The Violin Player is the first techno/pop album by classical and pop musician Vanessa-Mae, released in 1995. It is the first album Vanessa-Mae released on the EMI label. The album was produced by Mike Batt, and recorded and mixed by Gareth Cousins, who also programmed the synthesisers and beats for the album.
Only in the silence can music touch a chord within us, and create a distant echo. And it is through the silence that the piano can open and blossom with it incomparable voice, and the vibration of it strings melt into melody.
Since the invention of the modern Pianoforte in the 18th century, composers have again and again been inspired by its special sensibilities, and the capacity of this Instrument to encompass the slightest expressive nuances and translate them into Sound.
On this album you will find a collection of the loveliest piano melodies in musical history: Whether the Adagio sosenuto from Beethoven´s Moonlight Sonata, or the Largo from his Piano Concerto, whether Listz´s Liebestraum, or Schumann´s Träumerei, the Adagio from Grieg´s Piano Concerto or Chopin´s Nocturne, all show how this instrument has struck a chord in these Composers (Georg Stänzel; taken from the original liner notes)
Enjoy the sounds of silence !
01. Alfredo Perl: Adagio Sostenuto (Beethoven) 6.02
02. Jena Philharmonic Orchestra: Largo (Beethoven) 10.41
03. Ricardo Castro: Adagio (Mozart) 4.14
04. Carmen Piazzini: Adagio (Haydn) 5.00
05. Nadja Rubanenko: Sehr langsam (Schumann) 4.13
06. Alfredo Perl: Adagio (Grieg) 6.52
07. Carmen Piazzini: Danza Del Moza Donosa (Ginastera) 3.26
08. Carmen Piazzini: Cancion De Las Venusinas (Piazolla) 3.26
09. Arkady Sevidov: Barcarolle (Tchaikovsky) 5.16
10. Ricardo Castro: Nocturne No. 1 Op. 9/1 (Chopin) 5.35
11. Michael Krücker: Liebestraum Op. 62 No. 3/Poco Allegretto Con Affetto (Liszt) 4.40
12. Andreas Bach: Träumerei (Schumann) 2.17
13. Russian Philharmonic Orchestra + Vladimir Mishtchuk: Adagio Sostenuto (Rachmaninov) 11.38
Another quiet moment
(I shoot this picture near Berchtesgaden (Bavarian Alps) in october 2009)
Formed in 1995 at the Scuola di Musica di Fiesole, the Klimt Quartet is today one of the most interesting young chamber music groups in Italy. Since its foundation it has performed in numerous concerts including prestigious Festivals in Italy and abroad. Between 1997-1999 the quartet attended for two years the master classes held by Trio di Milano in Fiesole; since 2000 the quartet has studied for various years with M.° Pier Narciso Masi. In April 1998 the quartet won first prize at the International Chamber Music Competition “Gaetano Zinetti” at Sanguinetto (VR). A few months after its foundation the quartet was invited by: “Encontre Internationale des Enseignements Artistiques” organized by the Institute de le Marionette a Charleville-Meziéres (France); the Orchestra Giovanile Italiana ad Aosta; the “Ater Festival” in Rimini; and by the “Elba Isola Musicale d’Europa” Festival, where it captured the attention of the great Yuri Bashmet. The following years have seen the group participating in prestigious musical seasons among which “Lingotto Musica” in Turin, the “Festival di Ravello”, “Musica Insieme” in Bologna and at the Bologna Festival, “Amici della Musica” in Florence, “Amici della Musica” in Perugia, the “Accademia Filarmonica Romana” in Rome, the “Serate Musicali di Milano”, the “Festival Mozart” in Rovereto. The quartet has also played a leading part in numerous live television and radio performances for the RAI (Radio Televisione Italiana).
In these years of intense activity, the quartet has benefited from the advice and support of artists such as Carlo Maria Giulini, Natalia Gutman and Maurizio Pollini; the latter invited Klimt to perform during the award ceremony of “Una vita nella Musica” in 1999 in Venice, and in 2001 gave them the scholarship “Arturo Benedetti Michelangeli”. In April 2001 the quartet inaugurated the first edition of “I Concerti del Quirinale” in Rome; in July 2001 the Klimt Quartet was invited to the prestigious “Oleg Kagan Musikfest di Kreuth” (Germany) and the “Festival of Santander” (Spain). In 2010 the prestigious magazine Amadeus published the two quartets for piano and strings by Robert Schumann performed by the Klimt Quartet and was later invited by the RAI to perform these pieces live for Euroradio for the bicentenary of Schumann’s birth. In 2011 it has been invited by Columbia University in New York, gaining a warm success by audience and press. In recognition of Klimt’s unfailing, passionate commitment to the promotion and diffusion of contemporary music, various composers, such as A.Solbiati, F.Antonioni, M.D’Amico and I. Vandor have dedicated compositions to the Quartet. Since 2008 the violinist of the group has been Duccio Ceccanti. (by livornomusicfestival.com)
And this is the debut album …. what a great debut album, recorded by this young Italian ensemble … if you like classic music (like me) … you should listen … what a unbelieveable sound !
Lorenza Borrani (violin)
Matteo Fossi (piano)
Alice Gabbiani (violincello)
Edoardo Rosadini (viola)
Johannes Brahms: Quartetto op. 25 in sole minore:
01. Allegro 13.09
02. Intermezzo 7.40
03. Andante con moto 9.11
04. Rondo alla zingarese 8.51
Robert Schumann: Quartetto op. 47 in Mib maggiore:
05. Sostenuto assai – Allegro ma non troppo 9.30
06. Scherzo – molto vivace 3.49
07. Andante cantabile 7.23
08. Finale – vivace 8.01
Franz Benda or Czech: František Benda (baptised 22 November 1709, Benátky nad Jizerou – 7 March 1786, Potsdam) was a Bohemian violinist and composer, who worked for much of his life at the court of Frederick the Great.
Benda was born in Benátky nad Jizerou in Bohemia, the son of Jan Jiří Benda. His brother was the composer Jiří Antonín Benda (Georg Anton Benda). Benda’s daughter Juliane Reichardt (1752–1783) and his granddaughter Louise Reichardt (1779–1826) were also composers. Benda wrote his autobiography in 1763: it not only gives a detailed account of his own life but also a valuable record of the lives of other musicians whom he encountered during his career.
In his youth Benda was a chorister in Prague and afterward in the Chapel Royal at Dresden. At the same time he began to study the violin, and soon joined a company of strolling musicians who attended fetes, fairs, etc. At eighteen years of age Benda abandoned this wandering life and returned to Prague, going to Vienna, where he pursued his study of the violin under Johann Gottlieb Graun, a pupil of Tartini. After two years he was appointed chapel master at Warsaw. In 1732, he entered the service of Frederick the Great, then crown prince of Prussia, with whom he remained the rest of his life. He was a member of the crown prince’s orchestra, and later became concertmaster to the king. He played about 50,000 concertos over a period of forty years. At Benda’s request, Frederick allowed his parents and siblings to move to Potsdam when, as Protestants, they suffered religious persecution in Bohemia.
Benda was a master of all the difficulties of violin playing, and the rapidity of his execution and the mellow sweetness of his highest notes were unequalled. He had many pupils and wrote a number of works, chiefly exercises and studies for the violin.
Benda died in the Nowawes, a small colony near Potsdam set up by Frederick the Great to house Protestant refugees fleeing religious persecution in Bohemia.
Descendants of Benda also continue in the same musical line. In the 20th century, František Benda was a composer of film scores and other works. The Benda Chamber Orchestra, which carries and honours the name of the Benda musical family, was founded in 1956 in Ústí nad Labem, Northern Bohemia (Czech Republic). (by wikipedia)
Benda family house in Benátky nad Jizerou, built 1706/07, demolished 1936.
Benda was one of the most illustrious, possibly the single most illustrious, Czech violinist of the eighteenth century. Yet fewer than twenty concertos of his concertos for his own instrument have survived. The intimate nature of the music making suits the performances, and indeed the nature of the compositions themselves. These are pleasantly old-fashioned, more akin to Vivaldi than an Italian contemporary like Tartini – akin to Vivaldi, yes, in a sense, but rather lacking the flair, panache, colour and hubristic danger of Vivaldi.
Which is not to suggest that they are not worthy or exciting in their own way. The C major has a forceful first movement, but the slow movement remains in the memory more for its character than for any true melodic distinction. The finale is probably the finest of the three movements, fizzing with energy and clever contrasts between ritornellos and the vivid, slashing solo violin. Here, for sure, one feels the impress of Vivaldi’s spirit. Here, too, one can tentatively gauge just what sort of virtuoso Benda must have been. The confident, fluent, Italianate lyricism that floods the E flat major is aerial in its finesse, showy in places, whilst not achieving much true distinction. Someone else added extraneous parts to the D major – let’s name him; Johann Georg Pisendel, who was a friend, and led the Dresden court orchestra which, because it was larger than the orchestra for which Benda wrote, needed something ‘extra’ to play. Finally there is the later A minor Concerto, a rather more ‘affetuoso’ work with a melancholy cadenza. Here we find Benda being just a touch too liberal with his expressive caesurae, just a little artificial and over gallant. The finale, though, is rollicking good fun.
Benda’s violin music is highly accomplished and highly polished. I can’t say it’s desperately original, nor is it always melodically special, but it’s well presented here. (by Jonathan Woolf)
Roman Patocka – violin
Prague Chamber Orchestra
Concerto for Violin and Orchestra in A major: (14.15)
01. I. Senza tempo 6.08
02. II. Adagio poco andante 3.58
03. III. Presto 4.10
Concerto for Violin and Orchestra in E flat major: (17.16)
04. I. Allegretto 6.57
05. II. Affetuoso ma non troppo. Lento 5.20
06. III. Presto assai 4.52
Concerto for Violin and Orchestra in C Major: (19.59)
07. I. Allegro 6.52
08. II. Adagio 6.11
09. III. Presto 6.53
Concerto for Violin and Orchestra in D Major: (20.18)
10. I. Allegro 8.22
11. II. Largo 6.18
12. Allegro 5.37
The Lady and the Unicorn is the 1970 solo album by British folk musician John Renbourn. On this release, Renbourn ventures into folk rock and medieval music territory. The first four tracks are arranged from the Add MS 29987 manuscript. The cover was taken from The Lady and the Unicorn tapestry. (by wikipedia)
Renbourn’s last solo album for the next six years overlaps with his Pentangle work, featuring Terry Cox playing hand drums and glockenspiel, with future John Renbourn band member Tony Roberts and violinist Dave Swarbrick. The repertory consists of medieval and early classical pieces, interspersed with the expected folk material — keyboard works from the Fitzwilliam virginal book (transcribed for guitar) stand alongside traditional tunes such as “Scarborough Fair,” which turns up as part of an 11-minute track that also incorporates “My Johnny Was a Shoemaker,” with Swarbrick at the top of his form on violin. The album is entirely instrumental, but as with other Renbourn releases, one hardly misses the vocals. (by Bruce Eder)
Taken from the original liner-notes:
This record contains a variety of instrumental pieces including medieval music, folk tunes and early classical music. The oldest are probably the English dance tune ‘Trotto’ and the Italian ‘Saltarello’, to which I have added a drone accompaniment, tuning the guitar to DGDGCD. ‘Lamento di Tristan’ and ‘La Rotta’ are fourteenth century Italian pieces played originally on vielle. They too are without harmony but have the tune doubled either on sitar or glockenspiel.
The three part conductus ‘Veri Floris’, composed during the Notre Dame period, is a setting for the words ‘Under the figure of the true flower which the pure root produced, the loving devotion of our clergy has made a mystical flower constructing an allegorical meaning beyond ordinary useage from the nature of a flower”.
This is followed by the triple ballade ‘Sancuer-Armordolens-Dameparvous’ of Guillaume de Machaut.
‘Bransle Gay’ and ‘Bransle de Bourgogne’ are from the danceries of Claude Gervaise, composed in about 1550. The first is played on solo guitar but the second uses flute, fiddle and has a second guitar line added. The anonymous ‘Alman’ is taken from the Fitzwilliam Virginal Book and is followed by ‘Melancholy Galliard’ by the English lutanist John Dowland. The sequence concludes with the ‘Sarabande’ in B Minor by J. S. Bach.
The album ends with two short guitar pieces, ‘The Lady And The Unicorn’ and an arrangement of the sixteenth century song ‘Westron Wynde’, and arrangements for flute, viola and guitar of two folk songs: ‘My Johnny Was A Shoemaker’ and ‘Scarborough Fair’.
I have not presumed to reproduce early music as it would originally have been played, but hope nevertheless that the qualities of the music can be enjoyed, though interpreted on more recent instruments. (John Rebourn)
Such a beautiful album … a timeless classic recording !
Don Harper (violin)
Lea Nicholson (concertina)
John Renbourn (guitar)
Tony Roberts (flute)
Dave Swarbrick (violin)
Ray Warleigh (flute)
01.1. Trotto (Anonymous) 0.40
01.2. Saltarrello (Anonymous) 1.53
02.1.Lamento di Tristan (Anonymous) 1.58
02.2.La Rotta (Anonymous) 0.55
03.1.Veri Floris (Anonymous) 0.44
03.2. Triple Ballade (Sanscuer-Amordolens-Dameparvous) (de Machaut) 2.00
04.1.Bransle Gay (Gervaise) 1.13
04.2.Bransle de Bourgogne (Johnson) 1.34
05.2.Melancholy Galliard (Dowland) 2.47
06.Sarabande (Bach) 2.41
07.The Lady And The Unicorn (Renbourn) 3.21
08.1.My Johnny Was A Shoemaker (Traditional) 4.16
08.2.Westron Wynde (Traditional) 1.25
08.3.Scarborough Fair (Traditional) 7.22