko Suwanai (諏訪内 晶子)

Movements:

1. Vorspiel: Allegro moderato

2. Adagio

3. Finale: Allegro energico

Roberto Mastrosimone

Uploaded on Feb 18, 2011 / 387,496 views

Akiko Suwanai (諏訪内 晶子) plays the Bruch’s Violin Concerto op.26
Eliahu Inbal conducts the Orchestra Sinfonica Nazionale della Rai
Turin, 1998
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From Wikipedia, the free encyclopedia

Max Bruch‘s Violin Concerto No. 1 in G minor, Op. 26, is one of the most popular violin concertos in the repertory. It continues to be performed and recorded by many violinists and is Bruch’s most famous composition.^[1]

History

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 premiere of the revised concerto was given by Joachim in Bremen on 5 January 1868 with Karl Martin Rheinthaler conducting.^[2]

The fate of the score

Bruch sold the score to the publisher N. Simrock outright for a small lump sum — but he kept a copy of his own. At the end of World War I, he was destitute, having been unable to enforce the payment of royalties for his other works because of chaotic world-wide economic conditions. He sent his autograph to the duo-pianists Rose and Ottilie Sutro (for whom he had written his Concerto in A-flat minor for Two Pianos and Orchestra, Op. 88a, in 1912), so that they could sell it in the United States and send him the money. Bruch died in October 1920, without ever receiving any money. The Sutro sisters decided to keep the score themselves, but they claimed to have sold it, and sent Bruch’s family some worthless German paper money as the alleged proceeds of the alleged sale. They always refused to divulge any details of the supposed purchaser. In 1949, they sold the autograph to Mary Flagler Cary, whose collection, including the Bruch concerto, now resides at the Pierpont Morgan Public Library in New York.^[3]

 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, to the second movement and is directly linked to it. The piece starts off slowly, with the melody first taken by the flutes, and then the solo violin becomes audible with a short cadenza. This repeats again, serving as an introduction to the main portion of the movement, which contains a strong first theme and a very melodic, and generally slower, second theme. The movement ends as it began, with the two short cadenzas more virtuosic than before, and the orchestra’s final tutti flows into the second movement, connected by a single low note from the first violins.

The slow second movement is often adored for its powerful melody, and is generally considered to be the heart of the concerto. The rich, expansive themes, presented by the violin, are underscored by a constantly moving orchestra part, keeping the movement alive and helping it flow from one part to the next.

The third movement, the finale, opens with an extremely intense, yet quiet, orchestral introduction that yields to the soloist’s statement of the exuberant theme in brilliant double stops. It is very much like a dance that moves at a comfortably fast and energetic tempo. The second subject is a fine example of Romantic lyricism, a slower melody which cuts into the movement several times, before the dance theme returns with its fireworks. The piece ends with a huge accelerando, leading to a fiery finish that gets higher as it gets faster and louder and eventually concludes with two short, yet grand, chords.

Bruch also composed two more violin concertos, but neither has gained as much fame as his first.

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Mendelssohn — Violin Concerto in e minor op 64: GREAT COMPOSITIONS/PERFORMANCES

Mendelssohn — Violin Concerto in E minor op. 64

Kanaal van viool7

***Isaac Stern: violin
***Philadelphia Orchestra – Eugene Ormandy: conductor-1958
(The second recording of this concerto by Stern and Ormandy)
1. Allegro molto appassionato
2. Andante
3. Allegretto non troppo – Allegro molto vivace

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Isaac Stern – Beethoven, Thriple Concerto For Piano, Violin, Cello & Orchestra Op.56

tkdrbs113님의 채널

Ludwig Van Beethoven [ 1770 – 1827 ],
Concerto For Piano, Violin, Cello & Orchestra
In C Major Op.56 ‘Thriple Concerto’I. Allegro
II. Largo – attacca
III. Rondo Alla Polacca Allegro tempo I.

Violin ; Isaac Stern [ 1920 – 2001 ]
Piano ; Emanuel Ax [ 1949 – ]
Cello ; Yo-Yo Ma [ 1955 – ]

Conducted By ; Michael Stern
London Symphony Orchestra
Narrated By ; Gregory Peck

From Album [ 1992, Sony Classical LD ]
Isaac Stern A Biography In Music
Live At Royal Festival Hall

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Wieniawski-Violin Concerto No. 2 in d minor op. 22: great compositions/performances

Wieniawski–Violin Concerto No. 2 in d minor op. 22

   Kanaal van viool7

Isaac Stern: violin-Philadelphia Orchestra–Eugene Ormandy: conductor-1957

From Wikipedia, the free encyclopedia

 

Violin Concerto No. 2 in D minor, Op. 22, by the Polish violin virtuoso, Henryk 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/F major
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 first movement uses a half-sonata form where the orchestral coda after the exposition transitions into the second movement instead of a development section.

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.

Instrumentation

The concerto is scored for solo violin and an orchestra consisting of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones (alto, tenor and bass), timpani, and strings.

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Lalo / Isaac Stern, 1956: Symphonie Espagnol in D minor, Op. 21 – Complete (Original Vinyl LP): great compositions/performances

Lalo / Isaac Stern, 1956: Symphonie Espagnol in D minor, Op. 21 – Complete (Original Vinyl LP)

   davidhertzbergIsaac Stern is soloist in this 1956 recording of Lalo’s Symphonie Espagnol in D minor, Op. 21. Eugene Ormandy leads the Philadelphia Orchestra. From the LP shown above, issued on 1956 on the Columbia Masterworks label.

Movements/Sections	5 movements: Allegro non troppo Scherzando. Allegro molto Intermezzo. Allegro non troppo Andante Rondo
Composition Year	1874

Édouard Lalo entra à l’âge de dix ans au conservatoire de Lille où il apprit le violon et peut-être le violoncelle, sous la direction des professeurs Müller et Baumann puis, à l’âge de seize ans, partit pour Paris afin de continuer ses études musicales, contre la volonté de son père. Il y eut comme professeur de violon Pierre Baillot, puis François-Antoine Habeneck. En 1843 le pianiste Julius Schulhoff l’initia à la composition. Il se perfectionna au contact de J.-E. Crèvecoeur (deuxième grand prix de Rome). Ses premières compositions connues, des chants accompagnés au piano, datent de 1848, année durant laquelle il soumit deux de ses partitions à Hector Berlioz. Il se lia d’amitié avec le violoniste Jules Armingaud, son seul confident, et avec le compositeur Pablo de Sarasate. Au nombre de ses amis on compte aussi le peintre Auguste Delacroix qu’il ne faut pas confondre, comme le voulut Pierre Lalo, avec l’illustre Eugène Delacroix. Lalo n’entra jamais au Conservatoire de Paris, ni comme élève, ni comme professeur. Il y participa seulement à deux jurys de concours en 1876. Bien qu’admirant l’orchestre wagnérien, Lalo s’astreignit à suivre sa propre personnalité. Il bénéficia à plusieurs reprises de l’appui de Charles Gounod qui appréciait ses musiques. Il fut l’alto, puis le second violon du Quatuor Armengaud à partir de la fondation de celui-ci en 1856. Edouard Lalo vécut pauvrement, notamment à Puteaux avec sa première épouse, jusqu’en 1865. Veuf en 1864, il épousa la mezzo-soprano Julie-Marie-Victoire Bernier de Maligny et vécut plus confortablement à Paris. Il faisait salon de musique chez lui chaque vendredi soir et fréquentait les autres salons musicaux privés de la capitale. Lalo était d’un caractère réservé et répugnait à parler de lui. Beaucoup des correspondances qu’il a écrites et reçues ont été détruites. Il composait avec ardeur des mélodies et des symphonies instrumentales qui furent plus appréciées à l’étranger qu’en France.

Tchaikovsky-Meditation from Souvenir d’un lieu cher op. 42 no. 1 (Orchestrated by A. Glazunov): great compositions/performances

From:   Kanaal van viool7

Tchaikovsky-Meditation from Souvenir d’un lieu cher op. 42 no. 1 (Orchestrated by A. Glazunov)

Tchaikovsky’s tomb at the Alexander Nevsky Monastery (Photo credit: Wikipedia)

*****Isaac Stern: violin-
*****National Symphony Orchestra-Mstislav                 Rostropovich: conductor-1977

 

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From:    Silvio Finotti

Dvořák Humoresque Yo Yo Ma, Itzhak Perlman, Boston Symphony Orchestra / Seiji Ozawa

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Brahms–Violin Sonata No. 2 in A Major Op. 100

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[youtube.com/watch?v=v8vdCaV9htI]

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great compositions/performances: Isaac Stern – Edouard Lalo – Symphonie Espagnole, Op.21

[youtube.com/watch?v=p-C5ujRHpZw]

Isaac Stern – Edouard Lalo – Symphonie Espagnole, Op.21

Eugene Ormandy conducting Philadelphia Symphony Orchestra
I. Allegro non troppo
II. Scherzando
III. Intermezzo
IV. Andante
V. Rondo

