debussy violin sonata form

debussy violin sonata form

Regularity of accentuation and tempo, and a rather dry and immediate recording quality are immediately apparent, but the work survives the objective treatment well and Ferras’s discipline is admirable. 3 in A Minor, Op. Finale, très animé, Maurice Ravel: Violin Sonata No. For users, using Apple/iTunes and a few Network Streaming players. Ferras’s struggle with depression that, tragically, led to his suicide at the age of forty nine, may also be a factor in his changeable interpretative approach. George Enescu (1881 - 1955): Enescu: Violin Sonata No. A performer who (like most of his peers) made few stylistic concessions to compositional period, Ferras recorded Bach’s Double Violin Concerto with Menuhin in 1958 in a tonally-heavy mould with little attention to small-scale phrasing and a certain undulation of tone in slurred passages (the so-called ‘Menuhin slur’). Door verder te klikken op de website ga je hiermee akkoord. Wij gebruiken cookies. Whilst some of his playing is an acquired taste, and the double-sided nature of his interpretations at times rather perplexing, there is a directness and sincerity to all Ferras’s performances which make them historically valuable. According to historical period, sonata began to imply a formal plan of movements as well as the structure within a single movement, e.g. Ferras also recorded from the standard duo sonata repertoire, including a slightly brusque Beethoven ‘Spring’ Sonata with his trusted partner Pierre Barbizet. Claude Debussy (1862–1918) knew he didn’t have much time left. The violin sonata developed from a simple baroque form with no fixed format to a standardised and complex classical form. Occasional flashes of quasi-Stravinskian rhythmic energy aside, the Intermède exists in an amorphous space, somewhere between scherzo and gentle andante, never settling into an easily-defined affect until its ending, almost Mendelssohnian in its serenely chaste G major harmony. Supported by Apple OS with software player from Audirvana, PureMusic, JRiver. Verder gaan of meer informatie, Among the most talented violinists of his generation, Kristóf Baráti has made a string of recordings for Brilliant Classics that have been highly recommended across the board. “I spent nearly a year unable to write music … after that I’ve almost had to re-learn it.”. sonata, sonate, suonato — a complicated term. Fantasque et léger, Debussy: Violin Sonata in G Minor, CD 148, L. 140: III. Allegro, César Auguste Franck: Violin Sonata in A Major, FWV 8: III. August 2014, Kodály Centre, Pécs, Hungary. High-End Network-Streaming players and few D/A Converter's (DAC). 25 "Dans le caractère populaire roumain": Claude Debussy (1862 - 1918): : Debussy: Violin Sonata in G Minor, CD 148, L. 140: Widely compatible with Network Streaming players and D/A Converter's (DAC). Supported by Windows with software player from Media Monkey, JRiver, JPLAY). This sonata will be interesting from a documentary point of view and as an example of what may be produced by a sick man in time of war.” That war had taken a sickening toll on France, with food shortages becoming common and concert life almost grinding to a halt. 3 in A Minor, Op. sonata form. His 1951 Beethoven Concerto is also Romantically delivered with a characteristic warmth and heaviness, and a much-modified use of fingerings that seem to originate with Joachim. This website uses cookies. instrumental music. 1 and Lalo’s Symphonie Espagnole display an extraordinarily fast, intense vibrato which sounds curious today, but both have variability and therefore humanity in their rendition and the Bruch is brought alive by a well-connected slow movement and a fiery finale with perfectly accurate, explosive double-stopping at the start. It may be that Ferras consciously began to impose a modernist style on Classical works in keeping with current trends (which would explain why his 1964 Sibelius Concerto has stylistic traits in common with his 1951 Beethoven); but however this may be, a detailed study of Ferras’s whole discography would give fascinating insights into post-war stylistic change in established repertoire. Ferras’s sound is brighter than Menuhin’s muted tones, but the two soloists are otherwise equally matched. The recordings of violinist Christian Ferras demonstrate a curious duality of style: on the one hand a tightly wound, somewhat harsh, brassy sound with nagging and intrusive vibrato (found particularly in some of his later work); on the other, a warmer, more old-fashioned, Romantic approach, with conspicuous portamenti and tempo rubato. After graduating with a double premier prix aged thirteen, Ferras gained performing experience with the Pasdeloup Orchestra. 2 in G Major, M.77: III. The Finale opens with a reference to the first movement before propelling itself into a joyous gigue-like dance that evokes those extroverted romps of Debussy’s earlier years, such as Printemps. 3 in A Minor, Op. Ferras’s struggle with depression that, tragically, led to his suicide at the age of forty nine, may also be a factor in his changeable interpretative approach. Whilst some of his playing is an acquired taste, and the double-sided nature of his interpretations at times rather perplexing, there is a directness and sincerity to all Ferras’s performances which make them historically valuable. He also benefitted from George Enescu’s mentoring through his early career. If the first movement belongs largely to the violin, the second-place Intermède belongs to both instruments equally. This, in 1958, is a fascinating glimpse into the style and taste of the time. This is a curious reading, in many ways, of a work that is often played with a steely certainty and almost mechanistic intensity; here Ferras unusually stresses smaller-scale phrasing and, though the recorded sound is rather dim, there is a slightly halting and vulnerable quality which makes it an emotionally enticing prospect. “For the last three months I’ve been able to work again,” he wrote in October 1915. So, please feel free to check from time-to-time, if the album is available for your country. MQA Studio (Blue light) indicates the sound is identical to that of the original source material and has either been approved in the studio by the artist/producer or has been verified by the copyright owner. Scott Foglesong is a Contributing Writer to the San Francisco Symphony program book. 3 in A Minor, Op. Ferras’s sound is brighter than Menuhin’s muted tones, but the two soloists are otherwise equally matched. Supported by Apple OS with software player from Amarra, Audirvana, PureMusic). To some extent, chronology plays a part—recordings before 1960 tend towards the latter style—but this is not clear-cut. During the late 1940s and early 1950s he undertook an overwhelming number of prominent appearances, won international prizes and gave world premières, working with many illustrious musicians including pianist Pierre Barbizet, his famous duo partner for some years. Allegretto poco mosso, César Auguste Franck, Claude Debussy, Maurice Ravel. Originally, "sounded" rather than "sung" (sonar vs. cantar), e.g. 13 & 108 (Remastered), Debussy & Enescu: Violin Sonatas - Ravel: Tzigane (Remastered). The 1959 performances of Bruch’s Concerto No. Box Office: Grove Street, between Van Ness and Franklin, Debussy: Sonata in G minor for Violin and Piano, It began as a grand plan for six sonatas “for various instruments,” with the final sonata featuring all of the instruments from the previous five. The recordings of violinist Christian Ferras demonstrate a curious duality of style: on the one hand a tightly wound, somewhat harsh, brassy sound with nagging and intrusive vibrato (found particularly in some of his later work); on the other, a warmer, more old-fashioned, Romantic approach, with conspicuous portamenti and tempo rubato. HighRes-Studio Master files are lossless at various sample rates from 44.1 kHz up to 384 kHz or 1-bit (2.8224 MHz) for DSD. Perpetuum mobile, allegro, César Auguste Franck: Violin Sonata in A Major, FWV 8: I. Allegretto ben moderato, César Auguste Franck: Violin Sonata in A Major, FWV 8: II. Andante sostenuto e misterioso, Enescu: Violin Sonata No. This is a curious reading, in many ways, of a work that is often played with a steely certainty and almost mechanistic intensity; here Ferras unusually stresses smaller-scale phrasing and, though the recorded sound is rather dim, there is a slightly halting and vulnerable quality which makes it an emotionally enticing prospect. 2 in G Major, M.77: I. Allegretto, Maurice Ravel: Violin Sonata No.

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