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avi8553343
Wydawnictwo: Avi Music
Nr katalogowy: AVI 8553343
Nośnik: 1 LP
Data wydania: marzec 2016
EAN: 4260085533435
108,00zł
na zamówienie
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Epoka muzyczna: romantyzm
Obszar (język): niemiecki
Instrumenty: skrzypce, fortepian
Rodzaj: koncert

Brahms: Violin Concerto

Avi Music - AVI 8553343
Wykonawcy
Antje Weithaas, violin
Silke Avenhaus, piano
Camerata Bern
Violin Concerto in D Op. 77
Scherzo WoO 2 for Violin & Piano
“For any violinist, the Brahms Concerto is a special challenge and a precious gem, a piece one works on for decades. I studied it more intensely for the first time when I was 18/19; now I’m astounded to note how one’s perception of such a work can change so radically. Amongst all violin concertos, Brahms, Beethoven and Mendelssohn play an essential role, and I would add Britten and Shostakovich. The Brahms Violin Concerto is part of our essential repertoire, and was composed at a time when the “customary” violin concerto no longer had any significance as virtuoso display for a soloist (incidentally, that’s my own credo as a performer). This is a symphonic work, an aspect that relates it to the recording of Berg and Beethoven I made with Stavanger Symphony Orchestra a couple of years ago. Those two pieces from different stylistic periods are actually works for orchestra with obligato solo violin – and the same applies to the Brahms Concerto. The violin often plays passagework around the orchestra melody, as in the Beethoven Concerto, which is why I find the symphonic approach so important here as well. …. We tackled the challenge of performing and recording without a conductor. Of course, when I otherwise perform this concerto with a conductor, I intensely learn and think through the orchestra part in my head. It is a challenge I am aware of, and I thus probably would never have had dared to perform this concerto without a conductor. But since I’ve often performed the Beethoven Concerto with the Camerata Bern without a conductor, I started thinking that the Brahms Concerto just might work as well. Over the past 7-9 years we have become so well-acquainted with one another on a musical and personal level that by now we manage to communicate with blindfolds on. I probably would not have dared to embark on this adventure with any other ensemble. The most important thing is that each musician should remain in a “chamber music” attitude while providing the necessary symphonic energy and assuming his/her share of responsibility.

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