Level 4 Mollenhauer, Edward The Boy Paganini Rieding, Oskar Concerto in D Major, Op. 5 Dvorak, Antonin Sonatina, Op. 100 Haydn, Joseph Concerto in G-Major, No. 2 Kreisler, Fritz Rondino on a Theme by Beethoven Schubert, Franz Sonatinas, Op.137 Bach, J.
Leonard Bernstein, Ernest Bloch, Samuel Barber, Sao Paulo Symphony Orchestr. After Plato's Symposium / Bloch: Baal Shem / Barber: Concerto for Violin. Category:Bloch, Ernest Works by this person are most likely not public domain within the EU and in those countries where the copyright term is life+70 years. They may also be protected by copyright in the USA, unless published before 1924, in which case they are PD there as well.
![]() ![]()
Concerto in A-minor, No. Double Concerto in D-minor for 2 violins Bach, J.S. Concerto in E-Major, No. 2 Debussy, Claude Girl with the Flaxen Hair Elgar, Edward Salut d'Amour Rachmaninov, Sergei Vocalise, Op. 14 Rieding, Oscar Concerto in D-Major, Op.
5 Accolay, Jean Baptiste Seitz, Friedrich Student Concerto in G-minor, No 3, Op. 12 Monti, Vittorio. Level 7 Copland Hoe Down from Rodeo Gershwin-Heifetz Selections form 'Porgy and Bess' Kreisler Caprice Viennois Kreisler Variations on a Theme by Corelli Prokofieff Sonata in F-minor, Op. 80 Rimsky-Korsakov Flight of the Bumble Bee Schubert Fantasie in C-Major, Op. 159 Schubert Rondeau Brilliante in b-minor, Op. 70 Schubert Duo in A-Major, Op. 162 Schumann Sonatas, Op.
105 & 121 Strauss Sonata in E-flat-Major, Op. 18 Suk Four Pieces, Op. 17 Tartini Sonata 'Devil's Trill' Debussy Sonata Ravel Sonata. Level 8 Bartok Sonata No. 1 Bartok Sonata No.
2 Bazzini La Ronde des Lutins, Op. 25 Beethoven Kreutzer Sonata, No.
47 Dinicu-Heifetz Hora Staccato Elgar La Capricieuse Paganini Moto Perpetuo Paganini Moses variations Paganini Sonata in E-minor Paganini-Kreisler La Campagnella Sarasate Zapateado, Op. 2 Wieniawski Original Theme with Variations, Op. 15 Wieniawski Scherzo Tarantelle, Op. 16 Wieniawski Polonaise Brilliante in D-Major, Op. 4 Wieniawski Polonaise Brilliante in A-Major, Op. Definition of Levels 1 - 4 1. First position with simple finger patterns Bow strokes: legato, detache', Simple bow division with whole and half bows 2.
First position with all fingerpatterns Double stops with open strings Simple harmonics Bow strokes: detache', legato, elementary Martele' 3. First through third position with shifting Double stops with two fingers Three and Four voice chords Bow strokes: detache', legato, martele,' elementary spiccato, elementary sautille,' Elementary vibrato on long notes Deliberate bow distribution Elementary sounding point control 4. First through Fifth position with shifting Smooth and continuous vibrato Bow strokes: martele', spiccato, sautille', colle'.
A violinist himself, Ernest Bloch composed only one full-blown concerto, a triumph of heart and intellect. The work sings with all the passion of his masterpiece and still shows a master musical planner at work. That more violinists haven't taken it up is a mystery. It makes a tremendous effect. Despite its quite modern and individual idiom, the concerto owes quite a bit to and Bruckner in its handling of thematic material. With his use of leitmotif, Wagner almost single-handedly invented a method of composition based on short musical gestures that could be joined together and even sounded simultaneously. This brings enormous unity to a work and is the real power of leitmotif as a method of construction.
Still, Wagner built his music around story, rather than traditional musical forms. His example, even in the purely instrumental Siegfried-Idyl, begs the question whether one can extend the method to construct, say, a sonata movement. 's symphonies answer that question affirmatively, even though in overall form, they're simpler than ' symphonies. In this concerto, as well as in most of his other mature works, Bloch applies Wagner-like cells to build structures which, like Bruckner's, still relate to traditional musical architecture. Unlike Bruckner's, Bloch's design is complex: Bloch manipulates at least twenty of these musical cells to construct and to vary the concerto's themes. Most of the cells appear in every movement.
For Bloch, however, complexity is not an end. The concerto, above all, moves the listener. The first movement, as long as some violin concertos, lays out most of the basic musical matter in a form equivalent to sonata allegro. From the opening fanfare and slow introduction, the violin alternately strides grandly and heroically through the musical landscape or meditates upon it, as if remembering far-off times. A bittersweet lyric section allows the violin to sing. The second movement, written almost without the orchestra strings, seems to stop time through its remarkable 100 bars. Although not specifically a Jewish-inspired work, this section reminds me of Moses Looking across Gilead, where he can never go.
Here is both serenity and regret. In the last movement, Deciso, the violin not only muses over previous movements, but also gets to dance to a hard-won, bell-ringing affirmation. Listen to it, and wonder why it's so seldom played. Copyright © 1995.
Comments are closed.
|
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |