This album presents, side-by-side, old and new master composers, to demonstrate the virtues of both. Tartini was one of the very first of the Italian composers for violin, his most well-known piece being the "Devil's Trill Sonata." The glories of Brahms and Mozart need no explanation. In the very modern music there are interesting innovations for the listener to consider. In the Webern, in the first movement you will hear a technique called "collegno," which means that the wood instead of the hairs of the bow is drawn over the strings of the violin, giving a strange uneven sound, obviously the effect Webern wanted to create. Legend has it that Schonberg wrote this "Phantasie" as a violin solo, adding the piano part after the piece was complete. The intricacy of the piece makes it difficult to believe that the parts could have been composed separately. They fit together so perfectly that they sound as if they were composed as one. Penderecki makes use of other modern innovations. The violinist, for example, is required to use his bow behind the bridge instead of between the bridge and the finger board, which produces very squeaky high tones. In the second movement, the violinist leans into the open grand piano as far as he can and plays into the piano, which causes the corresponding piano strings to sound in sympathetic vibration. The pianist plays no notes, but presses the keys silently and holds down the sustaining pedal, creating a reverberation. In the last movement the pianist plucks previously labeled strings of the piano instead of striking the keys, creating a pizzicato sound.
1 Concerto in D minor for Violin and String Orchestra: I. Allegro
2 Concerto in D minor for Violin and String Orchestra: II. Grave
3 Concerto in D minor for Violin and String Orchestra: III. Presto
4 Vier Stucke Fur Violine Und Klavier, Op. 7: I. Sehr Langsam
5 Vier Stucke Fur Violine Und Klavier, Op. 7: II. Rasch
6 Vier Stucke Fur Violine Und Klavier, Op. 7: III. Sehr Langsam
7 Vier Stucke Fur Violine Und Klavier, Op. 7: IV. Bewegt
8 Sonata Fur Violine Und Klavier in D minor, Op. 108: I. Allegro
9 Sonata Fur Violine Und Klavier in D minor, Op. 108: II. Adagio
10 Sonata Fur Violine Und Klavier in D minor, Op. 108: III. Un Poco Presto E Con Sentimento
11 Sonata Fur Violine Und Klavier in D minor, Op. 108; IV. Presto Agitato
12 Phantasie Fur Violine Und Klavier, Op. 47
13 Sonata for Violine Und Klavier in E minor, KV 304: I. Allegro
14 Sonata Fur Violine Und Klavier in E minor, KV 304: II. Tempo Di Menuetto
15 Drei Miniaturen Fur Violine Und Klavier: I. Okaryna
16 Drei Miniaturen Fur Violine Und Klavier: II. Basetla-Violine Solo Auf Der G-Saite
17 Drei Miniaturen Fur Violine Und Klavier: III. Skrzypce - Mit Dampfer
18 Sechs Rumanische Volkstanze: I. Allegro Moderato
19 Sechs Rumanische Volkstanze: II. Allegro
20 Sechs Rumanische Volkstanze: III. Andante
21 Sechs Rumanische Volkstanze: IV. Molto Moderato
22 Sechs Rumanische Volkstanze: V. Allegro
23 Sechs Rumanische Volkstanze: VI. Allegro
This album presents, side-by-side, old and new master composers, to demonstrate the virtues of both. Tartini was one of the very first of the Italian composers for violin, his most well-known piece being the "Devil's Trill Sonata." The glories of Brahms and Mozart need no explanation. In the very modern music there are interesting innovations for the listener to consider. In the Webern, in the first movement you will hear a technique called "collegno," which means that the wood instead of the hairs of the bow is drawn over the strings of the violin, giving a strange uneven sound, obviously the effect Webern wanted to create. Legend has it that Schonberg wrote this "Phantasie" as a violin solo, adding the piano part after the piece was complete. The intricacy of the piece makes it difficult to believe that the parts could have been composed separately. They fit together so perfectly that they sound as if they were composed as one. Penderecki makes use of other modern innovations. The violinist, for example, is required to use his bow behind the bridge instead of between the bridge and the finger board, which produces very squeaky high tones. In the second movement, the violinist leans into the open grand piano as far as he can and plays into the piano, which causes the corresponding piano strings to sound in sympathetic vibration. The pianist plays no notes, but presses the keys silently and holds down the sustaining pedal, creating a reverberation. In the last movement the pianist plucks previously labeled strings of the piano instead of striking the keys, creating a pizzicato sound.
