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Op het eerste gezicht lijkt de combinatie van de stukken op het album misschien wat vreemd. Het is topvioliste Isabelle van Keulen opnieuw gelukt, samen met een van Duitslands beste orkesten de NDR Radiophilharmonie, een fantastisch album uit te brengen met wonderschone vioolmuziek. We zijn het van haar gewend, maar dat ze het ook iedere keer waarmaakt is wel bijzonder. Die Orchesterversion von Vaughan Williams‘ Meisterwerk The Lark Ascending krönt diese großartige CD.Įines der besten deutschen Rundfunkorchester, die NDR Radiophilharmonie, spielt unter der Leitung von Andrew Manze (Prokofjew), Keri-Lynn Wilson (Walton) und Andrew Litton (Vaughan Williams).
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Die Gemeinsamkeiten der beiden Werke gehen über den dreisätzigen Aufbau langsam-schnell-langsam hinaus und zeigen sich auch in Themen, Begleitung und der Rondoform des virtuosen, zentralen Scherzos.ĭer geniale Gedanke einer solch ungewöhnlichen Verbindung kam einer der wenigen, großen Violinistinnen unserer Tage, die die Bratsche ebenso gekonnt spielt wie die Geige: Isabelle van Keulen. Dieses scheinbar ungleiche Paar ist jedoch sehr geschickt verbunden, denn Prokofjews Erstes Violinkonzert, 1923 uraufgeführt (zu einer Zeit, in der Prokofjew noch in Frankreich lebte, einige Jahre, bevor er in die Sowjetunion zurückkehrte), diente als beliebtes Modell für Waltons Bratschenkonzert, das 1929 mit Paul Hindemith Premiere feierte. One of German radio best orchestras, the NDR Radiophilharmonie, is conducted by Andrew Manze (Prokofiev), Keri-Lynn Wilson (Walton) and Andrew Litton (Vaughan Williams).ĭas Programm dieser CD scheint seltsam, stellt es doch das Violinkonzert eines (noch) russischen Komponisten neben das Bratschenkonzert eines englischen. The smart idea of such unusual coupling came to one of the few great living violinists who can really play the viola with equal skill: Isabelle van Keulen. This glorious disc is crowned by the orchestrated version of Vaughan Williams’ masterpiece The Lark Ascending. The similarities between the two works go beyond the three-movements structure slow-quick-slow and concern themes, accompaniments and the rondo form of the virtuoso central Scherzo.
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And Lionel Sainsbury has written a masterpiece that demands to become a concert favourite.Here is a disc whose contents seem odd as it couples the violin concerto of a (still) Russian composer to the viola concerto of an English one. Instead, the coupling is very clever since Prokofiev’s First Violin Concerto, whose premiere was in 1923 (while the composer was still living in France, a few years before his return to Soviet Union) served as a much-admired model to Walton’s Viola Concerto, whose first performance was played by Paul Hindemith in 1929. However, I feel that David Morgan’s essay is probably one of the finest of the ‘undiscovered’ works. 14 (1989) įinally, out of the above listings, I have to admit that the Elgar and the Walton are my two favourite concertos.
#Walton violin concerto op full
Thomas Pitfield Concerto Lirico for Violin and Full Orchestra (1958) ĭavid Morgan Violin Concerto (1965-6) William Walton Violin Concerto (1938-9) Į.J. Guirne Creith Violin Concerto in G minor (1932-34) Īrnold Bax Violin Concerto (1938) Haydn Wood Violin Concerto in A minor (1928) Īrthur Somervell Violin Concerto in G minor (1930) Samuel Coleridge-Taylor Violin Concerto in G minor, Op. 74 (1899) Įdward Elgar Violin Concerto in B minor, Op. 32 (1884-5 ) Ĭharles Villiers Stanford Violin Concerto in D major, Op. Finally I do expect that other enthusiasts of British Music would come up with a different, but equally impressive list!Īlexander Mackenzie Violin Concerto in C sharp minor, Op. Furthermore, there are over a hundred examples of the British and Commonwealth Violin concerto currently in the CD catalogue, See Michael Herman’s listings on MusicWeb International for further details. However, I find that I could not live without any of them now. I have put them roughly chronologically, as I could not settle on my personal ratings for these excellent works.