• Buy “Symphonie espagnole, Op. 21: III. Intermezzo. Allegretto Non Troppo” on
  
  

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  Isaac Stern;The Philadelphia Orchestra;Eugene Ormandy

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HISTORIC MUSICAL MOMENTS: Clara Haskil: Schumann – ‘Abegg’ Variations, Op. 1

[youtube.com/watch?v=UqOvdlthl8E]

Clara Haskil: Schumann – ‘Abegg’ Variations, Op. 1

Clara Haskil (7 January 1895 – 7 December 1960) was a Romanian classical pianist, renowned as an interpreter of the classical and early romantic repertoire. Haskil was particularly noted for her performances and recordings of Mozart. Many considered her the foremost interpreter of Mozart in her time. She was also noted as a superb interpreter of Beethoven, Schumann, and Scarlatti. Haskil was born into a Sephardic Jewish family in Bucharest, Romania and studied in Vienna under Richard Robert (whose memorable pupils also included Rudolf Serkin and George Szell) and briefly with Ferruccio Busoni. She later moved to Paris, where she started studying with Gabriel Fauré’s pupil Joseph Morpain, whom she always credited as one of her greatest influences. The same year she entered the Paris Conservatoire, officially to study with Alfred Cortot although most of her instruction came from Lazare Lévy and Mme Giraud-Letarse, and graduated at age 15 with a Premier Prix. She also graduated with a Premier Prix in violin. Upon graduating, Haskil began to tour Europe, though her career was cut short by one of the numerous physical ailments she suffered throughout her life. In 1913 she was fitted with a plaster cast in an attempt to halt the progression of scoliosis. Frequent illnesses, combined with extreme stage fright that appeared in 1920, kept her from critical or financial success. Most of her life was spent in abject poverty. It was not until after World War II, during a series of concerts in the Netherlands in 1949, that she began to win acclaim. Well regarded as a chamber musician, Haskil collaborated with such famed musicians as George Enescu, Eugène Ysaÿe, Pablo Casals, Joseph Szigeti, Géza Anda, Isaac Stern and Arthur Grumiaux, with whom she played her last concert. While renowned primarily as a violinist, Grumiaux was also a fine pianist, and he and Haskil would sometimes swap instruments. She played as a soloist under the baton of such conductors as Ansermet, Barbirolli, Baumgartner, Beecham, Boult, Celibidache, Cluytens, Fricsay, Giulini, Inghelbrecht, Jochum, Karajan, Kempe, Klemperer, Kubelík, Markevitch, Monteux, Münch, Paray, Rosbaud, Sawallisch, Solti, Stokowski, Szell, among many others. One of her most prominent performances as a soloist with an orchestra is recording of Mozart’s Piano Concertos Nos. 20 and 24 in November 1960 with Orchestre des Concerts Lamoureux conducted by Igor Markevitch (issued on CD by Philips Classics under No. 464 718-2); this recording features an unusually slow, pensive performance of K466’s part III and a very subtle, highly lyrical and yet, in some way, vigorous playing of K491’s part II. Haskil died from injuries received through a fall at the staircase of a Brussels train station. She was to play a concert with Arthur Grumiaux the following day. An esteemed friend of Haskil, Charles Chaplin, described her talent by saying “In my lifetime I have met three geniuses; Professor Einstein, Winston Churchill, and Clara Haskil. I am not a trained musician but I can only say that her touch was exquisite, her expression wonderful, and her technique extraordinary.” (Swiss Radio interview, 19 April 1961.) The Clara Haskil International Piano Competition is held biannually in her memory. The brochure reads: “The Clara Haskil Competition was founded in 1963 to honour and perpetuate the memory of the incomparable Swiss pianist, of Romanian origin, who was born in Bucharest in 1895. It takes place every two years in Vevey, Switzerland, where Clara Haskil resided from 1942 until her death in Brussels in 1960. A street in Vevey bears her name. The Competition welcomes young pianists from all over the world, who pursue the musical ideal that is inspired by Clara Haskil and which will always remain exemplary.”… http://en.wikipedia.org/wiki/Clara_Ha…

A link to this wonderful artists personal Website: http://www.deccaclassics.com/cat/sing…

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Great Compositions/Performances: Fauré / Jacqueline du Pré, 1962: Elegie in C minor, Op. 24 – Gerald Moore, piano

[youtube.com/watch?v=F3q_HJN51uo&list=TLmaxOY5M4Vx95ToCcRAZnxIz3J4fwQhiu]

