Violin Sonata, Op. 21 - Piano Score

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Although young they play with both polished professionalism and stunning technical ability, although polished and professional, they play with youthful energy joined to a sense of pleasure and discovery. Mozart's exuberant gift for melody and fun is fully displayed in this quartet of sonatas. For those who might still be unconvinced of the delight of chamber music, this disc would be an excellent place to begin an exploration.

It doesn't get any better than this. Now add that they are played by two young artists who probably are making many older and experienced ones look to their laurels and you can indeed believe that this recording is a guaranteed winner. Hahn is amazing. Only 25 years old, she is truly a major talent. Zhu has performed throughout North America, Asia and Europe as a soloist, recitalist and chamber musician.

As for the splendid artistry displayed by the pair, it is the result of more than a decade of partnership on the concert stage. The beautifully matched artistry of violinist Hilary Hahn and pianist Natalie Zhu yields an exquisite new album. Hahn, one of the supreme artists of our time. Gen-X violinists Hahn and Zhu are a well-matched team, bringing out the Sonatas' enchantment.

Hahn's emotional tone and relatively liberal use of portamento made me think of prewar violinists. There is no sweeter tone coming from a violin these days than that from young Hilary Hahn. From start to finish, this CD is a complete joy. Hilary Hahn, who has come to terms so brilliantly with such diverse repertoire at such an early age proves that, still in her musical youth, she can challenge sterling interpretations of Mozart as well.

Her performances with Natalie Zhu reveal a mastery of the bold gesture as in the first movement of the Sonata, K and the flowing line as in the slow movement of the Sonata, K The interpretive forest doesn't obscure the trees: nuances abound in the simplest phrases and occasionally even single notes evoke worlds of expression , without ever seeming the least bit fussy -- on the contrary, they appear as natural as breathing. Her violin.

Beethoven: Violin Sonata no. 7 in C minor, op. 30 no. 2

And the stirring recorded sound adds an extra measure of urgency to an already urgent recommendation. Without question she is one of the finest, most capable, and most sensitive violinists on the concert stage today. These accounts. The recording is deliciously close. Hahn und Zhu spielen perfekt zusammen, ohne je routiniert zu wirken. Zwischen ihnen entwickelt sich ein inniges und spannungsreiches Wechselspiel, ein inspiriertes Geben und Nehmen.

Hilary Hahn und Natalie Zhu haben davon ebenso viel zu bieten wie ihre prominenten Vorbilder. Ein gelungener Auftakt zum kommenden Mozart-Jahr. September Dass die beiden sich prima verstehen, merkt man der Aufnahme vom ersten Ton an. Da leuchtet es klar und con spirito. Weil er ihn liebt. Und weil er lang genug auf ihn gewartet hat. Partly translated: Aimard plays Mozart with grandeur and wit, with passion and ease, with Latin clarity and grandezza, he is lyrical without overdoing it, he brings out Mozart's severity and Mozart's compassion.

In short: He is the ideal Mozart pianist.

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Because he loves him. And because he waited long enough. Die Interpretation Hahns und Zhus orientiert sich stark an Mozarts Vorgaben, sodass ihre Spielweise sehr transparent und nachvollziehbar wird. Das Zusammenspiel der beiden ist unglaublich eindrucksvoll und erscheint wie aus einem Guss. Technisch musizieren sie ohnehin auf extrem hohem Niveau. Nebst der. F-Dur-Sonate K. En la K. Nel fraseggio di questa giovane musicista ritroviamo il carattere die grandi solisti.

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Related albums. Release 01 Sep. Allegro 2. Andante 3.

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Rondo Allegretto grazioso Violin Sonata No. Allegro con spirito 5. Allegro Violin Sonata No. Allegro 7. Tempo di minuetto Violin Sonata No. Strauss had to revolt against chamber music in order to free himself from the confines of the musical world of his fathers.


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The generation of Italian composers born about revolted against the world of their fathers which was dominated by opera and verismo, by writing and promoting chamber music. And they did it not only by producing chamber music, and also by rediscovering and re-evaluating ancient music with its clearcut, lucid forms. Moreover instrumental and chamber music of the Baroque era brought back to consciousness the long forgotten leadership of Italian composers even in this area. In this they were laying along with musical scholars of their time the foundation of the actual revival of ancient music.

At the core of this movement was the old university town of Bologna with its vast collections of ancient musical manuscripts and prints, particularly that of Padre Martini, the renowned musical scholar of the 18th century.

Sonata for violin & piano No. 1 in C sharp minor, Sz. 75, BB 84 (Op. 21)

It is his first mature and one of his most important pieces of chamber music. Respighi steps into this tradition and pushes it further in a highly original way. The main theme of the first movement it emerges after two bars of an atmospheric piano-introduction in the violin is characterized by passionate upswings over huge intervals running out in slightly calmer melodic lines. Its uneven rhythms underline its nervously pressing impetus.

The second theme — dolcissimo and in the parallel key of D major — flows in small intervals and calmer time values and creates a contrasting atmosphere of cantability. In the development section these two worlds blend marvellously, they get sharply juxtaposed again, interlocking, constantly changing their harmonic and melodic features.

The dialogue of the instruments oscillates between the extremes of a total fusion and an, at times more lyrical, at times more dramatic, exchange of the constantly evolving thematic material. Harmonically as well as melodically Respighi invests so much inventiveness in the development of the material that the basically conservative form shines with freshness.

The Andante espressivo again follows the classical romanza form ABA with a long, athmospheric piano-introduction and a passionate, bipartite B-section. The bass theme, that runs throughout the 17 variations, consists of ten bars and alludes, with its punctuated sarabande-rhythm, to baroque music. The baroque variation techniques of diminuition of long time values, of passaggio and closely interlocked dialogue dominate the first five variations.

The sixth features a piano solo and unleashes a flow of further variations that increase constantly in freedom and boldness.


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Together they presented the sonata publicly for the first time in Rome on March 14th, , where in the meantime Respighi and Serato were called to teach at the Accademia di Santa Cecilia and where Serato kept a sophisticated salon in the Palazzo Taverna which of course had witnessed the private premiere of the piece well before that date. Boris Kehrmann. Ondanks dat het een conservatief genre was, sprankelde het plotseling van de vitaliteit. Mozart ontwikkelde de klassieke vorm van de vioolsonate: een driedelig werk waarin viool en piano aan elkaar gelijk waren.

Het succes van de vioolsonates van Mozart en Beethoven maakte het voor andere componisten moeilijk om het genre creatief te benaderen. Schumann en Brahms gingen de uitdaging echter met veel bravoure aan. De ontwikkeling van de vioolsonate kwam op gang. This article includes a list of references , related reading or external links , but its sources remain unclear because it lacks inline citations.

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Please help to improve this article by introducing more precise citations. October Learn how and when to remove this template message. This article relies largely or entirely on a single source. Relevant discussion may be found on the talk page. Please help improve this article by introducing citations to additional sources. October Wolfgang Amadeus Mozart. Book Category.