19. Ouvertures et concertos
mercredi 8 février 2012, par foliesfr
8 Messages de forum
-
Ouvertures et concertos 25 mars 14:38, par wZetozGI
e7a m’e9tonne pas de vous, bande d’ishmergouls ! Entre toi mimi qui te perd dans ta chambre, et Baptisboub qui se eadrrpit dans son pull, quels crocos !
-
Ouvertures et concertos 26 mars 07:30, par bTzjNHCobJIsgY
-
Ouvertures et concertos 1er avril 05:54, par mWzgjnPouGWiD
I’m answering not as a string player, but as an orchestrator who has studied orchestration. Ergo, my knowledge of concert literature is limited, but I’ve encountered enough to offer an answer. You are correct that the bow can only play two strings at a time ; this is called “double stopping. • If the composer wants the violins to sustain a chord that has three or more notes, he/she merely writes a Violin I and Violin II part. Parts for III, IV, V, etc can also be found — look at some of Vaughan Williams’ ravishing string works. There ARE single violin parts where a sustained chord has three notes ringing ["triple stopping"] ; for this, the composer counts on there being some echo in the concert hall — one of the notes will be a grace note played loudly [either bowed or pizzicato] and immediately before the other two notes are bowed and held. Naturally, the shorter note will fade, but the listener’s ear will have heard the note and therefore mentally registered it as part of the chord, even though it ceases to be actually heard. Tripling is not a favorite past-time of violinists, but it is a trick that can result in some clever effects. I’ve specifed sustained notes/chords where the bow is holding the notes. As you know, if the music is arpeggiated the player can be found sounding notes on all four strings rapidly. For examples, look at any virtuoso repertoire. Oh, as to your first question of “how often” you play two notes, there is no answer. It’s completely up to what the composer wanted. Generally, you’ll find yourself playing just one note at a time ; doubling/tripling occurs only when more complex chords are called for.
-
Ouvertures et concertos 4 avril 10:21, par oxZwDFkyzThfMGFPw
(Audio CD) This is what I felt when I finally got to listen to these concertos after couple of years of intense searching. Although technically maybe not so difficult as said everywhere, I found them extremely difficult as far as music and ‘the ritght tone’ goes. Horowitz once said that nowadays people play Mozart like Chopin and vice-versa. And this is true for many of the recordings with violin concertos. None I’ve listened before really told the story of these concertos. I got as close as I could with Mutter/Karajan and Perlman/Levine. Yet sometimes the violin was to impersonal (Mutter) or the orchestra not quite on the subject (Levine). This Chrismas I finally got to listen to Grumiaux of which I’ve heard before and let me tell you this : everything you read here is true. Grumiaux is playing the whole Mozart in these concertos. I’d go as far as to say that is is one of the best Mozart ‘incarnations’ in sound in all recorded music history. He is elegant, wonderful and full of understading phrasing. Everything is there in full range. Colin Davis does, as usual, a great job accompanying an outstanding performance in every aspect. Even those of you who only enjoy a very good recorded sound have all the reasons to be happy. It hardly can get better than this. But Grumiaux deserves all appraisals above all. What he does is extreme and sweet justice to Mozart and to his music.
-
Ouvertures et concertos 8 avril 09:55, par cbQMAVAaTqEApquC
The five stars are for the performances and recordings. For my taste, Uchida and Tate are the ones to have for the Mozart concertos. But there are two things you should know before you buy this set : 1) The first four of Mozart’s numbered concertos are not included. Actually, these aren’t really by Mozart–they’re his arrangements of music by other composers. Frankly, I don’t miss them. 2) Both the 16th and the 19th concertos are begun on one disk and continued on another. Obviously this is a cost-cutting measure. But I find it annoying to have to shuttle between two disks to hear one concerto. I dealt with this by burning concertos 16 and 19 to a single disk and including it with my boxed set. If you don’t want to do this, or you don’t have the equipment to burn a CD, then you need to decide if shuttling between two CDs for these two concertos is worth the money you’ll save in buying this budget set. Spreading a single Mozart concerto over two disks is simply unacceptable–an example of a decision made by people with no aesthetic judgment. Either redo the order of the concertos in the 8 disk set, or add one more disk. The music and performances, of course, are sublime. The perfection of Mozart’s music is matched by Uchida’s flawless and tasteful playing.
-
Ouvertures et concertos 11 avril 03:28, par RAMCifsnJgDJisKYEy
You can play two notes at the same time, but they have to be certain intervals appart from each other. You can have as close as a minor 2nd, but probably only if one of the notes is on an open string. 3rds, 4ths, 5ths, 6ths, 7ths, and octaves are also possible, as well (and these should be very limited) as 10ths. 3rds and 6ths are one of the more common ’double stops’, as they are referred to. You can play three and four notes, sort of at the same time. These are played usually in three ways : 1) pizzicato, sort of strummed 2) blocked – the bottom two are played, and then the top two (with three notes, the middle note is played both times) 3) rolled – the notes are played in ussually an ascending order from the bottom up as almost but not quite a flourish : the chord structure is supposed to stay fairly intact. The limitations with three and four notes are the same as with two, but there is also the difficulty of finger placements. If you have a second finger on the G and the A string, a first finger on D, and an extended fourth on E, it’s going to be very painful to play, if not impossible.
-
Ouvertures et concertos 23 avril 09:43, par KjWfCLbV
(Audio CD) This outstanding Philips Duo compilation is a tremendous bargain for Mozart lovers. It contains all five of Mozart’s violin concertos, and, in addition, his Adagio for Violin and Orchestra (K. 261), Rondo for Violin and Orchestra (K. 373), and Sinfonia Concertante for Violin, Viola and Orchestra, (K. 364.) The violin concertos are played by violinist Arthur Grumiaux and the London Symphony Orchestra with breathtaking beauty and an almost perfect classical simplicity and restraint, and convey a sense of Mozartean elegance, virtuosity and passion. Grumiaux teams with the Raymond Leppard and the New Philharmonia Orchestra for the Adagio, Rondo and Sinfonia Concertante (with Arrigo Pellica playing the viola.) The musical results are no less outstanding. Also worth mentioning are the liner notes, which combine an excellent historical overview of the compositions with superb musical commentary. They are among the best I’ve ever found accompanying a classical CD. This 2-CD set is an absolute winner. It belongs in every classical music lover’s collection.
-
Ouvertures et concertos 30 mai 10:36, par ebCKQXQvYHXHcqJlkzO
RSS 2.0