Wolfgang Amadeus Mozart: Piano Concerto No.20 in D minor | Edward Elgar: Symphony No.2 in E flat major – Saleem Ashkar (photo), Detroit Symphony Orchestra, Nikolaj Znaider – Saturday, January 27, 2018, 08:00 PM EST (UTC-5) / Sunday, January 28, 2018, 03:00 AM EET (UTC+2) – Live on Livestream

Sunday, May 10, 2015

Jean Sibelius: Violin Concerto in D minor – Joshua Bell, Oslo Philharmonic Orcestra, Vasily Petrenko (HD 1080p)

Joshua Bell plays and Vasily Petrenko conducts the Oslo Philharmonic Orcestra in Jean Sibelius' Violin Concerto in D minor, Op.47. Recorded at Oslo konserthus, on November 24, 2011.

Λυρικό αλλά και στοχαστικό, το Κοντσέρτο για βιολί σε Ρε ελάσσονα, έργο 47, του Γιαν Σιμπέλιους είναι ένα από τα κορυφαία έργα του μεγάλου Φινλανδού συνθέτη. Παρουσιάστηκε για πρώτη φορά το 1905 με μαέστρο τον Ρίχαρντ Στράους.

Ο Τζόσουα Μπελ ερμηνεύει με αβίαστη δεξιοτεχνία που αγγίζει την τελειότητα. Τη Φιλαρμονική Ορχήστρα του Όσλο διευθύνει ο ταλαντούχος Ρώσος αρχιμουσικός Vasily Petrenko. Η συναυλία δόθηκε στο Μέγαρο Μουσικής του Όσλο, στις 24 Νοεμβρίου 2011.

Jean Sibelius (1865-1957)

♪ Violin Concerto in D minor, Op.47 (1904)

i. Allegro moderato
ii. Adagio di molto
iii. Allegro, ma non tanto

Joshua Bell, violin

Oslo Philharmonic Orcestra
Conductor: Vasily Petrenko

Oslo konserthus, November 24, 2011

(HD 1080p)

First publication: May 10, 2015 – Τελευταία ενημέρωση: 17 Ιανουαρίου 2017

Vasily Petrenko conducts the Oslo Philharmonic Orchestra

The Violin Concerto is not the only work Finland's Sibelius wrote for solo violin with orchestra; he wrote a variety of excellent, shorter works including Two Serenades (1913) and Six Humoresques (1917). But the concerto is certainly the most ambitious of all these works. Despite the early enthusiasm of a few violinists – notably Maud Powell, who was the soloist in the American premiere with the New York Philharmonic in 1906 and repeated the work several times on a transcontinental tour – the concerto was slow to catch on with audiences. Not until Jascha Heifetz took up the work and recorded it in the 1930s did the concerto become what it is today, one of the most popular of the national Romantic concerto repertory.

Sibelius was himself a fine violinist. He took up studying the instrument at 15 with his hometown's military bandmaster, and shortly thereafter was taking part in chamber music performances and playing in his school's orchestra. He felt he had taken up the violin too late in life to become a true virtuoso, but he brought his intimate knowledge of the instrument to bear on this, his only concerto, which he completed in 1903. The soloist at the first performance was to be the composer's friend Willy Burmeister. But when scheduling difficulties intervened, Viktor Novacek was given the honor of premiering the work in Helsinki on February 8, 1904, with Sibelius himself conducting. After this indifferently received performance, Sibelius withdrew the work for revision. Ultimately, the work was shortened, including the excision of one solo cadenza, and featured a brighter orchestral sound. The first performance of the revised score took place on October 19, 1905 in Berlin, with Richard Strauss conducting and Karl Halir, a member of Joseph Joachim's quartet, as soloist.

Sibelius had a less than high regard for virtuoso violinists or for many of the works written for them. In his concerto, he manages to strike an ideal balance between instrumental brilliance and the more purely musical, structural, and emotional values. At one point he gave a pupil some advice about writing concertos, saying that one should be aware of the audience's patience (and the stupidity of many soloists!) and avoid long, purely orchestral passages. He certainly took his own advice, as the violinist takes up the expressive main theme of the first movement in the fourth bar, and rarely relinquishes center stage for the remainder of the concerto's half-hour duration.

