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luís soares

Blog do escritor Luís Soares

Sonata "Póstuma"

Yuja Wang and Kavakos Leonidas at Carnegie Hall in 2014.

From All Music:

Ravel's so-called "posthumous" sonata, rather than having been penned from beyond the grave, is of course an early work not published until 1975, long after the composer's death. Not to be confused with Ravel's much better known G major sonata from 30 years later, which melds blues with neo-Classicism, this compact, one-movement sonata in A minor from 1897 adheres to the classic exposition-development-recapitulation-coda sequence. It shows the strong influence of Fauré and Franck, yet also uses a harmonic and melodic language Ravel would later make his own in his Piano Trio and String Quartet. The first theme, heard without introduction, is sinuous and dreamy; the second theme, brought in after a short piano solo, is smoother, broader, and at times vaguely Oriental, while still almost passing for Fauré. The coda, after a condensed recapitulation, is particularly chromatic, as if it were plucked from Franck's more famous violin sonata.

Fantasia dei Gatti

Augustin Hadelich, producer
Paul Glickman, director
Tam King, animator

 

Technical Director - Yu Ueda
Environment Colorist - Caitlin Cash
Sound Designer - Robert Cordova
Choreographer - Deandra McCord
Storyboarding Assistant - Matthew Daley

 

Music:
Nicolò Paganini: Caprice No. 17
(from the album "Augustin Hadelich | Paganini 24 Caprices")

Sound producer and engineer: Antonio Oliart

Wednesday music.

Violinist Isabelle Faust and the Rotterdam Philharmonic Orchestra, led by Mark Elder, perform Beethoven's 'Violin Concerto' in Het Concertgebouw during The Sunday Morning Concert of Sunday the 25th of February 2018.

 

Beethoven: Violin Concerto in D major, Op. 61
Rotterdam Philharmonic Orchestra
Mark Elder [conductor]
Isabelle Faust [violin]

Pietro Locatelli: Violin Concerto Op. 3, No. 1

Violinist Lisa Jacobs and ensemble The String Soloists perform 'Violin Concerto in D major Op. 3, No. 1' by Locatelli during The Sunday Morning Concert on Sunday the 7th of January 2018 in Het Concertgebouw, Amsterdam.

Locatelli’s music was the reason Lisa Jacobs fell in love with the violin. When little, her mother played his music during breakfast and Lisa would crawl into the speakers. Locatelli’s ‘Violin Concerto’ is thus a logical choice for Lisa and her ensemble to play during this concert, that’s very close to Lisa’s heart.

Charlie Siem: NPR Music Tiny Desk Concert

Watch the stylish young violinist pull out a bag of tricks in music by Paganini. Performing at the NPR Music offices, Siem tosses off left-hand pizzicatos, double-stop harmonics and spiccato bowing as if he were buttering bread.


Set List:
Ole Bull: Cantabile
Paganini: Introduction and Variations on Paisiello's "Nel Cor Piu"
Godowsky: Alt Wien (arr. Heifetz)

For more videos and to subscribe to the Tiny Desk Concert podcast, visit npr.org/tinydeskconcerts

Happy Eightieth, Mr. Glass

Philip Glass' Violin Concerto No. 2, titled 'The American Four Seasons', received its world premiere in Toronto on December 9, 2009, with violinist Robert McDuffie, for whom the work was composed, and the Toronto Symphony Orchestra under conductor Peter Oundjian. Its European premiere was in London on April 17, 2010, with McDuffie and the London Philharmonic Orchestra under conductor Marin Alsop.

Glass composed the work in the summer and autumn of 2009 after several years of exchanges between him and McDuffie with the idea of creating a piece that would serve as a companion to Vivaldi's The Four Seasons. When the work was presented to McDuffie, it emerged that his interpretation of the seasons was somewhat different from Glass'. For this reason, Glass presents this as an opportunity for the listener to make his/her own interpretation. The titles of the movements therefore offer no clues as to where Spring, Summer, Autumn and Winter might fall, with the composer welcoming other interpretations.

Instead of the cadenza typically found in most violin concertos, Glass provided a number of solo pieces for the violinist which act as a prelude to the first movement, and three 'songs' that precede each of the following three movements. Glass also anticipated that these could be played together as separate concert music when abstracted from the whole work.