207) possibly was begun in 1773, based on analysis of the handwriting and manuscript paper No. Generally, it has been stated that Mozart composed all five of his violin concerti during those twelve months: No. He had played in the Salzburg orchestra as a section player and concertmaster and made friends with the acclaimed violinist Gaetano Brunetti, and his five violin concerti were composed for him, although Mozart kept a set of parts for himself to use as well. However, still under the whip of the Archbishop, 1775 proved a prolific year for Mozart’s violin compositions. Mozart felt oppressed, infuriated and caught in a hideous trap. The Archbishop’s tyrannical attitudes made him hated by the citizenry and Mozart.
Later in life, Wolfgang became a subject in the Austrian Court as conductor, soloist and violinist, and in 1772 Hieronymus Franz Josef von Colloredo Mannsfeld von Schrattenbach became the Prince Archbishop of Salzburg. He began studying the violin at age six, taught by his father, who had released his Treatise on the Fundamentals of Violin Playing in the same year of his son’s birth. Mozart’s relationship to the violin began early in his life. The Spitfire Prelude and Fugue, arranged by Walton from his wartime film score The First of the Few, makes for a rousing conclusion.Violin Concerto No. While the quick sections of the Hindemith Variations are just as demanding, they are excellently played here, in a performance that does real justice to this glowing and hyper-inventive masterwork. Outwardly a lightweight example of Walton in his sunny and langorous Italian mood, the Partita is a difficult work to bring off, insisting on needlepoint precision in every orchestral department Brabbins’s fairly leisurely choice of first-movement tempo reduces risk, but also the music’s energy level, and the flow of the dreamy second-movement ‘Pastorale siciliana’ is also a touch sluggish. He searches out remarkable colours, too – as in the first movement’s orchestral reprise of the main theme, where the shadowy, introspective tone he brings to its countermelody mesmerises the ear.Īlert accompanying by the orchestra sets a benchmark for the musical riches that follow. While Marwood has all the virtuosity that the music demands, nothing is rushed even with the extremes of pace and stop-start manner of the Presto capriccioso second movement, the design here hangs together quite naturally. Anthony Marwood’s un-flashy individualism seems to be operating at an opposite pole to the Heifetz way, and generates memorable results of its own.
As with any timeless masterwork, there are always other ways of doing things. Walton’s Violin Concerto was written with Jascha Heifetz’s ultra-glossy technique and manner in mind, while also having very different, lyrically reflective things of its own to say.
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