The opening movement, cast in first-movement sonata form, contrasts passages of restraint and melancholy with passages of great force and intensity. One unusual feature is the mid-movement cadenza for the soloist, which shares some qualities with like passages in the great virtuoso concertos of the nineteenth century, but is more substantial and more fully integrated into the overall form of the piece. Wind duets start the slow second movement, after which the soloist takes up the lush, almost Tchaikovskian main melody. Later in the movement the violinist is called on to play a fiendish two-part counterpoint. This is but one of the numerous technical hurdles the soloist must conquer in this work; many more arise in the brilliant, dance-like third movement, with its insistent rhythm and the folk-like cast of its melodies. The excitement and momentum carry through to the very end of the work.

Source: Chris Morrison (

With a career spanning more than 30 years as a soloist, chamber musician, recording artist and conductor, Joshua Bell is one of the most celebrated violinists of his era. An exclusive Sony Classical artist, Bell has recorded more than 40 CDs garnering Grammy, Mercury, Gramophone and Echo Klassik awards and is recipient of the Avery Fisher Prize. Named the Music Director of the Academy of St. Martin in the Fields in 2011, he is the only person to hold this post since Sir Neville Marriner formed the orchestra in 1958. In September 2016, Sony Classical releases Bell's newest album, For the Love of Brahms, with the Academy of St. Martin in the Fields, cellist Steven Isserlis and pianist Jeremy Denk.

Bell has collaborated with countless artists in and outside the classical arena and performed on television shows including the Grammy Awards, numerous Live from Lincoln Center specials and on movie soundtracks including the Oscar-winning film, The Red Violin. Bell received his first violin at age four and at 14 performed with Riccardo Muti and the Philadelphia Orchestra, followed by his Carnegie Hall debut at 17. Perhaps the event that most transformed his reputation from "musician's musician" to "household name" was his incognito performance in a Washington, D.C. subway station in 2007 for a Washington Post article which thoughtfully examined art and context. The cover story earned writer Gene Weingarten a Pulitzer Prize and sparked an international firestorm of discussion which continues to this day.

Convinced of the value of music as both a diplomatic and educational tool, Bell is a member of President Obama's Committee on the Arts and the Humanities and in April 2016, he participated in the U.S. government's inaugural cultural mission to Cuba. He is involved in Turnaround Arts, a signature program of the President's Committee on the Arts and Humanities led by Michelle Obama, providing arts education to low-performing elementary and middle schools.

Bell's 2016/17 season includes season-opening appearances with the Atlanta Symphony and Minnesota Orchestra and performances with the New York Philharmonic under Alan Gilbert, Los Angeles Philharmonic under Gustavo Dudamel, plus the symphony orchestras of San Francisco, Seattle, Montreal and the National Arts Centre Orchestra. Abroad he performs with the Vienna Philharmonic, Leipzig Gewandhaus Orchestra, Frankfurt Radio Symphony and Czech Philharmonic. He embarks on four international orchestral tours: To the U.K., Benelux, Germany and Australia with the Academy of St. Martin in the Fields; to Switzerland with the Verbier Festival Chamber Orchestra; to Austria, Germany, Italy and Sweden with the Swedish Radio Symphony under Daniel Harding; and to Korea and Japan with the Orchestra de Paris also with Harding. He makes recital appearances throughout North America with his recital partners Alessio Bax including at Lincoln Center and with Sam Haywood in a West coast tour.

A highlight of the season features Bell in a week-long residency in Washington, D.C., where he will serve as 2016-2017 Artist-in- Residence at the Kennedy Center and National Symphony Orchestra. Performing and collaborating across artistic and educational mediums, Bell will explore the depths of artistic possibilities examining synergies between music, dance, the culinary arts, literature, education, and technology. Featured events will include an evening with Gourmet Symphony, a collaboration with Brooklyn's Dance Heginbotham, a recital with literature celebrating John F. Kennedy's Centennial, and a world premiere co-commission from Anne Dudley in a family concert based on the bestselling children’s book The Man with the Violin, inspired by Bell's incognito 2007 D.C. Metro performance.

Bell performs on the 1713 Huberman Stradivarius violin.


Γεννημένος στο Μπλούμινγκτον της Ιντιάνα το 1967, ο Τζόσουα Μπελ είναι ένας εκθαμβωτικός βιρτουόζος που συνδυάζει ιδανικά άψογη τεχνική και απόλυτη μουσικότητα.