Fauré / Jacqueline du Pré, 1962: Elegie in C minor, Op. 24 – Gerald Moore, piano

In this performance recorded April 1, 1969, twenty-four year-old Jacqueline du Pré (1945-1987), accompanied by Gerald Moore, performs the Élégie in C minor, Op. 24 (1880) by Gabriel Fauré , Op. 24, by Gabriel Faure. I created this music video from the LP, “A Jacqueline du Pré Recital,” issued on the Angel label, serial number S-37900. All images are taken from the LP and LP jacket.
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More great cello performances:

JS Bach / Jacqueline du Pré, 1962: Adagio, from the Toccata in C, BWV 564 – Angel – http://www.youtube.com/watch?v=MQqukn…

Samuel Barber / Raya Garbousova: Concerto for Cello and Orchestra, Op. 22 – Decca, 1966 – http://www.youtube.com/watch?v=1OR_ID…

Brahms / Isaac Stern / Leonard Rose, 1956: Double Concerto in A minor, Op. 102 (Allegro): http://www.youtube.com/watch?v=9vREWf…

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Great Compositions/Performances: Isaac Stern – Beethoven, Triple Concerto For Piano, Violin, Cello & Orchestra Op.56

Ludwig Van Beethoven [ 1770 – 1827 ],
Concerto For Piano, Violin, Cello & Orchestra
In C Major Op.56 ‘Thriple Concerto’

I. Allegro
II. Largo – attacca
III. Rondo Alla Polacca Allegro tempo I.

Violin ; Isaac Stern [ 1920 – 2001 ]
Piano ; Emanuel Ax [ 1949 – ]
Cello ; Yo-Yo Ma [ 1955 – ]

Conducted By ; Michael Stern
London Symphony Orchestra
Narrated By ; Gregory Peck

From Album [ 1992, Sony Classical LD ]
Isaac Stern A Biography In Music
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Great Compositions/Performances: Isaac Stern Plays Dvorak’s Violin Concerto in A minor op. 53, Eugene Ormandy Conduction The Philharmonia Orchestra (the year is 1965)

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Ludwig van Beethoven – Triple Concerto Op.56 Isaac Stern – Beethoven, Triple Concerto For Piano, Violin, Cello & Orchestra Op.56

Ludwig Van Beethoven [ 1770 – 1827 ],
Concerto For Piano, Violin, Cello & Orchestra
In C Major Op.56 ‘Thriple Concerto’I. Allegro
II. Largo – attacca
III. Rondo Alla Polacca 

Violin ; Isaac Stern [ 1920 – 2001 ]
Piano ; Emanuel Ax [ 1949 – ]
Cello ; Yo-Yo Ma [ 1955 – ]
Conducted By ; Michael Stern
London Symphony Orchestra
Narrated By ; Gregory Peck

From Album [ 1992, Sony Classical LD ]
Isaac Stern A Biography In Music
Live At Royal Festival Hall

From Wikipedia, the free encyclopedia

 

 Ludwig van Beethoven‘s Concerto for Violin, Cello, and Piano in C major, Op. 56, more commonly known as the Triple Concerto, was composed in 1803

Wieniawski-Violin Concerto No. 2 in d minor op. 22: Isaac Stern, violin – Philadelphia Orchestra – Eugene Ormandy, Conductor – 1957

Isaac Stern: violin-Philadelphia Orchestra-Eugene Ormandy: conductor-1957

Isaac Stern – Beethoven, Triple Concerto For Piano, Violin, Cello & Orchestra

Ludwig Van Beethoven [ 1770 – 1827 ],
Concerto For Piano, Violin, Cello & Orchestra
In C Major Op.56 ‘Thriple Concerto’

I. Allegro
II. Largo – attacca
III. Rondo Alla Polacca Allegro tempo I.

Violin ; Isaac Stern [ 1920 – 2001 ]
Piano ; Emanuel Ax [ 1949 – ]
Cello ; Yo-Yo Ma [ 1955 – ]

Conducted By ; Michael Stern
London Symphony Orchestra
Narrated By ; Gregory Peck

From Album [ 1992, Sony Classical LD ]
Isaac Stern A Biography In Music
Live At Royal Festival Hall

 

HUMORESQUE, Op. 101, No. 7- Antonin Dvorak

 Columbia Symphony Orchestra, Isaac Stern & Milton Katims – Humoresque, Op. 101, No. 7

Dvorak House Declared A Manhattan Landmark:
http://www.nytimes.com/1991/02/27/nyregion/dvorak-house-declared-a-manhattan-landmark.html