Στα τέσσερα χρόνια του είχε ήδη πιάσει το δοξάρι στα χέρια του, στα δεκατέσσερα μοιράστηκε τη σκηνή μαζί με την ξακουστή Ορχήστρα της Φιλαδέλφειας, στα είκοσι έξι του απέκτησε το πρώτο βραβείο Γκράμι. Το 1985 το Κάρνεγκι Χολ της Νέας Υόρκης «υποκλίθηκε» στο μεγαλείο του και η εμφάνισή του αυτή ουσιαστικά ήταν η αρχή μιας σειράς συναυλιών και εμφανίσεων ανά τον κόσμο.

«Ο Αμερικανός βιολονίστας με την εμφάνιση κινηματογραφικού αστέρα έχει αναδειχθεί σε έναν από τους πλέον κορυφαίους μουσικούς της γενιάς του, του οποίου οι μουσικές εκτελέσεις μπορούν κάλλιστα να συγκριθούν με εκείνες μουσικών διπλάσιας ηλικίας», υποστήριξε πριν από χρόνια η κορυφαία εφημερίδα της Αμερικής "Washington Post" εκθειάζοντας τον τότε ταλαντούχο και ανερχόμενο μουσικό. Μάλιστα η εν λόγω εφημερίδα είχε από καιρό διακρίνει τις δυνατότητες του Μπελ, γι' αυτό και όταν χρειάστηκε τη «βοήθειά» του δεν δίστασε να του προτείνει συνεργασία! Ο Τζόσουα Μπελ έγινε για λίγο ο πρωταγωνιστής ενός ενδιαφέροντος «πειράματος» του οποίου «ηγείτο» ο αρθρογράφος της εφημερίδας, Τζιν Γουαϊνγκάρτεν. Στο πλαίσιο αυτού του πειράματος, ο διάσημος μουσικός «πέταξε» τα λαμπερά και επώνυμα κοστούμια του, φόρεσε για λίγο ένα καπέλο τζόκεϊ και κατέβηκε στις αποβάθρες του μετρό στην Ουάσινγκτον. Εκεί για μία ώρα σχεδόν, έπαιζε μουσική με το βιολί του, ενώ μια κρυμμένη κάμερα παρακολουθούσε τις κινήσεις των περαστικών. Συνολικά 1.097 άνθρωποι πέρασαν από δίπλα του, επτά μπήκαν στον κόπο να σταματήσουν για να τον ακούσουν και τελικά μόνον ένας τον αναγνώρισε. Το ποσόν που κατάφερε να συγκεντρώσει ως «καλλιτέχνης του δρόμου» ήταν μόλις 32 δολάρια. Ωστόσο το άρθρο του Γουαϊνγκάρτεν εκείνη τη χρονιά, το 2008, κέρδισε το Βραβείο Πουλιτζερ! Όπως ήταν φυσικό, αυτή η ιστορία έκανε τον γύρο του κόσμου. «Όταν κατά τη διάρκεια μιας περιοδείας μου βρέθηκα στη Χιλή και έτυχε να αρρωστήσω, συνειδητοποίησα ότι την ιστορία με το μετρό γνώριζε ακόμη και ο γιατρός που με περιέθαλψε», είχε δηλώσει σε παλαιότερη συνέντευξη του ο Μπελ.

Όσο για το περίφημο και σπάνιο Στραντιβάριους που έχει μαζί του σε κάθε συναυλία, πρόκειται για ένα μοναδικό βιολί 300 ετών, αξίας 3.500.000 δολαρίων, το οποίο κατασκευάστηκε τη «χρυσή περίοδο» του διάσημου δημιουργού του στην Κρεμόνα.

See also

Johannes Brahms: Piano Trio in B major – Marc-André Hamelin, Joshua Bell, Steven Isserlis

Jean Sibelius: Violin Concerto in D minor – Ray Chen, Gothenburg Symphony Orchestra, Kent Nagano

Haik Kazazyan plays Jean Sibelius: Violin Concerto in D minor, & Pyotr Ilyich Tchaikovsky: Violin Concerto in D major – Moscow Philharmonic Orchestra, Yuri Simonov – XV International Tchaikovsky Competition, 2015, Violin / Final Round

Yu-Chien Tseng plays Jean Sibelius: Violin Concerto in D minor, & Pyotr Ilyich Tchaikovsky: Violin Concerto in D major – Moscow Philharmonic Orchestra, Yuri Simonov – XV International Tchaikovsky Competition, 2015, Violin / Final Round

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